Who is Dreaming Finnegans Wake?

Going to the symposium last week reminded me of J.S.Atherton's wonderful lecture, 'The Identity of the Sleeper', which he gave at the very first James Joyce Symposium, at the Gresham Hotel, on Bloomsday in 1967.

James Stephen Atherton (1910–85) was an English scholar, from Wigan, whose 1959 work, The Books at the Wake, is my favourite of all the critical works on Finnegans Wake. He's also the subject of Dottir of her Father's Eyes, the graphic memoir by his daughter, Mary Talbot, illustrated by Bryan Talbot.

Here's the text of Atherton's lecture, as given in A Wake Newslitter Vol IV no 5, October 1967.
 
'I do not wish to deny any of the theories which have been put forward as to the identity of the dreamer: they are all true up to a point. For, as I see FW it is everyone’s dream, the dream of all the living and the dead. Many puzzling features become clear if this is accepted. Obviously we will hear many foreign languages: Chinese will be prominent if we know Chinese; German if we know German, and so on. The Wake never stops: the last sentence circles round to become the first and the whole work revolves to reflect the nature of the world of sleeping humanity which travels around with the dark side of the globe—“the owl globe” (6.29), that is to say the dark side, where the bird of night flies, “wheels in view”. So it is that Shaun, about whom we are all dreaming, can be told, “thou art passing hence, … ere the morning of light … to the inds of Tuskland … ” (427.18), and we visit, or seem to hear from Australia, America, and New Zealand. This is the space aspect.

This is the best book on Finnegans Wake!

Now for the time aspect. Joyce wrote in Scribbledehobble, “Dream thoughts are wake thoughts of centuries ago.”  Shakespeare’s thoughts, Dante’s thoughts, circle around in the Wake along with those of all other writers. Each of the characters we are dreaming of shifts and changes, for they are made up by and of all characters; yet “There are in a way no characters. It’s like a dream.” So Joyce told a journalist named Vinding in Copenhagen (Ellmann, 709). He seems to have seen himself as catching these drifting fragments and combining them, “sewing a dream together” (28.7), as one of his characters says. And I must mention little Nuvoletta who “made up all her myriads of drifting minds in one”. (159.7).

To my mind, the most revealing statement Joyce ever made about his work was: “Really it is not I who am writing this crazy book. It is you, and you, and you, and that man over there, and that girl at the next table.” (Givens, p.13, quoted Kenner, Dublin’s Joyce, p.327). This is stressed, once you start looking for it, in the Wake itself. It is “us.” who are brought back to “Howth Castle and Environs” in the third line of the book. The washerwoman says: “of course, we all know Anna Livia”. It is easy to miss the “we”. Chapter 2 has “we are back” in line 3. In fact all the first five chapters use “us” or “we” by the ninth line at the latest—and the sixth chapter ends “Semus sumus.” We are Shem. All of us. The phrase “us, the real Us” occurs twice (62.26; 446.36); and when one episode ends it is “we” who are left “once amore as babes awondering” (336.16) .Joyce wrote to T. S. Eliot about “the marvellous monosyllable” SIC he had added to the margin beside “Whom will comes over.” (260.4), and the first line of this chapter is “As we there are … ” In fact the Wake is an event in which “the all gianed in with the shoutmost shoviality” (6.18). You expect it to say “They all” and rnost people read it as “They all”, but it is “the all” that Joyce wrote: everybody joined in.

Frank Budgen has written that a dream he once described to Joyce seemed to him to have started Joyce off on the theme of the Wake. It seems likely to me that Mr. Budgen is right; I am certain that Joyce wanted him to think that his dream was in the Wake, for he wanted all dreams to be there. Budgen gives, in his James Joyce and the Making of Ulysses, a quotation from De Quincey’s The English Mail Coach: “In’ dreams …each child of our mysterious race completes for himself the story of the original fall.” I am sure that Joyce suggested the extract to him, for it should read “treason” not “story”, and “treason” would not fit into Joyce’s view of the fall.

The obvious reaction in the 30’s to such a theory was to say that it was simply Jung’s “collective Unconscious.” Joyce indignantly denied this and has been taken as denying that his book concerns the collective unconscious. What he was denying was any influence from Jung for he saw the theory as much older than Jung. There is not time to discuss his sources, partly Eastern writings, partly from Yeats. Certainly Joyce read with interest everything Jung wrote including the references to “Images in the great memory stored” or “out of Anima Mundi”, and knew the importance Yeats assigned in “Towards Break of Day” to the sharing of a dream between two people. It was this aspect of Yeats’s work Joyce most admired, the Yeats who wrote that “the borders of our minds are always shifting, tending to become part of the universal mind.” And Joyce’s use of Yeats has never been adequately studied. For example Bloom’s famous remark about love being “the opposite of hate” comes from Yeats (Mythologies, p.365: “The books say that our happiness comes from the opposite of hate, but I am not certain, for we may love unhappily.”).

It is the universal mind which Joyce assumes as the identity of the dreamer; he, of course, is writing it all down but everyone else contributes. Sometimes the contributions are those of “the … intermisunderstanding minds of the

Teilhard de Chardin

anticollaborators” (118.25), but they are made all the same. The idea may seem strange. Like many of Joyce’s ideas it is spreading. The Jesuit biologist, Teilhard de Chardin, wrote “Taken in its entirety, the living substance spread over the earth—from the first stages of its evolution—traces the lineaments of one single and gigantic organism. To see life properly we must never lose sight of the unity of the biosphere that lies beyond the plurality and essential rivalry of individual beings.” I can suggest no better introduction to FW than Teilhard’s The Phenomenon of Man from which these words are taken.

One final word about my theory. It may also give the Wake (I say this with some diffidence) a purpose and a message. Joyce is saying that mankind is one. We are “humble indivisibles in this grand continuum” (472.30). It is customary, or was until a year or so ago, to speak of Joyce as entirely uninterested in politics. He was an ardent pacifist; he saw the world as a single family. Can we not also see it as one in which it is time the boys grew up and stopped fighting? If so the Wake is not a “crazy book” but a work of importance for all of us. But I don’t insist on this. If I have persuade you to try reading the Wake again with the idea that you, and everyone else, is sharing in it, my visit here has been worthwhile.
 
Addenda for AWN readers.

This version omits the first two paragraphs which outlined the theories  previously set forward by Edmund Wilson et al. on the identity of the dreamer. I did not read out the references given here. Owing to shortage of time I omitted some sentences from my original script. The only one I wish to add here should have followed “German if we know German and so on”. It read: Much work has been done lately in identifying and translating these foreign words. It was felt that if all these were explained the “secret of the Wake” would somehow be revealed. But they turned out, in general, to be saying again what the rest of the context in which they occurred was saying. In a word like that describing Anna Livia’s “Vlossyhair” (265.21) “vlossy” is simply the Polish for hair, although, of course it suggests flossy. The phrase “a bad of wind and a barran of rain” (365.18) includes the Turkish and Arabic words bad for wind and baran for rain. If you don’t recognise the foreign words the same meaning still comes over, but less complexly. The important thing is to know that everyone is joining in.'

From Mary Talbot's book. That's a British Library reader's card

An English Murder in Finnegans Wake

Frederick Bywaters (left) with the Thompsons

Here's an extraordinary photograph of a love triangle, taken in July 1921. It shows Edith Thompson sitting between her lover, Frederick Bywaters, and her husband Percy. They seem unaware of the camera. Yet it looks as posed as a painting by Jack Vettriano,

On 3 October 1922, the Thompsons were returning to their Ilford home after a night watching a Ben Travers farce at London's Criterion theatre, when Bywaters leaped out of the bushes and fatally stabbed Percy. 

Bywaters, who was quickly arrested, freely admitted his guilt. He told the police, 'The reason I fought with Thompson was because he never acted like a man to his wife. He always seemed several degrees lower than a snake.'  

Edith soon found herself accused alongside her lover. The police found more than sixty love letters she had sent him, in which she fantasised about Percy's death, and talked about giving him ground-up light bulbs to drink. When the couple were tried together, public sympathy was on the side of Bywaters, who was seen as having been manipulated by an older femme fatale.

They were found guilty, and hanged at exactly the same time, on 9 January 1923, in Holloway and Pentonville prisons. Edith fainted, and had to be held upright on the gallows by four warders. Her hangman, John Ellis, was traumatised by the execution and later killed himself. Bywaters' last words on the scaffold were, 'They are hanging an innocent woman'.      

'The mystery man is the husband.' James Joyce

James Joyce was fascinated by the case, which he followed in the English newspapers. He discussed it with his young Irish friend, Arthur Power:

'–The mystery man in the case is the husband, remarked Joyce, the immovable mass before the irresistible force so deeply bedded in his habits that anything outside seemed to him unreal: and of him we have no clear picture. But one thing I am certain of is that if all this had happened in France they would not have been executed, and I think that English justice was at fault in trying them side by side....I think it was gruesome and inhuman for the judge to try them the way he did....There was no real evidence against her,  in spite of all her letters saying she had given her husband this, and there was not a trace of any poison, glass etc., found in his body, and it took Bywaters' six-shilling knife to finish him off. Also at the trial she swore she had given her husband nothing, and it was all fantasy...for her mind was evidently full of the stuff she had been reading, while she wrote those letters to make her seem romantic in his eyes because in turn he used to taunt her with descriptions of his life while on his voyages.  
   As a picture I can see it all clearly, Ilford – the dark streets with dim lights showing behind the yellow window-blinds, and from a distance a soft wind coming up with a raw smell of fish and chips on it, the Thompsons walking arm in arm under the trees when this young man suddenly dashes out and stabs him, her crying and wailing, and her search, or pretended search, for help. I can smell the English effluvia here – and it reminds me...yes...of the Strand, say, on a Saturday night, the huddles of people in the passage outside the pubs; the sudden fights; the traffic-weary streets; the arc-lights shining down on the muddy tramped pavements. I remember how I disliked it all and I decided that I could never have become part of English life...'
                                                Arthur Power, Conversations with James Joyce, 1974 

From René Weis' Criminal Justice which is online here

Joyce uses the case repeatedly in Finnegans Wake. So Bywaters's description of Percy as 'several degrees lower than a snake' can be found on page 36: 'a creature in youman form who was quite beneath parr and several degrees lower than yore triplehydrad snake.'

FREDERICK BYWATERS AND ST KEVIN

In the spring and summer of 1923, only a few months after the lovers were hanged, Joyce wrote the earliest sketches for Finnegans Wake.  They included this comic hagiography on the childhood of St Kevin of Glendalough:

'Shortly after having swum into this vale of tears the little stranger Kevineen delighted himself by sporting with the sponge on tubbing night. As a growing boy under the influence of holy religion which had been instilled into him across his grandmother old Mrs Jones's knee he grew more and more pious and abstracted like the time God knows when, ejaculating for forty days indulgence and ten quarantines, he sat down on the plate of mutton broth.

He simply had no time for girls and things and often used to say to his dearest mother and dear sisters as how his dearest mother and dear sisters were good enough for him.  Of him we are further told that at the age of six he wrote a school prize essay on kindness to freshwater fish.'

In a brilliant piece of literary detection, Vincent Deane discovered that the source for this was an interview with Bywaters' mother, published in December 1922:

'It was only last year that we knew of his friendship with Mrs. Thompson, and, as far as I know, she was the first woman outside his family circle he ever cared for. In his young days he simply had no time for girls. He used to say that his sisters were good enough for him, and that there was no girl in Manor Park to equal them....His school reports always bore high marks, and he won quite a number of prizes and certificates, especially for essay-writing. One essay I shall always remember. The subject was “Kindness to Dumb Animals,” and it gained for him the first prize in his class.'

'My Boy's Life: By His Mother', The Daily Sketch, 15 December 1922

THE PLEBISCITE

Vincent Deane discovered another article in The Daily Sketch of the 14 December 1922, also used by Joyce. The newspaper placed the blame for the crime on Edith and organised a petition for the reprieve of Bywaters.  Over a million people signed the petition.

In the article, 'Petition for the Reprieve of Bywaters is Ready Today', members of the public were asked for their opinion about Bywaters' guilt. Joyce used this as the basis for his 'Plebiscite' section (pages 58 on), where members of the public give their verdict on the guilt of HCE.

Here's a quote from the newspaper, followed by Joyce's comic and surreal transformation of it in the Wake: 

'Three soldiers were walking together in Fleet-street; one gave an opinion in which all concurred. It was the woman who was to blame. Bywaters played a bad part in the crime, but he was coerced. He proved himself a man afterwards.' Daily Sketch
 

'Tap and pat and tapatagain, (fire firstshot, Missiers the Refuseleers! Peingpeong! For saxonlootie!) three tommix, soldiers free, cockaleak and cappapee, of the Coldstream. Guards were walking, in (pardonnez-leur, je vous en prie, eh?) Montgomery Street. One voiced an opinion in which on either wide (pardonnez!), nodding, all the Finner Camps concurred (je vous en prie, eh?). It was the first woman, they said, souped him, that fatal wellesday, Lili Coninghams, by suggesting him they go in a field.'  58.23

 

Here's the Daily Sketch again:

'A dustman named Churches, in the employ of the City Corporation, said:— "We have been discussing the case at our wharf, and most of the fellows will sign the petition; in fact, I believe we shall all sign it. Bywaters is only a young fellow, and ought to be let off the death sentence. The woman dominated him and led him astray.'  

In the Wake, this became:

'A dustman nocknamed Sevenchurches in the employ of Messrs Achburn, Soulpetre and Ashreborn, prairmakers, Glintalook, was asked by the sisterhood the vexed question during his midday collation of leaver and buckrom alternatively with stenk and kitteney phie in a hash-housh and, thankeaven, responsed impulsively: We have just been propogandering his nullity suit and what they took out of his ear among my own crush. All our fellows at O’Dea’s sages with Aratar Calaman he is a cemented brick, buck it all!' 59.16

'Miss Sheila Courtenay, who is appearing in “The Cat and the Canary” at the Shaftesbury Theatre, put the same view: “I do sincerely hope,” she said, “that Bywaters will not be hanged. He is very young, and was egged on by a woman older than himself to do what he did. And then he has been so wonderful in his behaviour at the Old Bailey.”'  Daily Sketch

This inspired the Wake's actress ('One of our coming Vauxhall ontheboards who is resting for the moment' 58.33) who says 'it has been such a wanderful noyth untirely' 59.13

'A taxicab driver: Bywaters is a silly young fellow, but he ought not to pay the full penalty.'  

Daily Sketch

'A more nor usually sober cardriver, who was jauntingly hosing his runabout, Ginger Jane, took a strong view.' 59.24

'A sailor, on the Embankment, was encouraged to speak by his fiancée, and said: I think the woman was more to blame than Bywaters, but I think there was someone else in it.' Daily Sketch

'Meagher, a naval rating, seated on one of the granite cromlech setts of our new fishshambles for the usual aireating after the ever popular act, with whom were Questa and Puella, piquante and quoite, (this had a cold in her brain while that felt a sink in her summock, wit’s wat, wot’s wet) was encouraged, although nearvanashed himself, by one of his co-affianced to get your breath, Walt, and gobbit and when ther chidden by her fastra sastra to saddle up your pance, Naville, thus cor replied to her other’s thankskissing: I lay my two fingerbuttons, fiancee Meagher, (he speaks!) he was to blame about your two velvetthighs up Horniman’s Hill — as hook and eye blame him or any other piscman? — but I also think, Puellywally, by the siege of his trousers there was someone else behind it — you bet your boughtem blarneys — about their three drummers down Keysars Lane. (Trite!).'  61.13

In the first draft, from the Digital Archive, Joyce's text was very close to the source: 

'Three soldiers of the Coldstream Guards were walking in Montgomery street. One gave an opinion in which all concurred. It was the women, they said, he showed himself a man afterwards. A coming actress who has been called by 1 critic ‘a vestpocket Siddons’ was interviewed in a beauty parlour and while righting her cartwheel hat, said she hoped he would get an Xmas pardon as the world had been unkind to him. Then he has been so truly wonderful, she added. A dustman named Churches in the employ of Bullwinkle and McTigue was asked the question in a hashhouse and replied: We have just been discussing the case. All the fellows say he is a gameya one. A taxidriver took a strong view and said: Earywigger is a damned scoundrel in private life but folks say he has parliamentary privilege. A barmaid: it would be a shame to jail him on account of his health. Brian Linskey the boy curser, was questioned & gave a snappy comeback: I'm for caveman sex life, curse it! Them two whores ought to get strangled or axed. Mrs Ida Wombwell, the 17 old daring revivalist said of the fusiliers incident with the rosiest of cheeks: That man is a brute — but he is a magnificent brute. Sylvia Silence, the girl detective, said when told of all the facts:  Have you thought Greatness was his tragedy but he should pay the full penalty. The ends of justice must not be earwigged. A sailor seated on the granite setts of the fish market, was encouraged to speak by his fiancée & said I think he was to blame about the two slaveys |bas he had a perfect right, but I think there was someone else behind it about the 3 drummers.'

 

EDITH AND THE VOICE OF ISSY

In 1931, Joyce read Filson Young's 1923 book of the Trial, which presents the execution of Edith as a miscarriage of justice:

'Bywaters was not the innocent young lad that his defenders presented to the jury; Edith Thompson was not the corrupt, malignant sorceress portrayed by the prosecution.... Bywaters, as I read his character, was totally devoid of imagination; actions were his only realities. Edith Thompson had an excess of imagination. To her actions were unimportant. Her chief consciousness was hardly ever in what she was doing at. the time, but inhabited a world of dreams and make-believe.'

The book includes transcripts of Edith's letters, where she often addresses Bywaters as 'darlint'.  Just as Joyce used Bywaters as a model for Shaun (Kevin), he used Edith's letters in creating the voice of Issy.

Here's a key letter quoted on p.78 of the book, used in the cross-examination of Edith:

In Finnegans Wake, Joyce used this in a description of Issy, stuck with Chuff (Shaun) while pining for Glugg (Shem):

'If he's at anywhere she's therfor to join him. If it's to nowhere she's going to too.'  226.08

A few lines later, we have the chilling phrase, 'Glugg's got to swing' (226.20).

There's another echo, of 'like things are', in a few pages:

'Stop up, mavrone, and sit in my lap, Pepette, though I'd much rather not. Like things are m.ds. is all in vincibles' 232.25-6

'm.ds' is probably an abbreviation of 'my darlingest'.  The echoes of this letter were spotted by Adaline Glasheen in  her Third Census of Finnegans Wake, 1977.

Here's Issy speaking:

'My latest lad’s loveliletter I am sore I done something with. I like him lots coss he never cusses. Pity bon- hom. Pip pet. I shouldn’t say he’s pretty but I’m cocksure he’s shy. Why I love taking him out when I unletched his cordon gate. Ope, Jack, and atem! Obealbe myodorers and he dote so. He fell for my lips, for my lisp, for my lewd speaker. I felt for his strength, his manhood, his do you mind? There can be no candle to hold to it, can there?' 459.33

This echoes another letter on p187 of the trial book.

Here's Issy again:

'As for she could shake him. An oaf, no more. Still he’d be good tutor two in his big armschair lerningstoel and she be waxen in his hands. Turning up and fingering over the most dantellising peaches in the lingerous longerous book of the dark. Look at this passage about Galilleotto! I know it is difficult but when your goche I go dead. Turn now to this patch upon Smacchiavelluti!' 251.21

This is taken from three of Edith's letters. Here she's describing a character in Robert Hichen's novel, The Slave:

'Aubrey — I could shake him — no go — no initiative of his own... oh an ass — nothing more'

The 'good tutor' comes from another letter:

 'I was told I was the vilest tempered girl living & "you used not to be, but you're under a very good tutor"'

The rest comes from this letter:

'Darlingest lover of mine, thank you, thank you, oh thank you a thousand times for Friday – it was lovely – its always lovely to go out with you. And then Saturday – yes I did feel happy – I didn’t think a teeny bit about anything in this world, except being with you – and all Saturday evening I was thinking about you – I was just with you in a big arm chair in front of a great big fire feeling all the time how much I had won – cos I have darlint, won such a lot – it feels such a great big thing to me sometimes – that I can’t breathe....It seems like a great welling up of love – of feeling – of inertia, just as if I am wax in your hands – to do with as you will and I feel that if you do as you wish I shall be happy, its physical purely and I can’t really describe it – but you will understand darlint won’t you? You said you knew it would be like this one day – if it hadn’t would you have been disappointed. Darlingest when you are rough, I go dead – try not to be please.'

Raphael Slepon's wonderful Finnegans Wake Extensible Elucidation Treasury website lists almost fifty uses of the case, including all the letter quotations. These were all identified by Vincent Deane in his article 'Bywaters and the Original Crime', which is online here.

Deane was able to identify Joyce's sources thanks to his working notebooks, now in the University of Buffalo. These Buffalo notebooks are full of lists of foreign words, overheard conversations, and phrases lifted from hundreds of books and newspapers, which Joyce used as the basic building blocks of his book. His notes on the newspaper reports of murder case are all in VI.B.10, dated to October 1922-January 1923. His notes from Edith's letters are in VI.B.33, from February-April 1931.

'I am quite content to go down to posterity as a scissors and paste man for that seems to me a harsh but not unjust description.'

Joyce to George Antheil, 3 January 1931.

'Every dimmed letter in it is a copy and not a few of the silbils and wholly words I can show you in my Kingdom of Heaven....The last word in stolentelling!' 424.32

The names Bywaters and Thompson never appear in Finnegans Wake. Without Joyce's notebooks, and the detective work of Vincent Deane and Adaline Glasheen, it's unlikely that anyone would have spotted the book's references to the famous murder case.  

So what was Joyce up to in writing a book in this extraordinary way? I think that J.S.Atherton provides the answer in The Books at the Wake:

'Joyce believed that his words were 'Words of silent power' (345.19)....The book was indeed his life and he believed that he was entrapping some part of the essence of life within its pages....Joyce was not in his own opinion simply writing a book, he was also performing a work of magic.'

In Joyce's mind, phrases taken from other sources carried over the power of those sources, which then charged Finnegans Wake with significance. Joyce told a party of friends, 'Really it is not I who am writing this crazy book. It is you, and you, and you, and that man over there, and that girl at the next table.'  

...and Edith Thompson and Frederick Bywaters.

Here's the whole Daily Sketch article, from Vincent Deane's article