performances allhe Gaiety Theatre,
proprietor
Michael Gunn.
McHugh-Roland-1976-The-Sigla-of-Finnegans-Wake
ions of'Angel.
and Devils' are detailed by l ORa and Peter Opie:"
ACC<lrding to Kampmiiller ve. . . ;';'ns of this game, wilh Angel and Devil alternately choosing colou. . . , continue t<> be played in Austria, and are called 'Engel und Teufel' or ' D u Farbenauf~ben' (()be";j'l<"'tUhi. dt~ K i " , u r s p ; t k , '? i5, p. 166). The game i, ahe. much played today in Italy, where il i. known Simply a. '0. 1",;', although the Madonna or art Angel likewise lak"" turns with the Dev;1
'0l. . """, I, >9j.
. . GIO_',0-;" s. . . . . . ,. oJ Pl<y~ (Od<o<d uru. <nltyPr. . . [\169).
">-'
Angol. and Devils H
? ~6 The Sigla of Finntg4nJ Wake
to uk foe colou. . . , and the sid. wins whose le. d. . . . guesses
the IDOIt colou" correctly. . . . In Germany, a. long aliO . , ,827, a vee, ion was recorded caUed 'Blumen verltauftn'
in which the principal playen were a Gardener and a Buytt, and the playtt. adopttd the nam. . <Jf dower> (H. Dimnar, nt. Kindt< LWljdd, 1817, p. 270).
The flower-nam. . . are conspicuous in II. I and the colour choscn by -t i. the name <Jf. dower, heliotrope.
Alice Bertha G<Jmme divides 'dramatic or rcpres. . n':IIinnal gam<$',ofwhich this i. an cwnple, inlO five categoric. , line fMm, circle form, individn. :ol fMm, arch fonn and winding-up f<Jlm. " Apart f. -om 'How Many Mil. . . to Babyl<Jll', which indud<$ the line 'Willi be there by Cand]""",. . ? ' parodied al 2)6. 07, and i. alch foem, aU Ihe gam<$ from. thi, wort used in II. I appear 10
be of the lilY (I) or cirde (e) varieti. . :"
223. 10-11
22~? '5- '7
2~6. 04
226. 11-12 226. 22 226. 26--9
226? 33-4 233. 07 233? I2 236. 09-10
237? 0S 2]9. 3 2
2]9-36
Pop go. . lhe weasel , Lady on the mounlain (,There . Iands ? lady on
Ihe moun",;n, Who 'he is I do nm know; All
she wan. . i. gold and silver, All she wan" i.
a nice young man. ')
Pooe Mary sits a-weeping
Jenny Jones ('You can't see her now') ,
Nu" in May
Lubin (,Shake it ? liale, a little, a little, And turn yourself ab<:>ut') WhenIwa. ayounggirl('Thi,way~tI') Three IIOilon (,Shall we have Iodpngs here? ') London Bridge ('My fair lady')
I':ttmec'. den
(Joyce's veroion i, closer to thaI given in Nor_ man Douglas, U>l! d. >n SlI'u/ Ga. . . . . : 'The fanner'sinhis den, The fanner's in hi. den, He I Hedy Ho, the fanner'. in hi. deo')
Mulberry B",h
Oa", peas, beans and harley grow Ring: a-ring: o'Ros. .
, ,
"n. . T,. o. t;riM4Ia-",~, S<"dMd"";1"-("'! ""in'byOov<. Put>Ii<>. . . ,. ,. ,N. . . . YodI~),471-"1.
,. """,of"-<pm<O >r<"''''d ;" M. ]. C 1iqQprt. . . . ; Mah<1 P. Wonh;,. . tnn, S c o w ; . ' " W . . . . . " , J _ J _ ( N e w Y o r I ! , C o l _ b i l l . U B i . . . . . i . , . l ' n u '9'9 ~ " . . . ,1.
, ,
,
? ,
Hook II corTt$ponding 10 marriage in Vico'. seh<me, line and drde form a", appropriate for, oay1 Gmnme, they are ofttn con-
nec. ed wi. h marriage parodies, and
children, knowing the gtnera] form. of rrurrriage gam", would naturally <tInce in drde form 10 any ballad verses in which marriage or love and couruhip OCCurs . . . [line games1 a", pme. of com. . "t, wher<:as the circle games are gam. . in which a homogtneou. group of persom ore per- forming a ""remooy belonging entirely 10 themselv. . . The ceremony ioof a religiow; dUltllCkr, a. in 'Oats and Beo. nt and Barley',or 'Old Roger', dedicated ro a spirit intimately connected with the group who pcrfonn it, and having noth- ing belonging to any outside group. The position of the marriagearemony in this group is peculiar. It has """led down from the more primitive sta. e of thingo shown in the line marriage g"n",. , and has acquired a more social and domestic form. . . . -Ille remaina ofthe line and circle form, as deno. ing opponents and friendly oommunion can, I
think, be traced in old play1 and old methods of acting. In old panlOll'limC1, the demons or evil spirits and their followers enter on One . ide and stand in lines; the good. fairy and her followers enter on the opposite . ide and stand in line; the principal characters advance from the" line:, and
talk ddiano: to each other. "
n f oCCurs in the evtning, the time tnO$. propitious for both street gamesand pantomimes. The pantomimC1 chiefly centribu,_ ing are the famous Christma.
performances allhe Gaiety Theatre, proprietor Michael Gunn. The precise matching of the angels (A, St Michael) and devil. (I:, L ucifer), compared to their imhabn"" in books I and II I, favou,", tIte ""turn, after a fash;'m, of m, wh<l
is equated with Gunn. Unlike the c,,"mour of di1Crnhodicd VOiCC1 in III. ), . his drama i. an inflexible, ste""'typed, inV<JCatory ritual depending upon gesture and imitation to convey its subtleties.
"AbulI<,tIuG<mn>o,17uT. . . . do? "",. . {a-. . . j~t-l, &. ,t-l. odhu-d IT, <9' , )0.
Old R<>gec ('Old Rogec i. dead and i. laid in
his grave') , Queen Mary (,One morning I ro"" and I looked
in the glu. ')
Ang<:b and Devils 57
? S8 The Sigla of Fimug~m Wa. lt.
Entitled Th. Mom. of Mick, Nick and rhe Majy(i<. (A, I: and 0), itopenswith programme [10(. . on 219-12. The pufonnaru;e take. place under the disringuished palr. mq;e "f X. The Briti. h Museum manuscripU feature a hot nf . igla entries corresponding
'0 the dramo. r;, P<"JOtIIM," though not in the sequence finally produced (I:, A,. . , . . . . . , . 01. , m, 0, ! II and K). A. in the Gaiety panlo- mimes the advertisement memon. tbe 'tra. mformation . cene'. "
Thehi,trionicsopenal 122. 12wi,h thean,itl>cti""l presentation of I: and A. Then 0 or . . . . . (' twintomin. ') allegorically enact the four . yllabl. . of 'hdiO(rope' (223. 09-11) which I: ha. to IOu. . ,.
While he seek. in. pintion (223. 27-33), <> form a 'lineup' behind A, their 'commoner guardian' (11+24). I: make. the<< incorrect gue. . . . (225. 11-7) and it derided by 0, who perform flnral ring_ danc. . around A, run a. . . . . y and 00"" hack. Thi. sequence CQO_ tain. 'the Ireaonent of the double rainbow in which the iriric CQloun are finot no"""l and then reversed', as Joyce puts il in hi.
k tter quoted arove.
In ll7. t9-131. 09 the ,lage i. rd<gated to the OU{CII. { 1:. Hi.
search for an inward light or the d. . i",d CQlour HlUll''''''' the orchctypal growth of adolescent romantic poetry. A. in 1. 7 a bio_ graphical matrix includes the escalating piety "f Stephen in Por- " air IV (227. 29-228. 01) and the Psrit-Zurich exile of Joyce, whence he di>patched hi. fiTSt epi. tle to the Hebrew. (128. 05- 119. 07). Th;" grod. . into U{y. . . . ('I made them take it! '): 119. 13- 16 l;'to its 'OdyO$Cy' section. That view which demand. plliemics of UIy. . . , sees Joyce needling thef~ th. atcrippled him, expos- illi hi' progenitors' wcaknestts. In hi. lm er Joyce called C . epis! ! e 'blackmail orutr'. Bul as he an. oly1<:$ his ba~und and hi, web of ",La,ives, (230. 26-231. 04), I: hecomes nosralgic and b t e a t h . . fouT l i n <:$of e c s r a t i c " ' g r e t ( 231. 0 S - 8 ). T h e t t a b Q f h o r n c - . id<ru:o. s COOC\ll"$ w'th a shooting pain in the root of h;" wisdnm t<>nth (imny), contorting the featur. . of hi. fa~ and ni,ing hi. temperalUre. The 'chewer', like 'gI18wthing unbeardth' i. in-
flamed. through sugary indulgence (Turkish delight, 232. 01). Sud_ denly, opportunely, -l . cndo tidings that she will wail for I: (2]1. 09-17) and he da. h. . back, doubly disguised as a aailor, only 10 fail again with hi. three questions. When he ge~ eln$<: enough to ask, <> coalesce into -l; when he i. confounded they fan tnck into their mocking diven;'y. Hi, spirits fallen, he depart> once = ? .
n. . c. . . n. :-y of I _ I . . . . . "
"Add. MS . 7. n . . ~
" 5<< ~ M. Ad&n>o, s-J_ mod $yooboI. " 'UlYuu' (Orlocd tinrur. ;. y I'reu [5IM), 79-
? " re_e,"ers and i. adored by his ehoru. in two extended . uppli- ""tion. (235. 09-236. Il1; 237. 11-239. 21). In the first. , extol a future ofoourg<:<>is t"'pectability ; in 'he . econd, a ]i,de more ex-
perienced, tl><:y are ambit;oos for 'he sex""l promi. cuity originally advocated by 1:. But when I: himtdf . . . ,. . ppc;on. he ha.
ACC<lrding to Kampmiiller ve. . . ;';'ns of this game, wilh Angel and Devil alternately choosing colou. . . , continue t<> be played in Austria, and are called 'Engel und Teufel' or ' D u Farbenauf~ben' (()be";j'l<"'tUhi. dt~ K i " , u r s p ; t k , '? i5, p. 166). The game i, ahe. much played today in Italy, where il i. known Simply a. '0. 1",;', although the Madonna or art Angel likewise lak"" turns with the Dev;1
'0l. . """, I, >9j.
. . GIO_',0-;" s. . . . . . ,. oJ Pl<y~ (Od<o<d uru. <nltyPr. . . [\169).
">-'
Angol. and Devils H
? ~6 The Sigla of Finntg4nJ Wake
to uk foe colou. . . , and the sid. wins whose le. d. . . . guesses
the IDOIt colou" correctly. . . . In Germany, a. long aliO . , ,827, a vee, ion was recorded caUed 'Blumen verltauftn'
in which the principal playen were a Gardener and a Buytt, and the playtt. adopttd the nam. . <Jf dower> (H. Dimnar, nt. Kindt< LWljdd, 1817, p. 270).
The flower-nam. . . are conspicuous in II. I and the colour choscn by -t i. the name <Jf. dower, heliotrope.
Alice Bertha G<Jmme divides 'dramatic or rcpres. . n':IIinnal gam<$',ofwhich this i. an cwnple, inlO five categoric. , line fMm, circle form, individn. :ol fMm, arch fonn and winding-up f<Jlm. " Apart f. -om 'How Many Mil. . . to Babyl<Jll', which indud<$ the line 'Willi be there by Cand]""",. . ? ' parodied al 2)6. 07, and i. alch foem, aU Ihe gam<$ from. thi, wort used in II. I appear 10
be of the lilY (I) or cirde (e) varieti. . :"
223. 10-11
22~? '5- '7
2~6. 04
226. 11-12 226. 22 226. 26--9
226? 33-4 233. 07 233? I2 236. 09-10
237? 0S 2]9. 3 2
2]9-36
Pop go. . lhe weasel , Lady on the mounlain (,There . Iands ? lady on
Ihe moun",;n, Who 'he is I do nm know; All
she wan. . i. gold and silver, All she wan" i.
a nice young man. ')
Pooe Mary sits a-weeping
Jenny Jones ('You can't see her now') ,
Nu" in May
Lubin (,Shake it ? liale, a little, a little, And turn yourself ab<:>ut') WhenIwa. ayounggirl('Thi,way~tI') Three IIOilon (,Shall we have Iodpngs here? ') London Bridge ('My fair lady')
I':ttmec'. den
(Joyce's veroion i, closer to thaI given in Nor_ man Douglas, U>l! d. >n SlI'u/ Ga. . . . . : 'The fanner'sinhis den, The fanner's in hi. den, He I Hedy Ho, the fanner'. in hi. deo')
Mulberry B",h
Oa", peas, beans and harley grow Ring: a-ring: o'Ros. .
, ,
"n. . T,. o. t;riM4Ia-",~, S<"dMd"";1"-("'! ""in'byOov<. Put>Ii<>. . . ,. ,. ,N. . . . YodI~),471-"1.
,. """,of"-<pm<O >r<"''''d ;" M. ]. C 1iqQprt. . . . ; Mah<1 P. Wonh;,. . tnn, S c o w ; . ' " W . . . . . " , J _ J _ ( N e w Y o r I ! , C o l _ b i l l . U B i . . . . . i . , . l ' n u '9'9 ~ " . . . ,1.
, ,
,
? ,
Hook II corTt$ponding 10 marriage in Vico'. seh<me, line and drde form a", appropriate for, oay1 Gmnme, they are ofttn con-
nec. ed wi. h marriage parodies, and
children, knowing the gtnera] form. of rrurrriage gam", would naturally <tInce in drde form 10 any ballad verses in which marriage or love and couruhip OCCurs . . . [line games1 a", pme. of com. . "t, wher<:as the circle games are gam. . in which a homogtneou. group of persom ore per- forming a ""remooy belonging entirely 10 themselv. . . The ceremony ioof a religiow; dUltllCkr, a. in 'Oats and Beo. nt and Barley',or 'Old Roger', dedicated ro a spirit intimately connected with the group who pcrfonn it, and having noth- ing belonging to any outside group. The position of the marriagearemony in this group is peculiar. It has """led down from the more primitive sta. e of thingo shown in the line marriage g"n",. , and has acquired a more social and domestic form. . . . -Ille remaina ofthe line and circle form, as deno. ing opponents and friendly oommunion can, I
think, be traced in old play1 and old methods of acting. In old panlOll'limC1, the demons or evil spirits and their followers enter on One . ide and stand in lines; the good. fairy and her followers enter on the opposite . ide and stand in line; the principal characters advance from the" line:, and
talk ddiano: to each other. "
n f oCCurs in the evtning, the time tnO$. propitious for both street gamesand pantomimes. The pantomimC1 chiefly centribu,_ ing are the famous Christma.
performances allhe Gaiety Theatre, proprietor Michael Gunn. The precise matching of the angels (A, St Michael) and devil. (I:, L ucifer), compared to their imhabn"" in books I and II I, favou,", tIte ""turn, after a fash;'m, of m, wh<l
is equated with Gunn. Unlike the c,,"mour of di1Crnhodicd VOiCC1 in III. ), . his drama i. an inflexible, ste""'typed, inV<JCatory ritual depending upon gesture and imitation to convey its subtleties.
"AbulI<,tIuG<mn>o,17uT. . . . do? "",. . {a-. . . j~t-l, &. ,t-l. odhu-d IT, <9' , )0.
Old R<>gec ('Old Rogec i. dead and i. laid in
his grave') , Queen Mary (,One morning I ro"" and I looked
in the glu. ')
Ang<:b and Devils 57
? S8 The Sigla of Fimug~m Wa. lt.
Entitled Th. Mom. of Mick, Nick and rhe Majy(i<. (A, I: and 0), itopenswith programme [10(. . on 219-12. The pufonnaru;e take. place under the disringuished palr. mq;e "f X. The Briti. h Museum manuscripU feature a hot nf . igla entries corresponding
'0 the dramo. r;, P<"JOtIIM," though not in the sequence finally produced (I:, A,. . , . . . . . , . 01. , m, 0, ! II and K). A. in the Gaiety panlo- mimes the advertisement memon. tbe 'tra. mformation . cene'. "
Thehi,trionicsopenal 122. 12wi,h thean,itl>cti""l presentation of I: and A. Then 0 or . . . . . (' twintomin. ') allegorically enact the four . yllabl. . of 'hdiO(rope' (223. 09-11) which I: ha. to IOu. . ,.
While he seek. in. pintion (223. 27-33), <> form a 'lineup' behind A, their 'commoner guardian' (11+24). I: make. the<< incorrect gue. . . . (225. 11-7) and it derided by 0, who perform flnral ring_ danc. . around A, run a. . . . . y and 00"" hack. Thi. sequence CQO_ tain. 'the Ireaonent of the double rainbow in which the iriric CQloun are finot no"""l and then reversed', as Joyce puts il in hi.
k tter quoted arove.
In ll7. t9-131. 09 the ,lage i. rd<gated to the OU{CII. { 1:. Hi.
search for an inward light or the d. . i",d CQlour HlUll''''''' the orchctypal growth of adolescent romantic poetry. A. in 1. 7 a bio_ graphical matrix includes the escalating piety "f Stephen in Por- " air IV (227. 29-228. 01) and the Psrit-Zurich exile of Joyce, whence he di>patched hi. fiTSt epi. tle to the Hebrew. (128. 05- 119. 07). Th;" grod. . into U{y. . . . ('I made them take it! '): 119. 13- 16 l;'to its 'OdyO$Cy' section. That view which demand. plliemics of UIy. . . , sees Joyce needling thef~ th. atcrippled him, expos- illi hi' progenitors' wcaknestts. In hi. lm er Joyce called C . epis! ! e 'blackmail orutr'. Bul as he an. oly1<:$ his ba~und and hi, web of ",La,ives, (230. 26-231. 04), I: hecomes nosralgic and b t e a t h . . fouT l i n <:$of e c s r a t i c " ' g r e t ( 231. 0 S - 8 ). T h e t t a b Q f h o r n c - . id<ru:o. s COOC\ll"$ w'th a shooting pain in the root of h;" wisdnm t<>nth (imny), contorting the featur. . of hi. fa~ and ni,ing hi. temperalUre. The 'chewer', like 'gI18wthing unbeardth' i. in-
flamed. through sugary indulgence (Turkish delight, 232. 01). Sud_ denly, opportunely, -l . cndo tidings that she will wail for I: (2]1. 09-17) and he da. h. . back, doubly disguised as a aailor, only 10 fail again with hi. three questions. When he ge~ eln$<: enough to ask, <> coalesce into -l; when he i. confounded they fan tnck into their mocking diven;'y. Hi, spirits fallen, he depart> once = ? .
n. . c. . . n. :-y of I _ I . . . . . "
"Add. MS . 7. n . . ~
" 5<< ~ M. Ad&n>o, s-J_ mod $yooboI. " 'UlYuu' (Orlocd tinrur. ;. y I'reu [5IM), 79-
? " re_e,"ers and i. adored by his ehoru. in two extended . uppli- ""tion. (235. 09-236. Il1; 237. 11-239. 21). In the first. , extol a future ofoourg<:<>is t"'pectability ; in 'he . econd, a ]i,de more ex-
perienced, tl><:y are ambit;oos for 'he sex""l promi. cuity originally advocated by 1:. But when I: himtdf . . . ,. . ppc;on. he ha.
