authoritative edition of Chamber Music, in whicb h~ tracca a number of thin and often mildly
scatological
corresponde""",.
Hart-Clive-1962-Structure-and-Motif-in-Finnegans-Wake
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 ;. implied in 'to every _able a hue', cte. ' The . hythms a. . . , b~ on tbote o? thuong 'As I wu going to St. Iva . ? . '" ;n which a multiplicity of sevens are introduced, only to be absorbed into the 011" m~n going 10 St. IVCI, juol as the raillbow i. at. orlxd into the unified while l;ght 0( Ihe run. Sewll cor? responding ""undl are of course implied in 'hue and . ? . cry'. A ~pond1ng pHUgC ;. to be found in I I. ~:
'Rclilha beacon, bcckol! brighl! U"",'dte, unmesh usl That grCDe ray of urnn! ! it Wlva UI to yonder as the . ed, hlue and yellow 1\Qg. tUn( on the domilole, with a b1ewy blow and a windigo. \Vllere fWh bco:Imeo word and siknlS Iellioud. To brace oongmen, trebly bounden and assct"V:\ged twainly. Adamman, Emhe, I_ianmheen and oomelYJ>CI Yggcly OS' Wcib. Uwayocil So mag 1m. . ybildte be our $hibbolcth Ihat "'. . may ryllable h. . . . wdll' (267. 12)
The fiv~ vowels and the two ""mi. \IOw. 1s haw: heen combined in a 'cry for a primiriw: cmotioo'. Since we are here 'on lhe olhc< I,d. ' of the book, il is the moon ('Usher"<:lte'), not the ,un, wbooe ri,;ng we witn. . . , hUlthe pra~. ,. . ,m~iN the sarno.
? s:. . M. 1. C. IUodpnandM. P. W"",,,,-,~ . . lAo W"~I" J"'" J';P'N"", Yorl, '959, p. '7i.
. ,.
? Curre. Jporui(7lcu
Tbis prohahly owes much 10 Ihe aDCiePI Egyptian morning prayer which Joyce _ uld have read aboul ip Blaval. 'lky': 'llle Egyptian p,;""u ,hanled . he acv<:n vowdI . . . . a bymn addresstd <0 Serapis; and at lhe sound of the KVenth ,-owe! , as at th~ "seventh ray" of the rUing ,un, the lIa'lIe of Memnon responded. ' (Cf. 'PRIMITIVE SEPT', ~67. RI, and cf. also
9'ho~? l
III: EXTRAVENT INTERVULVE COUPLING (3Ipo)
Duality of being is perlLaps the mos. imponant of all tbe balic IInrelural ronecpu in r llt1lt,. ,u Will,. There arc tWO of "vcrything-tO that any crux can alwaY" be rclatffi to IOlne analogoul p. . . . K" for ~nLight. cnmml-and everything in the book~'"in[WO ,. . ,rsions,om:"nlttdandonedch<u<:d. This principle applies to the abstract I'datioruhi,," bel\<o"Co:n things and even" as much as to the things . nd evenl! them. dvts.
J oy<< even IUpplies a debased analogue of the mystical thCO<)' of corrcspondeoca by expLain. ing it away in te. . . . . 0( ronnaions, of a pun:ly mechanical kind, hidd"" behind the fabric of 11K
univerul . I18o. . . ,t. Several important cp;. ooa . . ,.
'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 ;. implied in 'to every _able a hue', cte. ' The . hythms a. . . , b~ on tbote o? thuong 'As I wu going to St. Iva . ? . '" ;n which a multiplicity of sevens are introduced, only to be absorbed into the 011" m~n going 10 St. IVCI, juol as the raillbow i. at. orlxd into the unified while l;ght 0( Ihe run. Sewll cor? responding ""undl are of course implied in 'hue and . ? . cry'. A ~pond1ng pHUgC ;. to be found in I I. ~:
'Rclilha beacon, bcckol! brighl! U"",'dte, unmesh usl That grCDe ray of urnn! ! it Wlva UI to yonder as the . ed, hlue and yellow 1\Qg. tUn( on the domilole, with a b1ewy blow and a windigo. \Vllere fWh bco:Imeo word and siknlS Iellioud. To brace oongmen, trebly bounden and assct"V:\ged twainly. Adamman, Emhe, I_ianmheen and oomelYJ>CI Yggcly OS' Wcib. Uwayocil So mag 1m. . ybildte be our $hibbolcth Ihat "'. . may ryllable h. . . . wdll' (267. 12)
The fiv~ vowels and the two ""mi. \IOw. 1s haw: heen combined in a 'cry for a primiriw: cmotioo'. Since we are here 'on lhe olhc< I,d. ' of the book, il is the moon ('Usher"<:lte'), not the ,un, wbooe ri,;ng we witn. . . , hUlthe pra~. ,. . ,m~iN the sarno.
? s:. . M. 1. C. IUodpnandM. P. W"",,,,-,~ . . lAo W"~I" J"'" J';P'N"", Yorl, '959, p. '7i.
. ,.
? Curre. Jporui(7lcu
Tbis prohahly owes much 10 Ihe aDCiePI Egyptian morning prayer which Joyce _ uld have read aboul ip Blaval. 'lky': 'llle Egyptian p,;""u ,hanled . he acv<:n vowdI . . . . a bymn addresstd <0 Serapis; and at lhe sound of the KVenth ,-owe! , as at th~ "seventh ray" of the rUing ,un, the lIa'lIe of Memnon responded. ' (Cf. 'PRIMITIVE SEPT', ~67. RI, and cf. also
9'ho~? l
III: EXTRAVENT INTERVULVE COUPLING (3Ipo)
Duality of being is perlLaps the mos. imponant of all tbe balic IInrelural ronecpu in r llt1lt,. ,u Will,. There arc tWO of "vcrything-tO that any crux can alwaY" be rclatffi to IOlne analogoul p. . . . K" for ~nLight. cnmml-and everything in the book~'"in[WO ,. . ,rsions,om:"nlttdandonedch<u<:d. This principle applies to the abstract I'datioruhi,," bel\<o"Co:n things and even" as much as to the things . nd evenl! them. dvts.
J oy<< even IUpplies a debased analogue of the mystical thCO<)' of corrcspondeoca by expLain. ing it away in te. . . . . 0( ronnaions, of a pun:ly mechanical kind, hidd"" behind the fabric of 11K
univerul . I18o. . . ,t. Several important cp;. ooa . . ,.
