36:2
the axiomatic orerotundiy of that once grand old elrington bawl,
?
the axiomatic orerotundiy of that once grand old elrington bawl,
?
Sandulescu-Literary-Allusions-in-Finnegans-Wake
?
?
?
Drapier's Letters (1724) Gulliver's Travels (1726)
? ? ? 583. 09:4
. Bigrob dignagging his lylyputtana.
? Allusion:
Jonathan Swift (1667-1745) Gulliver's Travels (1726)
(this gives us HCE as Brobdingnag, and ALP as Lilliput. )
? ? ? Atherton (1959: 114ff)
? Jonathan Swift
A Tale of a Tub (1704) Drapier's Letters (1724) Gulliver's Travels (1726)
? ? ? ? 015. 13:11
? ? ? houhnhymn songtoms
? ? ? Allusion:
Jonathan Swift (1667-1745) Gulliver's Travels (1726)
(This turns wise horses into hymns. )
? ? ? ? ? ? Atherton (1959: 114ff)
? ? ? ? Jonathan Swift
A Tale of a Tub (1704) Drapier's Letters (1724) Gulliver's Travels (1726)
? ? ? 553. 32:6
, in mantram of truemen like yahoomen (
? ? Allusion:
Jonathan Swift (1667-1745) Gulliver's Travels (1726)
(The Irish patriotic song The Memory of the Dead. )
? ? Atherton (1959: 114ff)
? Jonathan Swift
A Tale of a Tub (1704) Drapier's Letters (1724) Gulliver's Travels (1726)
? ? ? ? 205. 30:7
? ? ? yahoort,
? ? ? ? Allusion:
Jonathan Swift (1667-1745) Gulliver's Travels (1726)
( This is a renvoi to Balkan / Bulgarian / Turkish yoghurt. . . so common everywhere nowadays )
? ? ? ? ? Atherton (1959: 114ff)
? ? ? ? Jonathan Swift
A Tale of a Tub (1704) Drapier's Letters (1724) Gulliver's Travels (1726)
? ? ? 348. 01:2
. Yaa hoo
? ? Allusion:
Jonathan Swift (1667-1745) Gulliver's Travels (1726)
(which includes the 28-times repeated refrain of James Clarence Mangan's poem Trust not the World, nor Time. ) (Mangan adds a note that Ya Hu! is the familiar cry of the dervishes. Turkish for yes, indeed, or alas. )
? ? ? Atherton (1959: 114ff)
? Jonathan Swift
A Tale of a Tub (1704) Drapier's Letters (1724) Gulliver's Travels (1726)
? ? ? ? 623. 23:8
? ? ? ? . With her strulldeburgghers! Hnmn hnmn!
? ? ? ? ? Allusion:
Jonathan Swift (1667-1745) Gulliver's Travels (1726)
(as part of ALP's last speech. . . )
? ? ? ? ? Atherton (1959: 114ff)
? ? ? ? Jonathan Swift
A Tale of a Tub (1704) Drapier's Letters (1724)
? ? ? ? ? ? ? ? ? ? ? ? Bucures? ti 2012
C. George Sandulescu, Editor.
Literary Allusions in Finnegans Wake 315
? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? Gulliver's Travels (1726)
? ? ? 012. 36:10 ::25
Behove this sound of Irish sense. Really? / Here English might be seen. Royally? / One sovereign punned to petery pence. Regally? / The silence speaks the scene. Fake!
? (Atherton declares: "Quotations of Swift's exact words are not common in Joyce. But The Epigram on the Magazine is an outstanding exception! Do compare the Swift original with Joyce's own parody of it:
Behold a proof of Irish sense!
Here Irish wit is seen!
Where nothing's left that's worth defence, They build a magazine. )
? ? ? Atherton (1959: 121)
? Jonathan Swift
A Tale of a Tub (1704) Drapier's Letters (1724) Gulliver's Travels (1726)
? ? ? ? 447. 04:8
? ? ? . Burn only what's Irish, accepting their coals.
? ? ? ? Allusion:
(Swift's well-known advice to the Irish "Burn everything English except their coals! " is twisted by Joyce in such a way that it is turned completely inside out! )
? ? ? ? ? Atherton (1959: 114ff)
? ? ? ? Jonathan Swift
A Tale of a Tub (1704) Drapier's Letters (1724) Gulliver's Travels (1726)
? ? ? 055.
36:2
the axiomatic orerotundiy of that once grand old elrington bawl,
? ? ? Allusion:
(This may be describing the actor Thomas Elrington whom Swift mentions in his writings; or it may refer to the critic F. Elrington Ball, who edited Swift's Correspondence, and also wrote a book on his verse. It can also be an allusion to both of them together . . . concludes Atherton. )
? ? Atherton (1959: 114ff)
? Jonathan Swift
A Tale of a Tub (1704) Drapier's Letters (1724) Gulliver's Travels (1726)
? ? ? ? ? ? ? Bucures? ti 2012
C. George Sandulescu, Editor.
Literary Allusions in Finnegans Wake 316
Anthony BURGESS (1917-1992)
Finnegans Wake: What It's All About
? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? From: 99 Novels - The Best in English since 1939. Allison and Busby. London. 1984. 160 pages.
? ? ? ? ? ? ? This book was deliberately published by Anthony Burgess as early as 1984, in order to be able to make the clear statement that Finnegans Wake is by far the greatest of the 99 novels published in the world between the year of the start of the Second World War, which was 1939, and the year 1983, which was the eve of the Orwellian fatidic date of 1984.
CGS
? ? ? ? ? ? Bucures? ti 2012
C. George Sandulescu, Editor.
Literary Allusions in Finnegans Wake 317
This long and difficult work represents for many the end of the period which began in 1922 with T. S. Eliot's The Waste Land and Joyce's own Ulysses. That was the age of Modernism - a movement in literature which rejected the late nineteenth-century concept of Liberal Man and presented (as in Ernest Hemingway and D. H. Lawrence) Natural Man, and (in Eliot, Joyce and, later Evelyn Waugh and Graham Greene) Imperfect Man. To eliminate all traces of Victorian and Edwardian optimism, literary style had to change from the orotund to the spare, ironic, experimental. There was also a franker realism than known in the old days. The frank realism of Ulysses earned moral censure, and the experimental prose caused difficulties for the ordinary reader. These difficulties were, however, nothing in comparison with those to be encountered in Finnegans Wake.
While Ulysses is a book of the sunlight, depicting the events of an ordinary day in Dublin in 1904, Finnegans Wake is a work of the dark. It presents, with no concessions to waking sense, a dream in a specially invented dream language. The hero is a publican in Chapelizod, just outside Dublin, and, while his waking name is probably Mr. Porter, his dream name is Humphrey Chimpden Earwicker. He has a wife, Ann, a daughter, Isabel, and twin sons named Kevin and Jerry. Earwicker is the eternal builder of cities, while his wife is all the rivers on which cities are built, but all cities become Dublin and all rivers flow into the Liffey. Isabel becomes the eternal temptress who brings great men low, and the twin boys become all the rival males of myth and
? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? Bucures? ti 2012
C. George Sandulescu, Editor.
Literary Allusions in Finnegans Wake 318
history, from Cain and Abel to Jack Dempsey and Gene Tunney. Earwicker's long dream is really a mammoth comedy in which his household and the customers of his pub play all the roles. The theme of the play is simple: the father is a builder, but his creative gift is an aspect of sexual sin (no erection without an erection). His sons are most typically presented as a poetic dreamer and a political demagogue. They fight to take over the role of their father, but, as each is only one half of the creative egg (Earwicker often appears as Humpty Dumpty, author of his own great fall), they lack the power and skill to depose him. The great paternal creator is thrust underground, but he always rises again. One of the parts he plays is that of the god-giant Finnegan, who, like Christ, may be killed and eaten and drunk but is indestructible. The action of the dream takes place in 1132 AD, a symbolic year which combines figures of falling and rising - bodies fall at the rate of 32 feet per second; when we have counted on our ten fingers we start again with the number 11. Meanwhile the wifely motherly river - who never dies - flows on quietly beneath the turbulent city which is her husband.
Some say that this fantasy is not really a novel. In that it has distinguishable characters - always changing their shapes and names but always brilliantly delineated - and that there is a summarizable plot and a fixed mise en sce`ne - the master bedroom over the pub - it is difficult to deny that it belongs to the genre. We had to wait for the war in order to begin to understand it (it was in many an intellectual fighting man's kitbag), but it is the post-war age that has produced a horde of Joyce scholars dedicated to dragging it further into the light. Janus-faced, it looks back to the twenties but also to the indefinite future: no writer of the contemporary period has been able to ignore it, though most writers have succeeded in not being influenced by it.
? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? Bucures? ti 2012
C. George Sandulescu, Editor.
Literary Allusions in Finnegans Wake 319
? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?
? ? ? 583. 09:4
. Bigrob dignagging his lylyputtana.
? Allusion:
Jonathan Swift (1667-1745) Gulliver's Travels (1726)
(this gives us HCE as Brobdingnag, and ALP as Lilliput. )
? ? ? Atherton (1959: 114ff)
? Jonathan Swift
A Tale of a Tub (1704) Drapier's Letters (1724) Gulliver's Travels (1726)
? ? ? ? 015. 13:11
? ? ? houhnhymn songtoms
? ? ? Allusion:
Jonathan Swift (1667-1745) Gulliver's Travels (1726)
(This turns wise horses into hymns. )
? ? ? ? ? ? Atherton (1959: 114ff)
? ? ? ? Jonathan Swift
A Tale of a Tub (1704) Drapier's Letters (1724) Gulliver's Travels (1726)
? ? ? 553. 32:6
, in mantram of truemen like yahoomen (
? ? Allusion:
Jonathan Swift (1667-1745) Gulliver's Travels (1726)
(The Irish patriotic song The Memory of the Dead. )
? ? Atherton (1959: 114ff)
? Jonathan Swift
A Tale of a Tub (1704) Drapier's Letters (1724) Gulliver's Travels (1726)
? ? ? ? 205. 30:7
? ? ? yahoort,
? ? ? ? Allusion:
Jonathan Swift (1667-1745) Gulliver's Travels (1726)
( This is a renvoi to Balkan / Bulgarian / Turkish yoghurt. . . so common everywhere nowadays )
? ? ? ? ? Atherton (1959: 114ff)
? ? ? ? Jonathan Swift
A Tale of a Tub (1704) Drapier's Letters (1724) Gulliver's Travels (1726)
? ? ? 348. 01:2
. Yaa hoo
? ? Allusion:
Jonathan Swift (1667-1745) Gulliver's Travels (1726)
(which includes the 28-times repeated refrain of James Clarence Mangan's poem Trust not the World, nor Time. ) (Mangan adds a note that Ya Hu! is the familiar cry of the dervishes. Turkish for yes, indeed, or alas. )
? ? ? Atherton (1959: 114ff)
? Jonathan Swift
A Tale of a Tub (1704) Drapier's Letters (1724) Gulliver's Travels (1726)
? ? ? ? 623. 23:8
? ? ? ? . With her strulldeburgghers! Hnmn hnmn!
? ? ? ? ? Allusion:
Jonathan Swift (1667-1745) Gulliver's Travels (1726)
(as part of ALP's last speech. . . )
? ? ? ? ? Atherton (1959: 114ff)
? ? ? ? Jonathan Swift
A Tale of a Tub (1704) Drapier's Letters (1724)
? ? ? ? ? ? ? ? ? ? ? ? Bucures? ti 2012
C. George Sandulescu, Editor.
Literary Allusions in Finnegans Wake 315
? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? Gulliver's Travels (1726)
? ? ? 012. 36:10 ::25
Behove this sound of Irish sense. Really? / Here English might be seen. Royally? / One sovereign punned to petery pence. Regally? / The silence speaks the scene. Fake!
? (Atherton declares: "Quotations of Swift's exact words are not common in Joyce. But The Epigram on the Magazine is an outstanding exception! Do compare the Swift original with Joyce's own parody of it:
Behold a proof of Irish sense!
Here Irish wit is seen!
Where nothing's left that's worth defence, They build a magazine. )
? ? ? Atherton (1959: 121)
? Jonathan Swift
A Tale of a Tub (1704) Drapier's Letters (1724) Gulliver's Travels (1726)
? ? ? ? 447. 04:8
? ? ? . Burn only what's Irish, accepting their coals.
? ? ? ? Allusion:
(Swift's well-known advice to the Irish "Burn everything English except their coals! " is twisted by Joyce in such a way that it is turned completely inside out! )
? ? ? ? ? Atherton (1959: 114ff)
? ? ? ? Jonathan Swift
A Tale of a Tub (1704) Drapier's Letters (1724) Gulliver's Travels (1726)
? ? ? 055.
36:2
the axiomatic orerotundiy of that once grand old elrington bawl,
? ? ? Allusion:
(This may be describing the actor Thomas Elrington whom Swift mentions in his writings; or it may refer to the critic F. Elrington Ball, who edited Swift's Correspondence, and also wrote a book on his verse. It can also be an allusion to both of them together . . . concludes Atherton. )
? ? Atherton (1959: 114ff)
? Jonathan Swift
A Tale of a Tub (1704) Drapier's Letters (1724) Gulliver's Travels (1726)
? ? ? ? ? ? ? Bucures? ti 2012
C. George Sandulescu, Editor.
Literary Allusions in Finnegans Wake 316
Anthony BURGESS (1917-1992)
Finnegans Wake: What It's All About
? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? From: 99 Novels - The Best in English since 1939. Allison and Busby. London. 1984. 160 pages.
? ? ? ? ? ? ? This book was deliberately published by Anthony Burgess as early as 1984, in order to be able to make the clear statement that Finnegans Wake is by far the greatest of the 99 novels published in the world between the year of the start of the Second World War, which was 1939, and the year 1983, which was the eve of the Orwellian fatidic date of 1984.
CGS
? ? ? ? ? ? Bucures? ti 2012
C. George Sandulescu, Editor.
Literary Allusions in Finnegans Wake 317
This long and difficult work represents for many the end of the period which began in 1922 with T. S. Eliot's The Waste Land and Joyce's own Ulysses. That was the age of Modernism - a movement in literature which rejected the late nineteenth-century concept of Liberal Man and presented (as in Ernest Hemingway and D. H. Lawrence) Natural Man, and (in Eliot, Joyce and, later Evelyn Waugh and Graham Greene) Imperfect Man. To eliminate all traces of Victorian and Edwardian optimism, literary style had to change from the orotund to the spare, ironic, experimental. There was also a franker realism than known in the old days. The frank realism of Ulysses earned moral censure, and the experimental prose caused difficulties for the ordinary reader. These difficulties were, however, nothing in comparison with those to be encountered in Finnegans Wake.
While Ulysses is a book of the sunlight, depicting the events of an ordinary day in Dublin in 1904, Finnegans Wake is a work of the dark. It presents, with no concessions to waking sense, a dream in a specially invented dream language. The hero is a publican in Chapelizod, just outside Dublin, and, while his waking name is probably Mr. Porter, his dream name is Humphrey Chimpden Earwicker. He has a wife, Ann, a daughter, Isabel, and twin sons named Kevin and Jerry. Earwicker is the eternal builder of cities, while his wife is all the rivers on which cities are built, but all cities become Dublin and all rivers flow into the Liffey. Isabel becomes the eternal temptress who brings great men low, and the twin boys become all the rival males of myth and
? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? Bucures? ti 2012
C. George Sandulescu, Editor.
Literary Allusions in Finnegans Wake 318
history, from Cain and Abel to Jack Dempsey and Gene Tunney. Earwicker's long dream is really a mammoth comedy in which his household and the customers of his pub play all the roles. The theme of the play is simple: the father is a builder, but his creative gift is an aspect of sexual sin (no erection without an erection). His sons are most typically presented as a poetic dreamer and a political demagogue. They fight to take over the role of their father, but, as each is only one half of the creative egg (Earwicker often appears as Humpty Dumpty, author of his own great fall), they lack the power and skill to depose him. The great paternal creator is thrust underground, but he always rises again. One of the parts he plays is that of the god-giant Finnegan, who, like Christ, may be killed and eaten and drunk but is indestructible. The action of the dream takes place in 1132 AD, a symbolic year which combines figures of falling and rising - bodies fall at the rate of 32 feet per second; when we have counted on our ten fingers we start again with the number 11. Meanwhile the wifely motherly river - who never dies - flows on quietly beneath the turbulent city which is her husband.
Some say that this fantasy is not really a novel. In that it has distinguishable characters - always changing their shapes and names but always brilliantly delineated - and that there is a summarizable plot and a fixed mise en sce`ne - the master bedroom over the pub - it is difficult to deny that it belongs to the genre. We had to wait for the war in order to begin to understand it (it was in many an intellectual fighting man's kitbag), but it is the post-war age that has produced a horde of Joyce scholars dedicated to dragging it further into the light. Janus-faced, it looks back to the twenties but also to the indefinite future: no writer of the contemporary period has been able to ignore it, though most writers have succeeded in not being influenced by it.
? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? Bucures? ti 2012
C. George Sandulescu, Editor.
Literary Allusions in Finnegans Wake 319
? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?
