Category Archives: Overview

The Qabalah in Finnegans Wake

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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Did Joyce Ever Change My Mind?

I had the privilege of giving a talk for the William Blake Society recently, where I discussed Blake and science. My argument was that much of Blake’s work is compatible with scientific thinking, as defined and developed by scientists like Carl Sagan. During the discussion period that followed my talk, one of the attendees asked an important question pertaining to literature and knowledge: “Did Blake ever change your mind about anything?”

Always wanting to give direct answers to direct questions, I first gave a simple “No.” And then I elaborated that I don’t go to artists like Blake for facts about the world but I *do* go to them for aesthetic experiences. And then, as I yammered about that for a bit, I wandered my way into the idea that aesthetic experiences are personally rewarding and uplifting and can give me not necessarily knowledge about the world, but frameworks for engaging with that world, frameworks that make my everyday life more enriching (like Blake’s idea of a utopia called “Jerusalem”). I wish I had put all of this more succinctly and clearly in my somewhat rambling answer, but I think the gist of what I eventually got at is correct: evidence-based inquiry into the world tells us what is the case, while art and its aesthetic experiences deepen our life and can inform our values, actions, day-to-day experience and the frameworks that guide those values, actions, and experience.

With the benefit of reflection, I think this question is a profound one: what is the relationship between art and knowledge? It’s also a significant question at a time when the Humanities, as fields of study, are under attack. What is it that the Humanities teach us? What does art teach us?

I’d like to write about these question for a bit, using Joyce and this blog to provide examples. Did Joyce ever “change my mind” about anything? Read on to find out.

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