More than fifty years my senior and in his eighties at the time, he not only revered James Joyce but had also known him personally in Paris in the 1920s.īrian did not answer at first. Unbridled, incontinent, non-stop, exhausting, professional Irishness – meaningless and impossible.īut God only knows what possessed me, an Englishman, to be so recklessly provocative as to put such a question to the Irish film director Brian Desmond Hurst. It was, however, a genuine question arrived at honestly. Much information gleaned from the Joycean research of the past decade is gathered together here.‘ Finnegans Wake is a load of bollocks, isn’t it?’ Forgive the vulgar language and crude critical assessment of a book held to be one of the masterpieces of the twentieth century, but it was a view I held many years ago, and I was young at the time. In the last section, called “Overtones,” the aim is to list the English words suggested by Joyce’s puns and distortions. The second on syllabification lists in alphabetical order the inner parts of over 10,000 complex words in Finnegans Wake which are built up out of simpler elements and which would be impossible to find from the primary index alone. Except for punctuation marks, every typographical unit in the book is accounted for, and each is listed just as it appears in the text. The primary word-index, similar in most respects to those which have already been published for Joyce’s Ulysses and Stephen Hero, list in alphabetical order all of the 63,924 different words which make up the vocabulary of Finnegans Wake and provides page-line references for every occurrence of all but a small handful of the most common English words. There are three parts: the first consisting of a complete alphabetical index to the vocabulary of Finnegans Wake, the second comprising a list of syllabifications (showing the inner parts of compound words), and the third providing a list of some 10,000 English words suggested by Joycean distortions.
This concordance, the first full-scale work dealing with the language of James Joyce’s last period, provides a finding-list and analytical index for his last work, Finnegans Wake.
This is a full-scale work dealing with the language of Joyce’s last period, and much information gleaned from the Joycean research of the past ten years is gathered together in the volume. The primary word-index provides page-line references for every occurrence of all but a small handful of the most common English words. A reference work to help the reader trace the symbolic and thematic development of the verbal motifs in James Joyce’s Finnegans Wake, this concordance contains a primary index of the 63,924 words in the vocabulary, an alphabetical list of syllables in the compound words, and a section listing some 10,000 English words suggested by Joyce’s puns and distortions.
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