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Joyce often jumps between several languages to emphasize
particular passages. He uses Norwegian words, for example, when the Norwegian
Captain is the subject, and employs various “secret” languages of travelers
in the underworld, priests, and scholars to multiply the layers of meaning in
certain sections. Words will be altered to fit a particular meter of speech,
accent, dialect, mishearing, or sometimes just to play with
alliteration/music/familiar phrases. Passages can be scrambled, stuttered, or
simply rendered unreadable by the sheet number of devices Joyce employs
simultaneously. One prominent example of these intertwining layers is the
name Perce O’Reilly, the name used to mock Wake’s protaganist,
Earwicker, during a ballad. The name comes from perce-oreille, the
French word for an earwig, but also combines the name of two Irish leaders
who led the 1916 Easter uprising. Joyce then goes on to take the name he’s
just created and make jokes out of it. Much later on in the
novel, Joyce writes “beers o’ryely” to mock Earwicker’s penchant for
alcohol by evoking a scene from the old vaudeville song “Finnegans Wake”
(which the book is obviously named after) that goes: “A gallon of whiskey at
his feet / And a barrel of porter at his head.” Just try to count up how many esoteric jokes and references those two words alone (“beers o’ryely”) rely upon. Now imagine over 600 pages such writing, and you’re starting to get an idea of just how difficult Finnegans Wake is to get through with even a modicum of understanding. |
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Linguistic Complexity |
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