he
peculiar
texture of the writing are achieved, .
Hart-Clive-1962-Structure-and-Motif-in-Finnegans-Wake
and meanings.
Jo)'<:<:', method.
of word_formation and thematic allusion aJe almnst always very runple, and the
bonk'. d<:I1oted content is fairly . "-Iy to ~cogrWc. The ,. . ,ader of FilUltganJ W. . . . . can ""ually be et:rtain that if he exercise, ,. . ,awnable (arc he will have little trouble in picking up any major all. w. on to ide. . and thing. wilb which he ;" familiar. The dilfu:ulty in understanding what went into the bonk Ii. . mainly in the intuprccalion of allusions to unfamiliar material, fur it is ! lO1 alway> e. . . y to know jmt where to look for the cxplanati(ln <>f an obscurity. Although b~ wanted 10 be read
and appre<:iattd, Jore<' also aimed at giving hi< audience the imprt:";Qn Ibat Ibere w. . . always IOmething more beyond what they had undt:r. ltood, >(Im. thing more to be Itriven for, and this is et:rtainly one realDn fur the 1:>o<,k'l gr<:at load of all. w. on and rcferenr,c. A< ~tr. J . S. Atherton h. . . pointed oul,' when J oy"" attempted to create a microoosmi~ equivalent of God's macro- <<osm, he forced hi""elf into the position of having 10 write a
work which w1>l1ld ~flect the ultimale ioucrucability of the unive. . . along with all its other characteristics, but tbis constant awattne>l on the part (If the reader that he h. . not grouped everything can be irritating, and iCe"" to accounl for some of the choleric ombu. . . ! :! againlt the book. I do nOI, howe""r, want to rcopen that tired old debate about whether it ;, all worth the dfon and whether ,nch intentional obKurity can be
artistically justified. It mwt by now, I dunk, be evident to all thaI there arc great literary tre~ures buried in Fimrtgmu Wake and that potentially al any n. te il is in the lame clau . . . Ulyms- whicl' immediately pu! :! it among the great bonk. . ofthe CC! llury - bul whether the riches are . ullicient to ""pay tbe coruider. ahle labour which m""t be expended to bring them 10 Ihe . urface mlUt very likely alway1 remain a malter of talle and
, Alh<t1on, p. "9.
"
? Sa~ kptfts ofFi1ll1t8ans Watt
ICmperamcnt. Fortunau:ly, like the lobotcn devoured by H. C. Ear. . . . . d:cr, the lw-dcst part ofFiatpM Wdt is iu shell. Beneath \. he l'IU. IIive superstructureofintcn'lOven motifs t. huciI a fundamental syntactical clarity and . implicity-KI much so, indeed, that oomp~ with \. he n. dicalliu:rary cxperimenu of the 1920', and 30'S Fin~ttQIIS Wab is almost conventional in style. All its technical advances arc dcvdopmentt-rcmarkable only in the ""ten! to which j oyce has pU$ho:d thc:TJ>--OI" ts\ab. lisbcd pra~ticc. joy<:e makes no a! tempt, for eumpLe, to break up the normal pror. . . . . . . . of word-. . ! OC;ation, nor to dispense with d aUIC-StruCture,'" do S<cin,j ol. . . . or the Dadais11. This under- lying oonxrv:aw,n is very dearly revealed in the nunu$Cripl3,
wheremostof\. hefirstdrafu,whichwn"C tobeencnutedlater with glittering o rnamentation, prove to have been wrillon 0 01 \ in the f1alles! communiutive proae.
I I : A R T O F P A N N I N G ( 18. j. . ~. . )
joyce Ita, been . "3Iiously praised and ""iled fOT filling hi. iatet" book:s witb litenory rubbish--<atci'? phr. ues, clicha, jour. naltle, popular lOngs, and the WOnt kind of guob from girll' . . . ? <<ltliel. II it undt:nU. ble that he round considcnblc dcLijjht in such trash, and a delight that was not alw. o. }", criticil. Some commentaton have certainly been too charitable to j oyce in implying that the bad operas, windy rhetoric, and . . ,ntiment,l dillieJ ,",re collected purely as lIylillie aunt-sallies, though at
us. . . l j oy" tU"'<<<Is, by hi. devious methods, in making functional ntaBity and uncritical delight go hand in haDd.
The primary energy which maintain. the highly cha r p poIaritiQ ofFu-gas Wdt iI su. mlted by cydeJ ofconstantly varied rcpetition- 'Thc Kim anew', u j oya pUB it (2 tS. 2S). The: ttronger the prc. . . ,. tablished tapectancy, the wider can be
the variations played on a word or motif. A pun u effective oaly when itt lint term is vividly prcpar. . :\ rD. by the contcxt. By OIling a vocabulary and "yle packed with well. worn uniu
J oyce iI ablt to play on what the psychologisB call the reader't 3'
? Strtm ASplds rifFi1l/Uglml Wakl
'readin",,'. As with tlle haMc 'tyl~, '" with the more Ipeci:. ol4cd mc:Ki. f! : ifJoyce build< Ihem up from familiar phl'alQ he is abdvcd from the need to CltaLllisb f. lUniliarily . . ith their ohape in the early part:I of Ihe book (which would be ou t of keeping in . . reaUy cyclie work) and is immediately able 10 make the widest punning acursions while n;m. aining , Ure orIlia readcn' PO""'" of . oxognil>on. The majority of the motifs listed in Ihe APf"'Ddix are in fact proverbs, calCh-phl'a$C$, and the ~mpty ~rbal formulae (]r~'Ulg:ar . pc<:eb.
The alential value cf the pun (If" portl1UJlleau-word in HIrtIIga1U Wa. b Ii. . OOt in ill elu,ive and luggesli. . . e qualitiet bul in its capacily to oonlprcsa much meaning into little space. T oo much ILu been written about the Stlggcstive, connolatiV'C
aspec'" of Hlf1Itgmu Walt and 100 liltle about the power of Joyce's new polyhedral vocabolary to accumulate denotation. In OOnl. . . . 110 Ihe effccl created by greM luggcstive wwb like
those: ofMaLlanne-with which Joyce', art h. . . ail110lt nothing io common-Ihe more one reado Fju,lfU'$ Wah and karns to recognilC how all the little bricks fil inlO the finUbed struClure. the ""'" suggati,. . , Ihe book tttnu. f. . arly impressioou of myftery aoo hypnolic inc. . nlation begin to wear a"'ay, and the tech- nique hegins to look mOT~ ! ike a . df-coruciou. lIylistic short- itand thart an appeal dire<:1 to the unOOll3Cioou mind M the car. Tite manuscripts. nowJO}tt in the pmc'! ofadding to h. ia tCllt 001 music or colour Or emotive 0. . . 0 1 0 _ , but ICmantcmes. H e
was certainly not indifferenl 10 those other thingl, but almOlt C\'CI')'Where me ukidoeoopic effecll of imagery io PUlMllIN
1Y. . . u and !
he peculiar texture of the writing are achieved, . . . in the bell of Sir Thoma. . Browne, by a massi,,, concentration of pun: denotation jostling around in a confined 'pace. Again, the puus . Ihou. . ld not be: judged by the wual criterion of willy effectiven. . . Mr. Atland Uaher u ntiWng the point when he oomplai. . . of the 'weakncsa' of a pun like 'Sea "a~t a pool' (338"41. ' Sometimes Joyce """tea verticaUy ruher than hori? zontally, hamumieally rather than contrapuntally, in wruch ea. e a clwter of pUll! may aU oontain internally iUuminating
L A . U . h << , ' I . , . , . . G . . . . . I ' W O - . . L o o d . . , . 'g~ ? ? p . ' ! I l I . ,.
? SOIm Asputs of Finneg(111s Wake
rdatiomhip", Su~h puns (xilt in their OWn right at . . ,If. . ufficienl liltle ideograms. A good example i. the word 'paltipsypote' (337. 2. ) from the '&ene in the Public', which neatly integrates 'pal', 'tipsy' and 'pote' into the idea of 'participating' in a round of Guinne",. But J oyce does not always write harmoni- cally, and just at the harmonic relationship" in a mu. iul fugue may very well be irrdevant, SO the vertical relationship" of the twO or more meanings within aJoycean pun are onen unimpor- tant, which can never be true of the everyday pun or humorow
intent. What always matte. . . mOSI is IhaL ill each enat: the pUll alSure the horizQTl\. a1 continuity of the various 'VQic<:s' in the passage. In the clUlmple which troubl. . Mr. U,sher there arc at least four voi=, hardly relatrd to each other (except in SO far as Fi1llutallS Wak, uhimatdy relates all conte:<U). but all carrying the matrix of the 'Butt and Tall"' epWe One step further. First, there i. the obvious content of the whole: 'Sev""topol', the scene of the shooting of the Russian G""erai; next, thc mOilt appal""t meaning of all pam tu"" as a d au. . ,: 'see a vast pool'. which . . t. abl"h. . tbe correspondence of the
battleo at Sevastopol and Dublin ('Black_poor), and the horm. . . of the Flood; there is probably an allusion to the 'apple' which brought about the original Fall and all ito VlUt consequences (the pun we are considering is plaerd at the beginning of the
'Butt and TalY' episode); and, finally, the first two word. con- tain the name ofSiva, the d. . troyer_god wbo presides over the . imaliuie a. pe<:to of the battle and . taughter. "n. . , pun i, there- fore rich in content and economic of 'pace SO that for Joyce'. purpo. . ,. il cannot in any. . ,me be called ""'u.
To punue the m. w. cal analogy a little further, Joyce often IlSC. 'I a group of purn to "",ate a kind of drone_base or pedal- point with which 10 accompany the whole development of a section and $0 provide it with a general ambiance, each p"n rontributing iIJ small quota of attllOi! phere. On~ aga. in there II no necessary ronnexion between Ihit atmoophcric f"nction of a pun and the rest of its control. Thw the river-nam. . in
'Anna Livia', the NO'""'<'gian vocabulary in 'The Norwegian C a p t a i n ' e p i s o d e ( 3 ' '"""3~), a n d t h e c i t y - n a m e s i n ' H a v e t h
,"
? &lilt Asptcts,yFi/UUgQJIS Wait
Childen Everywhere' (! i32-54), wb. ite they treate *' rich atTTlOllpbere, rardy have any other functional relationship to the 'peeial oonlatl in which they are embedded.
There it much that is funny in Fw. . . p>as Wah, bUI tbe hn. mour ia ",,,,,,Uy independent ef the punning, wllich it not onen U$Cd purely to tickle our. em( ef the grolesq~ Or to relcax the
belly. laugb. Indeed, after a few reading. all but a very few of the puns cease to amuse. Mr. Rober! Ryf finds that their oontinual flow ultimately cre:o. lCI an atmosphere of oadneo$, of painruJjocularity. ' but I think that for most pc'-Ient readefs of H1IJUIDIU IV,. ! ;, it would be truer to Jay lhat lhe word_play creates, in the Ions run, nQ emotionally charged u PlQSpllere at all. II oorncs to be &c<<plcd, just as the ordinary reader of an on:! inuy book aeccpts tbe usual oonvenrions oflanguag. :. Mter a few hundn:d pages we are . . . . . . Iurated with pUN that nothing surpriRl, nothing shocks; the mind'. ear take. pan-writing for gunled, the mind'. eye it f,xed in a pcrm:onent lIale ofmultiple
viIinn .
jOY~'1 vcrballucaa in FUw~1U Wah is due in par! 10 a
simple confidence-ui. :k. The univcru. lity ofhia themes and Ibe breadth of thcir treatment make virtually any vubal or sym- bolic felicity relevant 10 the lext 10 that an effect of brilliant appoIilen. . . . it IOmetima acbieved more eaaily than i. s at on<< apparent. If the pieces in a jia-saw punle are n'lade "". U enough and numerous enough, II. piece of a1motl any lhapc can be made to fit---apccially if the picture oonsil\! of lever. l lupcrimpc FE:l pattema. joyce'. eclectic method is open not ooly to fairly easy imitation, hut abo 10 constant extension within F_p>as Wahiadt. ManyreadenfedthattheycouldimptO\? c on niH. . . . of lb~ text, tightening up correspondences here and th~re and tbickening the texture Itill more. Mr. Niall Mont- gomery hu made oome arnusingluggationl. ' I'w. . . , <l1lS Wwit in fa<;l lhc most ouwanding U3mplc ofwhatean be done with
Hjd 11. . 111 colla", in literallIn. j oyce was quite unimpressed
, l\. , RyI', A St. /1 " 1 _ ' J_', ''''/roil''tJ. . ,t,t:! Jl. ,. r _ MOIl', Ann Arbor, '9~! h PI', "7. . . e (on miuo/iIm) .
? N. MOfitpoerr, 'Joyw:. Q. . . ;oo. . m tJ~. . ", Eoootr,,. "j. V, >>00 '7. p. ? ? .
? Some Aspnts ifFinMgans Wake
hy the vi<ual am, so that it il highly unlikely that he ",/fe. . w. any dircct infiw:nce from twenLieth-century painting techniques, but hi. method is nfu:n mikingly ,imilar. n;~ and pi= arc picked up and inC<'lrporated into the taturc with litde modification, whil~ the pre<:is~ nalurc of each individual fragment unot always of great importance.
bonk'. d<:I1oted content is fairly . "-Iy to ~cogrWc. The ,. . ,ader of FilUltganJ W. . . . . can ""ually be et:rtain that if he exercise, ,. . ,awnable (arc he will have little trouble in picking up any major all. w. on to ide. . and thing. wilb which he ;" familiar. The dilfu:ulty in understanding what went into the bonk Ii. . mainly in the intuprccalion of allusions to unfamiliar material, fur it is ! lO1 alway> e. . . y to know jmt where to look for the cxplanati(ln <>f an obscurity. Although b~ wanted 10 be read
and appre<:iattd, Jore<' also aimed at giving hi< audience the imprt:";Qn Ibat Ibere w. . . always IOmething more beyond what they had undt:r. ltood, >(Im. thing more to be Itriven for, and this is et:rtainly one realDn fur the 1:>o<,k'l gr<:at load of all. w. on and rcferenr,c. A< ~tr. J . S. Atherton h. . . pointed oul,' when J oy"" attempted to create a microoosmi~ equivalent of God's macro- <<osm, he forced hi""elf into the position of having 10 write a
work which w1>l1ld ~flect the ultimale ioucrucability of the unive. . . along with all its other characteristics, but tbis constant awattne>l on the part (If the reader that he h. . not grouped everything can be irritating, and iCe"" to accounl for some of the choleric ombu. . . ! :! againlt the book. I do nOI, howe""r, want to rcopen that tired old debate about whether it ;, all worth the dfon and whether ,nch intentional obKurity can be
artistically justified. It mwt by now, I dunk, be evident to all thaI there arc great literary tre~ures buried in Fimrtgmu Wake and that potentially al any n. te il is in the lame clau . . . Ulyms- whicl' immediately pu! :! it among the great bonk. . ofthe CC! llury - bul whether the riches are . ullicient to ""pay tbe coruider. ahle labour which m""t be expended to bring them 10 Ihe . urface mlUt very likely alway1 remain a malter of talle and
, Alh<t1on, p. "9.
"
? Sa~ kptfts ofFi1ll1t8ans Watt
ICmperamcnt. Fortunau:ly, like the lobotcn devoured by H. C. Ear. . . . . d:cr, the lw-dcst part ofFiatpM Wdt is iu shell. Beneath \. he l'IU. IIive superstructureofintcn'lOven motifs t. huciI a fundamental syntactical clarity and . implicity-KI much so, indeed, that oomp~ with \. he n. dicalliu:rary cxperimenu of the 1920', and 30'S Fin~ttQIIS Wab is almost conventional in style. All its technical advances arc dcvdopmentt-rcmarkable only in the ""ten! to which j oyce has pU$ho:d thc:TJ>--OI" ts\ab. lisbcd pra~ticc. joy<:e makes no a! tempt, for eumpLe, to break up the normal pror. . . . . . . . of word-. . ! OC;ation, nor to dispense with d aUIC-StruCture,'" do S<cin,j ol. . . . or the Dadais11. This under- lying oonxrv:aw,n is very dearly revealed in the nunu$Cripl3,
wheremostof\. hefirstdrafu,whichwn"C tobeencnutedlater with glittering o rnamentation, prove to have been wrillon 0 01 \ in the f1alles! communiutive proae.
I I : A R T O F P A N N I N G ( 18. j. . ~. . )
joyce Ita, been . "3Iiously praised and ""iled fOT filling hi. iatet" book:s witb litenory rubbish--<atci'? phr. ues, clicha, jour. naltle, popular lOngs, and the WOnt kind of guob from girll' . . . ? <<ltliel. II it undt:nU. ble that he round considcnblc dcLijjht in such trash, and a delight that was not alw. o. }", criticil. Some commentaton have certainly been too charitable to j oyce in implying that the bad operas, windy rhetoric, and . . ,ntiment,l dillieJ ,",re collected purely as lIylillie aunt-sallies, though at
us. . . l j oy" tU"'<<<Is, by hi. devious methods, in making functional ntaBity and uncritical delight go hand in haDd.
The primary energy which maintain. the highly cha r p poIaritiQ ofFu-gas Wdt iI su. mlted by cydeJ ofconstantly varied rcpetition- 'Thc Kim anew', u j oya pUB it (2 tS. 2S). The: ttronger the prc. . . ,. tablished tapectancy, the wider can be
the variations played on a word or motif. A pun u effective oaly when itt lint term is vividly prcpar. . :\ rD. by the contcxt. By OIling a vocabulary and "yle packed with well. worn uniu
J oyce iI ablt to play on what the psychologisB call the reader't 3'
? Strtm ASplds rifFi1l/Uglml Wakl
'readin",,'. As with tlle haMc 'tyl~, '" with the more Ipeci:. ol4cd mc:Ki. f! : ifJoyce build< Ihem up from familiar phl'alQ he is abdvcd from the need to CltaLllisb f. lUniliarily . . ith their ohape in the early part:I of Ihe book (which would be ou t of keeping in . . reaUy cyclie work) and is immediately able 10 make the widest punning acursions while n;m. aining , Ure orIlia readcn' PO""'" of . oxognil>on. The majority of the motifs listed in Ihe APf"'Ddix are in fact proverbs, calCh-phl'a$C$, and the ~mpty ~rbal formulae (]r~'Ulg:ar . pc<:eb.
The alential value cf the pun (If" portl1UJlleau-word in HIrtIIga1U Wa. b Ii. . OOt in ill elu,ive and luggesli. . . e qualitiet bul in its capacily to oonlprcsa much meaning into little space. T oo much ILu been written about the Stlggcstive, connolatiV'C
aspec'" of Hlf1Itgmu Walt and 100 liltle about the power of Joyce's new polyhedral vocabolary to accumulate denotation. In OOnl. . . . 110 Ihe effccl created by greM luggcstive wwb like
those: ofMaLlanne-with which Joyce', art h. . . ail110lt nothing io common-Ihe more one reado Fju,lfU'$ Wah and karns to recognilC how all the little bricks fil inlO the finUbed struClure. the ""'" suggati,. . , Ihe book tttnu. f. . arly impressioou of myftery aoo hypnolic inc. . nlation begin to wear a"'ay, and the tech- nique hegins to look mOT~ ! ike a . df-coruciou. lIylistic short- itand thart an appeal dire<:1 to the unOOll3Cioou mind M the car. Tite manuscripts. nowJO}tt in the pmc'! ofadding to h. ia tCllt 001 music or colour Or emotive 0. . . 0 1 0 _ , but ICmantcmes. H e
was certainly not indifferenl 10 those other thingl, but almOlt C\'CI')'Where me ukidoeoopic effecll of imagery io PUlMllIN
1Y. . . u and !
he peculiar texture of the writing are achieved, . . . in the bell of Sir Thoma. . Browne, by a massi,,, concentration of pun: denotation jostling around in a confined 'pace. Again, the puus . Ihou. . ld not be: judged by the wual criterion of willy effectiven. . . Mr. Atland Uaher u ntiWng the point when he oomplai. . . of the 'weakncsa' of a pun like 'Sea "a~t a pool' (338"41. ' Sometimes Joyce """tea verticaUy ruher than hori? zontally, hamumieally rather than contrapuntally, in wruch ea. e a clwter of pUll! may aU oontain internally iUuminating
L A . U . h << , ' I . , . , . . G . . . . . I ' W O - . . L o o d . . , . 'g~ ? ? p . ' ! I l I . ,.
? SOIm Asputs of Finneg(111s Wake
rdatiomhip", Su~h puns (xilt in their OWn right at . . ,If. . ufficienl liltle ideograms. A good example i. the word 'paltipsypote' (337. 2. ) from the '&ene in the Public', which neatly integrates 'pal', 'tipsy' and 'pote' into the idea of 'participating' in a round of Guinne",. But J oyce does not always write harmoni- cally, and just at the harmonic relationship" in a mu. iul fugue may very well be irrdevant, SO the vertical relationship" of the twO or more meanings within aJoycean pun are onen unimpor- tant, which can never be true of the everyday pun or humorow
intent. What always matte. . . mOSI is IhaL ill each enat: the pUll alSure the horizQTl\. a1 continuity of the various 'VQic<:s' in the passage. In the clUlmple which troubl. . Mr. U,sher there arc at least four voi=, hardly relatrd to each other (except in SO far as Fi1llutallS Wak, uhimatdy relates all conte:<U). but all carrying the matrix of the 'Butt and Tall"' epWe One step further. First, there i. the obvious content of the whole: 'Sev""topol', the scene of the shooting of the Russian G""erai; next, thc mOilt appal""t meaning of all pam tu"" as a d au. . ,: 'see a vast pool'. which . . t. abl"h. . tbe correspondence of the
battleo at Sevastopol and Dublin ('Black_poor), and the horm. . . of the Flood; there is probably an allusion to the 'apple' which brought about the original Fall and all ito VlUt consequences (the pun we are considering is plaerd at the beginning of the
'Butt and TalY' episode); and, finally, the first two word. con- tain the name ofSiva, the d. . troyer_god wbo presides over the . imaliuie a. pe<:to of the battle and . taughter. "n. . , pun i, there- fore rich in content and economic of 'pace SO that for Joyce'. purpo. . ,. il cannot in any. . ,me be called ""'u.
To punue the m. w. cal analogy a little further, Joyce often IlSC. 'I a group of purn to "",ate a kind of drone_base or pedal- point with which 10 accompany the whole development of a section and $0 provide it with a general ambiance, each p"n rontributing iIJ small quota of attllOi! phere. On~ aga. in there II no necessary ronnexion between Ihit atmoophcric f"nction of a pun and the rest of its control. Thw the river-nam. . in
'Anna Livia', the NO'""'<'gian vocabulary in 'The Norwegian C a p t a i n ' e p i s o d e ( 3 ' '"""3~), a n d t h e c i t y - n a m e s i n ' H a v e t h
,"
? &lilt Asptcts,yFi/UUgQJIS Wait
Childen Everywhere' (! i32-54), wb. ite they treate *' rich atTTlOllpbere, rardy have any other functional relationship to the 'peeial oonlatl in which they are embedded.
There it much that is funny in Fw. . . p>as Wah, bUI tbe hn. mour ia ",,,,,,Uy independent ef the punning, wllich it not onen U$Cd purely to tickle our. em( ef the grolesq~ Or to relcax the
belly. laugb. Indeed, after a few reading. all but a very few of the puns cease to amuse. Mr. Rober! Ryf finds that their oontinual flow ultimately cre:o. lCI an atmosphere of oadneo$, of painruJjocularity. ' but I think that for most pc'-Ient readefs of H1IJUIDIU IV,. ! ;, it would be truer to Jay lhat lhe word_play creates, in the Ions run, nQ emotionally charged u PlQSpllere at all. II oorncs to be &c<<plcd, just as the ordinary reader of an on:! inuy book aeccpts tbe usual oonvenrions oflanguag. :. Mter a few hundn:d pages we are . . . . . . Iurated with pUN that nothing surpriRl, nothing shocks; the mind'. ear take. pan-writing for gunled, the mind'. eye it f,xed in a pcrm:onent lIale ofmultiple
viIinn .
jOY~'1 vcrballucaa in FUw~1U Wah is due in par! 10 a
simple confidence-ui. :k. The univcru. lity ofhia themes and Ibe breadth of thcir treatment make virtually any vubal or sym- bolic felicity relevant 10 the lext 10 that an effect of brilliant appoIilen. . . . it IOmetima acbieved more eaaily than i. s at on<< apparent. If the pieces in a jia-saw punle are n'lade "". U enough and numerous enough, II. piece of a1motl any lhapc can be made to fit---apccially if the picture oonsil\! of lever. l lupcrimpc FE:l pattema. joyce'. eclectic method is open not ooly to fairly easy imitation, hut abo 10 constant extension within F_p>as Wahiadt. ManyreadenfedthattheycouldimptO\? c on niH. . . . of lb~ text, tightening up correspondences here and th~re and tbickening the texture Itill more. Mr. Niall Mont- gomery hu made oome arnusingluggationl. ' I'w. . . , <l1lS Wwit in fa<;l lhc most ouwanding U3mplc ofwhatean be done with
Hjd 11. . 111 colla", in literallIn. j oyce was quite unimpressed
, l\. , RyI', A St. /1 " 1 _ ' J_', ''''/roil''tJ. . ,t,t:! Jl. ,. r _ MOIl', Ann Arbor, '9~! h PI', "7. . . e (on miuo/iIm) .
? N. MOfitpoerr, 'Joyw:. Q. . . ;oo. . m tJ~. . ", Eoootr,,. "j. V, >>00 '7. p. ? ? .
? Some Aspnts ifFinMgans Wake
hy the vi<ual am, so that it il highly unlikely that he ",/fe. . w. any dircct infiw:nce from twenLieth-century painting techniques, but hi. method is nfu:n mikingly ,imilar. n;~ and pi= arc picked up and inC<'lrporated into the taturc with litde modification, whil~ the pre<:is~ nalurc of each individual fragment unot always of great importance.
