Good Friday with James Joyce

'one of the soldiers with a spear pierced his side, and forthwith came there out blood and water' John 19:34

 
Today is Good Friday, though the churches are empty of worshippers because of the Corona Lockdown. Stay home, save lives, read Finnegans Wake!

Holy Week was the one time of the year when James Joyce would visit a Catholic church. Although he lost his faith, he always kept his love for Church ritual and music, telling his brother Stanislaus c1900, 'The Mass on Good Friday seems to me a very great drama.'

Strictly speaking, there is no mass on Good Friday.  But, until 1955, the Good Friday service was called the Mass of the Presanctified, in which the priest elevated a sacrament consecrated and reserved at an earlier mass.  

In 1955, Pope Pius XII ended the Mass of the Presanctified and also instituted the custom of offering the Holy Communion to the faithful. The sense of watching a drama would have been stronger in Joyce's day, when the worshippers' role was to watch the priest alone receiving the sacrament.

Here's Stanislaus Joyce:

'The Mass of the Presancitifed...was introduced, I believe, in the fifth or sixth century, no doubt to supplant the dramatic interest of the pagan mysteries, which the people still missed. It was as a primitive religious drama that my brother valued it so highly. He understood it as the drama of a man who has a perilous mission to fulfil, which he must fulfil even though he knows beforehand that those nearest to his heart will betray him. The chant and words of Judas or Peter on Palm Sunday: 'Etsi omnes scandalizata fuerint in te, ego numquam scandaizabor' ('Even if all fall away on account of you, I never will” Matthew 26:33) moved him profoundly. He was habitually a very late riser, but wherever he was, alone in Paris or married in Trieste, he never failed to get up in all weathers to go to the early morning Mass on Holy Thursday and Good Friday.'

My Brother's Keeper 117-118 

Stephen talks with Cranly about the drama of this ceremony in Stephen Hero:
 
'Isn’t it strange to see the Mass of the Presanctified — no lights or vestments, the altar naked, the door of the tabernacle gaping open, the priests lying prostrate on the altar steps? ...Don’t you think the Reader who begins the mass is a strange person. No-one knows where he comes from: he has no connection with the mass. He comes out by himself and opens a book at the right hand side of the altar and when he has read the lesson he closes the book and goes away as he came. Isn’t he strange?'

Renzo Crivelli quotes Joyce's sister, Eileen, who followed him to Trieste:

'He used to go to the Greek Orthodox Church because he liked the ceremonies better there. But in Holy Week he always went to the Catholic Church.' 

Triestine Itineraries

Alessandro Francini Bruni, a close friend in Pula and Trieste, confirms this:

'You had better not look for Joyce during the week before Easter because he is not available to anyone. On the morning of Palm Sunday, then during the four days that follow Wednesday of Holy Week, and especially during all the hours of those great symbolic rituals at the early morning service, Joyce is at church, entirely without prejudice and in complete control of himself, sitting in full view and close to the officiants so that he won't miss a single syllable of what is said, following the liturgy attentively in his book of Holy Week services, and often joining in the singing of the choir.

  Joyce would not sacrifice a minute of this annual pleasure, not even for an intellectual kingdom.'

Alessandro Francini Bruni, 'Joyce Stripped Naked in the Plaza', Portraits of the Artists in Exile, pp35-36

Ellmann, citing Joyce's sisters, has him standing in the corner rather then close to the officiants:

'During Holy Week he behaved in a way that seemed odd to his sisters. Too fond of the liturgy and music to forgo them, but determined to make clear his indifference, he avoided going with Eileen and Eva or sitting with them. Instead he came by himself and stood in a corner; and when the mass was over left quietly without waiting. He...made clear that his own motive was esthetic, not pious.'

Ellmann p 309-10

Crivelli also quotes a lecture from Stanislaus Joyce on his brother's attitude to Catholicism:

'Something in the pomp and ceremony with which the legend of Jesus is told in the offices of the Church impressed him profoundly, but on almost all the fundamental tenets of belief his attitude to Catholicism was more like that of the gargoyles outside a cathedral than of the saints within it.'

Joyce felt contempt for the priests who administered the services he loved, describing them in Stephen Hero as 'black tyrannous lice.' Here's his clearest statement of his attitude to religion:

'I profess no religion at all. Of the two religions, Protestantism and Catholicism, I prefer the latter. Both are false. The former is cold and colourless. The second-named is constantly associated with art; it is a 'beautiful lie' – something at least.'

Joyce to Georges Borach, 21 October 1918 ('Conversations with James Joyce')

'His anti-religious convictions were unshakable. I had come back from a talk with his daughter, who seemed to be interested in knowing something about Catholic dogma. Joyce, on hearing this, grew suddenly quite violent and said: 'Why should a young woman bother her head about such things? Buddha and Confuscius and all the others were not able to understand anything about it. We know nothing, and never shall know anything...'

Eugene Jolas, 'My Friend James Joyce' in Givens (ed), James Joyce:Two Decades of Criticism, 1948, p.12.

TENEBRAE

'On Spy Wednesday night Cranly and Stephen attended the office of Tenebrae in the Pro-Cathedral They went round to the back of the altar and knelt behind the students from Clonliffe who were chanting the office.'      

Stephen Hero

The most dramatic part of Easter for Joyce was the Tenebrae (darkness). Until 1955, this was the morning prayer on Thursday, Friday and Saturday of Holy Week, also performed on the previous evenings. The candles of the church were extinguished one by one and a last candle, representing Christ, was hidden behind the altar. 

'Now from the sixth hour there was darkness over all the land unto the ninth hour.'
Matthew 27:45

In total darkness, the celebrants made a terrifying banging noise, called 'strepitus' (great noise/uproar), by knocking on the choir stalls.  This represented universal confusion and terror at the death of Christ, and the earthquake at Calvary.

'And, behold, the veil of the temple was rent in twain from the top to the bottom; and the earth did quake, and the rocks rent' 

Matthew 27:51

Imagine how this felt to Joyce, with his fear of thunder. Perhaps this service was the reason for his astraphobia?

Joyce's sister Eileen passed on a story about the strepitus to her own daughter Bozena:

'Mamma remembered that while Jim was quite young he was so frightened by Tenebrae on Good Friday that he ran away.'

Bozena Berta Delimata, 'Reminiscences of a Joyce Niece,' James Joyce Quarterly, Fall 1981, p54

Joyce also mentions this in Stephen Hero:

'— Do you like the services of Holy Week? said Stephen. 
— Yes, said Cranly. 

 — They are wonderful, said Stephen. Tenebrae — it’s so damned childish to frighten us by knocking prayerbooks on a bench.'

In April 1903, Joyce in Paris wrote home asking for a book to be sent to so that he could follow the French service:

'Dear Mother. . . . Tell Stannie to send me at once ... a Holy Week Book....large black print and no references. He will understand....Send Holy Week Book in time for Tenebrae on Wednesday.

Letters II, 40

Joyce went to the service again on Good Friday:

'He attended mass that day at Notre-Dame, standing in the rear of the church to compare, with the aid of a missal from Ireland, the French style of Tenebrae. Then he took a long walk through the streets of Paris, and did not return to his little room at the hotel until late that night. A telegram was waiting for him, and he opened it with foreboding. It read, 'MOTHER DYING COME HOME FATHER.''

Ellmann, 128

Joyce also wrote a poem called 'Tenebrae' in 1901, known only from its title in a letter to Stanislaus (Letters II,10).

THE BANNERS OF THE KING GO FORTH

Joyce loved the music of Holy Week, in particular the processional hymn, Vexilla Regis (Banners of the King), sung at Vespers. This was written in 569 CE by Venantius Fortunatus, Bishop of Poitiers and hymnogapher at the Merovingian court.

In A Portrait of the Artist, discussing the music of Holy Week with Lynch, Stephen praises the Vexilla Regis:

'(Aquinas) wrote a hymn for Maundy Thursday. It begins with the words Pange lingua gloriosi. They say it is the highest glory of the hymnal. It is an intricate and soothing hymn. I like it; but there is no hymn that can be put beside that mournful and majestic processional song, the Vexilla Regis of Venantius Fortunatus. 

Lynch began to sing softly and solemnly in a deep bass voice: 

Inpleta sunt quæ concinit
David fideli carmine
Dicendo nationibus
Regnavit a ligno Deus.

—That’s great! he said, well pleased. Great music' 

IMPROPERIA

The Improperia (Reproaches) are a sung part of the Good Friday service, in which Christ reproaches his people for their ingratitude. 

'My people, what have I done to you? How have I offended you? Answer me! 
I led you out of Egypt, from slavery to freedom, but you led your Saviour to the cross.'

Joyce used this on pages 187-193 of Finnegans Wake, in which Shaun, directly reproaches his brother Shem. In the first draft, Joyce listed seven charges, and titled the section 'Improperia'.

EASTER 1938

On Good Friday in 1938, the young Swiss writer Jacques Mercanton visited Joyce in Paris:

"He told me that Good Friday and Holy Saturday were the two days of the year when he went to church, for the liturgies, which represented by their symbolic rituals the oldest mysteries of humanity.
  'I am going to work until 5:00 in the morning.  Then I will go to Saint Francis-Xavier's for the office. if you want to join me you will have to rise early....
  The following day, Holy Saturday, I reached Saint Francis-Xavier's at the moment of the blessing of the baptismal fonts. Joyce was standing among the group of men who had accompanied the priest into the side chapel. He was enveloped in a thick gray cape and carried a cane over his arm. His face was sad under his gray hair.  He was following the ritual from very close.  When the procession regained the altar, he walked slowly as far as one of the lateral aisles of the chrch and rested there, leaning against the grill. I joined him. He looked frightened, recognized me in the shadows by my voice, slipped his frail hand into mine. Then, as soon as the Mass began, he made a nervous impatient gesture and murmured in English, 'I have seen the rebirth of fire and water. Enough until next year. The rest is without interest.'
  And he walked rapidly away, his face set, while the Gloria burst out from the bell-towers.'

'The Hours of James Joyce' in Potts (ed), Portraits of the Artist in Exile p.215 

The 'rebirth of fire' is often referred to in Finnegans Wake,  where St Patrick is 'kindler of the paschal fire.' 128.33

'BLOOD THICKER THEN WATER, LAST TRADE OVERSEAS' 

Later that year, Mercanton met Joyce in Montreux, where they talked about a mysterious sentence in Finnegans Wake:

'I remembered a phrase Joyce had commented upon the day before in a voice full of nostalgia: 'Forth from his pierced part came the woman of his dreams, blood thicker than water, last trade overseas.' (FW 130.31-3)  Anna Livia, the river, the woman born of man's rib, and, through the proverb, the blood mixed with water that spurted from Christ's side at the blow of the spear, 'fluxit unda cum sanguine'. Last voyage and last return over the sea where every life comes to an end. There is the art of fancy for you, one that stirs the imagination in its most secret and intimate recesses.
   'I am very fond of that sentence,' said Joyce.'

'The Hours of James Joyce' in Potts (ed), Portraits of the Artist in Exile p.228

The sentence, written in the early 30s, is one of the epithets of HCE in the Questions and Answers chapter. Mercanton has slightly misquoted the line, which should say, 'forth of his pierced part came the woman of his dreams, blood thicker then water last trade overseas'. So blood flowed followed by water.

Mercanton's Latin is a slight misquotation of the 13th century chant Ave Verum Corpus:

'cuius latus perforatum

unda fluxit et sanguine.'

('from whose pierced side water and blood flowed')

The Vexilla hymn which Joyce loved has a similar verse:

Quae vulnerata lanceae
Mucrone diro, criminum,
ut nos lavaret sordibus,
Manavit unda et sanguine

('Whereon wounded beside by the sharp point of the cruel spear that he might cleanse us from sin he shed forth water and blood')

Joyce has 'blood thicker then water', following the order in John's Gospel 19:34: 'et continuo excivit sanguis et aqua'.

The blood and water flowing from Christ's side is prefigured by the creation of Eve from Adam's rib - the cause of the sin.

The creation of Eve from Orvieto Cathedral.

'For the producer...caused a deep abuliousness to descend upon the Father of Truants and, at a side issue, pluterpromptly brought on the scene the cutletsized consort...' 255.27

Joe Heschmeyer, the Catholic apologist, explains the parallels on his Shameless Popery blog:

'Just as the rib taken from Adam created his bride Eve, the Blood and Water flowing from Christ create His Bride, the Church. The Blood on the Cross is the same Blood offered in the Eucharist....And the water signifies the water of Baptism.'

Anna as the blood and water flowing from the wounded HCE shows her redemptive, cleansing role in the book. As a river, she carries away the waterborn rubbish of Dublin. The shirt brought back clean to HCE in the final monologue has been washed in the Liffey.

Mercanton met Joyce met again in Paris, on Holy Thursday in 1939, when he heard Joyce reciting the closing pages of the Wake  On Good Friday, Joyce, reminded of the Wake line by Mercanton, sang that verse from the Vexilla Regis:

'We walked the Terrace of the Invalides in the vernal gloom of a Parisian Good Friday.... Prompted by the night wind, both of us buttoned up our overcoats and, to comfort us in the cold weather, I imagined the Oriental warmth of the first Good Friday.

'Warm? On no,' he said, 'they lighted a fire in the courtyard of the praetorium, quia frigus erat.'*

Stretching out his hands, he bent over an invisible fire. And I repeated that consecrated phrase: 'Forth from his pierced part came the woman of his dreams, blood thicker than water, last trade overseas.' ' That's true,' he said, 'today...' and, as in A Portrait of the Artist, he began to sing softly in a deep slow voice:

Quae vulnerata lanceae
Mucrone diro, criminum,
ut nos lavaret sordibus,
Manavit unda et sanguine'

I listened to that wonderful chant, the most distressing, the most consoling in the whole liturgy, for it celebrates the grief of God himself. It was the last time I was to hear Joyce sing.'

'The Hours of James Joyce' in Potts (ed), Portraits of the Artist in Exile p.245-246 

*Joyce quotes the Vulgate of St John's Gospel 18:18:

'Stabant autem servi et ministri ad prunas, quia frigus erat, et calefaciebant se: erat autem cum eis et Petrus stans, et calefaciens se.' (Now the servants and ministers stood at a fire of coals, because it was cold, and warmed themselves. And with them was Peter also, standing, and warming himself.)

Had he memorised the Vulgate? Our was this part of the service? 

 

James Joyce and Adolf Hitler: 'heal helper! one gob, one gap, one gulp and gorger of all!'

Hitler was on Time's cover many times, Joyce just twice

'The weather is not good, and worst of all the newsboys keep careering round the streets shouting out about 'L'Autriche'. I am afraid poor Mr Hitler-Missler will soon have few admirers in Europe apart from your nieces and my nephews, masters W. Lewis and E. Pound' 

28 July 1934 Letters III, 311

That's a letter from Joyce to Harriet Shaw Weaver from Spa in Belgium. Four days before, the Austrian Nazis had staged an unsuccessful coup in which they assassinated Chancellor Dolfuss. So Joyce calls Hitler 'Hitler-Missler' - a play on hit or miss.

In 1931, Wyndham Lewis had written sympathetically about Hitler before he came to power, even describing him as a  'Man of Peace'!  As for Ezra Pound, he told Yeats that all modern statesmen were scoundrels 'except Mussolini and that hysterical imitator of his, Hitler.'

Here's another letter, written in 1935 when the Joyce children were away from Paris, Giorgio in the USA and Lucia in Ireland:

'What can I honestly ask them to come back to? Paris is like myself a haughty ruin or if you like a decayed reveller. And any time I turn on the radio I hear some British politician mumbling inanities or his German cousin shouting and yelling like a madman. Perhaps Ireland and the U.S. are the safe places. And perhaps this is where the gas is really going to be turned on. Well so be it. The motto under my coat of arms, however, is: Mors aut honorabilis vita.'

To Harriet Shaw Weaver, 1 May 1935, Letters I, 376 

'Death or an honourable life' really is on the Joyce Coat of Arms.

Though Hitler missed toppling the Austrian government in 1934, he succeeded in 1938. 

On 17 March, four days after German troops marched into Austria, the Joyces were at a St Patrick's night party at Paul Léon's in Paris. Carola Giedion-Welcker described the conversation:

'The political sky in Europe seemed to be growing steadily darker, and so the discusion touched, of course, on National Socialist Germany, whereupon fears, suspicions, and curses were voiced by several of those present.  James Joyce had assumed a calm, pensive attitude, but suddenly he began to talk and declared in his objective and cool manner that Hitler was surely a historical phenomenon of colossal force that wouldn't be easy to cope with. The detached and emotionless way in which he spoke, as though referring to a personal adversary, particularly bothered the women present. Nora Joyce, who had listened to him intently, now suddenly jumped up, and while Joyce continued his calm, interested analysis of Hitler's personalty from the point of view of its immense force and drive, she grabbed her knife, which she had just been using on a poulet de bresse, rushed forward to him, and shouted, 'Jim, another word about that devil and I will murder you!''  

'Meetings with Joyce', Portraits of the Artist in Exile, p270

Ellmann gives some extra detail: 

'For some years he had referred to Nazi Germany as 'Hitlerland', and no-one could have been less attracted than he to the frenzied personality of the Fuehrer. But he cultivated disengagement and remarked one night at dinner at Paul Léon's. 'Isn't this Hitler a phenomenon? Think of getting a whole people behind you.' Nora picked up a knife and said, 'You stop that Jim.''

Ellmann, p708

Austrian Anschluss left Czechoslovakia like a helpless animal, waiting to be gobbled up by German jaws.

Germany prepares to gulp down Czechoslovakia

It's easy to think that James Joyce, who spent the whole of World War One living in his imagination in Dublin in 1904, had no interest in contemporary events. But Finnegans Wake was not like Ulysses. Its material came from stories in the daily newspapers, radio news and conversations. Joyce said, '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.'  

In 1938, everybody was talking about Adolf Hitler, and this fed into the book Joyce was writing. So let's go Nazi hunting in Finnegans Wake.

NAZIS IN FINNEGANS WAKE

 
In May 1938, Joyce revising the Shem the Penman chapter, added a reference to Hitler. The speaker is Shaun, partly based on Wyndham Lewis:

'our liege, tilyet a stranger in the frontyard of his happiness, is taking, (heal helper! one gob, one gap, one gulp and gorger of all!) his refreshment' 191.07
  
That's based on the Nazi salute, 'Heil Hitler! Ein Volk, ein Reich, ein Führer' (Hail Hitler! One people, one empire, one leader)

Adaline Glasheen, discussing this line in her 3rd Census, found Ezra Pound here too: 'the name Ezra means 'helper''.

Hitler would be 'the gorger of all'. 

At the same time, Joyce added a reference to Hitler's autobahns to the first watch of Shaun, in which he's a postman describing his work:

'I am now fed up be going circulating about them new hikler's highways' 410.07.

 

Elsewhere Joyce gives us versions of another Nazi salute, 'Sieg Heil!' ('Hail Victory'):

'Seek hells' 228.06

People who hail victory in war are seekers of hells.

'Hide! Seek! Hide! Seek! Because number one lived at Bothersby North and he was trying to. Hide! Seek! Hide! Seek! And number two digged up Poors Coort, Soother, trying to. Hide! Seek! Hide! Seek! And nomber three he sleeped with Lilly Tekkles at The Eats and he was trying to. Hide! Seek! Hide! Seek!'  372.35

'hail! woa, you that seek!' 128.23

'hoveth chieftains evrywehr, with morder' 131.07

Guth Earthsapho posted this to fwread, finding a reference to murder and the Wehrmacht, founded in 1935, in 'evrywehr'. The line was added to the questions chapter in 1937-8.

THE NAZI MIDWIVES CONGRESS

Here's a sentence which Joyce added to the HCE section of the Questions chapter, also at Galley stage:

'took place before the internatural convention of catholic midwives and found stead before the congress for the study of endonational calamities' 128.26

I discovered from the Wellcome Collection website that the Nazis hosted an international congress of midwives in Berlin in 1936.

'The 1936 Congress...was held in Berlin, and hosted and attended by the German government. While the Fuhrer was not able to personally attend, Hitler sent messages and various government ministers gave speeches exhorting the Congress to address the primary issue – in the government’s eyes – of the falling birth rate, and of the need for all countries represented to take urgent action and “promote motherhood”. The issue reporting this Congress includes a rather chilling fold-out photograph taken of the proceedings, showing fully uniformed SS and other Nazi government ministers addressing the Congress, made up of European midwives from Belgium, The Netherlands, France, and Great Britain.'

Lesley Hill, 'The International Confederation of Midwives', Wellcome Collection blog.
You can see a picture of the congress on Kristina Gaddy's blog. Gaddy has written an article on Nanna Conti, the leading German midwife, an active Nazi. Here she quotes Lynne Falwell, author of Modern German Midwifery:

'Conti would become known as the woman who changed midwifery forever in Germany. She brought together the long-sought changes midwives had been fighting for. The Nazis, as it turned out, were also fans of hers, prompted no doubt by their desire to increase birth rates of ethnic Germans and improve national health. "Midwives were a way to get into the homes and make sure they were proper Aryan homes,” Fallwell says. The midwives could go into homes and make an assessment on behalf of the party. Were there miscarriages or abortions? Did a newborn have a birth defect? For the social control of the country, midwives were essential.'

Anna J Peters describes the 1936 Congress:

'In the afternoon the midwives talked about their rights and duties in their home countries, and in the evening they were welcomed at a reception given by the home secretary, Wilhelm Frick (1877–1946). In his speech, Frick openly explained that Germany’s interest was to promote “valuable genes” and to avoid “inferior” offspring.'

'German Midwifery in the Third Reich' in Susan Benedict and Linda Shields (eds) Nurses and Midwives in Nazi Germany, 2014, p.183

'endonational calamities' is a fitting description of Nazi rule. 'Endo' means 'within' in Greek – the Nazis created international calamities as well as those within a nation. When I told Raphael Slepon of fweet about the congress, he pointed out that 'endonational' also suggests 'endometrial - of the endometrium (the inner lining of the womb.'

GOTH STEPPING

And here's a reference to goose stepping.

'Such was the act of goth stepping' 332.10

The Goths were one of the Germanic peoples who overwhelmed the Roman Empire. It would have made more sense to nickname Germans Goths rather than Huns (an Asiatic people).

A THREAT FOR A THROAT

 

For much of 1938, Joyce was writing the final book of Finnegans Wake. Rereading this recently with fwread, the online reading group, I've been struck by repeated ominous shadows of encroaching war.  

On page 598 there's a menacing reference to Nazi Germany's 'Strength through Joy'.

'And your last words todate in camparative accoustomology are going to tell stretch of a fancy through strength towards joyance, adyatants, where he gets up. Allay for allay, a threat for a throat.' 598.23

'allay for alley' is 'an eye for an eye' - the principle of retribution, and a play on the German für alle (for all) so a threat for every throat. This was added to the text in the second typescript, spring-summer 1938.

Strength through Joy

On the next page we have gathering clouds, panicstricken humanity, 'the fog of the cloud in which we toil'  and 'bomb the thing's to be domb about it':

'Cumulonubulocirrhonimbant heaven electing, the dart of desire has gored the heart of secret watersthe poplarest wood in the entire district is being grown at present, eminently adapted for the requirements of pacnincstricken humanity and, between all the goings up and the whole of the comings down and the fog of the cloud in which we toil and the cloud of the fog under which we labour, bomb the thing’s to be domb about it' 599.27

The 'fog of war' is a phrase associated with Carl von Clausewitz: 'War is the realm of uncertainty; three quarters of the factors on which action in war is based are wrapped in a fog of greater or lesser uncertainty.'

A few pages on, we greet the arrival of Shaun the Post:

'Here's heering you in a guessmasque, latterman!' 603.02

He's got a gasmask!  During the Munich crisis, in September 1938, 38 million gas masks were distributed to the British public. Joyce added this phrase to the text in November 1938.

'In the summer of 1938 we felt an anxious awareness of Hitler on one side and Mussolini on the other....Paris was no longer the City of Light.  The festive times were over.  The dimness in the streets made us feel the dispiritedness of the citizens. Our concierge gave us a list of things were were to take to the basement with us in case of bombardment, and the municipality was advising people who did not have to stay in the city to go elsewhere during the emergency. Simple people were asking, 'Where is Czechoslovakia? Do we have to go to war for people there?'
    To Joyce, disturbed by thunderstorms and timid of dogs, the menace of war must have been hardly endurable. He and Nora decided to leave Paris....
    Then came Munich, and a shamefaced relief was evident, at least at first, among the sojourners in Paris. The Joyces came back to the city. When Joyce telephoned me he mentioned the settlement. 'Give him Europe!' he said angrily.'

Padraic Colum Our Friend James Joyce p226-230

THE SPIRIT OF APPEASEMENT

 

When we reached page 610, introducing the Patrick and the Druid section, Philip Franklin pointed out Joyce's use of the word 'appeasement' in this description of cycles of history:

'So that when we shall have acquired unification we shall pass on to diversity and when we shall have passed on to diversity we shall have acquired the instinct to combat and when we shall have acquired the instinct of combat we shall pass back to the spirit of appeasement?'  610.33

I had a look at the Digital Archive and discovered that this sentence – the only clear English one on the page – was added to the Galleys between November 1938 and January 1939.
At that stage, the Germans, with the agreement of Britain and France, had occupied the Sudetenland - the area of Czechoslovakia with a large German population – but they hadn't yet broken the Munich agreement. It was only in March 1939, when Germany seized all of Czechoslovakia, that appeasement was discredited. Britain and France gave a guarantee that they would fight if Hitler invaded his next target, Poland.

Before March 1939 appeasement was a positive word - it meant 'making peace'.  From the OED:

1920 W. S. Churchill Let. 24 Mar. in World Crisis (1929) IV. xvii. 378 Here again I counsel prudence and appeasement. Try to secure a really representative Turkish governing authority, and come to terms with it.
1936 A. Eden in Hansard Commons 5th Ser. CCCX. 1446 I assure the House that it is the appeasement of Europe as a whole that we have constantly before us.
1938 Times 3 Oct. 13/2 The policy of international appeasement must of course be pressed forward... There must be appeasement not only of the strong but of the weak... With the policy of appeasement must go the policy of preparation—preparation not so much for war as against war. 

A DREAM OF JOYCE AND HITLER

My favourite contribution to the online discussion came from Jack Pacer, who shared a dream:

'I'm not sure how seriously to take this, but years ago, after seeing a page from the manuscript of ALP at the British Museum, I had a dream about James Joyce. He had a fat pink face and wore no glasses. He said to me: "The key to Finnegans Wake is in the last chapter, based on something Hitler said. Of course I despise him but one must use what comes to hand."'  

JAMES JOYCE SINGS THE MARSEILLAISE 

 

Richard Ellmann has a wonderful story of Joyce in La Baule, just days after war broke out in September 1939:

'During these shattering days when La Baule was filling up...with refugees, Joyce renewed his friendship with Dr Daniel O'Brien....One night, they went together to a large restaurant with dancing at La Baule. It was close to where the French and British soldiers were encamped and two or three hundred of them having crowded into the place, they began to sing the 'Marseillaise'. Joyce joined in the singing, and gradually his voice caught the soldiers' attention. They turned and stared at him, and then a group hoisted him onto a table so he might sing it all over again. As O'Brien later recalled, 'You never saw such an exhibition of one man dominating and thrilling a whole audience. He stood there and sang the 'Marseillaise' and they sang it again afterwards with him, and if a whole German regiment had attacked at that moment, they would never have got through. That was the feeling. Oh Joyce and his voice dominated them all!''

(from a 1958 interview with O'Brien by Adeline Glasheen)

Wouldn't we all love to have seen that?! It reminds me of the famous Marseillaise scene from Casablanca.

Ellmann also discovered that Joyce, using contacts in the French Foreign Office, helped around 16 people escape from Nazi territory to Ireland and America.  Like Rick in Casablanca, he joined the struggle.

After I posted this, John Coyle told me that there is a precedent to the scene in Jean Renoir’s La Grande Illusion (1937). 

This makes me sad to have the turgid 'God save the Queen' as my country's national anthem.

 

'A HEROIC ACT OF DEFIANCE' AGAINST FASCISM

After posting this yesterday, I found a great article by Sean Ledwith, posted on the 80th anniversary of the outbreak of WW2.  He argues that Finnegans Wake, which was also 80 last year, is an anti-fascist masterwork:

'Bernard Benstock persuasively makes the case that Joyce regarded himself as the equivalent of the Irish monks who, at the onset of the Dark Ages of the early medieval period, sought to preserve the culture of the classical world as the forces of barbarism and darkness, in their eyes, closed in on civilisation. The astonishing breadth of allusions and references from the cultures of the world that Joyce draws on in the Wake is testament to his conviction that diversity and pluralism are essential to the flourishing of human beings and, implicitly, that the intolerance and racism of the far right represent a modern barbarism which must be resisted....Phrases and vocabulary from some seventy languages have been identified in the book, along with a cornucopia of references to virtually all the major world religions, including Confucianism, Hinduism, Taoism and the Eddas of Scandinavia....The fact that Joyce, who was practically blind by 1939, chose to deploy his encyclopaedic and labyrinthine knowledge of the varieties of human belief in such a gargantuan exercise can be seen as a heroic act of defiance in the face of an oncoming nightmare. It is not unreasonable to argue that Finnegans Wake is the ultimate literary clarion call for what we now call multiculturalism..... As fascism rears in hideous head again in our time, with its visceral politics of hate, the message of the Wake about the essential unity of the human race is emphatically worth another look.'

'Finnegans Wake, fascism, and the essential unity of the human race ' Culture Matters 
3 September 2019

 

(The only thing wrong with this is Bernard Benstock's view of Irish monks in the 'Dark Ages'. As Dr Ann-Marie D'Arcy said on twitter, 'News Flash, we never had a 'Dark Ages', we had an Early Medieval Renaissance')

 
This point was first made in 1967 by James Atherton:

'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.'

'The Identity of the Sleeper' A Wake Newslitter Vol IV no 5, October 1967