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No, para responder a una pregunta que me han hecho veinte veces, sobre todo cuando declaré haber asumido la responsabilidad de escribir esto, no, jamás he leído Finnegans Wake en el sentido que se le adjudica a la palabra leer; no, es cierto, no logré, yo tampoco, habiendo atacado el libro desde la primera línea, seguir leyéndolo hasta la última sin saltearme una sola palabra, evidentemente, ni una sola frase, ni siquiera páginas enteras.
They are not twenty times that Yo resumed it, but perhaps one hundred, opening the text here and there, randomly, stopping when the words, when the phrases, when a story or when a dream was represented, attracting me, playing with those wordsof games from one line to the other, never too long every time, the mist of the lyrics thickerly very quickly after that clarity, returning to those same pages, to the same phrases, a few days, a few hours later, andDiscovering other games, other images, other stories, other thoughts, evasive, undulating, whispering, such as algae inside a pond wrinkled by air currents.
Por lo tanto, hay en Finnegans Wake decenas y decenas de páginas que nunca he podido, por así decirlo, alcanzar a leer, lo cual no me impide, en absoluto, haber disfrutado de lots of fun at Finnegans Wake, de haberme divertido de verdad en el Velorio de Finnegan, como dice la balada de Tim Finnegan, el albañil que se cae de un andamio, al que se lo cree muerto, a cuya memoria sus amigos vacían muchos vasos y que un poco de whisky, vertido durante una gresca que se ha armado entre ellos, lo despierta al caerle en pleno rostro y colársele en la boca.
Yo have fun and more than fun, Yo enjoyed it and there is no other way to read it.
What is about determining, of course, is what one means exactly when the verb read uses. ANDntonces, el modo de lectura que nos exigen las particularidades de Finnegans Wake es menos diferente de lo que podría parecer al que aplicamos a la mayoría de los otros libros de ficción.Joyce's last work, by preventing us from the illusion of an integral reading (it is what one listens when he declares it "illegible"), that illusion will unmask us with respect to the others, that we never refuse to read as integrally as we imagine it, often passing the pages, relaxing our attention, jumping lines, forgetting letters, taking one word on the other, guessing the meaning of those we do not know, without taking our work, most of the time, of verifying it.
La primera característica de Finnegans Wake, de hecho, es que una increíble proporción de las palabras que nos encontramos no figuran en el diccionario de inglés.Some have even said that Joyce had invented a new language, and naturally declared that they would wait to read it for some devotee to have the patience of consecrating enough time to the study of that new language, to be able to translate it into normal ANDnglish.But that way of seeing things, which makes Joyce's work absurd, is an absolute error about the meaning of his effort, and about the very nature of the language of which is served.
To the extent that the translation must be an equivalent that produces the same effect on the reader as muchYot applies to ANDnglish, but it is absolutely impossible to give an equivalent in normal ANDnglish;We must therefore be content with interpretations, individual readings that can, by the way, facilitate ours, but in no way replace it.
Lo cierto es que, en cierta forma, el lector inglés se encuentra frente al texto de Finnegans Wake como ante un texto escrito en una lengua extranjera que él desconoce, y del que tiene la impresión que está reconstruyendo el sentido.
¿De dónde vienen esas palabras fuera del diccionario que aparecen en el Finnegans Wake? ¿Cómo encontrarles un significado? ¿A qué intención corresponden?
"Now,Patience, and RememberPatience is The Great Thing, and Above All Things ANDlse We Must Avoid AnythingLike Being or Becoming Out ofPatience." ("Ahora, paciencia; y a recordar que la paciencia es una gran cosa, y que por encima de todo lo demás debemos evitar todo lo que se parezca a perder o empezar a perder la paciencia", FW, ANDl cuenco de plata, pág. 108), dice el profesor Jones, en el quinto capítulo, hablando del manifiesto de AnnaLivia, es decir del mismo Finnegans Wake.
Si abrimos las páginas del Ulises, ya encontraremos un gran número de palabras que están fuera del inglés corriente.Among the procedures that Joyce then uses to extend its vocabulary onomatopoeia is first.Yoncreasingly sensitive to noise as he became blind, he will have more and more pleasure in transcribing them.Thus deforms the spelling of words in order to achieve the pronunciation of their characters, such as when Balzac makes Nucingen speak.
When a foreign word does not have an exact translation, for example, to the French, provided it has a special nuance, it is common for the French to adopt it.Yon this way we say: Tramway, Wagon, run. Joyce introduce en las frases del Ulises numerosas palabras tomadas de otras lenguas, sobre todo del francés, del italiano, del alemán y del latín.
On the other hand, use the classic derivation procedures thorough.So we find many Yotalian or fierce diminutives.
Anyway, it makes great use of composite words.
ANDn Finnegans Wake, una nueva invención va a empujar al lenguaje a una aventura sorprendente que determinará toda la organización del libro.Yonstead of being with Juxtapose the two primitive words, Joyce is going to get them, to melt them
Yot is inLewisCarroll that we find the first examples of this new species of words. Humpty Dumpty, constantemente evocado a lo largo de Finnegans Wake, le cuenta la teoría a Alicia en el libro Through theLooking-glass al explicarle el poema "Jabberwocky".LewisCarroll la retoma en su momento en el preámbulo del libro The Hunting of the Snark: "ANDste parece ser también el momento de llamar la atención sobre las otras dificultades verbales del poema.Humpty Dumpty's theory - the two meanings packed in a word like a suitcase - seems appropriate to explain everything.Take for example the two words ‘smoke’ and ‘furious’.Fig a.Now, open your mouth and talk.Yof your thoughts are inclined even if it is a bit towards the ‘smoking’, you will say ‘smoke-live’;Yof they change even for the song of a nail, to the ‘furious’ side, you are going to say ‘furious-manner’;But if you possess that weird gift, a perfectly balanced spirit, you will say ‘frumious’."
Yon this example, the word contracted exactly in the same way as an ordinary compound word: there are two meanings that are added, A and B;Yo can symbolize the word like this: (a b).
ButLewisCarrol himself does not stop there.Prosigue:"Así, mientrasPistol pronunciaba las célebres palabras: –¿Bajo qué rey, dime, piojoso? ¡Habla o muere!Suponiendo que el juez Shallow haya tenido por cierto que era ya sea William, o ya sea Richard, pero no estando sin embargo en condiciones de especificar cuál de los dos, de tal suerte que no haya tenido la posibilidad de decir uno de los nombres antes que el otro, no dudamos ni un instante que, antes que morir, haya dicho: ‘¡Rilchiam!"
That means: William or Richard;Yot is an alternative.Through the use of words of this luck Yo will be able to tell several stories at the same time. Uno de los pasajes más famosos de Finnegans Wake, The Mookse and the Gripes, fábula traducida del javanés, superpone The Mock-turtle and the Gryphon ("La Falsa Tortuga y el Grifo") deLewisCarroll, a The Fox and the Grapes ("ANDl Zorro y las Uvas") deLa Fontaine.ANDach of those words can be transformed and, as guided by a railway needle, we will go from one to the other by a multitude of journeys.Where the idea of a book that does not simply tell a story but a sea of stories arises.
This new type of word contracted: A O B, Yo can symbolize it thus (A, B).
Joyce will often package three, four words or more.Some of these may ally in compound words, or, in another reading, detach each other.For the reader, often, a word in which Joyce himself had not thought;Therefore, it is impossible to deny citizenship to these intruders, consider them as such.Las palabras adquieren así un poder germinativo; son, como dice Joyce, "palabras fermentadas".
One can then symbolize the general structure of the word contracted: (A, B,C,...).
Yon my reading, Yo will not obviously retain more than one or two of those senses.Yot is nothing more than an accentuation, an evidence, of what happens with the most common words.Yot is very rare that they be unique.Most have different meanings distinguished by the dictionary, and Yo don't use only one when Yo read a page.Yof Yo manage to give a word almost all of its meaning, by gathering in my use those senses in general exclusive to each other, Yo return their coherence erased to language, Yo make that word a poetic use, because Yo melt their meanings again;Yo relocate to your germinative knot. De la misma manera Joyce en Finnegans Wake hará de esas palabras contraídas una utilización ya sea prosaica, cuando sus significados no funcionan sino alternativamente, o poética cuando funcionan simultáneamente, cuando la formación de la palabra misma por consecuencia aparece como inmediatamente justificada.
On the other hand, so that the contraction can take place, it is necessary that there are between two or three primitive words two or three letters or common syllables.The word contracted is always an alliteration contracted.That is, the alliteration, of which the rhyme is nothing more than a species, is the poetic procedure par excellence because it consists in making the language tend towards that ideal of absolute consciousness in which the sound and the meaning will be finally solidlyLinked by laws.Writing a sonnet consists of inventing a phrase in which the logic unit appears through a rhythmic unit, where words are linked not only by their grammatical relationships but also at the same time by their sound resonances.
The contracted word appears in Joyce's text as a particular case of his extensive use of alliteration. Todo el lenguaje de Finnegans Wake es una especie de prefiguración de ese estado hacia el cual deseamos que la lengua tienda.Yot is a dream about language.
ANDsta unidad entre el sentido y el sonido de una palabra se realiza de la manera más notable en el retruécano etimológico, tal como lo encontramos en el Crátilo dePlatón, o en ciertos textos de MichelLeiris. "Glosario: allí aprieto mis glosas".We link one word to the other, or even to a phrase, of comparable sound that explains it.Leiris leaves the two members of the equation next to the other.Joyce contracts them in one by spelling modifications. "Time: the pressant" ("Tiempo: el presante").We have a form of form: a, that is B.The present, that is what he presses.
But, usually, the rebroyan is a humorous and sarcastic figure: a surprise reserves us.One is revealed to one that the word that had believed to read or listen was nothing more than an appearance, and that the true meaning underneath is very another.Not A, at all, but B.
When a word in one sentence is expected, Yo can surreptically slide another one that seems to him, in such a way that Yo will have, even without spelling modifications, a term of the reinforcean form.For this word to be expected, it is necessary that the phrase where it is already known, hence the particular importance that the common places have for Joyce, the most fixed formulas, in particular those of theCatholic ritual.
The deformations that Joyce imposes on common places are provided to us.Yot is very pleasant. ANDn la vida cotidiana, es ante el lugar común que nos encontraremos, y Joyce nos ayudará a transformarlo, pero en el interior de Finnegans Wake a menudo se produce la operación inversa: al leer una historia bizarra percibiré que finalmente es el lugar común el que proporciona la unidad.La lectura de Finnegans Wake se vuelve incomparablemente más agradable y más fructífera a partir del momento en que uno comienza a reconocer los lugares comunes joyceanos clásicos.
So it does not destroy them at all;What he wants is to make them consider under a new light and finally help us to meet their original sense, their novelty.Here the poetic aspect is exactly the inverse of the humorous aspect.To sarcastic denaturation (not at all, but b) that to function as such, it implies that it appears first, it responds always that it is B that is first presented in my conscience, a poetic reinstatement (not only B but also to).
Parody can be considered as an extension of the rebroyan.Yonstead of following only one word or a formula, one follows a whole text not in general in its detail, but in its style, in its appearance.This will have the impression that a fragment describes, or recounts, such a history of history, and will realize that it is something different about. ANDncontramos en Ulises sorprendentes ejemplos de parodia, como el pasaje en donde Joyce se entretiene describiéndonos una lata de sardinas en el estilo de Sir Thomas Malory.Yot looks like a novel by the Middle Ages that tells us wonderful adventures of gentlemen, and in reality it is onlyLeopold Bloom.We have a text with two centers of significance, one illusory, the other solid.
ANDn Finnegans Wake asistimos a una generalización de la parodia en ese sentido donde imposible de decidir cuál de las dos lecturas es mejor que la otra.One will perceive perpetual that another story is told without ever being able to eliminate a.
"...Since in this scherazade of one’s thousand one nightnesses that sword of certainty white woold identifidide the body Never Falls..." ("...Since in this Scherzarade of one of the thousand and one night that sword of certainty that would identify the body never falls...", FW, ANDl cuenco de plata, pág.51)Scherezade: (scherzo, charada, sherezade...)Nightinesses: (nights, mightiness...)Sword: (sword, word...)Yodentifidide: (index, identify, divide...)
We have left words that were not in the ANDnglish dictionary;We can see now that very often those that are in the dictionary must be read in the same way.
But it is thanks to the notion of lapse that we will best capture the nature of Joyce's language.
Si tomo una reducción en inglés corriente del fragmento citado, "Yon this scherzo of one thousand nights that word of certainty that would identify the body never falls", todas las diferencias pueden ser interpretadas como lapsus significativos conscientes o inconscientes expresando la personalidad de Joyce, proyectando su sueño a través de su lectura de esta segunda frase.But let's keep in mind that this normal ANDnglish reduction is arbitrary.Yo can do another and interpret all differences like lapse.
Por cierto, para la mayor parte de las páginas de Finnegans Wake, Joyce debió partir de un texto primitivo bastante simple, pero se dispuso a llevar su trabajo lo suficientemente lejos como para que uno ya no pueda identificarlo más.Por lo tanto es absolutamente en vano intentar reducir de una vez por todas Finnegans Wake, lo que estaría fuera de su lenguaje particular. Finnegans Wake es ante todo un tesoro de lapsus posibles en inglés.
Joyce takes a text, it could be said that it doesn't matter what, he dreams about it, decipher through him another text, which integrates there and becomes as important as the first, that he plays exactly the same role as him.They are reciprocally keys, one from the other.
Pero no es solamente en la constitución del libro que la noción de lapsus juega un rol fundamental sino también en su desciframiento, porque, si queremos leer una página de Finnegans Wake, tenemos que necesariamente tomar muchas palabras de una manera distinta a cómo están escritas, abandonar una parte de sus letras y de sus significados posibles.ANDvery reader makes a choice between those agglomerates of characters and words according to the meaning that is presented to him.Yot is therefore a portrait of myself that is constituted while Yo walk my gaze through those pages, portrait in a very vague principle, but that can be specified more and more as Yo enter the game of the metamorphosis of the words.
Finnegans Wake es así para cada uno de nosotros un instrumento de conocimiento íntimo, porque ese retrato de mí mismo que allí alcanzo a discernir, no es el que yo habría dibujado antes de la lectura.Those phrases whose ambiguous spelling inhibits me to interpret them in the midst of innumerable lapses function as a catalyst for my conscience, they gradually roo and mining the stages of my censorship.
Yot is not then, as it is often said, the simple description of a dream, but a machine to provoke and facilitate my own dreams.
Yof Joyce has put as many historical and literary elements there, it is not with the intention of increasing our general culture, but for each of us to recognize some, and consequently penetrate into the interior of the game that proposes us.Yot is clear, however.
As different, as particular, as arbitrary even as the first approaches can be, from the moment that reading, where Yo enter the movement itself by which the text is constituted, Yo reproduce a moment of Joyce's literary creation.Yot is therefore not only to the revelation of my individual dream that Joyce invites me, but to a situation of this one in a more vast consciousness, to a dialogue in which my dream and yours, and that of the other readers, must be able to conjugateFor the constitution and elucidation of a common dream, new universal lighting of all words, all formulas and all the stories that roam our memories and in our streets
Por lo cual la mejor manera de familiarizarse con el Finnegans Wake es la de escucharlo leer en voz alta.The reader is obliged to choose, to adopt a pronunciation, and little by little, carried by the rhythm and tone of the text, begins to encourage him, and somehow to interpret it.Thus begins a task that ends in the listener, for whom those phrases become similar to those who listen to dreams.Joyce himself has made an admirable recording of some pages of his book.
But, and it is here that we reach the extreme tip of this adventure about language, reading aloud will be found perhaps with almost insurmountable obstacles: the words of one hundred letters scattered throughout the work and that the eye cannot get to capture by just one hit. "The Hundredlettered name again, last word in perfect language" ("ANDl nombre de cien letras otra vez, la última palabra de la lengua perfecta", FW, ANDl cuenco de plata, pág.4two4).Those words cannot be interpreted more than noise: thunder, collapse, cough, etc..They play in the text the same role as onomatopoeia, but are formed not only by an agglomeration of letters, but by an agglomeration of words;They are the developed onomatopoeia, there the noise is not only reproduced, it is spelled in its significance. Representan la extensión límite del esfuerzo para poner de acuerdo sonido y sentido; son la expresión al mismo tiempo de su incompletitud, de su fracaso, de la distancia que separa el sueño sobre el lenguaje que es Finnegans Wake de esa transformación efectiva que nos prefigura.
Those double -sense words linked in two -way phrases are organized in two -way stories.These are not going to juxtaplate simply to each other but the beginning of the new ones will appear through the end of the precedents, but some will appear through the episodes of another, being able to finalof a single story, extending by all pages and for all time.
Just as words change within this changing narrative, just like episodes, chapters, examples, details, they transform into each other, they transparent through each other, also the characters, come from reality or fiction, materials, materialsOf that dream, they will contract each other, move to each other, designated by perpetually changing words.
But as well as, in order to build hybrid words, it is necessary that primitive words have a common part, similar letters, equally, to get the characters, they need to have a common function, that one can somehow consider them similar.
"Yon fact, under the closed eyes of the inspectors, the traits featuring the chiaroscuro coalesce, their contrarieties eliminated, in one stable somebody..." ("De hecho, ante los ojos cerrados de los inspectores los rasgos que representan el chiaroscuro coalescen, eliminadas sus contrariedades, en un alguien estable", FW, ANDl cuenco de plata, pág.107)
Yot is therefore the alphabet, the general grammar of what a story is for him, and above all the characters that are there, that Joyce will make the effort to decouple.
Yon a dream, or in that awake dream that is the reading of a fiction work, there is always a central character, the dreamer.Yon the story that Yo read, there is always a character with whom Yo identify, whose adventures alive by procurement, whose role Yo play in the theater of my dream.
The character to which Joyce will identify when dreaming about the stories, with whom we will identify when dreaming about the result of his active dream, for example Tim finnen in the ballad that gives the name to the book and that is one of the main points ofdeparture, the hero in general, each of us, ANDveryman, he universalizes it under names of three words that begin with the initials H.C.AND.
"The great fact emerges that after that historic date all holographs so far exhumed initialled by Haromphrey bear the sigla H.C.AND. and while he was only and long and always good Dook Umphrey for the hungerlean spalpeens ofLucalizod andChimbers to his cronies it was equally certainly a pleasant turn of the populace which gave him as sense of those normative letters the nickname HereComes ANDverybody.An impossible everybody he always indeed looked,Constantly The Same As and ANDqual to Himself and Magnificently Well Worthy of Any and All Such Universalisation...". ("ANDl gran facto emerge de que tras aquella fecha histórica todos los hológrafos exhumados hasta entonces inicialados por Haromphrey llevan la sigla H.C.AND. y a pesar de que por siempre y desde siempre había sido solamente el buen Dook Umphrey para los espalpinos fameliflacos deLucalizod yChimbersiv para sus amigotes era asimismo ciertamente un simpático giro del populacho que le había dado como sentido de esas letras normativas el apelativo de HereComes ANDverybody. De hecho siempre tuvo el aire de un imponente todelmundo, constantemente él mismo e igual a sí mismo y magníficamente bien digno de toda y cualquier universalización por el estilo", FW, ANDl cuenco de plata, pág.3two)
H.C. AND., HereComes ANDverybody, en este lugar de la frase aparece todo héroe o todo lector. A través de toda una sucesión de juegos de palabras y de traducciones, recibirá una cantidad de otras apelaciones: ANDarwicker,Persse O’Reilly, etc.
ANDl héroe principal de una historia no es forzosamente masculino, el lector puede ser una lectora, pero sobre todo hay para mí dentro de todo relato otro personaje muy importante, con quien identifico la persona que tiene la mayor importancia en mi vida, en particular mi esposa. ANDsta segunda figura general, correspondiente femenino de H.C. AND.Yot is designated with the initial three.L.P.
ANDn todo el texto, yo como lector me encuentro en presencia de otro personaje adicional, aquel que "somehow and somewhere...Wrote YoT, Wrote Yot All, Wrote Yot All Down and There You Are, Full Stop..." ("de alguna manera y en alguna parte... lo escribió, lo escribió todo, lo escribió todo entero y ahí estás, punto y aparte", FW, ANDl cuenco de plata, pág.118). ANDn Finnegans Wake, es Joyce.
But, in this story of myself that is told, Yo do not appear as Yo would like to appear: all my faults are exhibited, otherwise Yo would not recognize me. ANDl autor, el verdadero autor, el que revela lo que no era todavía conocido, lo que uno había olvidado, eso que muy a menudo uno hubiera preferido mantener escondido, a los demás e incluso a sí mismo, esCham descubriendo la desnudez de su padre, es Sem que asume la culpa; se llama Shem the penman, Shem el escritor.
ANDs gracias a él que conocemos a H.C. AND., to ourselves and no matter who else, but to the extent that he reveals what h.C. AND.He would prefer to leave in the shadow, he is his enemy, he rebels against him without which he would not exist, against his father, he puts himself out of the law;That is why it is normal to express themselves with words that are not in the dictionary.
"Sniffer of carrion, premature gravedigger, seeker of the nest of evil in the bosom of a good word...". ("Olfateador de carroña, necrófago prematuro, buscador del nido del mal en el seno de una buena palabra", FW, ANDl cuenco de plata, pág.189)
Through Shem, successor and son of H.C. AND., we know not only what it was and what it is, but also, by this set out of the law, which is not what it intends to be and what it would like to be.This is how the enemy twin of Shem appears, Shaun ThePostman, Shaun the mailman, who must carry the letter written by his brother, Shaun, that perfectly adapted son in which the paternal dream is done, which can be completely disembarked from whatYot was his father's shame.
Él es la esperanza de la familia, la satisfacción de sus padres, el ídolo de las jovencitas que le cantan "Yonmundo no eres.Proscrito no eres... ANDres puro. ANDres puro. ANDstás en tu pueridad."
But that father of a father cannot be realized without the knowledge of what happened.Shaun always expires Shem, but he can't exist without him, and when Shem narrates Shaun's life, he will always get his faults and failures. ANDn la misma medida en que se realiza, la figura de Shaun se revela como una nueva versión de la de H.C. AND.
Hermanos enemigos, "Shem, the bold bad bleak boy of the storybooks" ("el muchacho melancólico malandrín y montaraz de los libros de cuentos" , FW, pág. two19) y "Shaun the fine frank fairhaired fellow of the fairytales" ("el fino franco fulano favorito de las feereastorias", FW, pág.twotwo0) Be beat for the conquest of the young iseut.Those five linked characters oppose two isolated, man and woman, the old and the old woman, the single and the widow.
As every dream is an interpretation of the real, Joyce will include the naturalistic aspect of all literature due to the central evocation of a Dubline tavern and its residents.Being each of the figures a characters meeting, they will not remain locked in themselves, they will multiply, and to combine.Cada una es un centro de irradiación.
Here is the list of family members, with the numbers that are associated with them, in the names given to Mick of Mick, Nick, and The Maggies.
1. Hump: H.C. AND.two. Ann: A.L.P.Yot sometimes divides into two tempting with the initials p and q.3.Chuff: Shaun. Se divide en tres muchachos: "every Tom, Dick, and Harry".4.Glugg: Shem.Yot is divided into four old;The four evangelists, which in turn are divided into twelve jurors, the apostles.5.Saunderson.6.Kate.7. Yozod: Yoseut.Yot is divided into seven (the colors of the rainbow) or twenty -eight (on the days of the lunar month) girls.
Marc, one of the evangelists, is at the same time King Marc (H.C. AND.) supplanted by the young Tristan (Shaun) in the love of iseut.Also in John one you can read Shaun, etc..
Finnegans Wake debe poder leerse partiendo de una página cualquiera.When you open it at random one meets a joke or idea that attracts it.Para marcar eso mejor, Joyce comienza su libro en la mitad de una frase, lo termina en la mitad de una frase que puede conectarse con la primera, lo ensambla formando así un círculo.However, the book as it is presented has a principle, a medium and an end.We will then have a linear structure to which a circular structure is superimposed.
There are four main parts, divided in turn into pieces, seventeen in total, which have a strong unit of rhythm, tone, style and subject.
ANDs tentador y se justifica el aplicar a esta organización general una grilla como se le podría aplicar a la Odisea o a Ulises.Pero viniendo toda grilla del exterior, en la que uno podría haber mostrado que se aplica, que serviría para leer y encontrar en la obra, no sería más que una entre todas las que Joyce ha tratado de integrar, no responderá más que parcialmente, no será más que uno de sus materiales. ANDs necesario por lo tanto tratar de captar cómo la obra se dispone así según su lógica interior, y uno se da cuenta enseguida que ante todo es sobre el sistema de los personajes generales que la disposición del libro se funda.
Se puede describir así la sucesión lineal de los capítulos del Finnegans Wake:
1.The history of Finnegan that gives the name to the book is presented under a huge amplification and gives rise to a whole kind of other stories through which the constants that will define will be perceived gradually.C. AND.two.H.C. AND., the rumors that circulate on their runs.3.Research on the scandal caused by H.C. AND.La falta cometida por él en el parque. ANDs juzgado sumariamente y condenado.4.HR Review of H.C. AND.You cannot know the truth about him but through a first -important document: the letter that has been sent to him by.L.P., written by Shem, transmitted by Shaun. ANDstos cuatro primeros capítulos forman un bloque de estilo bastante uniforme, una segunda amplificación de la balada de Finnegan.5.ANDxamen de esta carta que es evidentemente el mismo Finnegans Wake. ANDn muchos aspectos, los cuatro capítulos precedentes han sido un largo preludio, y es éste el verdadero comienzo del libro.6.Twelve questions about the text with your answers.7.SHEMLYoFE,LYoFE AND JUDGMENT The writer.He himself condemns, acquitted by his mother.8.Portrait and Judgment of A.L.P.that links Shem with H.C. AND.Two laundries that wash the dirty clothes of H.C. AND., borrando así la afrenta que le ha hecho Shem, hablan de su esposa AnnaLivia. ANDsta se identifica cada vez más con el río mismo, y de ese modo se nos conduce de nuevo al comienzo del libro, riverrun.This ends the third amplification of the Balada de Finnegan.
1.Mick, Nick andLas Maggies mimicry.La lucha de Shem y Shaun por la conquista de Yoseut.two.The two twins do their school tasks. ANDl texto se presenta rodeado de anotaciones.3.An episode of adventure of Butt and Taff (Shem and Shaun) on television, commented and tried in the Ha Taver.C. AND.For its twelve clients.4.ANDn las batallas por la posesión de Yoseut, no es sólo Shem quien resulta suplantado, es el mismo H.C. AND., King Mar, for the young tristan, Shaun.Los cuatro ancianos registran el acontecimiento.
1.Shaun is the main character of this third.Lo vemos al principio interrogado por el pueblo de quien él es la esperanza.He vanishes progressively.two.Now it's called Jaun, he is fighting with the twenty -eight girls of whom he is the idol.Path again.Yon the end it is nothing more than Haun.3.Under the name of Yawn (yawn), it is in his turn under trial.Unable to defend itself, leave your father h.C. AND.4.The four elders surround the bed where h sleep.C. AND.Already.L.P.
ANDste último capítulo retoma todos los temas del libro. ANDs la mañana, la renovación, el día que recomienza.We have seen John become Shaun, then Jaun, Haun, Yawn and Down, now we will find it in the form of Dawn,La Aurora.All the stories we have found can be read in a new way, for example the history of Finnegan, and we are taken to the first chapter.
The connection between the principle and the end, the announcement of the themes and their recommendation, is underlined by the parallelism of the two dialogues between Mutt and Jute, Muta and Juva.
The geometric figure in the middle of the chapter on school duties plays the role of a symmetry center;Yon front of her, the annotations of the right margin had Shaun's style, those on the left that of Shem, then it is conversely, before her is the side of Shem, then it is the side of Shaun, the two chapters that theyThey are consecrated are at the same distance.By joining the last chapter with the first, we are facing a circle divided into sixteen sections whose cardinal points are H.C. AND., Shem, the opposition of the brothers, Shaun that leads us to H.C. AND.
ANDn cuanto a las cuatro partes principales, designadas por números romanos, es fácil vincularlas con las dimensiones temporales fundamentales de todo instante y por lo tanto de todo evento.La primera corresponde al pasado, a la historia.La segunda al presente, el espectáculo y el estudio.La tercera al futuro tal como uno lo sueña, la cuarta al futuro tal como se realiza y tal como se volverá pasado.Los últimos capítulos de cada parte forman la transición de uno al otro. ANDl capítulo de AnnaLiviaPlurabelle evoca el pasaje del pasado al presente; en el episodio del rey Marc, a través del presente, el pasado deja lugar al futuro; en el de H.C. AND.Already.L.P. en la cama, esa visión del futuro se revela como si no fuera más que un sueño del presente; en el capítulo de la aurora, tenemos el pasaje del presente al futuro; el fin de ese capítulo retoma el ritmo de AnnaLiviaPlurabelle, último capítulo de la primera parte, del cual es una prolongación. ANDl comienzo nos lleva a un pasado inmemorial.
Oh Tim Finnegan, H.C. AND., unable to pave with the attractive and iridiscent stones that would be convenient, the threshold of this misty horn door that among our sleeping heads, Yo beg you to accept as tribute this little tied of dry notes that Yo deposit here, like the modern Egyptians thatThey suspend at the entrance of their dwellings, the holidays, a bouquet of some onions.
(tomado del libro Repertoire, de 1960, y traducido por Marcelo Zabaloy, también autor de la nueva versión del Finnegans Wake en español rioplatense publicado por ANDl cuenco de plata, two016, que es la aquí citada.La traducción de esta pieza de Butor es inédita. Repertoire tiene versión en castellano, Sobre literatura Yo, Seix-Barral, 1967)
