No More Learning

2? -8). 'Evidmtamml he has failed ? ? "<:rcely
the dtuce before [00" $he i. w""ina none otthe thrtt' (I n . t9- lO). The nex' line may elq)bin the omiHLon, for P. W. Joytt ob<<ncs 'When. penon , in,ina I KIn, has 10 nop because h. f<). 1O<<' lb. nexi ve. . . . , he ta~ (mostly ill loke) "thne', a bole ill the ballad". ''' Incidentally, 1)). 0Z-3 pt. rodia a V<1""SC from the:
lime worIr. : 'Did you"n sec the devil, Wilh ! be: wooden . pt. dc and shovel, DiJ8:in& pntict for hi, o. upper, And hi' ",il ox:I<. td
I.
up. ' "
A lighl be""""" C
C
10 the iDlerruptioa, hu:," ,:
tmcl"1eo from the hotIoe, . when ""nod. 'Rain ruth Oil
<
in. Their bone calch. . her and
? ? brinp hu indoon to puru. b her. ~ door ,Wm. The curtain rlu,. The p"rformaoce ttmni. . . "es unid tppLause.
11. 1 end. with. pnoytt 10 m by C lnd A, ",hose names mingle ('! -Jdr. Nek. . I"". . . MuMaIW. ? . MakNuu\on'). . . . . Mn Glas?
heen notes,"? 1M SOOI have quarrelled over tbdr . iller and 10111 hertoano! ~rman. ? TheynowMveI joint&ric"""""IndI. -- '0 combine their energies, but Ihi. does OOt 0(:<CUr until liter in book II.
Storlello . a She II Syun&
11>t f<. >Ur book II . hapten occupy the houn between dual< (1. 1) &lid midnicht (111. 1). 11. 2 and 11. 1 1<< the most opaque epioodes in FW, bUI <hey ~ opoque in totlily diffc. c", senses. II. : hu an irnmtdiale poelic appeal, with much WKlistc)l"lw Engliu. and I Kducliv(ly nanmol romtruction. 11. 3 i. intmscly contrived, with In incredi ble overjtrOWth or poIyglol: irrcconcilables. BUI the liner
Ulua Uy prove 10 be equiv. l('It" of senlet . lready manifest, while Ihe nq\li, itc concinnity or 11. 1 may leal ill mystery fOl all lime. II iI, supremely, the d,aplcr of Ineffable? . Hence the diag. . . ml, tyl""&"Phical chi""'. . . . , footnotes Ind marginal notes, with wh ich
meanings are thrust in from Ill. ide? .
Thc noles p". p"tua? ? the trial\iular <<lariotuhip of I:, A and
-t To -1,<< alligncd the foomoles, while C and A MVC, rest><<? lively, the left and rishl mallPIII up 10 18,. 17. At thi. point the "",in tal broadms, ingestin& the margi. . . ; ",hen ! hcy rop. ,ar at 29). 01C and A Mye changtd . ides. VI. B. )6. 264 . tI. ,. . :'margj. nat noIeschanlcsidcs. ' Upon mi. primary bifurcation is imposed. Il. tCOIldary one: the region \lp 10 lSi. t S it conneCted largely w;lh
-l, thaI aflcr 21. with C and A.
Il. i ;, rotlCtlned with leamins. that of ~ being lit. . . . . ! ")' . nd hl,-
! orical, tha. ofI: and A ma,bematical. The -I section has I . . rial qualily and, in view of iu ,\lbj. -. ;t,. he acadanic commcotlry of A? . PI. . . . . . . . ph beadings '\lUes. a hinary book. "l1><:$c headinp ~ Iiso frequentl, allite. . . tive ;n view ofthe prosodic conttm. We find 'PROBAPOSSIBLE PRO LEGOMENA TO IDEAREAL
~c-. . . II, d.
SloricHa ? ? She i. Sy""3 61
? 6~ The Sigla of Fi=q:(ms Wah.
nur;inal notes domct throughout, with theie oomic, apocryphal ambiguity.
The-lStttionilintroducedby. i~pagn oflocalizationinwhich the narrators 1cd< m Thoir priority, 'UNDE ET UBI' (260. RI) leads them vi. 'Old ViCQ Roundpoin{' (Piazza Giambatri. ,a ViCQ in T riesle) toward. 'Dominic Direcru. ' (261. :1<>-21). According 10 ViC<! , with Ihe rerum of barbo. ri$m in dodining Rome, 'Thffe WO$ a return 10 the twO kinds of ow""rship, dir<<t ";d useful- dominium elirtC""" and dominium II/i/_which oo". copond exactly to the quiritary and bonitary ownenhip of the ancient Romans . . . the direct ownership of the early barbarian, came finally 10 meanownershipwhichgiv01ri$C10arealcivilaction. '" The'lueS! for the personification of ownership leads pa. t the sevm wonders of the world (261. 09-13) imo the path of the tm Sephiroth (l6 I. l3-3 1). The searchers eventwlily reach Castlel<nock and cmnc upon an inn and iI'S publican (262. 26-9) . Entcrinll Chapel- izod we find a mass of extracts from the appropriate section of
TIwm'. DiriX/ory, entitled 'THE LOCALISA TION OF LEGEND LEADINGTO THE LEGAUSAT ION OF LATI_ FUNDISM'. " From 'the murk of the mythelated' in the bar- room we pan the breal<fa.
t-room and toilet 10 'the clarience of the chiIdliaht in {he otudioriwn' up H ere the children of II. I are engaged in homewod: covering the discipliMs JUSt mmtiOnM. T ill ! : and A are ready 10 wrangle (in tht . = d part), let us now sed< -I, 'Sloriclla . . . she i. syung' (267? 07- 8). Thi. wa! ! Joyce'. title for ! ltc individually published 11. 2' <lOTi. lta i. the diminu. ive of Italian stma, history or story, and the phrase recurs. , 486. 06: 'Hisoory a. her i. harped. ' It ",fen to Eng/i'h aJ SJu i. Spoil. ," an . hridgcmel11 0f P. Caroline', 'New Guid<: ofthc Conversation in PorlUguel<' and Engli,h', of which the editor comments 'it has b e e n r n e r v e d t<> c u e o w n t i m e f o r a w j d i s a m i r u t r u c l O r 1 0 p c r p c - u. . . t . - t hi' own cxpense--the morutroUlO joke of publishing a Guide to Conversalion in a languajiie ofwhich it i, only 100 ovident that tvcry word i. utterly "range to him. ' Thi. il tho kind of thing -I i. WTiting, and nuny of her fooenol"" poucu the di. tinc- tive . tyle of Carelino. Here i. a typical cnm. pk, from F"",i/iar Dialog"". :
" T G? lI<<rinooiO M. t? \. "iI<lI(<<I~). TIM N . . . Sd. . ou<if~". "" V. . . . (ItJ. . 0<&. eo. ""n Uoi"",;ty l'r<a 'w\)6~ (po. . . . pb. '07}-4).
. . S<:<Frit>Smn,'"TheL"",I;"';'"qfl<J<n<! >. AWNVlll. l ('97'~Io-I).
"ild;ood by ,. . . . . . Mi1n o . - (l. <>n<Ion, F. ,id . nd 1"uet- 111)). "The aampi< qoou;d ;. on '6.
? Storiella as She i, SYI1ll8 63 THE WALK
Will you and take a walk whh me?
Wait foe lhal Ihe w,um be Out.
00 . hrough lhat mudo",. Who the COunlfY il beautiful!
who the t. -ees are thick t Takt Ibe bloom? , perfume.
It~m$methatthecorndoespllShalready. You hear the bird', gurgling?
Which plc. . ,u,e! which charm!
The field has by me a d><"'sund [tie] charm? .
-ti. he", both a story and its wciter. She composrs a kl. ler which ; ? ? v a r i a n t o n t h a t p r e v i o u s l y e n c o u n t e " , d , en~p>ul aring f r a w , " " of m like the mound and Ibe museum. Up to 272. 08 she studies
Ireland', Punic W an, :md drsigns lleXuai campaigns in grammati- cal jargOn. The namrs of tenses obviously epitomize history, and from 173. " Ibe lener begin. 10 incorporate item. fTOm A', . . . lvag_ ing or . hoplifting. The . poils constitute 'a loovely freeopee<;h', relating Ibe advance from dichotomy (I: A) . hrough conciliance
to dynas. ic continuity (111). m i. thu, inf. . . . liminally buried beneath ? dungmound (l76. Rl), the midden of 1. 5. TIt<: account equates him with the horse_picture of "1. 26-31' 'And ir'. time that aU paid tribute to (hi, mahive mortiality, the pink of punk perfection as photography in mud. Some may seek ro dodge the gobbet for
its quantity of quality but who wants to chellt the ch<>leec'l got ro leom to chew the cud' (277. 23-278. 03).
T w o l e C l e t s f i n a l l y c r y. . . . . l l i z e . T h e f i u t , 2 7 9 . 1 " . , m a k e s - t a c o m - plete book, drscribing intercou"" 'Of) my bad spine'. The i<<Ottd (280. 09"""33)i,doser10the [? 1veniun,with ! 'atherMichael,"",d- ding calu:a and the nther impediment. . . BUI -t adds 10 Ibi, hec secret, heliotrope, as 'peetbrolio, or Gtt my Prize, USing her fIo"",r or perfume'. She also ""rnmbl. . her ""m. : C'Soldi'), including her- selfin tbe enduring mystery. A. the Quinet sentence (18 ? . or '3) fCC<lrds, the wildflowers outlive the rhythmic ineon". ""y of city and civilization. Thus 28? . Rl mentions the part play. :d hy btll. . . . kur. . in the war-peace-war. Wakean fetltininity =ts finally on tw() ingredients, colour and water, or in the words of 181. '5 'F1owen. A cloud. '
? Chapter 5 J>.
The River VI,B. 40. :l,:
. . . . . ,aweed On ~"
mud full'
tin cans, dcad dog:. , old boou all ~ag. discharged in
. . . i. ,,,,. . . miISion, supplying the future wi,h the eroded fur_ niNre of the pan. ,. . . ? river she conceal!