' They both do this
partially
by forcing us to ask 'why soul?
Brett Bourbon - 1996 - Constructing a Replacement for the Soul
Every correct symbolism must be translatable into every other according to such rules.
It is this which all have in common.
(TLP3.
343).
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? Inthe Tractatus,Wittgensteinseesthisasanecessitytounderstandtheworldasmylimit. But the collapse between the solipsistic 'I' and the world as represented is resisted by the distinction between saying and showing; the limit between the tautological domain described by what can be known, and therefore said, and the metaphysical 'I', which can only be shown, cannot be reconfigured within another meta-language game. This absolute limit becomes a ground in exactly the way denied in Investigations, where every transcendent claim is always already a language game. The power ofWittgenstein's vision in the Tractatus, however, uncovers the structure of this 'myness' that determines what is the world. It is being a limit that defines 'myness'. Wittgenstein argues against that "no partofourexperienceisalsoapriori. Everythingweseecouldalsobeotherwise. Everythingwecandescribecouldalsobeotherwise"(TLP5. 634). Injettisoningthe Kantian a priori he retains the limiting T as an End, but not o f itself, rather o f the world. Perceived from this point, from itself as an End the configuration o f what is is also an End: the limiting 'I' assures possession as my world, gives me the world as my experience, but it remains "independent o f my will" (TLP6. 373). Thus the world as mine is not a solipsistic claim, but a formal limit (not transcendental because it is not understood as
enabling our knowledge; such a claim would presume to picture the T . The T as a formal limit means that the world shows the T as the world, and thus the limit is not bound by anyone's will. ).
In Investigations sense is not determined through tautologies, and thus Frege's replacement principle that determines sense as identity cannot alone describe meaning:
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? We speak o f understanding a sentence in the sense in which it can be replaced by another which says the same; but also in the sense in which it cannot be replaced by any other. (Any more than one musical theme can be replaced another. )
In the one case the thought in the sentence is something common to different sentences; in the other, something that is expressed only by these words in these positions. (Understanding a poem. ) (PI? 531)
Uniqueness is built out o f exclusion (x is not a, b, c , . . . n, constituting the totality o f the world,oratleastsometotalitywithinwhichxfunctionsorexists). Thiskindofexclusion requires the establishment of criteria by which the limit between x and those elements in opposition to which it is constituted can be determined and maintained (grammar as essence).
The Wake pushes both o f these criterion for understanding or meaning or identity (replacability and uniqueness) into each other: any word seems random and thus immensely replaceable and any word seems to carry a unique significance built from the puns which compose it (as if embodying or enacting a secret meaning or reference). Uniqueness picks out the essence o f what something is, the configuration o f tones or words that describes a musical theme or a poem as a limit to the rest o f the possible tones humans can hear or the possible words that constitute any particular language (or all
languages). Replacabilitydescribesthefundamentallevelsofbeingsomething,ofbeinga wordatall,thatsomethingiswithinanorganizedsystemofcategoricalunities. IfIcall
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? this the level ofexistentia, I mean an existentia of forms that structure language as a set of possibilities that make words visible as words.
You can find yourselfalong this tangent intersecting realism and idealism not only by waking up from reading in Hume's A Treatise o fHuman Nature "that an object may exist, andyet be no where" (I. IV. V), and in waking up wondering where you have been, as if you were unsure whether our limits of knowing constitute a ground for thinking or a despair. I initially read Wakean grammar and the later Wittgensteinian grammatical investigations as linguistic redactions ofAquinas' linking of intentionality to existence through descriptions ofthe limits ofknowing, ofself-observation, ofbeing (explaining the use of sleep as the means and world through which we develop a theology describing death) (in the section ofthe Summa Theologica called the "Names ofGod"). Discovering the limit ofthe ontological claims ofourthinking (or being), our intentional failures, entailed a theological expansion of our self-reflection as, what we confusedly call, the ground for this thinking. These intentional limits describe the possibility of self-reflection
in such a way as to re-enact a theology not in conflict with materialism. This might be like finding God in (a) sentence(s), and not in the word. Do we imagine nothing o f such import is at stake in Frege's appeal to meaning as a function of a statement and not a word? Does a theology built on such a semantic reorientation function in a domain not limited by substance in a way a theology ofthe word cannot, susceptible as it is to the claimofthingsonwordsasnamesandtruthasreferentiality? Wittgensteinastheinheritor ofthisFregeansemanticsbuildssuchatheology. Thelogicofnonsenseconstituting Finnegans Wake proceeds along similar semantic assumptions, and thus becomes another
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? version ofthis theology. Why 'theology'? Theology is the language ofthe meaning of those limits which we recognize as unshakable, as ontological limits determining my possibilities as my possibilities.
WhatIamlookingforisnotatheoryoforaboutnonsense. Iaminvestigatingthe ways in which the relation between sense and nonsense can make us imagine that we are, as Ashbery says, "some point o f concentration around which a person can collect itself' (Flow Chart, 11):
And you know,
he said, sure, that's the way to hell and its conundrums if that's the way
you want to go, and they all said we know, we are going that way
cautiously approved o f in the introduction, only it seems so full o f asperities now. And he said that's the way it was, it was a tangle and will never be anything
more than a diagram pointing you in a senseless direction toward yourself.
(Flow Chart, 109)
This way to hell and its conundrums, regardless of ones' best intentions or of what one might read "in the introduction" as the promises of "Love that lasts a minute like a filter/ on a faucet", as itself a "diagram pointing to you in a senseless direction toward yourself, builds its sense partly in a kind of self-reflection that offers truth through what under one reading might be a democratic tautology of acting: we are all acting as and through each other:asrepresentativesofthelimitsofnonsensetowardwhichwemove. One'sbestlaid plans like those best intentions fail "and the listing tundra is revealed" (108) as the limit of
the inanimate to all forms of meaning which we inhabit. A kind of nonsense attends the
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? loss ofjustice, but the history ofthis "senseless direction" organizes the world not toward the source o f this nonsense, as it does for Job where all senselessness leads toward God, but toward the consequence ofthis nonsense, that is, "toward yourself. " The second person force o f this "yourself, having already been abstracted as a kind o f limit to the diagram o f nonsense, a limit to language itself) gets taken up as an hypothetical, including boththepoetandthereader. Ifonewritesthisnonsensethediagramandwhatitpointsto invert the intentionality of language away from the world, the diagram ends up not being able to be read as a diagram ofthe world, toward oneself. Self-reflexive intentionality is a particular kind o f self-reflection: in that it writes the failure o f events to conform to a moral logic into a kind o f verbal nonsense. I will call this embodied self-reflection as opposed to self-reference. Thus it is not like the following:
[1] "This 'word' is a word. "
[2] "I am that I am. "
Does Wittgenstein mean the following to describe forms of self-reflection? :
Asking what the sense is. Compare:
"This sentence makes sense. "--"What sense? "
"This set o f words is a sentence. "--"What sentence? " (502)
Compare what? Compare each statement and its question, or compare statement and question with statement and question? "This sentence" animates the sentence; can sentences use demonstratives? "This sentence makes sense" interprets itself. An interpretation ofwhat? "This set ofwords. . . " looks like a description--but ifit is not a description o f a sentence, but rather an example, is it a description o f itself? I f asked what
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? is the sense o f a sentence, and I answer "this set o f words is a sentence" what have I shown? Only questions which betray an ignorance o f language would generate a question where this might be the answer. "How many words make a sentence? " "Well, this set of words is a sentence. "
An intentionality that recovers an T , as opposed to the world, refigures the disjunction between self and world worrying the skeptic with a comma between an initial realm o f intention that leads to personal action ( 'building up a graduated series o f studies') and a realm o f possibility implied by this intentionality but which loses its referent ('I can do that'; but who said this? or can say and do that? '):
My first concern (in any case) was to build up
a graduated series of studies, leading to the alchemical perfection of one who says, I can do that. The fabrication o f it lasted nearly a lifetime,
leaving me, at the end, unable to perform the most banal act such as tying my
shoelaces
in a double knot, and vulnerable to the japes o f skeptics
who would have preferred to die a thousand deaths rather than undertake the course o f study I had so painstakingly elaborated. (150-51)
Why-questions ('why do I suffer? ' for example) can become confused with questions about not only "who" speaks or is referred to or exists ('I suffer because o f who I am? ' or 'I didn't do anything to deserve this! ' who did then? Who is responsible for my actions? ), but how this "who" either crystallizes out of the world, out of a context, or conversely how any 'I' can know or believe speak beyond the limits of the who which he or she find
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? themselves to be. Has Ashbery's (or Joyce's or Wittgenstein's) writing constructed a golem of such animate perfection that it can, as Flaubert claimed ofMadame Bovary, be the artist, in this case a converted, transformed selfthat speaks ofits own creation as if Ashbery has yet to create it? But underlying the metaphysics of this creation is a comic undercurrent that allows any nonsense to be read, and marked as nonsense, by the exclamation of some discontented reader "That's not art, or there's nothing to that; I can do that! "
Nonsense emerges under the pressure some missing 'I', like the missing intentional target in Finnegans Wake, exerts on the categorical structures o f langauge. This produces what Ashbery calls "slippery harmonies":
slipperyharmoniesabound. Infact,Ican'tbesureI'mnotaddressingmyself to one or within one right now, but that's no matter. I've got to tell this
in whatever time remains to me. (126)
For the moment the confusion in the poem lies not only in the obscurity o f context, to be "in" or addressing a "slippery harmon[y]" or in the obscurity of what this "this" is that he musttell. The"fact"ofthisobscurityisitselfslippery,andifitis"nomatter"tohis telling, it is slippery also because such a fact can be without matter. If facts, as expressions o f truth, do not matter, what does? But what fact is captured by pointing to "slippery harmonies abound' as a fact? Is this a fact like H(2)0 is the chemical formula for water? Why would someone write within or to such slippery harmonies through such a slipperypoeticsifneitherthepossibilitynorimpossibilityofbeingunderstoodmatters. He pushes himselftoward, into, and through the senseless under the pressure ofthe shrinking
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? time available to him. How is the certainty of the approaching limit of death like or unlike the uncertainty bound in questions about Others or the world? We can say at least that this isakindofpoeticshighlightingtheexpressiveaspectsoflanguage. Suchexpressivenessis nonsense. This kind of nonsense replaces our skeptical temptations to lose the world and others with its own "no matter" that offers a strengthened 'I' that can say "I can do that". This kind of expressiveness borrows on a performative force that allows it to act without reference to its context or addressee, but it is not an action of doing, language as some pure actuality, but rather a kind of possibility-actualizing promise or recognition marked by saying "I can do that. " In this it is an attempt to push language into an extreme (it is meant to fail, so it is not a "pure") subjunctive:
. . . 1sat naked and disconsolate at a comer o f a crevice, hat in hand, fishing,
for who can tell what God intends for us next? And if a little girl can call and run, her dog twirl, why not be able to slide a leg over the board barrier that disconnects us from all that is really happening, that hive
o f activity as you think o f it? (121)
A catechism of questions: the mythic problem of The Waste Land ("I sat. . . fishing, for who can tell what God intends for us next? " answered with another possibility, an allegory not unlike the riddles of Alice in Wonderland, where this sliding a leg into another realm works through the ambiguity of our language; saying I can do that--where 'know' reduces back to can, the beyond ofthe thing in itselfis for us ("as you think ofit") a "hive ofactivity"andthusonlyaccessiblebycomparableactivity. "[Njakedanddisconsolate"
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? this T fishes, ifwe believe the punctuation, because ("for") we are the victims ofGod's intentions. God's absence leaves only our ignorance pushing against what from any human end (telos), where chance can seem fate, our lives have suffered and become under the pressureofexternalintention. Howmightthisdescribelanguage,oratleastAshbery's and Joyce's language? What counts as an end when reading 'nonsense' is moments of sense, where understanding organizes at least in a local way a bit oftext. Thus, in commenting on his own kind o f nonsense, Ashbery writes that he is a poet "whose
personal-pronoun lapses may indeed have contributed to augmenting the/ hardship/ silently resented among the working classes? "13
PronounconfusioninFinnegans Wakesketchesthesymbolicstructureof'our' through which it invokes the limit o f being human by being a form any human can claim andoverwhichwecanfight. Thisispartofthestructureofrightsandjustification:14 "The soul o f everyelsesbody rolled into its olesoleself' (FW329. 18-19). 15 This means that Finnegans WakeenactsaplayofmasksakintothatwhichKierkegaardusedtoexpose their emptiness, without, however, an underlying God to mark a limit to these masks: "One single word o f mine uttered personally in my own name would be an instance o f presumptuous self-forgetfulness, and dialectically viewed would ensure with one word the
ft guiltofannihilatingthepseudonyms"(Po/<</ofView,40). InFinnegans Wakethis
annihilation is resisted by reading oneselfinto the interrogative fragments that sketch the limits o f the forms o f life through which we inhabit language.
Sense organizes the previous words into an order that transforms what seemed randomintodeterminedandthereforeintentionallanguage. Suchclaritymightaccompany
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? the emergence or imposition of an interpretative frame, an attachment of language to a secure pronoun, the application ofan allegory. Such moments of sense are temporary, and the pressure o f nonsense within language combines the demand for clarity, the assumption o f intentionality with the pressure o f dissolution or dissipation that tempts us atthosepointsofinterpretativeambiguity. Thebreakdownofthemeaningofasentence,
if it is not at the service o f communication but is framed as an aesthetic object, as an object or a language demanding a commitment to its significance, to its exemplary status, modulates into a demand to justify what kind of sense we make in relation to this nonsense (to whatever nonsense claims 'us'). This dissertation is an example of such an attempt.
' This would require some defense, but nothing critical hangs on this here. I think Aristotle's analysis of the soul is as coherent as Aquinas' (as one would expect),,but the pressure of Augustine's conception of the will, o f the conceptualization o f identity and substance in the Trinity, and o f the fact o f a linguisitc limit (in the Bible) transforms the conception of the soul in ways that I think are essential. A lot does hang on this, but I am not cosntructing as soul within the Christian tradition, but am instead trying to recapture a functional theological stance within the boundaries marked by something like Aquinas' soul and a causal picture of the mind as these boundaries (understood conceptually, and thus not tied to their particular history nor their detailed form in Aquinas or in particular scientific pictures) figure the picture of our invovlment in language in Finnegans Wake and Philosophical Investigations. In this I am responding to the claim these texts have on figuring the boundaries against which modem science works. 2 Cited in Kretzmann.
3This list is Gearld Edleman's (Neural Darwinism).
4 In Readings in Philosophy and Cognitive Science, ed. Alvin I. Goldman.
5 M. H. Abrams famously organizes romantacism around the shift from mechanical and passive metaphors for the mind (minor) to reciprocal, interactive and/ or generative metaphors for the mind (lamp). The
MirrorandtheLamp: RomanticTheoryandTheCriticalTradition. SeeespeciallychapterHI, "Romantic Analogues o f Art and Mind. "
6 P. M. S. Hacker fails to distinguish between objects and notation in his comparison o f section 372 with the picture of necessity in the Tractatus in Wittgenstein: Meaning andMind (Vol. 3), 439.
7The grinding of this machinery failing to latch onto anything that would count as an about x, of y, at z attracts our gaze from the moon to the finger pointing to it, or even further to a picture o f a scene with someone pointing to a moon replaced by someone (else) pointing at someone (else), or a tree talking to a rock: butthenthisseriesofimagesspeedingbylikeinaflip-bookiswhatisrepresented. Themachinery of intentionality works or at least is isomorphic with the structure of our experience of time (our existential involvement with, our representation o f our enactment o f change). 8Adescriptionofourrelationtotheworldcannotusetheconceptofrelation. Thisdifficultyleadsto claims that out relation to the world is indescribable. Brentano counters this by arguing that our reference to objects are immanent within out intentional stances.
9 The two best attempts to defend all forms of intentionality as derived from our interpretations see Dennnett (especially his essays in The Intentional Stance) and Milkan.
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? 10 The necessity o f asking 'When does it mean? ', and the impossibility o f answering this question in the Wake unpicks the allegoty and, therefore, forces the possibility away from any particular word,. The
sense of any particular word implies and invokes a vague and shifting set of relations with other words, sentences, characters, interpretations, allegories, understandings, etc.
11 Robert M. Adams, "While Mr. Whoever-He-Is Sleeps" New York Times Book Review (18 Jan. 1987) 14. Denis Donaghue, "Reading in the Dark" Partisan Review 54,3 (1987) 480.
12Finnegans WakeandPhilosophicalInvestitationsdescribethelimitsofmind. Inmarkingtheselimits, from the inside as it were, they do not provide a theory of the soul or the mind, but enact a demand for
justification. Inbothcasestheforceoflanguage,thedialogictensionbetweenthetextandthereader, undermines the claim questions like 'what is a soul? ' and 'what is a mind?
' They both do this partially by forcing us to ask 'why soul? ', 'why mind? ', generating a kind o f self-reflection that does not pursue self- representation (of the kind answerion 'what is X? '); both texts figure being-toward-onself [and itself] betweenoratthelimitofmetaphorsoranalogies. Thisbetweennessmarksthelimitsbetweenidentity and ? , for Joyce, and between language games, for Wittgenstein as the form of fulfillment (entelechy) of being a soul and mind.
I3This is the same confusion that the King o f Hearts exploits in his persecution and prosecution o f the Knave when he reads and interprets (a picture of literary analysis) some found verse (The Annotated
Alice, 158)
141will discuss this paradox working in rights andjustification at the end of this section.
15 ". . . and, sure, we ought really to rest thankful that at this deletful hour o f dungflies dawning we have even a written on with dried ink scrap of paper at all to show for ourselves, tare it or leaf it, (and we are luftedtoourselvesasthesoulfisherwhenheledthecatoutofthebout). . . hopingagainsthopeallthe while that, by the light o f philosophy (and may she neer folsage us! ) things will begin to clear up a bit one
wayoranotherwithinthenextquarrelofanhour. . . , astheyoughttocategorically,as,strictlybetween ourselves, there is a limit to all things so this will never do. "
(FW118. 31-119. 09)
But all is her inboume. Intend. From gramma's grammar she has it that if there is a third person, mascarine, phelinine or nuder, being spoken abad it moods prosodes from a person speking to her second which is the direct object that has been spoken to, with and at. (268. 16-22)
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? 6
The Wakean Grammar o f 'Between'
I am tempted to call the soul inFinnegans Wake the state ofbeing "between" or "amidst" in "the circumconversioning" (FW512. 16), in a revolution (L. circumconversio, a revolving) o f conversation, conversion and confession, o f "all her myriads o f drifting minds in one" (FW159. 07). But "[t]o the vast go the game! " (FW512. 15). The betweeness continually described and evoked in the "chaosmos . . . moving and changing every part of the time" (FW118. 21-23), however, enacts the distance between the mind and the soul as itselfthe form ofbeing anything (not just being a soul or a body or an idea), placed under the pressure of both a surrounding nothingness and the surrounding claim of matter.
The catalog o f genres amalgamated and informing Finnegans Wake is partially a function o f the books used and rewritten into it. Many o f these were already odd amalgamationsofgenres,furthercomplicatedbyJoyce'suseofthem: theEgyptianBook o f the Dead, as a dream book or a psychological theology; Vico's New Science, already a sociopsycholinguistic historical philosophy, Swift's Tale o f a Tub, Carlyle's Sartor
Resartus, and so on. The Wake is built out of distorted versions or fragments from these texts (as it is out of language itself). And further, the fragments ofwords that Joyce condenses into puns palimpsest words with allegories radiating in interpretations that reduce the text to a set of words (as if moments within the order of the interpretation). Any word offers itself as a target for interpretation and thus confession.
Notes for this chapter are on page 212
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? "The abnihilization ofthe etym" describes the annihilation ofetym (its history into a new founding) as the annihilation o f the atom (the passage is full o f references to physics) which proceeds by an invocation of Vico's picture ofthe beginning of language in fear and imitation ofthunder ("the grisning ofthe grosning [It. groza, thunder storm] of the grinder o f the grander [G. Grunder, Founder] o f the first lord Hurtreford [Lord Rutherford split the atom in 1919]. . . ''[FW353. 22-23]). These beginning are ends. They describe the common grammatical boundaries between humans ("eytm") and matter (atom) and God ("grander"), the "fragoroboasity amidwhiches general uttermosts confussion"(FW353. 25). Amidtheutmostconfusion,whichisanynumberofuttermosts (extreme limits) marking this confusion. Such limits, however, describe a "confiission" (with a fusion) that in coming together and flying a part is an image (or an enactment) o f a confession. Such a reading brings out the significance of "fragoroboassity", a complicated pun that can be read as the voice of God: fragor (loud harsh noise) + It. rombazzo
(uproar) + oro (L. I speak) + bombasity +frage (G. question). But such noise while it can demand a response like the questioning o f human beings by God, can itself be turned into ourquestioningofanysuchdivinity"untuoning"theworld. Inthiscasethefirstperson"I am" of"the grander" becomes the alternative oro (I plead, beg and pray) of human beings.
How is such a "confiission" (confession) "perceivable [in] moleton (hidden atoms) skaping with mulicules (molecules)" (FW353. 26)? What would a confession directed not at God, but in memory of God and directed at the limit between mind and matter consist of or sound like? Are we not made up ofatoms and molecules? Do we not have thoughts, beliefs and desires?
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? Such a confession is directed at the between, the vanishing intentionality, "the studious omission of year number and era name from the date" (FW121. 28-29), shaped as the negative nexus o f these forces. Joyce's confession, like Wittgenstein's in
PhilosophicalInvestigations, is made up of"[T]hings I say to myselftete-a-tete"(CV77), but cast as "The soul of everyelsesbody rolled into its olesoleself' (FW329. 18-19). (In Wittgenstein's such a debate is best understood as a negotiation with oneself at the limit between grammar, or the limits oflogic, and the claims ofpsychology as these limits organizes our common language and our forms o f life. ) Joyce writes a confession that could be anyone's ("I will confess to his sins and blush me further" [494. 31]) and thus is a "Wee, cumfused" (156. 31).
In Finnegans Wake, the conflicts between opposites, the bipolar transformations and resistances between characters, styles, categories (Space vs. Time; moral vs. aesthetic; life vs. death; conscious vs. unconscious, etc. ) are transformed into letters, dialogues, commentaries, narratives, as much as they fragment into one another, function as continuing multi-level debates, as if between body and soul, between the absent intentional source-pointandthemanifestationsofformwhichweread. Onewaythesedebatescanbe organized is between the father HCE and the mother ALP and between the two brothers Shem the penman and Shaun the spaceman. The daughter and sister Issy functions as a shiftingtokenofresistanceanddesirewithinthesedebates. Butthesedebatescanalso
function at a grammatical level, and that is the level of primary interaction between the reader and the text (that is the level at which meaning emerges as a problem not solvable by our interpretations). One can call this the resistance of the text. I am interested not in
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? the content o f these debates (their psychology), but in the ways in which the form o f conversation and debate can be refracted into the descriptions o f a shifting set o f limits like those that describe the difference between self and soul, animate and inanimate, and so on.
Stephen Gilman, in his analysis of the fifteenth-century proto-drama La Celestirta, suggests two kinds of doctrinal debates: "vertical debates" as in Boethius' Consolation o f Philosophy between a privileged authority and a naive character and "horizontal debates" between characters of equal authority and privilege as in Seneca's De remedtis
fortuitorum. The structures that provide for the determination of these relations are missing in Finnegans Wake] and thus "the constant of fluxion" (FW297. 29) of character providesforneitherstabilityofidentitynorofrelationship. Allconversationswithinthe text require the explicit construction of a conversation between the reader and the text. Such a construction, therefore, entails the de facto animation of the text (within an horizontal debate) or the stabilization of the text into a context determined by text or reader (within a vertical debate). More importantly, however, either kind o f conversation destabilizes how we read, and if we continue reading these conversations destabilize our functional identity as human beings within or who use language. Reading the Wake tempts us to ask 'Is reading Finnegans Wake a human activity? '. The melodramatic character of this question is a reaction to the extremity required to generate a theological relation between the reader and the text.
Debates between self and soul and their Neo-Platonic reflection in the debate between lovers can take as their site o f debate the demands and the dread o f conversation, both o f vertical and horizontal conversations as modes o f self-reflection and self-denial.
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? This is one description: "Peena and Queena are duetting a giggle-for-giggle and the brideen Alanah is lost in her diamindwaiting" (FW377. 19-20). Wakean dialogues, where "Now's your never! "(377. 19), do not resolve into the clarity o f a communication, but ratherslipinto"communicantinginthedeificationofhismembers"(498. 21); acommon canting, both singing and nonsense, reforging a body into unity, god-like or statue-like, or at least a remembering of "Dodderick Ogonosh Wrak", Rodderick O'Conner, the last high king of Ireland (c. 1116-98), "on the table round" (498. 23), before Wrack "busted to the wurld at large" (498. 23). The dialogue between Peena and Queena (a giggle-for- giggle), like that between the Elm and Stone, the two washerwoman over and about Anna Livae Plurabelle, crosses beside (paratactically) the lost "brideen Alanah," the bride Eileen Aruna,theIrishHelen,lostbetweentwo-mindswaiting. "[T]hebrideenAlahah"isa version of "Nuvoletta, a lass", Issy, who earlier in the night (FW159. 06-07) "reflected for the last time in her little long life and she made up all her myriads o f drifting minds in one. " Into "one": a diamond-waiting, a purity of soul, impervious to all the but the greatest forces,adiamondweddinglastingastwo-mindswaiting. Whatdoesitmeantobemake one'smindsintoone? Thisisapictureofintention.
How does someone get lost?
"AisforAnnalikeLisforliv. Ahahahah,AnteAnnyou'reapttoapeaunty annalive! Dawn bives rise. Lo, lo, lives love! Eve takes fall. La, la, laugh leaves alass! Aiaiaiai, Antiann, we're last to the lost,. . . "I bring down noth and carry awe. " (FW293. 17-294. 06)
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? Eve ("alass") laughs at Adam; and this laugh leaves a girl ("alass"), but this stuttering "la, la, laugh", is itselfthe "antiann" crying (aiaiaiai; a vowel expression) not with the awe that anything exists, but that nothing (no-thing) can be brought into our minds at night (that anything can be negated) and thus this nothing ("noth") can also carry awe.
The distance between the details and a meta-description o f a sentence (between reading and interpreting) is the distance between the "commonpleas" (FW422. 29) and "AUSPICIUM. AUGURIA. DIVINITY NOT DEITY THE UNCERTAINTY JUSTIFIED BY OUR CERTITUDE. EXAMPLES" (FW282. R4; how can we read anything as an example? examples as auguria? ); or "Now day, slow day, from delicate to divine, divases" (FW598. 12). What is the distinction between divinity and deity, and why should divinity be preferred? How is divinity related to a kind o f uncertainty justified by our certitude? And what would be an example of this uncertainty and this divinity? Vico's poetic metaphysics describes how the uncertainty of early peoples caused them to project themselves into their ignorance, such that "he makes the things out o f himself and becomes them by transforming himself into them" [NS405], Uncertainty justified by certitude inverts this poetic metaphysics such that certainty is evacuated into uncertainty: pantheismisreplacedbyskepticism. Certitudecanthereforebeunderstoodtobewhat Cavell calls generic objects, those things about which no questions about their identity arise, and thus our doubt about them questions their very existence and because of their generic quality all objects, and thus the world {Claim o f Reason, 49-86). The doubt here, however, is not about wax or trees or tables. The generic object or target is divinity itself, and not any particular deity.
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? Divinity or deity are both manifested, in our interpretations, in Auspicium (the augury o f bird-watching) and augury (in general) (a token and a type; an example and a category). WhatcertaintygeneratesGod? Wecouldanswerthatthecertaintyof ourselves and our uncertainty about the future and the world motivate Vico's poetic metaphysics; or we could answer the uncertainty o f generic objects generates skepticism. But neither o f these can rightly be described as divinity. It is easy to imagine what uncertainty would generate the category o f divinity. But do we imagine that uncertainty and fear could generate the 'actual' world in which we find ourselves uncertain? 1
Between the "piejaw of hilarious heaven and roaring the other place" (between the admonition and moral advice [SI. piejaw] o f heaven and the roaring o f Hell), "you have become o f twosome twinminds forenenst gods, hidden and discovered, nay, condemned fool, anarch, egoarch, hiresiarch, you have reared your disunited kingdom on the vacuum ofyour own most intensely doubtful soul" (FW188. 11-17). This is a description of"Shem avic" (I a mhic, my boy), Shem the penman, the artist, the prankster, who in one kind of dialogue between the self and the soul would be the soul in Yeats "A Dialogue of Self and Soul": "Such fullness in that quarter overflows/ And falls into the basin of the mind", asking,atleast,"Whocandistinguishdarknessfromthesoul? "(Yeats,230). InYeats' poem the Self, attached to things and himself"emblematical of love and war" thinks "that shape must be his shape" because he exists as an 'I' that acts in folly toward "a proud woman", "endure[s] that toil ofgrowing up", and is blind to his own soul, which he never responds to or hears. Yeats' "A Dialogue of Self and Soul" is not a dialogue at all. Two aspects of a particular 'I' (unnamed and by default a persona for Yeats) alternate
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? speaking, until in the last section ofthe poem "my Self' speaks continuously for four stanzas in a kind o f resignation to blindness and foolishness. Does this non-dialogue describe a psychology? Or what is the claim psychology has on aesthetics?
Shem is become "twosome twinminds forenenst god" ("forenenst gods": over- against god). The dialogue of"twosome twinminds" is addressed in challenge or is caused by being against the gods. What does this confusion between (1) being that which addresses the canopy o f human limits (gods) out o f an internal dialogue and (2) becoming this dialogue (being "twosome") by being against this limit (or limits)? The first case might be a judgment on myselfor on the gods; I might provide descriptions or meanings or interpretations. The second offers a cause for my being, and this cause functions as a principle o f identity. This identity or being (it is not clear which it is) is hidden, discovered, and condemned: hidden by Shem as a revolt against heaven or in the instability o f intention, desire and identity he discovers in himself as himself. And what would the discovery of my own instability mean, my discovery of myselfas these dialogues? Would it be like discovering an engine in my heart? Or a machine in my head? A discovery operates at the limit between what I know and what I do not know, and thus
offers a resistance to my fantasies. It can act as a temporary ground. This discovery, however, moves the hidden form of this dialogue out into something that can be known and therefore judged. And thus Shem must speak his revolt, through his discovery o f his revolt and o f his doubleness (or "twinsome twinminds" (double)(double)= quadruple), and thus be condemned (by himself, his family, his society, his gods). His condemnation names him in four ways: "fool, anarch, egoarch, hireseiarch". He is he who speaks
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? nonsense (fool) that maybe wisdom (fool), who revolts against the ground (arche) o f faith and knowledge and community (anarch), who is his own ground and his own kingdom (egoarch), who is the ground o f the sacred (hieratic) and o f heresy (heresiarch) [all doubled].
Shem has become what seems to be a "disunited kingdom"; but there is a confusion between whether his "twosome twinminds" are the effect or a cause o f his being against the gods. Is the next clause a reaffirmation ofthe previous clause, or does it mark a reaction to being hidden, discovered and condemned? : "you have reared your disunited kingdom on the vacuum ofyour own most intensely doubtful soul". Is he fool, anarch, egoarch, hiresiarch outside o f any disunited kingdom (maybe in the daytime unity o f consciousness)? Or can we only understand this plurality through the 'disunited kingdom' he raises on the discovery of what is either a soul whose existence or identity is doubtful.
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? Inthe Tractatus,Wittgensteinseesthisasanecessitytounderstandtheworldasmylimit. But the collapse between the solipsistic 'I' and the world as represented is resisted by the distinction between saying and showing; the limit between the tautological domain described by what can be known, and therefore said, and the metaphysical 'I', which can only be shown, cannot be reconfigured within another meta-language game. This absolute limit becomes a ground in exactly the way denied in Investigations, where every transcendent claim is always already a language game. The power ofWittgenstein's vision in the Tractatus, however, uncovers the structure of this 'myness' that determines what is the world. It is being a limit that defines 'myness'. Wittgenstein argues against that "no partofourexperienceisalsoapriori. Everythingweseecouldalsobeotherwise. Everythingwecandescribecouldalsobeotherwise"(TLP5. 634). Injettisoningthe Kantian a priori he retains the limiting T as an End, but not o f itself, rather o f the world. Perceived from this point, from itself as an End the configuration o f what is is also an End: the limiting 'I' assures possession as my world, gives me the world as my experience, but it remains "independent o f my will" (TLP6. 373). Thus the world as mine is not a solipsistic claim, but a formal limit (not transcendental because it is not understood as
enabling our knowledge; such a claim would presume to picture the T . The T as a formal limit means that the world shows the T as the world, and thus the limit is not bound by anyone's will. ).
In Investigations sense is not determined through tautologies, and thus Frege's replacement principle that determines sense as identity cannot alone describe meaning:
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? We speak o f understanding a sentence in the sense in which it can be replaced by another which says the same; but also in the sense in which it cannot be replaced by any other. (Any more than one musical theme can be replaced another. )
In the one case the thought in the sentence is something common to different sentences; in the other, something that is expressed only by these words in these positions. (Understanding a poem. ) (PI? 531)
Uniqueness is built out o f exclusion (x is not a, b, c , . . . n, constituting the totality o f the world,oratleastsometotalitywithinwhichxfunctionsorexists). Thiskindofexclusion requires the establishment of criteria by which the limit between x and those elements in opposition to which it is constituted can be determined and maintained (grammar as essence).
The Wake pushes both o f these criterion for understanding or meaning or identity (replacability and uniqueness) into each other: any word seems random and thus immensely replaceable and any word seems to carry a unique significance built from the puns which compose it (as if embodying or enacting a secret meaning or reference). Uniqueness picks out the essence o f what something is, the configuration o f tones or words that describes a musical theme or a poem as a limit to the rest o f the possible tones humans can hear or the possible words that constitute any particular language (or all
languages). Replacabilitydescribesthefundamentallevelsofbeingsomething,ofbeinga wordatall,thatsomethingiswithinanorganizedsystemofcategoricalunities. IfIcall
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? this the level ofexistentia, I mean an existentia of forms that structure language as a set of possibilities that make words visible as words.
You can find yourselfalong this tangent intersecting realism and idealism not only by waking up from reading in Hume's A Treatise o fHuman Nature "that an object may exist, andyet be no where" (I. IV. V), and in waking up wondering where you have been, as if you were unsure whether our limits of knowing constitute a ground for thinking or a despair. I initially read Wakean grammar and the later Wittgensteinian grammatical investigations as linguistic redactions ofAquinas' linking of intentionality to existence through descriptions ofthe limits ofknowing, ofself-observation, ofbeing (explaining the use of sleep as the means and world through which we develop a theology describing death) (in the section ofthe Summa Theologica called the "Names ofGod"). Discovering the limit ofthe ontological claims ofourthinking (or being), our intentional failures, entailed a theological expansion of our self-reflection as, what we confusedly call, the ground for this thinking. These intentional limits describe the possibility of self-reflection
in such a way as to re-enact a theology not in conflict with materialism. This might be like finding God in (a) sentence(s), and not in the word. Do we imagine nothing o f such import is at stake in Frege's appeal to meaning as a function of a statement and not a word? Does a theology built on such a semantic reorientation function in a domain not limited by substance in a way a theology ofthe word cannot, susceptible as it is to the claimofthingsonwordsasnamesandtruthasreferentiality? Wittgensteinastheinheritor ofthisFregeansemanticsbuildssuchatheology. Thelogicofnonsenseconstituting Finnegans Wake proceeds along similar semantic assumptions, and thus becomes another
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? version ofthis theology. Why 'theology'? Theology is the language ofthe meaning of those limits which we recognize as unshakable, as ontological limits determining my possibilities as my possibilities.
WhatIamlookingforisnotatheoryoforaboutnonsense. Iaminvestigatingthe ways in which the relation between sense and nonsense can make us imagine that we are, as Ashbery says, "some point o f concentration around which a person can collect itself' (Flow Chart, 11):
And you know,
he said, sure, that's the way to hell and its conundrums if that's the way
you want to go, and they all said we know, we are going that way
cautiously approved o f in the introduction, only it seems so full o f asperities now. And he said that's the way it was, it was a tangle and will never be anything
more than a diagram pointing you in a senseless direction toward yourself.
(Flow Chart, 109)
This way to hell and its conundrums, regardless of ones' best intentions or of what one might read "in the introduction" as the promises of "Love that lasts a minute like a filter/ on a faucet", as itself a "diagram pointing to you in a senseless direction toward yourself, builds its sense partly in a kind of self-reflection that offers truth through what under one reading might be a democratic tautology of acting: we are all acting as and through each other:asrepresentativesofthelimitsofnonsensetowardwhichwemove. One'sbestlaid plans like those best intentions fail "and the listing tundra is revealed" (108) as the limit of
the inanimate to all forms of meaning which we inhabit. A kind of nonsense attends the
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? loss ofjustice, but the history ofthis "senseless direction" organizes the world not toward the source o f this nonsense, as it does for Job where all senselessness leads toward God, but toward the consequence ofthis nonsense, that is, "toward yourself. " The second person force o f this "yourself, having already been abstracted as a kind o f limit to the diagram o f nonsense, a limit to language itself) gets taken up as an hypothetical, including boththepoetandthereader. Ifonewritesthisnonsensethediagramandwhatitpointsto invert the intentionality of language away from the world, the diagram ends up not being able to be read as a diagram ofthe world, toward oneself. Self-reflexive intentionality is a particular kind o f self-reflection: in that it writes the failure o f events to conform to a moral logic into a kind o f verbal nonsense. I will call this embodied self-reflection as opposed to self-reference. Thus it is not like the following:
[1] "This 'word' is a word. "
[2] "I am that I am. "
Does Wittgenstein mean the following to describe forms of self-reflection? :
Asking what the sense is. Compare:
"This sentence makes sense. "--"What sense? "
"This set o f words is a sentence. "--"What sentence? " (502)
Compare what? Compare each statement and its question, or compare statement and question with statement and question? "This sentence" animates the sentence; can sentences use demonstratives? "This sentence makes sense" interprets itself. An interpretation ofwhat? "This set ofwords. . . " looks like a description--but ifit is not a description o f a sentence, but rather an example, is it a description o f itself? I f asked what
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? is the sense o f a sentence, and I answer "this set o f words is a sentence" what have I shown? Only questions which betray an ignorance o f language would generate a question where this might be the answer. "How many words make a sentence? " "Well, this set of words is a sentence. "
An intentionality that recovers an T , as opposed to the world, refigures the disjunction between self and world worrying the skeptic with a comma between an initial realm o f intention that leads to personal action ( 'building up a graduated series o f studies') and a realm o f possibility implied by this intentionality but which loses its referent ('I can do that'; but who said this? or can say and do that? '):
My first concern (in any case) was to build up
a graduated series of studies, leading to the alchemical perfection of one who says, I can do that. The fabrication o f it lasted nearly a lifetime,
leaving me, at the end, unable to perform the most banal act such as tying my
shoelaces
in a double knot, and vulnerable to the japes o f skeptics
who would have preferred to die a thousand deaths rather than undertake the course o f study I had so painstakingly elaborated. (150-51)
Why-questions ('why do I suffer? ' for example) can become confused with questions about not only "who" speaks or is referred to or exists ('I suffer because o f who I am? ' or 'I didn't do anything to deserve this! ' who did then? Who is responsible for my actions? ), but how this "who" either crystallizes out of the world, out of a context, or conversely how any 'I' can know or believe speak beyond the limits of the who which he or she find
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? themselves to be. Has Ashbery's (or Joyce's or Wittgenstein's) writing constructed a golem of such animate perfection that it can, as Flaubert claimed ofMadame Bovary, be the artist, in this case a converted, transformed selfthat speaks ofits own creation as if Ashbery has yet to create it? But underlying the metaphysics of this creation is a comic undercurrent that allows any nonsense to be read, and marked as nonsense, by the exclamation of some discontented reader "That's not art, or there's nothing to that; I can do that! "
Nonsense emerges under the pressure some missing 'I', like the missing intentional target in Finnegans Wake, exerts on the categorical structures o f langauge. This produces what Ashbery calls "slippery harmonies":
slipperyharmoniesabound. Infact,Ican'tbesureI'mnotaddressingmyself to one or within one right now, but that's no matter. I've got to tell this
in whatever time remains to me. (126)
For the moment the confusion in the poem lies not only in the obscurity o f context, to be "in" or addressing a "slippery harmon[y]" or in the obscurity of what this "this" is that he musttell. The"fact"ofthisobscurityisitselfslippery,andifitis"nomatter"tohis telling, it is slippery also because such a fact can be without matter. If facts, as expressions o f truth, do not matter, what does? But what fact is captured by pointing to "slippery harmonies abound' as a fact? Is this a fact like H(2)0 is the chemical formula for water? Why would someone write within or to such slippery harmonies through such a slipperypoeticsifneitherthepossibilitynorimpossibilityofbeingunderstoodmatters. He pushes himselftoward, into, and through the senseless under the pressure ofthe shrinking
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? time available to him. How is the certainty of the approaching limit of death like or unlike the uncertainty bound in questions about Others or the world? We can say at least that this isakindofpoeticshighlightingtheexpressiveaspectsoflanguage. Suchexpressivenessis nonsense. This kind of nonsense replaces our skeptical temptations to lose the world and others with its own "no matter" that offers a strengthened 'I' that can say "I can do that". This kind of expressiveness borrows on a performative force that allows it to act without reference to its context or addressee, but it is not an action of doing, language as some pure actuality, but rather a kind of possibility-actualizing promise or recognition marked by saying "I can do that. " In this it is an attempt to push language into an extreme (it is meant to fail, so it is not a "pure") subjunctive:
. . . 1sat naked and disconsolate at a comer o f a crevice, hat in hand, fishing,
for who can tell what God intends for us next? And if a little girl can call and run, her dog twirl, why not be able to slide a leg over the board barrier that disconnects us from all that is really happening, that hive
o f activity as you think o f it? (121)
A catechism of questions: the mythic problem of The Waste Land ("I sat. . . fishing, for who can tell what God intends for us next? " answered with another possibility, an allegory not unlike the riddles of Alice in Wonderland, where this sliding a leg into another realm works through the ambiguity of our language; saying I can do that--where 'know' reduces back to can, the beyond ofthe thing in itselfis for us ("as you think ofit") a "hive ofactivity"andthusonlyaccessiblebycomparableactivity. "[Njakedanddisconsolate"
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? this T fishes, ifwe believe the punctuation, because ("for") we are the victims ofGod's intentions. God's absence leaves only our ignorance pushing against what from any human end (telos), where chance can seem fate, our lives have suffered and become under the pressureofexternalintention. Howmightthisdescribelanguage,oratleastAshbery's and Joyce's language? What counts as an end when reading 'nonsense' is moments of sense, where understanding organizes at least in a local way a bit oftext. Thus, in commenting on his own kind o f nonsense, Ashbery writes that he is a poet "whose
personal-pronoun lapses may indeed have contributed to augmenting the/ hardship/ silently resented among the working classes? "13
PronounconfusioninFinnegans Wakesketchesthesymbolicstructureof'our' through which it invokes the limit o f being human by being a form any human can claim andoverwhichwecanfight. Thisispartofthestructureofrightsandjustification:14 "The soul o f everyelsesbody rolled into its olesoleself' (FW329. 18-19). 15 This means that Finnegans WakeenactsaplayofmasksakintothatwhichKierkegaardusedtoexpose their emptiness, without, however, an underlying God to mark a limit to these masks: "One single word o f mine uttered personally in my own name would be an instance o f presumptuous self-forgetfulness, and dialectically viewed would ensure with one word the
ft guiltofannihilatingthepseudonyms"(Po/<</ofView,40). InFinnegans Wakethis
annihilation is resisted by reading oneselfinto the interrogative fragments that sketch the limits o f the forms o f life through which we inhabit language.
Sense organizes the previous words into an order that transforms what seemed randomintodeterminedandthereforeintentionallanguage. Suchclaritymightaccompany
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? the emergence or imposition of an interpretative frame, an attachment of language to a secure pronoun, the application ofan allegory. Such moments of sense are temporary, and the pressure o f nonsense within language combines the demand for clarity, the assumption o f intentionality with the pressure o f dissolution or dissipation that tempts us atthosepointsofinterpretativeambiguity. Thebreakdownofthemeaningofasentence,
if it is not at the service o f communication but is framed as an aesthetic object, as an object or a language demanding a commitment to its significance, to its exemplary status, modulates into a demand to justify what kind of sense we make in relation to this nonsense (to whatever nonsense claims 'us'). This dissertation is an example of such an attempt.
' This would require some defense, but nothing critical hangs on this here. I think Aristotle's analysis of the soul is as coherent as Aquinas' (as one would expect),,but the pressure of Augustine's conception of the will, o f the conceptualization o f identity and substance in the Trinity, and o f the fact o f a linguisitc limit (in the Bible) transforms the conception of the soul in ways that I think are essential. A lot does hang on this, but I am not cosntructing as soul within the Christian tradition, but am instead trying to recapture a functional theological stance within the boundaries marked by something like Aquinas' soul and a causal picture of the mind as these boundaries (understood conceptually, and thus not tied to their particular history nor their detailed form in Aquinas or in particular scientific pictures) figure the picture of our invovlment in language in Finnegans Wake and Philosophical Investigations. In this I am responding to the claim these texts have on figuring the boundaries against which modem science works. 2 Cited in Kretzmann.
3This list is Gearld Edleman's (Neural Darwinism).
4 In Readings in Philosophy and Cognitive Science, ed. Alvin I. Goldman.
5 M. H. Abrams famously organizes romantacism around the shift from mechanical and passive metaphors for the mind (minor) to reciprocal, interactive and/ or generative metaphors for the mind (lamp). The
MirrorandtheLamp: RomanticTheoryandTheCriticalTradition. SeeespeciallychapterHI, "Romantic Analogues o f Art and Mind. "
6 P. M. S. Hacker fails to distinguish between objects and notation in his comparison o f section 372 with the picture of necessity in the Tractatus in Wittgenstein: Meaning andMind (Vol. 3), 439.
7The grinding of this machinery failing to latch onto anything that would count as an about x, of y, at z attracts our gaze from the moon to the finger pointing to it, or even further to a picture o f a scene with someone pointing to a moon replaced by someone (else) pointing at someone (else), or a tree talking to a rock: butthenthisseriesofimagesspeedingbylikeinaflip-bookiswhatisrepresented. Themachinery of intentionality works or at least is isomorphic with the structure of our experience of time (our existential involvement with, our representation o f our enactment o f change). 8Adescriptionofourrelationtotheworldcannotusetheconceptofrelation. Thisdifficultyleadsto claims that out relation to the world is indescribable. Brentano counters this by arguing that our reference to objects are immanent within out intentional stances.
9 The two best attempts to defend all forms of intentionality as derived from our interpretations see Dennnett (especially his essays in The Intentional Stance) and Milkan.
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? 10 The necessity o f asking 'When does it mean? ', and the impossibility o f answering this question in the Wake unpicks the allegoty and, therefore, forces the possibility away from any particular word,. The
sense of any particular word implies and invokes a vague and shifting set of relations with other words, sentences, characters, interpretations, allegories, understandings, etc.
11 Robert M. Adams, "While Mr. Whoever-He-Is Sleeps" New York Times Book Review (18 Jan. 1987) 14. Denis Donaghue, "Reading in the Dark" Partisan Review 54,3 (1987) 480.
12Finnegans WakeandPhilosophicalInvestitationsdescribethelimitsofmind. Inmarkingtheselimits, from the inside as it were, they do not provide a theory of the soul or the mind, but enact a demand for
justification. Inbothcasestheforceoflanguage,thedialogictensionbetweenthetextandthereader, undermines the claim questions like 'what is a soul? ' and 'what is a mind?
' They both do this partially by forcing us to ask 'why soul? ', 'why mind? ', generating a kind o f self-reflection that does not pursue self- representation (of the kind answerion 'what is X? '); both texts figure being-toward-onself [and itself] betweenoratthelimitofmetaphorsoranalogies. Thisbetweennessmarksthelimitsbetweenidentity and ? , for Joyce, and between language games, for Wittgenstein as the form of fulfillment (entelechy) of being a soul and mind.
I3This is the same confusion that the King o f Hearts exploits in his persecution and prosecution o f the Knave when he reads and interprets (a picture of literary analysis) some found verse (The Annotated
Alice, 158)
141will discuss this paradox working in rights andjustification at the end of this section.
15 ". . . and, sure, we ought really to rest thankful that at this deletful hour o f dungflies dawning we have even a written on with dried ink scrap of paper at all to show for ourselves, tare it or leaf it, (and we are luftedtoourselvesasthesoulfisherwhenheledthecatoutofthebout). . . hopingagainsthopeallthe while that, by the light o f philosophy (and may she neer folsage us! ) things will begin to clear up a bit one
wayoranotherwithinthenextquarrelofanhour. . . , astheyoughttocategorically,as,strictlybetween ourselves, there is a limit to all things so this will never do. "
(FW118. 31-119. 09)
But all is her inboume. Intend. From gramma's grammar she has it that if there is a third person, mascarine, phelinine or nuder, being spoken abad it moods prosodes from a person speking to her second which is the direct object that has been spoken to, with and at. (268. 16-22)
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? 6
The Wakean Grammar o f 'Between'
I am tempted to call the soul inFinnegans Wake the state ofbeing "between" or "amidst" in "the circumconversioning" (FW512. 16), in a revolution (L. circumconversio, a revolving) o f conversation, conversion and confession, o f "all her myriads o f drifting minds in one" (FW159. 07). But "[t]o the vast go the game! " (FW512. 15). The betweeness continually described and evoked in the "chaosmos . . . moving and changing every part of the time" (FW118. 21-23), however, enacts the distance between the mind and the soul as itselfthe form ofbeing anything (not just being a soul or a body or an idea), placed under the pressure of both a surrounding nothingness and the surrounding claim of matter.
The catalog o f genres amalgamated and informing Finnegans Wake is partially a function o f the books used and rewritten into it. Many o f these were already odd amalgamationsofgenres,furthercomplicatedbyJoyce'suseofthem: theEgyptianBook o f the Dead, as a dream book or a psychological theology; Vico's New Science, already a sociopsycholinguistic historical philosophy, Swift's Tale o f a Tub, Carlyle's Sartor
Resartus, and so on. The Wake is built out of distorted versions or fragments from these texts (as it is out of language itself). And further, the fragments ofwords that Joyce condenses into puns palimpsest words with allegories radiating in interpretations that reduce the text to a set of words (as if moments within the order of the interpretation). Any word offers itself as a target for interpretation and thus confession.
Notes for this chapter are on page 212
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? "The abnihilization ofthe etym" describes the annihilation ofetym (its history into a new founding) as the annihilation o f the atom (the passage is full o f references to physics) which proceeds by an invocation of Vico's picture ofthe beginning of language in fear and imitation ofthunder ("the grisning ofthe grosning [It. groza, thunder storm] of the grinder o f the grander [G. Grunder, Founder] o f the first lord Hurtreford [Lord Rutherford split the atom in 1919]. . . ''[FW353. 22-23]). These beginning are ends. They describe the common grammatical boundaries between humans ("eytm") and matter (atom) and God ("grander"), the "fragoroboasity amidwhiches general uttermosts confussion"(FW353. 25). Amidtheutmostconfusion,whichisanynumberofuttermosts (extreme limits) marking this confusion. Such limits, however, describe a "confiission" (with a fusion) that in coming together and flying a part is an image (or an enactment) o f a confession. Such a reading brings out the significance of "fragoroboassity", a complicated pun that can be read as the voice of God: fragor (loud harsh noise) + It. rombazzo
(uproar) + oro (L. I speak) + bombasity +frage (G. question). But such noise while it can demand a response like the questioning o f human beings by God, can itself be turned into ourquestioningofanysuchdivinity"untuoning"theworld. Inthiscasethefirstperson"I am" of"the grander" becomes the alternative oro (I plead, beg and pray) of human beings.
How is such a "confiission" (confession) "perceivable [in] moleton (hidden atoms) skaping with mulicules (molecules)" (FW353. 26)? What would a confession directed not at God, but in memory of God and directed at the limit between mind and matter consist of or sound like? Are we not made up ofatoms and molecules? Do we not have thoughts, beliefs and desires?
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? Such a confession is directed at the between, the vanishing intentionality, "the studious omission of year number and era name from the date" (FW121. 28-29), shaped as the negative nexus o f these forces. Joyce's confession, like Wittgenstein's in
PhilosophicalInvestigations, is made up of"[T]hings I say to myselftete-a-tete"(CV77), but cast as "The soul of everyelsesbody rolled into its olesoleself' (FW329. 18-19). (In Wittgenstein's such a debate is best understood as a negotiation with oneself at the limit between grammar, or the limits oflogic, and the claims ofpsychology as these limits organizes our common language and our forms o f life. ) Joyce writes a confession that could be anyone's ("I will confess to his sins and blush me further" [494. 31]) and thus is a "Wee, cumfused" (156. 31).
In Finnegans Wake, the conflicts between opposites, the bipolar transformations and resistances between characters, styles, categories (Space vs. Time; moral vs. aesthetic; life vs. death; conscious vs. unconscious, etc. ) are transformed into letters, dialogues, commentaries, narratives, as much as they fragment into one another, function as continuing multi-level debates, as if between body and soul, between the absent intentional source-pointandthemanifestationsofformwhichweread. Onewaythesedebatescanbe organized is between the father HCE and the mother ALP and between the two brothers Shem the penman and Shaun the spaceman. The daughter and sister Issy functions as a shiftingtokenofresistanceanddesirewithinthesedebates. Butthesedebatescanalso
function at a grammatical level, and that is the level of primary interaction between the reader and the text (that is the level at which meaning emerges as a problem not solvable by our interpretations). One can call this the resistance of the text. I am interested not in
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? the content o f these debates (their psychology), but in the ways in which the form o f conversation and debate can be refracted into the descriptions o f a shifting set o f limits like those that describe the difference between self and soul, animate and inanimate, and so on.
Stephen Gilman, in his analysis of the fifteenth-century proto-drama La Celestirta, suggests two kinds of doctrinal debates: "vertical debates" as in Boethius' Consolation o f Philosophy between a privileged authority and a naive character and "horizontal debates" between characters of equal authority and privilege as in Seneca's De remedtis
fortuitorum. The structures that provide for the determination of these relations are missing in Finnegans Wake] and thus "the constant of fluxion" (FW297. 29) of character providesforneitherstabilityofidentitynorofrelationship. Allconversationswithinthe text require the explicit construction of a conversation between the reader and the text. Such a construction, therefore, entails the de facto animation of the text (within an horizontal debate) or the stabilization of the text into a context determined by text or reader (within a vertical debate). More importantly, however, either kind o f conversation destabilizes how we read, and if we continue reading these conversations destabilize our functional identity as human beings within or who use language. Reading the Wake tempts us to ask 'Is reading Finnegans Wake a human activity? '. The melodramatic character of this question is a reaction to the extremity required to generate a theological relation between the reader and the text.
Debates between self and soul and their Neo-Platonic reflection in the debate between lovers can take as their site o f debate the demands and the dread o f conversation, both o f vertical and horizontal conversations as modes o f self-reflection and self-denial.
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? This is one description: "Peena and Queena are duetting a giggle-for-giggle and the brideen Alanah is lost in her diamindwaiting" (FW377. 19-20). Wakean dialogues, where "Now's your never! "(377. 19), do not resolve into the clarity o f a communication, but ratherslipinto"communicantinginthedeificationofhismembers"(498. 21); acommon canting, both singing and nonsense, reforging a body into unity, god-like or statue-like, or at least a remembering of "Dodderick Ogonosh Wrak", Rodderick O'Conner, the last high king of Ireland (c. 1116-98), "on the table round" (498. 23), before Wrack "busted to the wurld at large" (498. 23). The dialogue between Peena and Queena (a giggle-for- giggle), like that between the Elm and Stone, the two washerwoman over and about Anna Livae Plurabelle, crosses beside (paratactically) the lost "brideen Alanah," the bride Eileen Aruna,theIrishHelen,lostbetweentwo-mindswaiting. "[T]hebrideenAlahah"isa version of "Nuvoletta, a lass", Issy, who earlier in the night (FW159. 06-07) "reflected for the last time in her little long life and she made up all her myriads o f drifting minds in one. " Into "one": a diamond-waiting, a purity of soul, impervious to all the but the greatest forces,adiamondweddinglastingastwo-mindswaiting. Whatdoesitmeantobemake one'smindsintoone? Thisisapictureofintention.
How does someone get lost?
"AisforAnnalikeLisforliv. Ahahahah,AnteAnnyou'reapttoapeaunty annalive! Dawn bives rise. Lo, lo, lives love! Eve takes fall. La, la, laugh leaves alass! Aiaiaiai, Antiann, we're last to the lost,. . . "I bring down noth and carry awe. " (FW293. 17-294. 06)
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? Eve ("alass") laughs at Adam; and this laugh leaves a girl ("alass"), but this stuttering "la, la, laugh", is itselfthe "antiann" crying (aiaiaiai; a vowel expression) not with the awe that anything exists, but that nothing (no-thing) can be brought into our minds at night (that anything can be negated) and thus this nothing ("noth") can also carry awe.
The distance between the details and a meta-description o f a sentence (between reading and interpreting) is the distance between the "commonpleas" (FW422. 29) and "AUSPICIUM. AUGURIA. DIVINITY NOT DEITY THE UNCERTAINTY JUSTIFIED BY OUR CERTITUDE. EXAMPLES" (FW282. R4; how can we read anything as an example? examples as auguria? ); or "Now day, slow day, from delicate to divine, divases" (FW598. 12). What is the distinction between divinity and deity, and why should divinity be preferred? How is divinity related to a kind o f uncertainty justified by our certitude? And what would be an example of this uncertainty and this divinity? Vico's poetic metaphysics describes how the uncertainty of early peoples caused them to project themselves into their ignorance, such that "he makes the things out o f himself and becomes them by transforming himself into them" [NS405], Uncertainty justified by certitude inverts this poetic metaphysics such that certainty is evacuated into uncertainty: pantheismisreplacedbyskepticism. Certitudecanthereforebeunderstoodtobewhat Cavell calls generic objects, those things about which no questions about their identity arise, and thus our doubt about them questions their very existence and because of their generic quality all objects, and thus the world {Claim o f Reason, 49-86). The doubt here, however, is not about wax or trees or tables. The generic object or target is divinity itself, and not any particular deity.
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? Divinity or deity are both manifested, in our interpretations, in Auspicium (the augury o f bird-watching) and augury (in general) (a token and a type; an example and a category). WhatcertaintygeneratesGod? Wecouldanswerthatthecertaintyof ourselves and our uncertainty about the future and the world motivate Vico's poetic metaphysics; or we could answer the uncertainty o f generic objects generates skepticism. But neither o f these can rightly be described as divinity. It is easy to imagine what uncertainty would generate the category o f divinity. But do we imagine that uncertainty and fear could generate the 'actual' world in which we find ourselves uncertain? 1
Between the "piejaw of hilarious heaven and roaring the other place" (between the admonition and moral advice [SI. piejaw] o f heaven and the roaring o f Hell), "you have become o f twosome twinminds forenenst gods, hidden and discovered, nay, condemned fool, anarch, egoarch, hiresiarch, you have reared your disunited kingdom on the vacuum ofyour own most intensely doubtful soul" (FW188. 11-17). This is a description of"Shem avic" (I a mhic, my boy), Shem the penman, the artist, the prankster, who in one kind of dialogue between the self and the soul would be the soul in Yeats "A Dialogue of Self and Soul": "Such fullness in that quarter overflows/ And falls into the basin of the mind", asking,atleast,"Whocandistinguishdarknessfromthesoul? "(Yeats,230). InYeats' poem the Self, attached to things and himself"emblematical of love and war" thinks "that shape must be his shape" because he exists as an 'I' that acts in folly toward "a proud woman", "endure[s] that toil ofgrowing up", and is blind to his own soul, which he never responds to or hears. Yeats' "A Dialogue of Self and Soul" is not a dialogue at all. Two aspects of a particular 'I' (unnamed and by default a persona for Yeats) alternate
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? speaking, until in the last section ofthe poem "my Self' speaks continuously for four stanzas in a kind o f resignation to blindness and foolishness. Does this non-dialogue describe a psychology? Or what is the claim psychology has on aesthetics?
Shem is become "twosome twinminds forenenst god" ("forenenst gods": over- against god). The dialogue of"twosome twinminds" is addressed in challenge or is caused by being against the gods. What does this confusion between (1) being that which addresses the canopy o f human limits (gods) out o f an internal dialogue and (2) becoming this dialogue (being "twosome") by being against this limit (or limits)? The first case might be a judgment on myselfor on the gods; I might provide descriptions or meanings or interpretations. The second offers a cause for my being, and this cause functions as a principle o f identity. This identity or being (it is not clear which it is) is hidden, discovered, and condemned: hidden by Shem as a revolt against heaven or in the instability o f intention, desire and identity he discovers in himself as himself. And what would the discovery of my own instability mean, my discovery of myselfas these dialogues? Would it be like discovering an engine in my heart? Or a machine in my head? A discovery operates at the limit between what I know and what I do not know, and thus
offers a resistance to my fantasies. It can act as a temporary ground. This discovery, however, moves the hidden form of this dialogue out into something that can be known and therefore judged. And thus Shem must speak his revolt, through his discovery o f his revolt and o f his doubleness (or "twinsome twinminds" (double)(double)= quadruple), and thus be condemned (by himself, his family, his society, his gods). His condemnation names him in four ways: "fool, anarch, egoarch, hireseiarch". He is he who speaks
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? nonsense (fool) that maybe wisdom (fool), who revolts against the ground (arche) o f faith and knowledge and community (anarch), who is his own ground and his own kingdom (egoarch), who is the ground o f the sacred (hieratic) and o f heresy (heresiarch) [all doubled].
Shem has become what seems to be a "disunited kingdom"; but there is a confusion between whether his "twosome twinminds" are the effect or a cause o f his being against the gods. Is the next clause a reaffirmation ofthe previous clause, or does it mark a reaction to being hidden, discovered and condemned? : "you have reared your disunited kingdom on the vacuum ofyour own most intensely doubtful soul". Is he fool, anarch, egoarch, hiresiarch outside o f any disunited kingdom (maybe in the daytime unity o f consciousness)? Or can we only understand this plurality through the 'disunited kingdom' he raises on the discovery of what is either a soul whose existence or identity is doubtful.
