pattcm is thai of the
labyrinthine
dIy, on the plan of whi.
Hart-Clive-1962-Structure-and-Motif-in-Finnegans-Wake
T he alternate 'death.
,' ofmak and female parallel the .
wingi ng mak_f~male polarity of !
he hook, while al_Haaan'.
speech from under the shroud tteaU, Ihe nutbunt of the revived Finnegan nn hi$ bier.
Apart from the broad corresponden= mentioned above, Ihere a. -c at lelUl two detailed aIlUliom 10 the OIory 10 confirm IhatJ<ryU matk UK ofit. At 597. ~6 it is named, in a conlext
full ofallusions to the Th. ". wul! WI 0 . . . ,Nights: '''''''per awaken. ing', while the ,cis of SCven serving. maid! on their rich carpets are described at J~6"9: 'had 1""<:IIal , ucc"l$ivecoloured sc",hanmaido <In the same big white drawingroam horthrug'.
T he other ,tory from the TlwwaNf ani 0", NiKhtr whichJoyce scelll! to have used for the dream-structure is "111e T wo Lives of Sultan Mahmud'. Thi, is the tal~ of a Sultan who, though
pooscssed of a splendid palace in a . plendid capital, had pmod. of acute dcp",lIion when h e envied Ihe lot of the limple ~ple. One day when he wu more than ~uaUy dejecced h~ w. . . . visited by a wise man from che wt:S1 who cook him COa room in Ihe palace whose four windows looked to th~ four points of che campus. Opening e;oeh window in . ucceS$ion the wise man
caused the Sultan to ha1locinat<: fOur scparate ru. . a. . ten in his realm. Immediately afterward. . Mahmud was led CO a fountain b. . . m whkh "nod in the middle of the room. When he looked into the water the old man roughly forced hi$ face down below
"7
? The DTeam? Stmcture
the l urface. At that ""'1' iruUml the Sultan found him. ! . elf no longer in hill palace, but shipwr<:cl<ed in a fordgn land where he was traruformed into an . . . . and forced to work for five yean at a mill before he wa, able to . . ,gain tbe shape of a man. Still in the strange land of his 'other life', he was being forced by a friwlo,,", law to marry ~ frightful hag whell, with a '. . ,mendo", effon, hi. '. . ,al aclf' freed his head from the fountain. To
hi? ? urpnac he di$covere<l thaI only a few mnment. had elapacd ';lIte the old man had forced his face below Ih~ surface. As he was IIOW convinced of hh good fon unc al being a Sultan and 110 longer Jikdy tn wish for Ihe simple life, the wUc man dk- appear<: d.
Thi, moral talc "",ms to be one ",urce of a parrnth. su at 4. 2' :
'olle yeastyday he Ilern<:ly SlnIX\: bi. lete in a tub for to watoch Ihe future nf hh fatel but ere he swiftly 5100k il oul again, by the might of mnoes, the \"Cry water was eviparated and aU Ihe guenne. cs had n'et their exodw '" that ought to show you what a pcntsch=jouehy chap he wa. )'
Jt i. also a funher $(luree for Ihe use of time compfCS. '! ion and expansion in the book. A lifetime may be dreamed in an i""tant; the whole universe may be nothing but the p. . . . ing fancy of a God washing hi! face in the morning, Or the drunken illu';on ofa Finnegan who. e hud i. ,plashed wilh whisky.
<<.
? CHAPTER FOUR
SP ATI AL CYCLES:
I- THE CIRCLE ,
'o n~ cannot hdp noti(ing that rath~r mor~ than half of th~ lin"" nm north_oouth . . . while the other; go we. t--e>. ! t . . . for, tiny tol tbough it looks when schtschupni. ding alcngside oth~r incunabula, il has i", cardinal
points fOT aHthat . . . 11 i$ . . ,rioudy believed by $Orne that the intentio. n may havc been geodetic . . . ' (I '4,. (2)
Writing of "- . pecial kind of . patia! fonn in th~ nov~l, Mr.
Fo,. "ter, in a well known p. . . "age in hi. . kjJt&/s <1tilt . NtJ",I', deocribe, the patt<:rn "r two boob as like 'an hou. . . . g1a. . ? and a 'grand chain' rcspt:ctively. Perhaps as $Orne kind of compensa_ tion for hi. pmhlindnel$, joyce i$ constantly concerned in hi. latu boob with ! . he probleJru of . ugge:<ting similar "mcture. apprehendablc hy the visual imagination. Wyndham Lrwi. chided j oyce for being time-cenlIed rather than 'pace-cenlred' and there is a sen"" in which his argument ;. valid,' but, . . . joyce ""ked Frank Rudgen, 'il it more than ten per cent ofthe truth ? '.
In I<) far as Iu: coruistendy organises hi, creations according 10 alm""t vi,ihle 'palia! patterns, j oyce is surely one of the moot spatially G<'>ILI<:iou; of writers. Indeed, 50 prominent i. Ihe 'palia], Hati<: "-'peel of j oyce', art that it provoked a very
, L<",,~",. '949. Ct"'P"" V I I I .
? Ti>>N. . J W,,1<No M. . . . l. on<Ion, '9'7. pp. 9'-'30.
? s. . S. K. Kwruu-, ? Space-Time ! '. :>la,ity in F_,,,,,, WoI. ', M""""
PIIdo"'D. vol. ! . IV. OQ. 4. Moy, 1~57, pp. '3<'-1.
? f. Budg<o, 'f~rth<< ReooI1<<""oo ofJ. rna Joyce', P",u-lIioitw, F. II,
'9~6, p. 539?
""
? Spatial CyclM: 1- The Ci,. d~
imelliptatlaCk byMr. JosephFnonkinb. U'Spatial}'ormin the ~lockm Novc:I". In A p_. u, . . Mr. Ellmann hu d """riy ? . . . ,. . . . ,1, Ibe paucm achi",? td is thaIofa developingcnbr)'o--a ~tr101 point involvM in laye. . after la~ of ever mon: relined materi. li in U[1JJn, as eve'1"'"C now tab:t fo. - gl1lntcd, tb.
pattcm is thai of the labyrinthine dIy, on the plan of whi. ch lin.
afler line . ,traced " ntil the minalun: Odl"""Y is complete ; in Pi""'lam Jl'ak. , . . . we . ho llld ex~1 of an essentially arch. typa l hook, though all these patterns and more an: ""bourne<! , Ihe underlying mucturc is simpl. . . . (Ven ifourface details IOm<:Ul1l<':J tau:i1O obseure il. T he two main spatial configuratiON go>1:rn. ing iu Sh3pe an: those wllleh have a1waya had p",-emincnce in _ternsymboLogy--thccircleandthee. . . . """therwith their
combination in a 1l=c-dim~aJ figure romisting of IWO circlel intenc<:ting on the . urface ofIl Iphe. . . ? The impanance
thai Joyce attached to these . truclurallymboh may ~ judged from lhe facl that he . . . . ;gned Ihe mandala symbol (R) to the k~y passage in 1. 6 dealing with the pattt:m of cycle. in
Fi. luuIDJIJ W. . . . . (qu. "tion 9),' The interxctlng circl. ,. are of couf'Ie also "'presentt:d in the t. . . 'O-dimc~ diagram On
page 293.
Joya's otw. ivc cono:rn with hi. nalh~ city has been dis-
cussed al length by almoM all hi. eritia. Yet . . . ? hiIe he d. . . . . . :: never to go outside Dublin for hU Kiting and principal malmal, h~ leaned rnO", and I'IIO'" loward uni\'en. olity of Iheme al hi. art matured. T he Dublin of Ulynss i, already bunting al the ""altU, 10 . tuffed i. it wilh txtra-ltibcmian material. Howth has rnyneriowly absorbed Gihraltar, the B. . . y of Dublin Ihe Mcditt:rrlnean Sea, and 10 on. BUI the two views lhatJnya tal<eo of his Dublin- t he naturalistic and the syrnbolic---are
n~ r endrcly fusa! in lRJUu andJoy<< f""luendy aIIow5lhe symbolic ovcnon. " to fade a. . . . . y. I<<ving the city a pooed in
i1:l n. tun. 1 unadorned squalor. The technique of juxlapooiing ,! ~J. W. "Id. . . . . (ro. ). ~I. . . ~,. . M. . . . . . FIt,;. ,N. . . York.
'9S'. pp. 4H6.
, Ethnonn, pp. 306---9
? S<o . '. ,. ,~ 111. 1. d _
? s. ;. iah Muoeum Add. MS 47413. f. "~to
,"
? Spatial Cycles : I- The Circu
Dublin and the Mediterranean u little more than allegory. In FilUllllGns W"*,, how~ver, wheC<' "" many problems ofcommuni_ cation and balance are rewlved, Joyce manages very cleverly to have his cake and eat it too. Having discovered a furmula for the lilerary philooopher'i 1I0ne which would allow him to trans- mute anything inlO a perfe<:tly integ. . . ~ted element of hi, novel, he was now able to iru;lude the whole universe within Ih~ c<>n- fines of Dublin'. hurdle, without (". rea. ting any feeling of Slrain, and above aU without the OOllStant implication of metaphor and allegory which ! lOme readers have found SO tiring in U/ym. r. The 'real world' of Dublin U nO longer acting OUI a half_ obocured tale ofh~roics; the city and it> life have bt:come no
moC<' and no I"", important than any of the othcr element> in the book, from which they aC<' alJTl()$1 entirely undiITerentiated. IfFu,1Ulall$ W". (:,UcoJl! idercd---ouJoyceobviouslywanled'" to consider it---ou a . . ,If-swtaining and . . ,If_explanatory entily, lhe nalUralinic clementi simply fall into place a. further otcps on the Scale ofNatuC<' thalJoyce;' auempting to = c t. At the naturafutic level the cycles <)f physical movemenl which 1 diocll. <! l in this chapter appear as no more Ihan the daily round of activiti"" in a bar-room. Within thu world neither Shem nor Shaun ~ any travelling at all outside Chapeli<Od, bnt al
higher symbolic levels the 'circumcentric megacydes' of their rt:Spective journeys take in, fun the whole of i reland'--'from Ihe antidulibnium onlo the scrmtaataC<'an' (S'O. 07)- ili," Enrop", the globe, and finally the heavenly . phert:S.
While there are important Ulra_terrestrial dimem10ru to Finn'lons IV"*', lOme ofwhich I discu" in the nexl chapler (Ihe spheC<' of being extends right oul to the 'prim~um nobile",',
3~6. t I),Joyce keep' his fecI firmly on the earth moo' of the time since, all an Arti! t emulating God, h~ mill! devote most of bis attention to purely sublunary malters, leaving the reol of the
universe as a rather pleasing adjunct. ? Ibe 'intention may have been g~odetic' indeed. FintltCalU W4kt ill laid out like . . map of tI. . : globe-'a chart cxpanded' (~9S. t9)-for geography i. '" important to Joyce ll. I history. O""r eight hundred n""rs are
, $h Appendix B.
'"
? Spmial Cycks: f - Tht Circle
named, a. o . . . ? ell as every continCnt, "hnOll cVtty country, mOil! of the SlalCt of the U. S. and aU the counu. :. of Oreal Britain and Irdand. We move from Book to Book as aeroos COOw'c,ua,
mH. ing ICnli~ta1 . i<>ur"mys and pilgrimalf"l to individu~ b. . . w within \lIem as Joyu dc,-elopt his nt. O. (roooomic equivl_ len! of 'The PU'l'Je beland'. Althoujjh Ihe whule of the earlh'? ? uIf"':e i, implicit in \1Ie book', IICOpe, there are, . . . is u,u. l in
J oyce'. scheme" key point. of IpecilJ Iymbolic and IlruclUraJ lignificance. Joy<:c'. vanou. European homes h""" an impo. . t>. nt _ i t funetion of courx, and 3~ ttru:ed in . .
Apart from the broad corresponden= mentioned above, Ihere a. -c at lelUl two detailed aIlUliom 10 the OIory 10 confirm IhatJ<ryU matk UK ofit. At 597. ~6 it is named, in a conlext
full ofallusions to the Th. ". wul! WI 0 . . . ,Nights: '''''''per awaken. ing', while the ,cis of SCven serving. maid! on their rich carpets are described at J~6"9: 'had 1""<:IIal , ucc"l$ivecoloured sc",hanmaido <In the same big white drawingroam horthrug'.
T he other ,tory from the TlwwaNf ani 0", NiKhtr whichJoyce scelll! to have used for the dream-structure is "111e T wo Lives of Sultan Mahmud'. Thi, is the tal~ of a Sultan who, though
pooscssed of a splendid palace in a . plendid capital, had pmod. of acute dcp",lIion when h e envied Ihe lot of the limple ~ple. One day when he wu more than ~uaUy dejecced h~ w. . . . visited by a wise man from che wt:S1 who cook him COa room in Ihe palace whose four windows looked to th~ four points of che campus. Opening e;oeh window in . ucceS$ion the wise man
caused the Sultan to ha1locinat<: fOur scparate ru. . a. . ten in his realm. Immediately afterward. . Mahmud was led CO a fountain b. . . m whkh "nod in the middle of the room. When he looked into the water the old man roughly forced hi$ face down below
"7
? The DTeam? Stmcture
the l urface. At that ""'1' iruUml the Sultan found him. ! . elf no longer in hill palace, but shipwr<:cl<ed in a fordgn land where he was traruformed into an . . . . and forced to work for five yean at a mill before he wa, able to . . ,gain tbe shape of a man. Still in the strange land of his 'other life', he was being forced by a friwlo,,", law to marry ~ frightful hag whell, with a '. . ,mendo", effon, hi. '. . ,al aclf' freed his head from the fountain. To
hi? ? urpnac he di$covere<l thaI only a few mnment. had elapacd ';lIte the old man had forced his face below Ih~ surface. As he was IIOW convinced of hh good fon unc al being a Sultan and 110 longer Jikdy tn wish for Ihe simple life, the wUc man dk- appear<: d.
Thi, moral talc "",ms to be one ",urce of a parrnth. su at 4. 2' :
'olle yeastyday he Ilern<:ly SlnIX\: bi. lete in a tub for to watoch Ihe future nf hh fatel but ere he swiftly 5100k il oul again, by the might of mnoes, the \"Cry water was eviparated and aU Ihe guenne. cs had n'et their exodw '" that ought to show you what a pcntsch=jouehy chap he wa. )'
Jt i. also a funher $(luree for Ihe use of time compfCS. '! ion and expansion in the book. A lifetime may be dreamed in an i""tant; the whole universe may be nothing but the p. . . . ing fancy of a God washing hi! face in the morning, Or the drunken illu';on ofa Finnegan who. e hud i. ,plashed wilh whisky.
<<.
? CHAPTER FOUR
SP ATI AL CYCLES:
I- THE CIRCLE ,
'o n~ cannot hdp noti(ing that rath~r mor~ than half of th~ lin"" nm north_oouth . . . while the other; go we. t--e>. ! t . . . for, tiny tol tbough it looks when schtschupni. ding alcngside oth~r incunabula, il has i", cardinal
points fOT aHthat . . . 11 i$ . . ,rioudy believed by $Orne that the intentio. n may havc been geodetic . . . ' (I '4,. (2)
Writing of "- . pecial kind of . patia! fonn in th~ nov~l, Mr.
Fo,. "ter, in a well known p. . . "age in hi. . kjJt&/s <1tilt . NtJ",I', deocribe, the patt<:rn "r two boob as like 'an hou. . . . g1a. . ? and a 'grand chain' rcspt:ctively. Perhaps as $Orne kind of compensa_ tion for hi. pmhlindnel$, joyce i$ constantly concerned in hi. latu boob with ! . he probleJru of . ugge:<ting similar "mcture. apprehendablc hy the visual imagination. Wyndham Lrwi. chided j oyce for being time-cenlIed rather than 'pace-cenlred' and there is a sen"" in which his argument ;. valid,' but, . . . joyce ""ked Frank Rudgen, 'il it more than ten per cent ofthe truth ? '.
In I<) far as Iu: coruistendy organises hi, creations according 10 alm""t vi,ihle 'palia! patterns, j oyce is surely one of the moot spatially G<'>ILI<:iou; of writers. Indeed, 50 prominent i. Ihe 'palia], Hati<: "-'peel of j oyce', art that it provoked a very
, L<",,~",. '949. Ct"'P"" V I I I .
? Ti>>N. . J W,,1<No M. . . . l. on<Ion, '9'7. pp. 9'-'30.
? s. . S. K. Kwruu-, ? Space-Time ! '. :>la,ity in F_,,,,,, WoI. ', M""""
PIIdo"'D. vol. ! . IV. OQ. 4. Moy, 1~57, pp. '3<'-1.
? f. Budg<o, 'f~rth<< ReooI1<<""oo ofJ. rna Joyce', P",u-lIioitw, F. II,
'9~6, p. 539?
""
? Spatial CyclM: 1- The Ci,. d~
imelliptatlaCk byMr. JosephFnonkinb. U'Spatial}'ormin the ~lockm Novc:I". In A p_. u, . . Mr. Ellmann hu d """riy ? . . . ,. . . . ,1, Ibe paucm achi",? td is thaIofa developingcnbr)'o--a ~tr101 point involvM in laye. . after la~ of ever mon: relined materi. li in U[1JJn, as eve'1"'"C now tab:t fo. - gl1lntcd, tb.
pattcm is thai of the labyrinthine dIy, on the plan of whi. ch lin.
afler line . ,traced " ntil the minalun: Odl"""Y is complete ; in Pi""'lam Jl'ak. , . . . we . ho llld ex~1 of an essentially arch. typa l hook, though all these patterns and more an: ""bourne<! , Ihe underlying mucturc is simpl. . . . (Ven ifourface details IOm<:Ul1l<':J tau:i1O obseure il. T he two main spatial configuratiON go>1:rn. ing iu Sh3pe an: those wllleh have a1waya had p",-emincnce in _ternsymboLogy--thccircleandthee. . . . """therwith their
combination in a 1l=c-dim~aJ figure romisting of IWO circlel intenc<:ting on the . urface ofIl Iphe. . . ? The impanance
thai Joyce attached to these . truclurallymboh may ~ judged from lhe facl that he . . . . ;gned Ihe mandala symbol (R) to the k~y passage in 1. 6 dealing with the pattt:m of cycle. in
Fi. luuIDJIJ W. . . . . (qu. "tion 9),' The interxctlng circl. ,. are of couf'Ie also "'presentt:d in the t. . . 'O-dimc~ diagram On
page 293.
Joya's otw. ivc cono:rn with hi. nalh~ city has been dis-
cussed al length by almoM all hi. eritia. Yet . . . ? hiIe he d. . . . . . :: never to go outside Dublin for hU Kiting and principal malmal, h~ leaned rnO", and I'IIO'" loward uni\'en. olity of Iheme al hi. art matured. T he Dublin of Ulynss i, already bunting al the ""altU, 10 . tuffed i. it wilh txtra-ltibcmian material. Howth has rnyneriowly absorbed Gihraltar, the B. . . y of Dublin Ihe Mcditt:rrlnean Sea, and 10 on. BUI the two views lhatJnya tal<eo of his Dublin- t he naturalistic and the syrnbolic---are
n~ r endrcly fusa! in lRJUu andJoy<< f""luendy aIIow5lhe symbolic ovcnon. " to fade a. . . . . y. I<<ving the city a pooed in
i1:l n. tun. 1 unadorned squalor. The technique of juxlapooiing ,! ~J. W. "Id. . . . . (ro. ). ~I. . . ~,. . M. . . . . . FIt,;. ,N. . . York.
'9S'. pp. 4H6.
, Ethnonn, pp. 306---9
? S<o . '. ,. ,~ 111. 1. d _
? s. ;. iah Muoeum Add. MS 47413. f. "~to
,"
? Spatial Cycles : I- The Circu
Dublin and the Mediterranean u little more than allegory. In FilUllllGns W"*,, how~ver, wheC<' "" many problems ofcommuni_ cation and balance are rewlved, Joyce manages very cleverly to have his cake and eat it too. Having discovered a furmula for the lilerary philooopher'i 1I0ne which would allow him to trans- mute anything inlO a perfe<:tly integ. . . ~ted element of hi, novel, he was now able to iru;lude the whole universe within Ih~ c<>n- fines of Dublin'. hurdle, without (". rea. ting any feeling of Slrain, and above aU without the OOllStant implication of metaphor and allegory which ! lOme readers have found SO tiring in U/ym. r. The 'real world' of Dublin U nO longer acting OUI a half_ obocured tale ofh~roics; the city and it> life have bt:come no
moC<' and no I"", important than any of the othcr element> in the book, from which they aC<' alJTl()$1 entirely undiITerentiated. IfFu,1Ulall$ W". (:,UcoJl! idercd---ouJoyceobviouslywanled'" to consider it---ou a . . ,If-swtaining and . . ,If_explanatory entily, lhe nalUralinic clementi simply fall into place a. further otcps on the Scale ofNatuC<' thalJoyce;' auempting to = c t. At the naturafutic level the cycles <)f physical movemenl which 1 diocll. <! l in this chapter appear as no more Ihan the daily round of activiti"" in a bar-room. Within thu world neither Shem nor Shaun ~ any travelling at all outside Chapeli<Od, bnt al
higher symbolic levels the 'circumcentric megacydes' of their rt:Spective journeys take in, fun the whole of i reland'--'from Ihe antidulibnium onlo the scrmtaataC<'an' (S'O. 07)- ili," Enrop", the globe, and finally the heavenly . phert:S.
While there are important Ulra_terrestrial dimem10ru to Finn'lons IV"*', lOme ofwhich I discu" in the nexl chapler (Ihe spheC<' of being extends right oul to the 'prim~um nobile",',
3~6. t I),Joyce keep' his fecI firmly on the earth moo' of the time since, all an Arti! t emulating God, h~ mill! devote most of bis attention to purely sublunary malters, leaving the reol of the
universe as a rather pleasing adjunct. ? Ibe 'intention may have been g~odetic' indeed. FintltCalU W4kt ill laid out like . . map of tI. . : globe-'a chart cxpanded' (~9S. t9)-for geography i. '" important to Joyce ll. I history. O""r eight hundred n""rs are
, $h Appendix B.
'"
? Spmial Cycks: f - Tht Circle
named, a. o . . . ? ell as every continCnt, "hnOll cVtty country, mOil! of the SlalCt of the U. S. and aU the counu. :. of Oreal Britain and Irdand. We move from Book to Book as aeroos COOw'c,ua,
mH. ing ICnli~ta1 . i<>ur"mys and pilgrimalf"l to individu~ b. . . w within \lIem as Joyu dc,-elopt his nt. O. (roooomic equivl_ len! of 'The PU'l'Je beland'. Althoujjh Ihe whule of the earlh'? ? uIf"':e i, implicit in \1Ie book', IICOpe, there are, . . . is u,u. l in
J oyce'. scheme" key point. of IpecilJ Iymbolic and IlruclUraJ lignificance. Joy<:c'. vanou. European homes h""" an impo. . t>. nt _ i t funetion of courx, and 3~ ttru:ed in . .
