Finnegans Wake Notes

30-32 The genesis and naming of Humphrey Chimpden Earwicker 

32-33: Gaiety Theatre production of A Royal Divorce 

33-35: Rumours about HCE's indiscretion 

35-36: The Encounter with the Cad 

36-38: The Cad dines and drinks 

38-42: The Cad's story is spread 

42-44: The making of the Ballad by Hosty 

44-47: The Ballad of Persse O'Reilly 

On page 30 of Finnegans Wake, Joyce continues the exploration of Humphrey Chimpden Earwicker's mythologised origins. This section blends pseudo-historical narrative, playful genealogical references, and linguistic experimentation, situating Earwicker as an archetypal figure deeply intertwined with Irish and broader cultural histories. Joyce's language here, rich with puns, humour, and layered meaning, challenges readers to question the nature of ancestry and identity, demonstrating how history and identity are fluid and constructed.

Detailed Analysis

030.01-030.02: "Now (to forebare for ever solittle of Iris Trees and Lili O'Ran- / gans), concerning the genesis of Harold or Humphrey Chimp- / den's occupational agnomen..."

• Summary and Analysis: Joyce sets up a humorous prelude, introducing the narrative with the whimsical "Iris Trees and Lili O'Rangans," which hints at Irish natural imagery and could reference figures in Dublin's cultural scene. The phrase "forebare for ever solittle" blends “forebear” (ancestor) with “forbear” (to abstain), as Joyce half-invokes and half-distances himself from traditional Irish mythological references. This wordplay foregrounds Joyce’s approach to ancestry and tradition as both earnest and subversive.

030.03-030.05: "we are back in the presurnames prodromarith period, of course just when enos chalked halltraps..."

• Summary and Analysis: In describing the “presurnames prodromarith period,” Joyce humorously gestures towards a mythic pre-history. “Enos chalked halltraps” might evoke Enos from the Bible while also hinting at an ancient, pre-literate time when events were “chalked” or noted in primitive ways. Joyce is suggesting that history itself is a construct, one that predates formalised identity or record.

030.05-030.08: "and discarding once for all those theories from older sources which / would link him back with such pivotal ancestors as the Glues, the / Gravys, the Northeasts, the Ankers and the Earwickers of Sidles- / ham in the Hundred of Manhood..."

• Summary and Analysis: The invented ancestral names (e.g., “Glues,” “Gravys”) provide a comic tone, parodying the pompous genealogical attempts to establish a “pivotal ancestor.” By placing Earwicker in the fictional "Sidlesham in the Hundred of Manhood," Joyce mocks the grandiosity of lineage-focused historical writing, showing how identity can be traced, manipulated, and mythologised.

030.09-030.11: "or proclaim him offsprout of vikings who had founded wapentake and seddled hem in Herrick / or Eric, the best authenticated version, the Dumlat, read the Reading of Hofed-ben-Edar..."

• Summary and Analysis: Joyce offers an alternative genealogy, linking Earwicker to Viking origins. Terms like “wapentake” (a Norse administrative division) bring in the Norse influence on Irish history, reflecting Ireland’s layered cultural legacy. The “Reading of Hofed-ben-Edar” invents a pseudo-biblical text, further highlighting the absurdity of tracing a "true" origin.

030.12-030.14: "has it that it was this way. We are / told how in the beginning it came to pass that like cabbaging / Cincinnatus the grand old gardener was saving daylight under his..."

• Summary and Analysis: Joyce shifts to a mock-epic style, likening Earwicker to “cabbaging Cincinnatus,” the Roman farmer called to public duty. This link suggests Earwicker as a mythic, civic figure, rooted in nature yet ready to serve. “Cabbaging” humorously portrays his work as mundane, blending the heroic and the absurd.

030.15-030.18: "redwoodtree one sultry sabbath afternoon, Hag Chivychas Eve, / in prefall paradise peace by following his plough for rootles in the / rere garden of mobhouse..."

• Summary and Analysis: Joyce creates a bucolic scene of Earwicker ploughing “under his redwoodtree,” an idyllic symbol of prelapsarian (pre-fall) peace. “Hag Chivychas Eve” is a play on Chivy Chase, a famous Northumbrian border skirmish in ballad form, infusing an idyllic scene with historical violence and Ireland's cultural memory.

030.18-030.20: "when royalty was announced by runner to have been pleased to have halted itself on / the highroad along which a leisureloving dogfox had cast fol- / lowed, also at walking pace, by a lady pack of cocker spaniels."

• Summary and Analysis: This passage mixes absurdity with royalty, as Earwicker, like a rural dignitary, greets “royalty” who approaches alongside a leisurely dog and a pack of spaniels. The humour lies in the mundane nature of the setting and the exaggeratedly formal language, suggesting that greatness is often staged in humble scenes.

Playful Language & Wordplay

Assonance and Hiberno-English: Joyce uses rhythmic, vowel-driven language throughout, such as in “cabbaging Cincinnatus” and “Hundred of Manhood,” which add a musicality that mirrors Irish oral traditions. Additionally, terms like “Hag Chivychas” nod to Irish Hiberno-English dialects, grounding Earwicker in both an epic past and an Irish present.

Sexual Innuendo: While this page is subtler in terms of direct innuendo, Joyce’s frequent puns, including “cabbaging” (which could allude to reproduction or offspring in botanical metaphors), hint at underlying themes of lineage, reproduction, and identity as mythically intertwined with sexuality.

Humour and Parody: Joyce employs humour throughout, especially in the exaggerated genealogy and the serious tone applied to trivial or invented origins, which undercuts any heroic stature. Terms like “lordmajor or a buaboabaybohm” mock civic or heroic positions, while “cabbaging Cincinnatus” blends ancient Roman values with mundane farm life.

In summary, page 30 of Finnegans Wake deepens the characterisation of Earwicker, humorously weaving him into a pseudo-historical and mythic lineage that parodies historical narrative conventions. The language choices, Hiberno-English idioms, and richly layered humour contribute to Joyce's exploration of identity, portraying Earwicker as both an Irish everyman and a universal figure caught in the cyclical, recursive patterns of history and myth.

Summary: Page 31 continues the portrayal of Humphrey Chimpden Earwicker (HCE) as a symbolic everyman and minor authority figure. This passage humorously illustrates an imagined interaction between HCE and the king, revealing cultural and linguistic tensions through Hiberno-English and historical references. Joyce’s playful language critiques notions of power and social class while layering the narrative with Irish cultural references, myth, and linguistic experimentation.

Detailed Analysis

031.01-031.03: "flagrant marl, 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."

• Analysis: HCE is portrayed as a local watchman or authority figure, with “turnpike keys” symbolising his minor role. The humorous image of a “flowerpot… hoist with care” suggests that his authority is merely decorative. “Flagrant marl” anchors the scene in a rural Irish setting, grounding HCE’s character in an earthy landscape. This mix of humble and grandiose imagery subtly mocks the ceremony associated with minor authority figures.

031.04-031.06: "On his majesty, who was, or often feigned to be, noticeably longsighted from green youth and had been meaning to inquire what, in effect, had caused yon causeway to be thus potholed…”

• Analysis: The king, described as “longsighted from green youth,” suggests a deliberate ignorance or feigned concern for local matters, reflecting British monarchy’s detachment from Irish issues. The image of a “potholed” causeway symbolises neglect, a critique of the effects of British rule on Irish infrastructure. Joyce’s ironic tone here reflects the distance between royal figures and everyday Irish concerns.

031.07-031.10: “honest blunt Haromphreyld answered in no uncertain tones very similarly with a fearless forehead: Naw, yer maggers, aw war jist a cotchin on thon bluggy earwuggers."

• Analysis: HCE, now “Haromphreyld,” answers the king in a broad Hiberno-English dialect, stating he was “catching earwigs.” Joyce uses phonetic spelling to mimic an Irish accent, reinforcing HCE’s earthiness and authenticity. This response contrasts the king’s lofty detachment, using humour to emphasise the cultural divide between the characters.

031.11-031.15: "Our sailor king, who was draining a gugglet of obvious adamale, gift both and gorban, upon this, ceasing to swallow, smiled most heartily beneath his walrus moustaches and indulging that none too genial humour..."

• Analysis: The king, depicted with a “walrus moustache,” resembles a caricature of British royalty. His “draining a gugglet of obvious adamale” implies indulgence, adding a sense of buffoonery. The description evokes an exaggerated and somewhat aloof figure, humourously representing English royalty in a way that contrasts with HCE’s humble, localised identity.

031.16-031.19: "turned towards two of his retinue of gallowglasses, Michael, etheling lord of Leix and Offaly and the jubilee mayor of Drogheda, Elcock..."

• Analysis: The king’s entourage includes “gallowglasses,” referencing elite Irish warriors, representing Irish culture within a royal context. The references to “Leix” and “Offaly” emphasise the Irish setting and evoke Ireland’s historical nobility. Joyce satirises the royal entourage, mixing traditional Irish roles with absurdity to highlight the tension between local Irish culture and British ceremony.

031.25-031.28: "Holybones of Saint Hubert how our red brother of Pouringrainia would audibly fume did he know that we have for surtrusty bailiwick a turnpiker who is by turns a pikebailer no seldomer than an earwigger!"

• Analysis: Joyce invents the figure of a “red brother of Pouringrainia,” perhaps invoking a character from an imagined monastic or religious order, with “Pouringrainia” humorously suggesting a land of constant rain—potentially Ireland itself. This figure would “audibly fume” over a guard or “turnpiker” who fails at his duties, depicted here as both a “pikebailer” and an “earwigger.” The invented wordplay (“pikebailer,” “earwigger”) mocks official roles by merging them with trivial tasks, diminishing the grandeur of authority figures and showing them as fallible and prone to missteps.

031.28-031.29: "For he kinned Jom Pill with his court so gray and his haunts in his house in the mourning."

• Analysis: This line introduces “Jom Pill,” possibly a humorous distortion of “John Bull,” a figure often representing the British nation or the English people. The “court so gray” may refer to the drab, conservative associations of England, while “haunts in his house in the mourning” plays with “morning” and “mourning,” implying a sombre or ghostly existence, a life spent in a perpetual state of loss or regret. Joyce’s wordplay here layers a critique of British authority, possibly in relation to Ireland’s past experiences under English rule.

031.30-031.32: "(One still hears that pebble crusted laughta, japijap cheerycherrily, among the roadside tree the lady Holmpatrick planted..."

• Analysis: Joyce’s sound-filled prose here (“pebble crusted laughta, japijap cheerycherrily”) evokes the soundscape of nature, possibly personifying laughter in a “pebble crusted” form. “Lady Holmpatrick,” whose name invokes both holiness and land ownership, may allude to an Irish figure or legend, with her tree symbolising a legacy, one that resonates among “roadside” memories. Joyce merges natural imagery with puns, blurring sound and sense and reinforcing his theme of interconnected stories embedded within Ireland’s landscape.

031.33-031.34: "Comes the question are these the facts of his nominigentilisation as recorded and accolated in both or either of the collateral andrewpaulmurphyc narratives."

• Analysis: Here, Joyce parodies historical accounts, using the invented term “nominigentilisation” to mock the concept of lineage or name-bestowing. He mixes the apostles’ names (“andrewpaulmurphyc”) with a typical Irish surname, suggesting a comical blend of religious history and Irish storytelling traditions. The phrase may refer to the uncertain or apocryphal nature of historical “facts,” particularly in Ireland’s oral storytelling tradition.

031.34-031.36: "Are those their fata which we read in sibylline between the fas and its nefas? No dung..."

• Analysis: Joyce invokes “fata” (Latin for “fates”) and “sibylline” (referring to prophecies) to question whether the stories and identities in his narrative are genuinely destined or merely fabrications. He contrasts “fas” (lawful) and “nefas” (unlawful), adding ambiguity to the legitimacy of these histories. This closing line creates a sense of mythic inquiry—asking if these figures are divinely ordained or merely part of an arbitrary, chaotic fate, reinforcing Joyce’s theme of history as layered and interpretive, rather than fixed.

Joyce’s prose on this page continues to manipulate language, history, and myth in ways that challenge conventional meaning. The integration of humorous neologisms, layered historical references, and phonetic play presents the reader with a constantly shifting sense of identity and narrative, one deeply rooted in the fluidity and ambiguity of Irish cultural memory.

Summary of Page 32

Page 32 of Finnegans Wake continues the narrative exploration of HCE, “Here Comes Everybody,” highlighting his role as a universal and mythic figure representing collective human experience. Joyce layers HCE’s character with references to myth, theatre, Irish history, and the concept of universal identity. He interweaves humour, satire, and historical parody to present HCE as both an everyman and an individual, inviting readers to consider the shifting boundaries of identity and myth. This page demonstrates Joyce’s characteristic wordplay, merging diverse cultural references and using Hiberno-English to deepen the text’s connection to Irish culture.

Detailed Line-by-Line Analysis

032.01-032.02: “on the road? And shall Nohomiah be our place like? Yea, Mulachy our kingable khan?”

Wordplay and Irish Identity: “Nohomiah” could hint at a place of “no home,” invoking themes of displacement or transience in Irish history. This line possibly reflects the Irish experience of dislocation. “Mulachy,” echoing the Irish name Malachy, humorously pairs with “kingable khan,” blending Irish and Asian regal titles to produce a figure that carries both local and exotic prestige.

Humour in Title Blending: Joyce’s juxtaposition of “kingable” and “khan” elevates Mulachy in a manner that pokes fun at Irish romanticism while blending cultural references, suggesting a fantastical vision of Irish identity that is both rooted and exaggerated.

032.05-032.06: “this man is mountain and unto changeth doth one ascend.”

Mythic Language: Comparing HCE to a “mountain” symbolizes his monumental and enduring nature. This line implies that understanding HCE is a process, with readers or “climbers” discovering his complexity over time.

Cultural Reverence and Transformation: By suggesting that HCE is “mountain,” Joyce also aligns him with natural Irish landscapes, reinforcing the Irish connection to land and mythology. The phrase “unto changeth” may indicate HCE’s constantly evolving nature, as both a character and an idea.

032.07-032.09: “Heave we aside the fallacy, as punical as finikin, that it was not the king kingself but his inseparable sisters...”

Mythological and Literary Allusion: “Punical” could refer to ancient Carthage, invoking classical history, while “finikin” suggests something overly delicate or fussy. Joyce introduces “inseparable sisters” (Skertsiraizde and Donyahzade), referencing Scheherazade from One Thousand and One Nights, who represents storytelling as a means of survival. This line adds a layer of literary reference, with the sisters as bearers of the narrative, possibly symbolic of storytelling’s role in immortalising HCE.

Humour in Role Reversal: This line humorously implies that the tales associated with HCE might be the work of his “sisters,” playfully positioning these supporting characters as the true creators of his legend.

032.10-032.12: “The great fact emerges that after that historic date all holographs so far exhumed initialled by Haromphrey bear the sigla H.C.E.”

Historical Documentation and Satire: Joyce satirizes historical attempts to catalogue identity by reducing HCE’s complexity to a set of initials. The initials “H.C.E.” (Here Comes Everybody) reflect a communal identity, suggesting that HCE is less an individual and more a representation of universal human experience.

Nicknaming and Irony: The initials serve as a humorous reminder of how complex identities are often trivialised. HCE as “Here Comes Everybody” embodies the universal man, symbolising an archetype that contains multitudes.

032.13-032.15: “he was only and long and always good Dook Umphrey for the hungerlean spalpeens of Lucalizod and Chimbers to his cronies...”

Irish Slang and Characterisation: Referring to HCE as “Dook Umphrey” adds a phonetic twist on “Duke Humphrey,” possibly mocking the idea of nobility. “Hungerlean spalpeens” (meaning poor or scrappy people) grounds HCE’s persona in the Irish working class. “Lucalizod,” likely referring to Chapelizod in Dublin, ties HCE to a specific cultural setting.

Folkloric and Humourous Tone: The line places HCE as a well-known and respected figure among the local “spalpeens,” furthering his role as an everyman whose identity and story are shared by the community.

032.16-0.3218: “An imposing everybody he always indeed looked, constantly the same as and equal to himself and magnificently well worthy of any and all such universalisation...”

Concept of Universality and Irony: Joyce emphasizes HCE’s universality, suggesting he is both an individual and the embodiment of the collective, hence “equal to himself.” This description implies that HCE’s identity, while complex, is universally applicable, with the irony being that his character is too vast to be defined by any singular identity.

Mock-Grandiose Tone: The grandiosity here is undercut by irony, playfully suggesting that HCE’s identity, while “magnificently” grand, is simply “everybody,” reinforcing the absurdity in reducing a person’s complexities to a generalisation.

032.19-032.21: “...he continually surveyed, amid vociferatings from in front of Accept these few nutties!...”

Public Spectacle and Humour: This line sets up HCE as part of a public spectacle, highlighting the constant attention he receives. The voices yelling “Accept these few nutties!” satirize public adoration, implying a ritualistic or obsessive regard for HCE. Joyce humorously frames HCE’s existence as one continuously under the public gaze, almost as if he is on permanent display.

Playful Irish Vernacular: The phrase “nutties” captures the playful, informal language characteristic of Irish humour, adding a light-hearted tone to the reverence HCE commands.

032.23-032.24: “...command performance by special request with the courteous permission for pious purposes the homedromed and enliventh performance of the problem passion play of the millentury, running strong since creation...”

Satire of Public Performance and Religion: Referring to HCE’s story as a “command performance” of a “passion play” satirizes the seriousness with which his tale is treated. The “passion play” traditionally recounts Christ’s suffering, and Joyce’s adaptation here mockingly elevates HCE to a similarly venerated status, suggesting his life is a myth perpetuated for the audience’s benefit.

Historical Parody: Joyce also seems to critique the repetitive nature of mythologizing figures, portraying HCE’s story as one “running strong since creation,” suggesting the eternal cycle of storytelling that surrounds and preserves his legacy.

032.25-032.28 “from good start to happy finish the truly catholic assemblage gathered together in that king's treat house of satin alustrelike above floats and footlights from their assbawlveldts and oxgangs unanimously to clapplaud…”
Joyce describes an audience united in their admiration, likening it to a “catholic assemblage,” hinting at a universal or inclusive crowd. The phrase “satin alustrelike” evokes imagery of grandeur and luxury, as though the “king’s treat house” is a theatrical venue of opulence. The terms “assbawlveldts” (possibly a play on “asphalt fields”) and “oxgangs” (an old land measurement) root this scene in both urban and agrarian settings, suggesting that his characters and themes transcend social and geographic boundaries. This line serves as a humorous and ironic celebration of humanity's collective unity in both solemnity and spectacle.

032.28-032.30 “Mr Wallenstein Washington Semperkelly's immergreen tourers in a command performance by special request with the courteous permission for pious purposes…”
The character “Mr Wallenstein Washington Semperkelly” fuses various cultural and national elements—“Wallenstein” alluding to German history, “Washington” to the United States, and “Semperkelly” likely a playful addition to evoke Irish ancestry. This comedic juxtaposition underlines the multicultural, almost absurd blend of personas Joyce enjoys constructing. The phrase “immergreen tourers” plays on “evergreen” (something timeless or perpetually relevant) while “immer” (German for “always”) strengthens the sense of unending continuity. Joyce mockingly reveres this theatrical show as though it were a sacred event, ironically underlining its popular, perhaps even trivial, appeal.

032.31-032.32 “the homedromed and enliventh performance of the problem passion play of the millentury, running strong since creation…”
In this reference to a “passion play” (a dramatic portrayal of Christ’s suffering), Joyce emphasizes theatricality while intermingling elements of sacred tradition and performance. “Homedromed” likely twists “home” and “dromedary,” a type of camel, adding surreal humour as though even the animals have come to watch. “Millentury,” a blend of “millennium” and “century,” reinforces a time-transcendent quality, implying this performance’s influence extends far back, perhaps even to the dawn of human civilisation.

032.32-032.33 “A Royal Divorce, then near the approach towards the summit of its climax, with ambitious interval band selections from The Bo' Girl and The Lily…”
“A Royal Divorce” humorously plays on historical dramas and melodramas that romanticize royal lives and personal tragedies. This comedic portrayal of grandeur and tension serves as a parody of actual events, as if life’s climaxes and “ambitious intervals” are part of a staged performance. “The Bo’ Girl” and “The Lily” could suggest fictional works or popular ballads, embodying the hybrid mixture of the highbrow and lowbrow in Joyce’s imagined show.

032.34-032.35 “on all horserie show command nights from his viceregal booth…”
“Horserie show” adds an air of mock chivalry or equestrian elegance, reminiscent of shows for nobility, here set in a theatrical performance, blending “horse” and “hosiery” to imply both spectacle and everyday garb. “Viceregal” suggests authority, perhaps a stand-in for British rule over Ireland, as the “booth” serves as a privileged position to view this comedic saga of history and human folly.

032.35-032.36 “(his bossaloner is ceil…”
This incomplete line trails off, reflecting the interruptions and digressions typical of Finnegans Wake. Here, “bossaloner” humorously suggests an imposing figure of authority, someone who commands attention in his solitude.

This analysis illustrates how page 32 of Finnegans Wake intertwines humour, mythology, and language play to construct HCE as both a mythical and everyman figure. Joyce’s prose challenges readers to consider identity as fluid and multifaceted, deeply rooted in the shared human and Irish experience.

Detailed Analysis of Page 33 of Finnegans Wake

Summary of Page 33

Page 33 explores the character and reputation of HCE (Humphrey Chimpden Earwicker) as filtered through gossip, innuendo, and exaggerated storytelling. HCE is portrayed as a paradoxical figure—a respected, almost mythical patriarch yet simultaneously the subject of scandal and ridicule. The narrative style is dense, weaving together myth, satire, and humour, with references to his alleged transgressions and larger-than-life personality. The page juxtaposes his dignity with the absurdity of the rumours surrounding him, illustrating Joyce’s recurring theme of the fragility of reputation.

Line-by-Line Analysis

033.01-033.03
"inged there a cuckoospit less eminent than the redritualhoods of Maccabe and Cullen..."

• "Cuckoospit": A playful term evoking something minor or insignificant, setting up the idea of gossip or trivial rumours.
• "Redritualhoods": Possibly referencing religious rituals, hinting at the ceremonial and public scrutiny HCE faces.
• "Maccabe and Cullen": References to Irish names or historical figures (potentially tied to Catholic or Irish political history), grounding the narrative in an Irish cultural context.
• HCE is compared to a "Napoleon the Nth," blending grandeur with satire, suggesting his outsized reputation and hubris.

033.03-033.06
"this folksforefather all of the time sat, having the entirety of his house about him..."

• HCE is depicted as a patriarchal figure, a "folksforefather," evoking mythic ancestors.
• The phrase suggests his centrality, both as a literal figure in his household and as a symbolic representative of a community or nation.

033.06-033.08
"with the invariable broadstretched kerchief cooling his whole neck, nape and shoulderblades..."

• This description adds a comic physicality to HCE, contrasting his grandeur with a mundane, almost ridiculous image.
• "Swallowall": A humorous play on "swallowtail," exaggerating the ostentatiousness of his attire and hinting at consumption or excess.

033.10-033.13
"The piece was this: look at the lamps. The cast was thus: see under the clock..."

• The imagery of a staged play reinforces the theatricality of HCE’s life, where he is both actor and subject of public spectacle.
• "Pit, prommer and parterre, standing room only": Suggests a packed theatre, implying that HCE’s life and scandals are a form of entertainment for the public.

033.14-033.16
"A baser meaning has been read into these characters..."

• This hints at the rumours and innuendo that tarnish HCE’s reputation.
• Joyce satirises how gossip distorts truth and feeds on the basest interpretations of events.

033.17-033.19
"that he suffered from a vile disease. Athma, unmanner them!"

• The suggestion that HCE suffers from a "vile disease" likely alludes to syphilis or another condition historically tied to moral judgement.
• "Athma, unmanner them!": A playful corruption of "asthma" and a humorous rebuke to the gossipers, blending mockery and disdain.

033.25-033.27
"he lay at one time under the ludicrous imputation of annoying Welsh fusiliers in the people's park."

• This accusation is both absurd and comedic, suggesting a scandal involving HCE and military figures.
• Joyce’s use of "people's park" suggests a public setting, emphasising HCE’s vulnerability to scrutiny and ridicule.

033.28-033.30
"Hay, hay, hay! Hoq, hoq, hoq! Faun and Flora on the lea love that little old joq."

• This section incorporates playful, rhythmic sounds ("hay, hay, hay!") and pastoral imagery ("Faun and Flora"), contrasting HCE’s grandiose reputation with a humorous, earthy depiction.
• "Joq" (joke): Suggests HCE’s scandals are viewed as farcical by onlookers, reducing him to a figure of ridicule.

033.30-033.33
"To anyone who knew and loved the christlikeness of the big cleanminded giant H. C. Earwicker..."

• HCE is ironically described as "christlike" and "cleanminded," juxtaposing his supposed dignity with the absurdity of the accusations.
• "Giant": Reinforces his mythic stature, tying HCE to larger-than-life figures in Irish folklore or history.

033.34-033.36
"quondam (pfuit! pfuit!) some case of the kind implicating, it is interdum believed..."

• "Quondam" (formerly) and "interdum" (sometimes) play on Latin phrases, mimicking legal or historical discourse to describe rumours with exaggerated solemnity.
• "Pfuit! pfuit!": An onomatopoeic dismissal of the rumours, illustrating the fleeting and insubstantial nature of gossip.

Themes and Motifs

Gossip and Reputation

• Page 33 underscores the destructive nature of gossip and the fragility of reputation. HCE is caught between his elevated status and the ridicule stemming from scandal.

Myth and Satire

• HCE is portrayed as a mythic figure (Napoleon, Christlike), yet Joyce constantly undercuts this grandeur with satire and humour, illustrating the contradictions in public perception.

Irish Cultural References

• Names like "Maccabe and Cullen" and settings like the "people's park" root the narrative in an Irish context, blending folklore with modernity.
• The mock-serious tone echoes Irish oral traditions of storytelling and humour.

Playful Sexual Innuendo

• The rumours about HCE often carry sexual undertones, such as the suggestion of "annoying Welsh fusiliers." Joyce’s wordplay blurs the line between propriety and impropriety.

Theatricality

• HCE’s life is depicted as a public performance, with staged elements ("the cast," "pit, prommer, parterre") reflecting how his private life becomes a public spectacle.

Conclusion

Page 33 is a brilliant exploration of the complexities of HCE’s character and the tension between his mythic stature and the absurdities of gossip. Joyce’s linguistic playfulness and use of Hiberno-English enhance the humour and depth of this passage, blending Irish cultural references, mythic resonance, and a sharp critique of societal judgment.

Detailed Analysis of Page 34 of Finnegans Wake

Summary of Page 34

Page 34 delves deeper into the ambiguous accusations against Humphrey Chimpden Earwicker (HCE), reinforcing the key theme of gossip and public scandal. The passage weaves a narrative of HCE’s supposed indecency in the company of two maidservants, though the details are muddied by conflicting testimonies, exaggerated defences, and euphemistic language. The tone oscillates between mock-legalese and parodic high rhetoric, as Joyce playfully undermines the gravity of the accusations through humour and wordplay.

The text also touches upon universal themes of human fallibility, societal hypocrisy, sexual desire, and the inevitable intersection of power and scandal. HCE’s situation mirrors the archetypal “fallen man,” drawing on classical, biblical, and Irish mythological references.

Line-by-Line Analysis and Key Themes

034.01-034.03
"round Dumbaling in leaky sneakers with his tarrk record who has remained topantically anonymos but (let us hue him Abdul-lah Gamellaxarksky)"

• Theme – Public Shame and Scandal:
  • "Dumbaling" plays on "Dublin" and "dumb ambling," suggesting HCE’s clumsy navigation through social disgrace. His "leaky sneakers" hint at moral or reputational decay.
  • The exotic alias "Abdullah Gamellaxarksky" humorously emphasizes how gossip can transform ordinary individuals into mythic or notorious figures, reflecting identity distortion under the gaze of society.

034.04-034.09
"posted at Mallon's at the instance of watch warriors of the vigilance committee"

• Theme – Surveillance and Moral Policing:
  • The "vigilance committee" recalls the moral oversight of Irish communities, echoing the influence of Catholic morality and temperance movements.
  • HCE’s posting at "Mallon’s" suggests the relentless surveillance he endures. "Watch warriors" parodies the idea of self-righteous community members enforcing propriety.

034.10-034.12
"Gob scene you in the narked place and she what's edith ar home defileth these boyles!"

• Hiberno-English and Irish Dialect:
  • "Gob" (Irish slang for mouth) introduces local speech patterns, reinforcing Hiberno-English influences in Finnegans Wake.
  • "Scene" reflects colloquial Dublin expressions of confrontation. This line illustrates Joyce’s blend of Irish linguistic quirks with a broader, exaggerated comedic style.

034.13-034.15
"Slander, let it lie its flattest, has never been able to convict our good and great... Earwicker"

• Theme – Legal Parody and Defence of Reputation:
  • This passage mimics legal defences and public speeches, underscoring societal obsession with innocence and guilt.
  • "Slander" becomes personified, reinforcing the power of gossip in shaping public perception.

034.16-034.19
"ongentilmensky immodus opposite a pair of dainty maidservants in the swoolth of the rushy hollow"

• Theme – Sexual Temptation and Desire:
  • "Ongentilmensky" distorts "ungentlemanly," reflecting the comic yet serious undertones of the sexual allegations.
  • The "maidservants" suggest innocence, heightening the contrast with HCE’s alleged indecency. This erotic undercurrent resonates with the classical trope of the nobleman’s fall through temptation.

034.25-034.28
"a first offence in vert or venison which was admittedly an incautious but, at its wildest, a partial exposure"

• Theme – The Fall of the Hero:
  • "Vert or venison" is a legal phrase concerning hunting crimes, used here metaphorically for sexual misconduct. This highlights HCE’s moral “hunting” – a classic symbol of masculine pursuit and fallibility.
  • "Partial exposure" winks at sexual indiscretion while parodying courtroom rhetoric. This moment captures Joyce’s playful sexual innuendo, deflating the seriousness of the accusations.

034.30-034.32
"We can't do without them. Wives, rush to the restyours! Ofman will toman while led is the lol."

• Theme – Gender Dynamics and Inevitable Desire:
  • This line humorously suggests the inevitability of sexual attraction between men and women, implying that scandal is an unavoidable part of human nature.
  • "Ofman will toman" plays on "man will woo woman," reinforcing the idea of erotic inevitability.
  • "Wives, rush to the restyours" reflects societal roles and expectations for women to contain male desire, hinting at Catholic moralism and patriarchal control.

034.33-034.36
"Guiltless of much laid to him he was clearly for once at least he clearly expressed himself as being with still a trace of his erstwhile burr"

• Theme – Doubt and Duality:
  • HCE is described as "guiltless of much," introducing ambiguity – he may not be guilty of everything, but the lingering shadow of doubt persists.
  • "Erstwhile burr" reflects HCE’s distinctive voice or character, suggesting his identity endures despite societal condemnation.

Universal Themes and Motifs

Public Scrutiny and Reputation:

• HCE’s fall mirrors universal concerns about social judgment and the fragility of reputation. Joyce taps into the timeless theme of the fallen hero, dramatizing how communities relish the moral downfall of their figures.

Sexual Desire and Moral Hypocrisy:

• The maidservant scandal underscores societal hypocrisy regarding sexual conduct. HCE’s alleged indiscretion reflects universal tensions between public virtue and private vice.

Truth, Gossip, and Storytelling:

• Joyce blurs the line between fact and rumour, suggesting that truth is malleable under the pressures of gossip. This motif resonates across cultures, illustrating how narratives shape social realities.

Fallen Authority Figures:

• HCE embodies the archetype of the flawed patriarch or leader, a motif found in classical epics, biblical tales, and modern political scandals.

Playful Sexual Innuendo and Humour

• Phrases like "partial exposure" and "maidservants in the rushy hollow" provide cheeky yet subtle references to sexual misadventures.
• The comedic tone in "leaky sneakers" and "lewd is the lol" highlights Joyce’s skill in deflating serious matters with bawdy humour.

Conclusion

Page 34 exemplifies Joyce’s layered, multidimensional storytelling, where scandal, sexual innuendo, and societal judgment intertwine with myth, history, and legal parody. HCE’s plight reflects universal concerns about identity, morality, and the social fabric, capturing the complex humanity at the heart of Finnegans Wake.

Summary of Page 35

Page 35 continues the recounting of an alleged scandal involving HCE (Humphrey Chimpden Earwicker) in Phoenix Park, Dublin. The narrative blends gossip, legal language, and mythic references to complicate the "truth" behind the accusation. HCE encounters a cad (or rogue) who inquires about the time in an almost incomprehensible manner. HCE’s response becomes an exaggerated performance of self-defence and polite civility, reflecting his internal tension and the absurdity of the situation. The text is dense with Hiberno-English, Irish placenames, and wordplay that turns even a simple exchange into a layered act of social theatre.

Line-by-Line Analysis and Key Themes

035.01-035.02
"They tell the story (an amalgam as absorbing as calzium chloereydes and hydrophobe sponges could make it)"

• Theme – Distorted Truth and Gossip:
  • "Calzium chloereydes" (calcium chloride) and "hydrophobe sponges" suggest a chemical reaction, symbolising how gossip absorbs and transforms information, becoming exaggerated and distorted over time.
  • The story being "absorbing" parallels how public scandals captivate communities, blending fact and fiction.

035.03-035.05
"one happygogusty Ides-of-April morning... the anniversary... of his first assumption of his mirthday suit"

• Classical and Religious References:
  • "Ides-of-April" evokes Roman history (paralleling the "Ides of March" and Julius Caesar's assassination), suggesting betrayal or fated downfall.
  • "Mirthday suit" plays on "birthday suit" (nakedness), reinforcing the sexual undertone of the allegations against HCE.
  • This moment, aligning with a personal rebirth or initiation into adulthood, blurs religious and classical motifs with everyday sexuality and humour.

035.06-035.11
"the tried friend of all creation, tigerwood roadstaff to his stay, was billowing across the wide expanse of our greatest park"

• Irish Culture and Folklore:
  • "Tried friend of all creation" frames HCE as a universal figure, an Adamic or Christ-like archetype fallen into scandal.
  • "Tigerwood roadstaff" symbolises protection and authority, yet the imagery of "billowing" suggests clumsiness and vulnerability, highlighting HCE’s duality as both protector and sinner.
  • "Our greatest park" clearly refers to Phoenix Park in Dublin, reinforcing the Irish setting central to HCE’s mythos.

035.12-035.16
"met a cad with a pipe... Guinness thaw tool in jew me dinner ouzel fin?"

• Irish Speech:
  • The cad’s slurred question, blending "Guinness" and incomprehensible phrasing (if you don't understand Irish),: what the cad says in Irish is: "Conas tá tú inniu mo dhuine uasal fionn?" which roughly translates as "How are you today my decent man?" This captures the spontaneity of street encounters in Dublin and underscores the theme of miscommunication (assuming HCE does not understand Irish).
  • "Guinness" here becomes metonymic for Irish identity and leisure, linking to working-class culture and alcoholism.

035.17-035.20
"could he tell him how much a clock it was that the clock struck"

• Theme – Time and Fate:
  • The cad’s inquiry about time alludes to mortality and judgement (echoing Hamlet’s "what’s o'clock?").
  • HCE’s nervousness in answering mirrors the anxiety of being caught in a moral quandary, reinforcing the universal theme of guilt and innocence.
  • The circular nature of "clock struck" emphasises repetition and the eternal recurrence of scandal in Finnegans Wake.

035.21-035.23
"Earwicker of that spurring instant, realising... the supreme importance, nexally and noxally, of physical life"

• Survival Instinct and Pragmatism:
  • HCE’s rapid response reflects self-preservation. His weighing of "nexally and noxally" (necessity and noxiousness) injects legal and philosophical language into an otherwise mundane moment, parodying the seriousness of the situation.
  • The phrase highlights how intellectualism collides with primal instincts.

035.24-035.26
"K. O. Sempatrick's Day and the fenian rising"

• Irish History and Mythology:
  • "Sempatrick" blends St. Patrick with "KO" (knockout), humorously linking religious holidays to violent uprisings.
  • "Fenian rising" references the failed Irish nationalist rebellions, paralleling HCE’s own symbolic fall.

035.29-035.32
"the bellmaster... at work upon the ten ton tonuant thunderous tenor toller in the speckled church"

• Religious and Folkloric Imagery:
  • The church bell becomes a symbol of divine judgement and timekeeping.
  • "Speckled church" may allude to St. Patrick’s Cathedral or any number of Dublin landmarks. The onomatopoeic "tonuant" mimics the sound of the bell, immersing the reader in the auditory landscape of Dublin.

035.33-035.34
"it was twelve of em sidereal and tankard time"

• Cosmology and Irish Drinking Culture:
  • "Sidereal" references astronomical time, while "tankard time" is pub slang for drinking hours. This juxtaposition ties the cosmic to the quotidian, reflecting Joyce’s ability to unite the grand and the mundane.

Universal Themes and Motifs

• Public Scandal and Miscommunication: The entire page frames HCE as both a victim and perpetrator of misunderstanding, embodying the tension between societal judgement and personal truth.
• The Fallibility of Language: Joyce highlights the limitations of communication, using dialect, garbled speech, and linguistic distortion to underscore how stories become corrupted.
• The Weight of History: HCE’s anxiety reflects Ireland’s colonial past and the burden of historical memory, linking personal scandal to national trauma.
• Survival and Pragmatism: HCE’s actions exemplify the lengths individuals go to avoid confrontation or violence, reinforcing human instincts for preservation.

Humour and Sexual Innuendo

• The phrase "mirthday suit" and references to "Guinness thaw tool" (possibly an oblique phallic joke) contribute to Joyce’s bawdy humour.
• The bell tolling could symbolise both divine authority and sexual climax, blurring the sacred and the profane.

Conclusion

Page 35 of Finnegans Wake exemplifies Joyce’s linguistic virtuosity, cultural richness, and deep engagement with Irish identity and myth. Through complex wordplay, innuendo, and historical references, Joyce explores universal themes of scandal, morality, and the fallibility of language, inviting readers to navigate the layered landscape of HCE’s experience.

Summary of Page 36

Page 36 delves deeper into HCE’s defensive stance against scandal and public scrutiny. This passage plays out like a courtroom drama with HCE posturing, testifying, and appealing to both divine and public audiences to clear his name. Joyce satirises the nature of legal and religious authority, blending Irish colloquial speech with elevated, exaggerated rhetoric. The text highlights themes of public shame, the fallibility of memory, and the slipperiness of truth.

HCE’s dramatic self-defence, complete with biblical and mythic undertones, signals his dual nature as both sinner and public figure. This theatrical performance of guilt and innocence parallels Ireland’s historical entanglement with colonial authority, moral judgement, and the tension between personal freedom and societal expectation.

Line-by-Line Analysis and Key Themes

036.01-036.03
"stuck ginger, which, as being of sours, acids, salts, sweets and bitters compompounded, we know him to have used as chawchaw for bone, muscle, blood, flesh and vimvital"

• Irish Vernacular and Hiberno-English: The use of “stuck ginger” conjures images of folk remedies and the blending of sweet and bitter, evoking both literal health practices and metaphorical resilience in Irish culture. “Chawchaw” mimics the sounds of chewing, grounding the passage in bodily imagery.
• Universal Theme – The Body: The references to “bone, muscle, blood, flesh” reflect the physicality of existence, a recurring motif in Finnegans Wake. This mirrors Joyce’s interest in humanity’s corporeality and the tension between base physicality and spiritual elevation.

036.04-036.06
"hakusay accusation againstm had been made, what was known in high quarters as was stood stated in Morganspost"

• Historical Parody: The "hakusay" (hocus-pocus) accusation parodies formal legal rhetoric. "Morganspost" hints at the Irish newspaper The Freeman’s Journal (often referred to as “Moran’s post”), emphasising the role of media in shaping public opinion and gossip.
• Irish Culture and History: Newspapers were crucial in 19th and early 20th-century Ireland for spreading both news and scandal, reinforcing the communal nature of judgement.

036.07-036.09
"a creature in youman form who was quite beneath parr and several degrees lower than yore triplehydrad snake"

• Religious Allusion – The Fall of Man: The “triplehydrad snake” evokes the biblical serpent from Genesis, suggesting temptation and betrayal. HCE’s accuser is likened to this snake, framing HCE as a victim of deceit and original sin.
• Sexual Innuendo: The “triplehydrad snake” also carries phallic undertones, contributing to the playful sexualisation inherent in Finnegans Wake.

036.10-036.13
"quaint anticipation of a famous phrase, has been reconstricted out of oral style into the verbal for all time"

• Oral Tradition and Storytelling: Joyce highlights the transformation from oral storytelling to written myth. This echoes the Irish bardic tradition, where tales shift shape through retelling, contributing to the blurring of fact and fiction in HCE’s narrative.

036.14-036.16
"the flaxen Gygas tapped his chronometrum drumdrum and, now standing full erect"

• Mythological Reference – Gygas: The “flaxen Gygas” (giant) references Greek mythology, invoking the image of a grand, powerful figure. This underscores HCE’s larger-than-life presence, as well as the performative nature of his defence.
• Sexual Innuendo: “Standing full erect” reinforces the phallic double entendre, aligning HCE’s public humiliation with sexual shame.

036.17-036.19
"his duc de Fer's overgrown milestone as fellow to his gage"

• Irish Placenames and French Influence: “Duc de Fer” (Iron Duke) likely references the Duke of Wellington, adding a layer of Irish colonial history. The “milestone” might allude to physical landmarks (e.g. The Wellington Monument in the Phoenix Park) or political markers, symbolising power and endurance.

036.20-036.22
"Me only, them five ones, he is equal combat. I have won straight."

• Legal and Military Language: This fractured, declarative style mirrors legal proclamations or battlefield boasts. HCE’s phrasing parodies both courtroom testimony and epic storytelling. The “five ones” hint at both physical combat and metaphorical battles against societal forces.

036.23-036.26
"Hence my nonation wide hotel and creamery establishments"

• Colonial and Economic Themes: HCE’s claim to “hotel and creamery establishments” underscores his identity as a public figure rooted in Ireland’s economic landscape. Hotels and creameries were common in rural Ireland, reinforcing themes of land ownership, commerce, and public visibility.

036.27-036.29
"upon the monument, that sign of our ruru redemption"

• Religious and Political Symbolism: “The monument” might reference Dublin landmarks (e.g., the Wellington Monument or the O’Connell Monument), connecting HCE’s personal scandal to national symbols of Irish identity and political struggle.

036.30-036.32
"every living sohole in every corner wheresoever of this globe in general which useth of my British to my backbone tongue"

• Colonialism and Language: HCE aligns himself with the English language, reinforcing colonial tensions between Irish identity and British cultural dominance. This echoes Joyce’s broader critique of the colonial imposition of language.

036.33-036.34
"there is not one tittle of truth, allow me to tell you, in that purest of fibfib fabrications"

• Playful Language and Legal Irony: “Fibfib fabrications” mocks the legal jargon used in HCE’s defence, highlighting the absurdity of public trials driven by gossip.

Universal Themes

• Public and Private Identity: HCE’s dual role as a public figure and private individual reflects universal anxieties about reputation, shame, and the boundaries between public and personal life.
• Guilt and Innocence: The tension between truth and lies mirrors the complexities of justice and societal judgement.
• Sexuality and Scandal: Joyce’s playful sexual innuendo highlights the intersection of desire, shame, and humour, reflecting on universal aspects of human nature.
• Myth and Memory: Joyce blurs myth, history, and gossip, illustrating how communities shape collective memory and identity.

Conclusion

Page 36 of Finnegans Wake presents HCE as both a tragic and comic figure, caught between legal judgement and mythic elevation. Joyce intertwines Irish cultural references, sexual humour, and philosophical reflections to craft a richly layered narrative that resonates with timeless themes of guilt, public shame, and the enduring power of storytelling.

Summary of Page 37 (Lines 1-36)

On this page, Joyce continues the examination of HCE’s imagined guilt and the gossip swirling around him. The passage highlights the absurdity of accusations, blending humor with mythological and philosophical undercurrents. Joyce plays with the fluidity of identity, the distortion of truth, and the performative nature of social interaction. The language remains playful and richly layered with innuendo, puns, and cultural allusions.

Line-by-Line Analysis

037.01-037.02 – “postpuberal hypertituitary type of Heidelberg mannleich cavern ethics”

• Analysis: This line mocks the pseudo-scientific descriptions of HCE, portraying him as exaggeratedly masculine or grotesque (“hypertituitary” suggests overdevelopment, echoing gigantism). “Heidelberg mannleich” invokes Germany, linking HCE to a hyper-masculine, caveman-like figure.
• Cultural Reference: Heidelberg represents academic elitism and ancient roots, aligning HCE with both primal and intellectual forces.

037.03 – “Sweatagore good murrough and dublnotch”

• Analysis: “Sweatagore” puns on “sweat and gore,” evoking toil and violence. “Murrough” recalls Murrough O’Brien, linking to Irish heroism. “Dublnotch” references Dublin, connecting national identity to physical endurance.
• Theme: The blending of heroism and absurdity reflects Joyce’s interest in reinterpreting national myths.

037.04-037.05 – “like a sensible ham, with infinite tact in the delicate situation”

• Analysis: “Ham” suggests overacting or buffoonery, implying HCE’s bumbling attempts at grace. “Infinite tact” drips with irony, as the scene is anything but delicate.

037.06 – “thanked um for guilders received and time of day”

• Analysis: “Guilders” (Dutch currency) suggests transactional relationships. This line mocks the way polite exchanges mask deeper tensions.

037.07-037.09 – “humble duty to greet his Tyskminister”

• Analysis: “Tyskminister” (German minister) reflects the theme of bureaucracy and diplomatic pretense. The line layers national allegories onto personal interactions.

037.10 – “saluting corpses, as a metter of corse”

• Analysis: “Saluting corpses” satirizes the meaningless rituals of statecraft or military pomp. “Metter of corse” (matter of course) implies inevitability, tying into Joyce’s theme of cyclical decay.

037.11 – “one could hound him out had one hart to for the monticules of scalp”

• Analysis: “Hound him out” echoes hunting, suggesting pursuit or surveillance. “Monticules of scalp” evokes both small hills and dandruff, comically deflating grandeur.

037.12-037.13 – “accompanied by his trusty snorler and his permanent reflection”

• Analysis: “Snorler” (snorer) may refer to a companion or HCE’s dog. “Permanent reflection” implies self-consciousness, hinting at the burden of guilt or scrutiny.

037.14-037.15 – “I have met with you, bird, too late, or if not, too worm and early”

• Analysis: A playful twist on “the early bird catches the worm,” suggesting missed opportunities or premature action. This carries sexual innuendo, reinforcing themes of desire and failure.

037.16 – “bigtimer’s verbaten words which he could balbly call to memory”

• Analysis: “Bigtimer” mocks grandiosity. “Verbatim” is distorted as “verbaten,” reflecting the unreliability of memory and gossip.

037.17-037.18 – “ere the hour of the twattering of bards”

• Analysis: “Twattering” (chattering) mirrors bird sounds and bardic recitals. This references the Irish oral tradition, blending folklore with everyday banality.

037.19-037.20 – “suppertide and souvenir to Charlatan Mall jointly kem gently”

• Analysis: “Charlatan Mall” mocks commercialism and false fronts. “Souvenir” suggests memory, hinting at the commodification of past experiences.

037.21-037.22 – “softongue's pawkytalk”

• Analysis: “Softongue” contrasts with “pawkytalk” (cautious or sly speech). This reflects the duality of sincerity and deception in communication.

037.23-037.24 – “studying castelles in the blowne and studding cowshots”

• Analysis: “Castelles” (castles) evoke grand aspirations, while “blowne” (blown) suggests both vanity and emptiness. This juxtaposes ambition with futility.

037.25 – “Irish saliva, mawshe dho hole”

• Analysis: A humorous nod to Irish spitting habits, blending Hiberno-English with Gaelic (“mawshe dho” echoes Irish phrases for “mouth of the hole”).

037.26-037.27 – “respectable prominently connected fellow of Iro-European ascendances”

• Analysis: Joyce mocks pretensions to social status, highlighting HCE’s mixed lineage (“Iro-European”). This reflects Ireland’s colonial history.

037.28-037.30 – “Mr Shallwesigh or Mr Shallwelaugh”

• Analysis: “Shallwesigh” and “Shallwelaugh” personify dual responses to life’s absurdity, recalling Shakespearean comedy and tragedy.

037.31-037.32 – “Peach Bombay... Lukanpukan pilzenpie”

• Analysis: “Peach Bombay” and “Lukanpukan” suggest exotic or comically fancy dishes. This mocks HCE’s pretensions and indulgences.

037.33-037.34 – “chaff it, in the snevel season”

• Analysis: “Chaff it” (mock it) and “snevel season” (sniveling) reference the melancholic nature of winter. This reflects cycles of hardship and resilience.

Key Themes and Motifs

1. Public vs. Private Self – The passage underscores HCE’s duality, contrasting his public persona with private anxieties.
2. Gossip and Miscommunication – Twists of language mirror the distortion of truth through gossip.
3. Cyclicality and Rebirth – References to seasonal cycles align with broader motifs of renewal.
4. Cultural Commentary – Joyce integrates Irish mythology, folklore, and colonial history to reflect national identity.
5. Sexual Innuendo – Playful double entendres highlight the underlying theme of desire and temptation.

Conclusion

Page 37 reflects Joyce’s dense, playful style, combining historical, cultural, and mythological references with humor and deep philosophical inquiry. The page serves as a microcosm of Finnegans Wake, celebrating the fluidity of language and the complexity of human nature.