spectacle of the al",ady
mummified
woman playing iIlt the 1lI01~rhood of which .
Hart-Clive-1962-Structure-and-Motif-in-Finnegans-Wake
au, a'pace of dumbill_ lilly?
And they fell upong one anolher: and themselve.
they have faUen.
And .
.
ill nowanights and by nights of yure do all bold floral of the field to their Ihyfaun loven "'y unly: Cull me ~re I wilt to thee!
: and, but a little later: Pluek me whilst I blush!
Well may they wilt, marry, and profu.
.
,dly bluili, be
lroth' t? or that saying i, '" nld '" the howitts. Lave a whale while in a whillbarrow (i,n't it the truath I'm tallin yen 10 bave fin< and flippen that ahimmy and Ihake. Tim Timmycan
limped hir, lampting Tam. F1cppety! flippety! Fleapow! Hop! '
In the second parody, 00 page "7, the brothe. . . pair, who had been incarnated on page Ii, . . cavemen equivalent! ! of Heber and Heremon, take on the form of a mwic-hall song_ and? dance team: 'Since nuzzy Nandtc tripped palmyway. with BighOO Harry . . . ' The three flowen, on the other hand, no longer figure as individuall, bllt al a collective Iyrnbol, Ihe Letter: 'this oldworld cpiatola'. In identifying the flower_girls with their Letter, Joyce is ~ven more literally putting into
practice Tsolde', ,ugg~lIion in her lecund footnote on pag<' 28, . It i, significant that while this is the ,? enion in whicb the Q uinet_ Letter identification iI made m! >>t explicit, it il allO the parody which depar! $ mo. t from Ihe rhythlT1. \ an d general urgam. ation of the original (except rur the Sp<<ial (a5<: (m page 354) ;Joyce i, opting for more 'tum,h' and I"" French. It i. partiClIlarly rich in allu\",,,, 10 olher motifs and Iheir :urociated symbot. , ! . he IIK>$I,alienIofth= beingthecup-of_tea_and_polstill_lifewhich
'"
? Two MajO'f Motifs
c. usuaUy in evidence wmewhue in the middle-gT(lundwhencvu the Letter is under discu$$iQt1. The water fur the wetting of the tea and the comcquent creation of a new world is healed o,'er the fiTe of 'Pat', Purge' (I' 7-'6)- an annrnng rone<:it by meam ofwhichJoycedOilely"""". ialC$ the tea symbolwith theubiqui_ tous Phocnix-Magic-Fire theme. Bridget and Patr;cl< enter with their rorulanl litany of 'Launauf'_'m"he mi' he',' modifict! here to 'wulfsouff' and 'talhtalh', and since Bridget and I'atrid, are a cOIUtantly recurring brothe. . . . and-,ister pair, their solemn ritual ;, evidently to be identified with the theatrical frivolit;C$ of 'NaneUe' and 'Harry'.
The . urvival of the Letter-posy ovu the 'billiousne,-,' of infirm 'mixed racings' is devdoped in a very direct ,tatement of the Viconian cyclic principle:
'th'" oldworld epistola of their weathering, and their rnarryings and their burying. and their natural selecti",,", h'" <mnhlcd
tumbled down to lIS fench and made-at? all_hou. . . liL: an ould cup on tay. '
The ,C<:ne of the rise and faU ofmalCuline glory h", meanwhile bttn shifled. from Ireland (IS) had to Europe-'Pieter'. in Nieuw Amotddam and Paoli', where th~ poulC! > go'---<)r ptt- hapo even farther afield- 'he dined off sooth american'_ bul wherever the comedy may be play<:d out Ihe slow progr(:! . ! of history is . een to be like nothing SO much'" the gigantic drink_ ing party of Fin""g<l1U Wake: 'two hoots or three jeen for the grapc vine and brew'. The whole of this parody i. in /a(l a further . tage in J oyce'. reduction of the nightmare of history
to a '. hout in the "reet'.
The puts dts haMill", which in the fInt parody were meta_
morphosed into an Iri,h bloodbath Qn the 'eve of Killallwho', are now no more than a . t<>rm in 'an ould cup on tay'. 'Joyc<: c. identifying the fighting in the flCld with the suual battl~ wruch a$$UI"C. 'l the rontinued. ~. xislCnc<: of tbe race of flowers, and in so doing h~ i. {>O'tulating th~ ultimate interdependence
'. so. A~;x A. ? . so. F. M. BoId<rclf,~F~I""Wok. ,N"",Y""k,'959. pp. ,8. If.
! O< . . - . i n , , = < t i o g " " " " " , n u O I l t h e f u n c ! ; ' " o f , o a . . y m b o l i s r n ; n F ; . " q . . u W~.
t9~
? Two Major Motifs
of Quinel'l oppos<d principles of . . . . . and peace. morulity and continuity_ This is yelanolMr ex. ample oftlw: lu. uaching waY' in which /nllMl,os work for J oy<<, for withoul lhe . tructural ~ 'Pm W MlAjllts-ouid cup on lay', which the
motif eau. blishes, Jvyce'. point would be 1,. _
In the brilliantly (:(Incise ,. . ,~ of1M se"tence on page ~s6
the two Roman histori. . . . . ha~e been tramformed into the tnditionalfoundcnoCtbeirciry-'~andRehmoooc' - a ralher less pacific ample. Afler havi"ll quadrill<<l. aClOSS Ihe centuries which separale 1. 1 and 1l. 1 , lile Howen have been
refined away until nothing remai. . . . of them but 1M <:SSence of theirdar_ dlepa~. . . . . ,wal~reds,andri~hile the _ lie of their . . :ducth. . , Iiolia . . . . onot ~ been shifted back 10 I. . . land. "IN: alternalions of Irish and overseu back- groundl 10 Ihe parodies ('4-15, Ireland; '17, Europe ""d South Amo:ri. ca; 236, Ircland. ; 3S1o &len; 6'5, 'our mutter nation') para1Id me many other oscillations or locality in FiMt61l111 Wdh Trilt&n'. loves in Briltany and Ireland, Sbem'. lrip:! to A",tralia, Shaun'llo the Unil<<l. Slatea. Later on in the lenience, after il b " moVNI i:orwacd in lime, the older ohnca mentioDcd above are seen 10 have developed inlO the crazy modem gaiety of the Parisian Canan ('can. canz. anies'), which ltimulatea Ihe frustrated Earwicker 10 the poinl of hi,~1 ('bcgayment').
The de&truction or Ihe oq:>tIIdabie male " pocu of the woOd is equat<<l. with thc prq>aratiOl1 of fool ~yme, that chef of ! CasonC", baa made his ulual lIlewlc use of endadjwtables'
(2:;6. i1) -which is one of the l"avonrite putimes of l"at-beI\iod Sh:>un to "'bom the 'climb duanbdlCl' (2:J6. 08) pander at every tUTn. (Tho: dumb-bell- the mathtmatical sign ror infinity,
C:O---;I, of coune, an eapeciaIly luitable symbol for J oyce'. im_ mortal but empty-headed and. vulgar fIowcr-girh. )"IN: IelIQO_ ing or history's stew is just one more . aped of the 'Eating the God' theme whlch J oytt lOOk over from Fruer, and. , afkr aU, SAysJoy<<, 00 matter how often tlu: Holl may go a P' Dg'C>S through the guts of a oommunicant, the true God rem"'''' whole, inviolate. However (\almetive and degenoerale Shaun's
. "
? Troo Major Motift
gourmandiling may seem, nothing is really destroyed in the I'itIiXW; the Ia_ of~rvation alwa)'l bold, 10 ! hal 'whatnot wiU~ ilnor'. History, liU the hleido. cope ofFiaNgau W. . u, limply rearnnga a "umberof'endadjU$. . . b1. ,. ',and the: wring OUt of the God among the congrq;ation, though il . ymbolista the continuity of Iik, is no rna", than a juggling wilh the dis- tribution of Ihe l>JIIe panicle. of lIdng. Through past eons (236. 30) and past epoch. (236. 31) the flower-dance. . . have continued to 'UM"" thejooul tIu HI,iil. . which are nO longer "'{uatcd, as On page '17, with the lively and 'flUin' (S08) cup of tea, oot with the: suuggltlll of the ogeing Anna to ",main ~. BookIIistheBookoftheChildun;Annab. ubttl! rcpIa<<d, and "'" watch the pitif. . . .
spectacle of the al",ady mummified woman playing iIlt the 1lI01~rhood of which . . . . i. no Longer capahle (236. 31 ). The cu p of tta that wat once her lII0I1 important fertility-. ymbol ",appean in this parody, hut onlyinlWOciati(1nwiththedeaf,purblind,ando~old man ora past age, who hat heeD luppLantedjust '" his wife hat: 'the bcdeafdom of po'. taeorm, tbe olxo:city of pa'. teapucs'. Funhenno"" . . Joyne lut;OI ba. clt-alang for the cup ('teapUCI') "'" may fairly assume WI il is upsidedown and hence, like Omar'. glasa, empty. The word 'teapucs' may aka oontain the ''P'''''' """ ory 10 combat pa'. approaching bli"d",,",; there seemll 10 be at 1(lIIt one ph)"io;ai dd'ecl that F. arwicku shartlll with hil myopic ""condhtot lI0II, Shem.
In the preceding p=agraph Anna Uvia'. buW dqo~ ('billy . . . tOo') is idenliftetl with Ihe Miual . . . . d at the oommunion, hUI when an office from it io . ung--'and . ing a . ru. allOO'- this iI dilCOVCl'fll, rather IUl]>I'isingly, to be no more than the btel! veniun ofQuil>eI. Joyu could hardly ha,. . , nw:\e greater claim. for his motif. :
The fourth parody is by f,. . . the mOlt diffoeult of Ih~ leI, and at the lame tirDe on~ of the lII0I1 signi6canL The supreme importat>Ce ofQuiodl""ntence in Pi_,IUS W. ut i. o emphuivd. by tlte . . . . 10 whichJ oyu pull thil vtnion- namdy 10 conclude tlte central 'Butt and Taff' convenation III the two . peak in unioon for the fint and only time. The passage is 110 den. . , with
'97
? Tl/iQ Mo}oT Motifs
meaning that it will be as well to quoe. the final polilhed t. xt in full:
'When old the wormd W a ) a gadden and Anthea first unfolled her limbi! wand. rloo, W a ) the way the wood wagged where
opter and aptcr we~ samnraited twirnhs. They had their mutthering ivies and their murdhcring idies and their mouldher_ ing iries in that musht grove but there'll be bright pHnny_ flowe. . . in Calomella'. cool bowers when the magpyre'. habbk towers scorching and $<;r~hing from the ravenindow. If th~ lobed the . . " of hit head and me. . ates the ,eep of hi, traublen he'. dancing figgiel to the spittk sid. and ,hoving out, the soord. And hell be buying buys and go gulling gcll< with hit flo""im and j<:ssim of carm, silk and honey while myandtbJl' playing Janeifor lneifug and what', duff as a bettIe for usses makes coy O>$yn eorollane,' moue, ""e<:tcr to Wee. So till but_ again budly shoots thon rising germinal let bodky chow the fau of hi> an! l"r and badley bide tbe toil of h" tubb. '
T bi, i. the only <><:<:"-,ion on wbich Quinet', single "'nteru:e has ~n broken down by J oyce into more than one---<> fact which must be accounted em by lbe pecnliar circum'tan. ,. . of the parody'. genesi,. The flowers have bo::cn transported away from time and . pace and made to bloo. . . ,m in tbe Garden of Eden, the site at which 10 many ofJ oyce'. moLif! a~ allowed to play thenudves out. It will be ,een that I'lilly and Columella are once again pre<<:nt in pcrron and that Anna Livia bersclfmakes a ,hird with her girls, in the gui><: of Aphrodite Antheia. In thil pa. ,agc, howev<:1", J cyec h", gone far beyond Quinet, on to who. . little 'entenee be ha. piled allusion after allusion to virtually every major theme in Finntgmu Wok" including the Fall, ritual murder, hlindn. . . , Wagnerian Magie-Fire, tbe dance, Irish nationalitm, homooexuality, . imony, and mic-
turition.
On page 615, where the Wt of the parodi. . imme<iiatoly
p~ced. . the fulle$t and most important ve. . . ion of the l. etter, the a,sociation of the two motifs i, given its final and simplest exp. . . . . ion. Since Book IV is the A! I" of Vico'? . u. r~, in which dawn bo::gin. to di,pttoC many mi,t. , J oyce reverts to a rather
. "
? T1m) Major Motifs
d~r a. dhuenee to tbe rhythnu and content of the original 8<:ntence. Pliny and Columella ""appear alm~t undisguised, and the thue flower> flourish again in the fornu which Quinet gave them. Even here, howcveT, thero are n"meToul complm- Ii. . . Colu. mella douhlco with Columkille, thus making another link in the long chain of correspondent. . that Joy"e is always at pai"" to establish hetween I""land and Rome. ' The tbree fiowen from Gaul, Illyria, and Numancia, now mow by their name. that they in fact owe allegianr,e to more than one nation,
the hyacinth from Gaul ('an_loo-ghoulish') ;. aLro Italian (,Giacinta'); the Jllyrian periwinkle ha. French ancestry (,PeITeoche'); the Spanish dai,y among the Tui", of~umancia i, halfEnglhlt ('~larga"'I'). In the lalt analysis they all belong to Irdand: 'our muUer nation'. '
The mool inte. . . . ting chang<: in thi> final parody is the in_ clwion for the fi. . . . t time of a clear . ymbol of male immortality. 'Finni". the old One' also endu. . . . Ihrough Ihe 'hophauaro. ' of hi,tory. Though the manif""tations of Ihe masculine principle 8<:en' morc transient than th". . , of Ihe feminine, the underlying ",. enee of Finn the Giant i. no 1= rul or indcotruelible 'han that of Anna Livia wilh her twenly_nine tributarie? . finn will wak~ again al 'Oxkalooralooraloomenoo'. (Thi' is one of lhe
la:! l appearn. nc. . in Finntgmts Woh ofthe cocI<crow motifwhich throughoul Ihe book form. a trinity with thc thundervoice (Father) and the Word 'whiskey' (holy 'pirit), and ,hares with lhem the privilege of awakening the fallen hero to new life. )
"lbe tea_Lahle with cup, . aucer, and {ea. pot i, now r=1 '" lhe morning breakfa<! t-table al which eggs are to he eaten: 'the",'ll he igg' for brelt:kers come 10 mournhim' (12. (4). At I~ast one version of Ih~ Leller is writlen on Ihe mells of th"",
egg_ 'there'? . cribing5 scrawled on eggs' (6'5. 1O)-and ,. . they afe broken open to bt eaten W~ at last understand how it ill
that the 'punctuation' of the Leller is mpplied by the furk of the Professof at the Breakfast T able (104), although the att~mpl t<> cal boi1~d eggs with" forlt: 8<:e"" to brand the Prof=nr ,. .
1 Cf. , for <o<ampl<, "n. . , . . . &>Ud MI<\ the pobbel quouc', ,,,,,,,,;00,,' (iH-S~)?
'99
? Two Major Motifs
one of the abocllt-min<kd . . . . . riety. . . . . . alway&, Joyce aimo for a duality of fUIICtion in his Iymbol;'m, 10 that the 'pipiIlg bot' momitlg tu - pot is made to ~ abo q MolIy-J. . ephine'l onnge-~ nigbl_uten&ik, the 'Sophy_Key_Po' of 9-34. '
Ibving 10 firmly otabli$h<<i the . . . .
lroth' t? or that saying i, '" nld '" the howitts. Lave a whale while in a whillbarrow (i,n't it the truath I'm tallin yen 10 bave fin< and flippen that ahimmy and Ihake. Tim Timmycan
limped hir, lampting Tam. F1cppety! flippety! Fleapow! Hop! '
In the second parody, 00 page "7, the brothe. . . pair, who had been incarnated on page Ii, . . cavemen equivalent! ! of Heber and Heremon, take on the form of a mwic-hall song_ and? dance team: 'Since nuzzy Nandtc tripped palmyway. with BighOO Harry . . . ' The three flowen, on the other hand, no longer figure as individuall, bllt al a collective Iyrnbol, Ihe Letter: 'this oldworld cpiatola'. In identifying the flower_girls with their Letter, Joyce is ~ven more literally putting into
practice Tsolde', ,ugg~lIion in her lecund footnote on pag<' 28, . It i, significant that while this is the ,? enion in whicb the Q uinet_ Letter identification iI made m! >>t explicit, it il allO the parody which depar! $ mo. t from Ihe rhythlT1. \ an d general urgam. ation of the original (except rur the Sp<<ial (a5<: (m page 354) ;Joyce i, opting for more 'tum,h' and I"" French. It i. partiClIlarly rich in allu\",,,, 10 olher motifs and Iheir :urociated symbot. , ! . he IIK>$I,alienIofth= beingthecup-of_tea_and_polstill_lifewhich
'"
? Two MajO'f Motifs
c. usuaUy in evidence wmewhue in the middle-gT(lundwhencvu the Letter is under discu$$iQt1. The water fur the wetting of the tea and the comcquent creation of a new world is healed o,'er the fiTe of 'Pat', Purge' (I' 7-'6)- an annrnng rone<:it by meam ofwhichJoycedOilely"""". ialC$ the tea symbolwith theubiqui_ tous Phocnix-Magic-Fire theme. Bridget and Patr;cl< enter with their rorulanl litany of 'Launauf'_'m"he mi' he',' modifict! here to 'wulfsouff' and 'talhtalh', and since Bridget and I'atrid, are a cOIUtantly recurring brothe. . . . and-,ister pair, their solemn ritual ;, evidently to be identified with the theatrical frivolit;C$ of 'NaneUe' and 'Harry'.
The . urvival of the Letter-posy ovu the 'billiousne,-,' of infirm 'mixed racings' is devdoped in a very direct ,tatement of the Viconian cyclic principle:
'th'" oldworld epistola of their weathering, and their rnarryings and their burying. and their natural selecti",,", h'" <mnhlcd
tumbled down to lIS fench and made-at? all_hou. . . liL: an ould cup on tay. '
The ,C<:ne of the rise and faU ofmalCuline glory h", meanwhile bttn shifled. from Ireland (IS) had to Europe-'Pieter'. in Nieuw Amotddam and Paoli', where th~ poulC! > go'---<)r ptt- hapo even farther afield- 'he dined off sooth american'_ bul wherever the comedy may be play<:d out Ihe slow progr(:! . ! of history is . een to be like nothing SO much'" the gigantic drink_ ing party of Fin""g<l1U Wake: 'two hoots or three jeen for the grapc vine and brew'. The whole of this parody i. in /a(l a further . tage in J oyce'. reduction of the nightmare of history
to a '. hout in the "reet'.
The puts dts haMill", which in the fInt parody were meta_
morphosed into an Iri,h bloodbath Qn the 'eve of Killallwho', are now no more than a . t<>rm in 'an ould cup on tay'. 'Joyc<: c. identifying the fighting in the flCld with the suual battl~ wruch a$$UI"C. 'l the rontinued. ~. xislCnc<: of tbe race of flowers, and in so doing h~ i. {>O'tulating th~ ultimate interdependence
'. so. A~;x A. ? . so. F. M. BoId<rclf,~F~I""Wok. ,N"",Y""k,'959. pp. ,8. If.
! O< . . - . i n , , = < t i o g " " " " " , n u O I l t h e f u n c ! ; ' " o f , o a . . y m b o l i s r n ; n F ; . " q . . u W~.
t9~
? Two Major Motifs
of Quinel'l oppos<d principles of . . . . . and peace. morulity and continuity_ This is yelanolMr ex. ample oftlw: lu. uaching waY' in which /nllMl,os work for J oy<<, for withoul lhe . tructural ~ 'Pm W MlAjllts-ouid cup on lay', which the
motif eau. blishes, Jvyce'. point would be 1,. _
In the brilliantly (:(Incise ,. . ,~ of1M se"tence on page ~s6
the two Roman histori. . . . . ha~e been tramformed into the tnditionalfoundcnoCtbeirciry-'~andRehmoooc' - a ralher less pacific ample. Afler havi"ll quadrill<<l. aClOSS Ihe centuries which separale 1. 1 and 1l. 1 , lile Howen have been
refined away until nothing remai. . . . of them but 1M <:SSence of theirdar_ dlepa~. . . . . ,wal~reds,andri~hile the _ lie of their . . :ducth. . , Iiolia . . . . onot ~ been shifted back 10 I. . . land. "IN: alternalions of Irish and overseu back- groundl 10 Ihe parodies ('4-15, Ireland; '17, Europe ""d South Amo:ri. ca; 236, Ircland. ; 3S1o &len; 6'5, 'our mutter nation') para1Id me many other oscillations or locality in FiMt61l111 Wdh Trilt&n'. loves in Briltany and Ireland, Sbem'. lrip:! to A",tralia, Shaun'llo the Unil<<l. Slatea. Later on in the lenience, after il b " moVNI i:orwacd in lime, the older ohnca mentioDcd above are seen 10 have developed inlO the crazy modem gaiety of the Parisian Canan ('can. canz. anies'), which ltimulatea Ihe frustrated Earwicker 10 the poinl of hi,~1 ('bcgayment').
The de&truction or Ihe oq:>tIIdabie male " pocu of the woOd is equat<<l. with thc prq>aratiOl1 of fool ~yme, that chef of ! CasonC", baa made his ulual lIlewlc use of endadjwtables'
(2:;6. i1) -which is one of the l"avonrite putimes of l"at-beI\iod Sh:>un to "'bom the 'climb duanbdlCl' (2:J6. 08) pander at every tUTn. (Tho: dumb-bell- the mathtmatical sign ror infinity,
C:O---;I, of coune, an eapeciaIly luitable symbol for J oyce'. im_ mortal but empty-headed and. vulgar fIowcr-girh. )"IN: IelIQO_ ing or history's stew is just one more . aped of the 'Eating the God' theme whlch J oytt lOOk over from Fruer, and. , afkr aU, SAysJoy<<, 00 matter how often tlu: Holl may go a P' Dg'C>S through the guts of a oommunicant, the true God rem"'''' whole, inviolate. However (\almetive and degenoerale Shaun's
. "
? Troo Major Motift
gourmandiling may seem, nothing is really destroyed in the I'itIiXW; the Ia_ of~rvation alwa)'l bold, 10 ! hal 'whatnot wiU~ ilnor'. History, liU the hleido. cope ofFiaNgau W. . u, limply rearnnga a "umberof'endadjU$. . . b1. ,. ',and the: wring OUt of the God among the congrq;ation, though il . ymbolista the continuity of Iik, is no rna", than a juggling wilh the dis- tribution of Ihe l>JIIe panicle. of lIdng. Through past eons (236. 30) and past epoch. (236. 31) the flower-dance. . . have continued to 'UM"" thejooul tIu HI,iil. . which are nO longer "'{uatcd, as On page '17, with the lively and 'flUin' (S08) cup of tea, oot with the: suuggltlll of the ogeing Anna to ",main ~. BookIIistheBookoftheChildun;Annab. ubttl! rcpIa<<d, and "'" watch the pitif. . . .
spectacle of the al",ady mummified woman playing iIlt the 1lI01~rhood of which . . . . i. no Longer capahle (236. 31 ). The cu p of tta that wat once her lII0I1 important fertility-. ymbol ",appean in this parody, hut onlyinlWOciati(1nwiththedeaf,purblind,ando~old man ora past age, who hat heeD luppLantedjust '" his wife hat: 'the bcdeafdom of po'. taeorm, tbe olxo:city of pa'. teapucs'. Funhenno"" . . Joyne lut;OI ba. clt-alang for the cup ('teapUCI') "'" may fairly assume WI il is upsidedown and hence, like Omar'. glasa, empty. The word 'teapucs' may aka oontain the ''P'''''' """ ory 10 combat pa'. approaching bli"d",,",; there seemll 10 be at 1(lIIt one ph)"io;ai dd'ecl that F. arwicku shartlll with hil myopic ""condhtot lI0II, Shem.
In the preceding p=agraph Anna Uvia'. buW dqo~ ('billy . . . tOo') is idenliftetl with Ihe Miual . . . . d at the oommunion, hUI when an office from it io . ung--'and . ing a . ru. allOO'- this iI dilCOVCl'fll, rather IUl]>I'isingly, to be no more than the btel! veniun ofQuil>eI. Joyu could hardly ha,. . , nw:\e greater claim. for his motif. :
The fourth parody is by f,. . . the mOlt diffoeult of Ih~ leI, and at the lame tirDe on~ of the lII0I1 signi6canL The supreme importat>Ce ofQuiodl""ntence in Pi_,IUS W. ut i. o emphuivd. by tlte . . . . 10 whichJ oyu pull thil vtnion- namdy 10 conclude tlte central 'Butt and Taff' convenation III the two . peak in unioon for the fint and only time. The passage is 110 den. . , with
'97
? Tl/iQ Mo}oT Motifs
meaning that it will be as well to quoe. the final polilhed t. xt in full:
'When old the wormd W a ) a gadden and Anthea first unfolled her limbi! wand. rloo, W a ) the way the wood wagged where
opter and aptcr we~ samnraited twirnhs. They had their mutthering ivies and their murdhcring idies and their mouldher_ ing iries in that musht grove but there'll be bright pHnny_ flowe. . . in Calomella'. cool bowers when the magpyre'. habbk towers scorching and $<;r~hing from the ravenindow. If th~ lobed the . . " of hit head and me. . ates the ,eep of hi, traublen he'. dancing figgiel to the spittk sid. and ,hoving out, the soord. And hell be buying buys and go gulling gcll< with hit flo""im and j<:ssim of carm, silk and honey while myandtbJl' playing Janeifor lneifug and what', duff as a bettIe for usses makes coy O>$yn eorollane,' moue, ""e<:tcr to Wee. So till but_ again budly shoots thon rising germinal let bodky chow the fau of hi> an! l"r and badley bide tbe toil of h" tubb. '
T bi, i. the only <><:<:"-,ion on wbich Quinet', single "'nteru:e has ~n broken down by J oyce into more than one---<> fact which must be accounted em by lbe pecnliar circum'tan. ,. . of the parody'. genesi,. The flowers have bo::cn transported away from time and . pace and made to bloo. . . ,m in tbe Garden of Eden, the site at which 10 many ofJ oyce'. moLif! a~ allowed to play thenudves out. It will be ,een that I'lilly and Columella are once again pre<<:nt in pcrron and that Anna Livia bersclfmakes a ,hird with her girls, in the gui><: of Aphrodite Antheia. In thil pa. ,agc, howev<:1", J cyec h", gone far beyond Quinet, on to who. . little 'entenee be ha. piled allusion after allusion to virtually every major theme in Finntgmu Wok" including the Fall, ritual murder, hlindn. . . , Wagnerian Magie-Fire, tbe dance, Irish nationalitm, homooexuality, . imony, and mic-
turition.
On page 615, where the Wt of the parodi. . imme<iiatoly
p~ced. . the fulle$t and most important ve. . . ion of the l. etter, the a,sociation of the two motifs i, given its final and simplest exp. . . . . ion. Since Book IV is the A! I" of Vico'? . u. r~, in which dawn bo::gin. to di,pttoC many mi,t. , J oyce reverts to a rather
. "
? T1m) Major Motifs
d~r a. dhuenee to tbe rhythnu and content of the original 8<:ntence. Pliny and Columella ""appear alm~t undisguised, and the thue flower> flourish again in the fornu which Quinet gave them. Even here, howcveT, thero are n"meToul complm- Ii. . . Colu. mella douhlco with Columkille, thus making another link in the long chain of correspondent. . that Joy"e is always at pai"" to establish hetween I""land and Rome. ' The tbree fiowen from Gaul, Illyria, and Numancia, now mow by their name. that they in fact owe allegianr,e to more than one nation,
the hyacinth from Gaul ('an_loo-ghoulish') ;. aLro Italian (,Giacinta'); the Jllyrian periwinkle ha. French ancestry (,PeITeoche'); the Spanish dai,y among the Tui", of~umancia i, halfEnglhlt ('~larga"'I'). In the lalt analysis they all belong to Irdand: 'our muUer nation'. '
The mool inte. . . . ting chang<: in thi> final parody is the in_ clwion for the fi. . . . t time of a clear . ymbol of male immortality. 'Finni". the old One' also endu. . . . Ihrough Ihe 'hophauaro. ' of hi,tory. Though the manif""tations of Ihe masculine principle 8<:en' morc transient than th". . , of Ihe feminine, the underlying ",. enee of Finn the Giant i. no 1= rul or indcotruelible 'han that of Anna Livia wilh her twenly_nine tributarie? . finn will wak~ again al 'Oxkalooralooraloomenoo'. (Thi' is one of lhe
la:! l appearn. nc. . in Finntgmts Woh ofthe cocI<crow motifwhich throughoul Ihe book form. a trinity with thc thundervoice (Father) and the Word 'whiskey' (holy 'pirit), and ,hares with lhem the privilege of awakening the fallen hero to new life. )
"lbe tea_Lahle with cup, . aucer, and {ea. pot i, now r=1 '" lhe morning breakfa<! t-table al which eggs are to he eaten: 'the",'ll he igg' for brelt:kers come 10 mournhim' (12. (4). At I~ast one version of Ih~ Leller is writlen on Ihe mells of th"",
egg_ 'there'? . cribing5 scrawled on eggs' (6'5. 1O)-and ,. . they afe broken open to bt eaten W~ at last understand how it ill
that the 'punctuation' of the Leller is mpplied by the furk of the Professof at the Breakfast T able (104), although the att~mpl t<> cal boi1~d eggs with" forlt: 8<:e"" to brand the Prof=nr ,. .
1 Cf. , for <o<ampl<, "n. . , . . . &>Ud MI<\ the pobbel quouc', ,,,,,,,,;00,,' (iH-S~)?
'99
? Two Major Motifs
one of the abocllt-min<kd . . . . . riety. . . . . . alway&, Joyce aimo for a duality of fUIICtion in his Iymbol;'m, 10 that the 'pipiIlg bot' momitlg tu - pot is made to ~ abo q MolIy-J. . ephine'l onnge-~ nigbl_uten&ik, the 'Sophy_Key_Po' of 9-34. '
Ibving 10 firmly otabli$h<<i the . . . .
