VI.A.
Work in Progress”/Finnegans Wake Notebooks: The So-Called “Scribbledehobble” Notebook (1923–1936):
Material Description
The manuscript is a large, thick notebook, with blue-and-white marbled covers over boards and a blue cloth spine that has become detached from the notebook but is still extant and with the manuscript. The insides of both covers and both sides of the flyleaves are plain white, unlined paper. The manuscript has undergone significant further wear from use by scholars since it arrived in the Buffalo Collection.
As he had previously done with the Ulysses Notesheets and Notebooks (BL ADD MSS 49975, fs. 6–29 and NLI 36,639/03–05), Joyce first went through this entire notebook and assigned a heading in black ink (in various irregularly spaced ten-page blocks) and underlined each of these headings in orange crayon (see below for further information). Joyce had used some of the general headings before (for example, “Words,” “Names,” and “Books”) but, unlike any other notebook, the majority of the headings cover all of Joyce’s published works sequentially.
Notably, there are seven headings under which Joyce did not transcribe any notes at all (see “Two Gallants,” “Counterparts,” “Ivy Day in the Committee Room,” “The Dead,” “A Portrait of the Artist as a Young Man (III) and (IV),” and “Books”; pp. [0071], [0101], [0131], [0161], [0211], [0231], and [0971]).
Following Thomas Connolly’s early work on the manuscript, Joyce’s notes can be distinguished into at least three types, known as hands “A,” “C,” and “D” (See Scibbledehobble: The Ur-Workbook for “Finnegans Wake” (Evanston: Northwestern University Press, 1961). Danis Rose has further distinguished another entry in Joyce’s hand that he has designated as hand “F” (see the introduction to JJA 28.xxix): it is a single entry on p. [0299] in black ink. There are also notes in Giorgio [George] Joyce’s hand (Connolly’s hand “B”) and in the hand of his amanuensis, Mme France Raphael (Connolly’s hand “E”).
Joyce most likely compiled the notes in hand “A” in Bognor, West Sussex, England, in July 1923, at a crucial juncture in the development of his ideas about what would become “Work in Progress.” These notes are in black ink and in a clear and distinct hand that is similar to his handwriting in the so-called second-order Ulysses notesheets and notebooks (see Notes, below). Joyce recycled most if not all of these notes from his previous and contemporaneous notebooks (Buffalo MSS VI.B.10, VI.B.3, and VI.B.25, probably including missing pages from those notebooks, as well as possibly yet other notebooks, which are not in the Buffalo Collection). Joyce’s reasons for sorting these notes under specific headings are only clear in some instances; otherwise their relevance to the headings to which they are assigned appears ambiguous or is simply unknown. Joyce made use of much of this material in his writings from 1923 to 1926, crossing the entries through in various colored crayons as usual.
Joyce dictated the notes in hand “B” to his son, Giorgio from material in Buffalo MS VI.B.7 (compiled March to mid April 1925), probably in the summer of 1925 (TD 27 and JJA 28.xxviii–xxix). Joyce used little of this material from MS VI.A.
After an unusually long hiatus, Joyce entered further notes in this manuscript in early March 1931 and then again in October–November of the same year. They are in Joyce’s usual first-order, note-taking hand (designated as hand “D” here) and predictably these notes are in lead pencil. These sets of notes comprise both material recycled from earlier notebooks and from the text of Book I of “Work in Progress” that had been published in transition 1–8, as well as seemingly new notes (TD 31). These notes seem to have no relation to the headings at all.
It is not certain when Joyce compiled the notes in hand “C,” although it was probably between 1931 and 1936. These notes are again in black ink.
Joyce used red, orange, green, blue, and brown colored crayons to cross through notes he had used in his manuscripts. Then, sometime between 1933 and 1936, he gave MS VI.A to Mme France Raphael to transcribe the notes he had not crossed through in crayon in this notebook; she was also engaged in transcribing the other “Work in Progress”/Finnegans Wake notebooks at this stage (see MSS VI.C). These notes are in hand “E” and are all in black ink. Joyce did not use any of this transcribed material in his work.
Most of the notebook is blank or contains non-authorial notes; therefore, the following chart sets out the pages that contain only Joyce’s notes:
| Heading: MS VI.A Pages | Authorial Handwriting | JJA |
|---|---|---|
| “Personal”: pp. [0001]–[0010] | pp. [0001]–[0010]: “D” | 28.003–012 |
| “Chamber Music”: pp. [0011]–[0020] | p. [0011]: “A” | 28.013 |
| pp. [0011]–[0020]: “D” | 28.013–022 | |
| “The Sisters”: pp. [0021]–[0030] | p. [0021]: “A” | 28.023 |
| pp. [0022]–[0030]: “D” | 28.024–032 | |
| “An Encounter”: pp. [0031]–[0040] | p. [0031]: “A” | 28.033 |
| pp. [0031]–[0040]: “D” | 28.33–042 | |
| “Araby”: pp. [0041]–[0050] | pp. [0041]–[0047]: “D” | 28.043–049 |
| “Eveline”: pp. [0051]–[0060] | p. [0051]: “A” | 28.051 |
| “After the Race”: pp. [0061]–[0070] | p. [0061]: “A” | 28.058 |
| “Two Gallants”: pp. [0071]–[0080] | p. [0071]: Blank | 28.065 |
| “The Boarding House”: pp. [0081]–[0090] | p. [0081]: “A” | 28.066 |
| “A Little Cloud”: pp. [0091]–[0100] | p. [0091]: “A” | 28.067 |
| “Counterparts”: pp. [0101]–[0110] | p. [0101]: Blank | 28.068 |
| “Clay”: pp. [0111]–[0120] | p. [0111]: “A” | 28.069 |
| “A Painful Case”: pp. [0121]–[0130] | p. [0121]: “A” | 28.070 and 255 |
| “Ivy Day in the Committee Room”: pp. [0131]–[0140] | p. [0131]: Blank | 28.074 |
| “A Mother”: pp. [0141]–[0150] | p. [0141]: “A” | 28.075 |
| “Grace”: pp. [0151]–[0160] | p. [0151]: “A” | 28.077 |
| “The Dead”: pp. [0161]–[0170] | p. [0161]: Blank | 28.080 |
| “A Portrait of the Artist as a Young Man (I)”: pp. [0171]–[0190] | p. [0171]: “A” | 28.081 |
| “A Portrait of the Artist as a Young Man (II)”: pp. [0191]–[0210] | p. [0191]: “A” | 28.083 |
| “A Portrait of the Artist as a Young Man (III)”: pp. [0211]–[0230] | p. [0211]: Blank | 28.085 |
| “A Portrait of the Artist as a Young Man (IV)”: pp. [0231]–[0250] | p. [0231]: Blank | 28.086 |
| “A Portrait of the Artist as a Young Man (V)”: pp. [0231]–[0270] | p. [0251]: “A” | 28.087 |
| “Exiles (I)”: pp. [0271]–[0300] | p. [0271]: “A” | 28.089 |
| p. [0299]: “F” | 28.094 | |
| “Exiles (II)”: pp. [0301]–[0330] | pp. [0301] and [0302]: “A” | 28.095, 096, 256, and 257 |
| “Exiles (III)”: pp. [0331]–[0360] | pp. [0331]: “A” | 28.105 |
| “Telemachus”: pp. [0361]–[0390] | p. [0361]: “A” | 28.106 |
| “Nestor”: pp. [0391]–[0400] | p. [0391]: “A” | 28.108 |
| “Proteus”: pp. [0401]–[0430] | p. [0401]: “A” | 28.109 and 258 |
| “Calypso”: pp. [0431]–[0460] | p. [0431]: “A” | 28.112 |
| “Lotus Eaters”: pp. [0461]–[0480] | p. [0461]: “A” | 28.114 and 259 |
| “Hades”: pp. [0481]–[0510] | p. [0481]: “A” | 28.117 and 260 |
| “Eolus”: pp. [0511]–[0540] | pp. [0511] and [0512]: “A” | 28.120, 121, 261, and 262 |
| p. [0526]: “D” | 28.129 | |
| “Lestrygonians”: pp. [0541]–[0570] | p. [0541]: “A” | 28.130 and 263 |
| “Scylla and Charybdis”: pp. [0571]–[0590] | p. [0571]: “A” | 28.134 and 264 |
| “Wandering Rocks”: pp. [0591]–[0620] | p. [0571]: “A” | 28.139 and 265 |
| “Sirens”: pp. [0621]–[0640] | p. [0621]: “A” | 28.140 and 266 |
| “Cyclops”: pp. [0641]–[0680] | pp. [0641] and [0642]: “A” | 28.144, 145, 267, and 268 |
| “Nausikaa”: pp. [0681]–[0720] | p. [0681]: “A” | 28.151 and 269 |
| “Oxen of the Sun”: pp. [0721]–[0740] | p. [0721]: “A” | 28.156 and 270 |
| “Circe”: pp. [0741]–[0720] | pp. [0741]–[0743]: “A” | 28.159–161 and 271–273 |
| pp. [0744]–[0754]: “D” | 28.162–172 | |
| pp. [0755]: “C” and “D” | 28.173 | |
| p. [0756]: “C” | 28.174 | |
| p. [0757]: “C” and “D” | 28.175 | |
| pp. [0758]–[0762]: “D” | 28.176–180 | |
| “Eumeus”: pp. [0801]–[0850] | pp. [0801]–[0805]: “A” | 28.194–198 and 274–278 |
| “Ithaca”: pp. [0851]–[0900] | p. [0851]: “A” | 28.216 and 279 |
| “Penelope”: pp. [0901]–[0970] | pp. [0901]–[0903]: “A” | 28.221–223 and 280–282 |
| “Books”: pp. [0971]–[0980] | p. [0971]: Blank | 28.232 |
| “Words”: pp. [0981]–[1000] | pp. [0981]–[0983]: “A” | 28.233–236 and 283–286 |
| “Names”: pp. [1001]–[1010] | p. [1001]: “A” | 28.249 |
| “Books”: pp. [1011]–[1016] | p. [1011]: “A” | 28.252 |
The notes Joyce dictated to Giorgio Joyce (hand “B”), some of which are crossed in colored crayons, appear on the following pages:
| Heading: MS VI.A Pages | Authorial Handwriting | JJA |
|---|---|---|
| “Eveline” | p. [0051] | 28.051 |
| “Grace” | p. [0151] | 28.077 |
| “A Portrait of the Artist as a Young Man (V)” | p. [0251] | 28.087 |
| “Exiles (II)” | pp. [0302] and [0303] | 28.096, 097 and 257 |
| “Eolus” | p. [0512] | 28.121 and 262 |
| “Scylla and Charybdis” | p. [0571] | 28.134 and 264 |
| “Sirens” | p. [0621] | 28.140 and 266 |
| “Nausikaa” | pp. [0681] and [0682] | 28.151, 152, and 269 |
| “Circe” | p. [0743] | 28.161 and 273 |
| “Eumeus” | p. [0805] | 28.198 and 278 |
| “Penelope” | p. [0903] | 28.223 and 282 |
| “Words” | pp. [0984] and [0985] | 28.236, 237, and 286 |
Mme Raphael’s transcriptions (in hand “E”) of Joyce’s notes (in hand “A”) are on the following pages:
| MS VI.A Pages: Heading | Authorial Notes in MS VI.A | JJA |
|---|---|---|
| p. [0049]: “Chamber Music” | p. [0011] | 28.050 |
| p. [0053]: “An Encounter” | p. [0031] | 28.052 |
| pp. [0055]–[0059]: “The Sisters” | p. [0021] | 28.053–057 |
| pp. [0062] and [0063]: “After the Race” | p. [0061] | 28.059 and 060 |
| pp. [0067]–[0070]: “Eveline” | p. [0051] | 28.061–064 |
| p. [0081]: “The Boarding House” | p. [0081] | 28.066 |
| p. [0091]: “A Little Cloud” | p. [0091] | 28.067 |
| p. [0111]: “Clay” | p. [0111] | 28.069 |
| pp. [0123], [0124], and [0125]: “A Painful Case” | p. [0121] | 28.071, 072 and 073 |
| p. [0143]: “A Mother” | p. [0141] | 28.076 |
| pp. [0153] and [0154]: “Grace” | p. [0151] | 28.078 and 079 |
| p. [0172]: “A Portrait of the Artist as a Young Man (I)” | p. [0171] | 28.082 |
| p. [0192]: “A Portrait of the Artist as a Young Man (II)” | p. [0191] | 28.084 |
| p. [0252]: “A Portrait of the Artist as a Young Man (V)” | p. [0251] | 28.088 |
| p. [0273]–[0276]: “Exiles (I)” | p. [0271] | 28.090–093 |
| pp. [0304]–[0310]: “Exiles (II)” | pp. [0301] and [0302] | 28.098–104 |
| p. [0331]: “Exiles (III)” | p. [0331] | 28.105 |
| p. [0362] “Telemachus” | p. [0361] | 28.107 |
| p. [0391]: “Nestor” | p. [0391] | 28.108 |
| pp. [0402] and [0403]: “Proteus” | p. [0401] | 28.110 and 111 |
| p. [0432]: “Calypso” | p. [0431] | 28.113 |
| pp. [0462] and [0463]: “Lotus Eaters” | p. [0461] | 28.115 and 116 |
| pp. [0482] and [0483]: “Hades” | p. [0481] | 28.118 and 119 |
| pp. [513]–[0519]: “Eolus” | pp. [0511] and [0512] | 28.122–128 |
| pp. [0542]–[0544]: “Lestrygonians” | p. [0541] | 28.131–133 |
| pp. [572]–[0575]: “Scylla and Charybdis” | p. [0571] | 28.135–138 |
| pp. [0623]–[0625]: “Sirens” | p. [0621] | 28.141–143 |
| pp. [0643]–[0647]: “Cyclops” | pp. [0641] and [0642] | 28.146–150 |
| pp. [0683]–[0685]: “Nausikaa” | p. [0681] | 28.153–155 |
| pp. [0722] and [0723]: “Oxen of the Sun” | p. [0721] | 28.157 and 158 |
| pp. [0764]–[0776]: “Circe” | pp. [0741]–[0743] | 28.181–193 |
| pp. [0806]–[0822]: “Eumeus” | pp. [0801]–[0805] | 28.199–215 |
| pp. [0852]–[0855]: “Ithaca” | p. [0851] | 28.217–220 |
| pp. [0904]–[0911]: “Penelope” | pp. [0901]–[0903] | 28.224–231 |
| pp. [0985]–[0996]: “Words” | pp. [0981]–[0984] | 28.237–248 |
| pp. [1002] and [1003]: “Names” | p. [1001] | 28.250 and 251 |
| p. [1012]: “Books” | p. [1011] | 28.253 |
Collation
The manuscript now consists of 504 leaves (1008 pages) of plain white paper. Although a comprehensive collation of the manuscript is no longer possible in it is current state, there are at least 32 stitched gatherings, only 30 of which are intact (pp. [0001]–[0078] and [0727]–[0806] have become detached from the spine and from one another; consequently, they are no longer distinguishable as gatherings). As far as the distinguishable intact gatherings are concerned, the 1st, 3rd through 9th, 12th, 13th, and 15th through 29th are composed of 28 pages, the 2nd, 10th and 14th are composed of 24 pages; and the 30th and final gathering is composed of 12 pages.
Only 252 pages are inscribed, including the front flyleaf recto (see the Material Description for further information). 747 pages are blank: pp. [0048], [0050], [0052], [0054], [0060], [0064], [0065], [0066], [0072]–[0080], [0082]–[0090], [0092]–[0100], [0102]–[0110], [0112]–[0120], [0122], [0126]–[0130], [0132]–[0140], [0142], [0144]–[0150], [0152], [0155]–[0160], [0162]–[0170], [0173]–[0190], [0193]–[0210], [0212]–[0230], [0232]–[0250], [0253]–[0270], [0272], [0277]–[0298], [0300], [0311]–[0330], [0332]–[0340], [0345]–[0360], [0363]–[0390], [0392]–[0400], [0404]–[0430], [0433]–[0456], [0464]–[0480], [0484]–[0510], [0520]–[0525], [0527]–[0540], [0545]–[0570], [0576]–[0590], [0592]–[0620], [0622], [0626]–[0640], [0648]–[0680], [0686]–[0720], [0724]–[0740], [0763], [0777]–[0800], [0823]–[0850], [0856]–[0900], [0912]–[0970], [0972]–[0980], [0997]–[1000], [1004]–[1010], [1013]–[1016], as well as the front flyleaf verso, and both sides of the back flyleaf.
The following pages have become detached from the spine: pp. [0001]–[0050], [0271]–[0271], [0444]–[0443], [0641]–[0808], [0751]–[0752], and [1005]; they are still with the manuscript. On the other hand, 8 pages are detached and are missing: pp. [0341]–[0344] and [0457]–[0460].
Measurements
The manuscript measures 24.0 x 18.7 cm.
Pagination
Pages [0001]–[0340], [0345]–[0456], and [0461]–[1016] were numbered, respectively, “1”–”340″, “345”–”456”, and “0461”–”1016″, and the back flyleaf was numbered “1017” and “1018” in lead pencil, in the upper corners of each page.
Dating
The notes were compiled as follows:
| Handwriting | Date of Compilation | Location |
|---|---|---|
| “A” | Probably July 1923 | Bognor, West Sussex |
| “B” | Probably Autumn 1925 | Paris |
| “C” | Probably 1931–1936 | Probably Paris |
| “D”: pp. [0001]–[0020] and [0022]–[0047] | Early March 1931 | Probably Paris |
| “D”: pp. [0744]–[0762] | October–November 1931 | Probably Paris |
| “E” | 1931–1936 | Paris |
| “F” | Not known | Probably Paris |
Publication
The inscribed pages of the manuscript have been reproduced in black and white photo-facsimile in JJA 28.001–253 and some pages were also reproduced in color on 28.255–286 (see the charts above for specific information). An edited version of the manuscript has been published as James Joyce’s Scribbledehobble: The Ur-Workbook for “Finnegans Wake“ by Thomas Connolly (Northwestern University Press: 1961).
Other Markings
On the front flyleaf recto, Giorgio Joyce compiled a list in black ink of the notebook’s contents under the title “Index”. Mme Raphael added a further set of the page numbers in parentheses to the index of her transcriptions (in between the relevant headings and the other page numbers). The word “page” is written in lead pencil on p. 273 in lead pencil, presumably in Mme Raphael’s hand.
Notes
There are several earlier examples of Joyce’s method of sorting previous note-material under headings like these at crucial junctures in his writing of Ulysses, including the so-called “Subject Notebook” (NLI MS 36,639/03), which he compiled in the autumn of 1917 in Locarno, Switzerland, at a turning point in the genesis of Ulysses as well as the Ulysses Notesheets and Notebooks, which Joyce compiled in the later stages of writing Ulysses (BL ADD MSS 49975, NLI MSS 36,369/04–05/A–B, and Buffalo MS V.A.2.b).