After the overture that begins Finnegans Wake, one of the first paragraphs is about, among other things, human creativity moving through history, building cities and literature.
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Clothing in Finnegans Wake (Part 3): Scaldbrother
You can read the previous entries on this subject here and here. In those posts, I sketch out the idea that the naked body is a symbol in the Wake for art, while clothing is a symbol for the facts of reality. The Wake suggests that, in a sense, fiction is “truer” than fact, for art contains the patterns that repeat with variations in life, the same anew.
This post extends my thoughts on this subject.
Continue readingSartor Resartus: Clothing in Finnegans Wake (Part 1)
In one version of HCE’s story, he is attacked by three soldiers and/or is witnessed committing his unnamed crime by them.
These three figures symbolically correspond to HCE’s two sons, Shem and Shaun (his introverted and extroverted aspects), plus their combined form. This combined form appears as a Cad in the Park who accosts HCE in other versions of the story (he additionally corresponds to Tristan, who cuckolds HCE after his fall and then becomes the next HCE in the next cycle).
The three soldiers are also called three tailors. They spread stories and rumors about HCE, so they are tale-ers, but they are also the energies that weave the “suit” of life for him, the circumstances of his life, and his body (which is also the court suit brought against him, representing our tendency to attack ourselves for our guilt and to scapegoat others).
In their aspect as tailors, they are like the Three Fates in Greek mythology, weaving the thread of existence until the appointed time comes for it to be cut.
Continue readingThe First Page
This post is drawn from an email I wrote two or three years ago explicating the first page of Finnegans Wake. I present it mostly unedited. Future posts will not be a line-by-line explication of the text.
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