UCf1>1 would emerge
ofilleit
own ac:coro.
Hart-Clive-1962-Structure-and-Motif-in-Finnegans-Wake
Spcnca, J.
J.
Slocum,
and H. Cab. . . . . . . . , New York, ' 955- Dub/i1ltTJ, TIw &sc. tia! JQ1fWJ ]aye, cd. H.
Levin, London, rg. ? . . Ahit,,"ojllwArtis/lIS' r. . . . ,M"", London,
' 9-18.
UIpsa, London, '949.
PI! 11IU P. ,,~~, London, '95~.
l. dun of}1INI J~P, cd. S. Gilbert, London,
' 957?
S-ouhry Snrtu
J. S. Au",non, n. &MJa/tJw Wake, London, I ! J59.
'"
""', Ather1011
9
? Abbrtl)ialiQnJ
A. Glasheen, A CtItWt <1 FimttgllllS WoW, Evanoton, 1956,
Concordance C. Hart, A c"nc<mlallCl t. Fimuga/I. ! WOW, (going to pr~. . during 'g6~).
Ellmann
Giv~n.
SK
R. . ElJ. mann, }aJt1LS]"y<<, N~w York, 1959. S. Giv~no, (ed. ), jaJt1L< joy<" I"", tiuadts of
<<itidsm, New York, I9? ! .
J. Campbdl and H. M . RobiIUOn, A SktJ. tQ"
Ky I. Firm'gaIU Watt, London, [9. 17.
In her Ct/Utu Mrs. Glasheen provid. . detailed notes on most of the characters, r<~l Of imaginary, in Fil! Jl((a/U Wa. kt. Wh~n a character is mention~d in thi. . dissertation without further explanation, it may be a. . ,umed that an adequate discu. . ion
will be found in tM Ct"l! 5Us.
'0
? ACKN OWLED GM ENTS
P a a a s C l f r o m t h e ~t. SS a n d f r o m J O ) ' I ; e ' . . . - o r D a r c : q o o l c d b y kind pwniuion ofIhe Adminim"ton oftlte Joyce cst. ale. In addition, I am grateful to the following publishef'l, in_
stitutio. . . . and individuals for partieui:U-quolallofU: John Lane, The Bodleyllud,and Random ! louse, Inc. , for te\? eno! pus:ag<< from UIJIJtlj Jono. lhan Clr. pe and The Viking l'rcss, inc. , for
pa. nlt'" from /)""/;"'s and A P4f""~iJ ~f1M Artist as ~ J""-v AI/JII (copyright 1916 by 8. W. Huebsch. 19+1 by NonJoya); ~'aber and Faber Ltd, and The Vilcing Press, Ine. , for quota_ tiollJ from the Wigs (copyright 19. ;7 by n,e Viking i'rtIII, Inc. ) ; J onathan Cape and New Dio:c:tioru fOr pnmiosion to qunte from Sit/MIt HertJi Frank Budgen and the Indiana University PreIs for permisaion to quote from ]IDMS Joy<. Q~i IIw Mw , efUlflus; Stuart Gilbert, Faber and faber Ltd, and Alfred A. Knopf for . . pasnge from JQI1ItS J. ,,"s U/JUUi the Dirtttor of the Lockwood Memorial Ubrary and the Director of""c British Musaom IOr ;>. lS quntationsj Mn. Yealland The
MacmiUan Company COl' lWO paaagt:s from W. H. Yeats' A VisWI; I! . dmund Wilton for a paaagc: frotn TIw W? ? ,. ,{ lUI" IN & . ; and The Columbia University Press for quotations from W. Y. Tindall'. TM liurQry SyttHl.
Fimltt. w W. . tt (copyright '939 by JameoJoyce) i. pub! iJhcd ;0 England by Faber and Faber Ltd, and in America. by T he Viking Ptm, Inc. , 10 . . . -I>om 1 am grateful fOr pennissiou to
make el<lensive use of the book.
C. H.
? PREFACE
xtravagant claim' have bc:en made fur FiJuuga>u lVakt, and Eit ha, heen jn,t aa extravagantly denigrated. What the pioll$ anth"rl of the Sktltlon Key call 'a mighty allegory of the fall and resurre. :tion of mankind" i, di. miMe<\ by the
nnconvinced John uhmann . . . a 'wanton "",. ,. . ,ruler t() th~ (1"()$<word puzzle part of the mind'. ' The cnnttovcny continues, and so docs the ",cady flow of C"l<plicatory and critical articlt:$. Palient r. . . ,arch 0VCl" the J""t two decade. hM made it clear that, rag. bag or tr",,,uf1O-(hest, FilUilg= lVakt i. densely pacl:ed with matlet". There are 63,9~4 different worn. in the book, all of which are both strongly denotative and enriched with many la~ of delicate ov~rone. >! . Such CJ<treme deruity of vocabulary offer< wide scope for ""mantic and ,tyli. tic ! ludies, but it i. not w i l h o u I i l l ! disadvanta~. T h e r e a d e r w h o a t t e m p ' " t o f O l l o w t h e
mercurial argument. . ofFinntE"n; Wake Ihrough more dun on~ or two cnnscculive paragraphs finds the great"'t difficulty in keeping, from one moment to the nexl, a . table fOothold on his c h o o e n in~rp retative v a n t a g e p o i n l . T h i . i . a n e v e n m o r t : ",,";ou. problem than the many teaMng obocurities of langnage, for, a8 hi. underslanding of individual words increaa<<, the v,,"1 accumulation of functional detail lends to overwhelm the rcadet",clogru. . mentalp~andcau,ehim10lnschis hearings. I I:now of no olher book thaI demands . uch div. :nity ofrcsponsc or put. so colllltanl a . train on it! reader', powe. . . of r. onccntralion. Since the early and very brave a! tempt of the Skltrcn Kq to reveal Ihe general archilcctural design of Finntgmu
lVakt, most Joyce critics have devoted them. . ,lves to $01ll"C<;- ""dics and the delailed elucidation of external refereoCe<,
, SIC '3.
, J. Lolutunn, '1'<><Ir'" ofIi", Artiot . . :m F. . . :a"",', I'~}{"" W,;/iq
no>. 33, I. . 00<I00, '943, p. '43.
'3
? Prifau
apparcndy in the bop: tMt further meaningful pa.
UCf1>1 would emerge ofilleit own ac:coro. So many advan= have now been made in this dirtttion tMl a thorough ~mill3tion of the book', intemal organisation ;. called for. SouT<<-otudie. of FU-Ia>U 1V<Ih hive, of eoune, by no mUns come to In end.
Dap;te the $lHb. . ined efforts ofwhat h. . . , come to be known as 'theJoyce industry' much rem. . ms to be done, and I have. had f~uenl <vxasion to diJc. . . . soon:c-rnllterial throughout thi' book but my principal aim ha! always been 10 show how Joyce
inf~ . ignificancc intO his divcrK raw material. by hi. IUe of dOlely conlrolled formal . truelur",. Joyce gave ~! f Ihe
broadeslf'O'I'ibicWUelUnJscopeinF~II'tW,whichall criti. :. now recogn;'" 10 he in tome senle COI! rnological. More lhan a working mockl of the 00&m0I, however, Fiutl4M 11',," is Ihe . . . . . . . t ambitious attempt in ou' literature al a thoroughgoing appl. icatiol1 of 'inlilative form'. Fallac:y or nol, imitative. funn was 1M one " " a t literary theory which Joyce applied through_
oul hil are<T wilh varying degrees of con';"t<:ncy and . rtistic: lue<:eIf, hUI never more conmtenlly nor perhaps more brillianliy than in FinlUlllJU 1I'"u, in which the verl>>l simulation of all kinds off. . . . . . . . . , aCII, and ev<:n abstractions iI nrried to e:<lJ"1I_
ordinary Iengtlu.
In lhe: analysis of the broad arehit<<toni(: principle. of
Finn'tallS W. . . bwith which I am concerned in the early chapten of dli. study I have gival con9derable att""don 1<1 Joyce'. JYIIlbolic " ot of such archelypal forms "-' the circle, Ihe crou, and tho: "I. u,. ,. . ,. I 11. '1'""lIIultnlcd my di! cUS$lonofuu. . . pctt of the book with I\. number of geometric di. gram, in th~ hope
thai linear rep. -esl! nu,tiOfls of Ihc. c spatial conflgu. . . . tion. which J oytt obYiou. dy h. ad in mind ,,"~ll help the reader 10 visualise u",m in hil turn. fonnal pattei'll> ofIhiuimpk, geometric type, and othen, l uhller and roo. . . , complex, an:: to be found COUnter- pointed again. t one another in every chapter ofFinM,dll. f W,,", where they ? ? :1 up highly iUuminating . tructural IcruiQN.
J oyce'. simuh. aneom use ofluch a profusion ofIIruttura! plant! pc,,' an important aeslht;ti(: problem, ho. . -eVCf", for many of theoe ingenious patterns, though they render up their secrell
'.
? Prifac(
readily enough when scrutinised with critical detachment, ha~e little eff<<;ti~e impe! during the reading pTOCOSS, The difIkulty i, pralleled in much (If the twelve. tone music wrilten by con_ temporari. . . of Joyce, In each ca. K the internal ,tructural relatioruhips to which tbe art;'t gi~", $0 much weight-the qu. . . i-g<<>mctrical configurations in FinNg= Wah <>n the One hand, and the compo. er's mathematically defined tone-cow' On the other-may not themoel. . . ", be apprd1cndable hy any but the critic and the anist, Th e structllr. . l paltcnu in Fi""'lIanr Wah ~annot, ne~erthe! =, be d;. m~ . . . . aesthetic scaffolding, of u>c to the writer bot irrelevant to the reader, for th. . . , pt_
terns carry much of the book', burden ohignificancc, as I hope to show, And in any (. a$C , though the complex relatiom ofpart to part in Fi1i1! LgtHIS Wakt may never ha~ the same immediate impet aJ dot:S the formal beauty of a well corutructed lyric poem, they do increasingly impres, them,elves On the reader'. conscioU$ness a, his familiarity with the werk grows, A good deaL of the excitement in reading Fill1llga", Wakt dcri~es from the gradual mental resyntbcs;' of a cemplctc and highly organised world-an experience which;' already very familiar to rt:aders of Ulyms and which is something much mere crea- tive, pmiti~e, and satisfying than :. ok Lehmann would ha~e m bcli<:~,
tn . pite of all the excellent exegetical work that has appeared in '<'Cent yean, the bulk of the long lext of Fi. mga", Wah remain, almost entirely unexplicated, Until . ueh time as a complete excgcsi. < is available, every commentator On Fi. . . go",
Walt who attemp~ to punue a reasoned critical argument will coultautly be troubled by the necessity 10 pau>c and offer explication, <>fth"'" ~ge> wbich he quote:! in . ubstantiation "fhis poin~. In commenting on tbe quotations induded in this dissertation I ha~e alwa)l'l confined my attention 10 tbooc aspect#. of their content which are strictly relevant to myargu_ menlJ but, lin~e analysis ofdetaiL. in FillltlgaIU Wah tends to be extraordinarily Jpe<:-CO"'lunllng, I have n. ""rthel= hccn forced 10 dev<. >te a somewhat di'proponionate amount of . pae<:
to uplication. Single senten,,", can provide material for several '5
? Prifa. c~
pagt:f ofdiscwhon. and. in lO m e 0{ the richer p. . . g. . . . ont can continue beating out the gold 0{ iU(\jvidu. ol words Illmoft cndlcaly.
A~ fromtheunfortunatelacko{publiM>cd""plication. the nature of FiwN' QIU WM. ibelf raises an impona. nt question of practical criticism. The diffu:uhy of pying anything of valut about the book while at the lame time remaining coherent. or even intelligible, comtltnte! a major. and perhaps unique, problem for the expositor, sine<: it iI literally true of FilllV1QIU
d
Ww thai a sound knowledge of the wbole of the book is CSICI'? tiaI to an adequate unde. . . . tandirog of any gi. . . . ", p;w. lgC. lro
~ evero the smallest poiro" of ioterpr<:tatioro in this dit- KJUtion I have thcTcfore ofu:tl found il rocc' 'ry ro appeal to ,upp<'lnirog evidence. rcatt<:red throughout more than six
hundrtd page. of ta t. A full analysis of this materia! would inwlve a lars<' o,? erali maJI of quotation and a vast mosaic of further references, and hencc in order to rwuce the number of fOOtnOIe! and digr=ion. I have ",herneT pouible included ;0 p"rentl>rsco in the text the briefell page/line refcre"""" to thate pointl in Fiuqll1tJ Wd< where IUpport for my argumentl may be li. >und. 10 order further to minimise the ottd for repeated ero. . . . d'c"""cing. l ha,. . , included in T able JI a plan ofFi_plU
Wall. howingsomeofthemain al\ribuleoofeachchapterohbe book. Thi, plan i, based in Jnrt on tloc familiar Kheme of Ulyssu' and is wholly dependent on internal evidence. within
F;nlllg~1U Wak. itself. Su~tantiation for readings which are peculiarly my own (e. g. , the time-scheme) will be found in the nu. in body of lhe lexl.
In oommon with all otlu:rJo,,<c criticl I am greatly indebted 10 the pioneer work of M C$SrI. ~ mpbellllDd Robiruon, whoee A SUU. . . I{~ 14 Fu-r/IIU Wah waa the 6. .
and H. Cab. . . . . . . . , New York, ' 955- Dub/i1ltTJ, TIw &sc. tia! JQ1fWJ ]aye, cd. H.
Levin, London, rg. ? . . Ahit,,"ojllwArtis/lIS' r. . . . ,M"", London,
' 9-18.
UIpsa, London, '949.
PI! 11IU P. ,,~~, London, '95~.
l. dun of}1INI J~P, cd. S. Gilbert, London,
' 957?
S-ouhry Snrtu
J. S. Au",non, n. &MJa/tJw Wake, London, I ! J59.
'"
""', Ather1011
9
? Abbrtl)ialiQnJ
A. Glasheen, A CtItWt <1 FimttgllllS WoW, Evanoton, 1956,
Concordance C. Hart, A c"nc<mlallCl t. Fimuga/I. ! WOW, (going to pr~. . during 'g6~).
Ellmann
Giv~n.
SK
R. . ElJ. mann, }aJt1LS]"y<<, N~w York, 1959. S. Giv~no, (ed. ), jaJt1L< joy<" I"", tiuadts of
<<itidsm, New York, I9? ! .
J. Campbdl and H. M . RobiIUOn, A SktJ. tQ"
Ky I. Firm'gaIU Watt, London, [9. 17.
In her Ct/Utu Mrs. Glasheen provid. . detailed notes on most of the characters, r<~l Of imaginary, in Fil! Jl((a/U Wa. kt. Wh~n a character is mention~d in thi. . dissertation without further explanation, it may be a. . ,umed that an adequate discu. . ion
will be found in tM Ct"l! 5Us.
'0
? ACKN OWLED GM ENTS
P a a a s C l f r o m t h e ~t. SS a n d f r o m J O ) ' I ; e ' . . . - o r D a r c : q o o l c d b y kind pwniuion ofIhe Adminim"ton oftlte Joyce cst. ale. In addition, I am grateful to the following publishef'l, in_
stitutio. . . . and individuals for partieui:U-quolallofU: John Lane, The Bodleyllud,and Random ! louse, Inc. , for te\? eno! pus:ag<< from UIJIJtlj Jono. lhan Clr. pe and The Viking l'rcss, inc. , for
pa. nlt'" from /)""/;"'s and A P4f""~iJ ~f1M Artist as ~ J""-v AI/JII (copyright 1916 by 8. W. Huebsch. 19+1 by NonJoya); ~'aber and Faber Ltd, and The Vilcing Press, Ine. , for quota_ tiollJ from the Wigs (copyright 19. ;7 by n,e Viking i'rtIII, Inc. ) ; J onathan Cape and New Dio:c:tioru fOr pnmiosion to qunte from Sit/MIt HertJi Frank Budgen and the Indiana University PreIs for permisaion to quote from ]IDMS Joy<. Q~i IIw Mw , efUlflus; Stuart Gilbert, Faber and faber Ltd, and Alfred A. Knopf for . . pasnge from JQI1ItS J. ,,"s U/JUUi the Dirtttor of the Lockwood Memorial Ubrary and the Director of""c British Musaom IOr ;>. lS quntationsj Mn. Yealland The
MacmiUan Company COl' lWO paaagt:s from W. H. Yeats' A VisWI; I! . dmund Wilton for a paaagc: frotn TIw W? ? ,. ,{ lUI" IN & . ; and The Columbia University Press for quotations from W. Y. Tindall'. TM liurQry SyttHl.
Fimltt. w W. . tt (copyright '939 by JameoJoyce) i. pub! iJhcd ;0 England by Faber and Faber Ltd, and in America. by T he Viking Ptm, Inc. , 10 . . . -I>om 1 am grateful fOr pennissiou to
make el<lensive use of the book.
C. H.
? PREFACE
xtravagant claim' have bc:en made fur FiJuuga>u lVakt, and Eit ha, heen jn,t aa extravagantly denigrated. What the pioll$ anth"rl of the Sktltlon Key call 'a mighty allegory of the fall and resurre. :tion of mankind" i, di. miMe<\ by the
nnconvinced John uhmann . . . a 'wanton "",. ,. . ,ruler t() th~ (1"()$<word puzzle part of the mind'. ' The cnnttovcny continues, and so docs the ",cady flow of C"l<plicatory and critical articlt:$. Palient r. . . ,arch 0VCl" the J""t two decade. hM made it clear that, rag. bag or tr",,,uf1O-(hest, FilUilg= lVakt i. densely pacl:ed with matlet". There are 63,9~4 different worn. in the book, all of which are both strongly denotative and enriched with many la~ of delicate ov~rone. >! . Such CJ<treme deruity of vocabulary offer< wide scope for ""mantic and ,tyli. tic ! ludies, but it i. not w i l h o u I i l l ! disadvanta~. T h e r e a d e r w h o a t t e m p ' " t o f O l l o w t h e
mercurial argument. . ofFinntE"n; Wake Ihrough more dun on~ or two cnnscculive paragraphs finds the great"'t difficulty in keeping, from one moment to the nexl, a . table fOothold on his c h o o e n in~rp retative v a n t a g e p o i n l . T h i . i . a n e v e n m o r t : ",,";ou. problem than the many teaMng obocurities of langnage, for, a8 hi. underslanding of individual words increaa<<, the v,,"1 accumulation of functional detail lends to overwhelm the rcadet",clogru. . mentalp~andcau,ehim10lnschis hearings. I I:now of no olher book thaI demands . uch div. :nity ofrcsponsc or put. so colllltanl a . train on it! reader', powe. . . of r. onccntralion. Since the early and very brave a! tempt of the Skltrcn Kq to reveal Ihe general archilcctural design of Finntgmu
lVakt, most Joyce critics have devoted them. . ,lves to $01ll"C<;- ""dics and the delailed elucidation of external refereoCe<,
, SIC '3.
, J. Lolutunn, '1'<><Ir'" ofIi", Artiot . . :m F. . . :a"",', I'~}{"" W,;/iq
no>. 33, I. . 00<I00, '943, p. '43.
'3
? Prifau
apparcndy in the bop: tMt further meaningful pa.
UCf1>1 would emerge ofilleit own ac:coro. So many advan= have now been made in this dirtttion tMl a thorough ~mill3tion of the book', intemal organisation ;. called for. SouT<<-otudie. of FU-Ia>U 1V<Ih hive, of eoune, by no mUns come to In end.
Dap;te the $lHb. . ined efforts ofwhat h. . . , come to be known as 'theJoyce industry' much rem. . ms to be done, and I have. had f~uenl <vxasion to diJc. . . . soon:c-rnllterial throughout thi' book but my principal aim ha! always been 10 show how Joyce
inf~ . ignificancc intO his divcrK raw material. by hi. IUe of dOlely conlrolled formal . truelur",. Joyce gave ~! f Ihe
broadeslf'O'I'ibicWUelUnJscopeinF~II'tW,whichall criti. :. now recogn;'" 10 he in tome senle COI! rnological. More lhan a working mockl of the 00&m0I, however, Fiutl4M 11',," is Ihe . . . . . . . t ambitious attempt in ou' literature al a thoroughgoing appl. icatiol1 of 'inlilative form'. Fallac:y or nol, imitative. funn was 1M one " " a t literary theory which Joyce applied through_
oul hil are<T wilh varying degrees of con';"t<:ncy and . rtistic: lue<:eIf, hUI never more conmtenlly nor perhaps more brillianliy than in FinlUlllJU 1I'"u, in which the verl>>l simulation of all kinds off. . . . . . . . . , aCII, and ev<:n abstractions iI nrried to e:<lJ"1I_
ordinary Iengtlu.
In lhe: analysis of the broad arehit<<toni(: principle. of
Finn'tallS W. . . bwith which I am concerned in the early chapten of dli. study I have gival con9derable att""don 1<1 Joyce'. JYIIlbolic " ot of such archelypal forms "-' the circle, Ihe crou, and tho: "I. u,. ,. . ,. I 11. '1'""lIIultnlcd my di! cUS$lonofuu. . . pctt of the book with I\. number of geometric di. gram, in th~ hope
thai linear rep. -esl! nu,tiOfls of Ihc. c spatial conflgu. . . . tion. which J oytt obYiou. dy h. ad in mind ,,"~ll help the reader 10 visualise u",m in hil turn. fonnal pattei'll> ofIhiuimpk, geometric type, and othen, l uhller and roo. . . , complex, an:: to be found COUnter- pointed again. t one another in every chapter ofFinM,dll. f W,,", where they ? ? :1 up highly iUuminating . tructural IcruiQN.
J oyce'. simuh. aneom use ofluch a profusion ofIIruttura! plant! pc,,' an important aeslht;ti(: problem, ho. . -eVCf", for many of theoe ingenious patterns, though they render up their secrell
'.
? Prifac(
readily enough when scrutinised with critical detachment, ha~e little eff<<;ti~e impe! during the reading pTOCOSS, The difIkulty i, pralleled in much (If the twelve. tone music wrilten by con_ temporari. . . of Joyce, In each ca. K the internal ,tructural relatioruhips to which tbe art;'t gi~", $0 much weight-the qu. . . i-g<<>mctrical configurations in FinNg= Wah <>n the One hand, and the compo. er's mathematically defined tone-cow' On the other-may not themoel. . . ", be apprd1cndable hy any but the critic and the anist, Th e structllr. . l paltcnu in Fi""'lIanr Wah ~annot, ne~erthe! =, be d;. m~ . . . . aesthetic scaffolding, of u>c to the writer bot irrelevant to the reader, for th. . . , pt_
terns carry much of the book', burden ohignificancc, as I hope to show, And in any (. a$C , though the complex relatiom ofpart to part in Fi1i1! LgtHIS Wakt may never ha~ the same immediate impet aJ dot:S the formal beauty of a well corutructed lyric poem, they do increasingly impres, them,elves On the reader'. conscioU$ness a, his familiarity with the werk grows, A good deaL of the excitement in reading Fill1llga", Wakt dcri~es from the gradual mental resyntbcs;' of a cemplctc and highly organised world-an experience which;' already very familiar to rt:aders of Ulyms and which is something much mere crea- tive, pmiti~e, and satisfying than :. ok Lehmann would ha~e m bcli<:~,
tn . pite of all the excellent exegetical work that has appeared in '<'Cent yean, the bulk of the long lext of Fi. mga", Wah remain, almost entirely unexplicated, Until . ueh time as a complete excgcsi. < is available, every commentator On Fi. . . go",
Walt who attemp~ to punue a reasoned critical argument will coultautly be troubled by the necessity 10 pau>c and offer explication, <>fth"'" ~ge> wbich he quote:! in . ubstantiation "fhis poin~. In commenting on tbe quotations induded in this dissertation I ha~e alwa)l'l confined my attention 10 tbooc aspect#. of their content which are strictly relevant to myargu_ menlJ but, lin~e analysis ofdetaiL. in FillltlgaIU Wah tends to be extraordinarily Jpe<:-CO"'lunllng, I have n. ""rthel= hccn forced 10 dev<. >te a somewhat di'proponionate amount of . pae<:
to uplication. Single senten,,", can provide material for several '5
? Prifa. c~
pagt:f ofdiscwhon. and. in lO m e 0{ the richer p. . . g. . . . ont can continue beating out the gold 0{ iU(\jvidu. ol words Illmoft cndlcaly.
A~ fromtheunfortunatelacko{publiM>cd""plication. the nature of FiwN' QIU WM. ibelf raises an impona. nt question of practical criticism. The diffu:uhy of pying anything of valut about the book while at the lame time remaining coherent. or even intelligible, comtltnte! a major. and perhaps unique, problem for the expositor, sine<: it iI literally true of FilllV1QIU
d
Ww thai a sound knowledge of the wbole of the book is CSICI'? tiaI to an adequate unde. . . . tandirog of any gi. . . . ", p;w. lgC. lro
~ evero the smallest poiro" of ioterpr<:tatioro in this dit- KJUtion I have thcTcfore ofu:tl found il rocc' 'ry ro appeal to ,upp<'lnirog evidence. rcatt<:red throughout more than six
hundrtd page. of ta t. A full analysis of this materia! would inwlve a lars<' o,? erali maJI of quotation and a vast mosaic of further references, and hencc in order to rwuce the number of fOOtnOIe! and digr=ion. I have ",herneT pouible included ;0 p"rentl>rsco in the text the briefell page/line refcre"""" to thate pointl in Fiuqll1tJ Wd< where IUpport for my argumentl may be li. >und. 10 order further to minimise the ottd for repeated ero. . . . d'c"""cing. l ha,. . , included in T able JI a plan ofFi_plU
Wall. howingsomeofthemain al\ribuleoofeachchapterohbe book. Thi, plan i, based in Jnrt on tloc familiar Kheme of Ulyssu' and is wholly dependent on internal evidence. within
F;nlllg~1U Wak. itself. Su~tantiation for readings which are peculiarly my own (e. g. , the time-scheme) will be found in the nu. in body of lhe lexl.
In oommon with all otlu:rJo,,<c criticl I am greatly indebted 10 the pioneer work of M C$SrI. ~ mpbellllDd Robiruon, whoee A SUU. . . I{~ 14 Fu-r/IIU Wah waa the 6. .
