Finnegans Wake Notes

309-310: The radio in Earwicker's pub 

310-11: Earwicker at the beer pull 

311-32: The Tale of Kersse the Tailor and the Norwegian Captain 

332-34: Kate delivers Anna Livia's message that Earwicker should come to bed 

335-37: HCE begins his tale 

337-55: Television skit by comics Butt and Taff of "How Buckley Shot the Russian General" 

355-58: HCE attempts an apology 

358-61: Radio resumes with broadcast of nightingale's song 

361-66: HCE accused, speaks in his own defense 

366-69: The Four Old Men harass HCE 

369-73: Constable Sackerson arrives at closing time while a new ballad is in the making 

373-80: Earwicker, alone in the pub, hears the case against him reviewed during funeral games 

380-82: Earwicker drinks up the dregs and passes out— as the ship passes out to sea 

Analysis of Page 309 of Finnegans Wake

Summary

Page 309 captures James Joyce's intricate layering of narrative elements, blending themes of technology, cultural identity, and existential reflection. This page juxtaposes the ancient and the modern, referencing mythological origins, contemporary technological advancements, and the cyclical nature of life and culture. Joyce's language is richly infused with Hiberno-English expressions, Irish history, and linguistic experimentation.

Detailed Line-by-Line Analysis

309.01: "It may not or maybe a no concern of the Guinnesses but."

• "Guinnesses": Likely a reference to the famous Irish brewing family, a symbol of Dublin's cultural and economic identity. The line suggests a detachment between historical and cultural narratives, as if these grand themes are of little concern to modern commercial or mundane interests.

309.02: "That the fright of his light in tribalbalbutience hides aback in"

• "tribalbalbutience": A portmanteau of "tribal" and "balbutience" (stammering), evoking the hesitant articulation of ancient tribal memories. This ties into Joyce's exploration of Ireland's pre-Christian past and its lingering echoes in modern culture.

309.03: "the doom of the balk of the deaf but that the height of his life"

• "balk of the deaf": Suggests barriers to communication or understanding, perhaps a commentary on the difficulty of comprehending history or language.
• "height of his life": A moment of transcendence or climax, framed against the mundane struggles of existence.

309.04-309.05: "from a bride's eye stammpunct is when a man that means a mountain barring his distance wades a lymph that plays the lazy winning she likes yet"

• "bride's eye stammpunct": A playful phrase merging "bride's eye" (romantic or idealistic vision) with "stamp point" (a decisive mark). Suggests an individual poised between grand ambitions and the allure of the everyday.
• "man that means a mountain": A reference to mythic or heroic figures in Irish lore, possibly Finn McCool, symbolising strength and endurance.
• "lymph that plays the lazy winning she likes": Sexual innuendo, likening the flow of lymph (life fluid) to romantic or erotic interplay.

309.06-309.08: "that pride that bogs the party begs the glory of a wake while the scheme is like your rumba round me garden, allatheses"

• "bogs the party": A humorous nod to Ireland's boggy terrain and the cultural "bogging down" of social occasions by pride or tradition.
• "rumba round me garden": Introduces a playful image of circular movement, tying into the Wake’s theme of cyclical history and recurrence.

309.09-309.10: "was now or never in Etheria Deserta, as in Grander Suburbia, with Finnfannfawners, ruric or cospolite"

• "Etheria Deserta": Suggests an ethereal, desolate space, juxtaposed with the mundane "Grander Suburbia." Reflects the tension between imagination and reality.
• "Finnfannfawners": A wordplay possibly referring to admirers of Finn McCool or Finnian figures, blending Irish myth with contemporary life.

309.11-309.13: "Whyfor had they, it is Hiberio-Miletians and Argloe-Noremen, donated him, birth of an otion that was breeder to sweatoslaves"

• "Hiberio-Miletians" and "Argloe-Noremen": Merges Irish (Milesian legends) and Norse (Norman invaders) cultural lineages, reflecting Ireland's complex historical identity.
• "birth of an otion": Could signify the origin of emotion, motion, or even a notion. The hybrid term mirrors the merging of cultural identities.
• "breeder to sweatoslaves": Highlights Ireland’s history of colonisation and exploitation.

309.14-309.15: "as mysterbolder, forced in their waste, and as for Ibdullin what of Himana"

• "mysterbolder": Likely a hybrid of "mister" and "boulder," symbolising an enigmatic, unmovable presence.
• "Ibdullin": A distorted form of "Dublin," reflecting Joyce’s tendency to reimagine his native city in mythical terms.

309.15-309.18: "their tolvtubular high fidelity daildialler, as modern as tomorrow afternoon"

• "tolvtubular high fidelity daildialler": A parody of modern technology, describing a radio or telephone system. Joyce’s mix of futuristic and mundane technologies satirises the rapidly modernising world.
• "as modern as tomorrow afternoon": Humorous commentary on how quickly "modern" becomes outdated.

309.18-309.23: "supershielded umbrella antennas... bawling the whowle hamshack and wobble down in an eliminium sounds pound"

• "umbrella antennas": A vivid image of technological connectivity, likened to protective symbols.
• "eliminium sounds pound": A pun on "aluminium sound pound," suggesting the mechanical clatter of modern communications.

Themes and References

Hiberno-English

Joyce’s use of Hiberno-English is prominent, e.g., "bogs the party" and "rumba round me garden." These colloquialisms anchor the text in Irish vernacular while adding a layer of humour and accessibility.

Irish History and Myth

• "Hiberio-Miletians" and "Argloe-Noremen" reflect Ireland's layered history of Celtic and Viking invasions.
• References to Finn McCool, though implicit, suggest the endurance of Irish myth in Joyce's cultural tapestry.

Philosophy and Modernity

• The philosophical tension between permanence and progress is evident in phrases like "Etheria Deserta" and "as modern as tomorrow afternoon."
• The imagery of technological devices critiques modernity’s encroachment on human imagination and tradition.

Humour and Sexual Innuendo

• Phrases like "lymph that plays the lazy winning she likes" and "rumba round me garden" carry playful, sensual undertones, blending naturalistic and erotic imagery.

Conclusion

Page 309 of Finnegans Wake exemplifies Joyce's mastery of linguistic play, cultural reflection, and thematic complexity. By interweaving Irish history, myth, and contemporary concerns, Joyce creates a narrative that is both deeply rooted and universal, challenging readers to navigate its layers of meaning and absurdity.

Detailed Analysis of Page 310 of Finnegans Wake

Summary

Page 310 of Finnegans Wake continues the surreal and intricate narrative, blending technological and organic metaphors to explore communication, identity, and cycles of renewal. The text juxtaposes machinery, music, and bodily imagery to convey the interplay between human invention and natural processes. This passage also satirises institutions, mythologises everyday objects, and revels in linguistic play, combining Hiberno-English with references to Irish history, placenames, and cultural institutions.

Line-by-Line Analysis

310.01-310.03
"This harmonic condenser enginium (the Mole) they caused to be worked from a magazine battery (called the Mimmim Bimbim patent number 1132, Thorpetersen and Synds, Jomsborg, Selverbergen)"

• "Harmonic condenser enginium" is a playful technological metaphor, likely referring to communication systems or storytelling itself.
• "Mimmim Bimbim" recalls nursery rhymes, evoking simplicity while discussing complex machinery.
• References to "Thorpetersen and Synds, Jomsborg, Selverbergen" suggest a Scandinavian influence, expanding the text’s global reach while parodying patent language.

310.04-310.08
"which was tuned up by twintriodic singulvalvulous pipelines... ranging from the antidulibnium onto the serostaatarean."

• The pseudo-scientific language here mimics technical jargon, suggesting complexity and innovation, though it is ultimately nonsensical.
• The terms "antidulibnium" (anti-diluvian) and "serostaatarean" blend biblical references to pre-flood times and speculative futuristic concepts, invoking cyclical history.

310.09-310.13
"the pip of the lin (to) pinnatrate inthro an auricular forfickle (known as the Vakingfar sleeper, monofractured by Piaras UaRhuamhaighaudhlug...)"

• The playful misspelling of "penetrate" and "auricular forfickle" (ear canal) continues the technological metaphor, mixing machinery with bodily imagery.
• "Piaras UaRhuamhaighaudhlug" is a Joycean invention, possibly parodying Gaelic names and referencing the Irish tradition of craftsmanship.
• The reference to "Naul and Santry and the forty routs of Corthy" connects the scene to Irish geography, emphasising local settings within the globalised, surreal narrative.

310.14-310.17
"the concertiums of the Brythyc Symmonds Guild, the Ropemakers Reunion..."

• These names suggest various guilds, unions, and cultural organisations, parodying the bureaucratisation of cultural and artistic practices.
• "Brythyc Symmonds Guild" and "Variagated Peddlars" reflect Joyce's penchant for blending history and myth with a humorous twist.

310.18-310.21
"lall the bygone dozed they arborized around, up his corpular fruent and down his reuctionary buckling, hummer, enville and cstorrap..."

• "Bygone dozed" evokes themes of memory and slumber, consistent with the dream logic of Finnegans Wake.
• The intricate phrasing of "corpular fruent and reuctionary buckling" combines bodily and mechanical imagery, suggesting the intersection of human and machine.

310.22-310.24
"House of call is all their evenbreads though its cartomance hallucinate like an erection in the night..."

• The "House of call" evokes a tavern or meeting place, central to HCE’s pub.
• "Cartomance hallucinate like an erection in the night" merges divination (cartomancy) with sexual innuendo, underlining Joyce’s playful yet profound exploration of human desires.

310.25-310.29
"host of a bottlefilled, the bulkily hulkwight, hunter's pink of face..."

• This description of a heavy drinker ties back to the pub setting and reflects Joyce’s humorous characterisation.
• "O'Connell's" may reference Daniel O'Connell, the Irish political leader, connecting the narrative to Irish history.

310.30-310.34
"Yet is it, this ale of man, for him, our hubuljoynted, just a tug and a fistful as for Culsen, the Patagoreyan..."

• "Ale of man" connects the pub motif to broader themes of humanity and conviviality.
• "Culsen, the Patagoreyan" could allude to Pythagorean philosophy, suggesting cosmic harmony, but Joyce twists it humorously with tavern imagery.

310.35-310.36
"the pop gave his sullen bulletaction and, bilge, sled a movement of catharic emulsipotion."

• The "sullen bulletaction" and "catharic emulsipotion" combine violent and alchemical imagery, continuing the text’s themes of transformation and cyclical processes.

Themes and Motifs

Technological Parody

• The detailed description of "enginiums" and "pipelines" humorously mimics scientific advancements, blurring the line between technological progress and human experience.

Irish Identity and Local Geography

• References to Irish placenames like "Naul" and "Santry" ground the surreal narrative in a distinctly Irish context.
• The tavern setting evokes the communal spaces central to Irish culture.

Cyclical Time and History

• Terms like "antidulibnium" invoke a cyclical view of history, connecting pre-flood mythology to modernity.

Playful Sexual Innuendo

• Lines like "hallucinate like an erection in the night" and "just a tug and a fistful" demonstrate Joyce’s humorous engagement with human desires.

Fusion of Body and Machine

• The interplay between mechanical and bodily imagery reflects modern anxieties about technology and its integration into human life.

Memory and Sleep

• References to "bygone dozed" and dreamlike sequences align with the overarching motif of sleep and dreams in Finnegans Wake.

Conclusion

Page 310 exemplifies Joyce’s ability to interweave the surreal with the familiar, the cosmic with the local. Through a parody of technological jargon, a rich tapestry of Irish references, and playful sexual innuendo, Joyce continues to explore the recurring themes of cyclical renewal, cultural identity, and human ingenuity. His language challenges and delights, demanding readers to embrace the complexities of meaning and sound.

Detailed Analysis of Page 311 of Finnegans Wake

Summary of Page 311

Page 311 continues the surreal and densely packed narrative characteristic of Finnegans Wake, merging maritime imagery with fragmented storytelling and playful language. The passage evokes the rhythm of nautical travel and sailor traditions while also parodying trade, bartering, and everyday interactions. Themes of fluidity, negotiation, and cyclical processes emerge through a mix of Hiberno-English, linguistic experimentation, and references to myth, history, and culture. Joyce’s playful linguistic dexterity dominates, with puns, wordplay, and evocative rhythms.

Line-by-Line Analysis

311.01
"down the sloppery slide of a slaunty to tilted lift-ye-landsmen."

• The alliterative "sloppery slide of a slaunty" uses playful consonance and rhythm to evoke a slippery descent, perhaps nautical or figurative.
• "Lift-ye-landsmen" refers to sailors lifting cargo or moving in unpredictable rhythms, with "slaunty" suggesting something tilted or unsteady.

311.02-311.04
"Allamin. Which in the ambit of its orbit heaved a sink her sailer alongside of a drink her drainer from the basses brothers, those two theygottheres."

• "Allamin" echoes "Allah min" (a religious invocation), playing with global languages and references.
• The "sink her sailer" and "drink her drainer" create a punning parallel between ships sinking and drinks being drained, emphasising themes of consumption and excess.
• "The basses brothers, those two theygottheres" refers to "bass" (as in sound or beer) and adds a comedic touch through colloquial phrasing.

311.05-311.06
"It was long after once there was a lealand in the luffing ore it was less after lives thor a toyler in the tawn at all ohr..."

• This passage plays with time and history, referencing "a lealand" (Ireland, a mythical land) and "luffing ore" (a sailing term for adjusting sails).
• "Toyler in the tawn" suggests both a toiler (worker) and Dublin ("tawn" as Hiberno-English for "town").
• The circular phrasing reflects Joyce’s recurrent themes of historical cycles.

311.07-311.09
"he buttonhaled the Norweeger's capstan."

• "Buttonhaled" suggests both fastening and conversational engagement.
• The "Norweeger's capstan" blends nautical imagery with Norse connections, alluding to Viking influence in Ireland’s history.

311.10-311.14
"O, lord of the barrels, comer forth from Anow... O, Ana, bright lady, comer forth from Thenanow..."

• The invocation of "lord of the barrels" relates to maritime drinking culture, barrels of ale, and also suggests HCE's role as a pub landlord.
• "Anow" and "Thenanow" combine "now" and "then," evoking time’s fluidity.
• "Ana" likely refers to Anna Livia Plurabelle, symbol of the River Liffey and feminine renewal.

311.15-311.20
"they would deal death to a drinking... We rescue thee, O Baass, from the damp earth and honour thee."

• A mock-ceremonial tone emerges here, parodying religious or heroic rituals.
• "O Baass" may reference a boss or leader, playing with reverence and irreverence.
• "The damp earth" connects to burial imagery, blending death, drinking, and ritual renewal.

311.21-311.23
"Then sagd he to the ship's husband. And in his translatentik norjankeltian. Hwere can a ketch or hook alive a suit and sowterkins?"

• "Ship's husband" refers to the manager of a ship, aligning with nautical themes.
• "Translatentik norjankeltian" suggests a nonsensical but exoticised language akin to trade jargon.
• "Suit and sowterkins" likely refers to clothing and accessories ("souterkins" are small leather shoes), underlining the theme of bartering.

311.24-311.27
"here is tayleren. Ashe and Whitehead, closechop, successor to. Ahorror, he sayd, canting around to that beddest his friend, the tayler..."

• "Tayleren" puns on "tailor," connecting to commerce and craftsmanship.
• References to "Ashe and Whitehead" mock business names and slogans.
• The tailoring metaphor reflects transformation, renewal, and precision, common motifs in Finnegans Wake.

311.28-311.31
"for his lady her master whose to be precised of a peer of trouders under the pattern of a cassack. Let me prove, I pray thee, but this once..."

• This humorous exchange over "trouders" (trousers) and a "cassack" (cassock) conflates domestic tailoring with clerical or military uniforms, blending the sacred and the profane.
• "Prove" continues the theme of negotiation and barter.

311.32-311.34
"He spit in his faist (beggin): he tape the raw baste (paddin): he planked his pledge (as dib is a dab): and he tog his fringe sleeve (buthock lad, fur whale)."

• The playful, rhythmic language mimics the physical gestures of a tailor at work: spitting to seal a deal, padding fabric, and sewing.
• "Dib is a dab" echoes idiomatic Hiberno-English phrases, underscoring linguistic play.

311.35-311.36
"And plenty good enough, neighbour Norreys, every bit and grain. And the ship's husband brokecurst after him to hail the..."

• "Plenty good enough" echoes colloquial bartering language, blending satisfaction with pragmatic finality.
• "Neighbour Norreys" might refer to a literal neighbour or a pun on "norries" (as in practical wit).

Key Themes and Motifs

Commerce and Negotiation

• The text parodies trade, bartering, and tailoring, blending everyday commercial activity with ritual significance.

Nautical Imagery

• References to capstans, barrels, and ships align with the recurring motif of journeys and transformation, both physical and metaphorical.

Linguistic Play and Hiberno-English

• Joyce manipulates language, using Hiberno-English idioms ("plenty good enough," "tayleren") and nonsensical trade jargon to delight and disorient readers.

Time and History

• The conflation of "Anow" and "Thenanow" reflects Joyce’s cyclical view of time, blending past, present, and future into a continuous loop.

Humour and Sexual Innuendo

• The references to tailoring trousers, cassocks, and sleeves contain veiled sexual innuendo, characteristic of Joyce’s bawdy humour.

Myth and Ritual

• Invocations to "O Baass" and ceremonial language parody religious or heroic epics, grounding them in mundane, earthly concerns.

Conclusion

Page 311 of Finnegans Wake exemplifies Joyce’s intricate blending of language, history, and culture. Through playful use of Hiberno-English, nautical and tailoring imagery, and ceremonial parody, Joyce highlights themes of transformation, negotiation, and renewal. The text invites readers to revel in its humour, linguistic richness, and symbolic layers, challenging them to engage deeply with its vibrant complexity.