Hil concenl lOr l\lCid IIIppicneu and
rhythmic
CX(:(llence in the ohon .
Hart-Clive-1962-Structure-and-Motif-in-Finnegans-Wake
they contain but in the meall!
ofpr=ntation: 'In my eMe the thought i.
always simple'.
' The truth of lb.
.
i> broad a.
w:rtion
depend. very much on what Joy<:e intend< by 'thnught'. If, with ""ptct to Fj"''''g<m. < Walt, he m~. . ns the overall world_view and the outlines nf the mythic tales through which it is dc- v. loped, then the comment is jtUt enough. &yond this, however, Joyce would I! CCm to be dtcciving either himself or his t~ad=. The relatiOIUlhip of part! , the (. Onc;o. t~nation of metaphor and image, the details of argument in Fi"""glltU Wah are often very subtle and extTCmdy difficult to g'""'p fidly. Tbh is n~v~r SO apparent to the reader as when he emharb (lI1 a $hott oxplicG- tum tU 14m of SOme more or less . . ,If_contained p. . . . ag? . No matter how thorough tb" lingu;"tic analysi1, n" matter h"w many of the refcr~ntiallonot: ends may be gathue<l together, the difficulties tUually fail todlspc! "Se. A Imnwle<lgt' nfN"orwegian, for example, docs not help bim to undenland the 'No,w~gian
Captain' SIOI)'. He may build up a lut"fse",ral hundrW word, from that language, a v"l)' /i:w of whid ' oerve 10 orientate a sentence or giv<: point 10 . "me otherwi3tc apparently meaning- I. . . phrase, but n~arly all ofwhich are . . ,en to ha", been uacd
purely fOr mosaic decoraLion; the fundamental difficulties of , II. Iludg=,J_}v;>t-t/hi. M'Itiy,tfUIJ-,l. ondoo,'9~p. >91.
35
? S(l1IU Aspeds rif Filmegam Wake
understanding the personal relationships eJ<plo",d in the tale, the . yrnbolit ';gnificance of the journey, the rn)"t. rio'" dia? logue and dbu",,,,,,"I, ",main uIlttSOI""d. ! ndeW. it mmt to IIOme extent comfurt the ordinary ""ader to discover that this is 50, to bot fO. ssured that F;MlgQ1IJ Wait i. not just a Cl'O! ISword puzzle which he will bot able to . . ,1"" when he ha. ac~ to a long shelf of dictionari. . and can a/ford 10 burn enough mid-
night oil. The proble"", that he faces are in facl very famili. . " they a"" Ih. ,. . , involved in learning how to make an adequate anal)"i. and ",synthtsi. of a symbolic language.
Joyce keep' admonishing his puzzled ""ad" to use hi. ca~ ; 'if)'<lu are looling for the bilder deep yOUT car on the movie?
tone' (6~,oR)-and while il is true that he must c:<mItantly attend to prosodies and accents if the full content of the book is to hot: apprehended, IIOWld and rhythm arc nO more Ihan a part of Ihe IOtal pallem and have, ! hot:lieve, been ovcr-. lr<:<. <ed. Moot ofJoy",,'. neologisms are mo"" easily undel"! i(KKI hy eye than by ear. Tricks and coincidenc. . of typography and ortho-
graphy allow greater vinuooity than do their audihk equiva. 1011;$. Joy. -,c is undoubtedly writing fOT the ear nearly an Ihe time, but mO>t of his attention is dev<lted to the apreararu;e of the words on Ihe page. That the greater part of the meaningful oounterpoint in FinNgallS lVa. 1;, cannot bot amany communi. c>. ted, is revealed byJoyce'IOWn celebrated reading fmm 'Anna Livi,,' which, though finely o. . . ;hestrated within" ,mall GOn,p""', totally rails to GOnvcy more th"n one level of meaning from a
""pr"",ntativeiy complex passage. In ffiO$l caS<:! a variety of pronunciations '" n = a r y for ea~h word, and many ph,. ,. . . ,.
offer $/:v. :ral possibiliti. . of rhythm and It. . . ,. S. In theory, highly controlled choral. peaking by a small group would hot: the only . . . . tisfac,lOry ",Iunon to the prohkm of how 10 read Fin""tlJJtS
Walt aloud, each . peaker adhering to one 'voice' oflheGOunter_ point and u,ing the appropriate ,,""nt and str""".
For all iUl splendidly varied rhythm. and its multitudinous parodi. . of all the media of aural GOmmunication, it see"", difficult to justify the usual . tat<:menl that FitwgdllS Wah is primarily intended to work nn the auditory imagination.
,6
? &mu Aspects of Finntgans Wa. <<
ProfCSlOr Harry I. . . vin has gone so rar as to make the astoniAhing claim that Fimul"'" Wak. 'lacb vuual imagery'. ' T h = are few places in;1 where the world ofsound is not evoked, but, . . , in UIysus, the great bulk ofthe imagery remaim =tially visuaL Thue never was a book more clutlere<l with "wble symbols;
me optical f",ld ;, constantly crammed with every variety of . tage_property, from the tiniC$1 trine to the Il\O! lt megalomaniac objects of desir<:. The cosmic sccne ill continually being reset, the charaetc. . . appear in a multitude of exotic costumes, barr. ,]- loads of knick_lmack> arc ",. . ,wo over the Hoc. . . , ,hip" sail into
view and depart as . warn, =. . and flowe. . . . pcout and wither in the wildem. . . " fireHi"" glitter, sky>ernpcrs rUe and fall, fires ra! \<, and the rainbow glows on the horizon, There h"" bttn rather too much easy talk alxlUI the sharpened car of the pur. blind man. Such talk Qlkn Kc"'" 1<1 coincide with the mpc:r_ ficial grasp of thc text which maktS it 1Ie<:(:IO. 3. ry for SO many critics to fall back 011 'suggtStiVtnCSS' aJ a j",tificatio'l. and explanation ofJ oyce', neologism" There U, ofoouroc, an aImo'" ce:uel= background oflilting rhythm and modulating inlona_ tUm in FinmlQIU Wah, but thi, sort of illbuilt mU$ical setting,
along the line, ofwhieh Mr. Cyril Cu,ack [{)()ulds hi. excellent recorded reading of 'Shem the Penm~n',' i, a very different thing from aural imaC"J. Apart from the few set-pieces wru,re
Joyce i, drawing bravura lOund-picture. , as in the <:TId of 'Anna L. ivia', the ileeping-:roo passage (~41-i6), or th~ Nightingale_ song (359-60)', alm<>:st any passage taken at random will demomtrate this empha,is 011 visual content. For ~xample' 'But vicereverullg thereout from th<>:se palm. of perfection to anger arbour, u<<:rack monatan, ocroucely out of scout of ocean, virid with woad, what tomame"to of complementary ragtS rocked the diviu" from hi! punchpoll to hiJ tummy'. ,henlre at he dUplaid all the oalhword science of ru. visible disgrace. He waJ fe<:ling $0 funny and floored [or the cue, all
37
? Some Aspttls of Finrugans Wake
0Vtt whichgirltashedon'l know whceehue. lfg<'llleyspsious
would but fain $mik him :I . mik he would be fOndling a pnix he l ie lOme nio: bit of Duff. lIut no gat(: <evula the UDCOfl- noulh. They're all oddJ apiMt him, II><: beutia. . Scratch. Slart. ' (~o7. 19)
IIr : THE BREAKD OWN OF THE SENTENCE ; SEU'. PARODV
'WordJ. Was it thcir ooloun? , . . 0. was ;1 tluot, bring as wukoflightashe. . . . ,allyofmind,hedrewIe. pl~ I'rom the re8cctloll of the glowin8 acru;blc ""'lrid through the pn. m ofaIa~many. :olouredandrichlystoriedthanfromtbe contemplation of an inner world of individual emotiow mir-
rored p! :rfcctly in a lucid IUppiCperiodic pr'O! le? ' (AP 190) Thil . . One of the mostjUltly celebrated e"preoaions ofartistic I(:nlillilily in J oyce'l WOrQ. At Ihe time of iu rompoilition J oyce . . . . , already . . . . dl '""p! :ricn<<d in the writing of the Iypo: ofprooc: dCKribcd.
Hil concenl lOr l\lCid IIIppicneu and rhythmic CX(:(llence in the ohon . torica of D. . li. . . . is noticcabk from the
font polg<', The openinc pangnoph of 'The Silten' iI quile rem:orhble for the allCnlation of ohon and long . . . . -or<b and pbrueo designed to mirror the boy', I>csitatiolll, doubts, and immaturities. Even at thia stage of his career Joy<< iI writing prOM: which is meant to be clotely examined, not read through. ' 'There was no hope for him thi. time: it wao the third l! roke, Night aller night I had pasacd the hoUIC (it was vacalion time) and IllIdicd the lighted 'CJuare 0( window: and nighl aflcr night t had found it lighted in the lame _y, faintly and evenly. If
he "'lIS dead, I thou,ht, I would I t t the: rdlcctioll ofcandles on the darkened blind, for 1 knew d>a. t two candles mllil be x t I t th( head oftlu: COI"JIIC. He had often. . aid to me: "I am not ions: for this world", and I had thollght his words idle. Now I knew they were tru~. Every night II I gazed up at the window I said JOftly to myxlf the ,,-ord paralYlis. It h~d alwaY' lOunded
,F""an<x,ft>d""~onof'ThcSis'. . . . ,'"M. lobplatt. . ,n. . . " ~ ? . ,,""', I. oondon, ' 9 $ pp. 7" fr.
"
? Same Asptels tif Finnegl1JlS Wake
. trangdy in my ears, like the word gnomon in the Eudid and the word simony in the Gatcehi,rn. But now it sounded to me lik. the name of SOme malefi~nt and . inful being. It fined me wilh fear, and yet l longed to be nea""r to it and to look upon il'! deadly work. ' (D ~2)
'The sentence was the . tyIDtiC unit with whichjoy~ worked most ~aoily in 1m early yea",. Fint rate paragraph "",iting lil<e the example jwt quoted i. to he found here and th~re in D,. bli"", and A Portrait, but jore" was nevee a natural para. graph-writer like, say, hi! . :onlemporary Paul V"Ury, and hi. b. :st work in thi. form always has something of the Wur ! hJOrtt about it. For the fi"'l half of hi. '! care", it was to the sentence above all that Joyce devoted his best powers. Tn UlysstJ, the culmination of those yea"" the paragraph was virtually aban_ doned as a rhythmic unit, hut d au. ". . . trocturc w"" brought to a very high pitch ofachievement. ' j <>y<:e t<>ld frank Budgen of 1m hard w<)fk on two "'nten~. a fmm an episode of Ulysses" 'The words . . . arc: "Perfume <>f en'hra= all him au ailed. With hungered lIe>h <>hst:urc1y, he mutely craved t<> adore. " You Call """ for youmMin h<>w many diffe""nl ways they might
be "rrang<:d'.
PauagCl! lik. the following dq><:nd for their whole dl'ect on
luch e&refully controlled organi,"-tion of Ihe demen\. ! within theindividualsenten~,. Thesequenceof. enteneeswithinthe paragraph is of secondary importan~e, as Jnyce'. habit or compooition by interpolation . ugges":
'Chri,tfox in leather trews, hiding, a nmaway in blighted lroe? forb from hoe and cry. Knowing no vixen, walking londy in the chase. Women he won to him, tender people, a whore of Babylon, ladies ofjUlticeJ, hully tap'ICrs' wi"'l. ~-ox and geese. And in New Place " slar;k dishonoured body thaI once was r;omc1y, on~ as . weet, as fre<h "" einnamon, now It", ! eaw:s falllng, all, barc, fiighted of the narrow grave and unforgiven? . (U 18~)
, For d. . . . . iled . . . . . . . ,. . . " of "","'",. ,. ,. in U/. I=" . . . R. HenlU, Dit " . . "'K""W. . . . a""";","ut"",". . . . Jo-'Joy<<,fIit}{___ S/><O? . . . . ". . ,. '7,
r9~3. III. T"t.
F. Jlu,! gen, J - s Joy<< mrd #t< M~ q Ulp4's, ! . . <>ndon, '934> p. 00.
W
? Slime Mptfls rif FintltgOlU Wak,
As KIOn U joyce's senlene. . h. . d TOachM ill culmination, howe''er, it ~an to break down. As hil penonal intemll and the IOOpe of h. . " 'riting . . idcnt:d,j~? 1 . tyle became u,erus- ingly fl'llgmcniM lind delailed. U! 1JJts already Iho. . . . a tendency 10 br<ak away from Ihe . . ,nlcnce aI a rhythmic and formal unil, the moot obviow departure being lhe \I$(: of tho. e huge Rabelaisian ulaloguea in "'hich all rhythmic progrcu is halted, 10 that Ihe eatalog". . might go on marking time indefini tdy. Some critia have objected thai j oye. . introduced unnecessary longueun inlO U/J. . . . by his C:Xlraordinary 101. -. : of all? inclusive lisll. Thcy oometim. . look 10 the earlier books fOr a pu rer . Iyle, but even in . 1 "",',a;1 there . r< several embryonic
c:xamplo of this tendency 10 write in list! . (AP '7, [119, [97) The calalogua in U! 1ms gradually _ u mt<! more and more importance ujoyce devdoped the book, bUlthey au ofCQurse only onc mea", by which ocntence_lIructuu is hroken do. . . n. The intmor monologue inlO . . . hich Joyce incerpolatM ""'"' and JTIOI'e asoociative ekrncnts is by its nafUr< fragmentary; the expTC>>ionilm of 'Circe' i. 100 mercurial to allow sentences
"DOUgh room in which to develop; the . . . hole comic effect of ' Eumeus' deriveo fromJoyoe'. nllhlCllly allowing the sentena:s to demoy themulv. . hy lack of discipline. This break away from 'he . .
depend. very much on what Joy<:e intend< by 'thnught'. If, with ""ptct to Fj"''''g<m. < Walt, he m~. . ns the overall world_view and the outlines nf the mythic tales through which it is dc- v. loped, then the comment is jtUt enough. &yond this, however, Joyce would I! CCm to be dtcciving either himself or his t~ad=. The relatiOIUlhip of part! , the (. Onc;o. t~nation of metaphor and image, the details of argument in Fi"""glltU Wah are often very subtle and extTCmdy difficult to g'""'p fidly. Tbh is n~v~r SO apparent to the reader as when he emharb (lI1 a $hott oxplicG- tum tU 14m of SOme more or less . . ,If_contained p. . . . ag? . No matter how thorough tb" lingu;"tic analysi1, n" matter h"w many of the refcr~ntiallonot: ends may be gathue<l together, the difficulties tUually fail todlspc! "Se. A Imnwle<lgt' nfN"orwegian, for example, docs not help bim to undenland the 'No,w~gian
Captain' SIOI)'. He may build up a lut"fse",ral hundrW word, from that language, a v"l)' /i:w of whid ' oerve 10 orientate a sentence or giv<: point 10 . "me otherwi3tc apparently meaning- I. . . phrase, but n~arly all ofwhich are . . ,en to ha", been uacd
purely fOr mosaic decoraLion; the fundamental difficulties of , II. Iludg=,J_}v;>t-t/hi. M'Itiy,tfUIJ-,l. ondoo,'9~p. >91.
35
? S(l1IU Aspeds rif Filmegam Wake
understanding the personal relationships eJ<plo",d in the tale, the . yrnbolit ';gnificance of the journey, the rn)"t. rio'" dia? logue and dbu",,,,,,"I, ",main uIlttSOI""d. ! ndeW. it mmt to IIOme extent comfurt the ordinary ""ader to discover that this is 50, to bot fO. ssured that F;MlgQ1IJ Wait i. not just a Cl'O! ISword puzzle which he will bot able to . . ,1"" when he ha. ac~ to a long shelf of dictionari. . and can a/ford 10 burn enough mid-
night oil. The proble"", that he faces are in facl very famili. . " they a"" Ih. ,. . , involved in learning how to make an adequate anal)"i. and ",synthtsi. of a symbolic language.
Joyce keep' admonishing his puzzled ""ad" to use hi. ca~ ; 'if)'<lu are looling for the bilder deep yOUT car on the movie?
tone' (6~,oR)-and while il is true that he must c:<mItantly attend to prosodies and accents if the full content of the book is to hot: apprehended, IIOWld and rhythm arc nO more Ihan a part of Ihe IOtal pallem and have, ! hot:lieve, been ovcr-. lr<:<. <ed. Moot ofJoy",,'. neologisms are mo"" easily undel"! i(KKI hy eye than by ear. Tricks and coincidenc. . of typography and ortho-
graphy allow greater vinuooity than do their audihk equiva. 1011;$. Joy. -,c is undoubtedly writing fOT the ear nearly an Ihe time, but mO>t of his attention is dev<lted to the apreararu;e of the words on Ihe page. That the greater part of the meaningful oounterpoint in FinNgallS lVa. 1;, cannot bot amany communi. c>. ted, is revealed byJoyce'IOWn celebrated reading fmm 'Anna Livi,,' which, though finely o. . . ;hestrated within" ,mall GOn,p""', totally rails to GOnvcy more th"n one level of meaning from a
""pr"",ntativeiy complex passage. In ffiO$l caS<:! a variety of pronunciations '" n = a r y for ea~h word, and many ph,. ,. . . ,.
offer $/:v. :ral possibiliti. . of rhythm and It. . . ,. S. In theory, highly controlled choral. peaking by a small group would hot: the only . . . . tisfac,lOry ",Iunon to the prohkm of how 10 read Fin""tlJJtS
Walt aloud, each . peaker adhering to one 'voice' oflheGOunter_ point and u,ing the appropriate ,,""nt and str""".
For all iUl splendidly varied rhythm. and its multitudinous parodi. . of all the media of aural GOmmunication, it see"", difficult to justify the usual . tat<:menl that FitwgdllS Wah is primarily intended to work nn the auditory imagination.
,6
? &mu Aspects of Finntgans Wa. <<
ProfCSlOr Harry I. . . vin has gone so rar as to make the astoniAhing claim that Fimul"'" Wak. 'lacb vuual imagery'. ' T h = are few places in;1 where the world ofsound is not evoked, but, . . , in UIysus, the great bulk ofthe imagery remaim =tially visuaL Thue never was a book more clutlere<l with "wble symbols;
me optical f",ld ;, constantly crammed with every variety of . tage_property, from the tiniC$1 trine to the Il\O! lt megalomaniac objects of desir<:. The cosmic sccne ill continually being reset, the charaetc. . . appear in a multitude of exotic costumes, barr. ,]- loads of knick_lmack> arc ",. . ,wo over the Hoc. . . , ,hip" sail into
view and depart as . warn, =. . and flowe. . . . pcout and wither in the wildem. . . " fireHi"" glitter, sky>ernpcrs rUe and fall, fires ra! \<, and the rainbow glows on the horizon, There h"" bttn rather too much easy talk alxlUI the sharpened car of the pur. blind man. Such talk Qlkn Kc"'" 1<1 coincide with the mpc:r_ ficial grasp of thc text which maktS it 1Ie<:(:IO. 3. ry for SO many critics to fall back 011 'suggtStiVtnCSS' aJ a j",tificatio'l. and explanation ofJ oyce', neologism" There U, ofoouroc, an aImo'" ce:uel= background oflilting rhythm and modulating inlona_ tUm in FinmlQIU Wah, but thi, sort of illbuilt mU$ical setting,
along the line, ofwhieh Mr. Cyril Cu,ack [{)()ulds hi. excellent recorded reading of 'Shem the Penm~n',' i, a very different thing from aural imaC"J. Apart from the few set-pieces wru,re
Joyce i, drawing bravura lOund-picture. , as in the <:TId of 'Anna L. ivia', the ileeping-:roo passage (~41-i6), or th~ Nightingale_ song (359-60)', alm<>:st any passage taken at random will demomtrate this empha,is 011 visual content. For ~xample' 'But vicereverullg thereout from th<>:se palm. of perfection to anger arbour, u<<:rack monatan, ocroucely out of scout of ocean, virid with woad, what tomame"to of complementary ragtS rocked the diviu" from hi! punchpoll to hiJ tummy'. ,henlre at he dUplaid all the oalhword science of ru. visible disgrace. He waJ fe<:ling $0 funny and floored [or the cue, all
37
? Some Aspttls of Finrugans Wake
0Vtt whichgirltashedon'l know whceehue. lfg<'llleyspsious
would but fain $mik him :I . mik he would be fOndling a pnix he l ie lOme nio: bit of Duff. lIut no gat(: <evula the UDCOfl- noulh. They're all oddJ apiMt him, II><: beutia. . Scratch. Slart. ' (~o7. 19)
IIr : THE BREAKD OWN OF THE SENTENCE ; SEU'. PARODV
'WordJ. Was it thcir ooloun? , . . 0. was ;1 tluot, bring as wukoflightashe. . . . ,allyofmind,hedrewIe. pl~ I'rom the re8cctloll of the glowin8 acru;blc ""'lrid through the pn. m ofaIa~many. :olouredandrichlystoriedthanfromtbe contemplation of an inner world of individual emotiow mir-
rored p! :rfcctly in a lucid IUppiCperiodic pr'O! le? ' (AP 190) Thil . . One of the mostjUltly celebrated e"preoaions ofartistic I(:nlillilily in J oyce'l WOrQ. At Ihe time of iu rompoilition J oyce . . . . , already . . . . dl '""p! :ricn<<d in the writing of the Iypo: ofprooc: dCKribcd.
Hil concenl lOr l\lCid IIIppicneu and rhythmic CX(:(llence in the ohon . torica of D. . li. . . . is noticcabk from the
font polg<', The openinc pangnoph of 'The Silten' iI quile rem:orhble for the allCnlation of ohon and long . . . . -or<b and pbrueo designed to mirror the boy', I>csitatiolll, doubts, and immaturities. Even at thia stage of his career Joy<< iI writing prOM: which is meant to be clotely examined, not read through. ' 'There was no hope for him thi. time: it wao the third l! roke, Night aller night I had pasacd the hoUIC (it was vacalion time) and IllIdicd the lighted 'CJuare 0( window: and nighl aflcr night t had found it lighted in the lame _y, faintly and evenly. If
he "'lIS dead, I thou,ht, I would I t t the: rdlcctioll ofcandles on the darkened blind, for 1 knew d>a. t two candles mllil be x t I t th( head oftlu: COI"JIIC. He had often. . aid to me: "I am not ions: for this world", and I had thollght his words idle. Now I knew they were tru~. Every night II I gazed up at the window I said JOftly to myxlf the ,,-ord paralYlis. It h~d alwaY' lOunded
,F""an<x,ft>d""~onof'ThcSis'. . . . ,'"M. lobplatt. . ,n. . . " ~ ? . ,,""', I. oondon, ' 9 $ pp. 7" fr.
"
? Same Asptels tif Finnegl1JlS Wake
. trangdy in my ears, like the word gnomon in the Eudid and the word simony in the Gatcehi,rn. But now it sounded to me lik. the name of SOme malefi~nt and . inful being. It fined me wilh fear, and yet l longed to be nea""r to it and to look upon il'! deadly work. ' (D ~2)
'The sentence was the . tyIDtiC unit with whichjoy~ worked most ~aoily in 1m early yea",. Fint rate paragraph "",iting lil<e the example jwt quoted i. to he found here and th~re in D,. bli"", and A Portrait, but jore" was nevee a natural para. graph-writer like, say, hi! . :onlemporary Paul V"Ury, and hi. b. :st work in thi. form always has something of the Wur ! hJOrtt about it. For the fi"'l half of hi. '! care", it was to the sentence above all that Joyce devoted his best powers. Tn UlysstJ, the culmination of those yea"" the paragraph was virtually aban_ doned as a rhythmic unit, hut d au. ". . . trocturc w"" brought to a very high pitch ofachievement. ' j <>y<:e t<>ld frank Budgen of 1m hard w<)fk on two "'nten~. a fmm an episode of Ulysses" 'The words . . . arc: "Perfume <>f en'hra= all him au ailed. With hungered lIe>h <>hst:urc1y, he mutely craved t<> adore. " You Call """ for youmMin h<>w many diffe""nl ways they might
be "rrang<:d'.
PauagCl! lik. the following dq><:nd for their whole dl'ect on
luch e&refully controlled organi,"-tion of Ihe demen\. ! within theindividualsenten~,. Thesequenceof. enteneeswithinthe paragraph is of secondary importan~e, as Jnyce'. habit or compooition by interpolation . ugges":
'Chri,tfox in leather trews, hiding, a nmaway in blighted lroe? forb from hoe and cry. Knowing no vixen, walking londy in the chase. Women he won to him, tender people, a whore of Babylon, ladies ofjUlticeJ, hully tap'ICrs' wi"'l. ~-ox and geese. And in New Place " slar;k dishonoured body thaI once was r;omc1y, on~ as . weet, as fre<h "" einnamon, now It", ! eaw:s falllng, all, barc, fiighted of the narrow grave and unforgiven? . (U 18~)
, For d. . . . . iled . . . . . . . ,. . . " of "","'",. ,. ,. in U/. I=" . . . R. HenlU, Dit " . . "'K""W. . . . a""";","ut"",". . . . Jo-'Joy<<,fIit}{___ S/><O? . . . . ". . ,. '7,
r9~3. III. T"t.
F. Jlu,! gen, J - s Joy<< mrd #t< M~ q Ulp4's, ! . . <>ndon, '934> p. 00.
W
? Slime Mptfls rif FintltgOlU Wak,
As KIOn U joyce's senlene. . h. . d TOachM ill culmination, howe''er, it ~an to break down. As hil penonal intemll and the IOOpe of h. . " 'riting . . idcnt:d,j~? 1 . tyle became u,erus- ingly fl'llgmcniM lind delailed. U! 1JJts already Iho. . . . a tendency 10 br<ak away from Ihe . . ,nlcnce aI a rhythmic and formal unil, the moot obviow departure being lhe \I$(: of tho. e huge Rabelaisian ulaloguea in "'hich all rhythmic progrcu is halted, 10 that Ihe eatalog". . might go on marking time indefini tdy. Some critia have objected thai j oye. . introduced unnecessary longueun inlO U/J. . . . by his C:Xlraordinary 101. -. : of all? inclusive lisll. Thcy oometim. . look 10 the earlier books fOr a pu rer . Iyle, but even in . 1 "",',a;1 there . r< several embryonic
c:xamplo of this tendency 10 write in list! . (AP '7, [119, [97) The calalogua in U! 1ms gradually _ u mt<! more and more importance ujoyce devdoped the book, bUlthey au ofCQurse only onc mea", by which ocntence_lIructuu is hroken do. . . n. The intmor monologue inlO . . . hich Joyce incerpolatM ""'"' and JTIOI'e asoociative ekrncnts is by its nafUr< fragmentary; the expTC>>ionilm of 'Circe' i. 100 mercurial to allow sentences
"DOUgh room in which to develop; the . . . hole comic effect of ' Eumeus' deriveo fromJoyoe'. nllhlCllly allowing the sentena:s to demoy themulv. . hy lack of discipline. This break away from 'he . .
