eplCsont Ihe universe and
wggesting
Ihe analogy of a human microcosm ;.
Hart-Clive-1962-Structure-and-Motif-in-Finnegans-Wake
at the ,arne time", he stand.
in for the ,tupid ass whO$C = d hack i\ said 10 be a remind.
.
of the .
acrifidal burden ;t b<;re to J emsalcm.
Uustin Martyr held that Christ was $ymbolikd in the 'decuatation' itself- the me.
.
ting of the ,piritual and the wrporeal, of time and eternity.
) Shaun is himself the peel off the old Orangeman, Rarwieker, who, in
Part III of the opening prelude, had been 'laid to rust upon the g r e e n s i n c e d e " J . i J u f i , . . t l o v e d l i V V ) " (3 . ~3) . T h e f o u r n o o _ evangel. . " ,tandoneatea<:hextremityofthisvegetatinghuman quincunx and gradually approach itJ (cntre, the axis mundi, hi, '"cver:stop navel', from whiclt types and fOTlIl$ ofeveryone and
, cr. '""""knoll' (55','3).
,,.
? Spmial Cycles: II- 1M Crrm
~v~rything in Fimug61U Wak. are to spring. The multiplication . ign made by Shaun', orange-ped figure on the knoll is ulti. mately identical with the most fcrtik: of all r. mM<:S in FiMtldllS
Wake which gleams on Anna's gold_bronz~ belly:
'with antifouling buttcrscatch and turfentide and 'e'P"nthyme and with leafmould ,he mhert:d round prunella we. and . . . ta! > dun, quincecunct, allover her little mary. Ped d gold of wax? work her jellybelly and her grain< of inC<'rue anguille bronze. '
(206? 33 )
One of the moot obvious symbolic Cl"(lMC' in Fi. ntga. . . . Wake
B that whichJoyu "-"igns to the four Old l>t. n (119. oS). 1M, a quincunx, B ddined by five p:>inl. ! (as iU name impli",), the fifth of which- the central point-rep"""n! > the o. :. nkey on whom they all four ride ('>51. 00). The Donkey is the 'carryfour ? . . their happy"",, cloudious', or the (r_". adsOn wh. kh thcy converge (:,81. 00). He is aloo, among other fon". , the trump card placod at the centre of the bridge_table and thermrc more important than any of the fin,. . uits ({76. 11)' It ;. well known
that the o. :. nkey i. always dosdy usoo:iat. cd with Johnny (a form of Shaun) who, at tlu: beginning of III. S, is hinuelf identified as 'a croMroaw puz. ! er' ({75. oS). On page 6o~, as M. . . Gla. h""n p:>int, out,' tlu: Donkey amI Shaun are m~ed. It ;. therefore apparent that the figun': on whom the Four are converging in III. S is to be identified with the mysterious
Donkey as well a. \ ,,;th Shaun. '
Withill! constant Pmtcanshiftsoftoneand'cene,llI. 3i<prob-
ably th~ most complex and tortuOll> ehaptet of all, cvr,n more "" than the difficult 'Scene in the publie (I1. 3) which, unlike this chapter, revolv", around a . trong central dramatic ';tuation. 'The way to the midpoint of the croes i. a wearying one, for the path. -; are those of a maze: '. . , hour ga. ve wa. y to mazing hour' (47]. 27). The Old Artifu:er stoOOJoyce in g<>o<l'lead in more ways than One when the time Came t<> write Fi1! Jttlgans Wake.
While for many years th~ rabbl"",ent hi. sed and accuSC(\ him of having wrou&ht for material gam and notoriety the ohs<:ene
, c"o=. p. 4"
, a. tlu: <,ount<:. -point ofJohn ODd tlu: No in Td. 1a! II ond ! Tl. abo,. . .
135
? Spatial C,ldes: 11- ~ Cr(JJS
woodenrowofVlylJt. /,t JO)"CCwupati~nt1yputtingt"Setherthe all bUI impenetr. Lble labyrinth of Filllltg<IM W,,,b. The term 'Iabyrinlh' hu hoen applied to the boo/r;: with tirnome regular_ ity, but then: is rather more 10 the COITIparUo:m than Jqya:'. c. kbratedidentificationofhim. df. . . . ilhDa. dalwmightat fin! . ugg. . t, for Daedalw' maze, th~ archetype ofall woru ofr. rt fOT
Jqya: (u Fu. ug<UU Wdt . . . . . . . 10 be the ultimalt wort), wutaid 10 be o:mmucled in the I"onn ofa quincuncial too rymbol of the structure of Fi. Ml Q", W. . . . . ? 'I1:te ron'Ilntly fruslraled m ivings of me Four to reach Ihe Unlre of the CI'OSII are neatly I"orc-shadowed in ODe ofthe. bon palSag<'S whidl appear 10 ha"C' beenunilllentionallyominedfrom thelexlofl. 6:'FINSF_. . -
Finds C/",i"",' (14~. 21,). ' Lan Po. . . . :na', labyrinlh at Chuium and Daedahu' on Crete are of wunc anal<:>gow in FilUUlQ/IJ Wdt and bcHh are concrete, visual "'prQ<:nlations of the problems which confronl Ihe senate of Fou r in their lCarch for a clue to the r<:al Shaun in III. 3. Joytc is careful, a. alwaY', 10 assure hi. bewildered reader that in constructing the labyrinth he inoo. porated the aocn tial thread to guide the understanding:
'A coil of cord. ' (433. 28)
'A JIOi'Y cord. We have wounded OUr way on foc: cria prince till
that fom:: in the gill isfaint . farret! and the face in the tr<:ebark reigns afco. r. ' (278. 24).
The . upi1l<: ShaUll" na,. . ,1 is the omphaloa-Iike Slone of Divisions in old Royal Meath in the cenlre of Ireland, ~ hentc it liellt thc centre ofJ oya:'l lri. h univene. ' Thilltone,
on old Uisnach Hill, iI named . , . 76. oj: 'the knoll AMIoc:h'. ' The idea ofShaun u the huh landscape is delightfully extended
? Spatial Cytlu: /1- The Cross
on pagel 474-6, which mnwn IOOme of the best deoeriptive wrilin, inF _IPS W<tkt. Royal Mtalh. -. . . au1Cd ",11m Tuathal ! he 1. egilimalC cui off a ponion from each of the four olher pnwiOCft al Ihe Stont of Diviaions io lbe ! IttO<Id ceniUry- formed . . fifth, catral, and ""Feme province, making :0. gro- graphlea! equivai<:nl to J oyce'. crOll wilh ill impnrtanl central poinl. Shaun il superimJlOO"d on aU 11. . " provinC<:$:
'Afea~d themselves we~ to wonder at the clow of a el'OSllroadJ puuler he would likdy be, length by breadlh nouplmloing hil thickness, ells upon ells of him, making 10 many square ymil of him, one half of him in CoM', half but the whoi<: of him nevertheless in Owenmo. . ,,'. five q. . anen. ' {47. '). 03}
The m;>>e fig. . . . " Laid out thu, 10 .
eplCsont Ihe universe and wggesting Ihe analogy of a human microcosm ;. of eou~ a very old utd well? tried device which was strikingly illUJtnlted in , uch worb at Ihose of HenriCIll Comdius Agrippa, whe", the body iI often drawu wilh Renailuncc accuracy over an ancient tchent. ll. of Ihe firmament The ceulral point of the human CI'OIIII ! hili formed;. ;u oflen the gcnit. a. ls as the navel': 'the wbole body of man ? ? ? upon the Citc. . . ,;on of a""" and
Legt, dolh make oul It "'I"ue ? ? ? ",hole iutt:nerrion i. at the ~nit:ab. . '
Indeed. in a celebrated dnowing by Leonardo? genital, and navel a", Ihe cenlres oflhe K1ua", and circle which cii"CUtn$Gl'ibe the human figure drawnin twO luperimpolCd altitudes, approlli- mating a ,~u crou and a quincunx respectivdy. (At ,86. ! ~ Shem, c. . ". ting the univen<: ofliteratore, ill 'circling the "lua",'. ) Thil drawiug of Leonardo', is an illuatr. ltion to Ihe D. Arcmue- hor. , III, i, of Vitruvius. whom Jora: nlme! in acbtowlegment
31255. ~. ? In Iny case. forJora: navel and gcniw. an: equiva- l e n t ; I h e y a r e C O I l t r a r i . , . . . . . . t h e b e g i n n i i l l f a n d t h e ~nd o f b i r t h -
n. c:. . . Io>,,~. p. 18,;ro. -. "";""dn""'"
'Sirn-o. _
;" ~ n. ~ and "",I"'" ~ W bonw. of ~ the <m~ poin? ? _ II. C. '-"';ppa, Dt . . . . u. ~ /Uri 1m. (CoIop<]. 'm. pp.
CLXI-CLXvt. lor<< hod ? . ,. ,r Af'iw. . :to< Aih<noo, p. ' 33; AP . ~.
? s. . F"",riopioa.
? Vj,NViuo, n. T. . &oL . . ,luAiw,. . ,. ,. . . . . ,. . by M. fl. Morpn.
Catnbrid(e, '9'4. pp. 7''"3?
'37
? Spatial C. JClu : 11- The C. oss
and to coincide. In the diagram on p~ 293 the ouvd and g. :nit. aIia are l'CI~ tivdy the upper and lower vel'tica of the ccnU'3. 1 rhombus. Dolph, with the mystical power which ~nab1", rum to bring about the coincidence of antith. ,. . ,. , tilb
'by her ,earn hem and jabote at the ,picbicst of her m1r. kikanl . ? . the maid. apronofOur A. L. r. . , . till itsnether nadir il V{)rt;cally whe. . . " ? . iu na~d'i napex will ha~e to heandhe:
(297? 08)
Shaun', na~el, like that of Vilhnu,' i. as much a centre of generation II iI Shem's lifcwand, and becomes confu. ed with his phall. . . throughout IlJ. 3. The laJci,inu. and pcrvwed Four arc in fact involved in producing an erection from the lethargic Sh<lun, whose initial . J;u:knca teems to he implied in the opening description : 'on the verge ofclosing time'. ' Shaun's Ioeation on the fuming dunghe. . p, J oyt:e'. "ymbol for the fertile primordia] Chac. , estab]"'h. ,. him as an incarnation ofthe Finl
Cau. . . . . . -'take your mut for " first ~ginning, hig to bog' (287'0! l)- whilc hi! . . . ,lationship 10 (he Four and their nccc:aary function ofcalling forth the latent mattrial within him luggcsta the relationship of First Cawoc 10 the four Second Ca. . . . ,. , In hil JIIMUJ~ps mflSlJ, Mr. Stuart Gilbert commen'" on the na,,,I, presumably with Joy<<:'. authority':
, '"Ilu: AnciHlu placo:<! the aatr. ll tout of man, the ". . . ri or his self-consciousness, in the pit of the stomach. The BrahmaN ohar. . :! this helief with Plato and Ihe other philoool'l",n ? . ? The navel wu regarded a. 'the circle of the sun', the ""at of
internal divine light" [In's Urwtiltd, xlv. ] Simii. o. rly, H. rmet T';Imcgist". held thaI the midst of the world's body is Cl<. O. ctly
beneath the ccntn: of heaven, and Robc:rt F1udd Ii", . . . nuen : Muii titndllril <tIIlnm< w ,",II: ",- go. . INn rl/lllOrlr. , p. mtt/l'lfl <eIl"d. w StcUiIImt qlUUda. a . . llIMiIiaI. T his portiODof the body, the navd, has, partly for rymbolic reasollS, httn :utoe;a! cd by aoterie .
Part III of the opening prelude, had been 'laid to rust upon the g r e e n s i n c e d e " J . i J u f i , . . t l o v e d l i V V ) " (3 . ~3) . T h e f o u r n o o _ evangel. . " ,tandoneatea<:hextremityofthisvegetatinghuman quincunx and gradually approach itJ (cntre, the axis mundi, hi, '"cver:stop navel', from whiclt types and fOTlIl$ ofeveryone and
, cr. '""""knoll' (55','3).
,,.
? Spmial Cycles: II- 1M Crrm
~v~rything in Fimug61U Wak. are to spring. The multiplication . ign made by Shaun', orange-ped figure on the knoll is ulti. mately identical with the most fcrtik: of all r. mM<:S in FiMtldllS
Wake which gleams on Anna's gold_bronz~ belly:
'with antifouling buttcrscatch and turfentide and 'e'P"nthyme and with leafmould ,he mhert:d round prunella we. and . . . ta! > dun, quincecunct, allover her little mary. Ped d gold of wax? work her jellybelly and her grain< of inC<'rue anguille bronze. '
(206? 33 )
One of the moot obvious symbolic Cl"(lMC' in Fi. ntga. . . . Wake
B that whichJoyu "-"igns to the four Old l>t. n (119. oS). 1M, a quincunx, B ddined by five p:>inl. ! (as iU name impli",), the fifth of which- the central point-rep"""n! > the o. :. nkey on whom they all four ride ('>51. 00). The Donkey is the 'carryfour ? . . their happy"",, cloudious', or the (r_". adsOn wh. kh thcy converge (:,81. 00). He is aloo, among other fon". , the trump card placod at the centre of the bridge_table and thermrc more important than any of the fin,. . uits ({76. 11)' It ;. well known
that the o. :. nkey i. always dosdy usoo:iat. cd with Johnny (a form of Shaun) who, at tlu: beginning of III. S, is hinuelf identified as 'a croMroaw puz. ! er' ({75. oS). On page 6o~, as M. . . Gla. h""n p:>int, out,' tlu: Donkey amI Shaun are m~ed. It ;. therefore apparent that the figun': on whom the Four are converging in III. S is to be identified with the mysterious
Donkey as well a. \ ,,;th Shaun. '
Withill! constant Pmtcanshiftsoftoneand'cene,llI. 3i<prob-
ably th~ most complex and tortuOll> ehaptet of all, cvr,n more "" than the difficult 'Scene in the publie (I1. 3) which, unlike this chapter, revolv", around a . trong central dramatic ';tuation. 'The way to the midpoint of the croes i. a wearying one, for the path. -; are those of a maze: '. . , hour ga. ve wa. y to mazing hour' (47]. 27). The Old Artifu:er stoOOJoyce in g<>o<l'lead in more ways than One when the time Came t<> write Fi1! Jttlgans Wake.
While for many years th~ rabbl"",ent hi. sed and accuSC(\ him of having wrou&ht for material gam and notoriety the ohs<:ene
, c"o=. p. 4"
, a. tlu: <,ount<:. -point ofJohn ODd tlu: No in Td. 1a! II ond ! Tl. abo,. . .
135
? Spatial C,ldes: 11- ~ Cr(JJS
woodenrowofVlylJt. /,t JO)"CCwupati~nt1yputtingt"Setherthe all bUI impenetr. Lble labyrinth of Filllltg<IM W,,,b. The term 'Iabyrinlh' hu hoen applied to the boo/r;: with tirnome regular_ ity, but then: is rather more 10 the COITIparUo:m than Jqya:'. c. kbratedidentificationofhim. df. . . . ilhDa. dalwmightat fin! . ugg. . t, for Daedalw' maze, th~ archetype ofall woru ofr. rt fOT
Jqya: (u Fu. ug<UU Wdt . . . . . . . 10 be the ultimalt wort), wutaid 10 be o:mmucled in the I"onn ofa quincuncial too rymbol of the structure of Fi. Ml Q", W. . . . . ? 'I1:te ron'Ilntly fruslraled m ivings of me Four to reach Ihe Unlre of the CI'OSII are neatly I"orc-shadowed in ODe ofthe. bon palSag<'S whidl appear 10 ha"C' beenunilllentionallyominedfrom thelexlofl. 6:'FINSF_. . -
Finds C/",i"",' (14~. 21,). ' Lan Po. . . . :na', labyrinlh at Chuium and Daedahu' on Crete are of wunc anal<:>gow in FilUUlQ/IJ Wdt and bcHh are concrete, visual "'prQ<:nlations of the problems which confronl Ihe senate of Fou r in their lCarch for a clue to the r<:al Shaun in III. 3. Joytc is careful, a. alwaY', 10 assure hi. bewildered reader that in constructing the labyrinth he inoo. porated the aocn tial thread to guide the understanding:
'A coil of cord. ' (433. 28)
'A JIOi'Y cord. We have wounded OUr way on foc: cria prince till
that fom:: in the gill isfaint . farret! and the face in the tr<:ebark reigns afco. r. ' (278. 24).
The . upi1l<: ShaUll" na,. . ,1 is the omphaloa-Iike Slone of Divisions in old Royal Meath in the cenlre of Ireland, ~ hentc it liellt thc centre ofJ oya:'l lri. h univene. ' Thilltone,
on old Uisnach Hill, iI named . , . 76. oj: 'the knoll AMIoc:h'. ' The idea ofShaun u the huh landscape is delightfully extended
? Spatial Cytlu: /1- The Cross
on pagel 474-6, which mnwn IOOme of the best deoeriptive wrilin, inF _IPS W<tkt. Royal Mtalh. -. . . au1Cd ",11m Tuathal ! he 1. egilimalC cui off a ponion from each of the four olher pnwiOCft al Ihe Stont of Diviaions io lbe ! IttO<Id ceniUry- formed . . fifth, catral, and ""Feme province, making :0. gro- graphlea! equivai<:nl to J oyce'. crOll wilh ill impnrtanl central poinl. Shaun il superimJlOO"d on aU 11. . " provinC<:$:
'Afea~d themselves we~ to wonder at the clow of a el'OSllroadJ puuler he would likdy be, length by breadlh nouplmloing hil thickness, ells upon ells of him, making 10 many square ymil of him, one half of him in CoM', half but the whoi<: of him nevertheless in Owenmo. . ,,'. five q. . anen. ' {47. '). 03}
The m;>>e fig. . . . " Laid out thu, 10 .
eplCsont Ihe universe and wggesting Ihe analogy of a human microcosm ;. of eou~ a very old utd well? tried device which was strikingly illUJtnlted in , uch worb at Ihose of HenriCIll Comdius Agrippa, whe", the body iI often drawu wilh Renailuncc accuracy over an ancient tchent. ll. of Ihe firmament The ceulral point of the human CI'OIIII ! hili formed;. ;u oflen the gcnit. a. ls as the navel': 'the wbole body of man ? ? ? upon the Citc. . . ,;on of a""" and
Legt, dolh make oul It "'I"ue ? ? ? ",hole iutt:nerrion i. at the ~nit:ab. . '
Indeed. in a celebrated dnowing by Leonardo? genital, and navel a", Ihe cenlres oflhe K1ua", and circle which cii"CUtn$Gl'ibe the human figure drawnin twO luperimpolCd altitudes, approlli- mating a ,~u crou and a quincunx respectivdy. (At ,86. ! ~ Shem, c. . ". ting the univen<: ofliteratore, ill 'circling the "lua",'. ) Thil drawiug of Leonardo', is an illuatr. ltion to Ihe D. Arcmue- hor. , III, i, of Vitruvius. whom Jora: nlme! in acbtowlegment
31255. ~. ? In Iny case. forJora: navel and gcniw. an: equiva- l e n t ; I h e y a r e C O I l t r a r i . , . . . . . . t h e b e g i n n i i l l f a n d t h e ~nd o f b i r t h -
n. c:. . . Io>,,~. p. 18,;ro. -. "";""dn""'"
'Sirn-o. _
;" ~ n. ~ and "",I"'" ~ W bonw. of ~ the <m~ poin? ? _ II. C. '-"';ppa, Dt . . . . u. ~ /Uri 1m. (CoIop<]. 'm. pp.
CLXI-CLXvt. lor<< hod ? . ,. ,r Af'iw. . :to< Aih<noo, p. ' 33; AP . ~.
? s. . F"",riopioa.
? Vj,NViuo, n. T. . &oL . . ,luAiw,. . ,. ,. . . . . ,. . by M. fl. Morpn.
Catnbrid(e, '9'4. pp. 7''"3?
'37
? Spatial C. JClu : 11- The C. oss
and to coincide. In the diagram on p~ 293 the ouvd and g. :nit. aIia are l'CI~ tivdy the upper and lower vel'tica of the ccnU'3. 1 rhombus. Dolph, with the mystical power which ~nab1", rum to bring about the coincidence of antith. ,. . ,. , tilb
'by her ,earn hem and jabote at the ,picbicst of her m1r. kikanl . ? . the maid. apronofOur A. L. r. . , . till itsnether nadir il V{)rt;cally whe. . . " ? . iu na~d'i napex will ha~e to heandhe:
(297? 08)
Shaun', na~el, like that of Vilhnu,' i. as much a centre of generation II iI Shem's lifcwand, and becomes confu. ed with his phall. . . throughout IlJ. 3. The laJci,inu. and pcrvwed Four arc in fact involved in producing an erection from the lethargic Sh<lun, whose initial . J;u:knca teems to he implied in the opening description : 'on the verge ofclosing time'. ' Shaun's Ioeation on the fuming dunghe. . p, J oyt:e'. "ymbol for the fertile primordia] Chac. , estab]"'h. ,. him as an incarnation ofthe Finl
Cau. . . . . . -'take your mut for " first ~ginning, hig to bog' (287'0! l)- whilc hi! . . . ,lationship 10 (he Four and their nccc:aary function ofcalling forth the latent mattrial within him luggcsta the relationship of First Cawoc 10 the four Second Ca. . . . ,. , In hil JIIMUJ~ps mflSlJ, Mr. Stuart Gilbert commen'" on the na,,,I, presumably with Joy<<:'. authority':
, '"Ilu: AnciHlu placo:<! the aatr. ll tout of man, the ". . . ri or his self-consciousness, in the pit of the stomach. The BrahmaN ohar. . :! this helief with Plato and Ihe other philoool'l",n ? . ? The navel wu regarded a. 'the circle of the sun', the ""at of
internal divine light" [In's Urwtiltd, xlv. ] Simii. o. rly, H. rmet T';Imcgist". held thaI the midst of the world's body is Cl<. O. ctly
beneath the ccntn: of heaven, and Robc:rt F1udd Ii", . . . nuen : Muii titndllril <tIIlnm< w ,",II: ",- go. . INn rl/lllOrlr. , p. mtt/l'lfl <eIl"d. w StcUiIImt qlUUda. a . . llIMiIiaI. T his portiODof the body, the navd, has, partly for rymbolic reasollS, httn :utoe;a! cd by aoterie .
