Finnegans Wake Notes

76-79: The burial in Lough Neagh (including the battle interlude, pp. 78-79) 

79-81: Kate Strong recalls old times in the midden heap in Phoenix Park 

81-85: Encounter between attacker and adversary repeats HCE-Cad meeting 

85-90: Festy King on trial for Park indiscretion 

90-92: Pegger Festy denies any act of violence, wins Issy's love 

92-93: King freed, reveals his deception and is vilified by the girls 

93-94: The Letter 

94-96: The Four Old Judges rehash the case and argue over the past 

96-97: The Fox Hunt—in pursuit of HCE

97-100: Rumors rampant regarding HCE's death or reappearance 

101-3: The women usher in ALP

Analysis of Page 75 of Finnegans Wake

Summary

Page 75 captures the richly layered consciousness of HCE (Humphrey Chimpden Earwicker) as he reflects on his downfall, a recurring theme in Finnegans Wake. The text oscillates between dreamlike recollection and mythic representation, intertwining Hiberno-English with echoes of Irish history, mythology, and culture. Joyce uses dense wordplay, mythical references, and an experimental narrative style to explore themes of guilt, legacy, and redemption.

Detailed Line-by-Line Analysis

075.01: "As the lion in our teargarten remembers the nenuphars of his Nile..."

• The "lion" suggests HCE as a fallen patriarch, while "teargarten" (tear + kindergarten) hints at sorrow and innocence. "Nenuphars" (water lilies) evoke both mythological beauty and decay, referencing the Egyptian Nile as a symbol of life and memory. The phrase positions HCE as a mythic figure akin to Osiris, whose dismemberment and resurrection parallel HCE's cyclical fate.

075.02: "...shall Ariuz forget Arioun or Boghas the baregams of the Marmarazalles from Marmeniere?"

• "Ariuz" and "Arioun" likely reference classical mythology, possibly Arion, the musician saved by a dolphin. The allusion to "Marmarazalles" may invoke the Marmara region, linking to the sea and the idea of being lost or saved by water. These mythological references elevate HCE's story into a timeless, archetypal framework.

075.03-04: "...tots wearsense full a naggin in twentyg have sigilposted..."

• "Naggin in twentyg" employs Hiberno-English to describe a small measure of liquor (naggin), perhaps hinting at intoxicated confusion. "Sigilposted" (sigil + signposted) suggests cryptic guidance or mystic symbols, reinforcing the enigmatic nature of HCE's predicament.

075.05-06: "...the besieged bedreamt him stil and solely of those lililiths undeveiled which had undone him..."

• "Lililiths" references Lilith, the mythical seductress, blending themes of feminine power and danger. HCE’s "besieged" dreams reflect his guilt and obsession with past transgressions. The phrase captures Joyce's exploration of the subconscious and its persistent influence on the waking world.

075.07-08: "Fooi, fooi, chamermissies! Zeepyzoepy, larcenlads! Zijnzijn Zijnzijn!"

• These onomatopoeic exclamations mimic mocking laughter and underscore the playful, chaotic tone. The use of Dutch words like "Zijnzijn" (to be) adds a multilingual dimension, reflecting the fragmented, echoing nature of consciousness.

075.09-11: "...that he reglimmed? presaw? the fields of heat and yields of wheat where corngold Ysit?"

• "Reglimmed" and "presaw" indicate prophetic vision, as HCE contemplates a pastoral vision of abundance ("fields of heat"). The mention of "Ysit" (likely Isis) strengthens the Egyptian mythological undercurrent, connecting fertility and cycles of death and rebirth.

075.12-14: "...with his deepseeing insight...broadsteyne 'bove citie..."

• "Deepseeing insight" reinforces HCE's introspection and self-awareness, while "broadsteyne 'bove citie" suggests a literal or metaphorical height, placing him above the fray. The reference to "Twillby! Twillby!" might allude to the opera Trilby, invoking themes of manipulation and downfall.

075.15-16: "...a kingbilly white-horsed in a Finglas mill..."

• "Kingbilly" (likely King William of Orange) references Irish political history, particularly the Protestant-Catholic divide. The "white-horsed" image evokes William's symbolic ride and ties HCE to a legacy of contested leadership.

075.17-19: "...prayed, as he sat on anxious seat...ex profundis malorum..."

• The "anxious seat" underscores HCE's guilt and vulnerability. "Ex profundis malorum" (out of the depths of evils) echoes the penitential psalm (De Profundis), reinforcing his yearning for redemption.

075.20-23: "...his wordwounder...an engles to the teeth who, nomened Nash of Girahash..."

• The "wordwounder" highlights HCE's role as a figure of linguistic and narrative complexity. "Nash of Girahash" (likely a pun on gnashing teeth) portrays a wretched, primal figure. This character, crawling "on his mottled belly," embodies degradation, evoking the Fall in Christian theology.

075.23-24: "...might, mercy to providential benevolence's who hates prudencies' astuteness..."

• The invocation of "providential benevolence" contrasts divine mercy with human cunning, framing HCE's fall as both a personal and cosmic event.

Key Themes and Devices

Hiberno-English and Irish Placenames:

• "Finglas mill" and "broadsteyne 'bove citie" ground the narrative in Irish geography and history.
• Hiberno-English expressions like "naggin in twentyg" enhance the linguistic texture.

Mythological Allusions:

• Egyptian (Isis), classical (Arion), and Irish (Kingbilly) myths intertwine to universalise HCE's story.
• Lilith serves as a symbol of temptation and downfall, mirroring HCE’s undoing.

Religious and Philosophical Undertones:

• References to "Ex Profundis" and "providential benevolence" highlight the tension between guilt and grace.
• The interplay of free will and predestination reflects philosophical debates about agency.

Playful Sexual Innuendo:

• "Lililiths undeveiled" subtly suggests erotic transgression.
• The "kingbilly white-horsed" image can be interpreted as a playful phallic metaphor.

Humour and Wordplay:

• Puns like "sigilposted" and "wordwounder" showcase Joyce’s linguistic inventiveness.
• Mocking phrases ("Fooi, fooi, chamermissies!") add levity to the introspective tone.

Page 75 exemplifies Joyce's ability to weave myth, history, and introspection into a kaleidoscopic narrative. Through intricate wordplay and layered allusions, he portrays HCE as a figure both mythic and human, embodying the cyclical struggles of guilt, redemption, and legacy.