comcien"" of the ra",,', If any chapter can be singled out for it>
powerfully
""minal qualiti.
Hart-Clive-1962-Structure-and-Motif-in-Finnegans-Wake
.
etter is written, di'<;l1ucd, , l~" 1'.
'i '; A W.
Lib, 'The Makini[' ofFu.
.
.
,.
,u W";'" ).
\.
MIS"
Ian"",, (<d. ), A J- fl1<< Mjl<<~, """"' . . . . . . , C. . ,b. :ooohle, Ill. , '951, 1'. ~"'.
'3'
? Spatial C~ks: II- Tlu Crrus
and taloen ""ry oeriouaIy; Sl>em obviow! y wino a mocaI victory ill (. 7; Anna Livia, who favoun Sbcm, is m;"trca of all. I II 1I0oI< 111 the victories an: aU Shaun's. The two ha"" 0 ' ' d over and changul. plaeo, as tbey do in II. ~, which is the dureot single. . :haptcr epilome of this overall ItruClure and which contains most of the direcl allusions to 1M PlaIOO;C model.
The central p=agc of ll. ~_where the marginal nota are allowed to disaol"" in to the mAill body of tM text Ixfore their n:appearance with exchange of tollt:--<:OfTelPOIIW 10 the CCIltnl poillt ofcontact Oil the Iphere of de""lopmetlt; here, in a siosle six? . , . ocntcncc with neither initial capital nor final . IOp, Joyce bewilderingly f. . . ,. and confustS the j>UiOl>alities of the IUperior and inferior loOns who repn:lCnt in this ;lI$tancoe
Ihe superior and infcrioo- clementi of lpiritual and profane love: Patrick', 10"" for lrcland and for hi! God, and Trluram'l for himself and for "eult. Throughout tht book Patrick alld T ris- tram are made to COrTCSpond , M ce each comes twiu to Irtlalld and uch has a miss;o. , to fulfil on the OCU$ion of the II<<Ond vitil, bUI in the middle of II. ~ they h. a. ve become inclI:trioably mU:ro. ThaI in disposing his muaiah in this way Joyce had the r. ? . . ,. . . in mind is . . . . . . d( clear by the inclusion of 3 whole shOW(! " of all. . . iona to it. AI ~88. 03, ;0. particular, the cre~to. . . . arrisl is uld to be 'doublecreuing twofold thru~'- the epica! rorged c. hequc which he ro;'tI on th~ world;' rendtrt:d doubly 'Not Negotiable', a hermetically Jealcd entity, like Pluo's (lutline of 3 'laylori:! t:d world' of 'celatin~ ci. -des' (356. 10; 191. 1~). The doublc-a'Oll$ing thelm;' ubiquitout. At 60. 33 a Ra tontion Lord and his Lady CI'OIIII and tum rwiu in Oll( of 1I. 0se dances that Link Age 10 ~ in FilrattdIU w. . . u:' 'Oauran'l lord (''SnifJpoI'') and Moirpn'. lady ("I-1atterfun") took side! and CI'OI5Kd and bowed to ucb other. Yie\. . . and noc:sed themsd"",:
S h u n reminds us of the theme al 305. 1. 1; 'TJu TlVf}f"" r . . u, IlJId 1114 (A~jll1l&ti", APP<liks 6f O/lJlOlilioNl/ Or. ,,<s', and of course the World_Soul;' depicted geometrically in the two circle! of
, s. . belO'W, Chap<<<" ~ I.
'3'
? SptltiaJ Cyclu: II- 17u CrO$S
the figun: on p~ ~93. The circl. . , 'the wonderlOlt for world hips' (363. 23) :ore defined at 'W t most improving of round. ~', Anna? , 'W,,:. . . . . . . (29"1. 05). Tn ensu,. . , that his intention . hall be quite unambigunUl, J oy"" mako undinortcd we oftbe wminology of the TIItIJUMI at 300-20, wben: Sbcm and Shalln In: called the 'Olher' and 1M 'Same' rapecti. . . ,ly, whik the 'Other', ~ in PlaIn, is made to move to the left 'with his sinille" <::yclopt:I'. 1mM: ~ the 'twinnt l'1uOIlic yeariingt'
(29~. 30) whOle mutual roIation is described as '. pirab' . . "Obhkt pu",u;ting thcir rovinghamilton . . ,lvel'.
Plato'. dcso::ription continues: ? i\ndMg. vesu~macytoIbemoOn",<< thesameand\IJ"Iiform, for he left that . ingle and undivided; hut the inner eirel<: he cleft into ICW'D u~u. aI circles in the propottion of the double
and triple interval'leRIally, each bbng Ihr<< in number; and he appoinled lhallhe cird . . lhould nlOve in oppmitc di,. . ,cOom, thme al the pme . peed, the Dlher fuuT differing in speed from the thme and among themxlV<S, )~ moving in a due ratin'. (36 C, 0)
Traditionally 'right' llood in the C<lh. mn of IU! ",rior thingo, 'left' in the column of the inferior. ' Sb"m iii the iUegitimate underdog. His aaocialion with the left. turning part of Ihe cosmic if"'" is taken up again at 462. 3. : 'quinquise<:ular cycles ? ? ? &bowman'. siniltcr', while the whole theme of the SaTm and Other, the rational and the irntional, the spiritual and the corpo,. . ,al, it devdoped still further in Bool< IV, during the Bcruley-Pauid. ~ (6,1- . 2). The lC"eIl bands of t h e O t h e r ( S h e m _ B c r k e \ e y ) ; o n , ~prcse n ted b y l h o e t e v e n coloun or the spectrum, while the unity of the Same, Ihe 'undivided rcawlity' of 292. 3' relurns a. . the white light of 'Sam< Patholic' (6t J . 10). J ust ~ w Other, or differentiated band of the World-Soul, revolVe! within the Same, 00 Ihe cirde of coloul"I i. o contained within white light, whi le the rainbow'. 'inferiority' is compensated for by the fact thai it is the 'inside true inwardn~ of r""lily ' (6 ? ? . 21). But, in any case, witll a more pen. etnting view {he opposition ofwhitelight to rainbow
? f_ \t. Cororoni, ~ '. C. . -,I,,,, I"'""""", '~1, p. 14. . "
? Spatial C)"us: II- The Cross
d;,appears, and their puzzling identity gi\ti rise to the 'fa. . t wriggle fTOm lhe ubiven",", wherrom;, man, that old offender, [I. titer man, whcile he i. asumt' (3,,6,12; my italics),
II: DECUSSAVIT RUM IN UNIVERSO Uwlin Martyr)
Plato call. hit 'World-Soul' the 'Son of the Father' and tenth to t,. "at it ~nthr()pomorphica! ly; JO)'C", who can alwaY' be "'lied uI_>n to go much further than hit model! , i<ientifi", hi' all_too-human San of the Father, Shaun, with the World-Soul, th. . . allowing him to ,nboume even hi, opposite, Shem, with whom he ultimately com. ,. to be identified, just . . . . white light subourne. the spectrum, In a tremendouoly aeative hour-the
rich and extraordinary chapter HI. 3- Joy"" developlo the theme of Sltaun as the hitherto 'uncr. atw.
comcien"" of the ra",,', If any chapter can be singled out for it> powerfully ""minal qualiti. ,. then ,nr. ly this i, it, It has too often bttn oupposed that J uyce champions only Shem, while he revil. ,. Shaun, but the text will nOt oupport ,ueh a reading_ The mature Joyce had come a long way since hit DedaIian Arti" ~. BoUI_ gwi' daY', and he saw much good in common, stupid, hand_ some, oo. . . . tful Shaun, When laid out on the orangemound- hi. 'corructive mond' (3ao'~4)- in the form of a cross (474- 5),' Shaun func! ioll$ a, Cltri,! at the ,arne time", he stand. in for the ,tupid ass whO$C = d hack i\ said 10 be a remind. . of the . acrifidal burden ;t b<;re to J emsalcm. Uustin Martyr held that Christ was $ymbolikd in the 'decuatation' itself- the me. . ting of the ,piritual and the wrporeal, of time and eternity. ) Shaun is himself the peel off the old Orangeman, Rarwieker, who, in
Part III of the opening prelude, had been 'laid to rust upon the g r e e n s i n c e d e " J . i J u f i , . . t l o v e d l i V V ) " (3 . ~3) . T h e f o u r n o o _ evangel. . " ,tandoneatea<:hextremityofthisvegetatinghuman quincunx and gradually approach itJ (cntre, the axis mundi, hi, '"cver:stop navel', from whiclt types and fOTlIl$ ofeveryone and
, cr. '""""knoll' (55','3).
,,.
? Spmial Cycles: II- 1M Crrm
~v~rything in Fimug61U Wak. are to spring. The multiplication . ign made by Shaun', orange-ped figure on the knoll is ulti. mately identical with the most fcrtik: of all r. mM<:S in FiMtldllS
Wake which gleams on Anna's gold_bronz~ belly:
'with antifouling buttcrscatch and turfentide and 'e'P"nthyme and with leafmould ,he mhert:d round prunella we. and . . . ta! > dun, quincecunct, allover her little mary. Ped d gold of wax? work her jellybelly and her grain< of inC<'rue anguille bronze. '
(206? 33 )
One of the moot obvious symbolic Cl"(lMC' in Fi. ntga. . . . Wake
B that whichJoyu "-"igns to the four Old l>t. n (119. oS). 1M, a quincunx, B ddined by five p:>inl. ! (as iU name impli",), the fifth of which- the central point-rep"""n! > the o. :. nkey on whom they all four ride ('>51. 00). The Donkey is the 'carryfour ? . . their happy"",, cloudious', or the (r_". adsOn wh. kh thcy converge (:,81. 00). He is aloo, among other fon". , the trump card placod at the centre of the bridge_table and thermrc more important than any of the fin,. . uits ({76. 11)' It ;. well known
that the o. :. nkey i. always dosdy usoo:iat. cd with Johnny (a form of Shaun) who, at tlu: beginning of III. S, is hinuelf identified as 'a croMroaw puz. ! er' ({75. oS). On page 6o~, as M. . . Gla. h""n p:>int, out,' tlu: Donkey amI Shaun are m~ed. It ;. therefore apparent that the figun': on whom the Four are converging in III. S is to be identified with the mysterious
Donkey as well a. \ ,,;th Shaun. '
Withill! constant Pmtcanshiftsoftoneand'cene,llI. 3i<prob-
ably th~ most complex and tortuOll> ehaptet of all, cvr,n more "" than the difficult 'Scene in the publie (I1. 3) which, unlike this chapter, revolv", around a . trong central dramatic ';tuation. 'The way to the midpoint of the croes i. a wearying one, for the path. -; are those of a maze: '. . , hour ga. ve wa. y to mazing hour' (47]. 27). The Old Artifu:er stoOOJoyce in g<>o<l'lead in more ways than One when the time Came t<> write Fi1! Jttlgans Wake.
While for many years th~ rabbl"",ent hi. sed and accuSC(\ him of having wrou&ht for material gam and notoriety the ohs<:ene
, c"o=. p. 4"
, a. tlu: <,ount<:. -point ofJohn ODd tlu: No in Td. 1a! II ond ! Tl. abo,. . .
135
? Spatial C,ldes: 11- ~ Cr(JJS
woodenrowofVlylJt. /,t JO)"CCwupati~nt1yputtingt"Setherthe all bUI impenetr. Lble labyrinth of Filllltg<IM W,,,b. The term 'Iabyrinlh' hu hoen applied to the boo/r;: with tirnome regular_ ity, but then: is rather more 10 the COITIparUo:m than Jqya:'. c. kbratedidentificationofhim. df. . . . ilhDa. dalwmightat fin! . ugg. . t, for Daedalw' maze, th~ archetype ofall woru ofr. rt fOT
Jqya: (u Fu. ug<UU Wdt . . . . . . . 10 be the ultimalt wort), wutaid 10 be o:mmucled in the I"onn ofa quincuncial too rymbol of the structure of Fi. Ml Q", W. . . . . ? 'I1:te ron'Ilntly fruslraled m ivings of me Four to reach Ihe Unlre of the CI'OSII are neatly I"orc-shadowed in ODe ofthe. bon palSag<'S whidl appear 10 ha"C' beenunilllentionallyominedfrom thelexlofl. 6:'FINSF_. . -
Finds C/",i"",' (14~. 21,). ' Lan Po. . . . :na', labyrinlh at Chuium and Daedahu' on Crete are of wunc anal<:>gow in FilUUlQ/IJ Wdt and bcHh are concrete, visual "'prQ<:nlations of the problems which confronl Ihe senate of Fou r in their lCarch for a clue to the r<:al Shaun in III. 3. Joytc is careful, a. alwaY', 10 assure hi. bewildered reader that in constructing the labyrinth he inoo. porated the aocn tial thread to guide the understanding:
'A coil of cord. ' (433. 28)
'A JIOi'Y cord. We have wounded OUr way on foc: cria prince till
that fom:: in the gill isfaint . farret! and the face in the tr<:ebark reigns afco. r. ' (278. 24).
The . upi1l<: ShaUll" na,. . ,1 is the omphaloa-Iike Slone of Divisions in old Royal Meath in the cenlre of Ireland, ~ hentc it liellt thc centre ofJ oya:'l lri. h univene. ' Thilltone,
on old Uisnach Hill, iI named . , . 76. oj: 'the knoll AMIoc:h'. ' The idea ofShaun u the huh landscape is delightfully extended
? Spatial Cytlu: /1- The Cross
on pagel 474-6, which mnwn IOOme of the best deoeriptive wrilin, inF _IPS W<tkt. Royal Mtalh. -. . . au1Cd ",11m Tuathal ! he 1. egilimalC cui off a ponion from each of the four olher pnwiOCft al Ihe Stont of Diviaions io lbe ! IttO<Id ceniUry- formed . . fifth, catral, and ""Feme province, making :0. gro- graphlea! equivai<:nl to J oyce'. crOll wilh ill impnrtanl central poinl. Shaun il superimJlOO"d on aU 11. . " provinC<:$:
'Afea~d themselves we~ to wonder at the clow of a el'OSllroadJ puuler he would likdy be, length by breadlh nouplmloing hil thickness, ells upon ells of him, making 10 many square ymil of him, one half of him in CoM', half but the whoi<: of him nevertheless in Owenmo.
Ian"",, (<d. ), A J- fl1<< Mjl<<~, """"' . . . . . . , C. . ,b. :ooohle, Ill. , '951, 1'. ~"'.
'3'
? Spatial C~ks: II- Tlu Crrus
and taloen ""ry oeriouaIy; Sl>em obviow! y wino a mocaI victory ill (. 7; Anna Livia, who favoun Sbcm, is m;"trca of all. I II 1I0oI< 111 the victories an: aU Shaun's. The two ha"" 0 ' ' d over and changul. plaeo, as tbey do in II. ~, which is the dureot single. . :haptcr epilome of this overall ItruClure and which contains most of the direcl allusions to 1M PlaIOO;C model.
The central p=agc of ll. ~_where the marginal nota are allowed to disaol"" in to the mAill body of tM text Ixfore their n:appearance with exchange of tollt:--<:OfTelPOIIW 10 the CCIltnl poillt ofcontact Oil the Iphere of de""lopmetlt; here, in a siosle six? . , . ocntcncc with neither initial capital nor final . IOp, Joyce bewilderingly f. . . ,. and confustS the j>UiOl>alities of the IUperior and inferior loOns who repn:lCnt in this ;lI$tancoe
Ihe superior and infcrioo- clementi of lpiritual and profane love: Patrick', 10"" for lrcland and for hi! God, and Trluram'l for himself and for "eult. Throughout tht book Patrick alld T ris- tram are made to COrTCSpond , M ce each comes twiu to Irtlalld and uch has a miss;o. , to fulfil on the OCU$ion of the II<<Ond vitil, bUI in the middle of II. ~ they h. a. ve become inclI:trioably mU:ro. ThaI in disposing his muaiah in this way Joyce had the r. ? . . ,. . . in mind is . . . . . . d( clear by the inclusion of 3 whole shOW(! " of all. . . iona to it. AI ~88. 03, ;0. particular, the cre~to. . . . arrisl is uld to be 'doublecreuing twofold thru~'- the epica! rorged c. hequc which he ro;'tI on th~ world;' rendtrt:d doubly 'Not Negotiable', a hermetically Jealcd entity, like Pluo's (lutline of 3 'laylori:! t:d world' of 'celatin~ ci. -des' (356. 10; 191. 1~). The doublc-a'Oll$ing thelm;' ubiquitout. At 60. 33 a Ra tontion Lord and his Lady CI'OIIII and tum rwiu in Oll( of 1I. 0se dances that Link Age 10 ~ in FilrattdIU w. . . u:' 'Oauran'l lord (''SnifJpoI'') and Moirpn'. lady ("I-1atterfun") took side! and CI'OI5Kd and bowed to ucb other. Yie\. . . and noc:sed themsd"",:
S h u n reminds us of the theme al 305. 1. 1; 'TJu TlVf}f"" r . . u, IlJId 1114 (A~jll1l&ti", APP<liks 6f O/lJlOlilioNl/ Or. ,,<s', and of course the World_Soul;' depicted geometrically in the two circle! of
, s. . belO'W, Chap<<<" ~ I.
'3'
? SptltiaJ Cyclu: II- 17u CrO$S
the figun: on p~ ~93. The circl. . , 'the wonderlOlt for world hips' (363. 23) :ore defined at 'W t most improving of round. ~', Anna? , 'W,,:. . . . . . . (29"1. 05). Tn ensu,. . , that his intention . hall be quite unambigunUl, J oy"" mako undinortcd we oftbe wminology of the TIItIJUMI at 300-20, wben: Sbcm and Shalln In: called the 'Olher' and 1M 'Same' rapecti. . . ,ly, whik the 'Other', ~ in PlaIn, is made to move to the left 'with his sinille" <::yclopt:I'. 1mM: ~ the 'twinnt l'1uOIlic yeariingt'
(29~. 30) whOle mutual roIation is described as '. pirab' . . "Obhkt pu",u;ting thcir rovinghamilton . . ,lvel'.
Plato'. dcso::ription continues: ? i\ndMg. vesu~macytoIbemoOn",<< thesameand\IJ"Iiform, for he left that . ingle and undivided; hut the inner eirel<: he cleft into ICW'D u~u. aI circles in the propottion of the double
and triple interval'leRIally, each bbng Ihr<< in number; and he appoinled lhallhe cird . . lhould nlOve in oppmitc di,. . ,cOom, thme al the pme . peed, the Dlher fuuT differing in speed from the thme and among themxlV<S, )~ moving in a due ratin'. (36 C, 0)
Traditionally 'right' llood in the C<lh. mn of IU! ",rior thingo, 'left' in the column of the inferior. ' Sb"m iii the iUegitimate underdog. His aaocialion with the left. turning part of Ihe cosmic if"'" is taken up again at 462. 3. : 'quinquise<:ular cycles ? ? ? &bowman'. siniltcr', while the whole theme of the SaTm and Other, the rational and the irntional, the spiritual and the corpo,. . ,al, it devdoped still further in Bool< IV, during the Bcruley-Pauid. ~ (6,1- . 2). The lC"eIl bands of t h e O t h e r ( S h e m _ B c r k e \ e y ) ; o n , ~prcse n ted b y l h o e t e v e n coloun or the spectrum, while the unity of the Same, Ihe 'undivided rcawlity' of 292. 3' relurns a. . the white light of 'Sam< Patholic' (6t J . 10). J ust ~ w Other, or differentiated band of the World-Soul, revolVe! within the Same, 00 Ihe cirde of coloul"I i. o contained within white light, whi le the rainbow'. 'inferiority' is compensated for by the fact thai it is the 'inside true inwardn~ of r""lily ' (6 ? ? . 21). But, in any case, witll a more pen. etnting view {he opposition ofwhitelight to rainbow
? f_ \t. Cororoni, ~ '. C. . -,I,,,, I"'""""", '~1, p. 14. . "
? Spatial C)"us: II- The Cross
d;,appears, and their puzzling identity gi\ti rise to the 'fa. . t wriggle fTOm lhe ubiven",", wherrom;, man, that old offender, [I. titer man, whcile he i. asumt' (3,,6,12; my italics),
II: DECUSSAVIT RUM IN UNIVERSO Uwlin Martyr)
Plato call. hit 'World-Soul' the 'Son of the Father' and tenth to t,. "at it ~nthr()pomorphica! ly; JO)'C", who can alwaY' be "'lied uI_>n to go much further than hit model! , i<ientifi", hi' all_too-human San of the Father, Shaun, with the World-Soul, th. . . allowing him to ,nboume even hi, opposite, Shem, with whom he ultimately com. ,. to be identified, just . . . . white light subourne. the spectrum, In a tremendouoly aeative hour-the
rich and extraordinary chapter HI. 3- Joy"" developlo the theme of Sltaun as the hitherto 'uncr. atw.
comcien"" of the ra",,', If any chapter can be singled out for it> powerfully ""minal qualiti. ,. then ,nr. ly this i, it, It has too often bttn oupposed that J uyce champions only Shem, while he revil. ,. Shaun, but the text will nOt oupport ,ueh a reading_ The mature Joyce had come a long way since hit DedaIian Arti" ~. BoUI_ gwi' daY', and he saw much good in common, stupid, hand_ some, oo. . . . tful Shaun, When laid out on the orangemound- hi. 'corructive mond' (3ao'~4)- in the form of a cross (474- 5),' Shaun func! ioll$ a, Cltri,! at the ,arne time", he stand. in for the ,tupid ass whO$C = d hack i\ said 10 be a remind. . of the . acrifidal burden ;t b<;re to J emsalcm. Uustin Martyr held that Christ was $ymbolikd in the 'decuatation' itself- the me. . ting of the ,piritual and the wrporeal, of time and eternity. ) Shaun is himself the peel off the old Orangeman, Rarwieker, who, in
Part III of the opening prelude, had been 'laid to rust upon the g r e e n s i n c e d e " J . i J u f i , . . t l o v e d l i V V ) " (3 . ~3) . T h e f o u r n o o _ evangel. . " ,tandoneatea<:hextremityofthisvegetatinghuman quincunx and gradually approach itJ (cntre, the axis mundi, hi, '"cver:stop navel', from whiclt types and fOTlIl$ ofeveryone and
, cr. '""""knoll' (55','3).
,,.
? Spmial Cycles: II- 1M Crrm
~v~rything in Fimug61U Wak. are to spring. The multiplication . ign made by Shaun', orange-ped figure on the knoll is ulti. mately identical with the most fcrtik: of all r. mM<:S in FiMtldllS
Wake which gleams on Anna's gold_bronz~ belly:
'with antifouling buttcrscatch and turfentide and 'e'P"nthyme and with leafmould ,he mhert:d round prunella we. and . . . ta! > dun, quincecunct, allover her little mary. Ped d gold of wax? work her jellybelly and her grain< of inC<'rue anguille bronze. '
(206? 33 )
One of the moot obvious symbolic Cl"(lMC' in Fi. ntga. . . . Wake
B that whichJoyu "-"igns to the four Old l>t. n (119. oS). 1M, a quincunx, B ddined by five p:>inl. ! (as iU name impli",), the fifth of which- the central point-rep"""n! > the o. :. nkey on whom they all four ride ('>51. 00). The Donkey is the 'carryfour ? . . their happy"",, cloudious', or the (r_". adsOn wh. kh thcy converge (:,81. 00). He is aloo, among other fon". , the trump card placod at the centre of the bridge_table and thermrc more important than any of the fin,. . uits ({76. 11)' It ;. well known
that the o. :. nkey i. always dosdy usoo:iat. cd with Johnny (a form of Shaun) who, at tlu: beginning of III. S, is hinuelf identified as 'a croMroaw puz. ! er' ({75. oS). On page 6o~, as M. . . Gla. h""n p:>int, out,' tlu: Donkey amI Shaun are m~ed. It ;. therefore apparent that the figun': on whom the Four are converging in III. S is to be identified with the mysterious
Donkey as well a. \ ,,;th Shaun. '
Withill! constant Pmtcanshiftsoftoneand'cene,llI. 3i<prob-
ably th~ most complex and tortuOll> ehaptet of all, cvr,n more "" than the difficult 'Scene in the publie (I1. 3) which, unlike this chapter, revolv", around a . trong central dramatic ';tuation. 'The way to the midpoint of the croes i. a wearying one, for the path. -; are those of a maze: '. . , hour ga. ve wa. y to mazing hour' (47]. 27). The Old Artifu:er stoOOJoyce in g<>o<l'lead in more ways than One when the time Came t<> write Fi1! Jttlgans Wake.
While for many years th~ rabbl"",ent hi. sed and accuSC(\ him of having wrou&ht for material gam and notoriety the ohs<:ene
, c"o=. p. 4"
, a. tlu: <,ount<:. -point ofJohn ODd tlu: No in Td. 1a! II ond ! Tl. abo,. . .
135
? Spatial C,ldes: 11- ~ Cr(JJS
woodenrowofVlylJt. /,t JO)"CCwupati~nt1yputtingt"Setherthe all bUI impenetr. Lble labyrinth of Filllltg<IM W,,,b. The term 'Iabyrinlh' hu hoen applied to the boo/r;: with tirnome regular_ ity, but then: is rather more 10 the COITIparUo:m than Jqya:'. c. kbratedidentificationofhim. df. . . . ilhDa. dalwmightat fin! . ugg. . t, for Daedalw' maze, th~ archetype ofall woru ofr. rt fOT
Jqya: (u Fu. ug<UU Wdt . . . . . . . 10 be the ultimalt wort), wutaid 10 be o:mmucled in the I"onn ofa quincuncial too rymbol of the structure of Fi. Ml Q", W. . . . . ? 'I1:te ron'Ilntly fruslraled m ivings of me Four to reach Ihe Unlre of the CI'OSII are neatly I"orc-shadowed in ODe ofthe. bon palSag<'S whidl appear 10 ha"C' beenunilllentionallyominedfrom thelexlofl. 6:'FINSF_. . -
Finds C/",i"",' (14~. 21,). ' Lan Po. . . . :na', labyrinlh at Chuium and Daedahu' on Crete are of wunc anal<:>gow in FilUUlQ/IJ Wdt and bcHh are concrete, visual "'prQ<:nlations of the problems which confronl Ihe senate of Fou r in their lCarch for a clue to the r<:al Shaun in III. 3. Joytc is careful, a. alwaY', 10 assure hi. bewildered reader that in constructing the labyrinth he inoo. porated the aocn tial thread to guide the understanding:
'A coil of cord. ' (433. 28)
'A JIOi'Y cord. We have wounded OUr way on foc: cria prince till
that fom:: in the gill isfaint . farret! and the face in the tr<:ebark reigns afco. r. ' (278. 24).
The . upi1l<: ShaUll" na,. . ,1 is the omphaloa-Iike Slone of Divisions in old Royal Meath in the cenlre of Ireland, ~ hentc it liellt thc centre ofJ oya:'l lri. h univene. ' Thilltone,
on old Uisnach Hill, iI named . , . 76. oj: 'the knoll AMIoc:h'. ' The idea ofShaun u the huh landscape is delightfully extended
? Spatial Cytlu: /1- The Cross
on pagel 474-6, which mnwn IOOme of the best deoeriptive wrilin, inF _IPS W<tkt. Royal Mtalh. -. . . au1Cd ",11m Tuathal ! he 1. egilimalC cui off a ponion from each of the four olher pnwiOCft al Ihe Stont of Diviaions io lbe ! IttO<Id ceniUry- formed . . fifth, catral, and ""Feme province, making :0. gro- graphlea! equivai<:nl to J oyce'. crOll wilh ill impnrtanl central poinl. Shaun il superimJlOO"d on aU 11. . " provinC<:$:
'Afea~d themselves we~ to wonder at the clow of a el'OSllroadJ puuler he would likdy be, length by breadlh nouplmloing hil thickness, ells upon ells of him, making 10 many square ymil of him, one half of him in CoM', half but the whoi<: of him nevertheless in Owenmo.
