THE AQUILITTORAL DRYANKLE
by
orlando mezzabotta
==============================
I would like to point out a couple of allusions which may have
escaped previous interpretations. The passage is:
286.19: Problem ye ferst, construct ann aquilittoral
286.20: dryankle Probe loom! With his primal hand-
286.21: stoe in his sole salivarium. Concoct an equo-
286.22: angular trillitter. [1] On the name of the tizzer
286.23: and off the tongs and off the mythametical
286.24: tripods. Beatsoon.
But, before plunging into it, I’d like to call the attention to the
“HEPTAGRAMMATON” of the right marginal note, pointing
to “P.t.l.o.a.t.o.” (286.3) The most obvious explanation is the one
given by McHugh as “plates to lick one and turn over” (286.18).
But I detect two more allusions: the philosopher “Plato” and Italian
“Pilato” (Pilatus). And I think that this points to the fact that the
previous speech was made by Shem, who expressed his negative
position towards mathematics and algebra, leading only to chaos
(aosch) and ashes (286.2). Now it should be Shaun’s turn to turn a
new page, but it seems that the “idealistic philosopher” (Plato) is
not likely to do it, to waste his time on such menial affairs
(HYPOTHESES OF COMMONEST EXPERIENCES) and he’d rather
stay clean, wash his hands “that count” (Pilatus like),
(APOTHEOSIS OF THE LUSTRAL PRINCIPIUM), put aside HCE
and prepare himself for the “Platonic” interpretation of ALP, the
female principle. And probably not giving much weight to Thomas
Aquinas who said:
“what is primary in our knowledge is the things of which we first
form concepts. Mathematical entities are idealizations made by
way of abstraction from our knowledge of sensible things. It is
knowledge of sensible things which is primary and thus prior to
the “order of learning” the philosophical sciences.”
[McInerny, Ralph and O’Callaghan, John, “Saint Thomas Aquinas”,
The Stanford Encyclopedia of Philosophy (Winter 2013 Edition),
Edward N. Zalta (ed.), forthcoming URL =
<http://plato.stanford.edu/archives/win2013/entries/aquinas/>.]
So it’s Shem who continues the lesson (286.4-18) and invites his
brother to dismiss the cardinal “packnumbers” he was so fond of,
having first given the due attention to “Paco Hunter” of the
corresponding left margin note: “Vive Paco Hunter!”, in which we
find the already mentioned initials (VPH) of the luxurious Victoria
Palace Hotel, in Paris, where Joyce now and then used to live. But
since our Paco is in correspondence with
286.11 hucksler, Wellington’s Iron Bridge,
we are entitled to interpret “hucksler” as a whore (hustler), selling
her “wares/wears” in the street like a “huckster”, and “Wellington’s
Iron Bridge” recalls both Wellington (the Iron Duke) and the bridge
that leads to Bachelor’s Walk. Now, in our case, “bachelor” has at
least a double meaning. It may be a “chaste” young man; or an old
unmarried womanizer walking after whores, in Paris. Let’s get back
to Paco, a common Spanish name that derives from Latin “PAter
COmmunitatis” (the Father of the community). We are entitled to
see in him a Spanish Father who is a Hunter (very likely of girls),
like the Spanish Don Juan; but probably a hunter of heretics (the
rebellious sons) and of witches as well, like a Spanish Inquisitor.
(There is indeed an ironic touch. Paco is connected with Franciscan
friars, since it is the nickname of St. Francis. But inquisitors were
Dominicans, commonly known as adversaries of Franciscans. Thus
“Paco hunter” may indeed be a Dominican friar.) But “Paco
Hunter” recalls the well known “Pocahontas”, the “Virginia”
Indian princess “notable for her association with the colonial
settlement at Jamestown [WP]”. So we have a “virgin” princess
settled in the town of James (the Paris of Joyce). But this “maid”
seems to be somewhat impudent and shameless, since her name
hints at Italian “poca onta” (poca: little; onta: dishonour, shame).
In conclusion: an old and shameless Don Juan hunting a brazen girl
who could be his daughter and chasing away his insurgent sons. Or
a young “chaste” Dominican (Shaun type), a witch hunter, who
rejects the advances of a sinful and shameless hustler.
And now we can finally direct our attention to the specific passage
which introduces the “triangle” theme. I won’t touch here the
geometrical allusions, which are the most obvious and usually
treated at large; but I’ll try to point out, as best as I can, the
“political and historical side” of the sarcastic confrontation
between the twins, made explicit by Footnote 1:
“As Rhombulus and Rhebus went building rhomes one day.”
with its reference to Romulus and Remus. The reference to Rome is
manifest in the subtly hidden acrostic of the right marginal note:
INGENIOUS
LABOUR-
TENACITY
AS BETWEEN
INGENUOUS
AND LIBERTINE
which is a clear anagram of ITALIA (Italy). With a series of
allusions to the confrontation between Shaun, the “ingenuous
(candid)” brother and the libertine Shem; a confrontation that will
be “strong and continuous” (tenacious), laborious and highly
sophisticated (ingenious) in its argumentation. But most of all I’d
like to underline the many references to “fascism” and its “nazi”
connections. “aquilittoral” is not only the obvious “equilateral”,
and not only the “littoral zone” where “ankles” are alternatively
washed by the water (Italian acqua) and then left “dry”; or where
“Enkel” (German “grandchildren”) haven’t yet had the nerve to put
their feet in; but it hints specifically at Italian “aquila” (eagle) and
at “littoriali”, which were cultural, artistic and sports events for
University students, that took place during the fascist era.
You can see on the right and left side the “fasci littori” (bound
bundle of wooden rods, sometimes including an axe with its blade
emerging). Thus the fascist “aquila littoria” (Lictorian Eagle).
“Probe loom” hints, among other things (amongst them, a quite
amusing ironic “pro Bloom”, which could be a “polemic” anti-nazi
“pro Jews” as well), at “pro bellum” (in favour of war) or “para
bellum” (prepare for war) – the capital P of Probe linking it to the
German word for “proof”, so a “proven” and “looming” scrutinizer
(loom – Latin Lumen “light”). “primal hand-stoe in his sole
salivarium” is indeed intriguing. McHugh points to an oblique
“thumb in his mouth”, hinting at the “babish”, childish attitude; the
baby who puts the big finger (toe) of his hand there where “saliva”
is, namely the mouth. (In fact it is the thumb which, together with
the index, is used as a compass to trace one of the two circles of
page 293. It is he thumb at the mouth of the river, the Lambda
point, so brilliantly illustrated and explained by Clive Hart in his
“Structure and motif in Finnegans Wake.”
But “hand-toe” is the yoga position of “Utthita Hasta
Padangusthasana”,
which has an astounding resemblance with the nazi “goose step”.
And “sole salivarium” (nazi SS apart) has another fascist
reference. “sole” is Italian for “sun”; “saliva” in this case may be
connected to the verb “salire” (to ascend, to rise, to go up). “saliva”
is “he/she/it was rising”. So the fascist Roman image is that of a
rising sun, that same rising sun (sole che sorgi – “sorgere” : to rise)
which we find in the most famous “Inno a Roma” (Hymn to Rome
– 1919), verses by Fausto Salvatori, music by Giacomo Puccini,
amply used by the fascists for their propaganda, because of its
captivating and nationalistic aura.
Sole che sorgi libero e giocondo
Sul Colle nostro i tuoi cavalli doma
Tu non vedrai nessuna cosa al mondo
Maggior di Roma, maggior di Roma!
(Oh sun that rises free and full of joy
over this Hill of ourn, tame there your horses;
you will not see throughout the world a thing
which is greater than Rome, greater than Rome.)
In case you have historical curiosities you may hear a version of it:
http://www.youtube.com/watch?v=wS344HoZlM4
But I think that “salivarium” hides Joyce’s spiteful “spit” towards
Fascism and Nazism with their goose steps (handtoe) and their
bombastic marches (soles, soil). But there are still more Roman and
fascist references, like those in
286.21: Concoct an equo-angular trillitter
The verb “concoct” is quite unusual, coming directly from Latin
(Roman) concoctus (cum + “coquere” : to cook). “equo” is Latin
“equus”, which can be both a horse and a donkey (up to you to
decide who is Shaun and who Shem; probably both, since the
white-black “zebra” as well belongs to the family Equidae). Thus we
have “equal” perspectives (angles) joined in a trilateral, zebraic
horse-donkey, doubly linked to the “trillitter” which hints at the
three letters of the fascist Latin DVX (Duce, Führer),
the littorian (litter) Mussolini. So the “zebraic” oppressed sons
(Italian “ebraico”: Hebrew) fronting the racist Father who controls
that his trilateral and triliteral Delta (ALP) be not trasformed by
his sons into a cooked-up “cocotte” (whore). That’s French for
“chicken”, diminutive of “coq” (cock). And if we note that “equus”
derives from the Mycenaean Greek “i-qo”, we may detect an
incestuous, thrilling and trilling tris-littered “concoction” of “hen”
(cocotte) and Equidaes. An image which recalls a blasphemous
Witch’s Cauldron, where the father and the son (the tizzer and
the tongs) of the Trinity are turned into firebrands (tizzer :
Italian “tizzo, tizzone”) and sworn criminal brotherhoods (Chinese
“tong”, literally “hall, gathering place”), with its songs sung in a
secret language (tongue). All this taking place around the mythic-
matical (mythametical) mother, whose secret is both hidden
(mimetic) and enlightened by the “tripods” of her sacred altar;
sacred secrets that must be revealed, at least according to the Italian
idiomatic form “scoprire gli altarini” (literally: to unveil, uncover
the small altars), in fact “to reveal one’s guilty secrets”.
Here we may give a look at the left marginal note:
The boss’s bess bass is the browd of Mullingar
where we may find the Boss (Father) whose wife (bride of
Mullingar, Chapelizod), his very pride (browd), is in fact a
malingering “broad”. And a fish (bass) boiled for “broth”; the best
one of the Mullingar brothel. And the best ale (Bass’s ale – with its
red triangle)
is in fact the ale of the “boozer”, morphed into a “dishwatery” broth.
Continuing with the text, in 286.24 “Beatsoon” is not only “be it
soon” and “so be it”, but also “beats” and Italian “bastone” (rod), the
fascist “manganello” (truncheon, billy club). Suggesting that the
ensuing fight will certainly be not without serious consequences.
Which may suggest an interesting link (I don’t know how much far-
fetched) with the “naven” ritual described by the anthropologist
Gregory Bateson (beatsoon), in his work “Naven: A Survey of the
Problems suggested by a Composite Picture of the Culture of a
New Guinea Tribe drawn from Three Points of View. (1936)”.
[Note, please, the three points, like those of a triangle.] Of course
this is not the place to expound on this topic; thus let it be sufficient
to know that that ritual develops what Bateson, in his book, called
“schismogenesis” (creation of division), and that “schismogenic
behavior consisted of a competitive relationship between
categorical equals (e.g., rivalry) and complementary
schismogenesis between categorical unequals (e.g., dominance
and submission). [WP] Which expresses clearly both the twins
and the father/twins relation. And this justifies the “fascist” touch
and its imagery, since fascism is deeply influenced by a rebellious
attitude towards the bourgeois establishment (the decadence of the
old regime) and, most of all, by the exalted excitement of the new
generation. It’s not a case that the official hymn of the Italian
National Fascist Party – and the unofficial national anthem of Italy
between 1924 and 1943 – was “Giovinezza” (Youth). For pity’s sake
and for the good name of Italian poetry I’ll spare you the verses.
286. 3 P.t.l.o.a.t.o. HEPTAGRAMMATON.
286. 4 So, bagdad, after those initials falls and that HYPOTHESES
286. 5 primary taincture, as I know and you know OF COM-
286. 6 yourself, begath, and the arab in the ghetto MONEST EX-
286. 7 knows better, by nettus, nor anymeade or PERIENCES
286. 8 persan, comic cuts and series exerxeses always BEFORE APO-
286. 9 were to be capered in Casey’s frost book of, THEOSIS OF
286.10 page torn on dirty, to be hacked at Hickey’s, THE LUSTRAL
286.11 Vive Paco hucksler, Wellington’s Iron Bridge, and so, by PRINCIPIUM.
286.12 Hunter! long last, as it would shuffle out, must he to
286.13 trump adieu atout atous to those cardinhands
286.14 The hoisted in he a big deal missed, radmachrees and rosse-
286.15 red and the low- cullinans and blagpikes in suitclover. Dear
286.16> ered in black. hearts of my counting, would he revoke them,
286.17 forewheel to packnumbers, and, the time being
286.18 no help fort, plates to lick one and turn over.
286.19 Problem ye ferst, construct ann aquilittoral INGENIOUS
286.20 dryankle Probe loom! With his primal hand- LABOUR-
286.21 The boss’s bess stoe in his sole salivarium. Concoct an equo- TENACITY
286.22 bass is the browd angular trillitter.¶1¶ On the name of the tizzer AS BETWEEN
286.23 of Mullingar. and off the tongs and off the mythametical INGENUOUS
286.24 tripods. Beatsoon. \AND LIBERTINE.