u, but alto of much of U/yUts, in whk h thc: prose it
continually
,pilling over into self.
Hart-Clive-1962-Structure-and-Motif-in-Finnegans-Wake
Slime Mptfls rif FintltgOlU Wak,
As KIOn U joyce's senlene. . h. . d TOachM ill culmination, howe''er, it ~an to break down. As hil penonal intemll and the IOOpe of h. . " 'riting . . idcnt:d,j~? 1 . tyle became u,erus- ingly fl'llgmcniM lind delailed. U! 1JJts already Iho. . . . a tendency 10 br<ak away from Ihe . . ,nlcnce aI a rhythmic and formal unil, the moot obviow departure being lhe \I$(: of tho. e huge Rabelaisian ulaloguea in "'hich all rhythmic progrcu is halted, 10 that Ihe eatalog". . might go on marking time indefini tdy. Some critia have objected thai j oye. . introduced unnecessary longueun inlO U/J. . . . by his C:Xlraordinary 101. -. : of all? inclusive lisll. Thcy oometim. . look 10 the earlier books fOr a pu rer . Iyle, but even in . 1 "",',a;1 there . r< several embryonic
c:xamplo of this tendency 10 write in list! . (AP '7, [119, [97) The calalogua in U! 1ms gradually _ u mt<! more and more importance ujoyce devdoped the book, bUlthey au ofCQurse only onc mea", by which ocntence_lIructuu is hroken do. . . n. The intmor monologue inlO . . . hich Joyce incerpolatM ""'"' and JTIOI'e asoociative ekrncnts is by its nafUr< fragmentary; the expTC>>ionilm of 'Circe' i. 100 mercurial to allow sentences
"DOUgh room in which to develop; the . . . hole comic effect of ' Eumeus' deriveo fromJoyoe'. nllhlCllly allowing the sentena:s to demoy themulv. . hy lack of discipline. This break away from 'he . . ,ntentt meaN Ihat 'lucid . upple periodic prose' accounts for only a omall proportion of the bulk of U/ftlUj by
the time Joyce reached f,u,,,,,,, W"b h. had abandoned his preoccupation with periodic p""" ,l"'OSt entirely. The. . ntcnce
in Fi. utplU WoM. ;" hardly eve. the uni! of com~ition. CaWogu. . abound, and even in the rnon: fluid ~
individual . . ,ntenees nre1y haye any great rhYlhmic vitality, taken as a whole. Tnde<! d, an exu-aordin. . ry number of ill! *c. llenee ace either the briefest of exd. . ",",ory comments, . ,. . - ebe ~rpc:ntine argum""u of almosl Prousuan length in ""hid all impressinn of rhythmic unity i. lost. Th"",, longer IICnlenc" ar< broken up into Chincsc puul. . ofsmall parenth. ,. . . which rwill and tum and digous 10 such an . ,. lent thaI, although their logical mean ings a n usually as straightforward as the huge ,,",emllalion. of modifiers will allow, it is ncarly alway>
? Sotm A. rjNt/s ifFil11llgans Wake
'mpoaible to conternpLl. Ie the whole structure 0. 1 ()flC t Lucid rhyth. . . havc siveR way to clauu. l cha'n_rur;tions and what was orisina. lly, in lbee early drafts, a Itn. ighl-line poinH o-point . tat~menl hal often grown into a pynmidal beeap ofd alll<:l and phr. osea, t-o. example:
'The lCene was ntver to b. fotg<lllen fur lator in the century one of that little band of factfer~terJ (then an ex civil . . rvant retired under the sixcyfive act) reheaned. it to a oow. in of the late archducon Coppinger in a puUman of our own " . . nt?
hibemian with one ,till ",dder circum. u ance which is a prime hurukewcr if ever wu. ' (British MU3etIm, Add. MS <1)472,
If. IU -3)
Tbii i, from lhc: fint fair copy of 1. 3. In the final wrsion it
becomn:
'Tht ocene, ref_bed, rerotUed, wa, never to b. fOrgotten, the hen and crusade. everintermutuomergent, for later in the ~ntury one of that puisne band of factferreters, (then an exeivily (out of the cu. tom huU) (",tired), (hurt), undu the lixtyfi~ act) in a dressy black modern style and wewerc . hiny Ian burlingtooa, (tam, bomd and dicky, '1uopriquos and pea.
jqd) rcbeaned it, pippa pointing, with a dignified (copied) bow 10 a narno:<:otU;in of the late archdeacon F. X. l'Ie. . , . ed Coppingt'r (a hot fdlow in his night, may the mouth. . . ofguard have maltic on him! ) in a pullwoman ofour fint tn. nshibemian
with one ltill sadder cin::um. nance which is a dirkandurk hcarukewerer ifever to bring bouncing brimme. . from marbled eyes,' (55. 10)
The Il:vised punctuation makes it evidenltha! the irnprellion of endle:u interpolation, far from bcing an undesinoble ron? w mitant of rich. . . . . . is ddibenuely IOUgbt after. The brief qualifying and elaborating p/traIoe:J have becomeJ oycc'. runda.
melltal un,,,, and in the InIIg run they an usually man: impor. tant for tbe "'Ut than is the uektal meaning of the . . ntenee to""bichtheywtn annex. . d. Poised,fluentp. . . . . . wriringoftile type III be fuund "" often in lJIysm figures only oa:a,ionally in F;~"",1tM Wah; wben it doxs appear it usually ooincidcJ with . implicity of vocabulary and a comparatively direct approach
. '
? ,
80me Asptctl of Filllltgans Wakt
10 Ibe ,u~d-malter, wbile tbe denier thc: KmC Ibt mort difficull joyce cbooses 10 make it for ! tis rnckr 10 come to gripo with tht: prose rbythms.
\~'erj oyce had ~Ioped UI aspect ofh. . an u far u he could take ii, he . . ,. ,tm to ha~ felt compelled to tum On himself and parody his own acbievemenl. It is u if he could neve. ~llow h,,",,,lflo be committed to anything th at might be called 'his' . tyle. One already fCnfel a tendency to ,,,,If. parody in the imilative fonn of A P~tr~il, wbere joyee allows . tyie to refleet Stephen" literary a,tiu. . des and theorit:s in a very un? fta\lering light. Not only doajoy<< enjoy pillorying his pe. . . n. alily and I(,;b"" throughout the worb--Slq>hen, Richard, Shem- but W. own writing abo comes in for . . mucb ha"h treatment ,. . he dealt out to that of anybody e\&e. ThiI i. true no! only of the 'U$tained . _Iire of FillNpAS W. . .
u, but alto of much of U/yUts, in whk h thc: prose it continually ,pilling over into self. parody, 00 that in Ihe mOlt stylistically . . ,If<<:>ns<:ioul p:a. aagea Ihe ! 'eader i. o n("Ver Quile lure on whkh side of Ihe >ntenhedjoyce i, sitting.
h . . ,. ,flUthat Fiotl'W W. . . t. o . . . ,. . originally intended 10 include a thorougb parodic ltworking of all the lIyliJtic attitude1 joyce bad Itnod in Itis earlier boob. The 'Large Notebook' io the Lockwood Memorial Library' is filled mainly
. . . ilh nolCl for Fiotg. . . . W. . . u, clasaified under the title1 of the varioUI chapters of all hiJ booq up to and including U/ynu. Among them are a nu mber of sentences of very broad and obvious parody such u Ihe following, in which the ItyliJlic virtues and vic<:s of 'Sirenl' are given the full U'eatmcnt: 'Co'4ledo, decidtd ",,,,u decidedly, her. teel incisive keen dugs rung trim as from him . he marched, wm in decision, prim, 6- precieely as. he marcb~ from him lOr whom decisively u alle decided, ,be an;h~ bendf from brow 10 h<<1s, hip! las incilivelyIUppleand. limin indecUion. ' (P. 62t)
, I om II'"1t<ful ' 0 Mioo An". R,. . U , of the ! . ockw<>Od Memorial Libr? . ,. , Buff. 1<>, S . Y. , who mad. i, _ib\o f<>r "'" to """,ull ? microfilm of tho ' L a r p : ' ; _ ' , n o w << I i t o d a n d p u b l i i h << l b y T . F. . C o o n o i l y . . smwz. ?
klott. . , ~. . . . . . . . . . " ,g6? .
. '
? S{Jl1leAsputsrifFinnegaru Wake
A P~'I,ai/ is parodied, rather more kindly, in the following P"""g<: whi~h, but for the disproportion betw~n an inherent bathos and the ovcr4Uention given to balan~ and consonance, might be good, straight, middle-pcriod J oy",:
'it expanded the bosom of George StanWaw Dempsq to e~pound to " n~rrow clusroom the ""pan. . : of the rivenul lakmch m<luntainmottled w<. ><>dwild cominent of North America by him lately but nOI 100 la~ discovered: (Po '9~)
This nOlebooi< il of urly date (ca. '924), and by Ihe time Joye<: had worked out the . tructu~ "f Fi"",! ,m. W4kt in more detail parody of Ihe early boo. . , S<<1tt1 largely to bave bee" rq>laced by narci. . istic . . If_parody within Finlttg41U Wab
it. df. A few phr. . . a. from til<: early wor"" survive, such as Ihe well known deflation at 53. 01 of a sentence from . A P",I,ai/ (AP 'go), but on the wholeJoya S << Im to bave come to the conchuion that it would be a much winier and more effective pro- cecling progrCMively to parody the Work in Progress. Finnegan. W4kt is thus a kind ofinfinite r. geesl ohelf_parody. The constant variation of the motifs ultimately giva. the imprtSSion Ihat . Ioya docs indeed refuse to accept anyone way ofsaying any_
thing. Continual restatement is a very convenient way Qf denying involvement without renouncing self_expre=ion, and in fact J oyce is Wiually careful to d""""ia tc hilllJClf from his more emotionally direct motif_statemrnu by mea", of savage parody elsewhere in the book. Thus the gemle 'hitherand? thithering waters or motif is thoroughly deflated when it i, put
to the I<>wly task of dcscrihing micturition (76. ~9, 46~. 04), while in the zoo-pal! 3. gc (~45. 2~) iu eloquence is mocked at with Ihe accent ofa Dublinjackcn. This is the kind ofbalane<:d, uncommil1ed, internally illuminaled seria. of sUlementll witb which, for aixt. . ,n years, Joye<: strove to fill Fu. "'I! 1JU W4kt. Grounded on a conflict of crealion and self_destruction thi. < = 1 involuted of all books ,eU up attitudes and denies them in a whirl of'hifting tones which was Joyce'. be" answer to hi, n. . ,d for an art? form that would be at one<: an intimate ptrsona!
tatament and a ! "C. '! ilient autonomous world of interacting forces.
? CHAPTER TWO CYCLIC FORM
1
' I magine a given poin t in spac. as the primoroiai one; then with romp. . . . . . . draw a cir. :! e around this point; where the
beginning and the end unile ~ther, emanation and reabtorplion meet. The circle i. . . . lfis composed ofill1lurnerabk . mallet circles, like th. rings 0{ a braulet . . . ' (IN U~Mltd, vol. I, p. 30j. 8)
'And to find II Iocu. for an alp gel a howlth on he. myrings as a primu: 0 and for II occond a unboll your companea . . . With Olaf as centrum and Olaf's b mbtail for his spokesman circums. cript:l. cyclone. ' (28i"114)
Joyc. was alway> an arranger rather than II creator, for, like II mediaeval artist, he Jecms IUpenriliously to ha~ feared the presumption of human attempts at creation. 11Ie mediaeval notion that the artist may organise but cannot under any cireumsunus creale JOmething really new is, 0 { course, capabl. of univenal applical;on but it is more than utually rdevant to
Joyce. Mr. Atberton has ,hown how basic to Fi~"'8"'" Wa. t, i. Joyce's heretical view that the Creation itself Was tbe tro. original sin,' and, as I hi'''' suggatcd above, we are gnduaUy
becoming aware that every lituation, description, and tcrap of diaLogue in his . . -or"" was remembcttd, rather than imagina. tivtly 'a n ted'. Organising was certainly Joyce'. SlJ'Ong point. Ah. hough he would not venture into the nnknown, he was. supremely confident in the reshaping oftbe known; c. orreapon- denu,pat~,clootlycontrolledlimn-thatwetttheonly IDCUII by which Joyce knew how to give Jisnificance to the
, ,. . d":. . ",,, pp. JO-J.
? Cyd;c Form
divene UD(:On$ld~rM II'iJIQ which he . pent 10 much ofh;' lif~ . . . . pping up. And il i. J importanl to reali. . . thai the ~nd-prodllGt i. J always fwion ralher than fragm<nlatioo; Ulynn and FitofUl'l/. f Wd. are . tudi. . not in uniw:nal brcak? up but in uniw:nal
reconltitution.
Like KI many worn of late middle age, Fi""'l'''' W,A;, i,
given more dbow-rQOm in which to devdop than are the boo'" which pr<<eMd iI, bul while Ihis me.
As KIOn U joyce's senlene. . h. . d TOachM ill culmination, howe''er, it ~an to break down. As hil penonal intemll and the IOOpe of h. . " 'riting . . idcnt:d,j~? 1 . tyle became u,erus- ingly fl'llgmcniM lind delailed. U! 1JJts already Iho. . . . a tendency 10 br<ak away from Ihe . . ,nlcnce aI a rhythmic and formal unil, the moot obviow departure being lhe \I$(: of tho. e huge Rabelaisian ulaloguea in "'hich all rhythmic progrcu is halted, 10 that Ihe eatalog". . might go on marking time indefini tdy. Some critia have objected thai j oye. . introduced unnecessary longueun inlO U/J. . . . by his C:Xlraordinary 101. -. : of all? inclusive lisll. Thcy oometim. . look 10 the earlier books fOr a pu rer . Iyle, but even in . 1 "",',a;1 there . r< several embryonic
c:xamplo of this tendency 10 write in list! . (AP '7, [119, [97) The calalogua in U! 1ms gradually _ u mt<! more and more importance ujoyce devdoped the book, bUlthey au ofCQurse only onc mea", by which ocntence_lIructuu is hroken do. . . n. The intmor monologue inlO . . . hich Joyce incerpolatM ""'"' and JTIOI'e asoociative ekrncnts is by its nafUr< fragmentary; the expTC>>ionilm of 'Circe' i. 100 mercurial to allow sentences
"DOUgh room in which to develop; the . . . hole comic effect of ' Eumeus' deriveo fromJoyoe'. nllhlCllly allowing the sentena:s to demoy themulv. . hy lack of discipline. This break away from 'he . . ,ntentt meaN Ihat 'lucid . upple periodic prose' accounts for only a omall proportion of the bulk of U/ftlUj by
the time Joyce reached f,u,,,,,,, W"b h. had abandoned his preoccupation with periodic p""" ,l"'OSt entirely. The. . ntcnce
in Fi. utplU WoM. ;" hardly eve. the uni! of com~ition. CaWogu. . abound, and even in the rnon: fluid ~
individual . . ,ntenees nre1y haye any great rhYlhmic vitality, taken as a whole. Tnde<! d, an exu-aordin. . ry number of ill! *c. llenee ace either the briefest of exd. . ",",ory comments, . ,. . - ebe ~rpc:ntine argum""u of almosl Prousuan length in ""hid all impressinn of rhythmic unity i. lost. Th"",, longer IICnlenc" ar< broken up into Chincsc puul. . ofsmall parenth. ,. . . which rwill and tum and digous 10 such an . ,. lent thaI, although their logical mean ings a n usually as straightforward as the huge ,,",emllalion. of modifiers will allow, it is ncarly alway>
? Sotm A. rjNt/s ifFil11llgans Wake
'mpoaible to conternpLl. Ie the whole structure 0. 1 ()flC t Lucid rhyth. . . havc siveR way to clauu. l cha'n_rur;tions and what was orisina. lly, in lbee early drafts, a Itn. ighl-line poinH o-point . tat~menl hal often grown into a pynmidal beeap ofd alll<:l and phr. osea, t-o. example:
'The lCene was ntver to b. fotg<lllen fur lator in the century one of that little band of factfer~terJ (then an ex civil . . rvant retired under the sixcyfive act) reheaned. it to a oow. in of the late archducon Coppinger in a puUman of our own " . . nt?
hibemian with one ,till ",dder circum. u ance which is a prime hurukewcr if ever wu. ' (British MU3etIm, Add. MS <1)472,
If. IU -3)
Tbii i, from lhc: fint fair copy of 1. 3. In the final wrsion it
becomn:
'Tht ocene, ref_bed, rerotUed, wa, never to b. fOrgotten, the hen and crusade. everintermutuomergent, for later in the ~ntury one of that puisne band of factferreters, (then an exeivily (out of the cu. tom huU) (",tired), (hurt), undu the lixtyfi~ act) in a dressy black modern style and wewerc . hiny Ian burlingtooa, (tam, bomd and dicky, '1uopriquos and pea.
jqd) rcbeaned it, pippa pointing, with a dignified (copied) bow 10 a narno:<:otU;in of the late archdeacon F. X. l'Ie. . , . ed Coppingt'r (a hot fdlow in his night, may the mouth. . . ofguard have maltic on him! ) in a pullwoman ofour fint tn. nshibemian
with one ltill sadder cin::um. nance which is a dirkandurk hcarukewerer ifever to bring bouncing brimme. . from marbled eyes,' (55. 10)
The Il:vised punctuation makes it evidenltha! the irnprellion of endle:u interpolation, far from bcing an undesinoble ron? w mitant of rich. . . . . . is ddibenuely IOUgbt after. The brief qualifying and elaborating p/traIoe:J have becomeJ oycc'. runda.
melltal un,,,, and in the InIIg run they an usually man: impor. tant for tbe "'Ut than is the uektal meaning of the . . ntenee to""bichtheywtn annex. . d. Poised,fluentp. . . . . . wriringoftile type III be fuund "" often in lJIysm figures only oa:a,ionally in F;~"",1tM Wah; wben it doxs appear it usually ooincidcJ with . implicity of vocabulary and a comparatively direct approach
. '
? ,
80me Asptctl of Filllltgans Wakt
10 Ibe ,u~d-malter, wbile tbe denier thc: KmC Ibt mort difficull joyce cbooses 10 make it for ! tis rnckr 10 come to gripo with tht: prose rbythms.
\~'erj oyce had ~Ioped UI aspect ofh. . an u far u he could take ii, he . . ,. ,tm to ha~ felt compelled to tum On himself and parody his own acbievemenl. It is u if he could neve. ~llow h,,",,,lflo be committed to anything th at might be called 'his' . tyle. One already fCnfel a tendency to ,,,,If. parody in the imilative fonn of A P~tr~il, wbere joyee allows . tyie to refleet Stephen" literary a,tiu. . des and theorit:s in a very un? fta\lering light. Not only doajoy<< enjoy pillorying his pe. . . n. alily and I(,;b"" throughout the worb--Slq>hen, Richard, Shem- but W. own writing abo comes in for . . mucb ha"h treatment ,. . he dealt out to that of anybody e\&e. ThiI i. true no! only of the 'U$tained . _Iire of FillNpAS W. . .
u, but alto of much of U/yUts, in whk h thc: prose it continually ,pilling over into self. parody, 00 that in Ihe mOlt stylistically . . ,If<<:>ns<:ioul p:a. aagea Ihe ! 'eader i. o n("Ver Quile lure on whkh side of Ihe >ntenhedjoyce i, sitting.
h . . ,. ,flUthat Fiotl'W W. . . t. o . . . ,. . originally intended 10 include a thorougb parodic ltworking of all the lIyliJtic attitude1 joyce bad Itnod in Itis earlier boob. The 'Large Notebook' io the Lockwood Memorial Library' is filled mainly
. . . ilh nolCl for Fiotg. . . . W. . . u, clasaified under the title1 of the varioUI chapters of all hiJ booq up to and including U/ynu. Among them are a nu mber of sentences of very broad and obvious parody such u Ihe following, in which the ItyliJlic virtues and vic<:s of 'Sirenl' are given the full U'eatmcnt: 'Co'4ledo, decidtd ",,,,u decidedly, her. teel incisive keen dugs rung trim as from him . he marched, wm in decision, prim, 6- precieely as. he marcb~ from him lOr whom decisively u alle decided, ,be an;h~ bendf from brow 10 h<<1s, hip! las incilivelyIUppleand. limin indecUion. ' (P. 62t)
, I om II'"1t<ful ' 0 Mioo An". R,. . U , of the ! . ockw<>Od Memorial Libr? . ,. , Buff. 1<>, S . Y. , who mad. i, _ib\o f<>r "'" to """,ull ? microfilm of tho ' L a r p : ' ; _ ' , n o w << I i t o d a n d p u b l i i h << l b y T . F. . C o o n o i l y . . smwz. ?
klott. . , ~. . . . . . . . . . " ,g6? .
. '
? S{Jl1leAsputsrifFinnegaru Wake
A P~'I,ai/ is parodied, rather more kindly, in the following P"""g<: whi~h, but for the disproportion betw~n an inherent bathos and the ovcr4Uention given to balan~ and consonance, might be good, straight, middle-pcriod J oy",:
'it expanded the bosom of George StanWaw Dempsq to e~pound to " n~rrow clusroom the ""pan. . : of the rivenul lakmch m<luntainmottled w<. ><>dwild cominent of North America by him lately but nOI 100 la~ discovered: (Po '9~)
This nOlebooi< il of urly date (ca. '924), and by Ihe time Joye<: had worked out the . tructu~ "f Fi"",! ,m. W4kt in more detail parody of Ihe early boo. . , S<<1tt1 largely to bave bee" rq>laced by narci. . istic . . If_parody within Finlttg41U Wab
it. df. A few phr. . . a. from til<: early wor"" survive, such as Ihe well known deflation at 53. 01 of a sentence from . A P",I,ai/ (AP 'go), but on the wholeJoya S << Im to bave come to the conchuion that it would be a much winier and more effective pro- cecling progrCMively to parody the Work in Progress. Finnegan. W4kt is thus a kind ofinfinite r. geesl ohelf_parody. The constant variation of the motifs ultimately giva. the imprtSSion Ihat . Ioya docs indeed refuse to accept anyone way ofsaying any_
thing. Continual restatement is a very convenient way Qf denying involvement without renouncing self_expre=ion, and in fact J oyce is Wiually careful to d""""ia tc hilllJClf from his more emotionally direct motif_statemrnu by mea", of savage parody elsewhere in the book. Thus the gemle 'hitherand? thithering waters or motif is thoroughly deflated when it i, put
to the I<>wly task of dcscrihing micturition (76. ~9, 46~. 04), while in the zoo-pal! 3. gc (~45. 2~) iu eloquence is mocked at with Ihe accent ofa Dublinjackcn. This is the kind ofbalane<:d, uncommil1ed, internally illuminaled seria. of sUlementll witb which, for aixt. . ,n years, Joye<: strove to fill Fu. "'I! 1JU W4kt. Grounded on a conflict of crealion and self_destruction thi. < = 1 involuted of all books ,eU up attitudes and denies them in a whirl of'hifting tones which was Joyce'. be" answer to hi, n. . ,d for an art? form that would be at one<: an intimate ptrsona!
tatament and a ! "C. '! ilient autonomous world of interacting forces.
? CHAPTER TWO CYCLIC FORM
1
' I magine a given poin t in spac. as the primoroiai one; then with romp. . . . . . . draw a cir. :! e around this point; where the
beginning and the end unile ~ther, emanation and reabtorplion meet. The circle i. . . . lfis composed ofill1lurnerabk . mallet circles, like th. rings 0{ a braulet . . . ' (IN U~Mltd, vol. I, p. 30j. 8)
'And to find II Iocu. for an alp gel a howlth on he. myrings as a primu: 0 and for II occond a unboll your companea . . . With Olaf as centrum and Olaf's b mbtail for his spokesman circums. cript:l. cyclone. ' (28i"114)
Joyc. was alway> an arranger rather than II creator, for, like II mediaeval artist, he Jecms IUpenriliously to ha~ feared the presumption of human attempts at creation. 11Ie mediaeval notion that the artist may organise but cannot under any cireumsunus creale JOmething really new is, 0 { course, capabl. of univenal applical;on but it is more than utually rdevant to
Joyce. Mr. Atberton has ,hown how basic to Fi~"'8"'" Wa. t, i. Joyce's heretical view that the Creation itself Was tbe tro. original sin,' and, as I hi'''' suggatcd above, we are gnduaUy
becoming aware that every lituation, description, and tcrap of diaLogue in his . . -or"" was remembcttd, rather than imagina. tivtly 'a n ted'. Organising was certainly Joyce'. SlJ'Ong point. Ah. hough he would not venture into the nnknown, he was. supremely confident in the reshaping oftbe known; c. orreapon- denu,pat~,clootlycontrolledlimn-thatwetttheonly IDCUII by which Joyce knew how to give Jisnificance to the
, ,. . d":. . ",,, pp. JO-J.
? Cyd;c Form
divene UD(:On$ld~rM II'iJIQ which he . pent 10 much ofh;' lif~ . . . . pping up. And il i. J importanl to reali. . . thai the ~nd-prodllGt i. J always fwion ralher than fragm<nlatioo; Ulynn and FitofUl'l/. f Wd. are . tudi. . not in uniw:nal brcak? up but in uniw:nal
reconltitution.
Like KI many worn of late middle age, Fi""'l'''' W,A;, i,
given more dbow-rQOm in which to devdop than are the boo'" which pr<<eMd iI, bul while Ihis me.
