We had to wait for the war in order to begin to
understand
it (it was in many an intellectual fighting man's kitbag), but it is the post-war age that has produced a horde of Joyce scholars dedicated to dragging it further into the light.
Sandulescu-Literary-Allusions-in-Finnegans-Wake
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?
Gulliver's Travels (1726)
? ? ? 012. 36:10 ::25
Behove this sound of Irish sense. Really? / Here English might be seen. Royally? / One sovereign punned to petery pence. Regally? / The silence speaks the scene. Fake!
? (Atherton declares: "Quotations of Swift's exact words are not common in Joyce. But The Epigram on the Magazine is an outstanding exception! Do compare the Swift original with Joyce's own parody of it:
Behold a proof of Irish sense!
Here Irish wit is seen!
Where nothing's left that's worth defence, They build a magazine. )
? ? ? Atherton (1959: 121)
? Jonathan Swift
A Tale of a Tub (1704) Drapier's Letters (1724) Gulliver's Travels (1726)
? ? ? ? 447. 04:8
? ? ? . Burn only what's Irish, accepting their coals.
? ? ? ? Allusion:
(Swift's well-known advice to the Irish "Burn everything English except their coals! " is twisted by Joyce in such a way that it is turned completely inside out! )
? ? ? ? ? Atherton (1959: 114ff)
? ? ? ? Jonathan Swift
A Tale of a Tub (1704) Drapier's Letters (1724) Gulliver's Travels (1726)
? ? ? 055. 36:2
the axiomatic orerotundiy of that once grand old elrington bawl,
? ? ? Allusion:
(This may be describing the actor Thomas Elrington whom Swift mentions in his writings; or it may refer to the critic F. Elrington Ball, who edited Swift's Correspondence, and also wrote a book on his verse. It can also be an allusion to both of them together . . . concludes Atherton. )
? ? Atherton (1959: 114ff)
? Jonathan Swift
A Tale of a Tub (1704) Drapier's Letters (1724) Gulliver's Travels (1726)
? ? ? ? ? ? ? Bucures? ti 2012
C. George Sandulescu, Editor.
Literary Allusions in Finnegans Wake 316
Anthony BURGESS (1917-1992)
Finnegans Wake: What It's All About
? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? From: 99 Novels - The Best in English since 1939. Allison and Busby. London. 1984. 160 pages.
? ? ? ? ? ? ? This book was deliberately published by Anthony Burgess as early as 1984, in order to be able to make the clear statement that Finnegans Wake is by far the greatest of the 99 novels published in the world between the year of the start of the Second World War, which was 1939, and the year 1983, which was the eve of the Orwellian fatidic date of 1984.
CGS
? ? ? ? ? ? Bucures? ti 2012
C. George Sandulescu, Editor.
Literary Allusions in Finnegans Wake 317
This long and difficult work represents for many the end of the period which began in 1922 with T. S. Eliot's The Waste Land and Joyce's own Ulysses. That was the age of Modernism - a movement in literature which rejected the late nineteenth-century concept of Liberal Man and presented (as in Ernest Hemingway and D. H. Lawrence) Natural Man, and (in Eliot, Joyce and, later Evelyn Waugh and Graham Greene) Imperfect Man. To eliminate all traces of Victorian and Edwardian optimism, literary style had to change from the orotund to the spare, ironic, experimental. There was also a franker realism than known in the old days. The frank realism of Ulysses earned moral censure, and the experimental prose caused difficulties for the ordinary reader. These difficulties were, however, nothing in comparison with those to be encountered in Finnegans Wake.
While Ulysses is a book of the sunlight, depicting the events of an ordinary day in Dublin in 1904, Finnegans Wake is a work of the dark. It presents, with no concessions to waking sense, a dream in a specially invented dream language. The hero is a publican in Chapelizod, just outside Dublin, and, while his waking name is probably Mr. Porter, his dream name is Humphrey Chimpden Earwicker. He has a wife, Ann, a daughter, Isabel, and twin sons named Kevin and Jerry. Earwicker is the eternal builder of cities, while his wife is all the rivers on which cities are built, but all cities become Dublin and all rivers flow into the Liffey. Isabel becomes the eternal temptress who brings great men low, and the twin boys become all the rival males of myth and
? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? Bucures? ti 2012
C. George Sandulescu, Editor.
Literary Allusions in Finnegans Wake 318
history, from Cain and Abel to Jack Dempsey and Gene Tunney. Earwicker's long dream is really a mammoth comedy in which his household and the customers of his pub play all the roles. The theme of the play is simple: the father is a builder, but his creative gift is an aspect of sexual sin (no erection without an erection). His sons are most typically presented as a poetic dreamer and a political demagogue. They fight to take over the role of their father, but, as each is only one half of the creative egg (Earwicker often appears as Humpty Dumpty, author of his own great fall), they lack the power and skill to depose him. The great paternal creator is thrust underground, but he always rises again. One of the parts he plays is that of the god-giant Finnegan, who, like Christ, may be killed and eaten and drunk but is indestructible. The action of the dream takes place in 1132 AD, a symbolic year which combines figures of falling and rising - bodies fall at the rate of 32 feet per second; when we have counted on our ten fingers we start again with the number 11. Meanwhile the wifely motherly river - who never dies - flows on quietly beneath the turbulent city which is her husband.
Some say that this fantasy is not really a novel. In that it has distinguishable characters - always changing their shapes and names but always brilliantly delineated - and that there is a summarizable plot and a fixed mise en sce`ne - the master bedroom over the pub - it is difficult to deny that it belongs to the genre.
We had to wait for the war in order to begin to understand it (it was in many an intellectual fighting man's kitbag), but it is the post-war age that has produced a horde of Joyce scholars dedicated to dragging it further into the light. Janus-faced, it looks back to the twenties but also to the indefinite future: no writer of the contemporary period has been able to ignore it, though most writers have succeeded in not being influenced by it.
? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? Bucures? ti 2012
C. George Sandulescu, Editor.
Literary Allusions in Finnegans Wake 319
? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? Bucures? ti 2012
From Homage to Qwert Yuiop.
C. George Sandulescu, Editor.
Literary Allusions in Finnegans Wake 320
Anthony Burgess
Grunts form a Sexist Pig.
An Essay
? ? ? ? Selected Journalism 1978-1985. Hutchinson. 1986. 589 pages.
? ? ? ? ? Bucures? ti 2012
C. George Sandulescu, Editor.
Literary Allusions in Finnegans Wake 321
Cleaning out my son's bedroom the other day (he has gone to Paris to work as an apprentice fish chef in the all-male kitchens of Le Fouquet) I came across a partly eaten pig in pink marzipan. It had come, apparently, in the Christmas mail and was so ill-wrapped that neither its provenance nor purpose was apparent. My son thought it was an eccentric gift from one of his friends. Now, quite by chance, I discover (a matter of an old Punch in a thanatologist's waiting room) that it was a trophy sent by the Female Publishers of Great Britain to myself as one of the Sexist Pigs of the year. I forget who the others were, but I think one of them published a picture book on the beauty of the female breast. What my own sin against woman was I am not sure, but I'm told that it may have been a published objection to the name the Virago Press (women publishers publishing women) had chosen for itself.
Now all my dictionaries tell me that a virago is a noisy, violent, ill-tempered woman, a scold or a shrew. There is, true, an archaic meaning which makes a virago a kind of amazon, a woman strong, brave and warlike. But the etymology insists on a derivation from Latin vir, a man, and no amount of semantic twisting can force the word into a meaning which denotes intrinsic female virtues as opposed to ones borrowed from the other sex. I think it was a silly piece of naming, and it damages what is a brave and valuable venture. The Virago Press has earned my unassailable gratitude for reprinting the Pilgrimage of Dorothy Richardson, and I said so publicly. But I get from its warlike officers only a rude and stupid insult, and I cannot laugh it off. Women should not behave like that, nor men either.
It has already been said, perhaps too often, that militant organizations pleading the rights of the supposedly oppressed - blacks, homosexuals, women - begin with reason but soon fly from it. On this basic level of language they claim the right to distort words to their own ends. I object to the delimitation of 'gay'. American blacks are not the only blacks in the world: the Tamils of India and Sri Lanka are far blacker. 'Chauvinistic' stands for excessive patriotism and not for other kinds of sectional arrogance.
? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? Bucures? ti 2012
C. George Sandulescu, Editor.
Literary Allusions in Finnegans Wake 322
'Pig' is an abusive word which libels a clean and tasty animal: it is silly, and it can be ignored. But 'sexist' is intended to have a precise meaning, and, on learning that I was a sexist pig, I felt it necessary to start thinking about the term.
As far as I can make out, one ought to be a sexist if one preaches or practices discrimination of any kind towards members of the other sex. In practice, a sexist is always male, and his sexism consists in his unwillingness to accept the world view of women in one or other or several or all of its aspects. This means, in my instance, that if I will not accept the meaning the Virago Press imposes on its chosen name, I qualify, by feministic logic, for the pink pig. But I cannot really believe it is as simple as that. The feminists must have other things against me but none of them will speak out and say what they are.
In the Harvard Guide to Contemporary American Writing, Elizabeth Janeway, discussing women's literature, considers a book by Mary Ellmann called Thinking About Women. She says: 'It is worth being reminded of how widespread and how respectable has been the unquestioned assumption of women's inevitable, innate, and significant "otherness", and Ellmann here collects utterances on the subject not only from those we might expect (Norman Mailer, Leslie Fiedler, Anthony Burgess) but from Robert Lowell, Malamud, Beckett, and Reinhold Niebuhr. ' Note both the vagueness and the obliqueness. There can be no vaguer word in the world than 'otherness'. The vagueness is a weapon. Since it is not defined, the term 'otherness' can mean whatever its users wish, rather like 'virago'. The position of people like Mailer and Burgess and Fiedler vis-a`-vis this 'otherness' does not have to be defined either: we have an intuitive knowledge of their qualities, and, between women, no more need be said.
That women are 'other', meaning different from men, is one of the great maxims of the feminists. They are biologically different, think and feel differently. But men must not say so, for with men the notion of difference implies a value judgement: women are not like us, therefore they must be inferior to us. I myself have never said or written or even thought this. What I am prepared to see as a virtue in myself (as also in Mailer and Fiedler and other pigs) is - because of the feminist insistence on this
? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?
? ? ? 012. 36:10 ::25
Behove this sound of Irish sense. Really? / Here English might be seen. Royally? / One sovereign punned to petery pence. Regally? / The silence speaks the scene. Fake!
? (Atherton declares: "Quotations of Swift's exact words are not common in Joyce. But The Epigram on the Magazine is an outstanding exception! Do compare the Swift original with Joyce's own parody of it:
Behold a proof of Irish sense!
Here Irish wit is seen!
Where nothing's left that's worth defence, They build a magazine. )
? ? ? Atherton (1959: 121)
? Jonathan Swift
A Tale of a Tub (1704) Drapier's Letters (1724) Gulliver's Travels (1726)
? ? ? ? 447. 04:8
? ? ? . Burn only what's Irish, accepting their coals.
? ? ? ? Allusion:
(Swift's well-known advice to the Irish "Burn everything English except their coals! " is twisted by Joyce in such a way that it is turned completely inside out! )
? ? ? ? ? Atherton (1959: 114ff)
? ? ? ? Jonathan Swift
A Tale of a Tub (1704) Drapier's Letters (1724) Gulliver's Travels (1726)
? ? ? 055. 36:2
the axiomatic orerotundiy of that once grand old elrington bawl,
? ? ? Allusion:
(This may be describing the actor Thomas Elrington whom Swift mentions in his writings; or it may refer to the critic F. Elrington Ball, who edited Swift's Correspondence, and also wrote a book on his verse. It can also be an allusion to both of them together . . . concludes Atherton. )
? ? Atherton (1959: 114ff)
? Jonathan Swift
A Tale of a Tub (1704) Drapier's Letters (1724) Gulliver's Travels (1726)
? ? ? ? ? ? ? Bucures? ti 2012
C. George Sandulescu, Editor.
Literary Allusions in Finnegans Wake 316
Anthony BURGESS (1917-1992)
Finnegans Wake: What It's All About
? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? From: 99 Novels - The Best in English since 1939. Allison and Busby. London. 1984. 160 pages.
? ? ? ? ? ? ? This book was deliberately published by Anthony Burgess as early as 1984, in order to be able to make the clear statement that Finnegans Wake is by far the greatest of the 99 novels published in the world between the year of the start of the Second World War, which was 1939, and the year 1983, which was the eve of the Orwellian fatidic date of 1984.
CGS
? ? ? ? ? ? Bucures? ti 2012
C. George Sandulescu, Editor.
Literary Allusions in Finnegans Wake 317
This long and difficult work represents for many the end of the period which began in 1922 with T. S. Eliot's The Waste Land and Joyce's own Ulysses. That was the age of Modernism - a movement in literature which rejected the late nineteenth-century concept of Liberal Man and presented (as in Ernest Hemingway and D. H. Lawrence) Natural Man, and (in Eliot, Joyce and, later Evelyn Waugh and Graham Greene) Imperfect Man. To eliminate all traces of Victorian and Edwardian optimism, literary style had to change from the orotund to the spare, ironic, experimental. There was also a franker realism than known in the old days. The frank realism of Ulysses earned moral censure, and the experimental prose caused difficulties for the ordinary reader. These difficulties were, however, nothing in comparison with those to be encountered in Finnegans Wake.
While Ulysses is a book of the sunlight, depicting the events of an ordinary day in Dublin in 1904, Finnegans Wake is a work of the dark. It presents, with no concessions to waking sense, a dream in a specially invented dream language. The hero is a publican in Chapelizod, just outside Dublin, and, while his waking name is probably Mr. Porter, his dream name is Humphrey Chimpden Earwicker. He has a wife, Ann, a daughter, Isabel, and twin sons named Kevin and Jerry. Earwicker is the eternal builder of cities, while his wife is all the rivers on which cities are built, but all cities become Dublin and all rivers flow into the Liffey. Isabel becomes the eternal temptress who brings great men low, and the twin boys become all the rival males of myth and
? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? Bucures? ti 2012
C. George Sandulescu, Editor.
Literary Allusions in Finnegans Wake 318
history, from Cain and Abel to Jack Dempsey and Gene Tunney. Earwicker's long dream is really a mammoth comedy in which his household and the customers of his pub play all the roles. The theme of the play is simple: the father is a builder, but his creative gift is an aspect of sexual sin (no erection without an erection). His sons are most typically presented as a poetic dreamer and a political demagogue. They fight to take over the role of their father, but, as each is only one half of the creative egg (Earwicker often appears as Humpty Dumpty, author of his own great fall), they lack the power and skill to depose him. The great paternal creator is thrust underground, but he always rises again. One of the parts he plays is that of the god-giant Finnegan, who, like Christ, may be killed and eaten and drunk but is indestructible. The action of the dream takes place in 1132 AD, a symbolic year which combines figures of falling and rising - bodies fall at the rate of 32 feet per second; when we have counted on our ten fingers we start again with the number 11. Meanwhile the wifely motherly river - who never dies - flows on quietly beneath the turbulent city which is her husband.
Some say that this fantasy is not really a novel. In that it has distinguishable characters - always changing their shapes and names but always brilliantly delineated - and that there is a summarizable plot and a fixed mise en sce`ne - the master bedroom over the pub - it is difficult to deny that it belongs to the genre.
We had to wait for the war in order to begin to understand it (it was in many an intellectual fighting man's kitbag), but it is the post-war age that has produced a horde of Joyce scholars dedicated to dragging it further into the light. Janus-faced, it looks back to the twenties but also to the indefinite future: no writer of the contemporary period has been able to ignore it, though most writers have succeeded in not being influenced by it.
? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? Bucures? ti 2012
C. George Sandulescu, Editor.
Literary Allusions in Finnegans Wake 319
? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? Bucures? ti 2012
From Homage to Qwert Yuiop.
C. George Sandulescu, Editor.
Literary Allusions in Finnegans Wake 320
Anthony Burgess
Grunts form a Sexist Pig.
An Essay
? ? ? ? Selected Journalism 1978-1985. Hutchinson. 1986. 589 pages.
? ? ? ? ? Bucures? ti 2012
C. George Sandulescu, Editor.
Literary Allusions in Finnegans Wake 321
Cleaning out my son's bedroom the other day (he has gone to Paris to work as an apprentice fish chef in the all-male kitchens of Le Fouquet) I came across a partly eaten pig in pink marzipan. It had come, apparently, in the Christmas mail and was so ill-wrapped that neither its provenance nor purpose was apparent. My son thought it was an eccentric gift from one of his friends. Now, quite by chance, I discover (a matter of an old Punch in a thanatologist's waiting room) that it was a trophy sent by the Female Publishers of Great Britain to myself as one of the Sexist Pigs of the year. I forget who the others were, but I think one of them published a picture book on the beauty of the female breast. What my own sin against woman was I am not sure, but I'm told that it may have been a published objection to the name the Virago Press (women publishers publishing women) had chosen for itself.
Now all my dictionaries tell me that a virago is a noisy, violent, ill-tempered woman, a scold or a shrew. There is, true, an archaic meaning which makes a virago a kind of amazon, a woman strong, brave and warlike. But the etymology insists on a derivation from Latin vir, a man, and no amount of semantic twisting can force the word into a meaning which denotes intrinsic female virtues as opposed to ones borrowed from the other sex. I think it was a silly piece of naming, and it damages what is a brave and valuable venture. The Virago Press has earned my unassailable gratitude for reprinting the Pilgrimage of Dorothy Richardson, and I said so publicly. But I get from its warlike officers only a rude and stupid insult, and I cannot laugh it off. Women should not behave like that, nor men either.
It has already been said, perhaps too often, that militant organizations pleading the rights of the supposedly oppressed - blacks, homosexuals, women - begin with reason but soon fly from it. On this basic level of language they claim the right to distort words to their own ends. I object to the delimitation of 'gay'. American blacks are not the only blacks in the world: the Tamils of India and Sri Lanka are far blacker. 'Chauvinistic' stands for excessive patriotism and not for other kinds of sectional arrogance.
? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? Bucures? ti 2012
C. George Sandulescu, Editor.
Literary Allusions in Finnegans Wake 322
'Pig' is an abusive word which libels a clean and tasty animal: it is silly, and it can be ignored. But 'sexist' is intended to have a precise meaning, and, on learning that I was a sexist pig, I felt it necessary to start thinking about the term.
As far as I can make out, one ought to be a sexist if one preaches or practices discrimination of any kind towards members of the other sex. In practice, a sexist is always male, and his sexism consists in his unwillingness to accept the world view of women in one or other or several or all of its aspects. This means, in my instance, that if I will not accept the meaning the Virago Press imposes on its chosen name, I qualify, by feministic logic, for the pink pig. But I cannot really believe it is as simple as that. The feminists must have other things against me but none of them will speak out and say what they are.
In the Harvard Guide to Contemporary American Writing, Elizabeth Janeway, discussing women's literature, considers a book by Mary Ellmann called Thinking About Women. She says: 'It is worth being reminded of how widespread and how respectable has been the unquestioned assumption of women's inevitable, innate, and significant "otherness", and Ellmann here collects utterances on the subject not only from those we might expect (Norman Mailer, Leslie Fiedler, Anthony Burgess) but from Robert Lowell, Malamud, Beckett, and Reinhold Niebuhr. ' Note both the vagueness and the obliqueness. There can be no vaguer word in the world than 'otherness'. The vagueness is a weapon. Since it is not defined, the term 'otherness' can mean whatever its users wish, rather like 'virago'. The position of people like Mailer and Burgess and Fiedler vis-a`-vis this 'otherness' does not have to be defined either: we have an intuitive knowledge of their qualities, and, between women, no more need be said.
That women are 'other', meaning different from men, is one of the great maxims of the feminists. They are biologically different, think and feel differently. But men must not say so, for with men the notion of difference implies a value judgement: women are not like us, therefore they must be inferior to us. I myself have never said or written or even thought this. What I am prepared to see as a virtue in myself (as also in Mailer and Fiedler and other pigs) is - because of the feminist insistence on this
? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?
