further
approval
of lcapye.
McHugh-Roland-1976-The-Sigla-of-Finnegans-Wake
.
i o n o f ' R o b a n d L U H a n d B i e n k I l I \ d V .
.
~tiU.
' ( 4 t 4 .
1 S ) .
'D. I\. M I"",;e. P. cptHot My,. . . ' T_od, l ' ,. ' OL , ? _ _ _
'Sir? . 1\. Wan. II~, n. s. . . <t<Atn. . J,n,JJ,7). 1J,n.
? Th~ Mirror and the Rainhow H
Fiaure l ""T'h? Sun";. . ', pl. t<' in the i'opyr"" of Ani, ? ? reproduced in B~'. BMIt oflI. . Detu/, loll aDd Neplnhys Ofe oem "" e;~ . ide of the Tet, which <>>ntaiDl the body of o. iri", (Rep<<>du<<d by "'O,ut. . y of d>e Bri,;u, Museum, BM 1""47<'. )
? 54 TheSiglaofFi~nq,,~. W"k.
Much m<>r'e imporrnn( are the sevenfold and twenty-eightfold divi,ioru which are encounttrM all through FW.
The sevenfold division rai. ", the iml"'sing symbol ofthe rain_ bow, intrinsiCII. lly connected with water, and by Gen",i. 9 :14- 17 with the covenant ho,ween Godand humanity. The familiar Irish . upe. . . . hundancc nh ainbowt mustalso ho held pertinent. As Noah is a primary m avatar, the septenary are the . pecifiCII. lly ITk>rienlM
. =
eminary from heaven to mankind. Mircea Eliade ob&el"Vu:
mode of -t Perhaps m
Greek godd. . . , Ir ;", with her tlKluS;l;nd~lourcd roho, w u an
the rainbow ao" a path to God. The
As to the rainbow, acon. ide. . . . bk numhorof peoples aro known to see in it the bridge connocting earth and sky, and espoci. ally the bridge of the gods. That i, why it. appear- 8n", after. storm i. regarded n a . ign nf God', appease- ment. It is alway. by way of the rainbow that mythical
heroes =ch the ,;ky. . . . Further, Ihe &even co1ou<"$ ofthe rainbow have hom assimilated to Ihe . even heavenl, a sym_ bolism found. . . ,t only in India and M esopotamia but also in Judai. m. In the Bamiyan fttSCO<"1the Buddha i. repre- OtrItM. . . tMonarainbowofKvenbands;thatis,m {rans_ cc:nds the cosmos, just a. in the myth of hi. Nativity he tran$C01d. the $eVen heaven. by tal<ing Kven Itrides to- ward. the north. . . . The throne of the Supreme Being is surrounded b y . rainbow, and the . . . . ". , . ymboliun persist. into the Christian art of tho Renaissance. '
Thi' in. . rpret. ation i. apposite for 1:, who in II. I sets oul tIl punu;. of a paradisiac colour. But for m the rainbow i. best regarded as the K&bbal;s. ic emhlem nfM olkuth, the lowes. nf tm Sephiroth,' representing the world, or kingdom of illU3(lty things, whence all striving departs. The fall of m, which will be studied in chopler 6, occurs ultimalely through hi. infatuation wilh a chro- matic ao;euory. If we examine the various Kvenfold allu. ion. li,ttd in M,. . Gbshcc:n', CCISUf we find . hat they are frequently linked to m as hi! "c:vcna1 ,u<::C<:Miv<"O:lloutr:d Sfiebannuid,' (126. 19), although there i. a definite overl. p with mo", and Ie. . fl"llgmentM pha. es, as when . . . . . call. I- 'Moo i. hebtau! Ma reine- holle! ' in the pa$SIlge jus. qUOtM. Many of the references . re . irnp1e inventorie, of colour, Bloom', 'Roygbiv'.
? M;w;. E;. &". s:. r. -. . . . . . . . ,f,,/Jai<T,,""if'"<! f<>'",~,. . . w. R. T-'<(Lon?
don, RQu,I<dr: . . . . . K<:pn "'u1 196. ), 13. . . . 1? ' . . . . E. W. ;<<, no. H<>9 K. ! , "d, ,<>\.
? 'Ill<' ,w<nty_eighcfold divi. ion i. al. o derived from aquacicy by the tw<nty_tiglu wet day. of 'February Filldyke' (470,04). II pos- $eSSe. ; a dislinct 'iglum <> and e'mneet> with Joycc', io,eu" in rn<nstruation (,halfmoon haernicydcs', 375? ' 2- 13). liy hi.
further approval of lcapye. . . . , -I can be lailled on to <> a s . twenty-ninth UOil. We find compl<te lis. . of twenty-nine namC$ (147. Il-15), colou," (247? ]S-l<\ll. Ol), words meaning peace (470. 36-471. 05) and wordo meaning death (499. 05-Il). <> also rulC$ the tw<n,y_ nine i1enn in 1. 6. 8, A, -II- i? ? narcissistiC phase and the aevenfold division i. assigned to m, so <> pertains especially 10 C and A It i. <>whoconfronl A in Ill. l, "Itbough we should observe al 430. 16 their ability 10 fonn fourteen -II- entities, and at 101. 08--0) and 430. 35-0 Ihe fourfold division as in II I. t. The divi,ihilili"" inleT_ connect,for 4x 7- l8 and VI,B. I5. 85 points oul that 't+z- 3"'- 4-5-6+7 28. '
Angels a nd Devil.
In II. I , which we . han now examine, <> form an undifferentiated iridescenttluidmedleydedicatedtotheadulationofA and! heron- founding of r:. They at<' foremost the angel. described by J<>yc< in hi, . ynopsis of ! he chapler:'?
The . cherne of the pi""" I scm you is the game we u,ed to can Angel, and Devils ru: colours. T he Angel" girl. , are grouped behind the Angel, Shawn, and 'he Devil has to come over thl'<< times and u"fm . colour. If 'he colour
hea. h for ha, been chosen by any girl . he has to nm and he tries '" catch her.
Several ve. . . 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 . . . . .
'D. I\. M I"",;e. P. cptHot My,. . . ' T_od, l ' ,. ' OL , ? _ _ _
'Sir? . 1\. Wan. II~, n. s. . . <t<Atn. . J,n,JJ,7). 1J,n.
? Th~ Mirror and the Rainhow H
Fiaure l ""T'h? Sun";. . ', pl. t<' in the i'opyr"" of Ani, ? ? reproduced in B~'. BMIt oflI. . Detu/, loll aDd Neplnhys Ofe oem "" e;~ . ide of the Tet, which <>>ntaiDl the body of o. iri", (Rep<<>du<<d by "'O,ut. . y of d>e Bri,;u, Museum, BM 1""47<'. )
? 54 TheSiglaofFi~nq,,~. W"k.
Much m<>r'e imporrnn( are the sevenfold and twenty-eightfold divi,ioru which are encounttrM all through FW.
The sevenfold division rai. ", the iml"'sing symbol ofthe rain_ bow, intrinsiCII. lly connected with water, and by Gen",i. 9 :14- 17 with the covenant ho,ween Godand humanity. The familiar Irish . upe. . . . hundancc nh ainbowt mustalso ho held pertinent. As Noah is a primary m avatar, the septenary are the . pecifiCII. lly ITk>rienlM
. =
eminary from heaven to mankind. Mircea Eliade ob&el"Vu:
mode of -t Perhaps m
Greek godd. . . , Ir ;", with her tlKluS;l;nd~lourcd roho, w u an
the rainbow ao" a path to God. The
As to the rainbow, acon. ide. . . . bk numhorof peoples aro known to see in it the bridge connocting earth and sky, and espoci. ally the bridge of the gods. That i, why it. appear- 8n", after. storm i. regarded n a . ign nf God', appease- ment. It is alway. by way of the rainbow that mythical
heroes =ch the ,;ky. . . . Further, Ihe &even co1ou<"$ ofthe rainbow have hom assimilated to Ihe . even heavenl, a sym_ bolism found. . . ,t only in India and M esopotamia but also in Judai. m. In the Bamiyan fttSCO<"1the Buddha i. repre- OtrItM. . . tMonarainbowofKvenbands;thatis,m {rans_ cc:nds the cosmos, just a. in the myth of hi. Nativity he tran$C01d. the $eVen heaven. by tal<ing Kven Itrides to- ward. the north. . . . The throne of the Supreme Being is surrounded b y . rainbow, and the . . . . ". , . ymboliun persist. into the Christian art of tho Renaissance. '
Thi' in. . rpret. ation i. apposite for 1:, who in II. I sets oul tIl punu;. of a paradisiac colour. But for m the rainbow i. best regarded as the K&bbal;s. ic emhlem nfM olkuth, the lowes. nf tm Sephiroth,' representing the world, or kingdom of illU3(lty things, whence all striving departs. The fall of m, which will be studied in chopler 6, occurs ultimalely through hi. infatuation wilh a chro- matic ao;euory. If we examine the various Kvenfold allu. ion. li,ttd in M,. . Gbshcc:n', CCISUf we find . hat they are frequently linked to m as hi! "c:vcna1 ,u<::C<:Miv<"O:lloutr:d Sfiebannuid,' (126. 19), although there i. a definite overl. p with mo", and Ie. . fl"llgmentM pha. es, as when . . . . . call. I- 'Moo i. hebtau! Ma reine- holle! ' in the pa$SIlge jus. qUOtM. Many of the references . re . irnp1e inventorie, of colour, Bloom', 'Roygbiv'.
? M;w;. E;. &". s:. r. -. . . . . . . . ,f,,/Jai<T,,""if'"<! f<>'",~,. . . w. R. T-'<(Lon?
don, RQu,I<dr: . . . . . K<:pn "'u1 196. ), 13. . . . 1? ' . . . . E. W. ;<<, no. H<>9 K. ! , "d, ,<>\.
? 'Ill<' ,w<nty_eighcfold divi. ion i. al. o derived from aquacicy by the tw<nty_tiglu wet day. of 'February Filldyke' (470,04). II pos- $eSSe. ; a dislinct 'iglum <> and e'mneet> with Joycc', io,eu" in rn<nstruation (,halfmoon haernicydcs', 375? ' 2- 13). liy hi.
further approval of lcapye. . . . , -I can be lailled on to <> a s . twenty-ninth UOil. We find compl<te lis. . of twenty-nine namC$ (147. Il-15), colou," (247? ]S-l<\ll. Ol), words meaning peace (470. 36-471. 05) and wordo meaning death (499. 05-Il). <> also rulC$ the tw<n,y_ nine i1enn in 1. 6. 8, A, -II- i? ? narcissistiC phase and the aevenfold division i. assigned to m, so <> pertains especially 10 C and A It i. <>whoconfronl A in Ill. l, "Itbough we should observe al 430. 16 their ability 10 fonn fourteen -II- entities, and at 101. 08--0) and 430. 35-0 Ihe fourfold division as in II I. t. The divi,ihilili"" inleT_ connect,for 4x 7- l8 and VI,B. I5. 85 points oul that 't+z- 3"'- 4-5-6+7 28. '
Angels a nd Devil.
In II. I , which we . han now examine, <> form an undifferentiated iridescenttluidmedleydedicatedtotheadulationofA and! heron- founding of r:. They at<' foremost the angel. described by J<>yc< in hi, . ynopsis of ! he chapler:'?
The . cherne of the pi""" I scm you is the game we u,ed to can Angel, and Devils ru: colours. T he Angel" girl. , are grouped behind the Angel, Shawn, and 'he Devil has to come over thl'<< times and u"fm . colour. If 'he colour
hea. h for ha, been chosen by any girl . he has to nm and he tries '" catch her.
Several ve. . . 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 . . . . .
