1\ """ot i; " bit hUlky bwide the mOre
melodious
Shaun ofthe third pari .
Hart-Clive-1962-Structure-and-Motif-in-Finnegans-Wake
Like Ibe mathcmatie.
tl world?
modd of MinkOWllri, lhe g""1 cycle ofF"",t"'" lY.
.
ucannol be properly
' J"I"U It,. "u<d F. ,. . . . . . . . . . ;! >df by the I1"nbol 0; '" u_', po ,. . . . .
"
? Cyclic Form
under1tood unless the dutance betwun 'events' u rneasured in terms of boll, 'pace and time.
'What ,ubiler timeplaa: of the w<:ald . . . than then . . . . hen ru<;tioru ended, than here . . . . . . . ,re raa: began. ' (80. ! 2)
It i, by such up-to-date method, rather than by rnean. of Ihe sterile a"'thetics ofStephen Dedalu. thatJoyce finally managed IQ place himself above and hehind hu handiw<lIk, ",anning an artificial universe f",e of time', armw, able to apprehend time
spatially. '
Parallel cycle. rcpres~nt the first of twn diffe"'nt types of
"ructurol counterpoint in FittlU{,,'" Walt a oimple . yncopa_ tion of movement in Ihe "'me g<'neral dire<:tion. Clearly the use of thu kind ofcounl~rpoint makes for greal flexibility of de'ign andmightevenwithwmejrulicebeailedan""euSeforI~.
ness, but in facl "a:rta;n random dement of unpredictability w"-' nee""",,ry to Fimr. tgQ1IS WIlkt if it wa. adequately to rcfle<:t the new _rid ofphJl! i'"ofwhicbJoyce was trying 10 build up a faithful verbal analogue. Throughout hu carur J Qyce usually solved the technical problem< of imitative form by t1u: mO$' literal application ofilS principko, ~ every reader of Ul;1/J<S il awa",. In Fin""gans WIlkt he wa. paM. icularly coru:erned to reproduce relativity and the uncertainly principle. 1be latter functiona in the book exactly "-' it does in Ihe phy';cal world. The large "Yelic blOCQ of the constituent material arc b:. >lh clearly defined and pttdictahle, but the 'rnaller the "ruClural
"nits we: cor"ider, Ihe more difficult it;' 10 know how they will function. When adding brief new motifsJoy<:e . ometimes went . . , far"-, to rt:iinquilh all control ov. . their position in the text, and hen~e over . he details oftheir effeet<' ; the old determinum of Uly. . . s has bun replaced by a scale of prohability.
The Ibwry of relativity is even mo,"" 'lIited 10 Joyce', pur_ poses than a the u",ful uncertainty principle. T haI values and points of view . hould be entirely relalive within the world of I. book w"-' nothing new by '939, nor even by 'g<>o, bllt in Finlltgans Wak. J oyce has pu,hed relativity 10 the exlreme and
,Thenat"'"ofW. . . . . ti"'";"J~;nthenext"",. ionofthis<:MpI<T. ? SH be. . . . . p. '79. ,,
?
? Cyclic Forni
mad~ it a b""ic aesthetic and Stcucturallaw. Everything differs " , 'docks from keY", "" joye. : oays (77. 1 'I, alluding, I think, to the 'clocks and measuring_rods' so bclov<<l of expoaito. . of Einsteinian theory. There ;. in fact no absolute position what- ever in Pi_tmlS W4k, and if we choose to consider it mainly from the naturalistic frame of rdhencc it can only I. w: because in SO doing we get the most familiar pictuTe; from whichever ltandpoim we may examine theJ<>ycean phenomena, all other poosiblc &am", of n:ference, no malter how irreconcilable or unpalatable, rum! be taken ;'11<> account a. valid alternative>. Op~pointsofviewdonolcanedoutbutaTemadeto coui<! in equilibrium, for Joyce meant Fin/"ta", W. . . . . to be a, congenial 10 the Shanru of thi. world . . . to the Shems. If, as saint, moo. . rn man has grown puny like Kevin, he has achieved
a CQmpen"'IOry greatn= . . . arU. t and sage; if, as artut or "'g<', hi! mind is grubby, '" bourgeoi. his bOOy U clean. J ust as th = theoretical train. hurtling along at half the . peed of light hav. o differing lengths and mauc. ac. :ording to the standpoints from which one me. . ,u",", them, '" Shem and Shaun and all their paired corrdative. , . piralling around their orbits, find that each scenu puny to the other yet mighty to himself.
The second type of counterpoint i, much more difficult to bring off but altogether richer in pouihilitie? . Thi. involVe! the me of opposing cycle> centrW. , $0 to . peak, in the same ,ub- stance, but moving in contrary direction. . , always preserving an ovcrall balance ofmotion. 'nu,other type ofstructural counter_ point;' no more original inJoyce than;' the fi. . . . t. Indeed he has taken it ovcr virtually unchanged fr"m Yea'" and Blah--from
A V"icn and 'The lI-kntal Traveller' in particular':
'a h<:ing racing into the future pU! CS a. h<:ing racing into the past, two foot_prints perpetually oblilr. rating one another, toe 10 heel, heel to toe. '
Around a central ""ction, Book iI, Joyce build. two oppooing
, . -I Vi';"', p. >10: 10)'0' ,cad. of Vi';'" in both the r"" and ><<ODd (r"""""l editions, publi>hed m 19>6 &nd 1937 ,=v<<,jvo:ly. &. Elimann, p. 608: T. E. Connolly. T k P",,,,04 (,j. "'"? ifJ"""J')<', mel <<I". , IlufWo.
='
t" E~< Job>, ",gr""jng <h>. t 'Yea" 66
1~~7,
did not put . U (hi. into a CKa'i~ W(M"k', OJ,,,,,,,,, p. I~.
p. 4'; ct. aool0)'0'"
? Cyclic Form
cycks oonUlling of Boob I and III. In these two Book! there is e. ;tablished a pattern of oorreapondenccs of the major event> of each, th= in Book In occurring in revc= order and having inV<'l"lC (. b. aracteri,(ics. ' Whereas Book I begins with a rather ohvioul hiTth (~6-9) and enw with a Iymb:. >lk death (2'5- ,6), Book III begirn with death (-lOS) and endo with a birth (590): 'roadl" and the meeting with the King (I. ~) reap! ",ar in III. 4. the trial of I. S-4 in TH. S, the Letter of 1. 5 in III. I, and the fables of 1. 6 . ,. din in III. I. In ru. oollopondcnce Joyce
implicitly referred to tm. pattern':
'I wanted it [,. 6. 11 ) as ballast and the whole piece [1. 6] il 10
balance /I. abed [Book III] more ao::uratdy . . .
1\ """ot i; " bit hUlky bwide the mOre melodious Shaun ofthe third pari . . . ' " had a rather . trange dT"am the other night. I was looking at a Turk. eated in a bazaar. He had a framework On his knees and on one oide he had a jumble of alI. hade, of red and yellow skeins and on the other ajumble of greens and bluo of ill ,hado. He was picking fTom Tight and left very calmly and wea,? ing away. It is evidently . . ,piit rainbow and also Parts' and lII. '
To FraIlk Budgen he described the pTOCcU of oomposing Finrllg= W. . t. . :
'I am boring through a mOWltall from two . ide. . The question i,. how to meet in the middle. '
Thi, inven<: relaUoll. 'lhip explain. what Joyce meant by hi; ,tatement that Book III is 'a deocriplion ofa postman travelling backward, in the night through the even" already narrated'. ' Th. dream-vision, of Book III are a mirror-image Qf the legend. of Rook 1, while both drealIl. '! and legends "Te Tation- ali,cd in the nnderlying natura. lism ofJlook IT, on I<. > which they
oonverge. On this ground. plan Joyce builds up a dynamic $CI. of rclali(m3hip' between youch and age which reproduce the outline of the 'Mental Traveller' situation. The pattern i;
, ce. Bradky", n\W> ? wh<> ,. . . . " ,. . . ,he. . . . . . ,hiotO<)' "';tn 0Il<><1v<>, bu, in Ih< oppooi'" dir<ctiOtl', F. IT. 1hIdley, . lfP' . . "" "'" RI"'-ilJ, London,
1l! g3. p . ''1 .
? Lm"" p. '3'.
? uti"" Pl>. 256. >6t.
? Oi,"""". p. 't. , Utkf',P? ? 14?
"
? Cyclic Form
dearest {owa:rd the end of Flook TV but pervades lhe whole of
Fiiwgmu WaM . . . a gcncnolliru: "fdevelopment. Shaun;. king rejuvenated; during Book III he rno"". toward the dawn of cc<aliem, and hu final appearencc in Book IV . . . the 'child
Kevin' cone/udes a long and complicated pmc. " by which he retrt:a~ through cloud. of glory 10 {he moment of hi. OWn birth and the con<<:plion which precrded it: 'wurming along gradu- ally for our . avings bac. klowaro. motherwatml' (84. 30). Con- lemporaneow with Shaun', hopeful rejuvenati. :m i. Anna'. d. . pairing prog. . ,ss toward, her ? Id r,rone. Li" IS/ad al the end
of Fj"'''g411J WaM. She, the pas$iv~ clement, ! nOV"" with time', arrow (with which, a. the pTin~ipk of nux, she U in any case to be identified); Shaun, the aclive, move> agairut it. As an inVO'ted form of that 'youth who daily farther from the Eastl MWI lrav. ! ' {. ugg~"ed by Wonhworthian <<hoe' al f29. '7}, h~ literally grows youn~T a. \ Book In prngrem:s. In Ill. I hi. . Iwin brother Shern i, old enough to be 'CcI~brAIed' (421,2' ) ; in Ill. , Shaun h"" becomo tIu: young Iov~r,. Jaun; in lIl'3 be
i< likened to '50m~ chubby boylx>ld of an an~1' (474-'S); during Hl. 4 he app<':"n m",[ of the time as an infant in Ihe nu=ry. It docs nOl seem 10 have been nOliced that at the end of III. 4 we have work<:d, 'ulmugh the grand tryomphal arch', right back to the hirth, which . . described with many detail, at 589"""9". We are, in fact, ',,"kipping the cloxkback' (579. o. ~). 1 At 472. ? 6 the Ass allude' dittctly to Shaun'. journey backward to annihilation: 'we follow receding on your photophoric pilgrimage 10 your antipodes in the pa. \t'. Immediately after his reapp<':arance for a moment in Book IV "" the newborn baby" he retires ~iI1. the vagina- 'amiddle of meeting walen', which . . 10 s. oty ;nUt W'in,u . Ifaues-into the womb- 'the ventri_ fugal principality' (605. '7)~urrounds himself with amniotic fluid in ever-decreasing voiumel and crouch", like a foetus until, a dimini,hing embryo, he disapp<':an with a fla,h and an
exdamation- 'Yec! . . . u tinguu h'; a moment later he re- enters as the two simple sewS from whi~h he was comJ'O'Cd,
1 Cf. ~lso 585. 3',
? A l tIUo ~nt ~un" . ,'" pL. yi,~ lh< p. rt ofChri. . imm<dia. ely. fter dte R",urrectton; '" a. . . p,,,," Four.
? Cyclic Form
r<:procnted by that oppoocd yet amalgamating ( ouple, Berkeley and Patri~k. Th<: pru:agraph /i'llowing th~ 'Kevin' epioode is tinged with ,uitably ropuiatory imagery.
This is all primru:ily applied Blake, and the analogy with 'The Mental Traveller' also hold. with re'pect to the other characte. . . in FiMt! l= W. zk,. Earwicker, approaching the end his u",ful career in II. I, ente. . . at the conclusion of that chapter as:
An "g,d SluuIow. . .
W,,"d'Tillg "m""anEarrirJ. 1 (At
and subsequently reappean (11. 3) as the Host, who: ? . ,imls riot B'gg4T & riot P/)OT
Arul riot wa:d",illg TT",~lkr
The love, of Blake', 'Female Babe' who 'prings from the hearth (h. y) and the 'Man . he lov",' (Triltan, 1I. 4), 'drive out the aged Host' who tries to win a Maiden (bi. incestuoU! love for his daughter), and though from this love of old man and maid a1110cial and physical d. . . . . . ter 'pring. , it is, in Finntgam W. zk, as in 'The Mental Traveller', the nnly mean, whereby Ear_ wichn may be rejuvenated as Shaun,. Joy~e'. Babe, Kcvin- 'TI,e child, a natural child'- i. kidnapped C~9. 'j. 34), as i, Blah', Babo:, and must then be nailed down upon the Rock of the Church by the I'rankquean 'with the nail ofa top' (2~. I. '>> a, the ""ven,tim", circumscribed Saint 50 that Anna, the 'weeping
woman old', may turn full circle bad: to her youth as a rainbow, girl. C1O! Clyallied to th;' use of Blake is Joyce', 'pecial applica, tion nf Yeau' description of the soul', fJrut "",,"urn prog",ss through an inverted form of dream-life (the Dr,,. ,,,ing Back, R,tr<,. ,. and Shiftings), but a.
' J"I"U It,. "u<d F. ,. . . . . . . . . . ;! >df by the I1"nbol 0; '" u_', po ,. . . . .
"
? Cyclic Form
under1tood unless the dutance betwun 'events' u rneasured in terms of boll, 'pace and time.
'What ,ubiler timeplaa: of the w<:ald . . . than then . . . . hen ru<;tioru ended, than here . . . . . . . ,re raa: began. ' (80. ! 2)
It i, by such up-to-date method, rather than by rnean. of Ihe sterile a"'thetics ofStephen Dedalu. thatJoyce finally managed IQ place himself above and hehind hu handiw<lIk, ",anning an artificial universe f",e of time', armw, able to apprehend time
spatially. '
Parallel cycle. rcpres~nt the first of twn diffe"'nt types of
"ructurol counterpoint in FittlU{,,'" Walt a oimple . yncopa_ tion of movement in Ihe "'me g<'neral dire<:tion. Clearly the use of thu kind ofcounl~rpoint makes for greal flexibility of de'ign andmightevenwithwmejrulicebeailedan""euSeforI~.
ness, but in facl "a:rta;n random dement of unpredictability w"-' nee""",,ry to Fimr. tgQ1IS WIlkt if it wa. adequately to rcfle<:t the new _rid ofphJl! i'"ofwhicbJoyce was trying 10 build up a faithful verbal analogue. Throughout hu carur J Qyce usually solved the technical problem< of imitative form by t1u: mO$' literal application ofilS principko, ~ every reader of Ul;1/J<S il awa",. In Fin""gans WIlkt he wa. paM. icularly coru:erned to reproduce relativity and the uncertainly principle. 1be latter functiona in the book exactly "-' it does in Ihe phy';cal world. The large "Yelic blOCQ of the constituent material arc b:. >lh clearly defined and pttdictahle, but the 'rnaller the "ruClural
"nits we: cor"ider, Ihe more difficult it;' 10 know how they will function. When adding brief new motifsJoy<:e . ometimes went . . , far"-, to rt:iinquilh all control ov. . their position in the text, and hen~e over . he details oftheir effeet<' ; the old determinum of Uly. . . s has bun replaced by a scale of prohability.
The Ibwry of relativity is even mo,"" 'lIited 10 Joyce', pur_ poses than a the u",ful uncertainty principle. T haI values and points of view . hould be entirely relalive within the world of I. book w"-' nothing new by '939, nor even by 'g<>o, bllt in Finlltgans Wak. J oyce has pu,hed relativity 10 the exlreme and
,Thenat"'"ofW. . . . . ti"'";"J~;nthenext"",. ionofthis<:MpI<T. ? SH be. . . . . p. '79. ,,
?
? Cyclic Forni
mad~ it a b""ic aesthetic and Stcucturallaw. Everything differs " , 'docks from keY", "" joye. : oays (77. 1 'I, alluding, I think, to the 'clocks and measuring_rods' so bclov<<l of expoaito. . of Einsteinian theory. There ;. in fact no absolute position what- ever in Pi_tmlS W4k, and if we choose to consider it mainly from the naturalistic frame of rdhencc it can only I. w: because in SO doing we get the most familiar pictuTe; from whichever ltandpoim we may examine theJ<>ycean phenomena, all other poosiblc &am", of n:ference, no malter how irreconcilable or unpalatable, rum! be taken ;'11<> account a. valid alternative>. Op~pointsofviewdonolcanedoutbutaTemadeto coui<! in equilibrium, for Joyce meant Fin/"ta", W. . . . . to be a, congenial 10 the Shanru of thi. world . . . to the Shems. If, as saint, moo. . rn man has grown puny like Kevin, he has achieved
a CQmpen"'IOry greatn= . . . arU. t and sage; if, as artut or "'g<', hi! mind is grubby, '" bourgeoi. his bOOy U clean. J ust as th = theoretical train. hurtling along at half the . peed of light hav. o differing lengths and mauc. ac. :ording to the standpoints from which one me. . ,u",", them, '" Shem and Shaun and all their paired corrdative. , . piralling around their orbits, find that each scenu puny to the other yet mighty to himself.
The second type of counterpoint i, much more difficult to bring off but altogether richer in pouihilitie? . Thi. involVe! the me of opposing cycle> centrW. , $0 to . peak, in the same ,ub- stance, but moving in contrary direction. . , always preserving an ovcrall balance ofmotion. 'nu,other type ofstructural counter_ point;' no more original inJoyce than;' the fi. . . . t. Indeed he has taken it ovcr virtually unchanged fr"m Yea'" and Blah--from
A V"icn and 'The lI-kntal Traveller' in particular':
'a h<:ing racing into the future pU! CS a. h<:ing racing into the past, two foot_prints perpetually oblilr. rating one another, toe 10 heel, heel to toe. '
Around a central ""ction, Book iI, Joyce build. two oppooing
, . -I Vi';"', p. >10: 10)'0' ,cad. of Vi';'" in both the r"" and ><<ODd (r"""""l editions, publi>hed m 19>6 &nd 1937 ,=v<<,jvo:ly. &. Elimann, p. 608: T. E. Connolly. T k P",,,,04 (,j. "'"? ifJ"""J')<', mel <<I". , IlufWo.
='
t" E~< Job>, ",gr""jng <h>. t 'Yea" 66
1~~7,
did not put . U (hi. into a CKa'i~ W(M"k', OJ,,,,,,,,, p. I~.
p. 4'; ct. aool0)'0'"
? Cyclic Form
cycks oonUlling of Boob I and III. In these two Book! there is e. ;tablished a pattern of oorreapondenccs of the major event> of each, th= in Book In occurring in revc= order and having inV<'l"lC (. b. aracteri,(ics. ' Whereas Book I begins with a rather ohvioul hiTth (~6-9) and enw with a Iymb:. >lk death (2'5- ,6), Book III begirn with death (-lOS) and endo with a birth (590): 'roadl" and the meeting with the King (I. ~) reap! ",ar in III. 4. the trial of I. S-4 in TH. S, the Letter of 1. 5 in III. I, and the fables of 1. 6 . ,. din in III. I. In ru. oollopondcnce Joyce
implicitly referred to tm. pattern':
'I wanted it [,. 6. 11 ) as ballast and the whole piece [1. 6] il 10
balance /I. abed [Book III] more ao::uratdy . . .
1\ """ot i; " bit hUlky bwide the mOre melodious Shaun ofthe third pari . . . ' " had a rather . trange dT"am the other night. I was looking at a Turk. eated in a bazaar. He had a framework On his knees and on one oide he had a jumble of alI. hade, of red and yellow skeins and on the other ajumble of greens and bluo of ill ,hado. He was picking fTom Tight and left very calmly and wea,? ing away. It is evidently . . ,piit rainbow and also Parts' and lII. '
To FraIlk Budgen he described the pTOCcU of oomposing Finrllg= W. . t. . :
'I am boring through a mOWltall from two . ide. . The question i,. how to meet in the middle. '
Thi, inven<: relaUoll. 'lhip explain. what Joyce meant by hi; ,tatement that Book III is 'a deocriplion ofa postman travelling backward, in the night through the even" already narrated'. ' Th. dream-vision, of Book III are a mirror-image Qf the legend. of Rook 1, while both drealIl. '! and legends "Te Tation- ali,cd in the nnderlying natura. lism ofJlook IT, on I<. > which they
oonverge. On this ground. plan Joyce builds up a dynamic $CI. of rclali(m3hip' between youch and age which reproduce the outline of the 'Mental Traveller' situation. The pattern i;
, ce. Bradky", n\W> ? wh<> ,. . . . " ,. . . ,he. . . . . . ,hiotO<)' "';tn 0Il<><1v<>, bu, in Ih< oppooi'" dir<ctiOtl', F. IT. 1hIdley, . lfP' . . "" "'" RI"'-ilJ, London,
1l! g3. p . ''1 .
? Lm"" p. '3'.
? uti"" Pl>. 256. >6t.
? Oi,"""". p. 't. , Utkf',P? ? 14?
"
? Cyclic Form
dearest {owa:rd the end of Flook TV but pervades lhe whole of
Fiiwgmu WaM . . . a gcncnolliru: "fdevelopment. Shaun;. king rejuvenated; during Book III he rno"". toward the dawn of cc<aliem, and hu final appearencc in Book IV . . . the 'child
Kevin' cone/udes a long and complicated pmc. " by which he retrt:a~ through cloud. of glory 10 {he moment of hi. OWn birth and the con<<:plion which precrded it: 'wurming along gradu- ally for our . avings bac. klowaro. motherwatml' (84. 30). Con- lemporaneow with Shaun', hopeful rejuvenati. :m i. Anna'. d. . pairing prog. . ,ss toward, her ? Id r,rone. Li" IS/ad al the end
of Fj"'''g411J WaM. She, the pas$iv~ clement, ! nOV"" with time', arrow (with which, a. the pTin~ipk of nux, she U in any case to be identified); Shaun, the aclive, move> agairut it. As an inVO'ted form of that 'youth who daily farther from the Eastl MWI lrav. ! ' {. ugg~"ed by Wonhworthian <<hoe' al f29. '7}, h~ literally grows youn~T a. \ Book In prngrem:s. In Ill. I hi. . Iwin brother Shern i, old enough to be 'CcI~brAIed' (421,2' ) ; in Ill. , Shaun h"" becomo tIu: young Iov~r,. Jaun; in lIl'3 be
i< likened to '50m~ chubby boylx>ld of an an~1' (474-'S); during Hl. 4 he app<':"n m",[ of the time as an infant in Ihe nu=ry. It docs nOl seem 10 have been nOliced that at the end of III. 4 we have work<:d, 'ulmugh the grand tryomphal arch', right back to the hirth, which . . described with many detail, at 589"""9". We are, in fact, ',,"kipping the cloxkback' (579. o. ~). 1 At 472. ? 6 the Ass allude' dittctly to Shaun'. journey backward to annihilation: 'we follow receding on your photophoric pilgrimage 10 your antipodes in the pa. \t'. Immediately after his reapp<':arance for a moment in Book IV "" the newborn baby" he retires ~iI1. the vagina- 'amiddle of meeting walen', which . . 10 s. oty ;nUt W'in,u . Ifaues-into the womb- 'the ventri_ fugal principality' (605. '7)~urrounds himself with amniotic fluid in ever-decreasing voiumel and crouch", like a foetus until, a dimini,hing embryo, he disapp<':an with a fla,h and an
exdamation- 'Yec! . . . u tinguu h'; a moment later he re- enters as the two simple sewS from whi~h he was comJ'O'Cd,
1 Cf. ~lso 585. 3',
? A l tIUo ~nt ~un" . ,'" pL. yi,~ lh< p. rt ofChri. . imm<dia. ely. fter dte R",urrectton; '" a. . . p,,,," Four.
? Cyclic Form
r<:procnted by that oppoocd yet amalgamating ( ouple, Berkeley and Patri~k. Th<: pru:agraph /i'llowing th~ 'Kevin' epioode is tinged with ,uitably ropuiatory imagery.
This is all primru:ily applied Blake, and the analogy with 'The Mental Traveller' also hold. with re'pect to the other characte. . . in FiMt! l= W. zk,. Earwicker, approaching the end his u",ful career in II. I, ente. . . at the conclusion of that chapter as:
An "g,d SluuIow. . .
W,,"d'Tillg "m""anEarrirJ. 1 (At
and subsequently reappean (11. 3) as the Host, who: ? . ,imls riot B'gg4T & riot P/)OT
Arul riot wa:d",illg TT",~lkr
The love, of Blake', 'Female Babe' who 'prings from the hearth (h. y) and the 'Man . he lov",' (Triltan, 1I. 4), 'drive out the aged Host' who tries to win a Maiden (bi. incestuoU! love for his daughter), and though from this love of old man and maid a1110cial and physical d. . . . . . ter 'pring. , it is, in Finntgam W. zk, as in 'The Mental Traveller', the nnly mean, whereby Ear_ wichn may be rejuvenated as Shaun,. Joy~e'. Babe, Kcvin- 'TI,e child, a natural child'- i. kidnapped C~9. 'j. 34), as i, Blah', Babo:, and must then be nailed down upon the Rock of the Church by the I'rankquean 'with the nail ofa top' (2~. I. '>> a, the ""ven,tim", circumscribed Saint 50 that Anna, the 'weeping
woman old', may turn full circle bad: to her youth as a rainbow, girl. C1O! Clyallied to th;' use of Blake is Joyce', 'pecial applica, tion nf Yeau' description of the soul', fJrut "",,"urn prog",ss through an inverted form of dream-life (the Dr,,. ,,,ing Back, R,tr<,. ,. and Shiftings), but a.
