Finnegans Wake Notes

48-50: The balladeer and all involved come to bad ends as Time Passes 

50-52: Earwicker asked to tell the old story 

52-55: Earwicker's "innocent" version is filmed, televised, and aired 

55-58: A review of Earwicker's Fall 

58: HCE's Wake 

58-60: A reporter's interview with the populace concerning HCE's crime 

61-62: A report of HCE's flight. 

62-63: A report of HCE's encounter with a masked assailant 

63-64: The Banging on the Gate 

64-65: Movie digression: Peaches and Daddy Browning 

66-67: Inquiry concerning missing letters and stolen coffin 

67: Lolly the Constable testifies on the arrest of drunken Earwicker 

67-68: The demise of the two temptresses 

69: The locked gate 

69-71: A Midwesterner at the gate of the closed pub after hours reviles HCE

71-72: The list of abusive names 

72: HCE remains silent 

73: The braying ass retreats 

74: Finn's resurrection foreshadowed as HCE sleeps 

Analysis of Page 48 of Finnegans Wake

Summary

Page 48 continues Joyce's dense layering of history, mythology, theatricality, and satire. It juxtaposes the mythical and historical with a farcical commentary on identity and performance. This page also engages with the themes of artistic pretension, communal memory, and the cyclical nature of history. It incorporates Hiberno-English, allusions to Irish mythology, and wordplay to blur the lines between reality and fiction.

Detailed Line-by-Line Analysis

048.01: "Chest Cee! 'Sdense! Corpo di barragio!"

• This exclamation invokes both theatrical and military imagery. "Chest Cee!" plays phonetically on "just see," a call to attention. "'Sdense!" suggests "it’s dense" and "sense," hinting at the fog of understanding in the narrative. "Corpo di barragio!" parodies Italian, evoking a barrier or defence, metaphorically representing the text’s complexity.

048.02-03: "you spoof of visibility in a freakfog, of mixed sex cases among goats, hill cat and plain mousey"

• The "spoof of visibility" critiques perception and reality, central to Finnegans Wake. The "mixed sex cases among goats" alludes to mythical and biblical creatures, playfully engaging with themes of transgression. The "hill cat and plain mousey" juxtaposition evokes oppositional imagery of strength versus meekness.

048.03-04: "Bigamy Bob and his old Shanvocht!"

• "Bigamy Bob" suggests scandal and duplicity, while "Shanvocht" (a Hiberno-English word for "poor old one") adds a humorous, Irish vernacular twist. This pairing parodies societal and moral hypocrisies, with a playful nod to sexual innuendo.

048.04-05: "The Blackfriars treacle plaster outrage be liddled!"

• "Blackfriars" could refer to the area in London or the Dominican friars, linking to ecclesiastical authority. "Treacle plaster" humorously combines a remedy with the idea of sticking to false narratives. "Be liddled!" adds a playful imperative to obscure or dismiss the event.

048.05: "in that kingsrick of Humidia a poisoning volume of cloud barrage indeed."

• "Kingsrick of Humidia" melds "kingdom" and "rick" (a stack), symbolising layers of myths and historical events. The "poisoning volume of cloud barrage" paints an image of confusion or propaganda.

048.06-08: "Yet all they who heard or redelivered are now with that family of bards and Vergobretas himself and the crowd of Caraculacticors"

• "Vergobretas" refers to Celtic magistrates, tying the narrative to Irish history. "Caraculacticors" is a neologism suggesting chaos or critique, highlighting the playful destabilisation of historical records.

048.09-10: "Canbe in some future we shall presently here amid those zouave players of Inkermann the mime mumming the mick"

• "Zouave players" references a theatrical or military troupe, while "Inkermann" recalls the Crimean War’s Battle of Inkerman. The phrase critiques performance and identity, particularly the Irish penchant for mimicry and parody.

048.11-14: "Hilton St Just... O'Daley O'Doyles doublesixing the chorus in Fenn Mac Call and the Serven Feeries of Loch Neach"

• The references to "Fenn Mac Call" and "Serven Feeries of Loch Neach" evoke Irish mythology, specifically Fionn mac Cumhaill and fairies. These blend folkloric and theatrical elements, parodying historical pageantry.

048.15-16: "Galloper Troppler and Hurleyquinn the zitherer of the past with his merrymen all, zimzim, zimzim."

• "Galloper Troppler" and "Hurleyquinn" parody mythic and theatrical figures like Harlequin, blending Robin Hood-esque imagery with Irish performance traditions. The onomatopoeic "zimzim" mimics music, reinforcing the performative theme.

048.16-19: "Of the persins sin this Eyrawyggla saga... all falsetissues"

• "Eyrawyggla saga" phonetically reimagines "Irish saga," situating the narrative in a pseudo-mythic context. "Falsetissues" critiques unreliable storytelling and fabricated history.

048.19-23: "poor Osti-Fosti... a very major poet of the poorly meritary order"

• "Osti-Fosti" could parody a struggling artist or bard. Joyce critiques the pretensions of artistic mediocrity, blending humour with social commentary.

048.23-24: "he began Tuonisonian but worked his passage up as far as the we-all-hang-together Animandovites"

• "Tuonisonian" references Alfred Tennyson, while "Animandovites" suggests a philosophy of unity and collectivism. The phrase humorously critiques inflated artistic ambition.

Key Themes and Devices

1. Hiberno-English and Irish References: Joyce uses terms like "Shanvocht" and "Eyrawyggla saga" to embed the text within an Irish linguistic and cultural framework.
2. Historical Allusions: References to Vergobretas, Fionn mac Cumhaill, and Celtic myths tie Irish history to universal themes of myth and legend.
3. Sexual Innuendo: Phrases like "Bigamy Bob" and "mixed sex cases" introduce humour through playful subversions of moral and sexual conventions.
4. Theatricality: The text parodies performance and identity, such as in the "zouave players" and "mime mumming the mick."
5. Circularity and Fabrication: "Falsetissues" critiques the cyclical, fabricated nature of history, mirroring the book's recursive narrative structure.

Page 48 exemplifies Joyce’s experimental style, blending humour, myth, and cultural critique into a narrative that challenges traditional storytelling.48-50: The balladeer and all involved come to bad ends as Time Passes 50-52: Earwicker asked to tell the old story 52-55: Earwicker's "innocent" version is filmed, televised, and aired 55-58: A review of Earwicker's Fall 58: H.C.E.'s Wake ~8-6i: A reporter's interview with the populace concerning H.C.E.'s crime 61-62: A report of H.C.E.'s flight. 62-63: A report of H.C.E.'s encounter with a masked assailant 63-64: The Banging on the Gate 64-65: Movie digression: Peaches and Daddy Browning 66-67: Inquiry concerning missing letters and stolen coffin 67: Lolly the Constable testifies on the arrest of drunken Earwicker 67-68: The demise of the two temptresses 69: The locked gate 69-71: A Midwesterner at the gate of the closed pub after hours reviles H.C.E. 71-72: The list of abusive names 72: H.C.E. remains silent 73: The braying ass retreats 74: Finn's resurrection foreshadowed as H.C.E. sleeps.

Skipping some pages to prepare for a reading

Detailed Analysis of Page 63 of Finnegans Wake

Summary of Page 63

Page 63 delves into fragmented stories of violence, confrontation, and public embarrassment surrounding HCE (Humphrey Chimpden Earwicker). It continues the mock-trial of HCE, presenting multiple conflicting versions of an event—possibly involving drunken behaviour, sexual misconduct, and authority figures. Joyce highlights the unreliability of narrative and the absurdity of scandal, portraying HCE as both aggressor and victim.

The text is rich with wordplay, blending Hiberno-English, legal jargon, and bawdy humour. References to Irish locations (such as Flaggy Bridge and Newbridge) ground the narrative in Dublin’s geography and folklore. The recurring theme of duality—truth and fiction, man and myth—pervades the passage, reflecting Joyce's interest in the instability of perception and memory.

Line-by-Line Analysis

063.01-063.04
"ing in a bytheway that he, the crawsopper, had, in edition to Reade's cutless centiblade, a loaded Hobson's which left only twin alternatives"

• "Crawsopper" – A play on "grasshopper" (symbol of impulsive or lustful behaviour), "crowsopper" (possibly a crowbar) and crawthumper: ostentatiously devout Roman Catholic (pejorative). This suggests HCE as a figure torn between aggression and comedy.
• "Reade's cutless centiblade" – A reference to Charles Reade’s adventure novels, highlighting HCE’s mythic persona as a swashbuckler or duelist.
• "Loaded Hobson's" – "Hobson’s choice" (no choice at all). The loaded gun becomes a metaphor for HCE’s inevitable fate—he must either "shoot" (commit to action) or "bash in" a rival.

063.05-063.07
"Patch's blank face beyond recognition, pointedly asked with gaeilish gall wodkar blizzard's business..."

• "Patch" – Possibly refers to Patchwork, another representation of HCE as a composite figure or a fool (suggesting Harlequin imagery).
• "Gaeilish gall" – A blend of "Gaelic" and "gall" (meaning arrogance or bitterness). This line evokes Irish bravado and quick temper.
• "Wodkar" – Wordplay on "vodka" and "Walker" (possibly Johnnie Walker whisky), hinting at alcohol-fueled confrontation.

063.08-063.11
"Midweeks, to sultry well go and find out if he was showery well able. But how transparingly nontrue, gentlewriter!"

• "Midweeks" – A pun on "midweek," suggesting a mundane or working-class element.
• "Sultry well go" – A parody of legalistic language mixed with pub vernacular, adding to the courtroom farce.
• "Gentlewriter" – Likely a dig at critics or gossipers. Joyce draws attention to the storyteller’s bias and embellishments.

063.12-063.14
"No such parson. No such fender. No such lumber. No such race."

• This litany of denials mimics courtroom testimony, satirising the exaggerated nature of scandal and gossip.
• "Parson" – Could imply clergy, while "fender" and "lumber" suggest barroom fights or street brawls.

063.13-063.14
"Myramy Huey or Colores Archer, under Flaggy Bridge (for ann there is but one liv and hir newbridge is her old)"

• "Myramy Huey" – Suggests Myra or Miriam, possibly representing a romantic or sexual figure.
• "Colores Archer" – Evokes colour and archery, hinting at a love triangle or sexual rivalry.
• "Flaggy Bridge" – A possible Dublin location?, anchoring the narrative in real geography while implying a site of assignation or tryst.
• "One liv and hir newbridge is her old" – Echoes the cyclical nature of life, suggesting history repeats itself, a recurring motif in Finnegans Wake.

063.15-063.18
"a butcherblue blouse from One Life One Suit... seized after dark by the town guard at Haveyoucaughtemerod's temperance gateway"

• "Butcherblue blouse" – Suggests working-class attire, perhaps HCE in disguise or misidentified.
• "One Life One Suit" – A commentary on economic hardship; a man who owns only one suit must wear it for every occasion.
• "Haveyoucaughtemerod" – A pun on "have you caught hemorrhoids?" playing on the comedic potential of bodily afflictions and gossip.

063.21-063.24
"he had had had o'gloriously a'lot too much hanguest or hoshoe fine to drink in the House of Blazes"

• "Had had had" – Reflects the stuttering, inebriated speech of HCE or his accuser.
• "House of Blazes" – Likely a euphemism for a pub or brothel, continuing the motif of drinking and debauchery.

063.26-063.28
"he falsetook for a cattlepillar with purest peaceablest intentions"

• "Cattlepillar" – A blend of "caterpillar" and "cattle," suggesting confusion or drunken hallucination.
• "Purest peaceablest intentions" – A comedic inversion of violence or scandal, portraying HCE as an innocent fool.

Universal Themes

Reputation and Scandal

• HCE’s public persona is shaped by rumours and conflicting accounts. The unreliability of narrative reflects the universal theme of how society constructs and deconstructs reputations.

Alcohol and Excess

• Frequent references to drink and pubs (House of Blazes, Haveyoucaughtemerod’s) mirror Irish cultural tropes but also explore universal ideas of escapism and public humiliation.

Sexual Innuendo

• Hints of trysts under bridges and encounters in taverns reveal Joyce’s playful handling of sexuality. The merging of the mundane and the bawdy reflects both human desire and the farcical nature of gossip.

Legal Farce

• Joyce mocks legal language and the concept of justice, portraying trials as elaborate performances where truth is obscured by embellishment and rhetoric.

Humour and Playful Language

• Joyce delights in wordplay: "hanguest or hoshoe fine" blends "hangover" and "horseshoe," comically describing drunken stupor.
• "Zoziamus a bottlop stoub" parodies attempts to rationalise drunken behaviour, while "Maurice Behan"’s sudden appearance adds slapstick comedy.

Conclusion

Page 63 of Finnegans Wake masterfully intertwines legal farce, sexual innuendo, and Irish cultural references to reflect on reputation, truth, and the absurdity of public scandal. Joyce’s linguistic inventiveness transforms mundane events into mythic episodes, encapsulating the novel’s broader exploration of identity and myth-making.

Detailed Analysis of Page 64 of Finnegans Wake

Summary of Page 64

Page 64 continues the cascading, dreamlike narrative of HCE (Humphrey Chimpden Earwicker), entangling myth, personal history, and Dublin’s geography. This passage amplifies the motif of intrusion—sounds, figures, and memories disturbing HCE’s slumber, reflecting his guilty conscience. The text juxtaposes military and erotic imagery, with echoes of historical invasions blending into bawdy bedroom farce. Universal themes like anxiety, lust, and the unreliability of perception underpin the humor and wordplay, linking personal misdeeds to epic upheavals.

Line-by-Line Analysis

064.01-064.03
"shtemp and jumphet to the tiltyard from the wastes a'sleep in his obi ohny overclothes or choker, attracted by the norse of guns playing Delandy is cartager on the raglar rock to Dulyn"

• "shtemp and jumphet" – A play on "stamp and trumpet," evoking military parades or jousting tournaments. "Shtemp" echoes Hiberno-English pronunciation, embedding Dublin speech patterns into the text.
• "tiltyard" – A medieval jousting ground, suggesting confrontation or contest, drawing parallels between HCE’s inner turmoil and historic battles.
• "obi ohny" – A blend of "obby" (slang for awkward) and "overcoat," adding comic disarray to HCE’s attire. "Ohny" mimics Hiberno-English for "Johnny," infantilizing the character.
• "Delandy" and "cartager" – Likely references to the destruction of Carthage (Latin: ''Delenda est Carthago') or [ossibly the Siege of Derry, invoking Ireland’s sectarian history. The shifting "Dulyn" (Dublin) blurs lines between personal conflict and national strife.

064.04-064.06
"war' prised safe in bed as he dreamed that he'd wealthes in mormon halls when wokenp by a fourth loud snore out of his land of byelo"

• "Mormon halls" – Suggests fantasy of polygamy or excess, reflecting HCE’s sexual preoccupations.
• "wokenp" – Portmanteau of "woken up," reinforcing the blending of sleep and waking states central to Finnegans Wake.
• "land of byelo" – A play on "byelor" (bylaw or local ordinance), suggesting he dreams of peace governed by strange rules, disturbed by bodily functions (snores).

064.07-064.10
"hammering on the pandywhank scale emanating from the blind pig"

• "pandywhank" – A bawdy pun combining "pandybat" (a punishment stick) and "whank" (masturbation), suggesting disruptive, illicit activity.
• "blind pig" – Slang for an illegal drinking establishment, reinforcing the undercurrent of vice and temptation.
• "oonagh!oonagh!" – Mimics distressed cries or Irish mythological figures (Oonagh being a fairy queen). It merges pub disturbances with folkloric resonances.

064.11-064.14
"belzey babble of a bottle of boose which would not rouse him out o' slumber deep but reminded him...Pompery"

• "belzey babble" – Echoes "Baal’s babble" or "Baalzebub" (devil), connecting drunkenness to demonic possession.
• "Pompery" – A distorted "Pompeii," implying cataclysmic consequences for indulgence. HCE’s internal unrest mirrors societal collapse.

064.15-064.18
"most nooningless knockturn the young reine came down desperate and the old liffopotamus started ploring"

• "nooningless knockturn" – "Nooning" (midday) clashes with "nocturne" (nightpiece), reflecting temporal disorientation.
• "young reine" – French for "queen," possibly referencing ALP (Anna Livia Plurabelle).
• "liffopotamus" – Blending "Liffey" (Dublin’s river) with "hippopotamus," reinforcing ALP’s role as a personification of the river.
• "ploring" – A mix of "exploring" and "imploring," implying grief or overflowing emotion, as ALP’s watery essence floods the scene.

064.19-064.21
"ruinating all the bouchers' schurts and the backers' wischandtugs"

• "bouchers' schurts" – "Boucher" (butcher) and "shirts," symbolizing both literal soiling and metaphoric tarnishing of purity.
• "wischandtugs" – Derived from "wash and tuck," evoking laundering. HCE’s misdeeds (or ALP’s floods) necessitate constant cleansing—a motif tied to guilt and redemption.

064.22-064.25
"Alphos, Burkos and Caramis, leave Astrelea for the astrollajerries"

• "Alphos, Burkos and Caramis" – Parodies The Three Musketeers (Athos, Porthos, and Aramis), blending adventure with Dublin slang.
• "astrollajerries" – Punning on "astrology" and "strolling," suggesting wandering fate, tied to Dublin’s street life and cosmic influences.

064.26-064.29
"roll away the reel world, the reel world, the reel world!"

• "reel" – Dance (Irish reel), film (reel), and illusion (unreality). Joyce equates life with performance and play, reiterating Finnegans Wake’s theatricality.
• "Fammfamm!" – Mimics the French "femme" (woman), reinforcing sexual innuendo and pursuit.

064.30-064.34
"ordinary man with that large big nonobli head...mutton leg's getting musclebound from being too pulled"

• "ordinary man" – A universal archetype for humanity, but also a specific figure of HCE.
• "mutton leg...too pulled" – Euphemism for masturbation or overuse, humorously reflecting bodily excess.
• "Hazel was a hen" – Possibly referencing Hazel Lavery (face of Irish currency) and fertility.

Universal Themes and Motifs

Guilt and Anxiety

• HCE’s restless sleep reflects anxiety over public shame and private misdeeds, universal to the human condition.

Sexual Innuendo and Desire

• Frequent references to bodily functions and desires (e.g., "pandywhank," "mutton leg") highlight humanity’s preoccupation with sexuality, often in comic terms.

Cycles of Sin and Redemption

• The motif of washing and flooding (ALP’s tears) suggests the cleansing of sins, resonant with Catholic and mythic cycles of transgression and forgiveness.

Performance and Reality

• The world is portrayed as a stage ("roll away the reel world"), drawing on Shakespearean and folk traditions.

Conclusion

Page 64 exemplifies Joyce’s blending of personal guilt, Irish history, and mythic archetypes. His linguistic inventiveness transforms mundane events into grand operas of human fallibility, exploring how desire, shame, and cosmic cycles shape individual and collective identities.

Detailed Analysis of Page 65 of Finnegans Wake

Summary of Page 65

Page 65 continues Joyce’s playful exploration of sexual innuendo, generational tensions, and romantic entanglements, all wrapped in the disorienting language that defines Finnegans Wake. The focus shifts to a humorous commentary on aging, desire, and infidelity. HCE (Humphrey Chimpden Earwicker) or "Grumpapar" appears as a figure grappling with lust and loyalty—torn between his steady, long-standing partner and a younger lover. The comedic tension rests on the notion of a man trying to balance two relationships while facing the challenges of age and desire.

The language is rife with Hiberno-English expressions, puns, and allusions to Irish cultural touchstones. Joyce’s bawdy humour underpins the text, with wordplay that conjures the absurd image of an elderly man attempting to seduce and "canoodle" while maintaining appearances. Universal themes—aging, jealousy, and unfulfilled longing—give the text a layer of relatability, even as the dense linguistic play creates a sense of playful confusion.

Line-by-Line Analysis

065.01-065.02
"they're raised on bruised stone root ginger though it winters on their heads as if auctumned round their waistbands."

• "bruised stone root ginger" – A humorous image suggesting the toughness and resilience of the older generation. Ginger evokes ideas of spice and warmth, linking to the sensual overtones running throughout.
• "auctumned" – A blend of "autumn" and "auctioned," implying aging and decline. "Round their waistbands" hints at weight gain or aging bodies—life accumulating around the midsection.
• Hiberno-English – "Winters on their heads" reflects a typically Irish phrase structure, evoking white hair or baldness.

065.03-065.04
"If you'd had pains in your hairs you wouldn't look so orgibald. You'd have Colley Macaires on your lump of lead."

• "orgibald" – A playful corruption of "orgy" and "bald," teasingly suggesting that age robs one of virility.
• "Colley Macaires" – A possible reference to Colley Cibber, an English actor and playwright known for flamboyance and vanity. This may imply a false front or grandiosity.

065.05-065.07
"Take an old geeser who calls on his skirt. Note his sleek hair, so elegant, tableau vivant."

• "old geeser" – Common slang for an elderly man, highlighting generational humor.
• "tableau vivant" – French for "living picture," suggesting that the man is a poseur or attempting to craft an image of youthful virility.

065.08-065.10
"He vows her to be his own honeylamb, swears they will be papa pals, by Sam, and share good times way down west in a guaranteed happy lovenest when May moon she shines."

• "honeylamb" – A saccharine, clichéd term of endearment, parodying romantic courtship.
• "papa pals" – A mix of paternal affection and sexual innuendo, indicating the older man’s attempt to charm a younger woman by appearing playful and protective.
• "May moon" – Traditional symbol of fertility and springtime romance, linking to the cyclical theme of renewal and seduction.

065.11-065.13
"Creampuffs all to dime! Every nice, missymackenzies!"

• "Creampuffs" – A euphemism for something sweet, light, or superficial, playing on sexual undertones.
• "missymackenzies" – A playful term for young women, echoing the light-hearted, flirtatious tone.

065.14-065.16
"She wants her wardrobe to hear from above by return with cash so as she can buy her Peter Robinson trousseau."

• "Peter Robinson" – A well-known Dublin department store, suggesting aspirations for fancy clothes or marital preparation.
• "trousseau" – Traditionally the clothing and linen collected by a bride, reinforcing themes of courtship and desire.

065.17-065.20
"so tolloll Mr Hunker you're too dada for me to dance"

• "Mr Hunker" – Refers to an old-fashioned or overly persistent suitor.
• "dada" – Suggesting absurdity, linked to the Dadaist art movement but used here to imply that the suitor is too outdated or foolish.

065.22-065.24
"old grum has his gel number two (bravevow, our Grum!)"

• "gel number two" – A younger lover, indicating infidelity or a love triangle. "Grum" (Grumpapar) embodies the archetype of an aging philanderer.
• "bravevow" – Celebrates the audacity of pursuing multiple relationships, reflecting Joyce’s indulgent humour.

065.27-065.30
"chivee chivoo, all three would feel genuinely happy, it's as simple as A. B. C., the two mixers, we mean, with their cherrybum chappy."

• "chivee chivoo" – Childlike and playful, echoing nursery rhymes or lovers’ teasing.
• "cherrybum chappy" – A bawdy euphemism for youthful sexual energy or virility. The repetition emphasizes HCE’s futile attempt to balance two lovers.

065.34-065.36
"With which clap, trap and soddenment, three to a loaf, our mutual friends the fender and the bottle at the gate."

• "clap" – Sexual innuendo (suggesting venereal disease), but also general nonsense or banter.
• "fender and the bottle" – Possibly symbolic of obstacles and indulgences—HCE’s relationship with alcohol and entrapment by his desires.

Universal Themes and Resonance

Aging and Sexual Desire

• The absurd portrayal of an elderly man juggling lovers speaks to the universal human condition of desire persisting even as the body declines.

Infidelity and Jealousy

• The love triangle highlights the perennial theme of jealousy and divided affections.

Generational Conflict

• Young women, playful and modern, contrast with HCE’s bumbling, outdated attempts at seduction, highlighting generational gaps in perception and desire.

Humour and Absurdity

• Joyce’s wordplay turns bawdy scenarios into comedic exaggerations, underscoring the folly of human lust and self-deception.

Conclusion

Page 65 of Finnegans Wake is a masterclass in Joyce’s ability to blend sexual innuendo, Irish cultural references, and philosophical musings with absurd humour. Through playful language, he crafts a scene that resonates universally while remaining deeply entrenched in the local dialects and concerns of Dublin.

Summary of Page 66

Page 66 of Finnegans Wake delves into the surreal blending of bureaucratic mundanity and cosmic absurdity, focusing on themes of communication, mortality, and the interplay of light and darkness. This section layers dense wordplay with evocative imagery, continuing Joyce’s exploration of human connections through letters, rituals, and symbolic objects like the coffin. Hiberno-English influences, Irish placenames, and historical and philosophical references abound, highlighting the dualities of life and death, presence and absence, and the paradox of continuity amidst change.

Line-by-Line Analysis

066.01–066.02
"several of the earmarks of design, for there is in fact no use in putting a tooth in a snipery of that sort"

• "Earmarks of design" suggests intention or craftsmanship, perhaps hinting at divine or artistic creation.
• "Putting a tooth in a snipery" uses a peculiar metaphor, playing on idioms like "biting off more than you can chew." It suggests futility in focusing on details when dealing with chaotic or overwhelming systems.

066.03–066.07
"and the amount of all those sort of things which has been going on onceaday in and twiceaday out every other nachtistag among all kinds of promiscuous individuals at all ages in private homes and reeboos publikiss"

• "Nachtistag" (German for "night-day") reflects the cyclical nature of existence, echoing Joyce’s theme of eternal recurrence.
• "Promiscuous individuals" suggests societal indiscretions, blending humour with social critique.
• "Reeboos publikiss" (a distortion of "public houses") likely refers to pubs or communal spaces, grounding the text in Irish culture.

066.08–066.09
"To be continued. Federals' Uniteds' Transports' Unions' for Exultations' of Triumphants' Ecstasies."

• A parody of bureaucratic jargon, this line critiques institutions by exaggerating their pompous language. It mocks the absurdity of human attempts at organisation.

066.10–066.12
"Will it ever be next morning the postal unionist's (officially called carrier's, Letters Scotch, Limited) strange fate"

• The "postal unionist" represents communication networks, critical in connecting people but burdened with inefficiency.
• "Letters Scotch, Limited" playfully distorts company names, linking them to the broader theme of cultural exchange.

066.13–066.16
"Fierceendgiddyex he's hight, d.e., the losel that hucks around missivemaids' gummibacks"

• "Fierceendgiddyex" combines "fierce" and "giddy" to evoke the erratic nature of human fate.
• "Missivemaids" (messengers) and "gummibacks" (envelopes) bring attention to letters as vehicles of intimacy and miscommunication.

066.17–066.18
"superscribed and subpencilled by yours A Laughable Party, with afterwite, S.A.G., to Hyde and Cheek, Edenberry, Dubblenn, WC?"

• "A Laughable Party" could signify the writer, a figure of ridicule.
• "Hyde and Cheek" puns on "hide and seek," suggesting elusiveness or hidden truths.
• "Edenberry" and "Dubblenn" reference Irish locations (Edenberry as a utopia and Dublin as the centre of Joyce’s universe).

066.19–066.21
"Will whatever will be written in lappish language with inbursts of Maggyer"

• "Lappish" (Lappish language of the Sámi people) and "Maggyer" (Hungarian) evoke linguistic diversity, blending identities and tongues.
• "Siamixed twoa-talk" suggests hybridisation of languages, a recurring motif of unity through diversity.

066.22–066.27
"so it light. Always and ever till Cox's wife, twice Mrs Hahn, pokes her beak into the matter"

• "Cox's wife" recalls the Irish anecdote about the gossiping wife, symbolising nosiness and intrusion.
• The "pillarbox" (mailbox) as a "halpbrother of a herm" personifies it as a hermit-like figure, secluded yet essential for communication.

066.28–066.31
"The coffin, a triumph of the illusionist's art, at first blench naturally taken for a handharp"

• The coffin as an "illusionist's art" ties to mortality and performance, hinting at theatricality in death rituals.
• "Handharp" evokes Irish musical traditions, suggesting harmony amidst sorrow.

066.32–066.33
"removed from the hardware premises of Oetzmann and Nephew, a noted house of the gonemost west"

• "Oetzmann and Nephew" may parody funeral suppliers, merging commerce with mortality.
• "Gonemost west" echoes the mythic journey westward, linking Irish emigration and death.

066.34–066.35
"funeral requisites of every needed description. Why needed, though?"

• A rhetorical question highlighting existential uncertainty—why prepare for death if life itself is transient?

066.36
"because the flash brides or bride in their lily"

• "Flash brides" juxtaposes the transient (flash) with purity ("lily"), encapsulating the fleeting nature of joy and innocence.

Themes and Motifs:

1. Communication and Miscommunication: Letters, languages, and mixed dialogues reflect the difficulty and necessity of human connection.
2. Mortality and Ritual: The coffin symbolises death’s inevitability, tied to rituals that provide structure and meaning.
3. Cycle of Life: References to day-night cycles, continuity of communication, and universal experiences resonate universally.
4. Humour and Satire: Puns like "pillarbox" and "Cox’s wife" combine bawdy and light-hearted humour with social critique.
5. Linguistic Diversity: Joyce blends languages (Lappish, Magyar) to highlight cultural richness and the universal challenge of understanding.
6. Irish Identity: Placenames like Dublin and Edenberry root the text in Irish geography and mythology, reinforcing the local as universal.

This page, like much of Finnegans Wake, is rich with symbolism, language play, and cultural references, inviting readers to reflect on the nature of existence, identity, and connection.

Summary of Page 67

Page 67 of Finnegans Wake continues Joyce’s intricate narrative of misunderstandings, misdeeds, and human folly. This passage blends courtroom testimony, gossip, and mythological undertones, reflecting on societal norms, identity, and morality. The text is filled with wordplay, sexual innuendo, and humour, presenting a surreal blend of Irish culture, language, and universal themes such as love, betrayal, and existential absurdity.

Line-by-Line Analysis

067.01–067.03

"boleros one games with at the Nivynubies' finery ball and your upright grooms that always come right up with you (and by jingo when they do!)"

• "Boleros" refers to dances or jackets, tying to themes of performance and appearances.
• "Nivynubies" evokes "newbies" and "Nivea," suggesting innocence and cosmetics, linked to societal pretensions.
• "By jingo" adds an exclamatory note, reinforcing Hiberno-English expressions of astonishment.

067.03–067.06

"what else in this mortal world, now ours, when meet there night, mid their nackt, me there naket, made their nought the hour strikes"

• The repetition of "night," "nackt" (German for "naked"), and "naket" suggests themes of vulnerability and exposure.
• The phrasing mirrors cycles of time and action, typical of Joyce’s exploration of recurrence and duality.
• "Nought the hour strikes" refers to mortality and the passing of time, a universal concern.

067.07–067.08

"We might leave that nitrience of oxagiants to take its free of the air and just analectralyse that very chymerical combination"

• "Nitrience" (nutrition or nitrates) and "oxagiants" (oxygen giants) invoke the elements of life and breath.
• "Analectralyse" is a pun on "analyze" and "electrolyse," suggesting breaking down concepts into their fundamental parts.
• The "chymerical combination" refers to absurdity, reflecting the text’s surreal tone.

067.09–067.12

"the gasbag where the warderworks. And try to pour somour heiterscene up thealmostfere."

• "Gasbag" and "warderworks" evoke societal chatter and bureaucratic systems.
• "Heiterscene" (possibly "heater scene") hints at intense emotional or literal heat.
• The phrase suggests an attempt to elevate mundane concerns into a realm of greater significance.

067.12–067.15

"Long Lally Tobkids, the special, sporting a fine breast of medals, and a conscientious scripturereader to boot in the brick and tin choorch"

• "Lally Tobkids" could parody heroic or self-important figures.
• The "brick and tin choorch" mocks religious establishments, referencing their material construction and spiritual failings.
• Themes of moral posturing and societal hypocrisy are introduced.

067.15–067.20

"he was up against a right querrshnorrt of a mand in the butcher of the blues who"

• "Querrshnorrt" (question or quarrelsome sort) depicts an antagonist, likely a butcher.
• "Butcher of the blues" may allude to destructive tendencies or an individual disrupting harmony.
• The section critiques human conflict and its absurdities.

067.20–067.25

"it was kickup and down with him) on his solemn by the imputant imputed, said simply: I appop pie oath, Phillyps Captain."

• "Kickup and down" captures an energetic or chaotic individual.
• "I appop pie oath" distorts "I swear upon my oath," satirising formal declarations.
• This introduces the courtroom setting as a comedic, exaggerated space.

067.25–067.27

"Madam Tomkins, let me then tell you, replied with a gentlewomanly salaam MackPartland"

• "Gentlewomanly salaam" mixes politeness with mock formality, poking fun at pretensions.
• The name "MackPartland" suggests Irish roots, reinforcing the cultural backdrop.

067.28–067.30

"From velveteens to dimities is barely a fivefinger span"

• "Velveteens" (luxurious fabric) and "dimities" (coarser fabric) juxtapose class differences.
• "Fivefinger span" indicates how close such disparities are, a commentary on the fragility of societal hierarchies.

067.31–067.36

"those rushy hollow heroines in their skirtsleeves, be she magretta be she the posque."

• "Rushy hollow heroines" could reference Irish maidens or folkloric figures.
• "Magretta" and "posque" may play on Margaret and Pascal, further blending real and mythical identities.
• The "soiled dove" suggests a fallen woman or societal outcast, tying to themes of sin and redemption.

Themes and Motifs

1. Mortality and Time: Phrases like "nought the hour strikes" explore human fragility and the inevitable passage of time.
2. Social Satire: Joyce mocks societal institutions, including religion, law, and class distinctions, through exaggerated characters and situations.
3. Language Play: Distorted and hybridised words highlight the instability of communication and meaning.
4. Love and Betrayal: The references to heroines and "soiled doves" reflect the dualities of purity and corruption in relationships.
5. Irish Identity: Hiberno-English expressions and cultural allusions ground the text in its Irish context while exploring universal themes.
6. Humour and Absurdity: Puns and playful language, such as "kickup and down" and "appop pie oath," showcase Joyce’s comedic touch.

This page of Finnegans Wake demonstrates Joyce’s mastery in blending linguistic innovation with profound reflections on human existence, providing both an Irish cultural framework and a universally resonant text.

Summary of Page 68

Page 68 of Finnegans Wake continues the story with a focus on themes of seduction, moral ambiguity, and the cyclical nature of human behaviour. The narrative intertwines personal stories, historical allusions, and mythological references, especially around notions of temptation and fallibility. Joyce’s language brims with sexual innuendo, Irish cultural markers, and wordplay, creating a dense, multi-layered text that explores universal themes of desire, power, and redemption.

Line-by-Line Analysis

068.01–068.02

"one day while dodging chores that she stripped teasily for binocular man and that her jambs were jimpjoyed to see each other"

• "Stripped teasily": Suggests playful and provocative behaviour, echoing themes of seduction and voyeurism.
• "Binocular man": Implies a voyeur, highlighting the objectification and surveillance of women.
• "Jimpjoyed": A play on "limp" and "joy," connoting both physical intimacy and pleasure.

068.03–068.05

"the nautchy girly soon found her fruitful hat too small for her and rapidly taking time, look, she rapidly took to necking, partying"

• "Nautchy girly": Combines "naughty" with "nautch" (Indian dance), symbolising sensuality and cultural fusion.
• "Fruitful hat too small": A metaphor for burgeoning sexuality and ambitions that outgrow societal constraints.

068.06–068.08

"selling her spare favours in the haymow or in lumber closets or in the greenawn ad huck"

• "Selling her spare favours": A euphemism for transactional relationships or sexual encounters.
• "Greenawn ad huck": Suggests rustic, secluded places of intimacy, grounding the narrative in rural Irish settings.

068.09–068.12

"serving whom in fine that same hot coney a la Zingara which our own little Graunya of the chilired cheeks dished up"

• "Hot coney a la Zingara": A reference to seduction framed as a dish, blending sensuality and humour.
• "Graunya": Possibly referencing Grace O'Malley (Gráinne Ní Mháille), the legendary Irish pirate queen, adding historical depth.

068.13–068.15

"did not she, come leinster's even, true dotter of a dearmud"

• "Leinster's even": Evokes Irish geography and mythology.
• "Dearmud": Likely refers to Diarmuid of Irish mythology, a romantic and tragic hero, enhancing the mythic tone.

068.16–068.18

"with so valkirry a licence as sent many a poor pucker packing to perdition"

• "Valkirry": Invokes Norse mythology, drawing a parallel between Irish and Scandinavian cultural elements.
• "Packing to perdition": Reflects themes of temptation and moral downfall, central to the human condition.

068.19–068.21

"like Arcoforty, farfar off Bissavolo, missbrand her behaveyous with iridescent huecry"

• "Arcoforty": An obscure reference, potentially mythological, underlining ambiguity and exoticism.
• "Iridescent huecry": Suggests a dazzling but deceptive display, highlighting human duplicity.

068.22–068.23

"A reine of the shee, a shebeen quean, a queen of pranks."

• "Reine of the shee": Combines French ("queen") and Irish ("sidhe" or fairy folk), blending regal and mythical elements.
• "Shebeen quean": A playful nod to Irish pub culture and rebellious women, connecting history and humour.

068.24–068.28

"He thought he want. Whath? Hear, O hear, living of the land! Hungreb, dead era, hark!"

• "Hungreb, dead era": A lament for past glories and current struggles, reflecting cyclical historical themes.
• "Hark!": An evocative call, blending urgency and mythic resonance.

068.29–068.31

"Nor needs none shaft ne stele from Phenicia or Little Asia to obelise on the spout"

• "Phenicia or Little Asia": Alludes to ancient civilisations, tying Irish history to universal cultural legacies.
• "Obelise on the spout": Suggests marking or monumentalising events, echoing themes of remembrance.

068.32–068.34

"The mouth that tells not will ever attract the unthinking tongue"

• A universal reflection on the dangers of silence and the consequences of unchecked curiosity or gossip.

068.35–068.36

"The column of lumps lends the pattrin of the leaves behind us."

• Suggests the traces left by past actions, a metaphor for history's enduring influence.

Themes and Motifs

1. Seduction and Morality: Themes of temptation and moral ambiguity are central, as reflected in the character’s relationships and choices.
2. Irish Identity and Mythology: References to Gráinne Ní Mháille, Leinster, and Diarmuid ground the text in Irish cultural and mythological contexts.
3. Cycles of History: Recurring references to past civilisations and historical patterns emphasise the cyclical nature of human experience.
4. Humour and Sexual Innuendo: Phrases like "selling her spare favours" and "soft coal" highlight Joyce’s playful exploration of sexuality and social mores.
5. Language and Meaning: Joyce’s wordplay challenges conventional understanding, blending languages and creating hybrid expressions.

Page 68 showcases Joyce’s ability to weave individual stories, historical references, and universal themes into a dense and poetic narrative, continuing the rich tapestry of Finnegans Wake.