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.

Detailed Line-by-Line Analysis of Page 69 of Finnegans Wake

Summary of Page 69

Page 69 of Finnegans Wake continues the novel’s dense layering of language, history, and mythology, employing Joyce’s signature linguistic playfulness and intertextual references. The passage presents a continuation of themes concerning history, memory, and mythology, centring around the transformation of a particular landscape or structure (possibly HCE's dwelling or a larger metaphorical structure of Irish history). The text evokes a sense of historical cycles, combining the ancient past with contemporary concerns.

A key theme here is the fall of great structures and their symbolic reconstructions, echoing the central motif of Finnegans Wake: the collapse and renewal of civilisation. The wall (likely referencing Humpty Dumpty, the Tower of Babel and Stonehenge) and its eventual ruin allude to the instability of power and permanence.

Other themes include:

• Hiberno-English expressions that capture a distinctly Irish voice
• References to Irish history, placenames, and mythology (e.g., the fairies, the Eddas, Odin)
• Philosophical reflections on time and memory, reinforced by wordplay and repetition
• Humour, particularly Joyce’s playful innuendo and satire, emerges through references to "donkeys," "cats and gout," and the "Rum and Puncheon."

Line-by-Line Analysis

Lines 69.01–69.04

"not, has been the expression, direct or through an agent male, of womanhid offended, (ah! ah!), has not levy of black mail from the times the fairies were in it, and fain for wilde erthe blothoms followed an impressive private reputation for whispered sins?"

• "Womanhid offended" suggests female grievances or slander, a motif associated with Anna Livia Plurabelle (ALP), possibly referencing accusations made against her husband, HCE.
• "Levy of black mail" plays on both blackmail and taxation, linking to historical themes of oppression and clandestine dealings.
• "The times the fairies were in it" evokes Irish folklore, where fairies (the Sidhe) once ruled over Ireland before humans displaced them.
• "Wilde erthe blothoms" could reference Oscar Wilde (another Irish literary figure) and earthly blossoms, connecting to sexual liberation and decadence.
• "Whispered sins" suggests gossip and scandal, a recurring motif in the Wake.

Lines 69.05–69.11

"Now by memory inspired, turn wheel again to the whole of the wall. Where Gyant Blyant fronts Peannlueamoore There was once upon a wall and a hooghoog wall a was and such a wall- hole did exist. Ere ore or ire in Aaarlund."

• "By memory inspired" references the act of historical recollection—history repeating itself.
• "Turn wheel again" could symbolize the cyclical nature of history, akin to Vico’s theory of historical recurrence (a core structuring idea in Finnegans Wake).
• "Gyant Blyant" (likely "Giant Bryant") and "Peannlueamoore" (Irish for big lead pencil) probably hint at the Wellington Monument which is a repeated reference through the book.
• "Hooghoog wall" references Humpty Dumpty’s fall, reinforcing themes of collapse and reconstruction.
• "Ere ore or ire in Aaarlund" puns on "Ireland" while evoking gold ("ore"), anger ("ire"), and the passage of time ("ere").

Lines 69.12–69.19

"The doun is theirs and still to see for menags if he strikes a lousaforitch and we'll come to those baregazed shoeshines if you just shoodov a second. And let oggs be good old gaggles and Isther Estarr play Yesther Asterr. In the drema of Sorestost Areas, Diseased."

• "Doun is theirs" refers to downfall and ownership, possibly alluding to the Irish losing control of their land.
• "Lousaforitch" could mean "loose a farthing", evoking poverty and economic struggles.
• "Baregazed shoeshines" could hint at deception and appearances, as shoeshiners present a polished front.
• "Isther Estarr" (Easter Esther) possibly puns on Easter Rising and resurrection, tying to Ireland's struggle for independence.
• "Sorestost Areas, Diseased" echoes decay and conflict, playing on "Sorest" (most painful) and "Diseased" (declining).

Lines 69.20–69.26

"A stonehinged gate then was for another thing while the suroptimist had bought and enlarged that shack under fair rental of one yearlyng sheep, (prime) value of sixpence, and one small yearlyng goat (cadet) value of eight- pence, to grow old and happy (hogg it and kidd him) for the remnants of his years."

• "Stonehinged gate" hints at Stonehenge, reinforcing the historical cycle of rise and ruin.
• "Suroptimist" plays on "Soroptimist" (a women’s volunteer organization) and "sur" (French for "on"), indicating progress and female agency.
• "Shack under fair rental" references land leases and colonial struggles in Ireland.
• The valuation of a "yearlyng sheep" and "small yearlyng goat" reflects ancient barter systems and subsistence economies.

Lines 69.27–69.29

"And just thenabouts the iron gape, by old custom left open to prevent the cats from getting at the gout, was triplepatlockt on him on purpose by his faithful poorters to keep him inside probably and possibly enaunter he felt like sticking out his chest too far and tempting gracious providence by a stroll on the peoplade's egg- day, unused as he was yet to being freely clodded."

• "Iron gape" could reference prison gates, reinforcing the theme of entrapment.
• "Cats from getting at the gout" humorously mixes disease (gout) with animal interference, suggesting decay and indulgence.
• "Triplepatlockt" implies severe restrictions, possibly referencing colonial rule over Ireland.
• "Egg-day" hints at Easter and resurrection, continuing the political motif of Irish uprisings.

Lines 69.30–69.36

"O, by the by, lets wee brag of praties, it ought to be always remembered in connection with what has gone before that there was a northroomer, Herr Betreffender, out for his zimmer hole- digs, digging in number 32 at the Rum and Puncheon (Branch of Dirty Dick's free house) in Laxlip (where the Sockeye Sammons were stopping at the time orange fasting) prior to that, a Kom- merzial (Gorbotipacco, he was wreaking like Zentral Oylrubber)"

• "Praties" (potatoes) evoke Ireland’s staple crop and the Famine.
• "Herr Betreffender" suggests a German visitor, possibly alluding to foreign interference or influence.
• "Rum and Puncheon" (a pub) and "Dirty Dick’s" continue Joyce’s fascination with drink culture.
• "Sockeye Sammons" plays on salmon as a symbol of wisdom in Irish mythology.
• "Orange fasting" likely references Protestantism and sectarian divides.
• "Kommerzial" and "Zentral Oylrubber" hint at industrialization and commercialization creeping into traditional life.

Themes and Motifs

1. The Cycle of History: Ruins, restorations, and mythical retellings.
2. The Fall of Power: The "wall" as a metaphor for empire and colonial decline.
3. Irish Identity: Hiberno-English, mythology, and nationalist references.
4. Satirical Social Commentary: Religion, economics, and societal roles.
5. Sexual Innuendo & Humour: "Necking," "naughtiness," and sly puns.

Conclusion

Page 69 exemplifies Joyce's linguistic virtuosity and historical depth, using myth, history, and satire to explore Irish identity and universal themes of power and decline. The cyclical nature of history, colonial struggles, and political undertones remain central, reinforcing Finnegans Wake as a timeless exploration of human civilization and storytelling.

Detailed Line-by-Line Analysis of Page 70 of Finnegans Wake

Summary of Page 70

This page of Finnegans Wake continues Joyce's dense linguistic play, layering political, historical, and cultural references into an account filled with violence, economic struggles, and the presence of an outsider or intruder—possibly a representation of an accusation against HCE. A confrontation emerges, with a mix of threats, allegorical references, and linguistic distortions of historical and mythical figures.

Some key themes include:

• Hiberno-English expressions capturing an Irish speech rhythm
• References to Irish and European history, particularly colonialism and trade
• Philosophical reflections on power, violence, and economic struggle
• Humour and sexual innuendo, appearing in Joyce’s manipulation of language
• Wordplay on names and placenames, blending mythology, politics, and parody

Joyce mixes economic concerns (taxes, transactions, debts) with intimidation and violence, painting a chaotic yet humorous vision of social struggles.

Line-by-Line Analysis

Lines 70.01–70.05

"from Osterich, the U.S.E. paying (Gaul save the mark!) 11/- in the week (Gosh, these wholly romads!) of conscience money in the first deal of Yuly wheil he was, swishing beesnest with bles- sure, and swobbing broguen eeriesh myth brockendootsch, mak- ing his reporterage on Der Fall Adams for the Frankofurto Siding,"

• "Osterich" plays on Austria (Österreich) and ostrich, possibly suggesting burying one’s head in the sand or evading responsibility.
• "U.S.E." could refer to a United States of Europe, a satirical nod to European political unions.
• "Gaul save the mark!" combines a pun on Gaul (France), gall (audacity), and the biblical phrase ‘God save the mark’, adding a sardonic tone about politics or taxation.
• "11/- in the week" (eleven shillings per week) could reference an economic transaction or tax payment, bringing in themes of economic oppression.
• "Swishing beesnest" sounds like stirring up trouble.
• "Broguen eeriesh myth brockendootsch" is a linguistic mash-up of Irish-English (brogue), eerie Irish myths, and broken Dutch/German—alluding to Joyce’s obsession with linguistic hybridity.
• "Der Fall Adams" references The Fall of Man (Adam’s fall in Genesis), but also a German legal or literary case (Fall = case in German), reinforcing the theme of accusation and downfall.

Lines 70.06–70.09

"a Fastland payrodicule, and er, consstated that one had on him the Lynn O'Brien, a meltoned lammswolle, disturbed, and wider he might the same zurichschicken other he would, with tosend and obertosend tonnowatters, one monkey's damages become."

• "Fastland payrodicule" is likely a corruption of "fast land" (fixed land, vs. sea), "payroll," and "ridicule," suggesting economic mockery or instability.
• "Lynn O'Brien" could reference a character from Irish mythology or history, or possibly a garment (as "Lynn" suggests fabric).
• "Zurichschicken" mixes Zurich (Switzerland, banking capital) and schicken (German for "send"), reinforcing themes of international finance.
• "Tosend and obertosend" (German for thousand and over-thousand) exaggerates the scale of economic dealings.
• "Monkey’s damages" is slang for a small compensation, evoking debt disputes.

Lines 70.10–70.13

"Now you must know, franksman, to make a heart of glass, that the game of gaze and bandstand butchery was merely a Patsy O'Strap tissue of threats and obuses such as roebucks raugh at pinnacle's peak and after this sort."

• "Franksman" references France (Franks) but also means ‘plain-speaking man’.
• "Heart of glass" alludes to fragility, deception, or even alchemy.
• "Gaze and bandstand butchery" suggests public executions or street fights.
• "Patsy O’Strap" is Irish slang for a whipping boy, reinforcing HCE’s role as a scapegoat.
• "Roebucks raugh" could reference deer (roebucks) and their cries, as well as Joyce’s penchant for onomatopoeia.
• "Pinnacle’s peak" reinforces a fall from power.

Lines 70.14–70.19

"Humphrey's unsolicited visitor, Davy or Titus, on a burgley's clan march from the middle west, a hikely excellent crude man about road who knew his Bullfoost Mountains like a starling bierd, after doing a long dance untidled to Cloudy Green, deposend his bockstump on the waityoumay- wantme, after having blew some quaker's (for you! Oates!) in through the houseking's keyhole to attract attention,"

• "Humphrey" refers to HCE (Humphrey Chimpden Earwicker).
• "Davy or Titus" references two Biblical figures (David and Titus).
• "Burgley's clan march" suggests a military invasion or lawless raid.
• "Bullfoost Mountains" evokes "bull’s foot" or an exaggerated tale.
• "Waityoumaywantme" is a comic distortion of ‘wait-you-may-want-me’, implying servitude or expectation.
• "Blew some quaker’s (for you! Oates!)" references Quakerism and possibly Titus Oates, a notorious figure in the Popish Plot (anti-Catholic hysteria in England).

Lines 70.20–70.27

"bleated through the gale outside which the tairor of his clothes was hog- callering, first, be the hirsuiter, that he would break his bulshey- wigger's head for him, next, be the heeltapper, that he would break the gage over his lankyduckling head the same way he would crack a nut with a monkeywrench and, last of all, be the stirabouter, that he would give him his (or theumperom's or any- bloody else's) thickerthanwater to drink and his bleday steppe- brodhar's into the bucket."

• "Hirsuiter" (from hirsute, hairy) suggests a wild, aggressive figure.
• "Bulshey-wigger" plays on Bolshevik and ‘bigwig’, implying revolutionary or upper-class status.
• "Heeltapper" could be a shoemaker, bartender, or lowly worker.
• "Thicker than water" references family loyalty, but here, ironically twisted.
• "Steppe-brodhar’s into the bucket" evokes executions (‘kicking the bucket’).

Lines 70.28–70.36

"He demanded more wood alcohol to pitch in with, alleging that his granfather's was all taxis and that it was only after ten o'connell, and this his isbar was a public oven for the sake of irsk irskusky, and then, not easily dis- couraged, opened the wrathfloods of his atillarery and went on at a wicked rate, weathering against him in mooxed metaphores from eleven thirty to two in the afternoon without even a lunch- eonette interval for House, son of Clod, to come out, you jew- beggar, to be Executed Amen."

• "Wood alcohol" (methanol) is poisonous, implying dangerous drinking culture.
• "Granfather’s was all taxis" suggests debt or transportation reliance.
• "Ten O’Connell" references Daniel O’Connell, Irish political leader.
• "Irsk irskusky" is a distorted ‘Irish whiskey’, reinforcing alcoholic themes.
• "Wrathfloods of his atillarery" sounds like military bombardment.
• "Jew-beggar" is an antisemitic slur, possibly reflecting the bigotry of certain characters.
• "Executed Amen" suggests a final judgment or punishment.

Themes and Motifs

1. Power and Rebellion: References to Bolsheviks, revolutions, and military actions.
2. Economic and Social Struggles: Taxes, money, and trade disputes.
3. History and Mythology: Biblical figures, Humpty Dumpty, and Irish politics.
4. Humour and Satire: Joyce mocks political, religious, and economic systems.
5. Linguistic Play: Hiberno-English mixed with French, German, and Irish.

Conclusion

Page 70 blends historical echoes, economic concerns, and violent threats with Joyce’s signature linguistic chaos, creating a passage that critiques power, corruption, and the cyclical nature of history. The chaotic accusations and linguistic distortions suggest the futility of clarity in a world governed by deception, misunderstanding, and power struggles.

Detailed Line-by-Line Analysis of Page 71 of Finnegans Wake

Summary of Page 71

This passage presents a long and absurdly humorous list of names that have been used to mock and insult HCE (Humphrey Chimpden Earwicker). The section highlights the cyclical nature of gossip and public disgrace, a key theme in Finnegans Wake. HCE is imagined compiling this list while sitting in self-imposed exile, lamenting his fallen status and the public ridicule he has endured.

Joyce weaves Hiberno-English expressions, wordplay, political references, biblical allusions, and classical mythology, all reflecting Ireland’s history and HCE’s role as the perennial scapegoat. The text satirizes public perception, historical grievances, and the way individuals become legends for the wrong reasons.

Line-by-Line Analysis

Lines 71.01–71.04

"ing although whitening under restraint in the sititout corner of his conservatory, behind faminebuilt walls, his thermos flask and ripidian flabel by his side and a walrus whiskerbristle for a tusk- pick, compiled, while he mourned the flight of his wild guineese,"

• "whitening under restraint" suggests aging and self-imposed exile, reinforcing the theme of downfall.
• "sititout corner" could refer to HCE hiding away from public life, physically retreating from the world.
• "faminebuilt walls" references Ireland’s Great Famine (1845-1852), suggesting that HCE’s metaphorical prison is built from historical suffering.
• "thermos flask" and "ripidian flabel" (a fan or palm-leaf used in churches) mock his regal pretensions, as though he’s an emperor in exile.
• "walrus whiskerbristle for a tusk-pick" plays with whiteness, old age, and his animalistic depiction (a walrus-like figure, a tusked creature).
• "mourned the flight of his wild guineese" parodies The Wild Geese (Irish soldiers who left to fight in European wars), suggesting HCE’s loss of power, allies, or sexual vitality.

Lines 71.05–71.10

"a long list (now feared in part lost) to be kept on file of all abusive names he was called (we have been compelled for the rejoicement of foinne loidies ind the humours of Milltown etcetera by Joseph- ine Brewster in the collision known as Contrastations with Inker- mann and so on and sononward, lacies in loo water, flee, celestials, one clean turv):"

• "list (now feared in part lost)" mimics historical records and oral traditions, adding to HCE’s mythical status.
• "abusive names he was called" introduces the absurd catalogue of insults, turning public shaming into comedy.
• "foinne loidies ind the humours of Milltown" (fine ladies in Milltown) suggests that upper-class women find entertainment in gossip.
• "Josephine Brewster" could be a reference to a society woman or journalist, blending literary gossip with historical scandal.
• "Contrastations with Inkermann" refers to a battle in the Crimean War (1854), absurdly elevating HCE’s scandal to military conflict.

Lines 71.10–71.36

This is an elaborate list of insults hurled at HCE. Some names parody historical figures, biblical stories, Hiberno-English phrases, and political movements:

1. "Firstnighter" – A man who frequents public events (perhaps implying voyeurism).
2. "Informer" – A traitor in Irish history.
3. "Old Fruit" – Possibly mocking effeminacy.
4. "Yellow Whigger" – "Whig" in Irish politics meant liberal, Protestant, and anti-Catholic.
5. "Bogside Beauty" – A sarcastic Irish reference, given that Bogside was a poverty-stricken area of Derry.
6. "Funnyface" – A generic insult.
7. "Grease with the Butter" – Possibly a comment on excess or corruption.
8. "Cainandabler" – A fusion of Cain and Abel, suggesting murderous tendencies.
9. "Ireland’s Eighth Wonderful Wonder" – A mock grand title.
10. "Godsoilman" – Possibly mocking his Protestant or landlord status.
11. "Moonface the Murderer" – A gossip-fuelled myth about HCE’s supposed crime.
12. "Hoary Hairy Hoax" – Suggesting he is an aged fraud.
13. "Remove that Bible" – An anti-religious insult, or referencing a scandal involving blasphemy.
14. "Acoustic Disturbance" – HCE is so notorious even his voice is disruptive.
15. "Thinks He’s Gobblasst the Good Dook of Ourguile" – "Gobblasst" references gobble, blast, and religious blasphemy, while "Ourguile" is a pun on Argyle (Scottish Duke) and "our guile" (deception).
16. "His Farther was a Mundzucker and She had him in a Growler" – "Mundzucker" (mouth sugar) suggests a sweet talker or conman; "Growler" means either a horse-drawn cab or a grumpy person.
17. "Burnham and Bailey" – A play on Barnum & Bailey, famous circus owners, suggesting HCE is a sideshow spectacle.
18. "Unworthy of the Homely Protestant Religion" – An insult wrapped in religious condemnation.
19. "Lobsterpot Lardling" – Possibly referring to someone caught in a trap (like a lobster pot).
20. "All for Arthur of this Town" – Could reference Arthur Guinness, Arthurian legends, or local politics.
21. "Hooshed the Cat from the Bacon" – Suggests driving someone away from temptation.
22. "The Ace and Deuce of Paupering" – Suggests he brings ruin and poverty.
23. "Magogagog" – Likely from Gog and Magog, biblical figures associated with destruction.
24. "Swad Puddlefoot" – A strange mockery of appearance.
25. "Gouty Ghibeline" – "Ghibelline" references Italian medieval politics, suggesting aristocracy or control.
26. "Luck Before Wedlock" – Mocking out-of-wedlock relationships.
27. "I Divorce Thee Husband" – A satirical reference to divorce laws.
28. "Go to Hellena or Come to Connies" – Wordplay on “Go to Hell” and women’s names.
29. "Purged out of Burke’s" – Burke’s Peerage (genealogical records of aristocracy) suggests HCE has been expelled from respectable society.
30. "Thunder and Turf Married into Clandorf" – "Thunder and Turf" suggests drama, and "Clandorf" sounds like an invented noble family.
31. "Stodge Arschmann" – A mix of "stodgy" (dull), "Arsch" (German for arse), and "mann" (man).
32. "Tommy Furlong’s Pet Plagues" – Suggests he is a bringer of trouble.
33. "Archdukon Cabbanger" – Mix of “Archduke,” “cabbage,” and nonsense syllables, a grotesque royal title.

Themes and Motifs

• Gossip and Reputation – HCE is defined by rumours and mockery.
• Political and Religious Satire – Many insults reference Irish history, religion, and class struggle.
• Exile and Isolation – HCE compiles his list in solitude, reflecting his fall from grace.
• Humour and Wordplay – Joyce uses parody, puns, and playful language.

Conclusion

Page 71 satirises public scandal, gossip, and the absurdity of reputation. HCE’s long list of insults reflects Ireland’s history, linguistic inventiveness, and Joyce’s mastery of comedic ridicule. The passage suggests that no one escapes the myth-making and judgment of society, a theme central to Finnegans Wake.