r and variety of waY' in which the
multitude
of kit"",tiv, in FiIl".
Hart-Clive-1962-Structure-and-Motif-in-Finnegans-Wake
.
.
b<r M";';, <<I.
W.
Y.
T,n.
u.
Il.
!
'Iew Y.
,.
.
k, '9~, pp.
H If.
,,"
? TU? J Ma. JQf Motifs
'-Byjow:, it is tu, Hal"", u. id. '
'Buck Mulligan W<:I1t On hewing and . . . h~dl;ng';
'-. s. . , th, ,II". C4kiJ1, oays 'he. &,-, . . . . . '''''", oays :<Of,. .
Cahill,CH-'JDI'. '/-. 1-. W. iN/JuOIUJitII. ' (U to;joyce', italics. )
- I f ~'V"'" l . f t l l h I M I ' _ ' I d ; " ; " , ,
' ",/1 gll ""jtt. drillh IIJ"'~ I'm md;i"8 I'" "'~'"
nld k_ I. drink wain" ""d wish il lilt" plain Tlwl , m4kt u'''''' I'"wW lNtomu . . . ""orGg~;". (U '7; j oycc', itolia. . )
I n the law- book Joyce turns tills id u ioto a major rorn:spon. dencc. The ICmi. pri. -atcjokt abont Fendant'. being the: 'arch. du. cheM', urint? ' is carried over into rill. . """ IV. ! . . (t 7' . ~5~7, 209. 06, etc. ) and in the liturgia! chapin III. ~ Sh. . . nn maka
an unn. nal act of (ommnnion with his li. tet, who play, the part of the BVM' :
'Give UI another ( UP of you. ocald. Santol MOWiI ! ? I1tat was a damn good cupofacald! You oou! d trot. mo",,",on il. I iOg<:lyed your pid of hissing hot luncheon line, I did, thanks awfully, (sublime ! ). Tcndtl'U1 bully n~r I ate wi th boikd prolt:llan lJ (allinoili. allinoilia1) ooJy f<:n- your peas again . . -ao a lasle tooth pally 10 carry flavourwilh my godown and hereby retorn wilh my bat u. \"ioury a mdimcnlJ and a penny in the plale for Ihe
je~'. (455-35)
In the inverted pooture ad<>pted by the archetypes al the end
of the book we are evidently to see f. :. rwkker, like Shaun, making an act of oommunion with the myuically transub- stantiated urine of the goddw, Anna.
The ael of baptism, symbolkal\y ollie<! to t~ tn. OIUb- . ,antiabon ofthe wine, is;t. . ,1fdoc". . . . . ! in turns ofmicrurition in one of the parodirs of Quine! '
'tlle",',;o. rpurtfm: turfa'kind o'ltit>dling "'~II oft as the IOUfI". lOulfbloWJ ~r p"atirs up and a c! aypot Wtt lOr thee, my Sil)'l, and talkatalka tell Tibbo has ew:' (I r7. 11).
1 t. u. ", pp. ,06, 'S' . ? ct. aloo ~,. ,. If.
? Tu. 'O Major Ml)tijs
The 'daypol' olwiowly designates one ofJ oJ'C"" 'piping hoi' uICnailes,. . wcU as the tea-pol, to that the imagery grow~ vuy complcx. AI Patrick baptioes Bridge! be:iide the roaring 6r"" ofhia 'Purgatory', ahe sits like a godd. ,. ('lea' combines with 'the(:' 10 give 'thea') on her earthenw"", Ihrone drinking, and ma. kin&. tea. . . . . hile her PCI~U ~ blown up around her by guslS oeRatus from the furnace in the boweb orthe eanh. Tea, urine, ~d the hapwma! waten are therehy closo:iy integrated in a &iogIe symbolic act. The goddCII aad her pot form an imponalll image-group """eh ",tWIll in a number of witly mutauom (9. 3~, 171. ~4-'28, etc. ). Furthermore, the tea? ttain on the Letter-'tache oftch' (II[. ~O}---U identical with the impurity spied OUt by Earwicler on the temptrun' undu_ wear, wbo5e f. bric servCl . . . high. quality stationery: 'pubfuhcd
cornbinatioru of Iillinlaine tclumonieJ' ('4. U).
Wbelher or nol J oyQ: can 1M: said fully to N;VC aclticvd Itio
aim of dinilling nnivcnal b. auty from scatology mnS! . . ,main a matter for penonal ju~nL The lllempt i. ""rtainly imp~i"", and there can be no doubt ofJoya'. artistic . in_ ccrity-whatcvu his private ob$essionL He has by DO meano convinced aU his admi. . ,. . . , but I m)"CJf find the . . :at% gy in the main quite s"CO'"rul, esp<<ialIy . . . . hen Joy<< is handling his repugn>. nt and IOmeUmt:o n. t. UJeOUI maleriab in Itrongly mythological contcl<lS. The. . , the . . :alOlogy;' made 10 interlock in a pattern of 5fUlboI;. m of which it forllll an . ,. . ,ntial and adequately subordinated part, bUI whtn the mtthod comes ne~r to nalutaliom, as;t occl,ionally does, the doacal obteJ- siol\ it pe. N;pI mUter too evident lOr comfort. Indirection ;. 00<< again, as to often, the key 10Joyct'S ru"""" in F. . . . ,1lIU
W. . ,b. When he ke(:pI his raw material. at an adequate diltance from It;. ocnsibilitiao he produoes brilliantly inl"grated . nd balanced art-rom. . ; only when he allows him. df tlle proximily which he always denies to his rtader does his usually finn grip seem 10 d. acken.
,,8
? APP ENDICES
? APPENDIX A
AN INDEX OF MOTIFS IN
Fl/{NEGANS WAKE
There is virtually no limit to the numo. .
r and variety of waY' in which the multitude of kit"",tiv, in FiIl". ga", wake might be ch. . . ified and arranged, for in breaking
down the proc. . . of compoaitioo to the organisation of , uch wI" of phra",. Joyce was clearly looking for the maximum
JIO"'ible lI""ibility of de>ign. I made . ""eral attempts to claslliy the motif. li,ted here but th~ n:su]ts nevcr proved to be panicu_ larly useful. A simpk alphabetical index is therefore offered, although in the ~_ of a few big motif. . complcxe. a "'parate grouped list is provided. Moti& based On proverb. , catch_
phra>eo and the like are usually listed in their normalj. . ,d fornu . With . . few exceptions this ind<:x omib (,) aU wng-motifs,' and (~) all 'literary' moti&, i. ? . quotatWm from works of
literature. ' Some ! ingle wor<:h function as independent kit_ llUJli<Js and, ofcourse, a large part ofFinll. tgans Wakt i. made up of motif_fragments--word. and . yllables derived from impon_ ant motif. but too ne<:ting in them<<:IVCll te> be called motif_ stalemenu. The jndex makes no attempt to li,t any but the
most important lingle_word m<. >tm and motif. fl1lgments. Simi_ larly, 1 have ucluded the bo:sts of word. ! and . ymool. that alwaY' hunt in couples but otherwj. . , have no . pecia] ltit_ m. ti~tit significance, 'uch. . . . 'h. olly and ivy'. Such word. ! and word_pairs can most easily be traced with the aid of my em,,,,,,. "",,,:t. '
, . . . very fwlli>' i> avaiJ&bk in M. J. C. H odgatt""'; M. 1'. Wo<thiugtOn, Soq- in ok- W. . L'lfJ_JOJU. New YorI<, '959.
,s. . A'~cnoo. , Aw<nd;~. ? To be publithed <h0011y.
? An In. ux ifMotifs in FinnegaTlS Wake
Some " f the repeated oomrrwn "xpresororu which app<ar in
the lisl may have little practi<:al function . . . /tilmotiw buI since the m"lif? ? lnrcture of lhe bool: u always "f al le. . . 1 the<lTetical
imp<. >rtaoc<: I have th<mght it be. 1 10 include evtrything that . "uld be aaid to bave the . hap< of a /ti/mot;o. Newrtbel. . a, I do nol claim that, even willi. regard to maj"r motifs, Ihe index i. in any way exhau. tive. The I;,;t ofitem. h:u grown almOSI we<:l: by week a. my understanding of the tC':<1 has de<:pcned, but I
am ,till a very long way from undentanding all that J oy<< put inlo Fi. lltgans Wak< and other readen will ceTtainly have noti<:ed many correopondcn= Iowhich I have remained blind.
Doubtful ref=nces are plac:ed in parenth. . . . . Mosl of IIt~ motif. are . eJf-uplaoatc>ry in . ;ont""t hut I have provided brief notes and references wheTe il $<:<:"" u,dulto do! lO. The ,;goilk_ an<< ofa number ofthe major molifs Uoboeure to me. In thow: (a$C! I ha"" added a note to thaI effect.
ad lib. (Vioo', fourth Age i; pcrf(>fmed 'ad lib. '; the regener,,' tion which tAke, pla<< during it is expr=ed in Ihe clUlle oorreop<. >ndence of the IMt two statemenll! of the motif: 'ad libidinum' and 'ad liptum', wh=by the ! laually regencra- Ii"" p<. >wcr of tea i. emphasised), 283. 1. '>, 287. 26, 302. 22,
+41. 09, . '>4,? 28
all. dear 011. dear (tbe characteriatic ";gh of Luke Tarpey),
'3. ~7, 22. 23, ' '7,09,'40. 08, '4"? 09, 224? '0, ~38. 35, 29{? 11,
2~Pl, 372. ~2, 389. 20, SSg? 31, 392. 12, 394? 33, 39. '>? 33,
396. 29,58,. 20
alt hn (the charactemtic lligh of Marl: Lyom), 5. 09, 13. 26,
94'33,fi. 21, "7. 10, 121. 26, '40. 09, 16'. 25, 180,'5, 18{'33, ,8+'36, 185. 08, 22+? 09, 224. 20, 372. 22, 3730"7, 373 " 5,
385? '7,39"? 35,581. 2{
ahome . . . Thorn Malone (see 'Anna Livia Motifs')
aiJy-ouy (aMOCiated on both occasion. witb . <xual interoounc), '96. 12, ,584? 11 \
aU aboard/all a,hnu (always a deparluT<: motif; uso<:;ated, of 00"""', with Noah), 358. 20, 370. 35, ? ig. 18
aU at home'. health (m 'uttu')
alI men has done ! IOmething, 355. 33, 62! . 3~
'"
? An Index ofMQtifs in Finnegam Wake
all maw lead to Rome, ! J6. <>3, '''3. ~3, 566. 01
all'. fair in ""nWlY (ttl 'Fint Four Paragraph. . ')
all she wants (m 'Letter')
alway1 (a wOld l're<:juently aMOciatcd with Anna and hsy; the
high ooncent. . -"ti(JU ofoccurrences (I I) iu Ihe final monologue r<<alb the oonstantly repeated <Wit sung by the ooll1ral1o at Ih. end of Mahler', Das Lied ",n tin Erth), '44. 27, '45. 30, 1 4 6 . 1 9 , l i S . S [ , 5 2 7 . 1 3 , 619. ~3. 6 2 0 . 1 0 , 6 " 1 1 . 2 3 , 6 2 3 . ? 7 , 624. 22, 624. 33, 625. 1 I , 626. 10, 6~7. 10, 627. 14, 627.
,,"
? TU? J Ma. JQf Motifs
'-Byjow:, it is tu, Hal"", u. id. '
'Buck Mulligan W<:I1t On hewing and . . . h~dl;ng';
'-. s. . , th, ,II". C4kiJ1, oays 'he. &,-, . . . . . '''''", oays :<Of,. .
Cahill,CH-'JDI'. '/-. 1-. W. iN/JuOIUJitII. ' (U to;joyce', italics. )
- I f ~'V"'" l . f t l l h I M I ' _ ' I d ; " ; " , ,
' ",/1 gll ""jtt. drillh IIJ"'~ I'm md;i"8 I'" "'~'"
nld k_ I. drink wain" ""d wish il lilt" plain Tlwl , m4kt u'''''' I'"wW lNtomu . . . ""orGg~;". (U '7; j oycc', itolia. . )
I n the law- book Joyce turns tills id u ioto a major rorn:spon. dencc. The ICmi. pri. -atcjokt abont Fendant'. being the: 'arch. du. cheM', urint? ' is carried over into rill. . """ IV. ! . . (t 7' . ~5~7, 209. 06, etc. ) and in the liturgia! chapin III. ~ Sh. . . nn maka
an unn. nal act of (ommnnion with his li. tet, who play, the part of the BVM' :
'Give UI another ( UP of you. ocald. Santol MOWiI ! ? I1tat was a damn good cupofacald! You oou! d trot. mo",,",on il. I iOg<:lyed your pid of hissing hot luncheon line, I did, thanks awfully, (sublime ! ). Tcndtl'U1 bully n~r I ate wi th boikd prolt:llan lJ (allinoili. allinoilia1) ooJy f<:n- your peas again . . -ao a lasle tooth pally 10 carry flavourwilh my godown and hereby retorn wilh my bat u. \"ioury a mdimcnlJ and a penny in the plale for Ihe
je~'. (455-35)
In the inverted pooture ad<>pted by the archetypes al the end
of the book we are evidently to see f. :. rwkker, like Shaun, making an act of oommunion with the myuically transub- stantiated urine of the goddw, Anna.
The ael of baptism, symbolkal\y ollie<! to t~ tn. OIUb- . ,antiabon ofthe wine, is;t. . ,1fdoc". . . . . ! in turns ofmicrurition in one of the parodirs of Quine! '
'tlle",',;o. rpurtfm: turfa'kind o'ltit>dling "'~II oft as the IOUfI". lOulfbloWJ ~r p"atirs up and a c! aypot Wtt lOr thee, my Sil)'l, and talkatalka tell Tibbo has ew:' (I r7. 11).
1 t. u. ", pp. ,06, 'S' . ? ct. aloo ~,. ,. If.
? Tu. 'O Major Ml)tijs
The 'daypol' olwiowly designates one ofJ oJ'C"" 'piping hoi' uICnailes,. . wcU as the tea-pol, to that the imagery grow~ vuy complcx. AI Patrick baptioes Bridge! be:iide the roaring 6r"" ofhia 'Purgatory', ahe sits like a godd. ,. ('lea' combines with 'the(:' 10 give 'thea') on her earthenw"", Ihrone drinking, and ma. kin&. tea. . . . . hile her PCI~U ~ blown up around her by guslS oeRatus from the furnace in the boweb orthe eanh. Tea, urine, ~d the hapwma! waten are therehy closo:iy integrated in a &iogIe symbolic act. The goddCII aad her pot form an imponalll image-group """eh ",tWIll in a number of witly mutauom (9. 3~, 171. ~4-'28, etc. ). Furthermore, the tea? ttain on the Letter-'tache oftch' (II[. ~O}---U identical with the impurity spied OUt by Earwicler on the temptrun' undu_ wear, wbo5e f. bric servCl . . . high. quality stationery: 'pubfuhcd
cornbinatioru of Iillinlaine tclumonieJ' ('4. U).
Wbelher or nol J oyQ: can 1M: said fully to N;VC aclticvd Itio
aim of dinilling nnivcnal b. auty from scatology mnS! . . ,main a matter for penonal ju~nL The lllempt i. ""rtainly imp~i"", and there can be no doubt ofJoya'. artistic . in_ ccrity-whatcvu his private ob$essionL He has by DO meano convinced aU his admi. . ,. . . , but I m)"CJf find the . . :at% gy in the main quite s"CO'"rul, esp<<ialIy . . . . hen Joy<< is handling his repugn>. nt and IOmeUmt:o n. t. UJeOUI maleriab in Itrongly mythological contcl<lS. The. . , the . . :alOlogy;' made 10 interlock in a pattern of 5fUlboI;. m of which it forllll an . ,. . ,ntial and adequately subordinated part, bUI whtn the mtthod comes ne~r to nalutaliom, as;t occl,ionally does, the doacal obteJ- siol\ it pe. N;pI mUter too evident lOr comfort. Indirection ;. 00<< again, as to often, the key 10Joyct'S ru"""" in F. . . . ,1lIU
W. . ,b. When he ke(:pI his raw material. at an adequate diltance from It;. ocnsibilitiao he produoes brilliantly inl"grated . nd balanced art-rom. . ; only when he allows him. df tlle proximily which he always denies to his rtader does his usually finn grip seem 10 d. acken.
,,8
? APP ENDICES
? APPENDIX A
AN INDEX OF MOTIFS IN
Fl/{NEGANS WAKE
There is virtually no limit to the numo. .
r and variety of waY' in which the multitude of kit"",tiv, in FiIl". ga", wake might be ch. . . ified and arranged, for in breaking
down the proc. . . of compoaitioo to the organisation of , uch wI" of phra",. Joyce was clearly looking for the maximum
JIO"'ible lI""ibility of de>ign. I made . ""eral attempts to claslliy the motif. li,ted here but th~ n:su]ts nevcr proved to be panicu_ larly useful. A simpk alphabetical index is therefore offered, although in the ~_ of a few big motif. . complcxe. a "'parate grouped list is provided. Moti& based On proverb. , catch_
phra>eo and the like are usually listed in their normalj. . ,d fornu . With . . few exceptions this ind<:x omib (,) aU wng-motifs,' and (~) all 'literary' moti&, i. ? . quotatWm from works of
literature. ' Some ! ingle wor<:h function as independent kit_ llUJli<Js and, ofcourse, a large part ofFinll. tgans Wakt i. made up of motif_fragments--word. and . yllables derived from impon_ ant motif. but too ne<:ting in them<<:IVCll te> be called motif_ stalemenu. The jndex makes no attempt to li,t any but the
most important lingle_word m<. >tm and motif. fl1lgments. Simi_ larly, 1 have ucluded the bo:sts of word. ! and . ymool. that alwaY' hunt in couples but otherwj. . , have no . pecia] ltit_ m. ti~tit significance, 'uch. . . . 'h. olly and ivy'. Such word. ! and word_pairs can most easily be traced with the aid of my em,,,,,,. "",,,:t. '
, . . . very fwlli>' i> avaiJ&bk in M. J. C. H odgatt""'; M. 1'. Wo<thiugtOn, Soq- in ok- W. . L'lfJ_JOJU. New YorI<, '959.
,s. . A'~cnoo. , Aw<nd;~. ? To be publithed <h0011y.
? An In. ux ifMotifs in FinnegaTlS Wake
Some " f the repeated oomrrwn "xpresororu which app<ar in
the lisl may have little practi<:al function . . . /tilmotiw buI since the m"lif? ? lnrcture of lhe bool: u always "f al le. . . 1 the<lTetical
imp<. >rtaoc<: I have th<mght it be. 1 10 include evtrything that . "uld be aaid to bave the . hap< of a /ti/mot;o. Newrtbel. . a, I do nol claim that, even willi. regard to maj"r motifs, Ihe index i. in any way exhau. tive. The I;,;t ofitem. h:u grown almOSI we<:l: by week a. my understanding of the tC':<1 has de<:pcned, but I
am ,till a very long way from undentanding all that J oy<< put inlo Fi. lltgans Wak< and other readen will ceTtainly have noti<:ed many correopondcn= Iowhich I have remained blind.
Doubtful ref=nces are plac:ed in parenth. . . . . Mosl of IIt~ motif. are . eJf-uplaoatc>ry in . ;ont""t hut I have provided brief notes and references wheTe il $<:<:"" u,dulto do! lO. The ,;goilk_ an<< ofa number ofthe major molifs Uoboeure to me. In thow: (a$C! I ha"" added a note to thaI effect.
ad lib. (Vioo', fourth Age i; pcrf(>fmed 'ad lib. '; the regener,,' tion which tAke, pla<< during it is expr=ed in Ihe clUlle oorreop<. >ndence of the IMt two statemenll! of the motif: 'ad libidinum' and 'ad liptum', wh=by the ! laually regencra- Ii"" p<. >wcr of tea i. emphasised), 283. 1. '>, 287. 26, 302. 22,
+41. 09, . '>4,? 28
all. dear 011. dear (tbe characteriatic ";gh of Luke Tarpey),
'3. ~7, 22. 23, ' '7,09,'40. 08, '4"? 09, 224? '0, ~38. 35, 29{? 11,
2~Pl, 372. ~2, 389. 20, SSg? 31, 392. 12, 394? 33, 39. '>? 33,
396. 29,58,. 20
alt hn (the charactemtic lligh of Marl: Lyom), 5. 09, 13. 26,
94'33,fi. 21, "7. 10, 121. 26, '40. 09, 16'. 25, 180,'5, 18{'33, ,8+'36, 185. 08, 22+? 09, 224. 20, 372. 22, 3730"7, 373 " 5,
385? '7,39"? 35,581. 2{
ahome . . . Thorn Malone (see 'Anna Livia Motifs')
aiJy-ouy (aMOCiated on both occasion. witb . <xual interoounc), '96. 12, ,584? 11 \
aU aboard/all a,hnu (always a deparluT<: motif; uso<:;ated, of 00"""', with Noah), 358. 20, 370. 35, ? ig. 18
aU at home'. health (m 'uttu')
alI men has done ! IOmething, 355. 33, 62! . 3~
'"
? An Index ofMQtifs in Finnegam Wake
all maw lead to Rome, ! J6. <>3, '''3. ~3, 566. 01
all'. fair in ""nWlY (ttl 'Fint Four Paragraph. . ')
all she wants (m 'Letter')
alway1 (a wOld l're<:juently aMOciatcd with Anna and hsy; the
high ooncent. . -"ti(JU ofoccurrences (I I) iu Ihe final monologue r<<alb the oonstantly repeated <Wit sung by the ooll1ral1o at Ih. end of Mahler', Das Lied ",n tin Erth), '44. 27, '45. 30, 1 4 6 . 1 9 , l i S . S [ , 5 2 7 . 1 3 , 619. ~3. 6 2 0 . 1 0 , 6 " 1 1 . 2 3 , 6 2 3 . ? 7 , 624. 22, 624. 33, 625. 1 I , 626. 10, 6~7. 10, 627. 14, 627.
