'
Tht Iymbooc content of all three comJlO""nt paru in the tmtrai amalgarnatioo of motifs quoled abo"" it matk to inta.
Tht Iymbooc content of all three comJlO""nt paru in the tmtrai amalgarnatioo of motifs quoled abo"" it matk to inta.
Hart-Clive-1962-Structure-and-Motif-in-Finnegans-Wake
hi.
unit, how- ever, joy.
,.
did find application!
fur it wruch made a dofinite wnlribution (:() the art of prose.
joy<< shared Thoma.
Mann', preoccupatian with the problem of h<:>w to make Ihe .
poken word functian like music.
In an attempt to approximate to the
,"
? uilmoliv
them~tic . tructure of musical forJll. '! Mano had e~perimented with large verbal block. built up from rich matricc. of motif>, io which the . . ,rpentine alternations ofsymbol. and theme would
produce something like hannony and counterpoint. By going beyond COOlventionallangu;o,ge in the 'Si",ns' episode of Ulysses joyce achieved something which approximated even better to the desiud effect, but always in thae experiments joyce failed to transform the NIUM""",f" into a true N,~. . . n"". ukr. The cw. e. t approach to verbal counterpoint in Ulyss. s il the kind
of syncopation by truru:a. tion excmpliJied in:
'Fint Lid, De, Cow, Ker, Doll, a fifth: Lidwell, Si DedallB, Bob Cowley, K<;truln and Big Ben Dollard. ' (U ~76)
The . arne device io to be fuund in FiMlglltlS Wah, though m o " , . killfully handled. The following line from 2~2. 06, for exampk,
re. . d. at fint like a ,ene. ofdactyt. : 'goodfor""illforUS illulall:IU?
The preceding words, however, 'a chorale in canon', indicate that we ,,'" to read it '" a . . ,rico oftele,eoping stretti, thus:
VOICE I: good for u. all
VOICI:: ~: . . . . . . . . . . good for", all
V01CE3: . . . . . . . . . . . . . . . . . . goodfur usafl VOICE 4: . . . . . . . . . . . . . . . . . . . . . . . goodforu. all
Th;" ;". I . uppoac, quite amusing, but the . imultaneity of,tate- men! i. achieved by suggestion only. Et. . where in Fin"'g"" Wak? ? however, having created a polysemantic style wbich could . "'tain true counterpoin! , j oyce w. . . . able to . tale mctifs simultaneously in significant inte~n pattem. which are probably"" clOil<: ao analogy to polyphonic music as any lin_ guistic pro<:edure may be. The ,imultaneou. statement of two motif> io quite frequent in FiMtllJl" Wake but it ;" a devir. . whleh always pn:. eno. eomiderable technical difficulties since the re_ 'Iuir<;rnents are conllicting: the individual metif> mull remain
clearly identifiable, yet if the counterpoint is Ie> function pro- p e r l y t h e m a r r i a g e o f t h e twe> m u s t b e as c l o s e a s p < >> s i b k . j o y c e i . by no mea"" always entirely . uccesoful in these C1<perimenl$ wilh counterpoint, but quite a good example i. to be found at 3! J5. 1! i
,. '77
? Leitmuliu
wh"c there is a major "'currence of the 'rivering' motif, which I have already d~lI. . ed. l This is (ounterp:>inted agaimt the 'rolling barrel' motif,' which is OlaLe<l eight times (two four_part cycles) in IlI+ Specifically, the first and last-and hence, according to the laws ofJ. "iNugall. J Watt, identical-venions of the band motif are quoted in combination,"" that the binding together oftbe b. ginning> and end, ofeyd"" u made even richer. The separate element> of the . tatement may he I<:t Out a. folloW! : (. . ) 'Reside the rivering waters of, hitherandthithering watm of. Nightl' (216. 04)
(b) ',,",'hiIe elvery Ol",am winds selingon fur to krep thi, barrrl . ,f bounty rolling and the nightrnail afarfrom mcrning nears. '
(565. 3? )
(e) 'While the qurenhee he . taggerhorned bl=es her bl;" fur 10
feel her funnyman'. functions Tag. Rumbling. ' C~90. 27)
And in combination;
(abc) 'While the Heny Hunt they harrow the hill for to rout them rollicking rogues from, rule tho. e rackete" romp< from, rein their rockery rides from. Rambling. '
'NighlC\<>th<:Sed, arooned, the conqutrod. ' way'. (355. 15) Both ear and eye app"'hend the two motifs offemaL:: ALP and male Shaun; thU u true counterpoint. Mr. Melvin Friedman's camiom alS(rtion tltat Fin1ltglUlS Wake achieves counlerp:>int by implication only,' u accurate enough with regard 10 the Ie<! . uccessfu. 1 and 1= thoroughly digested part> of the book, such a ! the 'canon' quoted above, hut when everything was func_ tioning properly, a. here, Joyce fully achieved hi> aim. The achievement of thu technical analogy docs not, of coune, in itself add m""ical qualilie. 10 the text, hut in bringing about an even closer a<. 'lOCiation of oymboh and idea, than u p<dlible
with normal lingu. i. nic u,age, it lends word. some of the im_ mediacy and ,uccincrne. . of mmical expression. O w r Wai2el wa. careful not to conf""e the two arts':
, S<< At>J>=Iix A-
? O. W. luI, Dos W. ,I. i""'twtro, Leipzig, '9,6, p. '57. . ,8
? $u Appendix A.
? M. FriedmAn,S,,,_4/~"? S,,",-,"Lil<""7MnMJ,N. . . . . Haven, '955,p. '31.
? uitmotiv
'D. . . Leitmotiv fdgt,sowcit . . inhlitlicll deutet, nicht du dichlcrilchto form cine m,,';b lisehe an, KlIl<km es phi
dtm Inhalt du Woou durcb . cine eigent formung t lWaS hitml.
'
Tht Iymbooc content of all three comJlO""nt paru in the tmtrai amalgarnatioo of motifs quoled abo"" it matk to inta. act in a ""ry vital way: Night and Day, two oppcmu:s, arc <<. SOlved in the oomcwhal I= l i l l image ofhunU! mtn clad in
thclr night? attire harr-owing tht hilll in Ihe morning, while tht obj<<t ofthtir hunt it id""tilkd u HCE, tht lIag in (<); 1M: oenIal <rn:rtoOCl of {. oj arc reinforud by the clearly lCltuai ligni6c. ance of ('1; the idcnlilication ofShaun'. barrel with the Hoati"l coffin of Ooiril ill ht", emph. . iec:d by the a. . echtlon
with Ihe hea. . . . ("'~).
The", remaim OOt othu highly imporu,nt applic<ition oflhe
ltitmom in Pirwl(J,1tS WOW which mUlt bt: rnentiontd. This is tht technique of Ol1I\llZing motif. into a matrix or compla:. L The", M e two main typca of motif. agglomeration in Pirw, 1lAJ W. . . . ,. The lint and oimplcr type is ! 'IOthi", more than a bloc;lr. ofj""u,p: I! d motifo and a. oocia! ed . ymbola-a further a:amplc ofthe RabfJajoi'ncataloguc-ttthniquetowbichJoycewu10 inclintd. Every 00 ofttnJ oycc ~irtLUllly baltl the lorwarn move- ment of the narrati"" in order 10 build up a great pile of un- diluted motifa, thematic lto. temcnll, UK! symbols, which, to the weary reader trying to WOI'k his way Itraight through the: book from covu to (ov'"", come as a welcome, wcll""arned r<:iicf from his llrugsl. . wilh the: ';nuooiti. . ofJoyce'. thought elK? wlttrr:. The longest of these r. . ling places is the list of 389 attri. buu:s of Finn MacCool in 1. 6 (121i-39). 0"" might . ,'optct. , or {car, lhal the jUUp<lllition of individual items in lbcsc li. w is of . orne obtcur<: lignilicar1a, but, although ther<: is anainly mud! 10 admire in the wit and :appoUtel1CSl of c:ach rr:ve:aling litlie
phraJc,Joyu'l WOI'mg nu:thodo make il clear thai the ord~r of ilema is uaually unimportant. So little atttntion did Joyce pay to their onicr that he allowtd fri. nds 10 m. . . rt his additiOlll, giving them coruiderable freedom in the details of pbccment.
, $H J>l'rtic,. wly (be 'Utler', Cha_ Eip>L, II, b<. low. '19
? uz"tmoliv
The fullowing unpublished mam,"cript note is revelalory', 'If possible pie"",, i"",n Ihe following . 't aenknce, in D, begin- ning aooul 2 lin. . from top at H;gular intervals and ending aoout ~ lin. . from end, of toUTle not breaking any phrase or
group ofphra,. . ,'
'Baile. Alha. Cliath, 3' J un, 1 1. 3~ A. D. ' 'Fit Dunlop and be Satisfied'
'In the March of Civili! ation'
'Buy Pattenen', Matche,'
'Boston (M. . . . ), 31Jan, 13? ? ~ P. O. '
By baiting the narrative for a moment and filling Ihe pau. e with ruch concentration. of motih, J oyce i. abk: to creale a . . ,ri. . of nodal points whe,"" the reader can C<lntcmpla. te Ihe primary materials at hi< le;"u,",,; the ~ ncc of the book is ,""fined offfrom the m"", impu,"" dillCuT1ive matter and;" . hown forth for a moment befo,"" the cycl. . begin again.
The ,"cond ty! '" ormotif. agglomeration, and by far the more important, is the true interacting /tilmolio-compk:x, of whicll the utter is the most outstanding exampie. The romple" of motifr, acting as a whole rather then '" a collection ofleparatc parts, is one of the = t inteu",ing "'peel:! of tlu: struetu,"" of F;",,"l"'" Wa. k It i. a technique which iI on the whole med ,paringly. hut it i, all the mOTe p<m"Crl"ul fOT that. A mmple" all""" motifS whieh have be<:ome highly cluTged fmm lheir
previouo---QI", in the c"",, of Fi. tug". . . Wakt, their futu,",,- contacts, to react with Qne aMther Qn a grand scale, and $<I creatc a harmony of idca, colour, and $<lund, which impr. . . . sivdy heightens the . ymooli~ p<m"Cr or all the cml$tituent parts.
A good example of a rich kit""'tW-complex hdd I<lgclher in a tight 'ynthe:! i, of tone, rhythm, and imagery, i. the c;ck:brated clMingsectionof'Anna LiviaPlnrahdlc' towhi. ;}, Thave alrudy alluded several time:! (~,5- . 6). In the la. t two paragraph. ofthi, chapter almost every phTuc is . . majoTmotif. From lh<:ir $<Iurct he,"" they ,pr-cad either singly or in groups, and with varying
, On<of';",= ]""""~lS. h<et. in,hePo<uyC",Uectionof<heI. <><kwood Memoriat r. . ;b<a'l', Uruy"";ty '" 1Iuffio1o; 'ho ""'" . . und>. tod &nd be>n <>0
ind;c. ati"" . . '0 ,ho identity '" the w;;ipi<tI'; the p"'orc wen<:<! '0 . . now 400-:1 ' .
? uill7Wliv
deg. =ofwit and . . ,Ievance, inw almott all ngionsofthe book. "[h( th(ma "ith which tMy ckal- tm primary priocipk of hW! irical I'(CUm:nce and the a1temaUon of unity and diversity - au ,. "iled in thetc: qni(t and aimple JlatcmenlS far above the level ofshaping forca to become mediutive p! i<'try of the high. a, order. The OIotifs =m to emanate . . . (. senCeil from the being ofAnna i. i"i:l. h~=lf, from the slumbering CityofDublin, and from rem? covered Howth Head. After many 1000g ucu. ? lions through time and spa"", ha\ling ~hurned up mUOQ of tri\lia and quadri\lia whlch all u. U tile UDle story in miniature, we rurrivc at those oppoocd archetypal figures which ~ncnu.
every lcuc. manifestation.
. 8.
? CHAPTER EIGHT TWO MAJOR MOTIFS
In thit chapter I conclude my . rudy of HlltVgaJU W. . . t. Mth a disc"";",, of lOme aspects of twO important motifi. The fil'lt, bu ed on W quotation from Edgar Quinet in II. ~, it a Jing1e modubting ocntcn<<e of quite rernacbble arcwtec- rural beauty wweh i, fully ,Uted 00 W: occations and is alwaY' ~ cludy delineated. The oeoond, tbe 'kIter', is, by con? t'Nt, a . prawling and IOmcwhat formla t motlf. complea which, although it is only onct: qU()(ed complete (6[5-19), roCUI'I in literally hundreds of place. in more or Ic:sa fragmentary fOnn, making iu po=n<<e felt in the molt widdy divcrg<:nt contexts. ' I ,hal! Ir:aa: the Quioet motif Ihrough all iu major OCCUITUICCI in FiJwtll/lS W4kl, but in the caae of the more diffuse Letter I m m l c o n t e n t m y s e l f . . i l h ? ~eral s u r v e y o f i l l s y m b o l i l m a n d a brief diSCUllion of one hitheno undis",were<! source.
I: QUINET
The more repetition a book containa, the I. . . easy il mu", obYioUJIy be for the writer to create motiIJ whote recUITCD<<e will alTest the anent;on of tbc reader. In writing a book 10 con- IiItently repetitive . . FilWglUU W4kl J oyce Jet himldf the con? siderable Icchnic:al l>robkm ofcn:ating, for major architectonic or thematic PIlrJI<*I, a r",,? ouuunding molili which would not be enlircly nI'1Imped by the general flow of mUlating material. His . impl. ,t IIOlmion to lhi. difficulty was 10 tum uidc from his Dormal c. . . rom of building up motiIt from in1ignificant liltle ph. .
,"
? uilmoliv
them~tic . tructure of musical forJll. '! Mano had e~perimented with large verbal block. built up from rich matricc. of motif>, io which the . . ,rpentine alternations ofsymbol. and theme would
produce something like hannony and counterpoint. By going beyond COOlventionallangu;o,ge in the 'Si",ns' episode of Ulysses joyce achieved something which approximated even better to the desiud effect, but always in thae experiments joyce failed to transform the NIUM""",f" into a true N,~. . . n"". ukr. The cw. e. t approach to verbal counterpoint in Ulyss. s il the kind
of syncopation by truru:a. tion excmpliJied in:
'Fint Lid, De, Cow, Ker, Doll, a fifth: Lidwell, Si DedallB, Bob Cowley, K<;truln and Big Ben Dollard. ' (U ~76)
The . arne device io to be fuund in FiMlglltlS Wah, though m o " , . killfully handled. The following line from 2~2. 06, for exampk,
re. . d. at fint like a ,ene. ofdactyt. : 'goodfor""illforUS illulall:IU?
The preceding words, however, 'a chorale in canon', indicate that we ,,'" to read it '" a . . ,rico oftele,eoping stretti, thus:
VOICE I: good for u. all
VOICI:: ~: . . . . . . . . . . good for", all
V01CE3: . . . . . . . . . . . . . . . . . . goodfur usafl VOICE 4: . . . . . . . . . . . . . . . . . . . . . . . goodforu. all
Th;" ;". I . uppoac, quite amusing, but the . imultaneity of,tate- men! i. achieved by suggestion only. Et. . where in Fin"'g"" Wak? ? however, having created a polysemantic style wbich could . "'tain true counterpoin! , j oyce w. . . . able to . tale mctifs simultaneously in significant inte~n pattem. which are probably"" clOil<: ao analogy to polyphonic music as any lin_ guistic pro<:edure may be. The ,imultaneou. statement of two motif> io quite frequent in FiMtllJl" Wake but it ;" a devir. . whleh always pn:. eno. eomiderable technical difficulties since the re_ 'Iuir<;rnents are conllicting: the individual metif> mull remain
clearly identifiable, yet if the counterpoint is Ie> function pro- p e r l y t h e m a r r i a g e o f t h e twe> m u s t b e as c l o s e a s p < >> s i b k . j o y c e i . by no mea"" always entirely . uccesoful in these C1<perimenl$ wilh counterpoint, but quite a good example i. to be found at 3! J5. 1! i
,. '77
? Leitmuliu
wh"c there is a major "'currence of the 'rivering' motif, which I have already d~lI. . ed. l This is (ounterp:>inted agaimt the 'rolling barrel' motif,' which is OlaLe<l eight times (two four_part cycles) in IlI+ Specifically, the first and last-and hence, according to the laws ofJ. "iNugall. J Watt, identical-venions of the band motif are quoted in combination,"" that the binding together oftbe b. ginning> and end, ofeyd"" u made even richer. The separate element> of the . tatement may he I<:t Out a. folloW! : (. . ) 'Reside the rivering waters of, hitherandthithering watm of. Nightl' (216. 04)
(b) ',,",'hiIe elvery Ol",am winds selingon fur to krep thi, barrrl . ,f bounty rolling and the nightrnail afarfrom mcrning nears. '
(565. 3? )
(e) 'While the qurenhee he . taggerhorned bl=es her bl;" fur 10
feel her funnyman'. functions Tag. Rumbling. ' C~90. 27)
And in combination;
(abc) 'While the Heny Hunt they harrow the hill for to rout them rollicking rogues from, rule tho. e rackete" romp< from, rein their rockery rides from. Rambling. '
'NighlC\<>th<:Sed, arooned, the conqutrod. ' way'. (355. 15) Both ear and eye app"'hend the two motifs offemaL:: ALP and male Shaun; thU u true counterpoint. Mr. Melvin Friedman's camiom alS(rtion tltat Fin1ltglUlS Wake achieves counlerp:>int by implication only,' u accurate enough with regard 10 the Ie<! . uccessfu. 1 and 1= thoroughly digested part> of the book, such a ! the 'canon' quoted above, hut when everything was func_ tioning properly, a. here, Joyce fully achieved hi> aim. The achievement of thu technical analogy docs not, of coune, in itself add m""ical qualilie. 10 the text, hut in bringing about an even closer a<. 'lOCiation of oymboh and idea, than u p<dlible
with normal lingu. i. nic u,age, it lends word. some of the im_ mediacy and ,uccincrne. . of mmical expression. O w r Wai2el wa. careful not to conf""e the two arts':
, S<< At>J>=Iix A-
? O. W. luI, Dos W. ,I. i""'twtro, Leipzig, '9,6, p. '57. . ,8
? $u Appendix A.
? M. FriedmAn,S,,,_4/~"? S,,",-,"Lil<""7MnMJ,N. . . . . Haven, '955,p. '31.
? uitmotiv
'D. . . Leitmotiv fdgt,sowcit . . inhlitlicll deutet, nicht du dichlcrilchto form cine m,,';b lisehe an, KlIl<km es phi
dtm Inhalt du Woou durcb . cine eigent formung t lWaS hitml.
'
Tht Iymbooc content of all three comJlO""nt paru in the tmtrai amalgarnatioo of motifs quoled abo"" it matk to inta. act in a ""ry vital way: Night and Day, two oppcmu:s, arc <<. SOlved in the oomcwhal I= l i l l image ofhunU! mtn clad in
thclr night? attire harr-owing tht hilll in Ihe morning, while tht obj<<t ofthtir hunt it id""tilkd u HCE, tht lIag in (<); 1M: oenIal <rn:rtoOCl of {. oj arc reinforud by the clearly lCltuai ligni6c. ance of ('1; the idcnlilication ofShaun'. barrel with the Hoati"l coffin of Ooiril ill ht", emph. . iec:d by the a. . echtlon
with Ihe hea. . . . ("'~).
The", remaim OOt othu highly imporu,nt applic<ition oflhe
ltitmom in Pirwl(J,1tS WOW which mUlt bt: rnentiontd. This is tht technique of Ol1I\llZing motif. into a matrix or compla:. L The", M e two main typca of motif. agglomeration in Pirw, 1lAJ W. . . . ,. The lint and oimplcr type is ! 'IOthi", more than a bloc;lr. ofj""u,p: I! d motifo and a. oocia! ed . ymbola-a further a:amplc ofthe RabfJajoi'ncataloguc-ttthniquetowbichJoycewu10 inclintd. Every 00 ofttnJ oycc ~irtLUllly baltl the lorwarn move- ment of the narrati"" in order 10 build up a great pile of un- diluted motifa, thematic lto. temcnll, UK! symbols, which, to the weary reader trying to WOI'k his way Itraight through the: book from covu to (ov'"", come as a welcome, wcll""arned r<:iicf from his llrugsl. . wilh the: ';nuooiti. . ofJoyce'. thought elK? wlttrr:. The longest of these r. . ling places is the list of 389 attri. buu:s of Finn MacCool in 1. 6 (121i-39). 0"" might . ,'optct. , or {car, lhal the jUUp<lllition of individual items in lbcsc li. w is of . orne obtcur<: lignilicar1a, but, although ther<: is anainly mud! 10 admire in the wit and :appoUtel1CSl of c:ach rr:ve:aling litlie
phraJc,Joyu'l WOI'mg nu:thodo make il clear thai the ord~r of ilema is uaually unimportant. So little atttntion did Joyce pay to their onicr that he allowtd fri. nds 10 m. . . rt his additiOlll, giving them coruiderable freedom in the details of pbccment.
, $H J>l'rtic,. wly (be 'Utler', Cha_ Eip>L, II, b<. low. '19
? uz"tmoliv
The fullowing unpublished mam,"cript note is revelalory', 'If possible pie"",, i"",n Ihe following . 't aenknce, in D, begin- ning aooul 2 lin. . from top at H;gular intervals and ending aoout ~ lin. . from end, of toUTle not breaking any phrase or
group ofphra,. . ,'
'Baile. Alha. Cliath, 3' J un, 1 1. 3~ A. D. ' 'Fit Dunlop and be Satisfied'
'In the March of Civili! ation'
'Buy Pattenen', Matche,'
'Boston (M. . . . ), 31Jan, 13? ? ~ P. O. '
By baiting the narrative for a moment and filling Ihe pau. e with ruch concentration. of motih, J oyce i. abk: to creale a . . ,ri. . of nodal points whe,"" the reader can C<lntcmpla. te Ihe primary materials at hi< le;"u,",,; the ~ ncc of the book is ,""fined offfrom the m"", impu,"" dillCuT1ive matter and;" . hown forth for a moment befo,"" the cycl. . begin again.
The ,"cond ty! '" ormotif. agglomeration, and by far the more important, is the true interacting /tilmolio-compk:x, of whicll the utter is the most outstanding exampie. The romple" of motifr, acting as a whole rather then '" a collection ofleparatc parts, is one of the = t inteu",ing "'peel:! of tlu: struetu,"" of F;",,"l"'" Wa. k It i. a technique which iI on the whole med ,paringly. hut it i, all the mOTe p<m"Crl"ul fOT that. A mmple" all""" motifS whieh have be<:ome highly cluTged fmm lheir
previouo---QI", in the c"",, of Fi. tug". . . Wakt, their futu,",,- contacts, to react with Qne aMther Qn a grand scale, and $<I creatc a harmony of idca, colour, and $<lund, which impr. . . . sivdy heightens the . ymooli~ p<m"Cr or all the cml$tituent parts.
A good example of a rich kit""'tW-complex hdd I<lgclher in a tight 'ynthe:! i, of tone, rhythm, and imagery, i. the c;ck:brated clMingsectionof'Anna LiviaPlnrahdlc' towhi. ;}, Thave alrudy alluded several time:! (~,5- . 6). In the la. t two paragraph. ofthi, chapter almost every phTuc is . . majoTmotif. From lh<:ir $<Iurct he,"" they ,pr-cad either singly or in groups, and with varying
, On<of';",= ]""""~lS. h<et. in,hePo<uyC",Uectionof<heI. <><kwood Memoriat r. . ;b<a'l', Uruy"";ty '" 1Iuffio1o; 'ho ""'" . . und>. tod &nd be>n <>0
ind;c. ati"" . . '0 ,ho identity '" the w;;ipi<tI'; the p"'orc wen<:<! '0 . . now 400-:1 ' .
? uill7Wliv
deg. =ofwit and . . ,Ievance, inw almott all ngionsofthe book. "[h( th(ma "ith which tMy ckal- tm primary priocipk of hW! irical I'(CUm:nce and the a1temaUon of unity and diversity - au ,. "iled in thetc: qni(t and aimple JlatcmenlS far above the level ofshaping forca to become mediutive p! i<'try of the high. a, order. The OIotifs =m to emanate . . . (. senCeil from the being ofAnna i. i"i:l. h~=lf, from the slumbering CityofDublin, and from rem? covered Howth Head. After many 1000g ucu. ? lions through time and spa"", ha\ling ~hurned up mUOQ of tri\lia and quadri\lia whlch all u. U tile UDle story in miniature, we rurrivc at those oppoocd archetypal figures which ~ncnu.
every lcuc. manifestation.
. 8.
? CHAPTER EIGHT TWO MAJOR MOTIFS
In thit chapter I conclude my . rudy of HlltVgaJU W. . . t. Mth a disc"";",, of lOme aspects of twO important motifi. The fil'lt, bu ed on W quotation from Edgar Quinet in II. ~, it a Jing1e modubting ocntcn<<e of quite rernacbble arcwtec- rural beauty wweh i, fully ,Uted 00 W: occations and is alwaY' ~ cludy delineated. The oeoond, tbe 'kIter', is, by con? t'Nt, a . prawling and IOmcwhat formla t motlf. complea which, although it is only onct: qU()(ed complete (6[5-19), roCUI'I in literally hundreds of place. in more or Ic:sa fragmentary fOnn, making iu po=n<<e felt in the molt widdy divcrg<:nt contexts. ' I ,hal! Ir:aa: the Quioet motif Ihrough all iu major OCCUITUICCI in FiJwtll/lS W4kl, but in the caae of the more diffuse Letter I m m l c o n t e n t m y s e l f . . i l h ? ~eral s u r v e y o f i l l s y m b o l i l m a n d a brief diSCUllion of one hitheno undis",were<! source.
I: QUINET
The more repetition a book containa, the I. . . easy il mu", obYioUJIy be for the writer to create motiIJ whote recUITCD<<e will alTest the anent;on of tbc reader. In writing a book 10 con- IiItently repetitive . . FilWglUU W4kl J oyce Jet himldf the con? siderable Icchnic:al l>robkm ofcn:ating, for major architectonic or thematic PIlrJI<*I, a r",,? ouuunding molili which would not be enlircly nI'1Imped by the general flow of mUlating material. His . impl. ,t IIOlmion to lhi. difficulty was 10 tum uidc from his Dormal c. . . rom of building up motiIt from in1ignificant liltle ph. .
