Guest Blog: Illuminating the WAKE with Clinton Cahill: part 14

Hello and welcome to my first Illuminating The Wake post for 2014.

1. FW p.30.1-17 charcoal drawing 2(

FW p. 30.1-17, charcoal drawing. ‘…back in the presurnames prodromarith period…when enos
chalked halltraps…’

 

The second ‘chapter’ of the first ‘book’ of Finnegans Wake has been variously known as ‘The Ballad’, ‘HCE – His Agnomen and Reputation’, ‘The Cad’ and ‘The Humphriad’. It appears to be an academic but not entirely reliable account of how Earwicker acquired his surname and a reputation spread by popular rumour, or ‘…the humphriad of that fall and rise…’(FW 53.9). In this post I’ll be addressing pages 30 – 33. These relate a version of the events through which HCE may have received his moniker, some initial good fortune and social position from the King, only to being nicknamed and eventually ridiculed by the populous.

As with many other parts of Wake the text its river-like attributes move unpredictably between limpidity and the muddily opaque. There are passages that present a clearly discernable scene and others where layers of reference and language-play thicken like dense sediment. One can tarry and pan for gleaming particles of insight using handy tools of exegesis, or choose to enjoy the sounds and scenery amidst the suggestive flow of surface text, building up an impression of events as they are elaborated.

2. FW p.30.17 -24 charcoal drawing (detail) 3

FW p. 30.1-17, charcoal drawing (detail) ‘…it came to pass…Cincinnatus the grand old gardener
was saving daylight under his redwoodtree one sultry sabbath afternoon, Hag Chivychas Eve, in
prefall paradise peace by following his plow for rootles in the rere garden of mobhouse…’

3. FW p.30 sketchbook (detail) 2

FW p. 30.1-17, sketchbook detail 1.

4. FW p.30 sketchbook (detail) 1

FW p. 30. 1-17, sketchbook detail 2.

5. FW p.30.17 -24 charcoal drawing

FW p. FW p. 30.17 – 31.3, charcoal drawing.

 

The dominant, uppermost layer of the narrative impression formed by my reading is that of Humphrey (or is it Harold) as a stock comic character, a bumpkin, wily in the ways of his own small rural corner but naïve and unsophisticated against wider worldly contexts. By chance encounter Humphrey is deracinated into a prominent position in the civic milieu, from which he is exposed to the fickle judgements of society. This movement of a comedic stereotype, from bucolic backwater to metropolitan stage, is refracted through the many theatrical references in the text. The course of a few pages seems to take us from a kind of timeless golden indolence in a prelapsarian garden ‘ …one sultry Sabbath afternoon…in prefill paradise peace’,via scenes verging on the grotesque from the ‘pantalime’ of court life and civic visibility in the ‘king’s treat house’, to the jaded melancholy of a ‘retired cecelticocommediant’. This enacts a transition from natural sunlight to glaring footlight to the exhausted, resentful gloom that inevitably dogs success, (FW 3014-15, 32.11 & 26, 33.3).

6. FW p.30.17-31.3, charcoal drawing (detail) 2

FW p. 30.17 – 31.3, charcoal drawing (detail) ‘…when royalty was announced by a runner to have
been pleased to have halted itself on the highroad …Humphrey or Harold …stumbled out hotface
as he was…jingling his turnpike keys and bearing aloft amid the fixed pikes of the hunting party a
high perch atop of which a flowerpot was fixed earthside hoist with care.’

7. FW p.31 charcoal drawing

FW p. 31.10 – 11, charcoal drawing, Humphrey, or Harold’s dialogue with the King ‘Naw, yer
maggers, aw war jist a cotchin on thon bluggy earwuggers.’

8. FW p.31 charcoal drawing (detail) 1

FW p. 31.10 – 11, charcoal drawing.

While reading and drawing my way through Finnegans Wake I have experimented with different media and techniques in an attempt to visualise different properties of the text. I’ve made explorations in paint, ink and collage, printing and digital media, but pencil and charcoal have yet to be surpassed for their immediacy in registering fleeting visual impressions at the point of reading. Pencil for direct pictorial notation at the speed of thought, charcoal for its directness, sensitivity and responsiveness to the mutability of the text as it emerges through the reading process. I found charcoal a particularly apt and enjoyable material for drawing pages 30 and 31. There is something about the figurative tonal shorthand that charcoal facilitates which evokes memories of black and white illustrations used to accompany the historical tales in the Arthur Mee Children’s Encyclopaedia. I see Humphrey’s encounter with the king very much in that ‘innocent’ classically illustrative style.

9. FW p. 32 sketchbook page

FW p. 32, sketchbook page.

10. FW p. 32 sketchbook (detail) 1

FW p. 32, sketchbook (detail).

11. FW p.33 sketchbook DPS

FW p. 33 sketchbook spread.

FW p. 33 sketchbook (detail) ‘…his detractors…apparently conceive him as a great white caterpillar capable of any and every enormity in the calendar…’

FW p. 33 sketchbook (detail) ‘…his detractors…apparently conceive him as a great white
caterpillar capable of any and every enormity in the calendar…’

FW p.33 sketchbook page. Humphrey, viewed as ‘our worldstage’s practical jokepeice and retired cecelticommediant’ 33.2-3.

FW p.33 sketchbook page. Humphrey, viewed as ‘our worldstage’s practical jokepeice and retired
cecelticommediant’ 33.2-3.

As always I welcome responses to my project and please look out for my post in February, when I will be visualising the next key incident of the Wake, HCE’s encounter with ‘the Cad’.

2 thoughts on “Guest Blog: Illuminating the WAKE with Clinton Cahill: part 14

  1. Hello, I found your blog today and think what you are doing is amazing. I have an modern expressionist voice and saxophone duo called A Small Dream In Red and recently we did a free improv performance of an excerpt from Finnegan’s Wake – “This the way to the museyroom…..

    Just wanted to let you know your work here is brilliant. Glad I discovered your blog and this place.

    Thank you,

    Nora McCarthy
    Brooklyn, NY

    • Hi Nora,
      Thank you for your positive and encouraging comments about the blog. I have seen some of A Small Dream In Red’s work online, but haven’t yet managed to track down your Finnegans Wake improv. Was it recorded at all? I’m intrigued by the distinctive quality of the layered intertwining of your voice and Jorge’s sax. Being a visual practitioner, coming across items performance footage where you have used projected imagery set my mind racing. I’m very interested in the contingency and performative aspects of interpretive drawing – the moment-by-moment responsiveness of the medium and the energy of the line once you embark on a piece. What I have seen and heard of your work so far resonates strongly with this. A Wake-based voice, sax, drawing dynamic – perhaps interpreting ALP would be really something.

      Thanks again and Best wishes

      Clinton
      Manchester, UK

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