&mu Aspects of
Finntgans
Wa.
Hart-Clive-1962-Structure-and-Motif-in-Finnegans-Wake
Iurated with pUN that nothing surpriRl, nothing shocks; the mind'.
ear take.
pan-writing for gunled, the mind'.
eye it f,xed in a pcrm:onent lIale ofmultiple
viIinn .
jOY~'1 vcrballucaa in FUw~1U Wah is due in par! 10 a
simple confidence-ui. :k. The univcru. lity ofhia themes and Ibe breadth of thcir treatment make virtually any vubal or sym- bolic felicity relevant 10 the lext 10 that an effect of brilliant appoIilen. . . . it IOmetima acbieved more eaaily than i. s at on<< apparent. If the pieces in a jia-saw punle are n'lade "". U enough and numerous enough, II. piece of a1motl any lhapc can be made to fit---apccially if the picture oonsil\! of lever. l lupcrimpc FE:l pattema. joyce'. eclectic method is open not ooly to fairly easy imitation, hut abo 10 constant extension within F_p>as Wahiadt. ManyreadenfedthattheycouldimptO\? c on niH. . . . of lb~ text, tightening up correspondences here and th~re and tbickening the texture Itill more. Mr. Niall Mont- gomery hu made oome arnusingluggationl. ' I'w. . . , <l1lS Wwit in fa<;l lhc most ouwanding U3mplc ofwhatean be done with
Hjd 11. . 111 colla", in literallIn. j oyce was quite unimpressed
, l\. , RyI', A St. /1 " 1 _ ' J_', ''''/roil''tJ. . ,t,t:! Jl. ,. r _ MOIl', Ann Arbor, '9~! h PI', "7. . . e (on miuo/iIm) .
? N. MOfitpoerr, 'Joyw:. Q. . . ;oo. . m tJ~. . ", Eoootr,,. "j. V, >>00 '7. p. ? ? .
? Some Aspnts ifFinMgans Wake
hy the vi<ual am, so that it il highly unlikely that he ",/fe. . w. any dircct infiw:nce from twenLieth-century painting techniques, but hi. method is nfu:n mikingly ,imilar. n;~ and pi= arc picked up and inC<'lrporated into the taturc with litde modification, whil~ the pre<:is~ nalurc of each individual fragment unot always of great importance. If there ;. a C(ln- fidence-! :rick, however, J(ly<:e ufuudamentally hone,t about it
and even make. the ! :rick i~lra part ofru. . grand design. As T have said abov<:, he aimed at providing FitwgallJ W4M with as many external I<)OJ( end, '" po1l,iblc in order to cll! urc a connexion with as much experience as possible. TIt<: fact that we can continue to pun oU! "Selves inlo Ihe game ofwriting it i, one demonstration of Joytt'S 'IDCl"-<:SS in this dircction. The Work is eternally in Pmgrw .
Joyce said that the difficulti. . ofhu wor4lay nQl in the idea. they contain but in the meall! ofpr=ntation: 'In my eMe the thought i. always simple'. ' The truth of lb. . i> broad a. w:rtion
depend. very much on what Joy<:e intend< by 'thnught'. If, with ""ptct to Fj"''''g<m. < Walt, he m~. . ns the overall world_view and the outlines nf the mythic tales through which it is dc- v. loped, then the comment is jtUt enough. &yond this, however, Joyce would I! CCm to be dtcciving either himself or his t~ad=. The relatiOIUlhip of part! , the (. Onc;o. t~nation of metaphor and image, the details of argument in Fi"""glltU Wah are often very subtle and extTCmdy difficult to g'""'p fidly. Tbh is n~v~r SO apparent to the reader as when he emharb (lI1 a $hott oxplicG- tum tU 14m of SOme more or less . . ,If_contained p. . . . ag? . No matter how thorough tb" lingu;"tic analysi1, n" matter h"w many of the refcr~ntiallonot: ends may be gathue<l together, the difficulties tUually fail todlspc! "Se. A Imnwle<lgt' nfN"orwegian, for example, docs not help bim to undenland the 'No,w~gian
Captain' SIOI)'. He may build up a lut"fse",ral hundrW word, from that language, a v"l)' /i:w of whid ' oerve 10 orientate a sentence or giv<: point 10 . "me otherwi3tc apparently meaning- I. . . phrase, but n~arly all ofwhich are . . ,en to ha", been uacd
purely fOr mosaic decoraLion; the fundamental difficulties of , II. Iludg=,J_}v;>t-t/hi. M'Itiy,tfUIJ-,l. ondoo,'9~p. >91.
35
? S(l1IU Aspeds rif Filmegam Wake
understanding the personal relationships eJ<plo",d in the tale, the . yrnbolit ';gnificance of the journey, the rn)"t. rio'" dia? logue and dbu",,,,,,"I, ",main uIlttSOI""d. ! ndeW. it mmt to IIOme extent comfurt the ordinary ""ader to discover that this is 50, to bot fO. ssured that F;MlgQ1IJ Wait i. not just a Cl'O! ISword puzzle which he will bot able to . . ,1"" when he ha. ac~ to a long shelf of dictionari. . and can a/ford 10 burn enough mid-
night oil. The proble"", that he faces are in facl very famili. . " they a"" Ih. ,. . , involved in learning how to make an adequate anal)"i. and ",synthtsi. of a symbolic language.
Joyce keep' admonishing his puzzled ""ad" to use hi. ca~ ; 'if)'<lu are looling for the bilder deep yOUT car on the movie?
tone' (6~,oR)-and while il is true that he must c:<mItantly attend to prosodies and accents if the full content of the book is to hot: apprehended, IIOWld and rhythm arc nO more Ihan a part of Ihe IOtal pallem and have, ! hot:lieve, been ovcr-. lr<:<. <ed. Moot ofJoy",,'. neologisms are mo"" easily undel"! i(KKI hy eye than by ear. Tricks and coincidenc. . of typography and ortho-
graphy allow greater vinuooity than do their audihk equiva. 1011;$. Joy. -,c is undoubtedly writing fOT the ear nearly an Ihe time, but mO>t of his attention is dev<lted to the apreararu;e of the words on Ihe page. That the greater part of the meaningful oounterpoint in FinNgallS lVa. 1;, cannot bot amany communi. c>. ted, is revealed byJoyce'IOWn celebrated reading fmm 'Anna Livi,,' which, though finely o. . . ;hestrated within" ,mall GOn,p""', totally rails to GOnvcy more th"n one level of meaning from a
""pr"",ntativeiy complex passage. In ffiO$l caS<:! a variety of pronunciations '" n = a r y for ea~h word, and many ph,. ,. . . ,.
offer $/:v. :ral possibiliti. . of rhythm and It. . . ,. S. In theory, highly controlled choral. peaking by a small group would hot: the only . . . . tisfac,lOry ",Iunon to the prohkm of how 10 read Fin""tlJJtS
Walt aloud, each . peaker adhering to one 'voice' oflheGOunter_ point and u,ing the appropriate ,,""nt and str""".
For all iUl splendidly varied rhythm. and its multitudinous parodi. . of all the media of aural GOmmunication, it see"", difficult to justify the usual . tat<:menl that FitwgdllS Wah is primarily intended to work nn the auditory imagination.
,6
?
&mu Aspects of Finntgans Wa. <<
ProfCSlOr Harry I. . . vin has gone so rar as to make the astoniAhing claim that Fimul"'" Wak. 'lacb vuual imagery'. ' T h = are few places in;1 where the world ofsound is not evoked, but, . . , in UIysus, the great bulk ofthe imagery remaim =tially visuaL Thue never was a book more clutlere<l with "wble symbols;
me optical f",ld ;, constantly crammed with every variety of . tage_property, from the tiniC$1 trine to the Il\O! lt megalomaniac objects of desir<:. The cosmic sccne ill continually being reset, the charaetc. . . appear in a multitude of exotic costumes, barr. ,]- loads of knick_lmack> arc ",. . ,wo over the Hoc. . . , ,hip" sail into
view and depart as . warn, =. . and flowe. . . . pcout and wither in the wildem. . . " fireHi"" glitter, sky>ernpcrs rUe and fall, fires ra! \<, and the rainbow glows on the horizon, There h"" bttn rather too much easy talk alxlUI the sharpened car of the pur. blind man. Such talk Qlkn Kc"'" 1<1 coincide with the mpc:r_ ficial grasp of thc text which maktS it 1Ie<:(:IO. 3. ry for SO many critics to fall back 011 'suggtStiVtnCSS' aJ a j",tificatio'l. and explanation ofJ oyce', neologism" There U, ofoouroc, an aImo'" ce:uel= background oflilting rhythm and modulating inlona_ tUm in FinmlQIU Wah, but thi, sort of illbuilt mU$ical setting,
along the line, ofwhieh Mr. Cyril Cu,ack [{)()ulds hi. excellent recorded reading of 'Shem the Penm~n',' i, a very different thing from aural imaC"J. Apart from the few set-pieces wru,re
Joyce i, drawing bravura lOund-picture. , as in the <:TId of 'Anna L. ivia', the ileeping-:roo passage (~41-i6), or th~ Nightingale_ song (359-60)', alm<>:st any passage taken at random will demomtrate this empha,is 011 visual content. For ~xample' 'But vicereverullg thereout from th<>:se palm. of perfection to anger arbour, u<<:rack monatan, ocroucely out of scout of ocean, virid with woad, what tomame"to of complementary ragtS rocked the diviu" from hi! punchpoll to hiJ tummy'. ,henlre at he dUplaid all the oalhword science of ru. visible disgrace. He waJ fe<:ling $0 funny and floored [or the cue, all
37
? Some Aspttls of Finrugans Wake
0Vtt whichgirltashedon'l know whceehue. lfg<'llleyspsious
would but fain $mik him :I . mik he would be fOndling a pnix he l ie lOme nio: bit of Duff. lIut no gat(: <evula the UDCOfl- noulh. They're all oddJ apiMt him, II><: beutia. . Scratch. Slart. ' (~o7. 19)
IIr : THE BREAKD OWN OF THE SENTENCE ; SEU'. PARODV
'WordJ. Was it thcir ooloun? , . . 0. was ;1 tluot, bring as wukoflightashe. . . . ,allyofmind,hedrewIe. pl~ I'rom the re8cctloll of the glowin8 acru;blc ""'lrid through the pn. m ofaIa~many. :olouredandrichlystoriedthanfromtbe contemplation of an inner world of individual emotiow mir-
rored p! :rfcctly in a lucid IUppiCperiodic pr'O! le? ' (AP 190) Thil . . One of the mostjUltly celebrated e"preoaions ofartistic I(:nlillilily in J oyce'l WOrQ. At Ihe time of iu rompoilition J oyce . . . . , already . . . . dl '""p! :ricn<<d in the writing of the Iypo: ofprooc: dCKribcd. Hil concenl lOr l\lCid IIIppicneu and rhythmic CX(:(llence in the ohon . torica of D. . li. . . . is noticcabk from the
font polg<', The openinc pangnoph of 'The Silten' iI quile rem:orhble for the allCnlation of ohon and long . . . . -or<b and pbrueo designed to mirror the boy', I>csitatiolll, doubts, and immaturities. Even at thia stage of his career Joy<< iI writing prOM: which is meant to be clotely examined, not read through. ' 'There was no hope for him thi. time: it wao the third l! roke, Night aller night I had pasacd the hoUIC (it was vacalion time) and IllIdicd the lighted 'CJuare 0( window: and nighl aflcr night t had found it lighted in the lame _y, faintly and evenly. If
he "'lIS dead, I thou,ht, I would I t t the: rdlcctioll ofcandles on the darkened blind, for 1 knew d>a. t two candles mllil be x t I t th( head oftlu: COI"JIIC. He had often. . aid to me: "I am not ions: for this world", and I had thollght his words idle. Now I knew they were tru~. Every night II I gazed up at the window I said JOftly to myxlf the ,,-ord paralYlis. It h~d alwaY' lOunded
,F""an<x,ft>d""~onof'ThcSis'. . . . ,'"M. lobplatt. . ,n. . . " ~ ? . ,,""', I. oondon, ' 9 $ pp. 7" fr.
"
? Same Asptels tif Finnegl1JlS Wake
. trangdy in my ears, like the word gnomon in the Eudid and the word simony in the Gatcehi,rn. But now it sounded to me lik. the name of SOme malefi~nt and . inful being. It fined me wilh fear, and yet l longed to be nea""r to it and to look upon il'! deadly work. ' (D ~2)
'The sentence was the . tyIDtiC unit with whichjoy~ worked most ~aoily in 1m early yea",. Fint rate paragraph "",iting lil<e the example jwt quoted i. to he found here and th~re in D,. bli"", and A Portrait, but jore" was nevee a natural para. graph-writer like, say, hi! . :onlemporary Paul V"Ury, and hi. b. :st work in thi. form always has something of the Wur ! hJOrtt about it. For the fi"'l half of hi. '! care", it was to the sentence above all that Joyce devoted his best powers. Tn UlysstJ, the culmination of those yea"" the paragraph was virtually aban_ doned as a rhythmic unit, hut d au. ". . . trocturc w"" brought to a very high pitch ofachievement. ' j <>y<:e t<>ld frank Budgen of 1m hard w<)fk on two "'nten~. a fmm an episode of Ulysses" 'The words . . . arc: "Perfume <>f en'hra= all him au ailed. With hungered lIe>h <>hst:urc1y, he mutely craved t<> adore. " You Call """ for youmMin h<>w many diffe""nl ways they might
be "rrang<:d'.
PauagCl! lik. the following dq><:nd for their whole dl'ect on
luch e&refully controlled organi,"-tion of Ihe demen\. ! within theindividualsenten~,. Thesequenceof. enteneeswithinthe paragraph is of secondary importan~e, as Jnyce'. habit or compooition by interpolation . ugges":
'Chri,tfox in leather trews, hiding, a nmaway in blighted lroe? forb from hoe and cry. Knowing no vixen, walking londy in the chase. Women he won to him, tender people, a whore of Babylon, ladies ofjUlticeJ, hully tap'ICrs' wi"'l. ~-ox and geese. And in New Place " slar;k dishonoured body thaI once was r;omc1y, on~ as . weet, as fre<h "" einnamon, now It", ! eaw:s falllng, all, barc, fiighted of the narrow grave and unforgiven? . (U 18~)
, For d. . . . . iled . . . . . . . ,. . . " of "","'",. ,. ,. in U/. I=" . . . R. HenlU, Dit " . .
viIinn .
jOY~'1 vcrballucaa in FUw~1U Wah is due in par! 10 a
simple confidence-ui. :k. The univcru. lity ofhia themes and Ibe breadth of thcir treatment make virtually any vubal or sym- bolic felicity relevant 10 the lext 10 that an effect of brilliant appoIilen. . . . it IOmetima acbieved more eaaily than i. s at on<< apparent. If the pieces in a jia-saw punle are n'lade "". U enough and numerous enough, II. piece of a1motl any lhapc can be made to fit---apccially if the picture oonsil\! of lever. l lupcrimpc FE:l pattema. joyce'. eclectic method is open not ooly to fairly easy imitation, hut abo 10 constant extension within F_p>as Wahiadt. ManyreadenfedthattheycouldimptO\? c on niH. . . . of lb~ text, tightening up correspondences here and th~re and tbickening the texture Itill more. Mr. Niall Mont- gomery hu made oome arnusingluggationl. ' I'w. . . , <l1lS Wwit in fa<;l lhc most ouwanding U3mplc ofwhatean be done with
Hjd 11. . 111 colla", in literallIn. j oyce was quite unimpressed
, l\. , RyI', A St. /1 " 1 _ ' J_', ''''/roil''tJ. . ,t,t:! Jl. ,. r _ MOIl', Ann Arbor, '9~! h PI', "7. . . e (on miuo/iIm) .
? N. MOfitpoerr, 'Joyw:. Q. . . ;oo. . m tJ~. . ", Eoootr,,. "j. V, >>00 '7. p. ? ? .
? Some Aspnts ifFinMgans Wake
hy the vi<ual am, so that it il highly unlikely that he ",/fe. . w. any dircct infiw:nce from twenLieth-century painting techniques, but hi. method is nfu:n mikingly ,imilar. n;~ and pi= arc picked up and inC<'lrporated into the taturc with litde modification, whil~ the pre<:is~ nalurc of each individual fragment unot always of great importance. If there ;. a C(ln- fidence-! :rick, however, J(ly<:e ufuudamentally hone,t about it
and even make. the ! :rick i~lra part ofru. . grand design. As T have said abov<:, he aimed at providing FitwgallJ W4M with as many external I<)OJ( end, '" po1l,iblc in order to cll! urc a connexion with as much experience as possible. TIt<: fact that we can continue to pun oU! "Selves inlo Ihe game ofwriting it i, one demonstration of Joytt'S 'IDCl"-<:SS in this dircction. The Work is eternally in Pmgrw .
Joyce said that the difficulti. . ofhu wor4lay nQl in the idea. they contain but in the meall! ofpr=ntation: 'In my eMe the thought i. always simple'. ' The truth of lb. . i> broad a. w:rtion
depend. very much on what Joy<:e intend< by 'thnught'. If, with ""ptct to Fj"''''g<m. < Walt, he m~. . ns the overall world_view and the outlines nf the mythic tales through which it is dc- v. loped, then the comment is jtUt enough. &yond this, however, Joyce would I! CCm to be dtcciving either himself or his t~ad=. The relatiOIUlhip of part! , the (. Onc;o. t~nation of metaphor and image, the details of argument in Fi"""glltU Wah are often very subtle and extTCmdy difficult to g'""'p fidly. Tbh is n~v~r SO apparent to the reader as when he emharb (lI1 a $hott oxplicG- tum tU 14m of SOme more or less . . ,If_contained p. . . . ag? . No matter how thorough tb" lingu;"tic analysi1, n" matter h"w many of the refcr~ntiallonot: ends may be gathue<l together, the difficulties tUually fail todlspc! "Se. A Imnwle<lgt' nfN"orwegian, for example, docs not help bim to undenland the 'No,w~gian
Captain' SIOI)'. He may build up a lut"fse",ral hundrW word, from that language, a v"l)' /i:w of whid ' oerve 10 orientate a sentence or giv<: point 10 . "me otherwi3tc apparently meaning- I. . . phrase, but n~arly all ofwhich are . . ,en to ha", been uacd
purely fOr mosaic decoraLion; the fundamental difficulties of , II. Iludg=,J_}v;>t-t/hi. M'Itiy,tfUIJ-,l. ondoo,'9~p. >91.
35
? S(l1IU Aspeds rif Filmegam Wake
understanding the personal relationships eJ<plo",d in the tale, the . yrnbolit ';gnificance of the journey, the rn)"t. rio'" dia? logue and dbu",,,,,,"I, ",main uIlttSOI""d. ! ndeW. it mmt to IIOme extent comfurt the ordinary ""ader to discover that this is 50, to bot fO. ssured that F;MlgQ1IJ Wait i. not just a Cl'O! ISword puzzle which he will bot able to . . ,1"" when he ha. ac~ to a long shelf of dictionari. . and can a/ford 10 burn enough mid-
night oil. The proble"", that he faces are in facl very famili. . " they a"" Ih. ,. . , involved in learning how to make an adequate anal)"i. and ",synthtsi. of a symbolic language.
Joyce keep' admonishing his puzzled ""ad" to use hi. ca~ ; 'if)'<lu are looling for the bilder deep yOUT car on the movie?
tone' (6~,oR)-and while il is true that he must c:<mItantly attend to prosodies and accents if the full content of the book is to hot: apprehended, IIOWld and rhythm arc nO more Ihan a part of Ihe IOtal pallem and have, ! hot:lieve, been ovcr-. lr<:<. <ed. Moot ofJoy",,'. neologisms are mo"" easily undel"! i(KKI hy eye than by ear. Tricks and coincidenc. . of typography and ortho-
graphy allow greater vinuooity than do their audihk equiva. 1011;$. Joy. -,c is undoubtedly writing fOT the ear nearly an Ihe time, but mO>t of his attention is dev<lted to the apreararu;e of the words on Ihe page. That the greater part of the meaningful oounterpoint in FinNgallS lVa. 1;, cannot bot amany communi. c>. ted, is revealed byJoyce'IOWn celebrated reading fmm 'Anna Livi,,' which, though finely o. . . ;hestrated within" ,mall GOn,p""', totally rails to GOnvcy more th"n one level of meaning from a
""pr"",ntativeiy complex passage. In ffiO$l caS<:! a variety of pronunciations '" n = a r y for ea~h word, and many ph,. ,. . . ,.
offer $/:v. :ral possibiliti. . of rhythm and It. . . ,. S. In theory, highly controlled choral. peaking by a small group would hot: the only . . . . tisfac,lOry ",Iunon to the prohkm of how 10 read Fin""tlJJtS
Walt aloud, each . peaker adhering to one 'voice' oflheGOunter_ point and u,ing the appropriate ,,""nt and str""".
For all iUl splendidly varied rhythm. and its multitudinous parodi. . of all the media of aural GOmmunication, it see"", difficult to justify the usual . tat<:menl that FitwgdllS Wah is primarily intended to work nn the auditory imagination.
,6
?
&mu Aspects of Finntgans Wa. <<
ProfCSlOr Harry I. . . vin has gone so rar as to make the astoniAhing claim that Fimul"'" Wak. 'lacb vuual imagery'. ' T h = are few places in;1 where the world ofsound is not evoked, but, . . , in UIysus, the great bulk ofthe imagery remaim =tially visuaL Thue never was a book more clutlere<l with "wble symbols;
me optical f",ld ;, constantly crammed with every variety of . tage_property, from the tiniC$1 trine to the Il\O! lt megalomaniac objects of desir<:. The cosmic sccne ill continually being reset, the charaetc. . . appear in a multitude of exotic costumes, barr. ,]- loads of knick_lmack> arc ",. . ,wo over the Hoc. . . , ,hip" sail into
view and depart as . warn, =. . and flowe. . . . pcout and wither in the wildem. . . " fireHi"" glitter, sky>ernpcrs rUe and fall, fires ra! \<, and the rainbow glows on the horizon, There h"" bttn rather too much easy talk alxlUI the sharpened car of the pur. blind man. Such talk Qlkn Kc"'" 1<1 coincide with the mpc:r_ ficial grasp of thc text which maktS it 1Ie<:(:IO. 3. ry for SO many critics to fall back 011 'suggtStiVtnCSS' aJ a j",tificatio'l. and explanation ofJ oyce', neologism" There U, ofoouroc, an aImo'" ce:uel= background oflilting rhythm and modulating inlona_ tUm in FinmlQIU Wah, but thi, sort of illbuilt mU$ical setting,
along the line, ofwhieh Mr. Cyril Cu,ack [{)()ulds hi. excellent recorded reading of 'Shem the Penm~n',' i, a very different thing from aural imaC"J. Apart from the few set-pieces wru,re
Joyce i, drawing bravura lOund-picture. , as in the <:TId of 'Anna L. ivia', the ileeping-:roo passage (~41-i6), or th~ Nightingale_ song (359-60)', alm<>:st any passage taken at random will demomtrate this empha,is 011 visual content. For ~xample' 'But vicereverullg thereout from th<>:se palm. of perfection to anger arbour, u<<:rack monatan, ocroucely out of scout of ocean, virid with woad, what tomame"to of complementary ragtS rocked the diviu" from hi! punchpoll to hiJ tummy'. ,henlre at he dUplaid all the oalhword science of ru. visible disgrace. He waJ fe<:ling $0 funny and floored [or the cue, all
37
? Some Aspttls of Finrugans Wake
0Vtt whichgirltashedon'l know whceehue. lfg<'llleyspsious
would but fain $mik him :I . mik he would be fOndling a pnix he l ie lOme nio: bit of Duff. lIut no gat(: <evula the UDCOfl- noulh. They're all oddJ apiMt him, II><: beutia. . Scratch. Slart. ' (~o7. 19)
IIr : THE BREAKD OWN OF THE SENTENCE ; SEU'. PARODV
'WordJ. Was it thcir ooloun? , . . 0. was ;1 tluot, bring as wukoflightashe. . . . ,allyofmind,hedrewIe. pl~ I'rom the re8cctloll of the glowin8 acru;blc ""'lrid through the pn. m ofaIa~many. :olouredandrichlystoriedthanfromtbe contemplation of an inner world of individual emotiow mir-
rored p! :rfcctly in a lucid IUppiCperiodic pr'O! le? ' (AP 190) Thil . . One of the mostjUltly celebrated e"preoaions ofartistic I(:nlillilily in J oyce'l WOrQ. At Ihe time of iu rompoilition J oyce . . . . , already . . . . dl '""p! :ricn<<d in the writing of the Iypo: ofprooc: dCKribcd. Hil concenl lOr l\lCid IIIppicneu and rhythmic CX(:(llence in the ohon . torica of D. . li. . . . is noticcabk from the
font polg<', The openinc pangnoph of 'The Silten' iI quile rem:orhble for the allCnlation of ohon and long . . . . -or<b and pbrueo designed to mirror the boy', I>csitatiolll, doubts, and immaturities. Even at thia stage of his career Joy<< iI writing prOM: which is meant to be clotely examined, not read through. ' 'There was no hope for him thi. time: it wao the third l! roke, Night aller night I had pasacd the hoUIC (it was vacalion time) and IllIdicd the lighted 'CJuare 0( window: and nighl aflcr night t had found it lighted in the lame _y, faintly and evenly. If
he "'lIS dead, I thou,ht, I would I t t the: rdlcctioll ofcandles on the darkened blind, for 1 knew d>a. t two candles mllil be x t I t th( head oftlu: COI"JIIC. He had often. . aid to me: "I am not ions: for this world", and I had thollght his words idle. Now I knew they were tru~. Every night II I gazed up at the window I said JOftly to myxlf the ,,-ord paralYlis. It h~d alwaY' lOunded
,F""an<x,ft>d""~onof'ThcSis'. . . . ,'"M. lobplatt. . ,n. . . " ~ ? . ,,""', I. oondon, ' 9 $ pp. 7" fr.
"
? Same Asptels tif Finnegl1JlS Wake
. trangdy in my ears, like the word gnomon in the Eudid and the word simony in the Gatcehi,rn. But now it sounded to me lik. the name of SOme malefi~nt and . inful being. It fined me wilh fear, and yet l longed to be nea""r to it and to look upon il'! deadly work. ' (D ~2)
'The sentence was the . tyIDtiC unit with whichjoy~ worked most ~aoily in 1m early yea",. Fint rate paragraph "",iting lil<e the example jwt quoted i. to he found here and th~re in D,. bli"", and A Portrait, but jore" was nevee a natural para. graph-writer like, say, hi! . :onlemporary Paul V"Ury, and hi. b. :st work in thi. form always has something of the Wur ! hJOrtt about it. For the fi"'l half of hi. '! care", it was to the sentence above all that Joyce devoted his best powers. Tn UlysstJ, the culmination of those yea"" the paragraph was virtually aban_ doned as a rhythmic unit, hut d au. ". . . trocturc w"" brought to a very high pitch ofachievement. ' j <>y<:e t<>ld frank Budgen of 1m hard w<)fk on two "'nten~. a fmm an episode of Ulysses" 'The words . . . arc: "Perfume <>f en'hra= all him au ailed. With hungered lIe>h <>hst:urc1y, he mutely craved t<> adore. " You Call """ for youmMin h<>w many diffe""nl ways they might
be "rrang<:d'.
PauagCl! lik. the following dq><:nd for their whole dl'ect on
luch e&refully controlled organi,"-tion of Ihe demen\. ! within theindividualsenten~,. Thesequenceof. enteneeswithinthe paragraph is of secondary importan~e, as Jnyce'. habit or compooition by interpolation . ugges":
'Chri,tfox in leather trews, hiding, a nmaway in blighted lroe? forb from hoe and cry. Knowing no vixen, walking londy in the chase. Women he won to him, tender people, a whore of Babylon, ladies ofjUlticeJ, hully tap'ICrs' wi"'l. ~-ox and geese. And in New Place " slar;k dishonoured body thaI once was r;omc1y, on~ as . weet, as fre<h "" einnamon, now It", ! eaw:s falllng, all, barc, fiighted of the narrow grave and unforgiven? . (U 18~)
, For d. . . . . iled . . . . . . . ,. . . " of "","'",. ,. ,. in U/. I=" . . . R. HenlU, Dit " . .
