Spatial Cycles : I- The Circu
Dublin and the Mediterranean u little more than allegory.
Dublin and the Mediterranean u little more than allegory.
Hart-Clive-1962-Structure-and-Motif-in-Finnegans-Wake
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
, $h Appendix B.
'"
? Spmial Cycks: f - Tht Circle
named, a. o . . . ? ell as every continCnt, "hnOll cVtty country, mOil! of the SlalCt of the U. S. and aU the counu. :. of Oreal Britain and Irdand. We move from Book to Book as aeroos COOw'c,ua,
mH. ing ICnli~ta1 . i<>ur"mys and pilgrimalf"l to individu~ b. . . w within \lIem as Joyu dc,-elopt his nt. O. (roooomic equivl_ len! of 'The PU'l'Je beland'. Althoujjh Ihe whule of the earlh'? ? uIf"':e i, implicit in \1Ie book', IICOpe, there are, . . . is u,u. l in
J oyce'. scheme" key point. of IpecilJ Iymbolic and IlruclUraJ lignificance. Joy<:c'. vanou. European homes h""" an impo. . t>. nt _ i t funetion of courx, and 3~ ttru:ed in . . . "", detail in 1. 7, bul the n,,,jur . parial cyclCl-a~rI ftOm tho m. u. . gyn.
lions . . ithin Dublin i! Klf- a. . . , made to pall ! braugh Dublin and the United SI211:s on the one ! land and Dublin and Australasia on the odw:r (ap. ,;'l1y, in the latter, New Soulh Wa. l. a, Tumania, and New 7A:a1and). Several kitmotW oerve
10 eltablill, thi, ';mp1c spatial pattern, the mO$I important being the ! . ttler and the Tdegr:>. m, I together with" group of SOngl having 10 do with Ih" United Slalea and travelling to it, luch as 'orrto Philadelphia in Ihe Momlng', 'Yanke<: Doodle Dandy', 'Slar. Spangled Banner'. '
Not only is Ihe ICheme ofFiMll/W W. . u ;! klf cyclic, but the inhabitan" oflhis re-cntnnt world themttl\? c:s. pin in . . erny, tirina: whirl arQUnd circular paths of endeavour, always wilh new ! lope, always frtJ$lJ"ate<i, maintained by the wan I3tisfac-
tion tha! , like Bruce', spld. . . (596, ' 5), they will always be able 10 try again. T heir cycling il . . . much literal and physical as metaphorical and $piritulll. F. arwicker pe<lah wearily around the four sides of the rho,nhoid Garden of &kn,' Anna revol'-eJ within the broken curv<: of the Liffey'l COUnt, the rainbow? gir! . c i r c l e wit~nhins a b o u t S l t a u n {HO. 36 ~ S h < : m p i r o u e t t e s i n s i n i J . trogyric spira\t (300. 26)- while in the next frame of rd"erence
both Shemand Shaun cirr:umnavigale the globe, fore""tnel"lof Mr. Bedell" one-I<:gg<:d wandell'r in 1M u? ? ? ". Lf. : ' the old oemctomyp! ace and jupoetbachgain' (11. . ,8). Their orbiu,like
, Sot """"'''''j~ A .
? ! in M:. J. C. Hods&r' ond M. P. Worlh"'c'Qn, ~ . . W Worts tf J_,JIfI". New y . . . . ~. '909.
o s. . Chap. . , Five.
? Spofi<llCydu: I-TkCircle
til". . , of Plato'. Same and Other,' are inclined to each other. ShaUll follow1 an cut-west trajectory,while Shem pro. . . . to Iravd north~ulh, passing through the antipode? ? Of all the spatial cycles in tb. book, thcK a,. . , the two which are most clearly ",! ;. abo [ished, and the twQ \0 which all the nthen may mMt readily be referred for illumination. Their importa""" Ii. ,. not only in their ronupondence 10 the "yel. ,. "fopiritua1 exile and return (atwaya a primary theme in J oyce), b ut aoo in a remarkably heavy load of further symbolic . ignifiean"" that J oyce makes ! hem cany.
Th. rductance of the critics 10 admit that in UIy<ses Joyce Wa. '! writing moTC than s"Jl"rcharged naturalimt long delayed an adequate undcntanding of his themes, and . """ now there ex;'''' no good treatment of the coomic level of events in the 'I thaca' chapter. The 'symbol' for the chapter is 'comets" and th=: heavenly bodi. . are ,imply Bloom and Stephen, Joyce bimsdfwrote of 'Ithaca'":
'I am wriling JtlwcQ in the fufm of a mathematical catc<:hilm, All even~ are resolved into their cosmic, pbylical, psychical etc. equivalent' , e. g. Bloomjumping down the area, drawing wator from the lap, the micturating in the garden, the <:<lne ofincewe, lighted candle and . tatue so that the reader will know everything and know it in the baldest and <:<lld. ,. 1 way, but Bloom and Stephen thereby become heavenly bodi. ,. , wanderers like the stars at which they gue. '
BI<>om and Stephen have in fact bttn 'put into Ofbit'; theif t. . ".
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
, $h Appendix B.
'"
? Spmial Cycks: f - Tht Circle
named, a. o . . . ? ell as every continCnt, "hnOll cVtty country, mOil! of the SlalCt of the U. S. and aU the counu. :. of Oreal Britain and Irdand. We move from Book to Book as aeroos COOw'c,ua,
mH. ing ICnli~ta1 . i<>ur"mys and pilgrimalf"l to individu~ b. . . w within \lIem as Joyu dc,-elopt his nt. O. (roooomic equivl_ len! of 'The PU'l'Je beland'. Althoujjh Ihe whule of the earlh'? ? uIf"':e i, implicit in \1Ie book', IICOpe, there are, . . . is u,u. l in
J oyce'. scheme" key point. of IpecilJ Iymbolic and IlruclUraJ lignificance. Joy<:c'. vanou. European homes h""" an impo. . t>. nt _ i t funetion of courx, and 3~ ttru:ed in . . . "", detail in 1. 7, bul the n,,,jur . parial cyclCl-a~rI ftOm tho m. u. . gyn.
lions . . ithin Dublin i! Klf- a. . . , made to pall ! braugh Dublin and the United SI211:s on the one ! land and Dublin and Australasia on the odw:r (ap. ,;'l1y, in the latter, New Soulh Wa. l. a, Tumania, and New 7A:a1and). Several kitmotW oerve
10 eltablill, thi, ';mp1c spatial pattern, the mO$I important being the ! . ttler and the Tdegr:>. m, I together with" group of SOngl having 10 do with Ih" United Slalea and travelling to it, luch as 'orrto Philadelphia in Ihe Momlng', 'Yanke<: Doodle Dandy', 'Slar. Spangled Banner'. '
Not only is Ihe ICheme ofFiMll/W W. . u ;! klf cyclic, but the inhabitan" oflhis re-cntnnt world themttl\? c:s. pin in . . erny, tirina: whirl arQUnd circular paths of endeavour, always wilh new ! lope, always frtJ$lJ"ate<i, maintained by the wan I3tisfac-
tion tha! , like Bruce', spld. . . (596, ' 5), they will always be able 10 try again. T heir cycling il . . . much literal and physical as metaphorical and $piritulll. F. arwicker pe<lah wearily around the four sides of the rho,nhoid Garden of &kn,' Anna revol'-eJ within the broken curv<: of the Liffey'l COUnt, the rainbow? gir! . c i r c l e wit~nhins a b o u t S l t a u n {HO. 36 ~ S h < : m p i r o u e t t e s i n s i n i J . trogyric spira\t (300. 26)- while in the next frame of rd"erence
both Shemand Shaun cirr:umnavigale the globe, fore""tnel"lof Mr. Bedell" one-I<:gg<:d wandell'r in 1M u? ? ? ". Lf. : ' the old oemctomyp! ace and jupoetbachgain' (11. . ,8). Their orbiu,like
, Sot """"'''''j~ A .
? ! in M:. J. C. Hods&r' ond M. P. Worlh"'c'Qn, ~ . . W Worts tf J_,JIfI". New y . . . . ~. '909.
o s. . Chap. . , Five.
? Spofi<llCydu: I-TkCircle
til". . , of Plato'. Same and Other,' are inclined to each other. ShaUll follow1 an cut-west trajectory,while Shem pro. . . . to Iravd north~ulh, passing through the antipode? ? Of all the spatial cycles in tb. book, thcK a,. . , the two which are most clearly ",! ;. abo [ished, and the twQ \0 which all the nthen may mMt readily be referred for illumination. Their importa""" Ii. ,. not only in their ronupondence 10 the "yel. ,. "fopiritua1 exile and return (atwaya a primary theme in J oyce), b ut aoo in a remarkably heavy load of further symbolic . ignifiean"" that J oyce makes ! hem cany.
Th. rductance of the critics 10 admit that in UIy<ses Joyce Wa. '! writing moTC than s"Jl"rcharged naturalimt long delayed an adequate undcntanding of his themes, and . """ now there ex;'''' no good treatment of the coomic level of events in the 'I thaca' chapter. The 'symbol' for the chapter is 'comets" and th=: heavenly bodi. . are ,imply Bloom and Stephen, Joyce bimsdfwrote of 'Ithaca'":
'I am wriling JtlwcQ in the fufm of a mathematical catc<:hilm, All even~ are resolved into their cosmic, pbylical, psychical etc. equivalent' , e. g. Bloomjumping down the area, drawing wator from the lap, the micturating in the garden, the <:<lne ofincewe, lighted candle and . tatue so that the reader will know everything and know it in the baldest and <:<lld. ,. 1 way, but Bloom and Stephen thereby become heavenly bodi. ,. , wanderers like the stars at which they gue. '
BI<>om and Stephen have in fact bttn 'put into Ofbit'; theif t. . ".
