11:6
, the Strangest Dream that was ever Halfdreamt.
, the Strangest Dream that was ever Halfdreamt.
Sandulescu-Literary-Allusions-in-Finnegans-Wake
?
a capital Pee for Pride
? ? Sette P ne la fronte mi descrisse / col punton de la spada
? ? ? Purgatorio 9:112 [Reynolds]
? ? ? ? Seven P's he traced on my forehead with the point of his sword.
? ? ? ? 296. 11:3
? . With a geing groan grunt and a croak click cluck.
? ? E quando fuor ne' cardini distorti / li spigoli di quella regge sacra, / che di metallo son sonanti e forti, / non rugghio` si ne? si mostro` si` acra / Tarpea . . .
? ? ? Purgatorio 9:133 [Reynolds]
? ? When the pivots of that sacred portal, which are of metal resounding and strong, were turned within their hinges, Tarpea roared not so loud.
? ? ? ? ? ? ? ? ? ? ? Bucures? ti 2012
C. George Sandulescu, Editor.
Literary Allusions in Finnegans Wake 290
? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? 296. 30:6
. I'll make you see figuratleavely in the whome of your eternal geomater.
Qual e` 'l geome`tra che tutto s'affige / per misurar lo cerchio . . .
Paradiso 33:12 [Reynolds]
As is the geometer who wholly applies himself to measure the circle
? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? 297. n1:4
Don? a Speranza
se' di speranza fontana vivace. / Donna . . .
Paradiso 28:98 [Reynolds]
the living fount of Hope. Lady . . .
? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? 298. L2:1
Ecclesiastical and Celestial Hierarchies. The Ascending. The Descending.
"I cerchi primi / t'hanno mostrato Serafi e Cherubi . . . / . . . / In essa gerarcia son l'altre dee: / prima Dominazioni, e poi Virtudi . . . / . . . / Questi ordini di su` tutti s'ammirano, / e di giu` vincon
Paradiso 28:98 [Reynolds]
The first circles have shown to you the Seraphim and the Cherubim . . . In this hierarchy are the next divinities, first Dominions, then Virtues . . . These orders all gaze upward and prevail downward.
? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? 305. 31:1
. To book alone belongs the lobe.
. . . vidi che s'interna, / legato con amore in un volume, / cio` che per l'universo si squaderna. . .
Paradiso 33:85 [Reynolds]
I saw ingathered, bound by love in one single volume, that which is dispersed in leaves throughout the universe. . .
? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? 306. 12:3
. We've had our day at triv and quad
per sette porte intrai con questi savi
Inferno 4:110 [Reynolds]
through seven gates I entered with those sages. . .
? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? 307.
11:6
, the Strangest Dream that was ever Halfdreamt.
Qual e` colui che sognando vede . . .
? John Keats: La Belle Dame Sans Merci (1884):
"The latest dream I ever dream'd"
Ma esso, ch'altra volta mi sovvenne / . . . / . . . mi sostenne; / e disse: "Gerion, moviti omai: / le rote larghe, e lo scender sia poco; / pensa la nova soma che tu hai. " / Come la navicella esce di loco / in dietro in dietro, si` quindi si` tolse; / . . . / Ella sen va notando lenta lenta; / rota e discende, . . .
Paradiso 33:58 [Reynolds]
As one who dreaming, sees
? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? 308. n1:1
Kish is for anticheirst, and the free of my hand to him!
Al fine de le sue parole il ladro / le mani alzo` con amendu le fiche, / gridando: "Togli, Dio, ch'a te le squadro! "
Inferno 25:1
[Reynolds]
At the end of his words the thief raised up his hands with both the figs, crying, "Take them, God, for I aim them at you! "
? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? 320. 33:1::29
# Infernal machinery [. . . ] having thus passed the buck to billy back from jack (finder the keeper) as the baffling yarn sailed in circles
Inferno 17:94 [Reynolds]
But he who at other times had steadied me . . . steadied me as soon as I was mounted up, then said, "Geryon, move on now; let your circles be wide and your descending slow. . . . As the bark backs out little by little from its place, so Geryon withdrew thence . . . he goes swimming slowly on, wheels and descends . . .
? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? 334. 20:1
# O rum it is the chomicalest thing how it pickles up the punchey and the jude.
Amor, ch'a nullo amato amar perdona . . .
Inferno 5:103 [Reynolds]
Love, which absolves no loved one from loving . . .
[ + FW269. 26. . . ]
? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? 337. 30:4
, Donn, Teague and Hurleg,
[ Dante ]
[ Dante ]
? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? 344. 05:6
! Which goatheye and sheepskeer they damnty well
[ Dante, Goethe, Shakespeare ]
[ Dante, Goethe, Shakespeare ]
? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? Bucures? ti 2012
C. George Sandulescu, Editor.
Literary Allusions in Finnegans Wake 291
? ? ? ? ? ? ? ? ? know.
? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? 346. 04:4
? . Hebeneros for Aromal Peace.
Nel giallo de la rosa sempiterna, / che si digrada e dilata e redole / odor di lode al sol che sempre verna.
? ?
? ? Sette P ne la fronte mi descrisse / col punton de la spada
? ? ? Purgatorio 9:112 [Reynolds]
? ? ? ? Seven P's he traced on my forehead with the point of his sword.
? ? ? ? 296. 11:3
? . With a geing groan grunt and a croak click cluck.
? ? E quando fuor ne' cardini distorti / li spigoli di quella regge sacra, / che di metallo son sonanti e forti, / non rugghio` si ne? si mostro` si` acra / Tarpea . . .
? ? ? Purgatorio 9:133 [Reynolds]
? ? When the pivots of that sacred portal, which are of metal resounding and strong, were turned within their hinges, Tarpea roared not so loud.
? ? ? ? ? ? ? ? ? ? ? Bucures? ti 2012
C. George Sandulescu, Editor.
Literary Allusions in Finnegans Wake 290
? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? 296. 30:6
. I'll make you see figuratleavely in the whome of your eternal geomater.
Qual e` 'l geome`tra che tutto s'affige / per misurar lo cerchio . . .
Paradiso 33:12 [Reynolds]
As is the geometer who wholly applies himself to measure the circle
? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? 297. n1:4
Don? a Speranza
se' di speranza fontana vivace. / Donna . . .
Paradiso 28:98 [Reynolds]
the living fount of Hope. Lady . . .
? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? 298. L2:1
Ecclesiastical and Celestial Hierarchies. The Ascending. The Descending.
"I cerchi primi / t'hanno mostrato Serafi e Cherubi . . . / . . . / In essa gerarcia son l'altre dee: / prima Dominazioni, e poi Virtudi . . . / . . . / Questi ordini di su` tutti s'ammirano, / e di giu` vincon
Paradiso 28:98 [Reynolds]
The first circles have shown to you the Seraphim and the Cherubim . . . In this hierarchy are the next divinities, first Dominions, then Virtues . . . These orders all gaze upward and prevail downward.
? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? 305. 31:1
. To book alone belongs the lobe.
. . . vidi che s'interna, / legato con amore in un volume, / cio` che per l'universo si squaderna. . .
Paradiso 33:85 [Reynolds]
I saw ingathered, bound by love in one single volume, that which is dispersed in leaves throughout the universe. . .
? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? 306. 12:3
. We've had our day at triv and quad
per sette porte intrai con questi savi
Inferno 4:110 [Reynolds]
through seven gates I entered with those sages. . .
? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? 307.
11:6
, the Strangest Dream that was ever Halfdreamt.
Qual e` colui che sognando vede . . .
? John Keats: La Belle Dame Sans Merci (1884):
"The latest dream I ever dream'd"
Ma esso, ch'altra volta mi sovvenne / . . . / . . . mi sostenne; / e disse: "Gerion, moviti omai: / le rote larghe, e lo scender sia poco; / pensa la nova soma che tu hai. " / Come la navicella esce di loco / in dietro in dietro, si` quindi si` tolse; / . . . / Ella sen va notando lenta lenta; / rota e discende, . . .
Paradiso 33:58 [Reynolds]
As one who dreaming, sees
? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? 308. n1:1
Kish is for anticheirst, and the free of my hand to him!
Al fine de le sue parole il ladro / le mani alzo` con amendu le fiche, / gridando: "Togli, Dio, ch'a te le squadro! "
Inferno 25:1
[Reynolds]
At the end of his words the thief raised up his hands with both the figs, crying, "Take them, God, for I aim them at you! "
? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? 320. 33:1::29
# Infernal machinery [. . . ] having thus passed the buck to billy back from jack (finder the keeper) as the baffling yarn sailed in circles
Inferno 17:94 [Reynolds]
But he who at other times had steadied me . . . steadied me as soon as I was mounted up, then said, "Geryon, move on now; let your circles be wide and your descending slow. . . . As the bark backs out little by little from its place, so Geryon withdrew thence . . . he goes swimming slowly on, wheels and descends . . .
? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? 334. 20:1
# O rum it is the chomicalest thing how it pickles up the punchey and the jude.
Amor, ch'a nullo amato amar perdona . . .
Inferno 5:103 [Reynolds]
Love, which absolves no loved one from loving . . .
[ + FW269. 26. . . ]
? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? 337. 30:4
, Donn, Teague and Hurleg,
[ Dante ]
[ Dante ]
? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? 344. 05:6
! Which goatheye and sheepskeer they damnty well
[ Dante, Goethe, Shakespeare ]
[ Dante, Goethe, Shakespeare ]
? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? Bucures? ti 2012
C. George Sandulescu, Editor.
Literary Allusions in Finnegans Wake 291
? ? ? ? ? ? ? ? ? know.
? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? 346. 04:4
? . Hebeneros for Aromal Peace.
Nel giallo de la rosa sempiterna, / che si digrada e dilata e redole / odor di lode al sol che sempre verna.
? ?
