All the powers and great Iymphonia of physical and
spiritllal
natu~ lie imcribed within .
Hart-Clive-1962-Structure-and-Motif-in-Finnegans-Wake
Thil page, bearing p"-rt ofthe lexl <lr the Ctucifixion- Tun.
: crw;ifo<mmI XPl cum eo duo.
I4lrona-io in fact illustrated in the lower half by a large Cf.
.
.
.
.
<kellS.
GIIl.
T he allusion.
\ to il which are heard again and again througrumt Fin~glUlS Wake arc alwaY' a,,,,,,ialed with the CI"O!
:S of the r<lur and with the female organ.
- "lbe clearat association of
, s . . c . . . - , p . ? ~.
, Atherton, pp. ~, 66.
? Spatial Cydu: l l- TM Cross
'quincun'" ? 'Tunc', etc" "al ll"/S,LI, 'PiIehc4panJ. tri4ngi. , MOu41Id Wt. ;1u",,? , The 1",1 word here " plainly 'quincunx', and thus the four symbols named are 100. . for ShaUll (,,), ALP (6 ), the 'Twelve' (0), and the 'Four' (X). Mr. Atherton has many interesting thing1 {o say about Joyce', conception of Original Sin a. God', sexual fun ~nLailro in the act of Creating. 1 The further implication in hi. Ule of 'Tunc' seelUll to be that Chrill'. 'fall' on the CfOM, raT from redeeming Adam', ,exual fall, is in fact to be identified wilh il and with the ran of God the Father.
Joyce was alwaY" mnlemptuou, of Chrl",', virginity' :
'He was a bachelor . . . and never lived with a woman. Surely living with a womiU1 i. one ofthe mn. t difficult thing> a man has to do, and he never did it'.
Ry his implied variations on the ,tory of the Go3pd. Joyce rewrites the N~w Testament to rorrc. pond with the Old even more clo. cly than the mediaevali>ts could have wished. Thi. cross on the 'Tune' page, already heavily loaded with . ymbolic oignificance, " e><panded to ro,mie proportiona in Rook IV, where Joyce make< it repreunt the quincunx,," in Plato',
World-Solll. The fint word of the paragraph in which the 'inferior' meeting of the Same and the Other talces place is in
fact 'Tunc' (6". 04-).
The cr<l$S with Shaun or the """ at its centre reCu~ in at least
one other important ,ymbolic variation. This is the 'pms? in-th e- corner' motif. The Shl,/(m Kq glOMeS the allusion to it at ~7S. 06 as " 'frightful animal. o. emon in Iri,h fairy tale, here mgge<tive of Finnegan fear'-' I can find no evidence of Ihe existence of a legendary detlliln with luch a name and in any case 'Finnegan fear' does not '! eem to be . n~ted by the cOIl? te"t. Much more important, certainly, is th~ children', game call. d Pms in the Corner, in which four individuals occupying the four COrnel'! ofa room try to run from one corner to another while a fifth, the 'puss', 00 the al~r1 in the centre, tries to I'UJ! h in to claim a vacalCd 'pace, . 0 leaving the dispossessed penon
, Alh<xtOn, pp_3<>-[ .
? F. Budgm,,ldmt, J. . . . . aNi tk M""~ 41. l1ps. s, I. <:>t>d<x>, '93? " P. '9[ ? ? SK '47".
'f'
? Spatial CycltS: ll-Tht Cross
in the middle"" the new 'p"",,'. ' (In W. 1<rtS Bloom 'plaY' pmsy fuurcomen with ragged boY' and girls', U 46~. ) Thai Joy"" had in mind thi:! first. rate . ymbol of a <table form. with a ron_ stantly ,billing but finit~ rontent-the '",im anew'- i:! clear from the marginal Dote '/i",IIlN', al. . . ,ady quoted, which ref"",
to the t~x! '. 'With a paIlly fur the pusry in the rorner'. Other as>Ociat;OI15 of this mM;f Wilh the Four occur at 43. 28:
'village crying to village, through the five pu. . yfou. . . . g,"""n of
the united ,tate of Scotia Piela' and al 5. ~5. lo:
'titranicht by tetranoxat, at Ihcir pu. . yoorne. . . , and that old time pally<llloga. . , playing copen f""""",me. '
Since the cent. . . . l point is both the 3. . '3' and the 'P"'" of thi!
game, r. rupeet thatJoyce i, p<:Tmitting hinuelfthe not unruua] indulgence ofa rather tortuons pun. 'Pu",' as a . lang lerm 'face' is used at katt three tirru:. in F;"''''grms W"*' (86. 10, 3~9. 04,
. ~I7. 17) I! O that 'pU$$' and ';w' ar~ . uccinctly identified "" anatomical oppo. ild coinciding at a pain! . 1b~ = in 1. 1 and IVa. . . , the front and bac\: ends ofFin. . . ~rms 11'. . . 1:<. (Th= ar~ strong . uggr$tiom of 'hallock. ' in {he l'atrick-Druid di:! - cu";on and it may be ,,;gnificant (hat of {he ten occurrences of Ih~ 'thunderwom' mottf, Ih<: fi"'t (3. 15) ;. oral, while the lalt (4~4. 20) ;" di,tin~tly anal. ) 'Pws' h. . . , of course, other . lang deuotatioru, DQtably 'th~ female genitalia', which th~refore lies 'pllM-in? thc-comer' even more cl",ely to 'ti",l! m&'. This whole conceit seems to be an expansion of that oth~r meeting ofcontraries when l. <:Opold Illoom ends his Od)""q by deli,"",- ing an 'obocnre prolonged provoca tive m~lorumellonou'O! ICul. . -
rion. ' (U 695)'
'"
, . <;. . O. t. ? . JJ. w. d<< 'PUg'. par~ph, . I Set 0/,. below, Ch>. P'''' VIII. II.
'1 am making all engin~ with only one wheel . . . The wh",,1 is a P"'rfcct square . . . ii'S a wh~d, 1 teU the world. And it", all <qua,,'. (l. #In"J, p. ~51. )
'i""" . . was held sar. r<;d by the Pythagor""",. It i! th~ p"'rfcct square, and ru:ilher of the boundiug liu", n cecd. the other in
'4'1
? Spatial Cycles: 11- 17ie Cross
length by a lingle point. It il the emblem of moral jUlti"" and divine <:quity gt:omctrically ~xp~lied.
All the powers and great Iymphonia of physical and spiritllal natu~ lie imcribed within . he perfect "'Iuare . ? . ' (Isis U""ri/td, vol. I, p. 9. )
The~ rcmain, one great archetypal form which j oyce med almost ill much . . . the circle and the cross in oowtructing Fin1Uga", Waf ' that ii, the . quare. A$'" revealed in the above quotaLion from a kttn to Mil! Weaver, he conceived of the furm of the book a. \ a "'lua! e and a circle in mystical combina- Lionl---ihowing the characteristics now of one , hape, nOw of the other. . , tit<: kalcidoscopic effects changed. The,"" il a lot of talk in Fj7l1U! J:d1tl Wake of 'squaring th~ cirdc' and, ,,<Inversely, of 'circling lhe "1uare'. Earwicker i. = n 10 he riding ru. 'bone- shaker' around MeIT;on $qua,"" {~8. 'i. F4)-or ;. , il perhaps Mountjoy Square ({60. "9) ? ---or, even mo,"" likely, the Phoenix Park, to whidl all wanderers '""turn. A litlle "rabimtw, to which the roadcr of Finlltgans Wak. continually find. hin\5clf subject, mal<<:; all these squa= equivalent to the ""nttal rhomhll1 of Ille diagram ('93) and, although Dolph say> 'it will hc a lozenge to me all my lauffe' ("! )9. "8),Joycc is nOt content even to let a four_sided figure ~main alway. ; fuur-. ided, as I Ihall :dtortly ,how. ' Twice he define, the . hape of FinntptU
Wake in the motif 'the scheme is like a rumba round my garden' . The fint occur~nce of the motif. where j oyce emhcl. mhes the Ichemc wilh rainbow. miJ! t, old ma! ters, and Rim. haud'. theory ofvowcb,;" in the context ofa list ofgames which
the nnn-conformin Shem refuses 10 play with the good children : ,WAen his$""", It<Is tih ~ Roimhrandt T. ""d M. u: GQrot. 1' (q6. [8) Th. ""cond, and more important, OCCUrlen"" i. as the last of fuur major lIatement, of theme in the pasoagt: which opew
1L3:
'while the scheme is like your rumba round m. garden. ' (3"9. 01) The rhythm of the rumba i, a counterpoint of thw: hcats again" fuur, and hence a further ~minder of j oyce'. playing
, ,w F""" iop<e<<,
, cr. )ok W. Y. T;n<W[', >;,,;on <>f ~ h. r-oid<:d 1I;""i1< ;0 F. <ik,; . j twJ. . 'j Go",- t4 J-'JoJu, New y",k, '959, I' 109.
'43
? SpalUU C. Jfks: / I- The Cross
offthree cycle>! agairut four within tbe """. . . . Udeoign ofFiMllfJIIS Wdt. ' In fact, what J oyce is . . . . ylog is that the och. t;me is like 'three againat four' and that the rbomb. . . of page 'l93 may be thought ofas no m"", than a triangle aceomparue<:! by it> own
n:fioc:tioll. (It is no doubt . igniflCl. Dt that Joyce wu born in 'Brighton SquaK', which is tri;lI1gular,) Thu? ? tructuu. l figu. . . . . , like the cbracten, fold up ioto each other, as in a eon? juring trick, ultimately ending in 'appoint, that', all' (367,3? ), The proen concerned in this rumba. . mmif i, ofcoune an ideal plot CaNed from all Ir"roens that f:VCT "",re mainly the Phnenix rark, Eden, Karr'. itm/;"" and perhaps Hn>wne', lunuious c. "dn! . /Cynn, fuD of rbombs and quinauu:es,
Geomctricjugglings like thoocwhich I have bttn touching on could certainly be carrie<:! a lot fatther, and probably with eon? sidenobLe prolit, If the fnur. sided ochemoo: it aIoII thrtt-Si<Led, IMn FittM'l1M Wdt;. 10 be identified with Anna'. triangle ill wdl as with J oyce', square wheel; the combination of \riangle and rhombw recu. . eontinuolJy in Joyce', JIIUltt-book, II
Visi. ~ and 10 on, bul I think J have taken this analysis rar enough nOw to indicate;n broad terms howJoyce looked at the spatial organiJation of his book. In the . . . (O"t'(! ing ehapten I . IuD go on 10 examine Ihe kind of debil with which he foJled
in the 'P<lC<:J.
, s. . . a:. :. . e, p. 62; _ . . . N. 1>f""_,,. . 'Tb< ~~Ilum 1'boo. . 1cio',
'm p. -t,. . . .
. \'_ MoM Qw;a. ! >. ",-",,01'. ? A'"""",,, p. ',%1.
,<<
? CHAPTER SIX CORRESPON DENC ES
I
L 4 N~IJu. u l " " / m o p / . . . d . r i N I I U p i l i t r l lAinnd t-Jois _ I i? . u _jllSM t-oUs; L'__. 1JNuu"IT. ",,' wj. ,l/J. urymboiu
Q~; I'oh"n'llll <WtI: <itl r" ardsJam;litrl.
(8 . . . UDEl. . . . nu)
'Th~ ligm that mock "'" as I g<:I. ' ('BahnboUlJ"2SK', PP ">OJ
here can be littl~net:<! to irueS! on the importanCt of toe? Trcapondo-n. :ainF. :-. ,. . ,. . ,Wd:t;thcwbol<:bookiu jungle of . . . 6k <r4nIJr. d<:pendenl on them. In the 'Introduc?
tion' to her Gnu. s, M il. Glasheen bas a ,,"Clion entitled 'Who is Who wh~n J::,'erybody is Somebody EIIC'-a pnndple wbich mighl wdl be exlC"flded 10 lnclud~ the inanimal<; u well as the animate . :ootent ofthe booI<. I nc-rt objects mell, palpitate, wobble, disintegrate, and are tra",Cormed inlo almotl anything ~lst: with
bewildering rapidity and mobili ly. Nor is there a dear boundary betwttn living and dead in Fin. ,. . ,. . . ! l'd:t: If"<< and rlOne become washel"W(lmen, h<:wme Shem and Sbaun, become tree and . tone once againi tN: milellone smiia, the r~lver barb, IN: barn:l ornt. . . . . . . . m ract, 'the dumb optak'.
, s . . c . . . - , p . ? ~.
, Atherton, pp. ~, 66.
? Spatial Cydu: l l- TM Cross
'quincun'" ? 'Tunc', etc" "al ll"/S,LI, 'PiIehc4panJ. tri4ngi. , MOu41Id Wt. ;1u",,? , The 1",1 word here " plainly 'quincunx', and thus the four symbols named are 100. . for ShaUll (,,), ALP (6 ), the 'Twelve' (0), and the 'Four' (X). Mr. Atherton has many interesting thing1 {o say about Joyce', conception of Original Sin a. God', sexual fun ~nLailro in the act of Creating. 1 The further implication in hi. Ule of 'Tunc' seelUll to be that Chrill'. 'fall' on the CfOM, raT from redeeming Adam', ,exual fall, is in fact to be identified wilh il and with the ran of God the Father.
Joyce was alwaY" mnlemptuou, of Chrl",', virginity' :
'He was a bachelor . . . and never lived with a woman. Surely living with a womiU1 i. one ofthe mn. t difficult thing> a man has to do, and he never did it'.
Ry his implied variations on the ,tory of the Go3pd. Joyce rewrites the N~w Testament to rorrc. pond with the Old even more clo. cly than the mediaevali>ts could have wished. Thi. cross on the 'Tune' page, already heavily loaded with . ymbolic oignificance, " e><panded to ro,mie proportiona in Rook IV, where Joyce make< it repreunt the quincunx,," in Plato',
World-Solll. The fint word of the paragraph in which the 'inferior' meeting of the Same and the Other talces place is in
fact 'Tunc' (6". 04-).
The cr<l$S with Shaun or the """ at its centre reCu~ in at least
one other important ,ymbolic variation. This is the 'pms? in-th e- corner' motif. The Shl,/(m Kq glOMeS the allusion to it at ~7S. 06 as " 'frightful animal. o. emon in Iri,h fairy tale, here mgge<tive of Finnegan fear'-' I can find no evidence of Ihe existence of a legendary detlliln with luch a name and in any case 'Finnegan fear' does not '! eem to be . n~ted by the cOIl? te"t. Much more important, certainly, is th~ children', game call. d Pms in the Corner, in which four individuals occupying the four COrnel'! ofa room try to run from one corner to another while a fifth, the 'puss', 00 the al~r1 in the centre, tries to I'UJ! h in to claim a vacalCd 'pace, . 0 leaving the dispossessed penon
, Alh<xtOn, pp_3<>-[ .
? F. Budgm,,ldmt, J. . . . . aNi tk M""~ 41. l1ps. s, I. <:>t>d<x>, '93? " P. '9[ ? ? SK '47".
'f'
? Spatial CycltS: ll-Tht Cross
in the middle"" the new 'p"",,'. ' (In W. 1<rtS Bloom 'plaY' pmsy fuurcomen with ragged boY' and girls', U 46~. ) Thai Joy"" had in mind thi:! first. rate . ymbol of a <table form. with a ron_ stantly ,billing but finit~ rontent-the '",im anew'- i:! clear from the marginal Dote '/i",IIlN', al. . . ,ady quoted, which ref"",
to the t~x! '. 'With a paIlly fur the pusry in the rorner'. Other as>Ociat;OI15 of this mM;f Wilh the Four occur at 43. 28:
'village crying to village, through the five pu. . yfou. . . . g,"""n of
the united ,tate of Scotia Piela' and al 5. ~5. lo:
'titranicht by tetranoxat, at Ihcir pu. . yoorne. . . , and that old time pally<llloga. . , playing copen f""""",me. '
Since the cent. . . . l point is both the 3. . '3' and the 'P"'" of thi!
game, r. rupeet thatJoyce i, p<:Tmitting hinuelfthe not unruua] indulgence ofa rather tortuons pun. 'Pu",' as a . lang lerm 'face' is used at katt three tirru:. in F;"''''grms W"*' (86. 10, 3~9. 04,
. ~I7. 17) I! O that 'pU$$' and ';w' ar~ . uccinctly identified "" anatomical oppo. ild coinciding at a pain! . 1b~ = in 1. 1 and IVa. . . , the front and bac\: ends ofFin. . . ~rms 11'. . . 1:<. (Th= ar~ strong . uggr$tiom of 'hallock. ' in {he l'atrick-Druid di:! - cu";on and it may be ,,;gnificant (hat of {he ten occurrences of Ih~ 'thunderwom' mottf, Ih<: fi"'t (3. 15) ;. oral, while the lalt (4~4. 20) ;" di,tin~tly anal. ) 'Pws' h. . . , of course, other . lang deuotatioru, DQtably 'th~ female genitalia', which th~refore lies 'pllM-in? thc-comer' even more cl",ely to 'ti",l! m&'. This whole conceit seems to be an expansion of that oth~r meeting ofcontraries when l. <:Opold Illoom ends his Od)""q by deli,"",- ing an 'obocnre prolonged provoca tive m~lorumellonou'O! ICul. . -
rion. ' (U 695)'
'"
, . <;. . O. t. ? . JJ. w. d<< 'PUg'. par~ph, . I Set 0/,. below, Ch>. P'''' VIII. II.
'1 am making all engin~ with only one wheel . . . The wh",,1 is a P"'rfcct square . . . ii'S a wh~d, 1 teU the world. And it", all <qua,,'. (l. #In"J, p. ~51. )
'i""" . . was held sar. r<;d by the Pythagor""",. It i! th~ p"'rfcct square, and ru:ilher of the boundiug liu", n cecd. the other in
'4'1
? Spatial Cycles: 11- 17ie Cross
length by a lingle point. It il the emblem of moral jUlti"" and divine <:quity gt:omctrically ~xp~lied.
All the powers and great Iymphonia of physical and spiritllal natu~ lie imcribed within . he perfect "'Iuare . ? . ' (Isis U""ri/td, vol. I, p. 9. )
The~ rcmain, one great archetypal form which j oyce med almost ill much . . . the circle and the cross in oowtructing Fin1Uga", Waf ' that ii, the . quare. A$'" revealed in the above quotaLion from a kttn to Mil! Weaver, he conceived of the furm of the book a. \ a "'lua! e and a circle in mystical combina- Lionl---ihowing the characteristics now of one , hape, nOw of the other. . , tit<: kalcidoscopic effects changed. The,"" il a lot of talk in Fj7l1U! J:d1tl Wake of 'squaring th~ cirdc' and, ,,<Inversely, of 'circling lhe "1uare'. Earwicker i. = n 10 he riding ru. 'bone- shaker' around MeIT;on $qua,"" {~8. 'i. F4)-or ;. , il perhaps Mountjoy Square ({60. "9) ? ---or, even mo,"" likely, the Phoenix Park, to whidl all wanderers '""turn. A litlle "rabimtw, to which the roadcr of Finlltgans Wak. continually find. hin\5clf subject, mal<<:; all these squa= equivalent to the ""nttal rhomhll1 of Ille diagram ('93) and, although Dolph say> 'it will hc a lozenge to me all my lauffe' ("! )9. "8),Joycc is nOt content even to let a four_sided figure ~main alway. ; fuur-. ided, as I Ihall :dtortly ,how. ' Twice he define, the . hape of FinntptU
Wake in the motif 'the scheme is like a rumba round my garden' . The fint occur~nce of the motif. where j oyce emhcl. mhes the Ichemc wilh rainbow. miJ! t, old ma! ters, and Rim. haud'. theory ofvowcb,;" in the context ofa list ofgames which
the nnn-conformin Shem refuses 10 play with the good children : ,WAen his$""", It<Is tih ~ Roimhrandt T. ""d M. u: GQrot. 1' (q6. [8) Th. ""cond, and more important, OCCUrlen"" i. as the last of fuur major lIatement, of theme in the pasoagt: which opew
1L3:
'while the scheme is like your rumba round m. garden. ' (3"9. 01) The rhythm of the rumba i, a counterpoint of thw: hcats again" fuur, and hence a further ~minder of j oyce'. playing
, ,w F""" iop<e<<,
, cr. )ok W. Y. T;n<W[', >;,,;on <>f ~ h. r-oid<:d 1I;""i1< ;0 F. <ik,; . j twJ. . 'j Go",- t4 J-'JoJu, New y",k, '959, I' 109.
'43
? SpalUU C. Jfks: / I- The Cross
offthree cycle>! agairut four within tbe """. . . . Udeoign ofFiMllfJIIS Wdt. ' In fact, what J oyce is . . . . ylog is that the och. t;me is like 'three againat four' and that the rbomb. . . of page 'l93 may be thought ofas no m"", than a triangle aceomparue<:! by it> own
n:fioc:tioll. (It is no doubt . igniflCl. Dt that Joyce wu born in 'Brighton SquaK', which is tri;lI1gular,) Thu? ? tructuu. l figu. . . . . , like the cbracten, fold up ioto each other, as in a eon? juring trick, ultimately ending in 'appoint, that', all' (367,3? ), The proen concerned in this rumba. . mmif i, ofcoune an ideal plot CaNed from all Ir"roens that f:VCT "",re mainly the Phnenix rark, Eden, Karr'. itm/;"" and perhaps Hn>wne', lunuious c. "dn! . /Cynn, fuD of rbombs and quinauu:es,
Geomctricjugglings like thoocwhich I have bttn touching on could certainly be carrie<:! a lot fatther, and probably with eon? sidenobLe prolit, If the fnur. sided ochemoo: it aIoII thrtt-Si<Led, IMn FittM'l1M Wdt;. 10 be identified with Anna'. triangle ill wdl as with J oyce', square wheel; the combination of \riangle and rhombw recu. . eontinuolJy in Joyce', JIIUltt-book, II
Visi. ~ and 10 on, bul I think J have taken this analysis rar enough nOw to indicate;n broad terms howJoyce looked at the spatial organiJation of his book. In the . . . (O"t'(! ing ehapten I . IuD go on 10 examine Ihe kind of debil with which he foJled
in the 'P<lC<:J.
, s. . . a:. :. . e, p. 62; _ . . . N. 1>f""_,,. . 'Tb< ~~Ilum 1'boo. . 1cio',
'm p. -t,. . . .
. \'_ MoM Qw;a. ! >. ",-",,01'. ? A'"""",,, p. ',%1.
,<<
? CHAPTER SIX CORRESPON DENC ES
I
L 4 N~IJu. u l " " / m o p / . . . d . r i N I I U p i l i t r l lAinnd t-Jois _ I i? . u _jllSM t-oUs; L'__. 1JNuu"IT. ",,' wj. ,l/J. urymboiu
Q~; I'oh"n'llll <WtI: <itl r" ardsJam;litrl.
(8 . . . UDEl. . . . nu)
'Th~ ligm that mock "'" as I g<:I. ' ('BahnboUlJ"2SK', PP ">OJ
here can be littl~net:<! to irueS! on the importanCt of toe? Trcapondo-n. :ainF. :-. ,. . ,. . ,Wd:t;thcwbol<:bookiu jungle of . . . 6k <r4nIJr. d<:pendenl on them. In the 'Introduc?
tion' to her Gnu. s, M il. Glasheen bas a ,,"Clion entitled 'Who is Who wh~n J::,'erybody is Somebody EIIC'-a pnndple wbich mighl wdl be exlC"flded 10 lnclud~ the inanimal<; u well as the animate . :ootent ofthe booI<. I nc-rt objects mell, palpitate, wobble, disintegrate, and are tra",Cormed inlo almotl anything ~lst: with
bewildering rapidity and mobili ly. Nor is there a dear boundary betwttn living and dead in Fin. ,. . ,. . . ! l'd:t: If"<< and rlOne become washel"W(lmen, h<:wme Shem and Sbaun, become tree and . tone once againi tN: milellone smiia, the r~lver barb, IN: barn:l ornt. . . . . . . . m ract, 'the dumb optak'.
