TiICn who had drawn on thio
tradition
and, wilh h.
Hart-Clive-1962-Structure-and-Motif-in-Finnegans-Wake
aentificaliy established, but a Jnyce-dictated significance was indicated.
The great majority nf the .
ymbnb are tmany, if imprecisely, a.
.
igned.
The an;hetyp<:S hold gu<>d fnr Earwicker, for Anna, for Sil<:m and Shaun; whether they are valid as psychological aTChet)'f>l';S for the reader is largdy irrelevant.
In fact Joyce
took on a task at once safer and more arduo\lll than that which the later Yea. . set himself: that of creating for the reader'. wntemplation a oompletc working? model of a collective un- ooruciou. in which his symbols could function. All tlu: characters and even the inert 'ymbnlic obj<:<:u are steeped in a fluid medium of geoeralised dream? oonsciQ\llIness; the motifS and motif. . . ymbob, t<:<:urring again and again ill this compntdium nf all mind>, arc subtLy shaped and defined by their eoviron_ ment so that they finally COme to have a signifi~ance, reiatiVt; to the frames "f rdierence nf the book, analogou. to that which i. alleged for the Yeatsian orJ1lngian symbols. Such a Ulting and annealing prot. ,. . takes time and--despite all Joyce', com?
prouive p""",. ,. . . . . . . . pace. The book had to be a long and involved one if this $low reaction of ,ynthetic mental chemistry was to take place. It has often been regretted thatJoyc<: did not leave F;n1ItlaJU W. . J:, as it wa. in thc early, aborter dmfu. TItere are two major, and I think overwhelming, ohj~ctions to thi,: fin! ,
though the early dran. . are tlillier to un<ler1tand in the &C',"e that each sentence ream. more Q f I. ,. . like 'normal' F,nglith, thei, total rneanffig i, never in any important scnac cleafcr, and ! ICCOnd, only the Vi'St, muhidimen. ;. ,nal and minutely particulariscd
'"
? Coms/'On(UnttJ
final teXt un provide that impresaion of endless rymbolic interplay which is ow 'ry 10 inflQe life and lUllOnorny into the 'archetypes'. TI>cic meaning is built up little by little by the nelWOtu of COtt ('ponden",," wbose: mesh ) oyce ~ t:ftI" more finely. He expeeted his 'c"derl 10 know IOmething about what corre. pondenc'" a u , but not to have any speeialknowledge or, ar (""ling fo. , traditional meaningJ, and to this extent Fi_,altl
Wakt i. , I think, more immediately accessible than worlo:. based on a received symbolism. 'Stephen Hero' thought that
'II", artis! who could dioc:ntangle the . ubtle lOul of the image from ill mesh of defining circullUUoUC'" moet c>:actly and re- embody it in artistic eircunut"n<<I chosen as the most elIaCl
lOr iu new office, he was the lu~me "rtiJI,' (SH 78)
The statement is both trite and vague, but it h. as a oenain inverted applicability to F""llW lYakt, into which)oy<:e pr0-
jected the whole mesh of defining circumatancn . . long with the . ubde IOUI. Defining circum. tance. have become Ihe mOSI important ihing in a book which il pieced together on the analogy of the 'coIJideon<:ape' and which reli. ,. on relativity
(oe the . . . tablishmenl of ill valuet:
'. . . to amc:cotnote solely on tile \iler-. . l ICt'IIC or C'ICfl the psy<:hologiul content of any docUlllfllt to the *On: neglect of the enveloping faco tho:nuelves circumstantiating it is ? . ? hurtful to oound senor. . . ' (log. llI)
In dilCussiDg hi. . . . . thetie theory, Stephen d i$;tvows any anagogiul aignificancc in the word c/ari/as:
'The connotation of the word, Slephen ~d, is . . . . . ther vague. Aquinas u. c:s a lerm which . . :ems 10 he inexact. It bAlRed me for a kmg lime. It would Iud you 10 believe t1ut he had in mind rymbolism or ideafum, the . upreme quality or beaUty being a light from lOme otheT world, th~ idea of which the mailer if but theahadow, the realily ofwtticlt is but the symbol.
I thought he might mean that d"';us ;, th~ artistic diKovery and n:preoentation ofth. divine purpose in anything or a fOl'Ce or generalisation which would make the ",thetic image a univcnal one, make il ouuhine ill proper conditions. BUI Ihat i, literary t,l. lk. ' (AP ~t~)
,. ,
? ColTtspondmces
The rdated idea. of S~Dborgian COI'I'e:<pondenca is out- rageously parodied in Stephen'. ridiculous celestial mechanics : '0. 1 rima h;" senoe of such immediate repeT<;n! ;Sion wat SO lively that he seemed to fed hu ",ul in devotion pr<:S$ing lib: fingers the keyboo. r<! . of a g",at cash register and 10 "'" the amount of hi. pureha$<: . tart forth immediately in hoa,? en, not a. a nUlnber hut as "- frail column of incense or as a slender 1I"""r'. (AP 1(8) In his TM IillTa'. ) Symbol Mr. W. Y. Tindall has provided an interesting diaocu. uon of the tendency fur correspondences in J oyce, as in other modern w,;le. . . . , to become a matter of 'as here, so the",', rather than 'as above, SO helow'. By denying that da,itas implies a . bowing forth of divine <ssence, Stephen <fum;"es all talk of art's pcnclr. 1ting to a different order of reality, but in devdoping hi, own th<<>ry of (L;rTiMs, or the
'epiphany', Stephen merdy ,nbolituta ho,;tontal for vertical correspondence. If the work of art no lnng<:r fundio", as a catalyst betwe<:n man and divine r<:Veialinn, it ;" ,till able to perfOTm an analogow function fur man and his potential
inoight into the world around him. As Mr. 1'indall saY" : 'Joyce: tUed =eapondente:l to . how the connection kcwe<:n
man and man, man and society, man and nature, and, at ifto prow: himself a romantic, between past and present . . . To provide an image ofthis world, to pr<:scnt the feding ofit, and, ifw<: mar change the metaphor, to not<: the harmony of parto the modified oor=pondencc seemed eminently . ui! able. '
TItit is true of the large body of externally orientated oor=_ pondences in Fill1ltgllM Wakewhich, as I have ,uggt1oted abow:,' wtIe intended 10 eruure that the book , hould ta h ito plat<: . . . a miCIOC<>:! mic unit wholly integmted into the macrocosm. It is not true, ho. . . . . = ,of the equally importatll narciMistic cor_ respondences which function enlirdy within th;" book, building up iu internal harm(mics and \ertliOn! . These operate at all pocible levels and in all possihle directioru--back and forth in time, in 'pace, in planes ofeoI1l<:inUln~, and up and down the ,pi,;tual Kale, which J oycr h", reinstated by his \lIC of Vico',
I W. Y. Tindall, TN. w. . ',:,Spob. i. No. . . York, '9~, p. ~9. ? P. o6.
'<9
? CorrujJonJm,u
graded Agel- The mechlani. "", ~mploy~d to ~",ur~ the prop"I fUIIClion of the intemal . . . . . "espondencu . . . , ~ varied, but
Ih~ great majority of them a"" """,Iy verbal. Mr. J\ccUII" ralher uugid . lalemenl Ihal '1m, writillg ~ not IIbowi somelhing; ;1 ;1 IMt ftIIIttI/tiJI, itstl! ,' "<;COUIIl! r. . only one half ofFiUigas
Wd , but it ~ certainly lIUe 10 the exlenl that Ihe all_important inlemal correspond~ unl. iie th~ bulk of tM. e in Ulyun, hlave bttn almosl enti""ly ? ? :t f= from Ih. exigc-ncies of """,Iy narn. ti"" ront. t:nl.
Although)oya did not reply on traditional correspondcn~ fur the purpoles ofeornmunicatiQn, he w q quite knowl<<lgt:ablc aboul the . . . . . nycarlicr . . .
TiICn who had drawn on thio tradition and, wilh h. . usual <:declie;"m, he included wilhin Fppas
Wah much that he fuund of value in lheir work. In Manh'. Library, Dublin, be had ""ad J oachim de Flora, perhaps the g""ato;l devole. of Old and New Teltament to"''''dUJ (U 36; 33. ~8 210(_' 1 4~"3); he had probahly ""ad Hoehm. '. Sip4tua Rnw. . on whkh Stephen ponders (U 33). though h. coukl 1101 h""" don~ IIQ in MaTlh'. which did nOI poM<:U a copy' ; he . hows a~ . . . . . knowledgeofPlato,SirThomalBrowne,'andElipb. . . l. . tvi (244. 35), wal well"""d in Blau,' Swedenborg (AI' 256), and BIa~. . . W:y, and wu, ofeoW"3e, ramiu. . . r with Baudeb. ire and Rimbaud. There aln be no doobl thalJoyre knew wh. . . h~ . . . . . . .
about when h~ louch~d on cOIT. . pondenc. . .
Mosl of this know~ WllI acquired ""ry early, in lhe daY'
when JOl"'C liked to parade ru. learning in unUlualand obocure fieldl,butitWllInotuntill'in",,~1U W",hthathefullydeveloped allIhepotentialitiaoftheo:onapondcnccu aliteraryd. yju. As wilh '" many alpccu of his iall book, ho,",""VCI", clear ~arly tneeI of the technique a"" to found ev1:n aJ far back ao the potnu, Consciow oft}. . , ulterior ';g";fican~ ;I'\ ) oya', nru. . 1 and appaN:ntly . impl. ,. 1 writing, that "rdent . ymbol,hun~r,
, S. 1Icdc<. "aI. , Ow L q " orin, ""rio, 1<)09, P. ,~. (11. ,,11<. . ', italia. ) ? I :. m . . . . . . '"rul '0 M,. :\1. PoIh<d, i\ui,Ia. l' 1;"'",_ of Manh'" h
~ ~ ! be Llbtvy', ooIl<<:tion in J"! ""'" limo.
? s. . . , for . ,. . ". . . . . , u 371i.
, s. . . E. ~ &nd ll. ? lima"" (cdo. ), no- CWa/ Woitiq, '" J -
Jo:JU, [<wyJ"", 1959, PI'. ,,~? .
. "
? ClMtspondenas
Mr. William York T indall, publi'hed in 1954 hi. authoritative edition of Chamber Music, in whicb h~ tracca a number of thin and often mildly scatological corresponde""",. ' The first line ofChamber M"';"-the first ofJoyce'. to be printed in book form - is perhaps among the mO$t oignificant in tJ""e poenu, al? though, rather surprisingly, it is one to which M r. Tindall fail.
to draw our attention :
SIr,"! S in Ik . arIA and air
If Mr. Tindall'. deep-mining method. are valid, it will not amount to overreading if we ""e in these . . . . "Om. a dcclaTation that even in h;" first . Iight . uite oflyri", J oyce b. . ",d h;" roOm? municativetechniqueon a w<:bofcorrespondences. tretched like string. betw<<n key points on the Scale of N"atllTe. Indced, we c o u l d e x p e c t n o t h i n g 1 = f r o m t he p e d a n t i c y o u n g p o d w h o h a d ,""ad 'ConC! pondance,', 'Harmonic du $<liT', and 'La Chevelure'.
II: SYNERF. THETIst (1$6. 14)
Baudelairian and Rimbaldian S<:ttl<:. oorre'pondences greatly attracted tbe young Joyce, Os b~ tell< ill in Step""'- Htt. :
'He read Blake and Rimbaud on the value. of the letters and e. . . ,n permuted and combined the five vowel< to oorutruct cries for primitive cmotioru: (SH 3~)
A. the texture ofFin? ? ganJ W<1k. everywhere reveals, . ynae. the- lia n"""r lost it> fa. cination for Joyce. Se""'<o"",pondence;" constantly used a, an accepted mr"'''' of modulating from con-
text to context and henee of<:$tabliili. ing $}'mbolic relatioruhip? . 'lne association of the visual aud aural octav", ;" particulaTly frequent. The ubiquit<nu pun 'rainbow. Rimbaud' stem! ! to imply an acknowledgment, hut the idea itself;' ofcourse age-old. It would bc wrong, however, \0 lay too much . tr= on the me of scllsc. . :orrespondence in FiNugdnJ Wake for it perforrm at mOlt an impoTtant m();$aH; function and ;" never called On for
major ' ymbolic or . tructural purposes. (The colour . ltuctuT"C of Books I and III, if it really exilts,' iI, like that of Ulysses, of
, New York, '9}1. , ultns, p. 26 t.
'"
? , cr. 2'~'31l".
OJrTl. Spomun? lS
w:ry minor impona. n<<. J<rycc was, in facl, ftC"'" a gru. colou';l1 and eVen in Finltlgaos W. . t. , his Inn. t kaleidoscopic book, ooloul1 tend to be flK<! and artificial, . . . on a tapestry, In A P_ail (190), Stephen" made 10 disclaim any interest in
the ,ubject ofVi:rbal colour. )
O ne typical uamplc ofJlmplo: cross-cll~ptu corTCIpondcncc
involving synaesthesia will . uf! ioe to demot\lttate the kind 0( UJe to which Joyce pUIS the device. At 609. t9 an incantation to the lun U about I<> be lUng:
'When the mcaallger 0( u. . , ti$c:1I , un, (tee other oriel) ohall
glW: I<> evny ~Jble a hue and to every bearable il cry and to each lpectacle h;'lpol and I<> each happening II". bouram. The while~, W(: are "'airing, w<: are waiting for. Hymn. '
This hymn is u. e<! . I<> introduce tbe white. Hght? r&inbow con?
troveny (6Jt) and hence ther"<: can bc litlle doubt that the 'pecln,lm ;.
took on a task at once safer and more arduo\lll than that which the later Yea. . set himself: that of creating for the reader'. wntemplation a oompletc working? model of a collective un- ooruciou. in which his symbols could function. All tlu: characters and even the inert 'ymbnlic obj<:<:u are steeped in a fluid medium of geoeralised dream? oonsciQ\llIness; the motifS and motif. . . ymbob, t<:<:urring again and again ill this compntdium nf all mind>, arc subtLy shaped and defined by their eoviron_ ment so that they finally COme to have a signifi~ance, reiatiVt; to the frames "f rdierence nf the book, analogou. to that which i. alleged for the Yeatsian orJ1lngian symbols. Such a Ulting and annealing prot. ,. . takes time and--despite all Joyce', com?
prouive p""",. ,. . . . . . . . pace. The book had to be a long and involved one if this $low reaction of ,ynthetic mental chemistry was to take place. It has often been regretted thatJoyc<: did not leave F;n1ItlaJU W. . J:, as it wa. in thc early, aborter dmfu. TItere are two major, and I think overwhelming, ohj~ctions to thi,: fin! ,
though the early dran. . are tlillier to un<ler1tand in the &C',"e that each sentence ream. more Q f I. ,. . like 'normal' F,nglith, thei, total rneanffig i, never in any important scnac cleafcr, and ! ICCOnd, only the Vi'St, muhidimen. ;. ,nal and minutely particulariscd
'"
? Coms/'On(UnttJ
final teXt un provide that impresaion of endless rymbolic interplay which is ow 'ry 10 inflQe life and lUllOnorny into the 'archetypes'. TI>cic meaning is built up little by little by the nelWOtu of COtt ('ponden",," wbose: mesh ) oyce ~ t:ftI" more finely. He expeeted his 'c"derl 10 know IOmething about what corre. pondenc'" a u , but not to have any speeialknowledge or, ar (""ling fo. , traditional meaningJ, and to this extent Fi_,altl
Wakt i. , I think, more immediately accessible than worlo:. based on a received symbolism. 'Stephen Hero' thought that
'II", artis! who could dioc:ntangle the . ubtle lOul of the image from ill mesh of defining circullUUoUC'" moet c>:actly and re- embody it in artistic eircunut"n<<I chosen as the most elIaCl
lOr iu new office, he was the lu~me "rtiJI,' (SH 78)
The statement is both trite and vague, but it h. as a oenain inverted applicability to F""llW lYakt, into which)oy<:e pr0-
jected the whole mesh of defining circumatancn . . long with the . ubde IOUI. Defining circum. tance. have become Ihe mOSI important ihing in a book which il pieced together on the analogy of the 'coIJideon<:ape' and which reli. ,. on relativity
(oe the . . . tablishmenl of ill valuet:
'. . . to amc:cotnote solely on tile \iler-. . l ICt'IIC or C'ICfl the psy<:hologiul content of any docUlllfllt to the *On: neglect of the enveloping faco tho:nuelves circumstantiating it is ? . ? hurtful to oound senor. . . ' (log. llI)
In dilCussiDg hi. . . . . thetie theory, Stephen d i$;tvows any anagogiul aignificancc in the word c/ari/as:
'The connotation of the word, Slephen ~d, is . . . . . ther vague. Aquinas u. c:s a lerm which . . :ems 10 he inexact. It bAlRed me for a kmg lime. It would Iud you 10 believe t1ut he had in mind rymbolism or ideafum, the . upreme quality or beaUty being a light from lOme otheT world, th~ idea of which the mailer if but theahadow, the realily ofwtticlt is but the symbol.
I thought he might mean that d"';us ;, th~ artistic diKovery and n:preoentation ofth. divine purpose in anything or a fOl'Ce or generalisation which would make the ",thetic image a univcnal one, make il ouuhine ill proper conditions. BUI Ihat i, literary t,l. lk. ' (AP ~t~)
,. ,
? ColTtspondmces
The rdated idea. of S~Dborgian COI'I'e:<pondenca is out- rageously parodied in Stephen'. ridiculous celestial mechanics : '0. 1 rima h;" senoe of such immediate repeT<;n! ;Sion wat SO lively that he seemed to fed hu ",ul in devotion pr<:S$ing lib: fingers the keyboo. r<! . of a g",at cash register and 10 "'" the amount of hi. pureha$<: . tart forth immediately in hoa,? en, not a. a nUlnber hut as "- frail column of incense or as a slender 1I"""r'. (AP 1(8) In his TM IillTa'. ) Symbol Mr. W. Y. Tindall has provided an interesting diaocu. uon of the tendency fur correspondences in J oyce, as in other modern w,;le. . . . , to become a matter of 'as here, so the",', rather than 'as above, SO helow'. By denying that da,itas implies a . bowing forth of divine <ssence, Stephen <fum;"es all talk of art's pcnclr. 1ting to a different order of reality, but in devdoping hi, own th<<>ry of (L;rTiMs, or the
'epiphany', Stephen merdy ,nbolituta ho,;tontal for vertical correspondence. If the work of art no lnng<:r fundio", as a catalyst betwe<:n man and divine r<:Veialinn, it ;" ,till able to perfOTm an analogow function fur man and his potential
inoight into the world around him. As Mr. 1'indall saY" : 'Joyce: tUed =eapondente:l to . how the connection kcwe<:n
man and man, man and society, man and nature, and, at ifto prow: himself a romantic, between past and present . . . To provide an image ofthis world, to pr<:scnt the feding ofit, and, ifw<: mar change the metaphor, to not<: the harmony of parto the modified oor=pondencc seemed eminently . ui! able. '
TItit is true of the large body of externally orientated oor=_ pondences in Fill1ltgllM Wakewhich, as I have ,uggt1oted abow:,' wtIe intended 10 eruure that the book , hould ta h ito plat<: . . . a miCIOC<>:! mic unit wholly integmted into the macrocosm. It is not true, ho. . . . . = ,of the equally importatll narciMistic cor_ respondences which function enlirdy within th;" book, building up iu internal harm(mics and \ertliOn! . These operate at all pocible levels and in all possihle directioru--back and forth in time, in 'pace, in planes ofeoI1l<:inUln~, and up and down the ,pi,;tual Kale, which J oycr h", reinstated by his \lIC of Vico',
I W. Y. Tindall, TN. w. . ',:,Spob. i. No. . . York, '9~, p. ~9. ? P. o6.
'<9
? CorrujJonJm,u
graded Agel- The mechlani. "", ~mploy~d to ~",ur~ the prop"I fUIIClion of the intemal . . . . . "espondencu . . . , ~ varied, but
Ih~ great majority of them a"" """,Iy verbal. Mr. J\ccUII" ralher uugid . lalemenl Ihal '1m, writillg ~ not IIbowi somelhing; ;1 ;1 IMt ftIIIttI/tiJI, itstl! ,' "<;COUIIl! r. . only one half ofFiUigas
Wd , but it ~ certainly lIUe 10 the exlenl that Ihe all_important inlemal correspond~ unl. iie th~ bulk of tM. e in Ulyun, hlave bttn almosl enti""ly ? ? :t f= from Ih. exigc-ncies of """,Iy narn. ti"" ront. t:nl.
Although)oya did not reply on traditional correspondcn~ fur the purpoles ofeornmunicatiQn, he w q quite knowl<<lgt:ablc aboul the . . . . . nycarlicr . . .
TiICn who had drawn on thio tradition and, wilh h. . usual <:declie;"m, he included wilhin Fppas
Wah much that he fuund of value in lheir work. In Manh'. Library, Dublin, be had ""ad J oachim de Flora, perhaps the g""ato;l devole. of Old and New Teltament to"''''dUJ (U 36; 33. ~8 210(_' 1 4~"3); he had probahly ""ad Hoehm. '. Sip4tua Rnw. . on whkh Stephen ponders (U 33). though h. coukl 1101 h""" don~ IIQ in MaTlh'. which did nOI poM<:U a copy' ; he . hows a~ . . . . . knowledgeofPlato,SirThomalBrowne,'andElipb. . . l. . tvi (244. 35), wal well"""d in Blau,' Swedenborg (AI' 256), and BIa~. . . W:y, and wu, ofeoW"3e, ramiu. . . r with Baudeb. ire and Rimbaud. There aln be no doobl thalJoyre knew wh. . . h~ . . . . . . .
about when h~ louch~d on cOIT. . pondenc. . .
Mosl of this know~ WllI acquired ""ry early, in lhe daY'
when JOl"'C liked to parade ru. learning in unUlualand obocure fieldl,butitWllInotuntill'in",,~1U W",hthathefullydeveloped allIhepotentialitiaoftheo:onapondcnccu aliteraryd. yju. As wilh '" many alpccu of his iall book, ho,",""VCI", clear ~arly tneeI of the technique a"" to found ev1:n aJ far back ao the potnu, Consciow oft}. . , ulterior ';g";fican~ ;I'\ ) oya', nru. . 1 and appaN:ntly . impl. ,. 1 writing, that "rdent . ymbol,hun~r,
, S. 1Icdc<. "aI. , Ow L q " orin, ""rio, 1<)09, P. ,~. (11. ,,11<. . ', italia. ) ? I :. m . . . . . . '"rul '0 M,. :\1. PoIh<d, i\ui,Ia. l' 1;"'",_ of Manh'" h
~ ~ ! be Llbtvy', ooIl<<:tion in J"! ""'" limo.
? s. . . , for . ,. . ". . . . . , u 371i.
, s. . . E. ~ &nd ll. ? lima"" (cdo. ), no- CWa/ Woitiq, '" J -
Jo:JU, [<wyJ"", 1959, PI'. ,,~? .
. "
? ClMtspondenas
Mr. William York T indall, publi'hed in 1954 hi. authoritative edition of Chamber Music, in whicb h~ tracca a number of thin and often mildly scatological corresponde""",. ' The first line ofChamber M"';"-the first ofJoyce'. to be printed in book form - is perhaps among the mO$t oignificant in tJ""e poenu, al? though, rather surprisingly, it is one to which M r. Tindall fail.
to draw our attention :
SIr,"! S in Ik . arIA and air
If Mr. Tindall'. deep-mining method. are valid, it will not amount to overreading if we ""e in these . . . . "Om. a dcclaTation that even in h;" first . Iight . uite oflyri", J oyce b. . ",d h;" roOm? municativetechniqueon a w<:bofcorrespondences. tretched like string. betw<<n key points on the Scale of N"atllTe. Indced, we c o u l d e x p e c t n o t h i n g 1 = f r o m t he p e d a n t i c y o u n g p o d w h o h a d ,""ad 'ConC! pondance,', 'Harmonic du $<liT', and 'La Chevelure'.
II: SYNERF. THETIst (1$6. 14)
Baudelairian and Rimbaldian S<:ttl<:. oorre'pondences greatly attracted tbe young Joyce, Os b~ tell< ill in Step""'- Htt. :
'He read Blake and Rimbaud on the value. of the letters and e. . . ,n permuted and combined the five vowel< to oorutruct cries for primitive cmotioru: (SH 3~)
A. the texture ofFin? ? ganJ W<1k. everywhere reveals, . ynae. the- lia n"""r lost it> fa. cination for Joyce. Se""'<o"",pondence;" constantly used a, an accepted mr"'''' of modulating from con-
text to context and henee of<:$tabliili. ing $}'mbolic relatioruhip? . 'lne association of the visual aud aural octav", ;" particulaTly frequent. The ubiquit<nu pun 'rainbow. Rimbaud' stem! ! to imply an acknowledgment, hut the idea itself;' ofcourse age-old. It would bc wrong, however, \0 lay too much . tr= on the me of scllsc. . :orrespondence in FiNugdnJ Wake for it perforrm at mOlt an impoTtant m();$aH; function and ;" never called On for
major ' ymbolic or . tructural purposes. (The colour . ltuctuT"C of Books I and III, if it really exilts,' iI, like that of Ulysses, of
, New York, '9}1. , ultns, p. 26 t.
'"
? , cr. 2'~'31l".
OJrTl. Spomun? lS
w:ry minor impona. n<<. J<rycc was, in facl, ftC"'" a gru. colou';l1 and eVen in Finltlgaos W. . t. , his Inn. t kaleidoscopic book, ooloul1 tend to be flK<! and artificial, . . . on a tapestry, In A P_ail (190), Stephen" made 10 disclaim any interest in
the ,ubject ofVi:rbal colour. )
O ne typical uamplc ofJlmplo: cross-cll~ptu corTCIpondcncc
involving synaesthesia will . uf! ioe to demot\lttate the kind 0( UJe to which Joyce pUIS the device. At 609. t9 an incantation to the lun U about I<> be lUng:
'When the mcaallger 0( u. . , ti$c:1I , un, (tee other oriel) ohall
glW: I<> evny ~Jble a hue and to every bearable il cry and to each lpectacle h;'lpol and I<> each happening II". bouram. The while~, W(: are "'airing, w<: are waiting for. Hymn. '
This hymn is u. e<! . I<> introduce tbe white. Hght? r&inbow con?
troveny (6Jt) and hence ther"<: can bc litlle doubt that the 'pecln,lm ;.
