James Joyce’s Finnegans Wake: Unlocking the Collective Unconscious

Gary B. Wack

Dr. Klara Lutsky

GENG 650

December 14, 2011

James Joyce’s Finnegans Wake: Unlocking the Collective

Unconscious

Carl Jung suggests that dreams are a gateway to the

primordial essence of humankind and the collective

unconscious (The Archetypes 21). In addition to dreams, Jung

posits that the presence of schizophrenia in a person may

offer him or her a key to accessing the collective

unconscious (The Archetypes 66). In Jung’s assessment of

James Joyce, Jung suggests that Joyce may have suffered from

schizophrenia (The Spirit in Man 116). Jung goes on to say of

Joyce’s Ulysses, “Even the layman would have no difficulty in

tracing the analogies between Ulysses and the schizophrenic

mentality” (The Spirit in Man 116). I believe the same can be

said of Joyce’s Finnegans Wake. Finnegans Wake is a collection

of multi-faceted characters that both reflect Joyce’s

imagination and represent different facets of his psyche.

Wack 1

Archetypal characters represent these facets of Joyce’s

psyche. Explication of the archetypes will be made later as

we examine and mate each of Finnegans Wake’s characters with

their perspective archetypes. Lastly, I believe the

examination of the archetypal characters within Joyce’s

Finnegans Wake represents not only the map to Joyce’s psyche,

but also a larger map to the collective unconscious and the

cosmos. This is to say that the Finnegans Wake is a roadmap

to larger ideas that present themselves to the reader in the

form of archetypes that connect the personal unconscious

with the collective unconscious. Moreover, those larger

ideas are the symbols of our being and understanding of the

universe as we exist within it.

The main archetypal characters in the Finnegans Wake are

the fallen Finnegan who may represent Joyce himself, the

father H.C. Earwicker abbreviated HCE who may represent the

animus archetype, the mother Anna Livia Plurabelle

abbreviated ALP who may represent the anima archetype, the

twin sons of Shem and Shaun who may represent the trickster

archetypes, the daughter Isabel who may represent the over-

Wack 2

developed Eros archetype, and the four old men who may

represent the Logos archetype. There are numerous

supporting and minor characters within Finnegans Wake, but

for the purpose of this study inside the unconscious of

James Joyce and his archetypal journey toward the collective

unconscious, we will limit the scope to the main

representative characters and their representative

archetypes.

The archetype of the self, or of Joyce himself can be

seen within the character Finnegan who also ties all the

rest of the characters together inside a kind of unconscious

within a collective unconscious or a circle within a circle.

This circle within a circle is a kind of dream within a

dream. William Tindall suggests that Joyce may have been

drawing upon multiple levels of consciousness to plod a road

into the collective unconscious and the cosmos. Tindall

goes on to say, “The Wake, then, would be the dream of

Everyman, or since Joyce saw himself in this capacity, of

James Joyce, a collective consciousness drawing upon the

collective unconscious” (Tindall 19). More to the point,

Wack 3

Joyce may have been exploring that multiple level of the

self as representative of Finnegan who falls and all the

following characters seem to sprout from Finnegan’s psyche

just as Finnegan sprouted from Joyce’s psyche.

Joseph Campbell suggests that Finnegan is a product of

Joyce’s own psyche in the way that Finnegan’s suffering is

also Joyce’s suffering (Campbell 38). Campbell says of

Joyce, “One of the chief tasks of the artist is to provide

new sustenance for the insatiable gorgon within him”

(Campbell 358). Campbell further states “By doing so, he

incidentally satisfies the hunger of his generation where

Joyce plunges into a region where myth and dream coalesce to

form the amniotic fluid of Finnegans Wake. (Campbell 358).

The fall of Finnegan is therefore the fall of Joyce, but not

a literal fall for Joyce as it was for Finnegan. I believe

Joyce’s fall was his struggle toward enlightenment and

connection with the collective unconscious. Joyce may have

felt a frustration looming about him in his later years.

This frustration may have been a result of his failing

eyesight and limited time remaining to complete the large

Wack 4

undertaking of Finnegans Wake. I believe the purpose of his

writing Finnegans Wake may have been in an attempt to find

the key to accessing the collective unconscious and the

larger cosmos. For an artist who is running out of time, he

or she tends to toil in discovering the unanswered questions

in life and what lies beyond the great unknown or the

hereafter. Campbell seems to agree as he states “Indeed,

the baffling obscurity of Finnegans Wake may be due to the

author’s determination to muddy the track of his narrative

with a thousand collateral imprints, lest we trace him to

the scene of his own life-secret, which he describes in

compulsive half-revelation” (Campbell 359). For Joyce,

Finnegans Wake may have only been half a revelation, or only

half the journey toward reaching the collective unconscious.

I believe his toil in creating Finnegans Wake may have been

his last effort to connect with and join with the collective

unconscious.

Joyce, through Finnegan, may have represented that fall

from grace or fall from religion, as religion may not have

satisfy his larger questions about life, the cosmos and the

Wack 5

collective unconscious. As Finnegan fell, the words like a

clash of thunder also fell, “The fall

(bababadalgharaghtakamminarronnkonnbronntonner-

ronntuonnthunntrovarrhounawnskawntoohoohoordenenthur-nuk!)

of a once wallstrait oldparr is retaled early in bed and

later on life down through all Christian minstrelsy” (Joyce

3). Further, “The great fall of the offwall entailed at

such short notice the pftjschute of Finnegan erse solid man,

that the humptyhillhead of humself promptly sends and

unquiring one well to the west in quest of his

tumptytumtoes: and their upturnpikepointandplace is at the

knock out in the park where oranges have been laid to rust

upon the green since dev-linsfirst loved livvy” (Joyce 3).

Markedly, the fall eschews the man of Finnegan and the man

of Joyce through what I believe is the reference to Joyce

himself as “the humptyhillhead of humself” that also travels

to the “west in quest of his tumptytumtoes”. I also believe

he may have experienced his own fall from Ireland in willing

exile to travel west toward Zurich where he would finally

Wack 6

fall, never to awake as his psyche and soul finally

separated from the husk of his lifeless body.

Northrop Frye mentions a punishment and demise of the

self as transference of suffering from HCE to Finnegan and

then to Joyce (Frye 64). Frye further suggests a connection

to myth as HCE, Finnegan, and Joyce all emulate Prometheus

and his fall from grace as he was punished and bound for his

sharing of fire and sacred knowledge to the unlearned

mortals (Frye 64). Frye explains, “This myth of gods buried

under the tyranny of consciousness, nature, and reason, in

Joyce the Finnegan concealed under the blanket of HCE,

corresponds to the Greek myth of the Titans, of whom

Prometheus was one, and neatly fits the metaphysical myth we

have been tracing” (Frye 64). The final connection of

Joyce, to Finnegan, to HCE, to myth may have been the course

Joyce wished to take in order to map the road to the larger

cosmos and collective unconscious. In connection, the next

archetypal character to emulate Joyce and a part of his

psyche is HCE.

Wack 7

HCE is the archetypal character of the animus or the

masculine aspect of Joyce’s psyche. Jung describes the

animus as “the soul-image” of masculinity and libido

(Psychological Types 471). Jung also suggests that this quality

is generally seen as the counter-part of the feminine or

anima archetype and may be found in the male as well as the

female, but is more prevalent in the female as the masculine

voice of her psyche (Psychological Types 472). If we are to

assume the characters of Finnegans Wake are representations

of aspects of Joyce’s psyche, then we must infer that HCE

represents the masculine father figure. As such, HCE

assumes the role of the masculine hero with the encounter

between him and the cad. HCE becomes defensive with the cad

when he approaches the cad who is carrying his “overgoat”

under his “schulder sheepside out, perhaps to feel more

comfortable, but this elicits the response of mistaken

identity from HCE. The same is said of HCE who wears

“Bhagafat gaiters”, or Indian gaiters as seen in the

Bhagavad Gita and a rain cap “inverness” (Joyce 35). They

both appear to be foreigners to each other. As such, HCE

Wack 8

wonders about how different he might look to the locals or

how his dress might not match his lineage. HCE thinks to

himself, “the anniversary, as it fell out, of his first

assumption of his mirthday suit and rights in appurtenance

to the confusioning of human races” (Joyce 35). The cad

judges HCE based on his dress, but more importantly, HCE

also imitates the story of a similar hero, that of Odysseus

when he wasn’t recognized right away by the sheepherder.

The allusion that Joyce seems to make in the comparison of

HCE to Odysseus may be Joyce’s attempt at connecting the

bridge between the personal unconscious and the collective

unconscious.

Margot Norris also compares the meeting of the cad and

HCE to the myth of Jacob and Esau where they were said to be

“provocative references to confused identity and unlawful

family descent” (Norris 59). Norris also compares HCE’s

hidden identity from the cad with Oedipus’s hidden identity

from Oedipus’s father and mother. Overall, this

interweaving of HCE with the hero myth archetypes is a

higher level of consciousness. By infusing myth into the

Wack 9

archetypal character of the animus, one can see the higher

reasoning and pathway toward the divine, toward seeing the

patterns visible in the human condition and the

enlightenment gained by beholding them. This beholding of

the patterns of life inside myth brings one closer to

mergence with the collective unconscious. Samuel Becket

suggests that the image of Adam is visible in HCE as the

Biblical authority figure and the father of humanity (Our

Exagmination 20). The mention of Adam and Eve in the

beginning passage of Finnegans Wake might suggest that Joyce

was trying to reach the collective unconscious through the

doorway of merging myth with humanity or the archetypal

character of HCE with the human condition as representative

of the father figure in humankind. The masculine animus

archetype seen through the character of HCE is just one

aspect of Joyce’s psyche within Finnegans Wake that attempts

to ascend to the collective unconscious by seeing or

beholding of the patterns of myth upon humanity. What

logically follows then is the feminine or anima archetype.

Wack 10

The mother, ALP, represents the feminine or anima

archetype of Joyce’s psyche in Finnegans Wake. Frye mentions

“In Joyce the central figure is female because the

containing form is ironic and cyclical” (Frye 112). The

“ironic and cyclical” aspects of ALP and the feminine anima

archetype are that her job is to reproduce and be

reproduced. This is to say that ALP will reproduce in

giving birth to her offspring of Shem, Shaun, and Isabel and

eventually her own daughter Isabel will replace her as the

reproducer, hence, the reproduction of ALP. With talk of

reproduction, it is only logical that we call ALP, the

mother archetype who could be compared to the sacred earth

mother archetype. Oswald Spengler suggests that the mother

and motherhood is the “Endless Becoming” that sees mother as

time and time as destiny (Spengler 267). Spengler also

suggests “Just as the mysterious act of depth-experience

fashions, out of sensation, extension and world, so through

motherhood the bodily man is made an individual member of

this world, in which thereupon he has a Destiny” where “All

symbols of Time and Distance are also symbols of maternity”

Wack 11

(Spengler 267). This is to say that ALP may represent the

other half of the equation where Adam needs an Eve and HCE

needs an ALP. This completion of the two halves of the

equation creates a movement in time. Without ALP and others

set in the roll of motherhood, there would be no HCE, Shem,

Shaun, Isabel or Joyce. In Finnegans Wake, the statement is

made, “Abha na Life’ is said to be the “Bringer of

Plurabilities” (Joyce 104). I would infuse the word “Life”

with “Plurabilities” and see the “Bringer” as the feminine

archetype and the Eve of creation. Tindall mentions ALP as

the agent of renewal and that of Eve, the Virgin Mary,

Pandora, Noah’s wife, Napoleon’s Josephine, and the Moon”

(Tindall 249). In Finnegans Wake, HCE is referred to as the

Alpha and ALP is referred to as the Omega (Joyce 196). This

is the connection between the seed of creation and creation

itself.

The anima or the feminine archetype is named in

Finnegans Wake with literally the word “annyma” which proves

that Joyce was awakened by the feminine archetype through

his creation of Finnegans Wake in an effort to connect with

Wack 12

the archetypes, the unconscious and the collective

unconscious (Joyce 426).

Tindall suggests that ALP is also the river Liffey from

its source in Wicklow to Island Bridge, just below

Chapelizod (Tindall 250). Just as Spengler notes a

correlation of motherhood with time, so does Joyce suggest

the flow of the river as the feminine archetype that passes

with time. In the Finnegans Wake, Joyce mentions the river

as the “Brook of Life” as it flows through its “microchasm”

(Joyce 229). This flow of the river of life is the creator

of the microcosm of life through the carrying of that life

into the larger sea that awaits it. A microcosm of anything

is a small representation of a larger whole and perhaps it

is Joyce’s intention to connect the small with the larger by

connecting ALP to the river Liffey and the river Liffey with

the collective unconscious. Tindall suggests that all the

other characters are representatives of either the father

HCE or the mother ALP (Tindall 250). This is to say that

the father animus archetype and the mother anima archetype

are a necessary kinetic energy that moves the story along

Wack 13

just as the river moves along the banks toward the sea

beyond it. Without the father and mother, there is no

creation, and without creation, there is no movement of time

and perception of time through aging. Campbell suggests

that HCE and ALP both represent a primordial male-female

polarity (Campbell 10). This is to say that the two coexist

in a kind of constant flux between the ebb and flow of space

and time as can be seen in the constant flow of the feminine

Liffey against the masculine banks of land. It also stands

to reason that without the mother anima archetype, and her

ability to create time literally through the birth canal

there would be no movement of civilization, time or

existence.

Frye remarks “the last page of Finnegans Wake describes

the sinking of ALP into her “old feary father, as the Liffey

river finally reaches the sea” (Frye 107). Frye couples the

idea of the connection of the river to the sea with the

continuation of the cycle as seen through the fall and rise

given by the feminine archetype to the continuation of life

(Frye 107). Frye concludes by saying “As Finnegans Wake goes

Wack 14

around in a circle, this event immediately precedes the fall

of Finnegan on the first page, and corresponds exactly to

the first event of The Four Zoas, the sinking of Enitharmon

into the sea-god Tharmas, an event immediately followed by

the fall of Albion” (Frye 107). This is to say that Frye

connects the feminine archetype of Finnegans Wake with that

of William Blake’s The Four Zoas and the fall and rise, or

death and renewal of life. As such, each archetypal element

within Joyce’s Finnegans Wake seems to add a piece of the

puzzle to the collective whole. Furthermore, each

archetypal component seems to complete Joyce’s psyche and

nudge him toward enlightenment and the collective

unconscious.

ALP’s progeny in the story, Shem and Shaun add another

dimension to Joyce’s psyche, that of two dueling forces.

These dueling forces of Shem and Shaun are representative of

the trickster archetypes. Jung calls the trickster

archetypes, the darker side of the psyche or the conflicting

side of the psyche vying for control (The Archetypes 38).

Jung also states that this vying for control is the work of

Wack 15

the conscious self unable to connect with the unconscious

self (Symbols of Transformation 341). As a result, the self is

unable to transcend toward enlightenment and the collective

unconscious (Symbols of Transformation 341). Shem and Shaun may

represent the dueling forces within Finnegans Wake and within

Joyce’s own psyche. In Finnegans Wake, HCE calls the union

of Shem and Shaun an “amallgamated” (Joyce 308). This

amalgamation may be a mixing of two opposites, but Campbell

goes further by suggesting, “Shem and Shaun represent a

subordinate, exclusively masculine battle polarity which is

basic to all history” (Campbell 10). Campbell also suggests

that these “Opposing traits, which in their father were

strangely and ambiguously combined, in these sons are

isolated and separately embodied” (Campbell 10). More to

the point, the two twin sons of Shem and Shaun are two sides

of the same coin which were printed and spat from the

presses of HCE and ALP, but they seem to possess the

opposing traits that exist buried within their father. More

of this conflict can be seen between Shem (Glugg) and Shaun

(Chuff) when we see them playing outside the pub with Isabel

Wack 16

and her twenty-eight friends. Shem and Shaun play a game as

opposite roles, Shem plays the devil and Shaun plays an

angel (Joyce 259). In book two, chapters 1 and 2 of

Finnegans Wake, we see yet another example of the differences

between Shem and Shaun. Shem (Jerry), the Penman, is seen

as the introvert, the rejected man, and the chance taker

(Campbell 10). Shem is also the artist, the philosopher and

the dreamer. Shaun (Kevin), the Postman, is the opposite of

Shem (Jerry) in that he is “the folk-shepherd brother, the

political orator, prudent, unctuous, economically successful

favorite of the people, policemen of the planet, conqueror

of rebels and the bearer of white man’s burden (Campbell

11). Shaun is also the practical one who judges and has the

power to deliver what Shem has written. Campbell says it

best when he states:

Shem’s business is not to create a higher

life, but merely to find and utter the

Word. Shaun, on the other hand, whose

function is to make the Word become flesh,

misreads it, fundamentally rejects it,

Wack 17

limits himself to a kind of stupid

concretism, and while winning all the

skirmishes, loses the eternal city

(Campbell 12).

As noted by Cambell, Shem and Shaun are indeed two different

personalities with an increasing ebb and flow between them.

One other example of the differences between Shem and Shaun

crop up in the elusive letter addressed to HCE where Shaun

claims the credit for the work of his brother. “What Sim

sobs todie I’ll Reeve tomorry” (Joyce 408). Later, it is

Shem who steals the letter back and the feud continues

(Joyce 424). It is also thought that these two brothers

represent differences in the way they approach life. Stuart

Gilbert believes that Shem, as the Penman, represents the

artist, the philosopher, and the dreamer, while Shaun

represents the practical man, the pragmatic, and the

grounded (Our Exagmination 127).

The psychic link of Shem and Shaun to Joyce is evident

through Shem and Shaun as representatives of the trickster

archetypes that vie for control within the psyche. This

Wack 18

control brought about by the trickster archetypes are the

battling forces of the conscious and the unconscious vying

for control of the psyche. The practical is always trying

to win out over the dreamer. This is one of the daily

struggles common to all humankind. This is also the

struggle of the body and the mind, where the body is

grounded to the earth in all its sensual tangible

surroundings while the mind is projected inside the

metaphysical intangible chaos of the great wandering

unknown. This trickster archetype is only one more piece to

the puzzle of Joyce’s psyche and one more neuroses to heal

before his own transcendence can be made into the collective

unconscious.

The next archetypal character is Isabel who represents

the Over-Developed Eros archetype. Jung calls this “over-

developed Eros” a byproduct of the daughter suffering from

the mother-complex, as her feminine instincts are either

over-developed or under-developed (The Archtypes 86). In the

case of Isabel, the fluctuation of the feminine archetype

may be too far to the feminine, or what Jung calls the

Wack 19

hyper-trophy (The Archetypes 87). Jung also calls this a push

of the daughter’s psyche toward craving acceptance and

sometimes the negative aspects that go along with it are

manifested in a hyper-sexual awareness of the self (The

Archetypes 88). In chapter ten of Finnegans Wake, Isabel

begins to assume the role of the archetypal over-developed

Eros through examples of defiance where she doodles what

appear to be cross bones and a thumbing of the nose (Joyce

308). Tindall sees this doodle as “Isabel’s ambiguous

hieroglyph of a skull and crossbones and a thumbing of the

nose as a “a woman’s opinion of eggheads – or the readers of

Joyce, maybe” (Tindall 284). The doodle is referred to in

Finnegans Wake as a “skool and crossbuns” (Joyce 308). If

one were to adjoin the archetype of the playful over-

developed Eros of Isabel with Joyce, one might subsume that

it was Joyce doing the thumbing. Maybe Joyce was thumbing

his nose at the critics of his time. Chapter twelve of

Finnegans Wake expounds on Isabel’s archetypal character of

the over-developed Eros when we draw inference through the

reference of Shaun referring to Isabel as having “bedroom

Wack 20

eyes” and being his darling (Joyce 397). Tindall alludes to

this strange interconnection of brother and sister as a

“reversal” of morality calling Isabel, “the boneheaded

princess with ‘bedroom eyes’” (Tindall 288).

Norris looks at the role of Isabel in a different

light, that of redemption and maternal salvage (Norris 64).

Norris continues by suggesting that Isabel is actually the

repeat and continuum of ALP (Norris 64). This is to say

that Isabel is becoming a woman and in that way, she is

reaching her rite of passage into adulthood that includes

with it, a sexual awakening. Campbell looks at it from a

different point-of-view and states that he believes Isabel

to be just another aspect of Joyce’s anima or feminine

archetype. Frye believes that Isabel is simply an extension

of her mother and thus, “Mother Earth” who takes on the

identity of the daughter who will usurp her mother ALP, just

as Shem and Shaun will usurp their father HCE (Frye 110).

One could say that this is just one more leap into the

unconscious for Joyce as he strove to connect with the

collective unconscious inside both the over-developed Eros

Wack 21

of Isabel and the extension of the anima archetype of ALP.

Norris has a different view however, when she refers to

Shaun as the profane Christ and Isabel as the profane Mary

(Norris 66). I would agree with Norris as her observation

of Isabel as a profane Mary falls in line with my premise

that Joyce may have intended a connection of the characters

with their representative archetypal characters, and finally

to the larger archetypes that swing one from the simple

dreams of the unconscious into the great beyond of the

collective unconscious. This is to say that Isabel could be

thought of as simply a sexual deviant, but that conclusion

would not satisfy the premise. The premise would be to look

deeper into the unconscious in order to discover the hidden

archetypal character of the over-active Eros and linking

that archetypal character to the larger archetype of the

profane Mary in order to complete the journey to the

collective unconscious. In summary, the collective

unconscious could be reached if the smaller character

archetype, such as Isabel as representative of the over-

Wack 22

developed Eros is connected with the larger archetype of

Mary.

The final archetypal characters we will discuss here

are the four old men that crop up here and there throughout

Finnegans Wake. These old men are representative of the

Logos archetype. Frye refers to the Logos as word and

metaphor creating order and knowledge, and referring to

reasoned discourse (Frye 282). Jung describes the

archetypal old man as the wise old man who generally appears

to counsel women, but is also seen as a calming force

against the tumult of nature (The Archetypes 388). The four

old men are the embodiment of the Jungian wise old men and

the Logos archetype. The old men appear in chapter twelve

of Finnegans Wake as representatives of the a much larger

archetype, that of the apostles. These representatives of

the larger archetype are the apostles John, Mark, Luke and

Mathew. Tindall calls these four “peepers” who “tell the

same story from four different points of view, but not in

the usual order” (Tindall 287). This is to say that the

first three are what Joyce calls “synoptic” which involves

Wack 23

the love of wisdom as it is reflected by the coherence of

everything together (Joyce 383). The last one is considered

“better than optic” which could refer to his ability to see

on the physical plain of existence, but not on a

metaphysical one. You could also subsume that perhaps the

last one will act as the seer for the rest of them where

understanding in a different way is required. Tindall

suggests that the reversal of the order of the apostles

suggests a renewal (Tindall 287). This renewal is what Jung

calls a rebirth of the psyche and the resurrection of the

hero (Symbols of Transformation 171).

The renewal and rebirth of the hero is what occurs in

Finnegans Wake when Finnegan returns or awakens by turning

the page to where the last sentence of the last page ends to

the first page where the first sentence begins. In the end,

but not really the end of Finnegans Wake, the words vibrate,

“Finn, again!” (Joyce 628). At this point, Finnegans Wake

may be a symbolic rebirth of the text and the characters as

they are renewed and begin again. This renewal of character

Wack 24

and text is what Jung calls the God-image (Symbols of

Transformation 176).

The God-image is the anticipated conclusion of the hero

in transcendence toward the collective unconscious. As Jung

puts it, the archetypes are just vessels for the transport

of the psyche toward the collective unconscious. This is

what I believe Joyce had in mind when he wrote Finnegans

Wake. The archetypal characters of Finnegans Wake drive the

reader toward an epiphany of higher symbolic forms where the

smaller archetypal characters transform into larger more

recognizable archetypes bringing one closer to communing

with the collective unconscious.

Wack 25

Works Cited

Beckett, Samuel. Our Exagmination Round His Factification For

Incamination Of Work In Progress. New York: New Directions,

1962. Print.

Campbell, Joseph. A Skeleton Key to Finnegans Wake. New York:

Harcourt, Brace and, 1944. Print.

Frye, Northrop. Northrop Frye on Twentieth-Century Literature.

Toronto: University of Toronto, 2010. Print.

Joyce, James. Finnegans Wake. New York: Penguin, 1999. Print.

Jung, C. G. Symbols of Transformation. Princeton, NJ: Princeton

UP, 1956. Print.

---. The Archetypes and The Collective Unconscious. Princeton:

Princeton UP, 1980. Print.

---. The Spirit in Man, Art, and Literature. Princeton: Princeton UP,

1971. Print.

Wack 26

---. Two Essays on Analytical Psychology. Princeton: Princeton UP,

1966. Print.

---. Psychological Types. London: Routledge, 1991. Print.

Norris, Margot. The Decentered Universe of Finnegans Wake: A Structuralist

Analysis. Baltimore: Johns Hopkins UP, 1976. Print.

Spengler, Oswald. The Decline of the West. New York: Knopf, 1989.

Print.

Tindall, William Y. A Reader's Guide to James Joyce. New York:

Noonday, 1977. Print.

Wack 27