tag:blogger.com,1999:blog-6657229330840382051.post3303984017826267325..comments2024-02-28T08:40:20.134+00:00Comments on From Swerve of Shore to Bend of Bay: Four Irish AccentsPeter Chrisphttp://www.blogger.com/profile/11206688095197843271noreply@blogger.comBlogger7125tag:blogger.com,1999:blog-6657229330840382051.post-59882050954979120612014-12-09T07:20:55.579+00:002014-12-09T07:20:55.579+00:00Joyce's omission of earth/water/fire/air from ...Joyce's omission of earth/water/fire/air from the schema is surprising. (Fweet doesn't find it at FW140 either.) Would you agree that Matt and John are villains compared to Mark and Luke? I'm thinking the (sexually active) Four in the song must be aspects of Tristan recycled from the 'lost' draft... http://fwakeorigins.blogspot.com/Tim Finneganhttps://www.blogger.com/profile/05837865678139104469noreply@blogger.comtag:blogger.com,1999:blog-6657229330840382051.post-88040279136421218212014-10-09T09:42:41.473+01:002014-10-09T09:42:41.473+01:00What if Joyce in Library chapter of Ulysses was ma...What if Joyce in Library chapter of Ulysses was making AE-Charybdis-Ulster, JE-Scylla-Leinster, Lyster-both-Munster, and Best-neither-Connacht? (The real birthplaces fit except for Best, but neither did he say "don't you know"-- so could that have been Joyce reassigning him?)Tim Finneganhttps://www.blogger.com/profile/17247114925548095003noreply@blogger.comtag:blogger.com,1999:blog-6657229330840382051.post-48188247331987738072014-08-01T17:52:30.935+01:002014-08-01T17:52:30.935+01:00http://fwpages.blogspot.com/2014/08/closereading-f...http://fwpages.blogspot.com/2014/08/closereading-first-drafts-of-book-two.htmlTim Finneganhttps://www.blogger.com/profile/17247114925548095003noreply@blogger.comtag:blogger.com,1999:blog-6657229330840382051.post-48856510401397720622014-07-22T11:44:57.429+01:002014-07-22T11:44:57.429+01:00I guess we're playing different games, then. ...I guess we're playing different games, then. I have to struggle with all appearances of randomness, convinced that Joyce's power comes from his analytic foundations...Tim Finneganhttps://www.blogger.com/profile/17247114925548095003noreply@blogger.comtag:blogger.com,1999:blog-6657229330840382051.post-43282657877439944242014-07-22T11:32:12.653+01:002014-07-22T11:32:12.653+01:00You can get the brilliant Jim Norton recording fro...You can get the brilliant Jim Norton recording from Naxos audiobooks<br /><br />http://www.naxosaudiobooks.com/596012.htmPeter Chrisphttps://www.blogger.com/profile/11206688095197843271noreply@blogger.comtag:blogger.com,1999:blog-6657229330840382051.post-39503445521489668582014-07-22T10:20:53.938+01:002014-07-22T10:20:53.938+01:00Thanks! Joyce had no idea what Finnegans Wake woul...Thanks! Joyce had no idea what Finnegans Wake would be in 1923, when he wrote Mamalujo - he described it as a 'sidepiece'. Then, as Gorman says, the Viconian idea took shape: <br /><br />'As the idea possessed Joyce he began to see it as a work that fell into various parts, each of them loosely based on Vico's theory leavened with the metaphysics of Bruno. Part one would be curdling with the intertwining shadows and phantoms of the past and so corresponding to the Neapolitan's first institution of Religion or Birth; part two, the love games of the children, Marriage or Maturity; part three, the four levels of sleep, Burial or Corruption; and part four, the beginning of the day, Vico's Providence.'<br /><br />This showed him where to include Mamalujo in the book - at the end of Bk 2, whose institution is Marriage - fitting Tristan and Iseult. Bk 2 is also structured according to a human life, from childhood games to old age - so Mamalujo, as a treatment of senility, had to go at the end of Book 2.<br /><br />I think 'loosely' is a key word. Finnegans Wake grew organically, one piece leading to another (so the Johnny verse inspired other passages quoted above). David Hayman calls this 'nodality' - Joyce had 'primary nodes' of narrative, such as ALP's letter and Tristan and Iseult, which generated other bits of the book.<br /><br />See http://digicoll.library.wisc.edu/cgi-bin/JoyceColl/JoyceColl-idx?type=turn&entity=JoyceColl.HaymanWakeInTrn.p0055&id=JoyceColl.HaymanWakeInTrn&isize=M<br /><br />'I work as much as I can because these are not fragments but active elements and when they are more and a little older they will begin to fuse of themselves.’ (To Harriet Shaw Weaver, 9 Oct. 1923; Letters, I, p. 204)<br /><br />'It is like a mountain that I tunnel into from every direction, but I don’t know what I will find.’ To August Suter, quoted in Richard Ellmann, James Joyce.<br />Peter Chrisphttps://www.blogger.com/profile/11206688095197843271noreply@blogger.comtag:blogger.com,1999:blog-6657229330840382051.post-3479948516834613602014-07-21T17:14:48.122+01:002014-07-21T17:14:48.122+01:00I greatly admire the delicacy of this study... but...I greatly admire the delicacy of this study... but do you think it can shed much light on the greater structure of FW? Oughtn't they correspond to Viconian ages? Are there two Shems and two Shauns? Two Sackersons and two Kates? Do they relate differently to the sins they witness? Also, you might mention the reading is just 2.5min-- I wasn't sure what to expect. Is there an mp3 I can embed in my page 140? Earliest Mamalujo, recently discovered:<br />http://fwpages.blogspot.com/2014/03/the-lost-first-draft-of-finnegans-wake.htmlTim Finneganhttps://www.blogger.com/profile/17247114925548095003noreply@blogger.com