Category Archives: Close Reading

The Middle Pillar and Chakras in the Wake

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Coming off my last post about Qabalah, I thought it would be useful to discuss a passage of the Wake in which the yogic “energy centers” of the body appear. This is another piece of occult beliefs that Joyce probably first encountered as part of Theosophy: in some traditions of yoga (that is, Indian systems of mysticism), there are said to be seven energy centers or “chakras” running down the body, along the spinal cord. In Western occult traditions, a similar belief in energy centers was endorsed by the Hermetic Order of the Golden Dawn, which attributed five energy centers to some sephiroth of the Tree of Life, the central column of spheres called the “Middle Pillar.” The idea is that the Middle Pillar is balanced between the pillar of severity and the pillar of mercy, just as Tipareth (the central sephirah) balances also the spheres above and below it (and thus is the union of the physical and the spiritual, the human and the divine).

Read on for my discussion of Joyce’s attribution of Irish writers to these energy centers.

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The Qabalah in Finnegans Wake

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The Qabalah is a tradition popular in Western esotericism. It was originally a form of Jewish mysticism, dealing with the idea of God’s power “emanating” into creation in ways detailed in a diagram called the “Tree of Life,” a series of ten spheres (called “sephiroth”) that represent various concepts: they are arranged descending toward the sphere representing the physical universe. During the Renaissance, Hebrew Qabalah became an influence on Western Hermeticism, occultism, and “magick.” Ideas derived from the Hebrew system became combined with other esoteric ideas like astrology and tarot. Later occultists, including members of the Hermetic Order of the Golden Dawn, of which W.B. Yeats was a member, engaged in “magical” practices that drew upon Qabalah, such as imagining spheres of light on the body corresponding to the sephiroth.

So what does any of this have to do with Finnegans Wake? There are several references to Qabalah and other occult topics in the novel, which Joyce likely learned about through his interest in Theosophy, a spiritual movement that blended a number of different beliefs and practices from all around the world. After losing faith in Catholicism, Joyce investigated other spiritual traditions like this, before more or less rejecting most of supernaturalism. I qualify that last sentence because the issue of what exactly Joyce personally believed, at various points in his life, is complicated, but we can be confident from his mocking references to Theosophy in Ulysses that by the time he wrote that novel, he did not accept it and found it at least kind of silly.

The most major Qabalistic reference in Finnegans Wake is the list of ten syllables running down page 308 in II.2, which I have discussed here.

This post will muse a little more about the relationship between Qabalah and the Wake, and I will even suggest that the Wake could function like a Qabalistic classification system and could be the basis of practices that are enriching to an individual. Belief in the supernatural is not necessary to view the Wake this way or to use these practices.

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It Belongs in a Museyroom: Artifacts (and Alphabet) in Finnegans Wake

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In Finnegans Wake I.1, the Wellington Monument becomes a museum that is also a “museyroom”: a phallic mushroom as well as the home of the muse. It reminds us that history as well as sexuality can inspire art.

I’ll eventually be posting my thoughts on the “Willingdone” paragraph of I.1, but until inspiration strikes, I’ll write a little about artifacts in Finnegans Wake. I’m always put in mind of Indiana Jones declaring to would-be graverobbers that an artifact “belongs in a museum!” The fact that one of the Indiana Jones sequels named his son “Mutt” also amuses me because of the Mutt and Jeff passage in I.1.

In a way, Finnegans Wake itself is a kind of museum, gathering together and displaying linguistic artifacts and cultural references from all around the world. Like real museums, the Wake might be considered either a benevolent display of such objects or a cynical, colonial appropriation of them. In a Wakean spirit, we might regard it as both at once.

At various points in the book, artifacts appear, left behind by HCE from his Fall and gathered up by ALP. Read on for my thoughts, especially about the ways that the letters of the alphabet can be seen as such artifacts.

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Your Own Finnegans Wake?

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My favorite comedian, George Carlin, once poked fun at the expression “your own words.” You hear it especially often in classrooms and courtrooms, he noted. “Tell us in your own words….” And then he joked, “Do you really have your own words? I’m using the same words everyone else is using!”

That’s cute. In a way, Finnegans Wake is an attempt to create Joyce’s “own words,” in that comically literal sense. It is unique in literature, in that it’s an example of an author communicating a message in this kind of “his own words.”

But here’s a related question: as an interpreter, do you have your “own Finnegans Wake“? I was talking to someone once who suggested that everyone who reads the Wake has “their own novel,” their own unique book, and he contrasted the reading of the Wake with the watching of a popular movie, where there is one obviously correct and direct narrative that all viewers share.

But is that the case? *Do* you have your own Finnegans Wake? Read on to find out!

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