H dttign undoubtedly ac<;ounU fnt the more
detailed
organisa.
Hart-Clive-1962-Structure-and-Motif-in-Finnegans-Wake
as the primoroiai one; then with romp.
.
.
.
.
.
.
draw a cir.
:!
e around this point; where the
beginning and the end unile ~ther, emanation and reabtorplion meet. The circle i. . . . lfis composed ofill1lurnerabk . mallet circles, like th. rings 0{ a braulet . . . ' (IN U~Mltd, vol. I, p. 30j. 8)
'And to find II Iocu. for an alp gel a howlth on he. myrings as a primu: 0 and for II occond a unboll your companea . . . With Olaf as centrum and Olaf's b mbtail for his spokesman circums. cript:l. cyclone. ' (28i"114)
Joyc. was alway> an arranger rather than II creator, for, like II mediaeval artist, he Jecms IUpenriliously to ha~ feared the presumption of human attempts at creation. 11Ie mediaeval notion that the artist may organise but cannot under any cireumsunus creale JOmething really new is, 0 { course, capabl. of univenal applical;on but it is more than utually rdevant to
Joyce. Mr. Atberton has ,hown how basic to Fi~"'8"'" Wa. t, i. Joyce's heretical view that the Creation itself Was tbe tro. original sin,' and, as I hi'''' suggatcd above, we are gnduaUy
becoming aware that every lituation, description, and tcrap of diaLogue in his . . -or"" was remembcttd, rather than imagina. tivtly 'a n ted'. Organising was certainly Joyce'. SlJ'Ong point. Ah. hough he would not venture into the nnknown, he was. supremely confident in the reshaping oftbe known; c. orreapon- denu,pat~,clootlycontrolledlimn-thatwetttheonly IDCUII by which Joyce knew how to give Jisnificance to the
, ,. . d":. . ",,, pp. JO-J.
? Cyd;c Form
divene UD(:On$ld~rM II'iJIQ which he . pent 10 much ofh;' lif~ . . . . pping up. And il i. J importanl to reali. . . thai the ~nd-prodllGt i. J always fwion ralher than fragm<nlatioo; Ulynn and FitofUl'l/. f Wd. are . tudi. . not in uniw:nal brcak? up but in uniw:nal
reconltitution.
Like KI many worn of late middle age, Fi""'l'''' W,A;, i,
given more dbow-rQOm in which to devdop than are the boo'" which pr<<eMd iI, bul while Ihis me. . . . th. t detail i. J ",ther IQI rigidly held in pha th. n ;\ is in UI;pus, 'paucrn' in the broadCSl _ ~ the "'\er book cw:n mor-c Ihan the earlier. 1. ilCraIly 00zc1Ll of formal patterru . re . upcrimpc>>ed
upon one anoo:her and d oocly interwoven in th~ t<:><lUre; Klme of 1heJc: arc immediately obviouJ, like the vast triptych which Iprawl! acrna the entire book and is centerM on 1. 1, n . S, and IV, wblle olheB, like the oil. crt/t;" around which 'Shem the Penman' is buill, "'quire d06C: ICruliny before Iheir . haf'C' begin to Itand 0\11 againsl the b. . . :kground. By far the moot imvorlant of aU the pallCl'nS in Fi_pM Wd. are tb06C: underlying the
m)'lticalIY'lcmsofcyclicgrowth,decay,and~th,which have always had web a Itrong hold on man'. imagination and
which JoY'='" m. . used to ktq) the material of b. iJ book in an a1moJ1. oo<ulani ,late of dynamic urgcncy-wl>ecls . pinning ever faster within wheels as the whale major cycle lurn. , abo'" no panicubr centre, from the fint page to the lan and back again to Ihe ~inning.
There is comiderable variation in the extent 10 which each individual chapter ofFu. . . . pM W. u is org. . ru-l aemming to an internal cyclic ocl>eme, and in general il is lrue lO . . y Ihal thotc ch. pl~ which were wrillen or revised lasl teod to. how th~ grcatal ronct:rn . . -jIb cyclic dcvdopmeot. Such ? late chapter may be ,ubdi";ded. agaill and again until compl~1C cycl. . . are 10 be found in ,borl oenteneco or """'0 in lingle . . "Of"tb.
I t ;'inter",ting 10 nOle how eveo the litle, with whichJoyCl: ,aid he . . . . . making 'experimenta',LreRecta the cyclic . tructurc ofIhe book: Ihr"" syllables in a group are followed. by a fourth, Ihe 'Wake', jwt as 1M thrtt long Boob forming the cycle proper
, t. . . ,. , po 2~.
? C)dic Form
(If Fin. . . . glUtS Wakt aU followed by the coda of Book IV , the Book of Waking. Similarly, th~ title may be rud 'Fin "'gaIU HI"*", th. . . . ",. . . ,,,ling p<:J$Sibilitks nf cydic endl. . . n. . . . Joyce defiantly explains his melltod at 115. 06: 'why, pray, 'ign any- thing 11$ long as e. . . ,ry word, letter, ptnstmh:, pape. . . pa"" ;. a perfectsignarureofil>own? ';inhisoource. . . tudyMr, Atherton ha. some inR,. . ,. ting things to . . . . y about lhe5e ,ignatu,. . ,. ,' Although J oyce decided quite early that Finlltgan, W ah wa, to be cyclic a. a whole--the 1,. . . 1 ",nten"" running into the fi. . . t - it w1l$ not until SOme ~ars aftcr he had begun writing iI, and aft"r much ofit had been c~tal1ised into sonu:lhing approach_ ing the publishod form, thaI the book's pracnl ~tructurc w". decided On. In '926 J oy"" W1l$ . till . peculating about what
would go into it' ,
'I will do a few mGrc pi"". . , perhap< -1 picture-h;'toryfrom the
family album and parI> of0 di. cus:oing . . A PairifulCas. and the m-L:l, I>oUKhold etc. '
and 11$ late as '9~7 Book I was to coru;'t nf six rather than the pre,ent eight chapten. ? This initial un~",rtainty in rc:! pect of
the ov<;TIi.
H dttign undoubtedly ac<;ounU fnt the more detailed organisa. tion of the material in the ial<:r ~hapte", the moat speclacular example ofwhich i. 'Shaun a', (TTL I)'
It;. by nOW thoroughly well known that in Fi_gaM Wakt Joyce made use of the cydic theori. . of liliOOry ,et out in Giambatti. ta Vico', fA &im;:<l NIIDM. ' Joyce made frequent mention of Vico both in letters and in conve=tion, and had
Samuel Beckett write an article for Our Exa",,;""Mn largely about the relevance of Viconian Iheory to the '! ruttu", and philosophy of 'Work in Progr. . . '. ? Since the publication of 6ed:ett'. article almoat every commrntator on F<-glUtS Wah hal, 11$" matter of COU"", rn. clWed the Viconian theories and
, AIM""",pp. 3~, ~, <1<-
? u,. . . . ,p. ? ~o.
? A C<Kl><CIluvedraft ofc1upt. ,. . . >, 3, . . . . ~. 7, ODd B is in ? _<booI: in 1M
British M. . . . ",. . . . , Add. MS 4U7 ' B.
? F. ,. . . dctaiJro anaIyois, SH b<low, pp. ~7~"
? Translatod into Engl;. h by T. C. lk,! :in and M. H. F"udl, n. N. . .
&into 4G. . . . I,~ Vi<<. Ithaca, '! Wl.
? S. Becken . . 01. , 0,. , ? ",,_ . PaN, '929, pp. 3. . . . . . .
"
? CyCUt FMm
shown how th~y apply in g<'n~ral to th~ book. Convenient summaries Q/" this information ar. to ~ found in the SkdtP>~ K9, in A. M. Klein', 'A Shout in the Street',' in W. Y. Tindall',
Jamt. Joyce' and, of coune, in Bed ,m's IOmewhat ,kittith article. The briefest. ,f summariel ,nust . uffice her. : Vioo oaw the hutory of the G<:ntiles as p roceeding painfully onward, and to 10m" ""tent upw~rd, in broad spirau of ! Oeial and cultural development. Each complete hutorical cycle consisted of an uninterrupted . ucct$<. ion of thrtt gr. at 'Ages'- the Divine, the Heroic, and the H uman- followed by a very brief fourth Age which brought that cycle to an end and ushered in the next. The cyclic progress ~gan with a thunderclap which frightened primitive, inarticulate man out of hu be<tial fQnlicati<>n under the optn . kies, cawed him to conceive of the exiltence of a wrathful, watehful God, to ulter hio fintl. mfied wonh-'Pa!
Pa! '- and to retire modestly 10 Ihe ohelttl of caves to initiate t! tc history of the family and of wciety. The main character_ i. tics of the thrcc cultural Ag<" which . u~ uently developed are sct out in Tahle IV. following the Ihird Age, toward the end of which man', governing power vaniilied in a g<'neral di. . . ,lution and nC(Khaos, all fell once again into the hamh of Divine pruvidence. During tM brief interregnum, usually calk d a Tit;fIT",' the ,! dtd'" of the Heavenly game wen: set up af'rt:,h so that God might hl""t them with another terrifying thunderbolt to ltart a new cycle rolling. M an y major and
minor developmental cycles in Finntl"ru W. de follow the Vioonian scheme quite closely, bul, apart from tIl( exampk analysed ~l()w (111. 1) and my <fucnMion of tIl( "''luencc of drealll_levels (Chapter Three), I shall nOt punue the Viconian . tructure in any detai! .
Vico'. Stim. . . . . Nu~"" wal in fact only one of ICver-. . 1""orCt, for the cyclic philoaophy in FinllllgflM W<l1:t. Very little attention ""-' ~ en given to the othen bc<:a. IJM: Joyc~, with hil notorious habit of uttering half_truth. about hi, bOOQ, menti<>ned only
? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?
beginning and the end unile ~ther, emanation and reabtorplion meet. The circle i. . . . lfis composed ofill1lurnerabk . mallet circles, like th. rings 0{ a braulet . . . ' (IN U~Mltd, vol. I, p. 30j. 8)
'And to find II Iocu. for an alp gel a howlth on he. myrings as a primu: 0 and for II occond a unboll your companea . . . With Olaf as centrum and Olaf's b mbtail for his spokesman circums. cript:l. cyclone. ' (28i"114)
Joyc. was alway> an arranger rather than II creator, for, like II mediaeval artist, he Jecms IUpenriliously to ha~ feared the presumption of human attempts at creation. 11Ie mediaeval notion that the artist may organise but cannot under any cireumsunus creale JOmething really new is, 0 { course, capabl. of univenal applical;on but it is more than utually rdevant to
Joyce. Mr. Atberton has ,hown how basic to Fi~"'8"'" Wa. t, i. Joyce's heretical view that the Creation itself Was tbe tro. original sin,' and, as I hi'''' suggatcd above, we are gnduaUy
becoming aware that every lituation, description, and tcrap of diaLogue in his . . -or"" was remembcttd, rather than imagina. tivtly 'a n ted'. Organising was certainly Joyce'. SlJ'Ong point. Ah. hough he would not venture into the nnknown, he was. supremely confident in the reshaping oftbe known; c. orreapon- denu,pat~,clootlycontrolledlimn-thatwetttheonly IDCUII by which Joyce knew how to give Jisnificance to the
, ,. . d":. . ",,, pp. JO-J.
? Cyd;c Form
divene UD(:On$ld~rM II'iJIQ which he . pent 10 much ofh;' lif~ . . . . pping up. And il i. J importanl to reali. . . thai the ~nd-prodllGt i. J always fwion ralher than fragm<nlatioo; Ulynn and FitofUl'l/. f Wd. are . tudi. . not in uniw:nal brcak? up but in uniw:nal
reconltitution.
Like KI many worn of late middle age, Fi""'l'''' W,A;, i,
given more dbow-rQOm in which to devdop than are the boo'" which pr<<eMd iI, bul while Ihis me. . . . th. t detail i. J ",ther IQI rigidly held in pha th. n ;\ is in UI;pus, 'paucrn' in the broadCSl _ ~ the "'\er book cw:n mor-c Ihan the earlier. 1. ilCraIly 00zc1Ll of formal patterru . re . upcrimpc>>ed
upon one anoo:her and d oocly interwoven in th~ t<:><lUre; Klme of 1heJc: arc immediately obviouJ, like the vast triptych which Iprawl! acrna the entire book and is centerM on 1. 1, n . S, and IV, wblle olheB, like the oil. crt/t;" around which 'Shem the Penman' is buill, "'quire d06C: ICruliny before Iheir . haf'C' begin to Itand 0\11 againsl the b. . . :kground. By far the moot imvorlant of aU the pallCl'nS in Fi_pM Wd. are tb06C: underlying the
m)'lticalIY'lcmsofcyclicgrowth,decay,and~th,which have always had web a Itrong hold on man'. imagination and
which JoY'='" m. . used to ktq) the material of b. iJ book in an a1moJ1. oo<ulani ,late of dynamic urgcncy-wl>ecls . pinning ever faster within wheels as the whale major cycle lurn. , abo'" no panicubr centre, from the fint page to the lan and back again to Ihe ~inning.
There is comiderable variation in the extent 10 which each individual chapter ofFu. . . . pM W. u is org. . ru-l aemming to an internal cyclic ocl>eme, and in general il is lrue lO . . y Ihal thotc ch. pl~ which were wrillen or revised lasl teod to. how th~ grcatal ronct:rn . . -jIb cyclic dcvdopmeot. Such ? late chapter may be ,ubdi";ded. agaill and again until compl~1C cycl. . . are 10 be found in ,borl oenteneco or """'0 in lingle . . "Of"tb.
I t ;'inter",ting 10 nOle how eveo the litle, with whichJoyCl: ,aid he . . . . . making 'experimenta',LreRecta the cyclic . tructurc ofIhe book: Ihr"" syllables in a group are followed. by a fourth, Ihe 'Wake', jwt as 1M thrtt long Boob forming the cycle proper
, t. . . ,. , po 2~.
? C)dic Form
(If Fin. . . . glUtS Wakt aU followed by the coda of Book IV , the Book of Waking. Similarly, th~ title may be rud 'Fin "'gaIU HI"*", th. . . . ",. . . ,,,ling p<:J$Sibilitks nf cydic endl. . . n. . . . Joyce defiantly explains his melltod at 115. 06: 'why, pray, 'ign any- thing 11$ long as e. . . ,ry word, letter, ptnstmh:, pape. . . pa"" ;. a perfectsignarureofil>own? ';inhisoource. . . tudyMr, Atherton ha. some inR,. . ,. ting things to . . . . y about lhe5e ,ignatu,. . ,. ,' Although J oyce decided quite early that Finlltgan, W ah wa, to be cyclic a. a whole--the 1,. . . 1 ",nten"" running into the fi. . . t - it w1l$ not until SOme ~ars aftcr he had begun writing iI, and aft"r much ofit had been c~tal1ised into sonu:lhing approach_ ing the publishod form, thaI the book's pracnl ~tructurc w". decided On. In '926 J oy"" W1l$ . till . peculating about what
would go into it' ,
'I will do a few mGrc pi"". . , perhap< -1 picture-h;'toryfrom the
family album and parI> of0 di. cus:oing . . A PairifulCas. and the m-L:l, I>oUKhold etc. '
and 11$ late as '9~7 Book I was to coru;'t nf six rather than the pre,ent eight chapten. ? This initial un~",rtainty in rc:! pect of
the ov<;TIi.
H dttign undoubtedly ac<;ounU fnt the more detailed organisa. tion of the material in the ial<:r ~hapte", the moat speclacular example ofwhich i. 'Shaun a', (TTL I)'
It;. by nOW thoroughly well known that in Fi_gaM Wakt Joyce made use of the cydic theori. . of liliOOry ,et out in Giambatti. ta Vico', fA &im;:<l NIIDM. ' Joyce made frequent mention of Vico both in letters and in conve=tion, and had
Samuel Beckett write an article for Our Exa",,;""Mn largely about the relevance of Viconian Iheory to the '! ruttu", and philosophy of 'Work in Progr. . . '. ? Since the publication of 6ed:ett'. article almoat every commrntator on F<-glUtS Wah hal, 11$" matter of COU"", rn. clWed the Viconian theories and
, AIM""",pp. 3~, ~, <1<-
? u,. . . . ,p. ? ~o.
? A C<Kl><CIluvedraft ofc1upt. ,. . . >, 3, . . . . ~. 7, ODd B is in ? _<booI: in 1M
British M. . . . ",. . . . , Add. MS 4U7 ' B.
? F. ,. . . dctaiJro anaIyois, SH b<low, pp. ~7~"
? Translatod into Engl;. h by T. C. lk,! :in and M. H. F"udl, n. N. . .
&into 4G. . . . I,~ Vi<<. Ithaca, '! Wl.
? S. Becken . . 01. , 0,. , ? ",,_ . PaN, '929, pp. 3. . . . . . .
"
? CyCUt FMm
shown how th~y apply in g<'n~ral to th~ book. Convenient summaries Q/" this information ar. to ~ found in the SkdtP>~ K9, in A. M. Klein', 'A Shout in the Street',' in W. Y. Tindall',
Jamt. Joyce' and, of coune, in Bed ,m's IOmewhat ,kittith article. The briefest. ,f summariel ,nust . uffice her. : Vioo oaw the hutory of the G<:ntiles as p roceeding painfully onward, and to 10m" ""tent upw~rd, in broad spirau of ! Oeial and cultural development. Each complete hutorical cycle consisted of an uninterrupted . ucct$<. ion of thrtt gr. at 'Ages'- the Divine, the Heroic, and the H uman- followed by a very brief fourth Age which brought that cycle to an end and ushered in the next. The cyclic progress ~gan with a thunderclap which frightened primitive, inarticulate man out of hu be<tial fQnlicati<>n under the optn . kies, cawed him to conceive of the exiltence of a wrathful, watehful God, to ulter hio fintl. mfied wonh-'Pa!
Pa! '- and to retire modestly 10 Ihe ohelttl of caves to initiate t! tc history of the family and of wciety. The main character_ i. tics of the thrcc cultural Ag<" which . u~ uently developed are sct out in Tahle IV. following the Ihird Age, toward the end of which man', governing power vaniilied in a g<'neral di. . . ,lution and nC(Khaos, all fell once again into the hamh of Divine pruvidence. During tM brief interregnum, usually calk d a Tit;fIT",' the ,! dtd'" of the Heavenly game wen: set up af'rt:,h so that God might hl""t them with another terrifying thunderbolt to ltart a new cycle rolling. M an y major and
minor developmental cycles in Finntl"ru W. de follow the Vioonian scheme quite closely, bul, apart from tIl( exampk analysed ~l()w (111. 1) and my <fucnMion of tIl( "''luencc of drealll_levels (Chapter Three), I shall nOt punue the Viconian . tructure in any detai! .
Vico'. Stim. . . . . Nu~"" wal in fact only one of ICver-. . 1""orCt, for the cyclic philoaophy in FinllllgflM W<l1:t. Very little attention ""-' ~ en given to the othen bc<:a. IJM: Joyc~, with hil notorious habit of uttering half_truth. about hi, bOOQ, menti<>ned only
? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?
