Finnegans Wake Notes

260-66: Lessons begin with Shem writing left margin notes, Shaun right margin, and Issy the footnotes 

266-70: Grammar 

270-77: History 

277-81: Letter writing 

282-87: Mathematics 

287-92: Interlude recounting political, religious, and amorous invasions of Ireland 

293-99: Dolph explains to Key the geometry of ALP's vagina (marginal notes reversed) 

299-304: Key finally comprehends the significance of the triangles during a letter-writing session—.strikes Dolph 

304-6: Dolph forgives Key 

306-8: Essay assignments on 52 famous men 

308: The children's night-letter to the parents 

Detailed Analysis of Page 260 of Finnegans Wake

Summary

Page 260 of Finnegans Wake exemplifies Joyce’s fascination with the interplay between language, identity, and geography. The narrative shifts through fragmented dialogue, poetic evocations, and satirical observations, addressing themes of Irish cultural identity, cyclical time, and human folly. Hiberno-English idioms, historical and literary allusions, and Joyce's signature wordplay dominate the text, layering meaning in complex and humorous ways.

Line-by-Line Analysis

260.01: "As we there are where are we are we there UNDE ET UBI."

• "As we there are where are we are we there": A recursive, almost mantra-like question reflecting cyclical themes in Finnegans Wake and Joyce’s philosophy of eternal return.
• "UNDE ET UBI": Latin for "whence and where," echoing philosophical questions about origins and destinations. This reinforces the cyclical, questioning nature of the text, with spatial disorientation suggesting life's endless loops.

260.02: "from tomtittot to teetootomtotalitarian. Tea tea too oo."

• "tomtittot to teetootomtotalitarian": A pun on a fairy tale (Tom Tit Tot) and authoritarian regimes, juxtaposing whimsical and oppressive elements. The phrase implies societal shifts from the mythical to the modern.
• "Tea tea too oo": Repetition of "tea" plays with phonetics and rhythm, invoking Ireland's culture of tea-drinking while suggesting the circularity of dialogue.

260.04-260.07: "With his broad Whom will comes over... to Ireland a disgrace."

• "With his broad and hairy face": Potentially mocking stereotypical depictions of Irish masculinity, adding humour to the narrative.
• "to Ireland a disgrace": A critique of societal or personal failures, possibly alluding to colonial subjugation or internal conflicts within Irish identity.

260.08: "Whence. Quick lunch by our left, wheel, IMAGINABLE ITINERARY."

• "Quick lunch by our left, wheel": A fragmented depiction of movement through a cityscape, likened to a journey or pilgrimage.
• "IMAGINABLE ITINERARY": A playful contradiction, suggesting both specific directions and the abstract, dreamlike quality of the journey.

260.09-260.13: "Menly about to where... Berkeley Alley."

• "Long Livius Lane, mid Mezzofanti Mall": Names likely evoke historical figures or classical references, such as Roman historian Livy and linguist Cardinal Mezzofanti, blending Dublin’s geography with a classical past.
• "Berkeley Alley": Alludes to the philosopher George Berkeley, known for his idealist philosophy, infusing the mundane setting with intellectual resonance.

260.14-260.15: "sinks down (and out). Old Vico Roundpoint."

• "Old Vico Roundpoint": A nod to Giambattista Vico’s New Science, whose cyclical view of history profoundly influenced Joyce. The "Roundpoint" suggests both a physical location and Vico's concept of history's repeating cycles.

260.16-260.18: "And natural, simple, slavish, filial... enthewsyass cuckling a hoyden."

• "natural, simple, slavish, filial": A satirical commentary on traditional roles and relationships, possibly mocking societal expectations of subservience or filial piety.
• "enthewyass cuckling a hoyden": A comic twist, describing an enthusiastic yet foolish romantic act. The term "hoyden" (a boisterous girl) suggests both playful affection and ridicule.

260.19-260.21: "Rawmeash, quoshe with her girlic teangue... his blue canaries."

• "Rawmeash, quoshe with her girlic teangue": Hiberno-English phonetics mimic rural Irish speech, showcasing Joyce’s mastery of dialect. The playful distortion adds humour while reflecting the fluidity of language.
• "blue canaries": Likely a metaphor for trivial or superficial concerns, adding absurdity and critique.

260.22-260.23: "Mater Mary Mercerycordial of the Dripping Nipples, milk's a queer arrangement."

• "Mater Mary Mercerycordial": A parody of the Virgin Mary, blending reverence and irreverence. The imagery of "dripping nipples" humorously conflates religious iconography with physicality.
• "milk's a queer arrangement": A whimsical reflection on motherhood and sustenance, highlighting the mundane yet miraculous nature of human biology.

260.24-260.25: "Real life behind the floodlights as shown by the best exponents of a royal divorce."

• "Real life behind the floodlights": A metaphor for theatricality in life, suggesting hidden truths behind public facades.
• "a royal divorce": Likely alludes to historic or mythological separations, tying personal drama to national and historical themes.

Themes and References

Hiberno-English

Joyce uses dialectal spellings and expressions such as "Rawmeash" and "quoshe" to capture Irish vernacular, grounding the fantastical narrative in local speech.

Irish Placenames and Geography

• References to Livius Lane, Berkeley Alley, and Old Vico Roundpoint mix actual and imagined locations, blending Dublin’s urban landscape with philosophical and classical allusions.

Philosophy and History

• "Old Vico Roundpoint" directly references Vico’s cyclical historical model, a cornerstone of Joyce’s structural approach to Finnegans Wake.
• "Berkeley Alley" invokes the idealist philosophy of George Berkeley, layering philosophical depth over a seemingly mundane setting.

Playful Sexual Innuendo

• "dripping nipples" and "cuckling a hoyden" mix sensuality with humour, undercutting solemnity with earthy realism.

Humour

• Joyce’s absurdities, like "blue canaries" and the exaggerated descriptions of Anna’s garments, add levity to dense passages.

Conclusion

Page 260 of Finnegans Wake exemplifies Joyce's ability to weave a dense tapestry of humour, philosophy, and cultural references. The text blends Hiberno-English, historical allusions, and literary parody, inviting readers to navigate its layered meanings while reflecting on the cyclical, theatrical nature of human existence.