in lRJUu andJoy<< f""luendy aIIow5lhe
symbolic
ovcnon.
Hart-Clive-1962-Structure-and-Motif-in-Finnegans-Wake
also a funher $(luree for Ihe use of time compfCS.
'!
ion and expansion in the book.
A lifetime may be dreamed in an i""tant; the whole universe may be nothing but the p.
.
.
.
ing fancy of a God washing hi!
face in the morning, Or the drunken illu';on ofa Finnegan who.
e hud i.
,plashed wilh whisky.
<<.
? CHAPTER FOUR
SP ATI AL CYCLES:
I- THE CIRCLE ,
'o n~ cannot hdp noti(ing that rath~r mor~ than half of th~ lin"" nm north_oouth . . . while the other; go we. t--e>. ! t . . . for, tiny tol tbough it looks when schtschupni. ding alcngside oth~r incunabula, il has i", cardinal
points fOT aHthat . . . 11 i$ . . ,rioudy believed by $Orne that the intentio. n may havc been geodetic . . . ' (I '4,. (2)
Writing of "- . pecial kind of . patia! fonn in th~ nov~l, Mr.
Fo,. "ter, in a well known p. . . "age in hi. . kjJt&/s <1tilt . NtJ",I', deocribe, the patt<:rn "r two boob as like 'an hou. . . . g1a. . ? and a 'grand chain' rcspt:ctively. Perhaps as $Orne kind of compensa_ tion for hi. pmhlindnel$, 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 $piritulll. F. arwicker pe<lah wearily around the four sides of the rho,nhoid Garden of &kn,' Anna revol'-eJ within the broken curv<: of the Liffey'l COUnt, the rainbow? gir! . c i r c l e wit~nhins a b o u t S l t a u n {HO. 36 ~ S h < : m p i r o u e t t e s i n s i n i J . trogyric spira\t (300. 26)- while in the next frame of rd"erence
both Shemand Shaun cirr:umnavigale the globe, fore""tnel"lof Mr. Bedell" one-I<:gg<:d wandell'r in 1M u? ? ? ". Lf. : ' the old oemctomyp! ace and jupoetbachgain' (11. . ,8). Their orbiu,like
, Sot """"'''''j~ A .
? ! in M:. J. C. Hods&r' ond M. P. Worlh"'c'Qn, ~ . . W Worts tf J_,JIfI". New y .
<<.
? CHAPTER FOUR
SP ATI AL CYCLES:
I- THE CIRCLE ,
'o n~ cannot hdp noti(ing that rath~r mor~ than half of th~ lin"" nm north_oouth . . . while the other; go we. t--e>. ! t . . . for, tiny tol tbough it looks when schtschupni. ding alcngside oth~r incunabula, il has i", cardinal
points fOT aHthat . . . 11 i$ . . ,rioudy believed by $Orne that the intentio. n may havc been geodetic . . . ' (I '4,. (2)
Writing of "- . pecial kind of . patia! fonn in th~ nov~l, Mr.
Fo,. "ter, in a well known p. . . "age in hi. . kjJt&/s <1tilt . NtJ",I', deocribe, the patt<:rn "r two boob as like 'an hou. . . . g1a. . ? and a 'grand chain' rcspt:ctively. Perhaps as $Orne kind of compensa_ tion for hi. pmhlindnel$, 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 .
