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Finnegans Wake.Pdf FINNEGANS WAKE de James Joyce Et tu verras tous ceux qu'on croyait décédés Reprendre souffle et vie dans la chair de ma voix Jusqu'à la fin des mondes. Claude Nougaro Sommaire : La famille Gribouillis Résumé Les symboles récurrents La bibliothèque de Babel Anecdotes et autres quarks Finnegan's wake Biographie de James Joyce (1882 – 1941) Bibliographie Morceaux choisis La famille Gribouillis "His own identity was fading out into a grey impalpable world : the solid world itself, which these dead had one time reared and lived in, was dissolving and dwindling. [...] His soul swooned slowly as he heard the snow falling faintly through the universe and faintly falling, like the descent of their last end, upon all the living and the dead". Ainsi se termine la dernière et la plus belle nouvelle de Dublinois, Les Morts : le personnage principal s'endort, la nuit enveloppe Dublin, et la neige recouvre d'un gris uniforme l'univers entier. Les vivants apparaissent tels de pauvres pantins enchaînés au souvenir des morts, condamnés à reproduire un ordre social bâti par les générations mortes, empêchés dans leurs élans spirituels ou amoureux par une fidélité à des valeurs mortifères. Quant aux défunts, gisant dans les cimetières du monde, leurs tombes ensevelies sous la neige, ils sont condamnés à l'éternel hiver de l'oubli. Nous nous croyons vivants mais nous sommes morts, nous partageons la société des morts, nous bafouillons une langue morte, nous reproduisons la mort, puis nous mourrons pour de bon, les morts enterrent les morts, rapidement oubliés dans la fosse commune du temps par les générations suivantes. Comment traverser la mort ? Comment échapper à la répétition ? Comment transfigurer cette mort que nous vivons en une forme de vie éternelle ? Comment trouver une étincelle de sens dans la nuit de l'absurdité ? Comment ramener des enfers les innombrables générations disparues et qui ont vécu pour rien ? La nuit dans laquelle s'abîment les personnages de la nouvelle Les Morts se situe début janvier, probablement le 6 janvier, jour de l'Epiphanie, Noël pour les Orthodoxes. Aussi sombre et désespérée soit-elle, cette nuit rappelle donc la nuit solsticiale, la victoire du soleil. Le dîner mondain illustre la paralysie spirituelle et la mascarade sociale, puis les convives retrouvent la solitude inexpiable de leurs vies mensongères hantées de mort. Pourtant cette nuit de l'Epiphanie (présentation du Verbe nouveau-né), au plus profond de l'hiver, contient la promesse insensée de la venue d'une Parole transfiguratrice et donc d'une victoire sur l'absurde. Le dernier roman de Joyce est une longue traversée de cette "night of Apophanypse"... Pendant les 17 années que Joyce consacra à son écriture, le titre fut gardé secret, les épisodes paraissant dans des revues littéraires sous l'appellation de Work in progress. Le titre provient d'une ballade populaire irlandaise, Finnegan's wake, qui conte la chute mortelle du maçon Tim Finnegan et la veillée funèbre (wake) qui s'ensuit. L'excès de boisson provoque une rixe et l'odeur de l'alcool répandu réveille (wake up) le défunt ! Joyce supprime l'apostrophe dans le titre car la veillée funèbre est maintenant toute l'histoire et l'appel au réveil s'adresse à tous les Finnegans que nous sommes ; à moins que le pluriel mis à Finnegan n'annonce une résurrection plurielle de l'un dans le multiple, ou inversement une levée de la multitude qui compose chaque un. Les thèmes de la mort, de la renaissance et du renouveau cyclique de la nature sont trop importants dans le roman pour ne pas entendre dans son titre l'union des contraires : fin et again. Quant à wake, il signifie également sillage ou trace – donc écriture, mémoire, témoignage – et désigne en Irlande la semaine pascale, autant la Passion du Christ que l'insurrection de 1916. C'est donc bien à une veille que nous sommes conviés, à rester éveillés jusqu'à l'aurore ou jusqu'à un avènement qui transfigurera notre nuit. Car ce wake se présente comme la négation (-negans) de la finitude (fin-), donc la possibilité d'une effraction d'Infini... Easter Rising Le lundi de Pâques 24 avril 1916 éclata à Dublin une insurrection nationaliste qui fut rapidement écrasée sous les bombes anglaises. La répression qui s'ensuivit fit basculer l'opinion publique vers l'indépendance. Ainsi par-delà la mort des meneurs nationalistes, l'Irlande ressuscita. Les noms de deux leaders martyrs, Padraic Pearse et Michaël Joseph O'Rahilly, se retrouvent dans celui du héros de Finnegans Wake, Persse O'Reilly, prouvant que Joyce compatit à la douleur de ses compatriotes et participe à sa façon à la révolte contre le maître anglais. Avant son exécution, Padraic Pearse devait écrire sur le mur de sa cellule : "We shall rise again !" "L'histoire est un cauchemar dont j'essaie de m'éveiller" dit Stephen Dedalus dans Ulysse. C'est le sujet de Finnegans Wake : tel le dieu soleil Amon-Ré dans son voyage nocturne, nous sommes embarqués en un long rêve confus traversant l'histoire depuis le crépuscule du péché originel jusqu'à l'aurore de la résurrection. C'est le cauchemar de la répétition cyclique, de saison en saison et de génération en génération, avec sa dialectique d'oppositions et de réconciliations : guerre et paix, grandeur et décadence, érection et chute, culpabilité et rédemption. Pérégrination nocturne, rêve sans fin, descente aux enfers, régression initiatique ou gestation intra-utérine : nous nous abîmons dans l'obscur courant d'un fleuve d'eau-de-vie, la Liffey, qui tout à la fois engloutit et vivifie, asphyxie et ranime, berce et réveille. 2 Aux sources du Nihil Toutes les religions se mêlent dans Finnegans Wake, mais celle de l'ancienne Egypte fournit à Joyce les archétypes que l'on retrouve dans toutes les autres. Les dieux y personnifient les forces de la nature, et leurs exploits illustrent les cycles solaires et cosmiques. Le mythe le plus utilisé par Joyce est celui d'Osiris, le premier pharaon. Bienfaiteur des hommes, artisan de la paix et maître de la parole, il est jalousé par son frère Seth, qui l'enferme dans un cercueil et l'abandonne sur le Nil. Sa sœur et compagne Isis, transformée en hirondelle, retrouve son corps sans vie et le ressuscite en battant des ailes, le temps de s'accoupler à lui. De l'union avec le dieu mort, elle enfante Horus, qu'elle dissimule aux yeux de Seth en le cachant dans les roseaux du delta du Nil. Seth se venge en démembrant le cadavre d'Osiris en 14 morceaux qu'il disperse dans tout le pays. Isis le reconstitue, modelant avec de la glaise le pénis introuvable, puis le fait momifier. De son corps germent alors des épis de blé et de jeunes pousses d'arbres. Ainsi la nature régénérée par Isis constitue-t-elle la résurrection d'Osiris. Le dieu mort est souvent représenté en homme étendu, ithyphallique, couvert de verdure, annuellement fertilisé par les crues du Nil. L'autre mythe égyptien récurrent dans Finnegans Wake est celui du voyage nocturne de la barque du soleil, Amon-Ré, qui laisse la voûte céleste à son fils Thot, la lune, et affronte les attaques du serpent Apophis, pour réapparaître vainqueur à l'aurore. Mishe mishe Joyce semble réaliser un formidable syncrétisme religieux sur la base des cultes de l'ancienne Egypte. Rejoint-il ainsi les écrivains du Renouveau gaélique, inspirés par la Théosophie ? Il ne fusionne en fait toutes les croyances que pour mieux les traverser par une parole vivante dont la source est à chercher dans la Bible : "Ecoute, Ô Israël". Le Père-Soleil devient un perce-oreille. C'est de la terre d'Egypte que Yahvé doit, hier comme aujourd'hui, faire sortir son peuple, car c'est par excellence la terre du paganisme, avec ses superstitions, ses rites morbides et son clergé tout-puissant. Finnegans Wake, dans lequel l'Irlande catholique est une nouvelle Egypte, regorge d'allusions à l'épisode du buisson ardent, dans lequel Yahvé interpella Moïse (Exode 3.4 : "Moïse Moïse") et se présenta en affirmant "Je suis Qui Je suis". On l'entend dès le prologue du roman, dans le "mishe mishe" ("je suis" en gaélique), repris et déformé à de nombreuses reprises. "Je suis Qui Je suis" reste la seule définition possible du sujet parlant. C'est une boucle auto- référentielle, une mise en abîme infinie. C'est l'Infini même qui troue la finitude et éjacule sa parole. Le langage de Finnegans Wake est d'autant plus buissonneux qu'il est ardemment pénétré par ce Je qui jouit ! C'est l'hiver. La nuit est tombée sur la forêt obscure du texte. S'élève alors un murmure grouillant composé des chants des grillons et des crapauds, du bruit du vent dans les arbres et de l'incessante mélopée de la rivière. Alors que le soleil s'est couché et que les discours des hommes se sont endormis avec eux, ce chuchotement du monde nocturne arrive aux oreilles de celui qui ne dort pas, ce "lecteur idéal atteint d'une idéale insomnie" que le texte attend. Ce murmure indistinct est comme une très ancienne parole, chargée d'une mémoire sans âge, vibrant au cœur le plus intime de la nuit, comme un souffle à peine perceptible au seuil du silence nocturne, peut-être "le vent sur les rochers d'Elseneur" évoqué par Stephen Dedalus dans Ulysse, "une voix entendue seulement au cœur de celui qui est la substance de son ombre, le fils consubstantiel au père"… Cette écoute des échos étouffés de la parole paternelle portée par les phénomènes sensibles, place Finnegans Wake dans la lignée de la Bible et nécessite comme celle-ci le recours à l'herméneutique.
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