Finnegans Wake Notes

[075.01-076.09]: perhaps, his dreams while besieged — maybe, his prayers and hopes while in agony.

075.01 As the lion in our teargarten remembers the nenuphars of his

075.02 Nile (shall Ariuz forget Arioun or Boghas the baregams of the

075.03 Marmarazalles from Marmeniere?) it may be, tots wearsense full

075.04 a naggin in twentyg have sigilposted what in our brievingbust,

075.05 the besieged bedreamt him stil and solely of those lililiths un-

075.06 deveiled which had undone him, gone for age, and knew not

075.07 the watchful treachers at his wake, and theirs to stay. Fooi, fooi,

075.08 chamermissies! Zeepyzoepy, larcenlads! Zijnzijn Zijnzijn! It may

075.09 be, we moest ons hasten selves te declareer it, that he reglimmed?

075.10 presaw? the fields of heat and yields of wheat where corngold

075.11 Ysit? shamed and shone*. It may be, we habben to upseek a bitty

075.12 door our good township's courants want we knew't, that with

075.13 his deepseeing insight (had not wishing oftebeen but good time

075.14 wasted), within his patriarchal shamanah, broadsteyne 'bove citie

075.15 (Twillby! Twillby!) he conscious of enemies, a kingbilly white-

075.16 horsed in a Finglas mill, prayed, as he sat on anxious seat, (kunt

075.17 ye neat gift mey toe bout a peer saft eyballds!) during that three

075.18 and a hellof hours' agony of silence, ex profundis malorum, and

075.19 bred with unfeigned charity that his wordwounder (an engles to

075.20 the teeth who, nomened Nash of Girahash, would go anyold where

075.21 in the weeping world on his mottled belly (the rab, the kreepons-

075.22 kneed!) for milk, music or married missusses) might, mercy to

075.23 providential benevolence's who hates prudencies' astuteness, un-

075.24 fold into the first of a distinguished dynasty of his posteriors, 

Summary of Page 75 of Finnegans Wake

Page 75 of Finnegans Wake continues Joyce’s exploration of memory, identity, and the cyclical nature of history, themes central to the novel. The passage is dense with Hiberno-English, Irish cultural references, and linguistic playfulness. It blends Irish history, mythology, and universal themes of loss, desire, and betrayal. Joyce’s use of sexual innuendo and humor is evident, as is his characteristic blending of languages and allusions to Irish placenames and philosophers. The text also reflects on the Irish experience of colonisation and cultural memory, as seen in references to battles and religious conflicts.

What can our hero have been thinking during those hours when he was enduring the abuse of that unsolicited American? As the lion in our zoo remembers the lotuses of his Nile, so it may be that the besieged bedreamt him still and solely of those two lily-liliths undeveiled who had undone him. At the time of his misdeed he had been gone with age and unaware of the traitors at his wake. Or it may be that he previewed (reviewed) the fields of white-heaped wheat wherein the corn goddess (is her name Ysit?) had shamed and shone. Or, finally, it may be that he prayed, during that three and a hell of hours (One gets the impression that HCE’s trial and incarceration are intended to symbolize the crucifixion and entombment of Christ), that his word- wounder might father a distinguished dynasty of (76) black-faced mongrels; for it was one of his besetting ideas that there should be formed a criminal caste, to eliminate desultory delinquency? from the general economy of the state.

Line-by-Line Analysis

075.01-075.03
As the lion in our teargarten remembers the nenuphars of his Nile (shall Ariuz forget Arioun or Boghas the baregams of the Marmarazalles from Marmeniere?)

• Hiberno-English/Irish Language: “Teargarten” blends “Tiergarten” (German for zoo) with “tear,” evoking sorrow and memory.
• Placenames: “Marmarazalles” and “Marmeniere” alludes to the famous Work War I song. .
• Universal Themes: Memory and nostalgia are central here, as the lion recalls the Nile’s “nenuphars” (water lilies), symbolizing lost beauty or innocence.
• Humour/Innuendo: The phrase “baregams” suggests “bare games,” possibly hinting at playful or sexual undertones.

075.03-075.04
it may be, tots wearsense full a naggin in twentyg have sigilposted what in our brievingbust,

• Hiberno-English: “Tots wearsense” could be a playful twist on “totally wear sense,” blending logic with absurdity.
• Irish Culture: A “naggin” is a small bottle of alcohol in Irish slang, evoking Irish pub culture.
• Universal Themes: The line reflects on the fleeting nature of life and memory, as the “brievingbust” (grieving bust) suggests mourning.

075.05-075.06
the besieged bedreamt him stil and solely of those lililiths undeveiled which had undone him, gone for age, and knew not

• Irish Mythology: “Lililiths” evokes Lilith, a figure from Jewish folklore (the first wife of Adam), but also suggests Irish mythological women who enchant or destroy.
• Universal Themes: Desire and betrayal are central, as the “besieged” man dreams of those who “undid” him.
• Humour/Innuendo: “Undeveiled” plays on “unveiled,” hinting at sexual revelation or temptation.

075.07
the watchful treachers at his wake, and theirs to stay. Fooi, fooi,

• Irish Culture: The “wake” refers to the Irish funeral tradition, blending mourning with celebration.
• Universal Themes: Betrayal and vigilance are highlighted, as “treachers” (treachery) watch over the wake.
• Humour: “Fooi, fooi” mimics a dismissive or mocking tone, adding levity.

075.08
chamermissies! Zeepyzoepy, larcenlads! Zijnzijn Zijnzijn!

• Hiberno-English/Irish Language: “Chamermissies” blends “chambermaids” with “missies,” suggesting playful or flirtatious women.
• Humor/Innuendo: “Zeepyzoepy” and “Zijnzijn” are nonsensical but evoke rhythmic, almost musical humor, possibly mocking or teasing.

References to Irish History and Culture

• Battles/Colonization: The “besieged” man may symbolize Ireland’s history of invasion and resistance.
• Religion: The “wake” reflects Irish Catholic traditions, while “Lililiths” hints at pre-Christian mythology.
• Philosophers: The text’s focus on memory and identity aligns with Irish philosopher George Berkeley’s ideas on perception and reality. Also, Arius: 4th century heretic who claimed Christ was created by God and in turn created the Holy Ghost, thus contradicting the belief in consubstantiation.

Universal Themes

• Memory and Loss: The lion’s recollection of the Nile and the “brievingbust” evoke universal experiences of nostalgia and grief.
• Desire and Betrayal: The “lililiths” who “undid” the man resonate with themes of temptation and downfall.
• Cyclical Nature of History: The wake and the lion’s memory suggest the endless recurrence of human experiences.

075.09-075.10
It may be, we moest ons hasten selves te declareer it, that he reglimmed? presaw? the fields of heat and yields of wheat where corngold Ysit? shamed and shone.

• Dutch-English: “Moest ons hasten selves te declareer it” blends Dutch (“moest ons” = “must we”) with English, reflecting Joyce’s multilingual playfulness: we had to hurry to declare it
• Irish references: “Corngold Ysit” may allude to Irish agricultural traditions, with “Ysit” possibly referencing Isis, the Egyptian goddess of fertility, blending Irish and universal mythologies.
• Universal Themes: The “fields of heat and yields of wheat” evoke themes of abundance, labour, and the cyclical nature of life.

075.11-075.12
It may be, we habben to upseek a bitty door our good township's courants want we knew't,

• Hiberno-English: “Habben” and “upseek” are playful distortions of “have” and “seek,” adding a colloquial, Irish flavor.
• Irish Culture: “Township’s courants” suggests local newspapers or communal records, reflecting Irish rural life.
• Humour: The phrase “bitty door” is nonsensical yet humorous, typical of Joyce’s wordplay.

075.13-075.14
that with his deepseeing insight (had not wishing oftebeen but good time wasted), within his patriarchal shamanah, broadsteyne 'bove citie

• Irish History: “Patriarchal shamanah” evokes the role of religious and spiritual leaders in Irish history, blending “shaman” with “patriarch.” Steyne: a pillar formerly standing in Dublin (near College Green) , erected by the Vikings near their landing place
• Universal Themes: “Deepseeing insight” suggests wisdom and introspection, while “good time wasted” reflects the universal regret of lost opportunities.
• Humour/Innuendo: “Broadsteyne” could be a playful nod to “broad stone,” possibly hinting at phallic imagery or masculine authority.

075.15-075.16
(Twillby! Twillby!) he conscious of enemies, a kingbilly white-horsed in a Finglas mill, prayed, as he sat on anxious seat

• Irish Placenames: “Finglas” is a suburb of Dublin, grounding the text in Irish geography.
• Irish History: “Kingbilly” references William of Orange (“King Billy”), a figure central to Irish Protestant history and the Battle of the Boyne.
• Universal Themes: The “anxious seat” evokes universal feelings of vulnerability and anticipation.
• Humour: “Twillby! Twillby!” is a playful, rhythmic exclamation, possibly mocking or mimicking a call to action.

References to Irish History and Culture

• Battles/Colonisation: The reference to “kingbilly” ties the passage to the Battle of the Boyne (1690), a pivotal event in Irish history.
• Religion: The “patriarchal shamanah” reflects the blending of pagan and Christian traditions in Irish spirituality.
• Philosophers: The focus on “deepseeing insight” aligns with Irish philosopher George Berkeley’s ideas on perception and reality.

Universal Themes

• Memory and Loss: The “fields of heat and yields of wheat” evoke nostalgia for past abundance and labor.
• Wisdom and Regret: The “deepseeing insight” and “good time wasted” resonate with universal experiences of introspection and missed opportunities.
• Vulnerability and Anticipation: The “anxious seat” captures the universal human experience of uncertainty and waiting.

Humour and Sexual Innuendo

• Humour: Phrases like “bitty door” and “Twillby! Twillby!” add levity through nonsensical, rhythmic wordplay.
• Innuendo: “Broadsteyne” and “patriarchal shamanah” may carry subtle sexual undertones, typical of Joyce’s layered humour.

075.17
(kunt ye neat gift mey toe bout a peer saft eyballds!)

• Dutch-Hiberno-English: “Kunt ye neat gift mey toe” is a playful distortion of “Can you not give me my two,” reflecting colloquial Irish speech patterns.
• Humour/Innuendo: The phrase is sexually suggestive, with “toe” and “eyballds” (eyeballs) hinting at body parts in a humorous, bawdy manner.

075.18-075.19
during that three and a hellof hours' agony of silence, ex profundis malorum, and bred with unfeigned charity that his wordwounder (an engles to

• Irish Language: “Ex profundis malorum” (Latin for “out of the depths of evils”) reflects Joyce’s use of Latin, common in Irish Catholic liturgy.
• Universal Themes: The “agony of silence” evokes universal experiences of suffering and introspection.
• Humour: “Hellof” is a playful twist on “hell of,” adding levity to the phrase.

075.20-075.21
the teeth who, nomened Nash of Girahash, would go anyold where in the weeping world on his mottled belly (the rab, the kreepons-kneed!)

• Universal Themes: The “weeping world” reflects universal sorrow and the human condition.
• Humour/Innuendo: “Kreepons-kneed” is a humorous, grotesque description, possibly mocking or exaggerating physical traits.

075.22-075.23
for milk, music or married missusses) might, mercy to providential benevolence's who hates prudencies' astuteness, un-

• Irish Culture: “Married missusses” evokes Irish rural life and societal norms, blending humour with cultural commentary.
• Universal Themes: “Providential benevolence” reflects themes of fate and divine intervention.
• Humour: The phrase “married missusses” is playful and slightly mocking, typical of Joyce’s irreverent tone.

075.24
fold into the first of a distinguished dynasty of his posteriors,

• Irish History: The “distinguished dynasty” may allude to Irish aristocratic families or the cyclical nature of history, a recurring theme in Joyce’s work.
• Universal Themes: The idea of a “dynasty” resonates with universal themes of legacy and continuity.
• Humour/Innuendo: “Posteriors” is a double entendre, referring both to descendants and buttocks, adding a layer of sexual humour.

References to Irish History and Culture

• Battles/Colonisation: The “weeping world” may symbolise Ireland’s history of suffering under colonisation.
• Religion: The use of Latin (“ex profundis malorum”) reflects the influence of Catholicism in Irish culture.
• Philosophers: The focus on “providential benevolence” aligns with Irish philosopher George Berkeley’s ideas on divine intervention and perception.

Universal Themes

• Suffering and Silence: The “agony of silence” and “weeping world” evoke universal experiences of pain and sorrow.
• Legacy and Continuity: The “distinguished dynasty” reflects the human desire for legacy and the cyclical nature of history.
• Fate and Divine Intervention: “Providential benevolence” resonates with themes of fate and the search for meaning.

Humour and Sexual Innuendo

• Humour: Phrases like “hellof hours” and “kreepons-kneed” add levity through playful, grotesque descriptions.
• Innuendo: “Kunt ye neat gift mey toe” and “posteriors” carry subtle sexual undertones, typical of Joyce’s layered humour.

Conclusion

Page 75 of Finnegans Wake is a microcosm of Joyce’s genius, blending Irish history, mythology, and universal themes with linguistic playfulness and humour. The passage invites readers to explore the layers of meaning beneath its surface, offering insights into memory, desire, and the human condition.

Commentary from Reading Finnegans Wake Facebook group:

Pages 75-77 are super strange. I'm trying to follow plot more closely during our read. My points are a combination of my own ideas, Google, Roland McHugh, others where noted, a healthy dose of BS, etc. On p75 HCE is dreaming of women, presumably the women in the park who are associated with Lilith ("lililiths"), Adam's first wife before Eve in Kabbalistic lore. So women other than ALP. HCE is referred to as "the besieged" and he "bedreamt". We talked recently about the dreamer in the Wake and here it seems HCE is not the one dreaming the Wake but the dreamer/narrator of the book clearly knows what HCE is dreaming. Hmmmmm. Though he's sleeping there are "treachers" surrounding him and talking, clearly thinking he's dead not sleeping. There's a wake.

“Now gode.” Begins the second paragraph. Exposition on the exagimatiin is done.

Joyce begins many chapters or paragraphs similarly.

“Let us leave theories there and return to here's here.”

100% clear English.

Exposition: An opening section in fiction, in which background information about the characters, events or setting is conveyed. (Wiktionary)

Exposition and theory ends but it’s still Dutch. So many Dutch words (or punny variations on them) I had to use reference sources a lot.

The here’s here seems to be HCE is under the pile of smoothed river stones thrown at him in last chapter, and it’s a grave and his jail cell. Theoretically it’s the pyramid and the lion is the sphinx near the Nile where he smells the water lilies, nenuphar, the blue Lilly of the Nile. Another one of those real words that seem like a Wakean word, but is actually an existing word. Lilliliths, isn’t.

Lots of references to cemeteries and burials, coffins.

He starts the third paragraph similarly. “Best.”

“This wastohavebeen underground heaven, or mole's paradise.”

A mole’s paradise. Underground heaven.

One underlying theme is said to be Christ’s, the Lion of Judah, burial.

Parenthetically Peurelachasse is mentioned which, reference time again, is a cemetery in Paris: Pere Lachaise – cemetery in Paris

It seems a repeat of Timothy Finnegans funeral but the mourners are witnesses testifying at his trial. “the watchful treachers at his wake” as it says in the first paragraph exposition But it hasn’t gotten to that part yet. First up will be the chambermaid, mentioned in pp 1. “Chamermissies”. Kamermeisje - Dutch again.

Favorite word: ‘teargarten’- a beer garden in which tears are cried. Excessive drinking can make us sentimental (so I’m told)

Takeaway- here is an attempt at an abridged interpretation.

As the lion, HCE, in our teargarten, remembers the lilies of his Nile it may be that the besieged bedreamt him still, silent and solely of those bedeviled, unveiled women who had undone him, who are now gone, and knew not the watchful traitors at his wake.

Could it be that he remembers or presaged the fields of wheat where corngold sat? Shem shamed and shaun shone. It may be that we have to seek our good township’s newspapers if we want to know. Conscious of enemies, a King William white- horsed in a Finglas mill, he prayed, as he sat on anxious seat, during that three and a half hours’ agony of silence, out of the depths of evil, and bred with unfeigned charity that his son (a paramour, who would go any where world on his mottled belly (snake) for milk, music or married missusses) might unfold into the first of a distinguished dynasty of his posteriors, (another reference to ‘rear’, Ham)