ocorching and
screeching
from the ravenindove, I f thee.
Hart-Clive-1962-Structure-and-Motif-in-Finnegans-Wake
.
inln various di~Dof 'Djoytsclt'.
) Stylistically, Quinet'.
IICnl(Oa is direcl, lyrical,
and simpl~ in short, aU thaI Fi""'IQIIS Wllkt;. nOl, By Ihe time j oyce was compcci"S his last book be wu long past the Rag. : w~n be could comfonably write such ';mpl. Ituff as this, however mu<;h he may have admired il. The reluh is thaI all his 'horkings inevilabiy annihila\l: Quinet'. rath~r 100 self-
oonscio. . . grace and dtlicacy_ ru I shall show below, j oyce has in every cue oomiderably elaborato:d and tJ<tcnded the original tnatt;riaI, but it is interesting to IOC how Ihe nCCQIilY to compooe within a more or less prcdcta'mincd rorm has very la. rse1y curbed his habit of exparuion and interpolation. The lint Ihree
JWOdies (thott on pagel r'l- 13, 1'7, and 236) "'ere incorpor- ated relati1l(:ly early in tbei. . respectiv. : cbap\l:n and allhough in
, cr, Ib< R. . . . "" Gm<rLl', <I<&l1inr himself ",i! h & ><XI or lnab ,u. f (is,. ,)).
,88
? Two Major Motifs
! ucceooi,. . , man~ript venioru the . urrounding paua! :", ha""in each case k en greatly developed and r. xpand~d, the parodies have ",mained almost untouched, In their earliest mrnu they
",ad as follow. :
'Since the high old timeo of Uekar and Hairyman tlte com? flowe. . . have ken . taying at RaUymun, the du,\oI'O$<: ha. . choosed out Goa"town', croMroad. , twolips have pressed togatbcrthem by . <Weet Rmh, t<Jwnland oftwinligh. . the white. thorn and rffithom have f,irygaycd the mayvallc)" of KnO(',\o'
maroon and though for ringo round them during a hundred thoU! and yeargang', the Formoream ha"" brinled the Tooath of the Daneo and til<: Oxman ha. '! k e n pe'tered by the Firebugs
& theJoyn. . have thrown up wallmutting & Little on the Green ;, chil<hfather nf the city, th"", pa"sealing buttonhole, have quadrilled aerna the cntturics and herr. now whiff to "! , fTe! h
& made-of. aU. . miles . . On the day of Kmallwhoo. '
(Briti. <h Mmeum Add. MS {7{112 A, ff. [01-<1. This was the fIrSt of the parodi. . to be wTillcn, and date! from 1926. See
uU"" p. 246. )
'Since noozy Nanette tripped palmywa)" with Highho Harry
there'. a 'purtfire tun a'kind o'kindling ",henoft a. the $<luff. lOulf blows her peatie, up aud a claypot wet f<Jr tru:e, my Sit)'$, and talkatalka till Tibh! haw, r. v<:: and whathough billiooon. . . has ken billioum. . . during millimnl of milknionl and our mixffi racings have ken giving two hoo," or thret: jee. . . f"r the grape, vine, and brcw and Pieters in Nieuw Atn$,eldam and
Paoli', where the po"l. . go and rum smdt his end for him and he dined off sooth american thU oldworld epistola of lbeir ~athering. and their marryings and tlu:ir hurying. and thtir natural sekctioI15 h. . . wmhled tumbkd down to lU f~nch and
made-at. all? hou. . . lik an auld . ;up on tay. '
(Add. }. IS H473, f. WI! . TIlis venion date! from tlu: second
half of 1927, when J oye<: wru r~,'iuog tho Cri/t,icn Illt~xt of LS for/TalUi,ic" S, August '927. SetJ. J. Sln<:um and H. Cahoon, A Biblicgraplty 4 Jama J"ft' 1882-I941, u,odon, '953, pp. 99, 101, I<<ti,m' C. 6. t, and C. 70. )
'Since the da)1o ofRoamal""", and Rehmoose til<: pava",-" have ,"
? Two Major Matift
been ,tridend through the strntJ or Cbapelldileul, the vau. bi. . have mttd and y<'ludled through the purly OO'Ze or Ballyoough, many a milmy cloudy has tripped taumily along that hertourt . tn. yed r<<1-. y :ond lhe rigadoons 1La"" held ragtimed revels Ql\ the platuuplain or Grangegonnan; and thMagh sinee then sterlin~ and guineQ have t>. ,cn ~pl~ hy brooks and lion. and $(Ime pI'OflTW' hQ been made On . tilth. and the races have <:Qmc:andlOoeandThy~ thnchefofoeuonen,h",made hit UIlIal aolCW\e . . of endadjustabl. . and whatnoe will"'" ionorw. . . , thote danccaddlt and cancanzani. . have rome ! tum_ mcring down for our begaymm, through the bedufdom of po'. p atJ, the obcecity ofpa" teapuc's, u lithe and limb fr<< limber "" when momie played at . . . . . . '
(Add_MS 41411, f. ~'. Tbi! . wu the third ofthe parodi. . to he written, and dates from '930. Su Lnl". , p. ~95. It it inter- . . . . ing to nOte thn in ~II Inn' ",,! 'lin. . . the word 'stilthJ' hQ
",","n conupted to 'llilta'. )
The fourth parody (3~) it a 'pecial case, linee the pasuge in f1u",tion ""'nt through two otagu of compoeiticm before it ~ to J oyce to tum it into a fresh ttnlmcnt of Quinet ' 'rorf. . -e and fonnicular allon:all and in putkuIar till budly shootJ the rising gcrmin3l badly. '
(Add. MS 47-t11o, f. 68. )
'When old the wormd wu a gadden opter and apter we"" T . . . . . m m i l y n . - i 1 l 1 l a n d i f 6 d O r l i f c I i i l l s f " ' C . . . . 6 e u 1 a r : a l I o r u r . 11 s n o t 100 panicular $(I till budly abootJ lite rising ~rminallel bodley chew the rat ofhis auger and budJey bite the dustice ofthe piece. ' (Add. MS 47"&, f. 67; it ;. pouiblc thilt 'auger' mould rud 'anger'. )
J oyce worked ! hi. up into a parody of Quinet lOr the /ulluiliH text; once again the earli~" venion of the parody it . "nOllt
identical to the final primed. text :
'When old the wormd was a gadden and Anthea fint unlOikd
hcr limt. WilndcrJoot was the way the. . . . . :old wagged anod opl~r and ilptcr were "'muraised twimbs. They had their mutlhering ivies and their murdheriDg idies and their mou1dhcring iri. . in that muskat grov. e but tbc:n:'U "'" hright P\innyflowcrs in . ,.
? TWQ MajorMotifs
Calomdla's cool bowers when tho magpyrc'. babble ! Own.
ocorching and screeching from the ravenindove, I f thee. liked the s. ", of hi, head and mees at. . the =ps of h. . trauble. . . he'. dancing liggio. to the . pittle lide and ,hoving OUIS Ihe soord, And he'll be buying buys and gulling gell. with his car""" silk and honey while myandlhys playing laneirer luclfug and what'. duff' "" a bettie for u"",,, mak. . cosyn corallin. . ' moues weeter to wee, So till bU! again budly budly [titJ . hoor. thon riling gcrminallct bodJey chew the fan oChi, anger and badley bide the toil of h;" tubh:
(Add. MS 47. j. 80, f. lOS; J. J. Slocum and H. Cahoon, A Bibliography of ]llJNr ]Oft. 1882-1941, London, 1953, p. IOJ, section C. 70. )
The final parody (615) w. u apparently one of lhe I",t paosag. . of FinlltgallS WaM to he compD3e<i, ,ince il wa, not added to Book TV until aft~r the p("()O/i had btcn set up. 'lbe printed 1t:xl ;" almost exactly the oame OJ Ihe MS insenion. ' (The d ecision to include the q uotation in French in II. ~ aha se<:rru ! O have been made quile lale. )
The otiginal quotation and all the finished parodies are closely aMOCiatcd in the tt-. xt with commentaries on them which reheane the h:ci<; situation, or much of it, in fresh tcrnu, and in ""me c. . . . can alm",,[ be ,aid to ",present further min'" variation. on the mOlif. The paragraph foHowing the quotation
in lb dUeus$(! Quinet's ide,," with vivacity and disrespec:tful wit:
'Margaritomancy! Hyacin\hinou. pervinciveness! T-lowers, A cloud. But Bruto and Cau io are ware only of trifid tongues the whispe",dwilfuln. . . . . ('tis demonal! ) and ,hadow:! ohadows multi_
plicating (il fol$Olclto ne! fal$Olctto col fa. wlono dal fu<z o l = ), totienu quotienlJ, they ! adle thcir quarrel. Sidamo<>r s '" woful . . . . ny. Anci~nt'$ acrger. And ~achway bothwise glory sign. . What ihhc lo~e Sieger IC'S though ,he leave Ruhm moan ~ That', how our oxyggent has galien ahold of half Ihcir world. Moving about in the ~ of Ihe air and mixing with Ihe ruck. EnLen eller, eith. . or. '
, Bri,;,,, M"",wn Add. MS 47488, If. '9y-h. '9'
? T W Q Major Motifs
OM can K1l1<: in the OUlbursl ofnclamalion poinlO lh<: relief with which joy"", for all his praise of Quind, turned again to the frcedom of hi> own manner. That the I<:n! en"" in iUl original and parodied fonru is an important touchstone for the whole ofFiltlU! a11. 1 Wake is . uggested by the marginal gl_ t<. > this commentary: ''-QRTF. $ VIRGINIANAE'- for too. . , with eye. to . cc, all our fate. are to be fOund written in the Book of the Virgiru. , woo. . , my1tic invincibility (deriving perhapo from invincible ignoranc<:) Jccms to be implicit in joy",,', tramIation of th~ir name? . These names Once again allude to the masculine, . . . ,ldierly aspect of the /lowers, for Hyacinthu. was a homo- ><:xual Spartan boy, 'Margaritomancy! ' may be read ':\1argaret, a man, I<:e! ', and j oyce I<:em. to deriv~ pm;i1/C4 from pero;1t(D.
In a channing pr<:lude to the fi"'t parody {[4l, the basic material! of the senten"" ~ preoentcd in a pastoral setting. The polar principk. underlying the ocene ofhattks, death and regmwth, arc to be round 'neath the lIone pine' where the 'paltor lies with hil crook' . ' T he androgynoul lwinl are a pair
of gra7;ng sheep-'pricket' and 'pricket'. sisler'-while the 'herb trinity' Kern Once again to be femak, as on pa~ ~8I : 'amaid' (11. 33), The eternoJ scene haviog been . et- '1"hu. , ton, for donkey'. yean'- the parody of Quinet may follow: 'Since the bont. of Hebeat and Hairyman . . . '
JOYce'. inevitable clabot-atioIll! have allowed the flowers 10 increase their nnmber to . ix: 'ccmfiowen . . . dm kro~e . . . twolipo, ? ,whitethorn . , ? redthom. . . may_', while the garden in whid. they grow i. new located in Ireland. The parody il pregnant with crms--reference, to other themes and
motiu, a. we . hould ~. xpect. Tlu: word 'ria"lts' of the original i. ttndered by 'made-<. >f_ill. . . miles', which recurs in the next parody as 'made-<. >f-ill-houn' (['7'~9), thus 'uggesting both the girl. ' timeless qualities and . heir con,tant sensual willing_ n~; the important figure [QoXJ' appears bere a. 'chiliad'; the
, The cr<>ok ;. Eve, m. d< from Adam', bent rib: d. 'H", ,. . . . nliJi? . ? ip'" IiM"""'"JN~IIIJoJi4m' (7->>).
' s. . (
.
",
? Two Mop Motifs
round of twenty_nine woro. for 'Pea",,' {47? -71)- which form. . a complete cycle in itself; and recurs in lILS as twenty-nine words for 'Dead' (499. 0{)- is heralded in both fornu by the pbrll. $e 'pax,ealing buttonholes', implying that the flowe", both bring pea"" and ! leal up with wax the Letter of life that they help to write, (There is, as J shall show, a constant and dose a~a. tion of the LeUer with Quinet" ",nten"". ) The mqst important of the cross-T~fereIlCe$, however, is the indmion of the old dance to the rhythm of which the llowen a,. . , made to arrive jltSq. ''; MuS: ''luadrilled acl'OS< the centuries'_The dan"" j , C<lntinuallyul<:d inFinntl'JM Wah "" a symbol ofcommunica-
tion and of cyclic progr= _When they chant 'Peace' the leap- year gir\t dance widdenhiOJ around Shaun-Osi. u, as if around II. phallic may_pole and, even more significantly perhaps, they execute a sacred '! rep"'" when they change thu dumt to 'Dead', on the occasion of his spar'W"'" (499)- I have already mentioned Joyce'. repeated assertion that the cyclic scheme of Finntgans Wah 'i, like a rumba round my garden'_' Quinet'. flowers grow ;n the g-~rden of the world as civilisation. dash and
break, SO that;n the 'rumha' of historical progr. . . we may now J"'rhaps hear a . uggcuion of the rumhle of 'toppling malQnry'. Into the commentary which folIoW$ the fint parody Joyce
pours all the superfluity of material that eQuid not be J<[u~Ltd into the parody itself; "",ful idea. o appa,. . ,ntly flowed all too fast. This is one calC where the very richn"" ofJoy""', thinlcing b<<. ame something of an embarrassment to him. He had already hlown the KJIlcnCC up to more than one and half times iU original length ("9 word. against Quinet's 7$) and had left only the vaguest rhythmic similarity. The decoration of the d aMical mooel with a IlUl! S of baroque ornamentation had to stop befo,. . , poor Quinet dilapJ"'ared altog<'lher. BUI, as. usual, Joyce manages to turn difficulty to his own advantage, for
,.
and simpl~ in short, aU thaI Fi""'IQIIS Wllkt;. nOl, By Ihe time j oyce was compcci"S his last book be wu long past the Rag. : w~n be could comfonably write such ';mpl. Ituff as this, however mu<;h he may have admired il. The reluh is thaI all his 'horkings inevilabiy annihila\l: Quinet'. rath~r 100 self-
oonscio. . . grace and dtlicacy_ ru I shall show below, j oyce has in every cue oomiderably elaborato:d and tJ<tcnded the original tnatt;riaI, but it is interesting to IOC how Ihe nCCQIilY to compooe within a more or less prcdcta'mincd rorm has very la. rse1y curbed his habit of exparuion and interpolation. The lint Ihree
JWOdies (thott on pagel r'l- 13, 1'7, and 236) "'ere incorpor- ated relati1l(:ly early in tbei. . respectiv. : cbap\l:n and allhough in
, cr, Ib< R. . . . "" Gm<rLl', <I<&l1inr himself ",i! h & ><XI or lnab ,u. f (is,. ,)).
,88
? Two Major Motifs
! ucceooi,. . , man~ript venioru the . urrounding paua! :", ha""in each case k en greatly developed and r. xpand~d, the parodies have ",mained almost untouched, In their earliest mrnu they
",ad as follow. :
'Since the high old timeo of Uekar and Hairyman tlte com? flowe. . . have ken . taying at RaUymun, the du,\oI'O$<: ha. . choosed out Goa"town', croMroad. , twolips have pressed togatbcrthem by . <Weet Rmh, t<Jwnland oftwinligh. . the white. thorn and rffithom have f,irygaycd the mayvallc)" of KnO(',\o'
maroon and though for ringo round them during a hundred thoU! and yeargang', the Formoream ha"" brinled the Tooath of the Daneo and til<: Oxman ha. '! k e n pe'tered by the Firebugs
& theJoyn. . have thrown up wallmutting & Little on the Green ;, chil<hfather nf the city, th"", pa"sealing buttonhole, have quadrilled aerna the cntturics and herr. now whiff to "! , fTe! h
& made-of. aU. . miles . . On the day of Kmallwhoo. '
(Briti. <h Mmeum Add. MS {7{112 A, ff. [01-<1. This was the fIrSt of the parodi. . to be wTillcn, and date! from 1926. See
uU"" p. 246. )
'Since noozy Nanette tripped palmywa)" with Highho Harry
there'. a 'purtfire tun a'kind o'kindling ",henoft a. the $<luff. lOulf blows her peatie, up aud a claypot wet f<Jr tru:e, my Sit)'$, and talkatalka till Tibh! haw, r. v<:: and whathough billiooon. . . has ken billioum. . . during millimnl of milknionl and our mixffi racings have ken giving two hoo," or thret: jee. . . f"r the grape, vine, and brcw and Pieters in Nieuw Atn$,eldam and
Paoli', where the po"l. . go and rum smdt his end for him and he dined off sooth american thU oldworld epistola of lbeir ~athering. and their marryings and tlu:ir hurying. and thtir natural sekctioI15 h. . . wmhled tumbkd down to lU f~nch and
made-at. all? hou. . . lik an auld . ;up on tay. '
(Add. }. IS H473, f. WI! . TIlis venion date! from tlu: second
half of 1927, when J oye<: wru r~,'iuog tho Cri/t,icn Illt~xt of LS for/TalUi,ic" S, August '927. SetJ. J. Sln<:um and H. Cahoon, A Biblicgraplty 4 Jama J"ft' 1882-I941, u,odon, '953, pp. 99, 101, I<<ti,m' C. 6. t, and C. 70. )
'Since the da)1o ofRoamal""", and Rehmoose til<: pava",-" have ,"
? Two Major Matift
been ,tridend through the strntJ or Cbapelldileul, the vau. bi. . have mttd and y<'ludled through the purly OO'Ze or Ballyoough, many a milmy cloudy has tripped taumily along that hertourt . tn. yed r<<1-. y :ond lhe rigadoons 1La"" held ragtimed revels Ql\ the platuuplain or Grangegonnan; and thMagh sinee then sterlin~ and guineQ have t>. ,cn ~pl~ hy brooks and lion. and $(Ime pI'OflTW' hQ been made On . tilth. and the races have <:Qmc:andlOoeandThy~ thnchefofoeuonen,h",made hit UIlIal aolCW\e . . of endadjustabl. . and whatnoe will"'" ionorw. . . , thote danccaddlt and cancanzani. . have rome ! tum_ mcring down for our begaymm, through the bedufdom of po'. p atJ, the obcecity ofpa" teapuc's, u lithe and limb fr<< limber "" when momie played at . . . . . . '
(Add_MS 41411, f. ~'. Tbi! . wu the third ofthe parodi. . to he written, and dates from '930. Su Lnl". , p. ~95. It it inter- . . . . ing to nOte thn in ~II Inn' ",,! 'lin. . . the word 'stilthJ' hQ
",","n conupted to 'llilta'. )
The fourth parody (3~) it a 'pecial case, linee the pasuge in f1u",tion ""'nt through two otagu of compoeiticm before it ~ to J oyce to tum it into a fresh ttnlmcnt of Quinet ' 'rorf. . -e and fonnicular allon:all and in putkuIar till budly shootJ the rising gcrmin3l badly. '
(Add. MS 47-t11o, f. 68. )
'When old the wormd wu a gadden opter and apter we"" T . . . . . m m i l y n . - i 1 l 1 l a n d i f 6 d O r l i f c I i i l l s f " ' C . . . . 6 e u 1 a r : a l I o r u r . 11 s n o t 100 panicular $(I till budly abootJ lite rising ~rminallel bodley chew the rat ofhis auger and budJey bite the dustice ofthe piece. ' (Add. MS 47"&, f. 67; it ;. pouiblc thilt 'auger' mould rud 'anger'. )
J oyce worked ! hi. up into a parody of Quinet lOr the /ulluiliH text; once again the earli~" venion of the parody it . "nOllt
identical to the final primed. text :
'When old the wormd was a gadden and Anthea fint unlOikd
hcr limt. WilndcrJoot was the way the. . . . . :old wagged anod opl~r and ilptcr were "'muraised twimbs. They had their mutlhering ivies and their murdheriDg idies and their mou1dhcring iri. . in that muskat grov. e but tbc:n:'U "'" hright P\innyflowcrs in . ,.
? TWQ MajorMotifs
Calomdla's cool bowers when tho magpyrc'. babble ! Own.
ocorching and screeching from the ravenindove, I f thee. liked the s. ", of hi, head and mees at. . the =ps of h. . trauble. . . he'. dancing liggio. to the . pittle lide and ,hoving OUIS Ihe soord, And he'll be buying buys and gulling gell. with his car""" silk and honey while myandlhys playing laneirer luclfug and what'. duff' "" a bettie for u"",,, mak. . cosyn corallin. . ' moues weeter to wee, So till bU! again budly budly [titJ . hoor. thon riling gcrminallct bodJey chew the fan oChi, anger and badley bide the toil of h;" tubh:
(Add. MS 47. j. 80, f. lOS; J. J. Slocum and H. Cahoon, A Bibliography of ]llJNr ]Oft. 1882-1941, London, 1953, p. IOJ, section C. 70. )
The final parody (615) w. u apparently one of lhe I",t paosag. . of FinlltgallS WaM to he compD3e<i, ,ince il wa, not added to Book TV until aft~r the p("()O/i had btcn set up. 'lbe printed 1t:xl ;" almost exactly the oame OJ Ihe MS insenion. ' (The d ecision to include the q uotation in French in II. ~ aha se<:rru ! O have been made quile lale. )
The otiginal quotation and all the finished parodies are closely aMOCiatcd in the tt-. xt with commentaries on them which reheane the h:ci<; situation, or much of it, in fresh tcrnu, and in ""me c. . . . can alm",,[ be ,aid to ",present further min'" variation. on the mOlif. The paragraph foHowing the quotation
in lb dUeus$(! Quinet's ide,," with vivacity and disrespec:tful wit:
'Margaritomancy! Hyacin\hinou. pervinciveness! T-lowers, A cloud. But Bruto and Cau io are ware only of trifid tongues the whispe",dwilfuln. . . . . ('tis demonal! ) and ,hadow:! ohadows multi_
plicating (il fol$Olclto ne! fal$Olctto col fa. wlono dal fu<z o l = ), totienu quotienlJ, they ! adle thcir quarrel. Sidamo<>r s '" woful . . . . ny. Anci~nt'$ acrger. And ~achway bothwise glory sign. . What ihhc lo~e Sieger IC'S though ,he leave Ruhm moan ~ That', how our oxyggent has galien ahold of half Ihcir world. Moving about in the ~ of Ihe air and mixing with Ihe ruck. EnLen eller, eith. . or. '
, Bri,;,,, M"",wn Add. MS 47488, If. '9y-h. '9'
? T W Q Major Motifs
OM can K1l1<: in the OUlbursl ofnclamalion poinlO lh<: relief with which joy"", for all his praise of Quind, turned again to the frcedom of hi> own manner. That the I<:n! en"" in iUl original and parodied fonru is an important touchstone for the whole ofFiltlU! a11. 1 Wake is . uggested by the marginal gl_ t<. > this commentary: ''-QRTF. $ VIRGINIANAE'- for too. . , with eye. to . cc, all our fate. are to be fOund written in the Book of the Virgiru. , woo. . , my1tic invincibility (deriving perhapo from invincible ignoranc<:) Jccms to be implicit in joy",,', tramIation of th~ir name? . These names Once again allude to the masculine, . . . ,ldierly aspect of the /lowers, for Hyacinthu. was a homo- ><:xual Spartan boy, 'Margaritomancy! ' may be read ':\1argaret, a man, I<:e! ', and j oyce I<:em. to deriv~ pm;i1/C4 from pero;1t(D.
In a channing pr<:lude to the fi"'t parody {[4l, the basic material! of the senten"" ~ preoentcd in a pastoral setting. The polar principk. underlying the ocene ofhattks, death and regmwth, arc to be round 'neath the lIone pine' where the 'paltor lies with hil crook' . ' T he androgynoul lwinl are a pair
of gra7;ng sheep-'pricket' and 'pricket'. sisler'-while the 'herb trinity' Kern Once again to be femak, as on pa~ ~8I : 'amaid' (11. 33), The eternoJ scene haviog been . et- '1"hu. , ton, for donkey'. yean'- the parody of Quinet may follow: 'Since the bont. of Hebeat and Hairyman . . . '
JOYce'. inevitable clabot-atioIll! have allowed the flowers 10 increase their nnmber to . ix: 'ccmfiowen . . . dm kro~e . . . twolipo, ? ,whitethorn . , ? redthom. . . may_', while the garden in whid. they grow i. new located in Ireland. The parody il pregnant with crms--reference, to other themes and
motiu, a. we . hould ~. xpect. Tlu: word 'ria"lts' of the original i. ttndered by 'made-<. >f_ill. . . miles', which recurs in the next parody as 'made-<. >f-ill-houn' (['7'~9), thus 'uggesting both the girl. ' timeless qualities and . heir con,tant sensual willing_ n~; the important figure [QoXJ' appears bere a. 'chiliad'; the
, The cr<>ok ;. Eve, m. d< from Adam', bent rib: d. 'H", ,. . . . nliJi? . ? ip'" IiM"""'"JN~IIIJoJi4m' (7->>).
' s. . (
.
",
? Two Mop Motifs
round of twenty_nine woro. for 'Pea",,' {47? -71)- which form. . a complete cycle in itself; and recurs in lILS as twenty-nine words for 'Dead' (499. 0{)- is heralded in both fornu by the pbrll. $e 'pax,ealing buttonholes', implying that the flowe", both bring pea"" and ! leal up with wax the Letter of life that they help to write, (There is, as J shall show, a constant and dose a~a. tion of the LeUer with Quinet" ",nten"". ) The mqst important of the cross-T~fereIlCe$, however, is the indmion of the old dance to the rhythm of which the llowen a,. . , made to arrive jltSq. ''; MuS: ''luadrilled acl'OS< the centuries'_The dan"" j , C<lntinuallyul<:d inFinntl'JM Wah "" a symbol ofcommunica-
tion and of cyclic progr= _When they chant 'Peace' the leap- year gir\t dance widdenhiOJ around Shaun-Osi. u, as if around II. phallic may_pole and, even more significantly perhaps, they execute a sacred '! rep"'" when they change thu dumt to 'Dead', on the occasion of his spar'W"'" (499)- I have already mentioned Joyce'. repeated assertion that the cyclic scheme of Finntgans Wah 'i, like a rumba round my garden'_' Quinet'. flowers grow ;n the g-~rden of the world as civilisation. dash and
break, SO that;n the 'rumha' of historical progr. . . we may now J"'rhaps hear a . uggcuion of the rumhle of 'toppling malQnry'. Into the commentary which folIoW$ the fint parody Joyce
pours all the superfluity of material that eQuid not be J<[u~Ltd into the parody itself; "",ful idea. o appa,. . ,ntly flowed all too fast. This is one calC where the very richn"" ofJoy""', thinlcing b<<. ame something of an embarrassment to him. He had already hlown the KJIlcnCC up to more than one and half times iU original length ("9 word. against Quinet's 7$) and had left only the vaguest rhythmic similarity. The decoration of the d aMical mooel with a IlUl! S of baroque ornamentation had to stop befo,. . , poor Quinet dilapJ"'ared altog<'lher. BUI, as. usual, Joyce manages to turn difficulty to his own advantage, for
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