Professional Documents
Culture Documents
'in
by
JAMES S. ATHERTON
Cm'bondale
4 3 2 1
The Library of Congress has cataloged the original issue of this book
as follows:
Atherton, James S.
The books at the wake; a study of literary allusions in
James Joyces Finnegans wake.
Bibliography: p.
1. Joyce, James, 18821941. Finnegans wakeSources.
2. Joyce, James, 18821941Allusions. I. Title.
[PR6019.09F55 1974]
823'.9'12
74-5407
ISBN 978-0-8093-0687-9
ISBN 0-8093-0687-5
ISBN 978-0-8093-2933-5
ISBN 0-8093-2933-6
The paper used in this publication meets the minimum requirements of
American National Standard for Information SciencesPermanence of
Paper for Printed Library Materials, ANSI Z39.48-1992.
Contents
page
Introduction
II
27
The Manuscripts
59
72
89
II4
124
137
149
169
181
184
191
201
218
224
233
291
294
297
Acknowledgements
My thanks are first due to my friend since schooldays, the late Arnold
Davenport, Senior Lecturer in English Literature at Liverpool university, without whose encouragement this book would never have been
started, and under whose guidance much of it was written as a dissertation towards the degree of M.A.
I am also deeply indebted to two other friends: Adaline Glasheen,
the author of A Census of Finnegans Wake, with whom I have exchanged
letters almost weekly for the past six years and who has given me an
enormous amount of information on Joycean topics; and M. J. C.
Hodgart, of Pembroke College, Cambridge, the chief academic authority
on Finnegans Wake in this country, of whose work I have made considerable use, and who has given me much valuable advice, particularly
on Joyce's use of the Sacred Books. A more recent friend, but an
equally keen Joycean, Fritz Senn-Baldinger, of ZUrich, must also be
thanked-both for the information he has given me on Joyce's use of
Swiss-German and ZUrich, and for kindly offering to prepare the index.
Writing a book of this kind makes inordinate demands on libraries.
I am grateful to the librarians and staffs of the Wigan Public Library,
the Harold Cohen Library at Liverpool University, and the British
Museum Library for their unfailing courtesy and helpfulness. Thanks
are also due to the editors of English Studies and Comparative Literature
for permission to use material which has already appeared in their
journals; and to the James Joyce Trustees for permission to quote from
Finnegans Wake.
Introduction
'An argument/ollows'
(222.21)
II
INTRODUCTION
makes some curious blunders, e.g. that the 4th old man is lJlster'
But he did not suggest that Wilson was wrong in any-J:ring except
minor details. Wilson's interpretation was probably the best, possible
at t.~at time with the information then available, and has been followed
by many critics including Campbell and Robinson whose A Skeleton
Key to Finnegans Wakel has provided the basis for much subsequent
work; but it does not provide a satisfactory explanation of the Wake
as a whole. Indeed Professor Harry Levin whose book, James Joyce,
a Critical Introduction, remains in many ways the best introduction to
Joyce's work, puts the problem with his usual succinctness when he
says, 'these obiter dicta cannot be traced, with any show of plausibility,
to the sodden brain of a snoring publican. No psychoanalyst could
account for t.1J.e encyclopedic sweep of Earvv"icker's fantasies.'2
Professor Frands I. Thompson, one of the many American scholars
who have devoted a great deal oftime to Joyce's work, has suggested3
that all Joyce's books are essentially autobiographies, and that, although
'Perhaps there is an occasional identification of the dreamer with
H.C.E.', he is usually 'James Joyce alias Stephen Dedalus'. Louis
Gillet, who was friendly vvith Joyce during the years in which the
Wake was being written, quotes Joyce as saying that 'Finnegans Wake
had nothing in common with Ulysses-f;'est Ie jour et 1a nuit'. But
Gillet col1cludes his book with the remark that 'au fond M. Joyce n'a
ecrit qu'un seul livre, au, si l'on prefere, differents etats du mente
texte'.4 Perhaps Oliver St. John Gogarty can be said to be subscribing
to the same theory when he remarks in his book, Rolling Down the Lea,
that the 'moderns were left to talk to themselves for Virant of an
audience. Joyce went one further and talked to himself in his sleep:
hence Finnegans Wake'.s It is more likely, however, that Gogarty
simply meant to say that the Wake was nonsense, although earlier in
the same book he had written of 'Joyce who loves the Liffey and wrote
about its rolling as no other man could.'6
This theory t.lJ.at Joyce is the dreamer has a great deal to recommend
it; and stilI more evidence has lately been brought forward in its favour
1 Joseph Campbell and Henry Morton Robinson, A Skeleton Key to Firmegans
Wake. London: Faber and Faber, 1947.
2 Harry Levin, James Joyce, a Critical Introduction. London: Faber and
Faber, 1944, p. I24.
Francis 1. Thompson, 'A Portrait of the Artist Asleep,' The Western Review,
XIV, I950, pp. 245-53.
4 Louis Gillet, Stele pour James Joyce. Marsei:Ie: Saginaire, 1941, p. ISO.
5 Oliver St. John Gogarty, Rolling Down the Lea. London: Constable & Co.,
1950, p. II7
Ibid, p. 58.
12
INTRODUCTION
by Patricia Hutchins, who has spent several years travelling around
Europe to visit the various places where Joyce lived in order to obtain
more information about him. She has listed in her latest book, James
Joyce's World,l a large number of biographical details of which traces
can be found in the Wake. For example, the addresses on the 'Letter,
carried of Shaun, son of Hek, written of Shem, brother of Shaun:
(420.17)2 turn out to be addresses at which Joyee himself had lived,
or at which his relations had lived. '7 Streetpetres. Since Cabranke'
(420.35) is 7, St. Peter's Terrace, now Peter Street, Cabra, where
Mrs. May Joyce died. 'Finn's Hot.' (420.25) is Finn's Hotel where, as
Patricia Hutchins tells us,s 'according to one account' Nora Barnacle,
who later became Joyce's wife, worked for a while in Dublin. So many
details concerning Joyce's life have been noticed by Patricia Hutchins
that she mentions the suggestion which has occasionally been made
that Finnegans Wake is a kind of confession. This suggestion is supported by the use Joyce makes in the Wake of various famous books of
'Confessions', St. Augustine's, Rousseau's, James Hogg's Journal and
Memoirs of a Justified Sinner, and so on. But in addition to biographical
details which have already been pointed out in print there are a great
number of others which the various commentators have either not
known or not found room for. For example, Joyce usually wore a hat
made by the Italian firm of Borselino. This firm and its products figure
frequently in the Wake, <I and it is not impossible that there is a hidden
implication that much of the action is taking place under the hat upon
the head of James J oyee.
But it is true of every work of art that it existed first in the imagination
of its creator, and strong as are the arguments for the solipsistic nature
of Finnegans Wake they fall to nothing before the liveliness of the book
itself. There are too many real--or rather, fully realized-characters
taking part in the action for the book to be anything except a novel of
the naturalistic type. Joyce, who admired Flaubert and claimed to have
read every word of Defoe, created as his hero H.C.E., whose 'vitality
1 Patricia Hutchins, James Joyce's World. London: Methuen, I957, pp. 22023 1
Figures in parentheses indicate the page and line in Finnegans Wake on
which a quotation commences. The pagination of the English edition by
Faber and Faber and the American edition by the Viking Press is identical
in all the reprints which have so far been issued.
James Joyce's World, p. 226.
4. 288.15, and note 5: 'Barcelonas'; 302.1: 'Bolsillos'; 471.12: 'Borsaline';
483.II: 'Borsaiolini's house of hatcraft'; 520.8: 'To pull himself into his soup
and fish and put On his borrowsaloaner'.
13
INTRODUCTION
is immense, his spirit unquenchable . no featureless abstraction
labelled Everyman, but a real character, almost a Dickensian one,
conceived in comedy, executed in admiration'.l His supporting characters are almost equally vivid: A.L.P., 'Anna Livia" who is at once
mother, wife, and the River Liffey, grows old as the book progresses,
and her final speech (619.20 et seq.) in addition to being a wonderfully
beautiful piece of prose, contains a complete and coherent picture of a
change in family relationships shown in full perspective. Shem and
Shaun, the warring brothers, may be based upon Joyce and his enemies
and friends who form what Kenner has called 'his shadow selves? but
in Finnegans Wake they are characters in their own right. In fact,
Finnegans Wake is, as M. J. C. Hodgan insists, 'primarily a novel'.3
This may seem to be estaWshing the obvious, but it is an important
fact which must be borne in mind when considering two secondary
questions that arise: what is the novel about, and what-if anything-is
it besides a novel?
Any attempt to answer these questions must take into account
Joyce's own attitude to his book. One of the certain facts about
Finnega:ns Wake is the high and eamest sense of dedication with which
Joyce wrote it. He saw himself as the Vates, the poet and prophet, and
his work as the sacred book of a new religion of which he was the
prophet and priest. Without this sense of dedication he could never
have continued so long at his self-imposed task. But he felt that if it
could only be written down correctly it would have a power of its own.
His attitude bordered, perhaps, on madness; he himself admitted that
he was superstitious about the power of his words. As early as 1919
he wrote to .Miss Weaver, 'The word scorching has a peculiar significance for my superstitious mind not so much because of any quality
or merit in the writing itself as for the fact that the progress of the book
is like the progress of some sandblast. As soon as I mention any person
in it I hear of his or her death or departure or misfortune and each
successive episode, dealing with some province of artistic culture
leaves behind it a burnt up field." In his introduction to Joyce's Letters
Stuart Gilbert reports that 'on more than one occasion Joyce told me
1 Adaline Glasheen, A Census of Finnegans Wake. Evanston: Northwestern
University Press, 1956, p. 54, and London: Faber & Faber, 1957 (same
pagin2tion).
Hugh Kenner, Dublin's Joyce. London: Chatto and Windus, 1955, p. 354.
3 M. J. C. Hodgart, 'Shakespeare and Firmegans Wake; The Cambridge
Journal, Vol. VI, No. 12, Sept, 1953, p. 736.
4 Letters, p. 129. Letter dated '20 July 1919'.
I4
INTRODUCTION
that certain incidents in his writings had proved to be premonitions
of incidents that subsequently took place'.l When the Russo-Finnish
War broke out shortly after the publication of Finnegans Wake Joyce
wrote, 'As foretold by the prophet, the Finn again wakes.'2 He adds,
'I should not jest', but the next letter in the collection contains the
passage, 'My daughter-in-law staged a marvellous banquet for my last
birthday and read the dosing pages on the passing-out of Anna Livia
to a seemingly much affected audience. Alas, if you ever read them
you will see they were unconsciously prophetical!' And the letter ends,
'I have received a number of foreign notices of my book . . . the most
curious comes from Helsinki where as was predicted, the Finn again
wakes.' In fact Joyce believed that his words were 'Words of silent
power' (345.I9). Eugene Jolas relates that Joyce once said to him, '1
have discovered that I can do anything with language I want.'3 Yet
Jolas goes on to say that Joyce seemed to be 'constantly listening,
constantly on the look-out for interesting or significant phrases which
could be used in his book.
The book was indeed his life and he believed that he was enttapping
some part of the essence of life within its pages. While he could do
'anything with language' he believed that somehow the spirit oflanguage
was working through him of its own volition. An anecdote given by
Richard Ellmann4 shows Joyce's unusual attitude: 'Beckett was taking
dictation from Joyce for Finnegans Wake; there was a knock on the door
and Joyce said, "Come in". Beckett, who hadn't heard the knock, by
mistake wrote down HCome in" as part of the dictated text. Afterwards
he read it back to Joyce who said, HWhat's that 'Come in'?" "That's
what you dictated," Beckett replied. Joyce thought for a moment,
realizing that Beckett hadn't heard the knock; then he said, "Let it
stand." The very fact that the misunderstanding had occurred in
actuality gave it prestige for Joyce.' This incident shows-I thiukrather more than Kenner suggests. Joyce was not in his own opinion
simply writing a book, he was also performing a work of magic.
But the fundamental question-What is Finnegans Wake about?-has
not yet received a satisfactory answer. One of the first, and at first sight
most satisfYing, answers is that put forward by Samuel Beckett. 'It is
Ibid., p. 30
Ibid., p. 408.
Sean Givens (Editor), Two Decades of Joyce Criticism. New York; The
Vanguard Press, 1948, p. 13.
'Richard Ellmann, 'The Backgrounds of Ulysses,' The Kenyon Review,
Vol. XVI, No. 3, Summer, I954, p. 359.
1
IS
INTRODUCTION
not about something,' he wrote. 'It is that something itself.'l This
could be interpreted to mean that Finnegans Wake is a microcosm
constituting Joyce's challenge to God's macrocosm, and if this is what
Beckett meant it is partly true. Indeed, Joyce wrote to Miss Weaver
saying that 'Up till the last day I had to supervise it', and again to
Valery Larbaud saying that 'I did stand behind those twelve Marshals
more or less directing them what lines of research to follow up', 2 so
it can be assumed that the essay by Beckett, who was the leader of the
'twelve Marshals', was on lines suggested by Joyce. But from the general
tenor of Beckett's article it appears that what he was doing was putting
down profound-sounding phrases which he had heard from Joyce
without being sure of their significance and without being able to
develop the themes they stated. He ties himself once into a quite
inextricable knot with the remark, 'You complain that this stuff is not
written in English. It is not written at all.'s Kenner says that Joyce
found his Paris disciples amusing,4 and Joyce seems to remark in
Finnegans Wake that Beckett did not understand the book. Beckett
can hardly be blamed for this but he should have realized that he is the
'Boy' who is 'lost in the bush' (II2.3). The passage continues-'You
say it is a puling sample jungle of woods. You most shouts out:
Bethicket me for a stump of a beech if I have the poultriest notions
what the farest he all means.' The word 'Bethicket' gives us a picture
of Beckett lost in a bush, or thicket, and the whole passage is a goodhumoured parody of Beckett's prose style. It is notably good-humoured;
Joyce never seems to lose patience with his critics. It is rather surprising
that Kenner, who was the first to point out that Beckett and his
collaborators in Our Exagmination were the origins of Joyce's twelve
Marshals, does not realize that Joyce's tone to his critics is friendly
or that he himself has arrived at roughly the same conclusion as
Beckett. 'Joyce worked seventeen years to push the work away from
"meaning"; adrift back into language .. He had his attention fixed
on people talking not on what the words "really" meant.'5
Joyce himself explained what he was trying to do in Finnegans Wake
1 Samuel BeCkett (and others), Our Exagmination Round His Factification for
the Incamination of Work in Progress. Paris: Shakespeare & Co., Sylvia Beach,
1929, p. 9. This book was issued in America with the title An Exagmiru;;tion of
James Joyce. In future I shall refer to it as An Exagmination.
2 Letters, p. 279. Letter dated '27 May I929', and p. 283, letter dated
'30 July 192 9'.
sAn Exagmination, p. 14
.. Dublin's Joyce, p. 362.
G Ibid., p. 30 4.
I6
INTRODUCTION
on many occasions. Louis Gillet describes how, 'With absolute simplicity, quite devoid of pretentiousness, he furnished me with the key
to his work. He explained to me the mystery of the titanic figure
H.C.E., the unique, many-faceted hero of innumerable incarnations ...
He told me about the language he had adopted in order to give his
vocabulary the elasticity of sleep, to multiply the meaning of words,
to permit the play of light and colour, and make of each sentence a
rainbow to which each
drop is itself a many-hued prism.'l During a
discussion of Sheridan Le Fanu's The House by the Churchyard with
Frank Budgen, Joyce is said to have remarked2 that the basis of the
book was an encounter between his father and a tramp in Phoenix
Park. This encom:ter took place at the exact spot where Dangerfield
was said to have struck. down Sturk in Le Fanu's novel. Joyce said to
Jolas that he was 'Trying to tell the story of this Chapelizod family
in a new way ... Time and the river and the mountain are the real
heroes of my book.'3
The most detailed of Joyce's explanations are contained in his letters
to Miss Weaver to whom he sent each section as it was completed, and
often accompanied it with a note of explanation. Miss Weaver is always
ready to help students of Jo)ce's work, and when I wrote to her some
time ago to ask her opinion of the various interpretations of the Wake
she replied, 'I own that the Skeleton Key, though extremely useful in
many ways, has its irritating features-at least it has to me. The authors
seem to me to read unwarranted things into the book. In particular
their ascription of the whole thing to a dream of HCE seems to me
nonsensical ... My view is that Mr. Joyce did not intend the book
to be looked upon as the dream of anyone character, but that he
regarded the dream form with its shiftings and changes and chances
as a convenient device, allowing the freest scope to introduce any
material he wished-and suited to a night-piece.' Another account of
Finnegans Wake was given by Miss Weaver to Professor Joseph Prescott
to whom she wrote, 'In the summer of 1923 when Mr. Joyce was
staying with his family in England he told me he wanted to write a
book which should be a kind of universal history and I typed for him a
f<'""'N preliminary sketches he had made for isolated characters in the
book.'''' When Miss Weaver complained to Joyce that she could not
James Joyce's World, p. 178.
Two Decades of Criticism, p. 352.
3 Ibid., p. II.
~ Joseph Prescott, 'Concerning the Genesis of Finnegans Wake; PMLA.,
Vol. LXIX, NO.5, Dec. 1954.
1
17
INTRODUCTION
understand the extracts she was typing for him he replied, 'I am sorry
that Patrick and Berkeley are unsuccessful in explaining themselves.
The answer, I suppose, is that given by Paddy Dignam's apparition:
metempsychosis. Or perhaps the theory of history so well set forth
(after Hegel and Giambattista Vico) by the fout eminent annalists who
are even now treading the typepress in sorrow will explain part of my
meaning. I work as I can and these are not fragments but active
elements and when they are more and a little older they will begin to
fuse of themselves.'l
These reports of Joyce's own explanations of the Wake seem to me
to provide the only possible foundation on which to build an interpretation of the Wake. If Joyce's explanations seem to be selfcontradictory then an interpretation must be found which resolves the
contradictions; and it seems to me that such an interpretation can be
found. The book is, Joyce has told us, a universal history according to
the cyclic theory of history, usually associated with Hegel, which Joyce
took from Vico's New Science. The book itself is written in cyclic form
not because it has no beginning and end-there is an obvious development as the book progresses and the houts of its night move towards
dawn-but because when it has finished it all has to begin all over
again in accordance with Vico's theory. What seem to be new characters
in different parts of the book are better thought of as reincarnations.
This is what Joyce meant by his reference to metempsychosis. Finn,
for example, is not supplanted by H.C.E.; he becomes H.C.E. The
book in fact is a novel about one man and his family which becomes
a history of mankind.
18
INTRODUCTION
first, since Joyce was writing on several planes of meaning, every
sentence has several connotations; second, since much of his ma~erial
is autobiographical, it can be understood only with the help of his
biographers; and third, that Joyce's reading was extraordinarily wide
and that he based his book on an amazing variety of other books. It
is wi6 this third difficulty that the present book is concerned.
W< en Joyce wrote to Miss Weaver explaining a passage in his book
he otten told her of some book she oUght to read if she wished to
understand what he had written. Some of the books he mentioned were
well known: The Book of Kells, for instance; others, like Vieo's New
Science, have become better known since Joyce's work was published.
Sometimes they are books one would not have knO\vn if Joyce's letters
to Miss Weaver had not been published; for example he wrote: 'Miss
Beach will send you a book of spirit talks with Oscar Wilde which will
explain one page of it.'l But he did not mention to Miss Weaver all
the books he used. Indeed, his usual method was to make use of a book
without mentioning it to anyone, so far as we know, and then to insert
a reference to the book, as a kind of acknowledgement, somewhere in
his own text. I think that I was the first to point out that several pages
of Finnegans Wake are based upon Rowntree's Poverty,2 and many
other books have been discovered that shed light upon various sections
of the Wake.
The special difficulty of tracing literary sources and literary allusions
in the works ofJames Joyce has already been pointed out by Robert G.
Kelly who wrote that Joyce, 'inunediately recognising his strong point,
struck the pose of the intellectual. Whatever else might be against him
he would exceed in intelligence all his rivals. He would exceed them,
be it noted, not in the practical productions of such intelligence but
in the mere self-sufficient fact of it, making intellectuality a virtue in
its own pedantic right. As Gogarty says "No man had more erudition
at so early an age." The young student sought, moreover, with defensive
logic to excel in those areas of least competition. He became a literary
antiquarian whose knowledge, conspicuous because of its strangeness,
bore more weight per given quantity. He delved into medieval tracts,
studied learned discussion of conscience (Agenbite of Inwit) by forgotten
monks, and memorized quaint old ballads suitable to his musical taste
and abilities.'3
1 Letters, p. 224. Letter dated 'I January, I92S'. See p. 48 for an account
of the book in question.
2 T. L. S., Nov. 23rd,
749.
3 Robett G. Kelly, 'James
a Partial Explanation,' PMLA, LXIV,
March, 1949, p. 26.
19
INTRODUCTION
The books described by Mr. Kelly are not, in fact, quite as recherche
as he suggests, nor are they typical of anything but one aspect of Joyee's
reading: its variety. The range of J oyee's interests can be seen better in a
list he sent to .Miss Weaver: <The books I am using for the present
fragment . include Marie Corelli, Swedenborg, St. Thomas, the
Sudanese war, Indian outcasts, Women under English Law, a description of St. Helena, Flammarion's The End of the World, scores of
children's singing games from Germany, France, England and Italy
and so on .. .'1 What is typica1 about this list is the lack of a connecting
thread between its parts. Joyce's reading rauged from the Patrologia
to Comic Cuts; and references to either, or to anything else, are to be
expected in the Wake. And what makes this important is that sometimes
a passage in the Wake is meaningless nntil its literary source has been
tracked down. More often, however, the discovery of the literary source
adds a new and unexpected implication to a passage in which several
meanings have already been perceived. But nntil all the quotations,
allusions and parodies in Finnegans Wake have been elucidated the
complete meaning of the whole work must escape us.
In the attempt which I have made to track down as many as possible
of Joyee's allusions t..~e method I have adopted has been first to search
in Finnegans Wake for what seemed to be a reference to a book, either
by title, author's name, or quotation. Having identified the book the
next thing was to read it, or reread it, and then turn back to Finnegans
Wake to see what Joyce had made of it.
It soon became apparent that Joyce had composed his book with the
idea that it would be read in this way. It is, as has often been saidnotably by Joyce's brother Stanislaus in a B.B.C. programme-a sort
of enormous crossword puzzle. Stanislaus called it 'a crossword
puzzlers' bible,,2 which is accurate in its way for the Wake is intended
as something benveen a bible and a crossword puzzle. But it is a puzzle
to which the keys are provided; in fact M. J. C. Hodgart has suggested3
that the words <The keys to. Given!' preceding the sentence which
begins and ends the Wake are telling us that all the keys needed to
understand the book have been given to its readers. And numerous
as are the quotations which Joyce makes he seems to have tried to
acknowledge each one by including the name of its author in his book.
There are certain exceptions to this, however. The French Symbolists,
for example, are quoted but never named. But when one reflectS that
1 Letters, p. 302. Letter dated '4 March 1931'.
B.RC. Third Programme, May lIth, 1949.
I~TRODUCTION
a major tenet of their creed was 'Nommer est detruire', one sees that this
was the purest politeness on Joyce's part. But there are other authors,
such as Aristopl131'les-the 'Brekkek Kekkek' from whose Frogs is
prominent on page 4-whose names do not occur, without there being
any reason that I can see for their omission. Perhaps Joyce simply
forgot, although he rarely seemed to forget any1:hing. But there are so
few such omissions-perhaps a dozen out of the hundreds of quotations
Joyce makes---':that there is probably a reason for each one, unless-of
course-the answer is simply that I have not recognized the name I have
looked for in its J oycean transmutation.
What seemed at first likely to be a great help in this work was a
catalogue which appeared in I949 of an exhibition including what was
described as 'James Joyce's Working Library'.l The library itself was
acquired in autunm I950 by the Lockwood Memorial Library of the
University of Buffalo, and a descriptive bibliography entitled The
Personal Library ofJames Joyce, by Thomas E. Connolly2 was published
by the University of Buffalo in I955. This publication has proved
helpful in several ways, but unfortunately the collection it describes
cannot be more than a small fraction of Joyce's actual 'working library',
and it contains many presentation copies of books, sent to Joyce by
admirers, which he kept but never opened. Many books which Joyce
said he had used, and many others which he can be proved to have used,
are not included. One reason for this is that Joyce frequently changed
his address and often had to store his books. He wrote to Miss Weaver
in February, 1931, 'I have sent away four-fifths of my books, keeping
only dictionaries and books of reference.' But towards the end of the
same letter he complains that 'such an amount of reading seems to be
necess~v:y before myoId flying n13chine gtun'lbles up into the air', 3
whici.J. must mean that he was getting fresh books. Moreover Joyce
often made use of books belonging to his friends when he could no longer
use public libraries owing to his defective visiOn. He wrote to Miss
Weaver of 'Crosby-who has a huge illustrated edition of the Book
of the Dead bequeathed him by his uncle'.4 A good deal of use is made
of this book in Finnega:ns Wake, and from Joyce's description, and
1 Gheerbrant, Bernard (Compiler), James Joyce: Sa Vie, Son Rayonnement.
Paris: La Rune, 1949.
Thomas E. Connolly, The Personal Library of James Joyce. Buffalo: The
University of Buffalo Press, 1955.
3 Letters, p. 299. Letter dated '16 February 1931'.
& Ibid., p. 28I. See below, 'The Sacred Books', for a detailed account of
Joyce's use oftrus book.
2I
INTRODUCTION
interior evidence, it must be the edition published by the British
Museum in 1890. It was not, of course, in Joyce's library.
A further difficulty arises from Joyce's custom of using his friends
as research teams to look up facts which he needed for his book. The
sort of thing that happened can be seen from an account given by
Patricia Hutchins of a conversation she had with Stuart Gilbert. Gilbert
said that he had never known anyone else with Joyce's gift for getting
people to do things for him. '1 used to call them "Joyce's runabout
men", said Gilbert.'l They looked up references in libraries, compiled
lists of foreign words and made summaries of books. Sometimes Joyce
supplied a copy of the book and then the notes were made in the book
itself. One of the most interesting items in the Joyce library at Buffalo
is a book annotated for Joyce by one of his helpers. The book is
Heinrich Zimmer's Maya der indische Mythos and Professor Connolly
reproduces some pages of notes which were put into the book by one
of Joyce's helpers. 2 Kenner describes the scene more acidly: 'Against
avant-garde Paris he was u'1e dean of a supergraduate-school, harnessing
the adulatory energy of the Transition cenacle for secretarial work;
we hear of them searching "through numerous notebooks with mysterious reference points to be. inserted in the text", or transcribing
reports on assigned readings into notebooks which Joyce condensed
into a line or a paragraph.' But I think that Kenner is right in his
contention that Joyce did not allow his friends' contributions to occupy
much space in his book, although some help was necessary because of
his near-blindness which often made him unable to read at all.
There does not, however, seem to be any simple answer to any of
the complicated problems set by Finnegans Wake; and an attempt to
trace the literary allusions which Joyce makes cannot be expected
to follow any prescribed plan. The order in which I have dealt with
the works that I consider Joyce to have used is based largely upon
expedience. Works are classed together in groups, sometimes rather
vaguely defined, according to some common factor they seem to share.
I begin with a discussion of what I have called 'The Structural
Books'-works such as Vico's New Science and Levy-Brubl's How
Natives Think-from which it seems to me that the eclectic logic
underlying Finnegans Wake was constructed. And I have ventured to
extract from them some 'axioms' which may bear some resemblance
to the tacit assumptions Joyce made when he was writing his book.
Books considered under this head exert an influence on the Wake as
1
22
INTRODUCTION
a whole. In the second section I have tried to show how Joyce used
books as a basis for particular sections of his work. I begin, out of
respect for tradition, with the manuscripts he used-although in fact
they were not manuscripts but reproductions or mere descriptions of
manuscripts. I then try to show the use Joyce made of some typical
books; of the writings of the Fathers of the Church; of Irish writers;
and so on. I am aware of the shortcomings of the third part which is an
attempt to analyse Joyce's use of the Sacred Books of the world, but
several lifetimes would be required to do this properly, and I have
simply tried to give the general outline of what I think Joyce was doing.
Finally I have made a list of the minor literary allusions-in alphabetical
order for ease of reference-and explained those I think I have understood. Such an undertaking is unlikely to be carried out either
accurately or completely. I hope, however, that it will provide a basis
for future work and help a little in the task of elucidating Finnegans
Wake.
But before attempting to describe Joyee's sources I will try to summarize what appears to me-after having searched through these
sources-to be the subject of the Wake. An article in the Strand
Magazine once described an attempt to discover vlhat the typical
woman looked like by photographing thousands of women and then
combining all the negatives into a single print. They called the result
'Eve'. J oyee is making a similar experiment in Finnegans Wake where
he presents us with the story of one man and his family as a paradigm
of universal history by telling, at the same time and in the same words,
as many similar stories as he can contrive to collect and superimpose.
The man lives in Chapelizod with his wife and three children. He
is a publican and has been a sinner. All men have been sinners. Indeed
he is all men: 'Here Comes Everybody' they call him; and when his
wife speaks to him as she is dying we cannot be sure whether she
addresses him as Finn or Brian Boru, or even as the sea itself; although
at times he has seemed to be all cities while she was all the rivers. The
youngest children are twin boys who play the parts of all the warring
brothers in history or legend. The daughter is all the young girls who
have ever been loved by old men.
But as we look at them we know that the boys will become the father
and the daughter will become the mother. And all the time we suspect
that we are looking, through innumerable superimposed disguises, at a
portrait of the artist and his family in prose which deliberately and
mischievously leaves out the distinguishing facts. This device is symbolized in the Wake by the printed signs: '-.i ..', .0 ..1.' (514.18). This
23
INTRODUCTION
stands for Finn's Hotel where Nora Barnacle worked when Joyce met
her; and Finnegans Wake is the story of James Joyce and Nora Barnacle,
superimposed upon the story of Joyce's father and mother, John Joyce
and Mary Jane Murray, and upon the story of their parents, and theirs,
and so on, through H.C.E. and A.L.P., to Adam and Eve and beyond,
in cycle after cycle continually changing and eternally the same. What
has prevented people from seeing this is the incredible thoroughness
with which Joyce has developed his pattern of the recurring family situation. For he goes on, as I have said, beyond Adam and Eve, to establish
the same pattern in mythology and religion.
Part
27
TRESTRUCTURALBOOKS
There was a medieval. theory that God composed two scriptures:
the first was the universe WIDCi"l he created after having conceived the
idea of it complete and flawless in his mind; the second was the Holy
Bible. What Joyce is attempting in Firt'ttegans Wake is nothing less than
to create a third scripture, the sacred book of the night, revealing the
microcosm which he had already conceived in his mind. And as the
phenomenal universe is built upon certain fundamental laws which it
is the task of science and prillosophy to discover, so the microcosm of
Finnegans Wake is constructed according to certain fundamental
axioms for which Joyce is careful to provide clues, but which it is
the task of his readers to discover for themselves. None of his axioms
originates entirely with Joyce, although his combination and development of them is fantastic in its originality, producing an account of a
unique universe that is also unique as a literary phenomenon. It is an
original and carefully integrated universe, but it cannot be understood
without a knowledge of its basic sources.
The structure is based on the cyclic view of history which Joyce
took from Vico, elaborated by Bruno's theories of monadism and
innumerable worlds which Joyce read as a student, and the studies of
Vieo's New Science by A1.i.chelet and Quinet. The logic is taken from
Levy-Bruhl's works on primitive psychology, from some aspects of the
theories of Giordano Bruno and Nicholas of Cusa, and-to a lesser extent-from Freud. The style was prescribed, in the very year that
Joyce entered university, by Arthur Symons in his book, The Symbolist
Movement in Literature, from theories propounded by M.allarme. Joyce
added to it Pound's dictum that every word must be fully charged with
meaning; and developed it by using techniques from Wagnerian opera
and other forms of music, by applying theories promulgated by painters,
and by constant and unwearying experiment.
An adequate treatment of these 'structural books' would require
far more space than can be given here. Richard M. Kain remarked in
his book about Ulysses that 'To attempt to do more than scratch the
surface of the immense companion volume, Finnegans Wake, would
dearly exceed any reasonable limits of time and space? and David
Hayman has vvntten a work in two volumes upon the influence of
Mallarme on J oyce2 without completely exhausting his chosen topic.
Since the aim of the present work is to explore the entire literary
background of the Wake it will not be possible to give a complete
1 Richard M. !Cain, Fabulous Voyager, James Joyce's Ulysses. Chicago:
The University of Chicago Press, 1947, p. 193.
David Hayman, Joyce et Mallarme. Paris; Lettres Modemes, 1956.
28
Beckett was the first to mention Vico, but almost everyone who has
written about the Wake since has discussed his influence, for Joyce
forces him upon the reader's attention. His name is used over and over
again, usually in a context concerned with the theme that history
repeats itself, such as 'moves in vicous circles' (134.I6), or <by a com~
modius viens of recirculation' (3.2) in that sentence which puts Vieo's
theory into practice by joining the beginning and end of the book to~
gether. It is probable that Joyce read Vico in the original, but all my
references are to translations, and mainly to the only English translation (which was not published until after Joyce's deatb).2
An Exagmination, p. 3.
Thomas Goddard Bergin and Marc Harold Fisch, The New Science of
Giambattista Vico, translated from the third edition (1744). Ithaca, N.Y.,
Cornell University Press, 1948.
1
29
3I
32
33
3
QUINET
It may have been the interest they shared in Vico that caused Joyce
to be attracted to the work of Edgar Quinet. The sentence which is
quoted in full (281.4) and twice parodied at full length (14.35 and
236.19) bas not, to my knowledge, been previously traced i'l Quinet's
works. It comes from bis Introduction a la Philosophie de l' Histoire de
l' Humanite. 3 In this essay Quinet discusses history as it is presented
by Vico and Herder. 'Nous tonchons am;: premieres limites de l'histoire;
nous quittons les phenomenes physiques pour entrer dans Ie declale
53. 1 6: In all fortitudinous ajaxious rowdinoisy tenuacity.
93.8: fortytudor ages rawdownhams tanyouhide.
25!!.4: Fulgitudes ejist rowdownan tonnout.
515.9: Fortitudo clus rho damnum tenuit?
610.6: Fulgitudo ejus Rhedonum teneatl
~ Niall Montgomery, 'The Pervigilium Phoenids', New Mexico Quarterly,
Vol. XXIII, NO.4, Winter, 1953, p. 451.
Edgar Quinet, (Euvres Completes. Paris: Pagnerre, 1857, Vol. II, p. 3671
34
NICHOLAS OF CUSA
35
GIORDANO BRUNO
36
37
38
39
II 5).
Perhaps the reason for the difference is that Joyce's source for
demonic possession concerns only a masculine victim. It is James
Hogg's Private Memoirs and Confessions of a Justified Sinner, in which
the soul of the chief character is possessed by a devil named Gilmartin
that drives him to ruin. The word 'gill' in the Wake has the meaning
of 'devil' from this source. Every male character has an 'everdevoting
fiend' (408.18) with whom he forms a 'musichall pair' (408.26). Gill is
the 'oggog hogs in the lhumand' (366.26). Hogg's name lends itself to
A Census gives: '239.29; 246.26; 280.22; 365.28; 460.I2 . . . 22'.
Abram H. Dailey, Mollie Fancher, the Brooklyn Enigma. Brooklyn, I894.
3 'Da1y ... maid of the folley ... Rosecarmon.' (526.20 . 2I .. 28). 'It's
meemly us two, meme idoll' (527.24).
1
41
Joyee's
42
LEVy-BRUHL
43
44
THE OCCULTISTS
45
47
ARTHUR SYMONS
48
49
4
50
a Walter
Frank
of James Joyce. London: The Shenvall
Press, 1955, p.
S Jan Parandowski, 'Begegnung mit Joyce', Die Welrwoche. Ziirich, IIth Feb.
1949
5I
mg
52
2.
This last evolves from the attempts of men to reproduce the voice of
thunder. Their first attempts were stuttering. (Vico.)
c. Stutteri..ng indicates guilt. (Freud, Carroll.)
d. As words contain in themselves the image of t.he structure of the
Wake they also contain the image of the structure of history. (Bruno.)
e. Thundering, being itself a.kind of stuttering, is an indication of guilt.
VII. Space-Time.
Joyce's experiment in creating what Larionov called 'a new combination of space-time' has been left to the end of this section because
I am neither confident of the correctness of my interpretation nor aware
of any literary sources for Joyce's met.'lods. My suggestion is that
Joyce's four old men represent in the first place Space, being geographically the four points of the compass and literally the first four letters
of the Hebrew alphabet-thus standing for all the other letters
so
representing literary space. They have, of course, many superimposed
qualities, such as their identification with Swift's Struldbrugs, who
were impotent immortals. But they acquire these extra personifications
because they are primarily Space. They represent the four walls of the
room and the four posts of the bed, watching impotently and enviously
the actions of the ever-changing figures that occupy 1:..\e space between
them. They are Aleph, Beth, Ghimel and Daleth, eternal beings:
'semper as oxhousehumper' (I07.34) gives us the English meaning of
their names-ox, house, camel; Daleth, the door, is named in 'till
Daleth, mahomahouma, who oped it closeth thereof the. Dor' (20.17).
As letters they are the 'fourdimmansions' (367.27); as points of the
compass 'the bounds whereinbourne our solied bodies all attomed
an:a
54
55
Part II
CHAPTER
The Manuscripts
'the Haunted InkbottZe' (182.30)
59
THE MANUSCRIPTS
this is true. Undoubtedly the book tells us a great deal about its own
creation, and discusses its own manuscript at some length. This manuscript consists of an enormous and extraordinary collection of papers.
The greater part of it was given by Joyce to Miss Weaver and by her to
the British Museum where it can now be consulted. .Minor fragments
are in the Lockwood Memorial Library of the University of Buffalo,
but most of these are collections of material for the book rather than the
actual manuscript of the book itself. They include, however, 'Fiftyeight small notebooks, listed in the La Hune Catalogue of Joyce's
Paris Library', of which it is said that 'a cursory examination showed
them to be fragments of Finnegans Wake, all apparendy composed when
Joyce's sight was extremely poor, for they contain fragmentary notes,
paragraphs composed from these notes, and then longhand copies
probably in the hand of Madame France Raphael. These paragraphs
were then apparently used in composing some of the later (to be written)
passages of Finnegans Wake.'l There are also a few sheets of typescript
and corrected proofs of various published extracts with significant
variations which are still in private hands. But, as has been said, the bulk
of the manuscript is now in the British Museum where it is bound into
eighteen volumes catalogued as Additional Manuscripts 47471 to 47488
and accompanied with a volume (unbound when I last saw it) of letters
and notes from lVliss Weaver to Mr. T. J. Brown, of the British Museum
staff, who was responsible for arranging the half-hundredweight of
papers. This extra volume is Add. MS. 47489.
The earliest versions of the Wake in the British Museum contain
some pages so densely covered with alterations that it is hardly possible
to decipher the first draft. Revisions are written on top of revisions,
additions are squeezed in wherever room can be found for them,
crushed between the lines or crowded in the margin, upside-down or
sloping across the page. Sometimes-presumably in order to avoid
committing himself to any order of precedence-Joyce wrote down his
notes at various angles. It looks as if he spun the page round every time
he finished a note so as to produce a puzzle which can only be solved
by being turned round in every direction. He often worked on the
recto pages first, putting additions on the versos afterwards, with signs
(sometimes a sort of capital F) on the rectos to show where the additions
were to be inserted. Finally, when the page was finished with and a
fair copy had been made, it was crossed out in red or orange crayonthus makmg it even more difficult to decipher.
When Joyce describes his own manuscript he very often compares it
1
61
THE MANUSCRIPTS
world, and also Finnegans Wake itself. One reason why The Book of
Kells is included here is that it was once 'stolen by night . . . and
found after a lapse of some months, concealed under sods'.l
The monastery at Kells, where the famous manuscript is believed
to have been written, is said to have been founded by St. Columba,
'otherwise known as Colum Cille' and so The Book of Kells 'is often
called the book of Colum Cille'.2 Joyce calls it 'Hagios Colleenkiller's
prophecies' (49.27). Joyce is perhaps bringing in here the legend of the
two daughters of 'Loegaire son of Niall' who asked St. Patrick to let
them see Christ and 'died after receiving communion'.3 He goes on to
mention 'Hireark Books ... in their Eusebian Concordant Homilies'.
This refers to plate I of the Studio edition, 'A page of the Eusebian
canons', which lists in four columns parallel passages in the four
Gospels. The first unmistakable mention of The Book of Kells in the
Wake is 'all the French leaves unveilable out of Calomnequiller's
Pravities' (50.9). 'French leaves' means missing leaves-there are at
least sixty leaves missing from the extant manuscript, but it also means
'obscene pages'-the depravity of which cannot be veiled or concealed.
'Pravities' must derive from pravus, crooked, depraved; and 'Calomnequiller' must mean a writer of calumnies. This sets the tone for all the
allusions to The Book of Kells in the Wake. Like all other acts of creation
it has something sinful about it; indeed, it is something crooked and
depraved. The only exception to this is in the last section which comes
just before Alp's final letter and speech in which everything is forgiven.
It is 'eccentricities transmitted by the ancient legacy of the past ...
letter from litter . . . since the days of Plooney and Columcellas'
(614.36). Colum Cille is here joined with Lucius Junius Columella
who is mentioned by Edgar Quinet in that sentence, to which Joyce
refers so often, about the immortality of wild flowers. Literature is also
immortal, Joyce is saying, manuscripts such as The Book of Kells come
to light again after they have been buried, just as the letter in the Wake
was scratched by the hen from the litter.
In several passages Joyce pokes fun at Sir Edward Sullivan's introduction to The Book of Kells. For example, 'The symbol known in Irish
MSS. as "head under the wi.'1g" or "turn under the path"-which ...
indicates that the words i.'llIllediately following are to be read after the
end of the next fullline',4 becomes in the Wake 'the curious warning
The Book of Kells, p. 4.
Ibid., p. 7.
3 Whitley Stokes (Editor), The Tripartite
documents relating to that Saint. London: Rolls
4 The Book of Kells, p. 10.
1
ingperwhis through the hole of his hat, indicating that the words that
follow ma.y be taken in any order desired' (I2I.8). This probably
refers also to the sign like a capital F which Joyce sometimes used in
his own MS. Another statement by Sullivan, 'Attention is drawn to the
errors by four obell in red? gives Joyce his source for 'Those red
raddled obell cayennepeppercast over the text, calling unnecessary
attention to errors' (120.14). An extra detail is taken from Sullivan's
discussion of the pigments used by the scribes at Kells which, he thinks,
included 'red Haemetite of an earthy nature, such as is termed raddle' .2
Here again there may be a reference to the red crayon marks which
Joyce often placed on his own MS. He is, I think, amusing himself by
writing the sort of notes 'to colUlllllkill all the prefacies of Erin gone
brugk' (347.2I), which he imagined a future palaeographer might write
about the Finnegans Wake MS.
The Kells MS. was never completed. Sir Edward Sullivan writes of
'a space left vacant when the original artist had touched the Manuscript
for the last time, I think, too, that we can almost see from the illumination itself the very place where he was hurried from his work ... The
interruption of so very simple a feature of the work seems to tell a tale
of perhaps even tragic significance'. :> Joyce amuses himself suggesting
possibilities. 'The copyist must have fled with his scroll', he "'Tites.
'The billy flood rose or an elk charged him' (14.17). Or perhaps he was
struck by lightning, or found a Dane knocking at his door. Whatever
happened it would be lightly regarded at the time, says Joyce, for 'a
scribicide then and there is led off under old's code with some fine
covered by six marks or ninepins in metalmen' (I4.2I).
Sir Edward Sullivan seems to share one allusion with Joyce himself.
This is 'the blackband Shovellyvans, wreuter of annoyingmost letters'
(495.1), for the passage continues 'and smriless ballets in Parsee
Franch .. .' This parodies the title of an article in transition, '.Mr.
Joyce directs an Irish Prose Ballet',4 with the addition of Percy French,
whose songs are always being quoted in the Wake. One connection
which Joyce finds between himself and Sir Edward Sullivan is that they
both claim to have found signs of non-Christian influences in The Book
of Kells. Sullivan writes, 'The frequently occurring presence of serpentine forms all through the decoration of the manuscript has given rise
The Book of Kells, p. 24.
Ibid., p. 47.
S Ibid., p. II.
4 By Robert McAlmon, afterwards included in An Exagmination, p. 10.3.
.1.
2
64
THE MANUSCRIPTS
to the suggestion that these forms are in some way connected with the
worship of Ophidian reptiles.'l He goes on to say that there is some
evidence that snakes were worshipped in ancient Ireland, and suggests
that it was St. Patrick's victory over this heathen practice which gave
rise to the legend of his expulsion of snakes from Ireland.
It is probably because of this remark that Joyce mentions 'Apep
and Uachet! Holy snakes' (494.15), who are snake gods from the
Egyptian Book of the Dead. But he goes much further. He suggests that
the scribe was anti-Christian and is secretly mocking at the text he
transcribed. This is 'the point of eschatology our book of kills reaches
for' (482.33). Perhaps the genesis of the joke-for Joyce certainly
does not mean this seriously-is in Ulysses where Virag says of Christ
'He has !'Wo left feet'2-with the implication that Christ was Satan. Of
the only picture of Christ in The Book of Kells Sullivan says, 'It will be
noticed that by some curious error . . . bOLh the feet of the Child are
left feet.'ll This refers to plate II in the Studio edition. Joyce's comments
are mainly about plate XI which he calls 'the tenebrous Tunc page of
the Book of Kells' (122.22). This, he says, was plainly inspired by the
letter which the hen found and suggests that the scribe's arrangement
of the words on the page is intended to present a lewd diagram similar
to the one which Dolph draws to scandalize Kev on page 293 of the
Wake. Kenner pointed out solemnly that this design is 'strikingly like
the alchemical formula quoted by Jung',4 and that 'all the secrets of the
universe are extracted from it'. Joyce intended his readers to make such
comparisons and could doubtless have suggested many other parallels
such as the diagrams in Yeats's A Vision, and the Yeats and Ellis edition
of Blake's Works, and so on, back to the diagrams in Bruno's philosophical works and Nicholas of Cusa's attempts to square the circle.
But when he has finished his diagram Dolph boasts, 'And you can
haul up that languil pennant, mate. I've read your tunc's dimissage'
(298.6). This proves, I think, that Joyce was claiming to have discovered
an appositeness for the diagram as an illustration of a part of a woman's
body named by an anagram of Tunc. The 'tenebrous Tunc page' has a
serpentine capital T in the top half followed by a line of capitals reading
UNGGR and then a smaller capital u. The decorated capital T Joyce
calls 'Big Whiggler' (284.25) following this by 'NCR'. In the bottom
half of the page in The Book of Kells the words are arranged in two
The Book of Kells, p. 42.
James Joyce, Ulysses. London: John Lane, The Bodley Head, I947, p. 494.
The Book of Kells, p. 9.
'Dublin's Joyce, p. 327.
1
2
66
THE MANUSCRIPTS
Indeed, almost every sentence of Sir Edward Sullivan's introduction
has an echo somewhere in the Wake.
But Joyce could never be satisfied with one example. He had to pile up
dozens. Indeed he was aware that he himself had not grasped 'the
beauty of restraint', and he preferred the theory that 'The more carrots
you chop, the more turnips you slit . . .' and so on, for another dozen
examples, 'the merrier fumes your new Irish stew' (190.3). It is this
supererogatory piling of decoration upon decoration and inserting of
decoration within decoration which is the common characteristic of
The Book of Kells and Finnegans Wake. One example is never sufficient.
Having mentioned one manuscript Joyce has to bring in references to
many other manuscripts; so many that it may be assumed that he meant
to include references to all manuscripts, or at least to all manuscripts
which have been tainted by doubt or destiny. Within the curves of his
embroidery about the Kells manuscript Joyce speaks of 'the toomuchness, the fartoomanyness of all those fourlegged ems' (I22.36). This
must refer to the suggestion, made first from a study of misprints in the
early editions of Shakespeare, and supported by the MS. of the Play
of Sir Thomas More, that putting four legs to occasional m's was
Shakespeare's besetting sin as a writer. Joyce has succeeded in entwining an allusion to Shakespeare's manuscripts with an account of
the Kells manuscript. Hamlet and Shakespeare's will are brought in on
the previous page with a backward glance at Stephen's lecture on
Shakespeare in Ulysses, 'the gipsy mating of a grand stylish gravedigging with secondbest buns' (121.32). This is followed by an erudite
parody of a list of a family of manuscripts. I suspect that this includes
at 'Brek II' (I2I.34) an allusion to Immanuel Bekker who introduced the
system of arranging manuscripts in families.
Amongst other things Finnegans Wake is a history of writing. We
begin with writing on 'A bone, a pebble, a ramskin ... leave them to
cook in the mutthering pot: and Gutenmorg with his cromagnon
charter, tintingfats and great prime must once for omniboss stepp
rubrickredd out of the wordpress' (20.5). The 'mutthering pot' is an
allusion to Alchemy, but there is some other significance connected with
writing, for the next time the word appears it is again in a context
concerning improvement in systems of communication. The passage is:
'All the airish signics of her dipandump helpabit from an Father Hogam
till the Mutther Masons .. .' (223.3). 'Dipandump helpabit' combine
the deaf and dumb alphabet'S signs in the air-or 'airish signs' with
the ups and downs of the ordinary ABC and the more pronounced
ups and downs of Irish. Ogham writing. The Mason, following this,
67
Julius, 161.36.
Augustus, I04.6.
3. Tiberius, IIS.II; 1I9.16; 123.30.
4. Callgula, 4.32; 60.26.
5. Claudius, 121.1.
6. Nero, 177.14.
7. Galba. (?) Sulpicius, 254.8.
I.
2.
68
8. Otho,. 132.6.
9. Vitellius, 307 margin.
10. Vespasian, 132.18.
II. Titus, 70.14; 128.15.
I2. Domitian, 306 margin.
13. Cleopatra, 104.20.
14. Faustina, 83.29.
THE MANUSCRIPTS
less likely you are to find any of them. The effect, indeed, is that the
distribution follows the pattern of a gaussian probability curve, and a
graph would show the cocked hat shape dear to statisticians.
The reason for this is that Joyce is putting into practice the technique
of the Wagnerian leit-motiv. This has been described by M. J. C.
Hodgart as follows: 'When a "type" is about to be materialized its
coming is announced by the faint and obscure sounding of motifs
associated with that type; thus Swift may be heralded by scraps from
the Journal to Stella, Lewis Carroll by puns on Alice, Liddell, lookingglasses, etc. When a type has become the main channel for the narrative
the allusions to him are thickened, the leit-motiv stated more openly;
but even after he has begun to fade out a few themes may linger on.
To change the metaphor, a character-type acts as a magnet, attracting
allusions like iron filings in its field, which may extend through several
paragraphs or pages in either direction.'l The 'Letter' theme is one of
the main elements of Finnegans Wake, and the Cottonian press-marks
are just one of the groups of allusions to it, but they show the pattern
in which they are arranged. Each of them carries another significance
in its place; but this is norIIl.ffi in the Wake. 'Every word', we have been
warned, 'will be bound over to carry three score and ten toptypsical
reading' (20.14).
It has been generally assumed that the 'Jymes' (181.27) who is 'out
of a job, would sit and write', and concerning whom the question is
raised: 'How very many piously forged palimpsests slipped in the first
place from his pelagiarist pen', refers only to James Joyce. But in fact
there was another James-or at least a Giacomo-who was involved
in a scandal concerning a forged palimpsest. In 1884 Giacomo Cortese,
an Italian scholar, described a palimpsest that he claimed to have
found. It was actively discussed by classical scholars until 1904 when
L. Traube proved that L1te page had been forged by Cortese who, by
that time, was Professor of Classical Philology at Rome. It will be
noticed that the reference to the forged palimpsest in the Wake is
surrounded by scraps of Italian.
Other forgeries are mentioned. 'Vortigern' (565.12) refers chiefly to
William Ireland's forged Shakespearian play. Perhaps the word
<Iarland' (515.25) includes a reference to Ireland, the man, and 'Mister
Ireland' (608.14) probably does; but there are so many references to
the country that it is impossible to be sure. Lewis Theobald, who was
twice in trouble about stolen or forged plays, may appear in the Wake.
1 M. J. C. Hodgan, 'Shakespeare and "Finnegans Wake"', The Cambridge
Journal, VI, I2, Sept. 1953, p. 738.
THE MANUSCRIPTS
to compensate for this that he assumed all forms of creation to be sinful.
I have discussed in this section all the manuscripts that I am sure
Joyce mentioned in the Wake. There are probably many others which
he mentioned but which I have not noticed. For example, I have
recently received from Mr. F. Senn-Baldinger of ZUrich, who is working
on an account of Joyce's references to ZUrich in the Wake, a suggestion
that Joyce mentions the Manesse Codex in 'Dr. Melamanessy' (55.24).
He writes: 'Ritter Riideger von Manesse made a collection oflyrical
poetry by the minnesingers in the 13th century; and this manuscript,
which was long kept at Heidelberg, is the most important source of the
Minnesang poetry. There is, however, it should be mentioned, a
Manesse-Strasse in Ziirich, but the existence of this street may have
served to draw Joyce's attention to the Manesse Codex.' There are
probably many other manuscripts such as this named or casually
referred to in the Wake, since-as has been said-Joyce liked to pile
up examples. But I think that enough has been said on this topic of
manuscripts and will go on to consider Joyce's use of printed sources,
which is much more widespread and complex.
71
CHAPTER
'SUCh
Letters, p. 300.
BUmann, 'The Backgrounds of Ulysses', p. 359.
72
73
74
Poverty
One of the best examples of a book which Joyce used only in a few
passages, which it dominates, is B. Seebohm Rowntree's Poverty, A
Study of Town Life.2 It is used only for half of page 362 and for pages
543-5, but in these brief passages it carries the full stream of Finnegans
Wake, and almost every word in mem is derived from it. But mere is a
startling difference between Joyce's prose and the rather dull wording
of me social investigators' notes which it transforms, and perhaps a
Noctes Atticae, I, v, i.
London: Macmillan and Co., 1902..
75
77
DANTE
79
tuo dettore. Some say it means Virgil and refers to the line, 'Infandum,
regina, jubes renovare dolorem' (Aeneid, II, 3). Others point out that
the situation there is the opposite the situation in the Inferno, since
Aeneas was being asked to remember sorrow in the midst of joy, and
of
they maintain that Dante is quoting a passage from Boethius's Consolatio Philosophiae
iv, 4). But they agree that on every other
occasion when the words tuo dottore are used in the Divine Comedy they
mean Virgil. Joyce is creating here one of the mirror effects of which he
was fond. His own passage is not comprehensible without a knowledge
of a hidden quotation which is itself a passage containing a quotation
about which scholars differ. 'Patrarc', which is explained in A Census
to Fz"nnegans Wake as meaning Petrarch,2 is put in here mischievously
by Joyce as a key to the wrong Italian poet. Logically the trope could be
described thus: as Dante says IUo dottore which in his work should
mean Virgil, to follow a qnotation from Boethius; so Joyce says
'Patrarc', which in his language should mean Petrarch, to precede a
quotation from Dante.
Another reference to the Inferno is made nine pages before the beginning of the 'Night Lessons' Chapter. It is, 'Look at this passage from
eu,
80
81
6
GOETHE
to him, but the context does not suggest Goethe and there are other Wolfgangs.
82
There are many other writers besides Goethe who are named rather
83
Pascal is mentioned by name in the plan Joyce made for the first
two chapters of Book II (now pages 219-308). This uses the signs
Joyce had for his characters but I have translated them here: 'Contredance, Hornies & Robbers. Shem deviL Shaun angeL Shaun prisoner.
The guess (Pascal). Tug of love, Shaun falls .. .'2 It seems from this
that Joyce was correctly ascribing the probability theory at the time
he drew up this plan; which goes against my suggestion. But it is
surprising how few references to Pascal can be found in the part of the
Wake, where, according to this plan they ought to be found. The only
passages I can find are: 'If he'll go to be a son to France's she'll stay
daughter of Clare' (226.9) which may refer to Pascal's idea-which he
never carried out-of becoming one of the community at Port Royal,
1
85
But it is difficult to prove that quotations are being made when only
a few words are quoted, unJless there is some unusual individuality of
phrase. For example it can be said with certainty that Joyce used A
Concise Dictionary of Irish Biography by J. S. Crone because Joyce
quotes a misprint from this book. Crone's article on Charles Kendal
Bushe says that he wrote 'Cease Your Fuming'. This must be Joyce's
source for 'cease your fumings, kindalled bushies!' (256.12) since the
real title of Bushe's book was Cease Your Funning-a phrase from The
Beggar's Opera, but it is not often that accidents of this sort enable one
to be certain of the precise source to which Joyce is referring.
This proof that Joyce used Crone's Irish Biography brings me to the
question of which other reference books Joyce consulted. There were
certainly a large number; Lewis's jibe that he 'had emptied the contents
of several encyclopaedias into his book' was not without justification;
and Gorman speaks of 'the innumerable reference books he used',
telling us that some of them were left to him by one of his old teachers,
a Mr. Dempsey, but these seem to have been lost and I can do little
86
See Connolly, p. 8.
88
CHAPTER 3
IRISH HISTORIANS
90
91
92
93
IRISH NOVELISTS
But the Wake is not only an Irish history: it is also an Irish novel;
and so a great many Irish novelists are named in it, and many of their
works are mentioned. Many of these are no longer read, either in this
country or their own. Indeed, some of their books are now so scarce
that they can only be found in the great national libraries. One of the
less difficult to obtain is Rhoda Broughton's Red as a Rose is She, written
in a style which may have provided Joyce with hints for the Nausicaa
chapter of Ulysses. It is named in the Wake as 'a she be broughton,
rhoda's a rosy she' (569.33). Herbert Gorman tells how Joyce used to
'demand old editions of Kickham, Griffin, Carleton, Banin, Smythe'.1
But we are not told whether he ever received any of the old editions he
wanted; the weight of evidence seems to be against it, for none are ever
mentioned as arriving, none were in his 'Personal Library' which is
now at Buffalo, and very little use is made of them beyond the citing of
titles and authors' names. Kickham, for example, is named once in
'kickhams a frumpier ever you saw' (208.3I).
Just as there is a passage in the Wake where the names of historians
are concentrated so there is a passage where the Irish novels are mentioned most frequently. It is the passage beginning 'Allwhile, moush
missuies from mungy monsie ... son of Everallin' (228.3), and ending
with a summary of Ulysses, 'Ukalepe. Loathers' leave. Nemo in Patria,
The Luncher Out. Skilly and Carubdish. A Wandering Wreck. From
the Mermaids' Tavern. Bullyfamous. Naughtsycalves. Mother of
Misery. Walpurgas Nackt' (229.I3).
The background of the passage describes how Joyce left Ireland and
went to ZUrich. 'Paname' is the argot name for Paris, 'Turricum'
(228.22) is from the Latin name for ZUrich, 'the Paname-Turricum' is
the train from Paris to Zurich for which Joyce has a farecardobviously a German ticket. Titles of Irish novels are woven into this
background. 'Unkel Silanse' (228.I7) is Uncle Silas, by Sheridan Le
Fanu. 'Rovy the Rover' (228.24) is William Carleton's Rody the Rover.
'Knockonacow and a chow collegions' (228.32) are Charles Joseph
Kickham's Knocknagow and Gerald Griffin's The Collegians. 'Gheol
Ghiornal' on the next line, followed by 'foull subustioned mullmud',
combines John Mitchell's Jail Journal with Oscar Wilde's De Profundis,
to which the key is given by the reference to Sebastian Melmoth, the
1
94
OSCAR WILDE
95
96
BERKELEY
97
7
98
WILLIAM CARLETON
Much more
unOOl:taIlt
roo
Carey.
But see Appendix, p. 247, Douglas, Norman.
101
102
103
Many other Iris!, writers remain to be dealt with. Four are named
together as 'gumboil owrithy prods wretched some horsery megee plods
coffin acid odarkery pluds dens fioppens mugurdy' (231.13). They are
John Boyle O'Reilly, Thomas D'Arcy McGee, Kevin Izod O'Doherty
and Denis Florence MacCarthy,. and are described in A Skeleton Key
as 'second rate American journalist poets of the nineteenth century'. 3
Two of them did end their lives in America, but a[ were born in Ireland,
and it is as Irish minor poets that Joyce is thinking of thenl. What he is
saying in this passage is that perhaps his own writing is no better than
theirs was; and it is for this reason that he points out, and exaggerates,
their inferiority by bitterly distorting their names. On the very next
See above, 'The Manuscripts" and below p. 246.
Macdonald, Diary, p. 27 8
8 A Skeleton Key, p. 127, note I.
I04
1 05
Wake
The quotations from Joyce's earlier works are not numerous but seem
to have been chosen with Joyce's usual care; his aim, in this case,
being to provide at least one example of everything he ever wrote. This
was to be expected; for if Finnegans Wake was to contain references to
all the important Irish books it must contain references to all the works
of James Joyce. The earliest of these works is wb..at he described in a
letter to Miss Weaver as 'a piece of sentimental poetry ... I actnally
wrote at the age of nine: "My cot alas that dear old shady home ...".'1
This becomes 'My God, alas, that dear olt tumtum home . . .' (231.5).
The most noticeable references are those to Dubliners. The title of the
work can hardly be distinguished from the usual meaning of the word,
which occurs frequently in the Wake, but 'dabal take dabnal' (I86.IO)
probably refers to the book, for it comes on a page where a list of the
titles of the stories in Dubliners begins. These are, in the order in wblch
they occur: 'The deathfete of Saint Ignaceous Poisonivy, of the Fickle
Crowd' (line 12) Ivy Day in the Committee Room. 'Sistersen' (line 19)
Sisters. 'Foul clay in little clots' (line 23) Clay. 'Wrongcountered'
(line 24) An Encounter. 'Eve1ing' (line 24) Eveline. 'Boarde1house'
(line 34) The Boarding House. 'Grazious' (line 31) Grace. 'After the
grace' (line 34), Grace, and After the Race. On page 187 there are: 'The
painful sake' (line 3) A Painful Case, 'Countryports' (line 7) Counterparts, 'The dead' (line 10) The Dead, 'Arra..'lbejibbers' (line II) Araby,
'Two gallants' (line 12) Two Gallants, and 'What mother?' (line 15) A
Mother. This accounts for all the stories except A Little Cloud which is
1 Letters, p. 295. Letter dated '22 November, 1930'. This letter was first
published ill Envoy, V, 17, May !95 1, p. 57.
!06
107
Des
:1
][08
I90.
109
Gorman lists what he describes as 'Joyce's father's library'-a somewhat grandiloquent name for four books. They are: Edward George
Bulwer-Lytton, Pelham, or the Adventures of a Gentleman. Francis
Edward Smedley, Harry Coverdale's Courtship. Jonah Barrington,
Memoirs of My Own Times, and Joseph Sheridan Le Fanu, The House
by the Churchyard. The list should be of importance, for Gorman can
only have obtained it from Joyce who must have remembered these
books all his life. But, like many of the bibliographical aids to the study
of Joyce's reading, it gives little real help. One of the books, Harry
Coverdale's Courtship, does not seem to have contributed a single word
to the Wake. Barrington is named with Jonah Whalley as 'Barrentone,
Jonah Whalley' (536.32) and would be Joyce's source for 'Borumborad'
(492.22), an Irishman named Patrick Joyce, who masqueraded under
this name as a Turkish doctor with such success in Dublin that he
persuaded the Irish government to provide funds for building a Turkish
bath. Barrington describes a famous incident when a large number of
prominent Dublin citizens fell into the bath. 'To see what was my
watergood' (492.24), following the mention of Borumborad, probably
refers to this accident. Pelham may be the original source of the mysterious character of 'the Russian General' in the Wake, for it contains a
Russian General who i.s once mentioned abruptly as a person whose
1 Marvin Magalaner and Richard M. Kain, Joyce, the Man, the Work, the
Reputation, 1956, p. 30.
HO
'10
III
CHAPTER 4
!l4
:us
u6
II7
!I8
Letters, p. 273.
II9
122
A Cens'us, p. 124.
H. G. Wells, 'James Joyce', New ""lou!.',,",
March 10, 1917, pp. 15I-60.
Conversation in the "Circe"
Mackie L. Jarrell, 'Joyce's "Use of
episode of Ulysses'. PMLA, Vol.
1957, p. 551. The Swift
quotation is from The Drapier's
ed.
Davis. Oxford University
Jarrell for sending me a copy of this
Press, 1935, p. 79. I am grateful to
pap':r.
1
2
123
CHAPTER S
124
125
In this verse HUt"11pty Dumpty and Dublin are put into apposition as
being, grammaticaJ.1y at least, more or less the same thing. This seems
very odd, but in spite of its oddity a similar thing has happened before.
1
sP34
!26
128
p. I64.
See below, pp,
191-200,
Alice in Wonderland:
, "Give your evidence," said the king.
"Shan't!" said the cook.'
St. John Ervine, Parnell, p. 27I.
See Letters, p. 24I. Joyce spelled the name Irvine, and it is so indexed.
134
135
220.
This book is
ClLI\.PTER 6
The Fathers
'postmantuam glasseries from the
lapins and the grigs' (II3.Z)
137
ST.
THOMAS AQUINAS
THE FATHERS
silent for the rest of his life. "But low, boys low, he rises shivering .. .
Ephthah! ... Examen of conscience . With his tumesquinance .. .
No more singing all the dags in his sengaggeng ... Trinitatis kink had
mudded his dome ..." (240.5). The theme is as usual, intertwined with
another. But as far as it concerns St. Thomas it can be paraphrased as:
'Behold he rises, shivering, having had his sins forgiven (been shriven);
his eyes are opened (Mark 7:34); like St. Thomas Aquinas he will sing
no more, having been stunned to silence by a vision of the Trinity. The
'singing' refers to St. Thomas's importance as a composer of the words
of hymns.
He comes again, this time with his Summa, when the Gracehoper
'makes the aquinatance of the Ondt ... these mouschica1 unsummables'
(4I7.8). There is here a distinction being made between Aquinas the
poet and Aquinas the theologian; but the Mookse claims to know the
Summa for he says: 'I bet you this dozen odd, Quas primas-but 'tis
bitter to compote my knowledge's fruetos of. Tomes' (I55.20). The
dozen odd describes reasonably the number of volumes (tomes) of the
Summa which the Mookse is deciding not to use. 'Tomes' also includes
the name Thomas. Quas primas is the beginning of an argument from
the Summa. The Mookse goes no further-and 1 think that the reason
he goes no further is that Joyce wished to suggest the entire Aquinan
view of life rather than any specific statement. But it is, I think, true to
say that this is the only place where the Summa is mentioned in the
Wake. This is surprising when one remembers the display that Joyce's
Stephen made of his knowledge of the Summa in A Portrait. But the
conclusion to be drawn from a recent hook entitled Joyce and Aquinas,
by William T. Noon, S.J.,l is that this might be expected. For Father
Noon's conclusions may be summarized briefly as follows: Joyce never
had any formal instruction on the works of Aquinas; but his entire
education was given in an atmosphere suffused with the ideas of
Aquinas; so that, in his early years, Aquinas was for him the most
important philosopher-to whom lip-service must be paid-yet,
throughout his life, he had little. real knowledge of Aquinas's works,
although he always referred to him with familiarity. And his works are
based upon-or revolting from-the philosophy of Aquinas simply
because this is the basic philosophy of the Catholic religion in which
Joyce was nurtured. Those who are interested in Joyce's use of Aquinas
must certainly read Father Noon's book. There is nothing of any
importance that I can add to it.
1
William T. Noon, S.J., Joyce and Aquz'nas. New Haven: Yale University
Press, I957.
139
ST. AUGUSTINE
140
THE FATHERS
been frequently pointed out. But I doubt if Joyce took either of them
from its original source. One is '0 felix culpa', the famous oxymoron on
the fall of Adam, which he must have been taught in school. The other
is'Securus iudicat orbis terrarum', which he probably took from Cardinal
Newman's Apologia Pro Vita Sua, where it occupies a commanding
place-for it is quoted in the paragraph describing the crucial point of
Newman's conversion:
'Who can account for the impressions that are made on him? For a
mere sentence, the words of St. Augustine, struck me with a power
which I had never felt from any words before. To take a familiar
instance, they were like "Turn again, Whittington" of the chime; or
to take a more serious one, they were like t..he "Tolle, lege; tolle, lege"
of the child which converted St. Augustine himself. "Securus iudicat
orbis terrarum". By these great words of the ancient Father, interpreting
and summing up the long and varied course of ecclesiastical history, the
theory of the Via Media was immediately pulverized.'
It is certain that Joyce had read this for he admired Newman and
once wrote to Miss Weaver1 'that nobody has ever written English prose
that can be compared with that of a tiresome footling little Anglican
parson who afterwards became a prince of the only true church'. Having
read it he probably looked up the quotation in one of his dictionaries
of quotations, and then went on to read St. Augustine's Contra Litteras
Parme-aiani, to which the reference books would direct him. But the
context to which the sentence belonged in Joyce's mind was still the
paragraph in Newman's Apologia.
The Oxford Dictionary of Quotations gives the meaning of the sentence 'Securus iudicat orbis terrarum' as 'The verdict of the world is
secure'. Professor W. Y. Tindall, who in James Joyce, His Way of
Interpreting the Modern Word, notes the quotation but not its connection
with Newman, points out that in its context-in St. Augustine's workswhich is about exiles, it could be translated 'The calm judgment of the
world is that those men cannot be good who in any part of the world
cut themselves off from the rest of the world.' This notion that the
majority is always right cannot have met with Joyce's approval. As an
Ibsenite he believed that the majority is always wrong, as a Berkeleian
he believed that truth is subjective, and as an exile he went his own way.
It is not surprising then that he gave careful attention to the sentence
responsible for the conversion of his favourite prose writer and the
Father-Founder of his university. As a 'Seeker of the nest of evil in the
1
I42
THE FATHERS
explains the seeming paradox of an all-perfect, all-loving, and omnipotent God creating a world in which sorrow and pain exist. Joyce,
whose besetting sin was pride, refused to accept this explanation and
placed the responsibility for original sin upon God. He saw God as a
figure very like his own father: erring, irascible, lovable; and in Finnegans
Wake he amuses himself by creating a mock theology in which his father
is enthroned as God. As Gibbon put his footnotes into 'the decent
obscurity of a learned language' so Joyce, who accused himself, under
the pseudonym of Slingsby,l of 'making literature safe for obscenity',
could develop his theme in safety in the language that only he had
learned. That God should have sinned was necessary for his cyclic
theories too; everything happens over and over again. H.C.E:s sin is
darkly spoken of but, as all the exegists of the Wake are agreed, it
includes indecent exposure, The relevant texts in the Old Testament
are Genesis 16:13 and Exodus 33:23. It is, as Joyce says several
times, a 'supreme piece of cheeks' (564.I3), 'meaning complet manly
parts during alleged act of our chief mergey margey magistrates'
(495.28). Joyce claims in fact 'to uncover the nakedness of an unknown
body in the fields of blue' (96.30). Other aspects of the continually
repeated fall will be dealt with in a later chapter on the Sacred Books.
ST. JEROME
I43
THE FATHERS
I45
IO
THE FATHERS
would be impossible to give a complete explanation of any phrase in
the Wake without giving an explanation of the entire book. The spelling
of the Latin proverb that Joyce quotes is distorted to provide allusions
to Ugolino from Dante's Inferno (Canto XXXIII), and to Dan Leno
from the Victorian Music-hall, as well as to the Latin for a bawdyhousekeeper. And there are probably other meanings that I have not
discovered.
The date that is being asked about in this passage turns out to be the
nth of November, Armistice Day: 'The uneven day of the unleventh
month of the unevented year, at mart in mass' (517.33); and the feast
of St. Martin or Martinmas Day which used to be celebrated in Naples
as the feast of cuckolds.1 But 'They did not know the war was over and
were only berebel1ing or bereppelling one another by chance or necessity with sham bottles' (518.I9); and what year is being indicated I do
not know. Joyce, as an Irishman, seems to be taking the Celtic side in
the Paschal controversy and wants to reverse the decision of the Synod
of Whitby. In fact he wants to found a church of his own, a church
-as he suggests-founded not upon the rock but on the shamrock.
This joke is repeated frequently in the Wake, beginning on the first
page with 'Thuartpeatrick' which combines the Tu es Petrus with
'Thou art Patrick', and sounds like 'Thou art Pete trick'.
Many Church controversies art: revived in the Wake. The fable about
'The Mookse and the Gripes' (152.15) combines an argument about the
'Old Catholic' controversy of 1870 with one about Pope Adrian IV's
bull, 'Laudabiliter' (154.22), which gave Henry II temporal rights over
Ireland. The names of many popes are mentioned in this passage, and
many of them are also Doctors of the Church (Leo and Clement, for
example) but if there are any quotations from their works I have not
been able to :find them. St. Ambrose's name comes once-'with
Ambrosian Eucharistic joy of heart' (605.29)-which may be meant as
a reference to his Prayer before Mass.
THE HERETICS
147
2I7,
note 2.
I48
2I4.
CHAPTER 7
150
153
I54
155
DION BOUCICAULT
I57
riSin).
Fanny: I remember, he escaped from prison the day before his execution.
Sean: True for you, Miss. He couldn't very well escape the day after.
The boys had planned the means of it, but couldn't give him the office,
because no one was let in to see the master, barrin' they were searched,
and then they could only see his face in a peep hole in the door of his
cell.
Fanny: Did Arrah succeed in conveying to him the necessary intelligence?
Sean: She did. Being only a dawny little creature that time, they didn't
suspect the cunning that was in her; so she gave him the paper in spite
of them and under the gaoler'S nose.
Fanny: How so? You say they searched her? Did they not find it?
Sean: No Miss, you see they didn't search in the right place. She had
rowled it up and put it in her mouth, and when she saw her fosterbrother she gave it to him in a kiss.
Arrah: And that's why they call me Arrah-na-Pogue.
This is the scene to which Joyce's four old men are referring when
they speak of 'the good old days of Dian Boucicault, the elder, in
Arrah-na-Pogue, in the otherworld of the passing of the key of Twotongue Common' (385.2). The last words of the Wake: 'Lps. The keys
to. Given!' derive much of their meaning from the same source. A
meaning which can be expressed quite simply as that it is Love which is
the basis of our existence.
The symbol taken from Boudcault-the passing on of a message from
a woman to a man by a kiss-was used by Joyce in Ulysses. It is significant that it was seed-cake that Molly put into Bloom's mouth from her
own. Boucicault's Sean uses the same image in his first scene with
Arrah: 'There's a griddle in the middle of your own face> Arrah> that
has a cake on it always warm and ready to stop a boy's mouth:
ISS
I60
A ROYAL DWORCE
It is unlikely that Joyce ever read W. G. Wills's once popular play
A Royal Divorce. Indeed it is almost certain he didn't for no printed
copy seems to exist, and when-having noticed that the title of the play
is quoted ten times in the Wake-I decided that I must find a copy I
only succeeded because the authorities of the Cohen Library at Liverpool University were kind enough to have photostats made for me from
the manuscript copy deposited, for copyright purposes, in the Lord
Chamberlain's Office. But I have had the pleasure of speaking to several
people who saw the play which seems to have been presented all
over the British Isles, and frequently in Dublin until just after the end
of the First World War. The company concerned was owned by W. W.
Kelly who played the leading part of Napoleon to his wife's Josephine,
and is named twice in the Wake (32.29; 383.33).
161
II
SHAKESPEARE
Finnegans Wake.'2
This idea of a reservoir could, perhaps, be extended to apply to all
Shakespeare's plays. They are, after the Bible, the largest collection of
well-known quotations and so invaluable to Joyce who used quotations
meaningfully distorted as one of his methods of saying two things at
once. Quotations from Shakespeare could be made to convey not only
their original meaning, beneath Joyce's mutation, but also something
1 The
Ibid., p. 743.
IZ,
r65
Part III
CHAPTER 8
169
p.
2;0.
A Census, p. 26.
See Appendix, p. 28I, Speke.
171
As I have already pointed out Joyce had the strange idea that he
could absorb or subsume other books into his own simply by quoting
their titles. Perhaps, as I have suggested earlier,! he believed that he was
taking them over in the same way that the primitive people described
by Levy-Bruhl believed that a writer could carry off their buffaloes
by including them in a book. Joyce carefully included in his book the
titles of all the books of the Old Testament.1! He did the same thing
with the titles of all the suras of the Koran, and M. J. C. Hodgart has
discovered that he includes in the Wake not only the titles but also the
airs and first lines of all Moore's Melodies. s The citation of the titles of
Biblical books begins very early in the Wake immediately after the first
three paragraphs that serve as a sort of overture. It is 'Bygmester
Finnegan, of the Stuttering Hand' (4.18), the eponymous hero of the
See above: 'The Structural. Books'.
See the Appendix to this chapter.
Mr. Hodgart has written a book on The Songs in Finnegans Wake, in collaboration Vl1th Mrs. l\1abe1 Worthington, which is awaiting publication.
I72
1
able in his rushlit toofarback for messuages before jo~huan judges had
given us numbers or He1viticus committed deuteronomy (one yeastyday
he sternely struxk his tete in a tub for to watsch the future of his fates
but ere he swiftly stook it out again, by the might of moses, the very
water was eviparated and all the guenneses had met their exodus so that
ought to show you what a pentschanjeuchy chap he was!' (4.19). The
passage includes the names of the first seven books of the Bible, the
name of Moses, and a distortion of the word 'pentateuch', as well as
references to Swift and Switzerland that do not concern us here.
It will be noticed that the word Genesis has been mutated to suggest
Guinness's. This trope is repeated two pages later in, 'With a bockalips
of finisky fore his feet. And a barrowload of guenesis hoer his head'
(6.26). After this the two themes divide and go their separate ways.
But when Finnegan is laid out the corpse begins-has its head-under
Genesis with the barrow representing a funeral barrow. It ends-has
its feet, or has 'finisky'l-after the Apocalypse. This symbolizes the
way in which the Bible is used in the Wake. Every aspect of the life,
death, and resurrection of Joyce's hero is linked in some way with the
Bible. I do not think that there is a single incident in Genesis which
does not have an echo in the Wake. Indeed, the events of the book of
Genesis can be taken as some of the first cycles of the history of the
world according to Joyce's ever-returning cyclic version of history. The
Fall in Genesis is the type of all falls, and-as has been pointed out2the Fall in the Wake is the cause of creation. I have used the singular
for Fall because according to Joyce's peculiar philosophy all the falls are
the same one. He quoted a sentence from De Quincey's The English
Mail-Coach to Frank Budgen which supports this idea: 'Even so in
dreams, perhaps, under some secret conflict of the midnight sleeper,
lighted up to the consciousness at the time, but darkened as soon as all is
finished, each several child of our mysterious race completes for himself
the treason of the aboriginal fall.'3 But Budgen, who must have had the
quotation from Joyce, omits the words v.hich I have italicized: the
treason of. These would not fit in with Joyce's theory according to which
1 'Finisky' is a typical word in the Wake. In its context it suggest whiskey.
Examined more closely it is finis, end, with the Russian suffix for 'son of'. It
says 'Finn is sky'. It is 'Phoenix' or Fionn Uisge-the self-resurrecting bird or
a clear spring of water, but in either sense Dublin's great park. Finally it could
mean, 'The sky is ended'.
See above: 'The Structural Books'.
3 Frank Budgen, James Joyce and the Making of Ulysses. London: Grayson
& Grayson, 1934, p. 294.
173
I77
I!l
178
I79
APPENDIX
The Books of the Bible according to the Authorized Version with the
pages on which each is !l.lmled in Fmnegans Wake.
Genesis
Exodus
Leviticus
Numbers
Deuteronomy
Joshua
Judges
Ruth
Samuel
Kings
Chronicles
Ezra
Nehemiah
Esther
Job
Psalms
Proverbs
Ecclesiastes
Song of
Solomon
Isaiah
Jeremiah
Lamentations
4, 6, 30 , 30 9, 350
4,222.
4
4,86,290.
4,478
4, 33, 53, 550
4,242, 26 3.
192, 257, 596.
93,222.
26,87,242.
240,254.
II6.
32
69, 32 7, 4 1 3.
37,563.
163,391.
242,39 0
38 ,5 I 4
344
With Issy?
229, 572, 537.
100.
Ezekiel
27,37.
Daniel
468,541 .
Hosea
553
(?) 460.
Joel
Amos
550
Obadiah 53 1.
Jonah
463,537.
Micah
153
Nahum
241 .
Habakkuk II6.
Zephania 492
Haggai
(?) 156.
Zechariah 580 .
Malachi
4,86,473
Tobias
580.
Matthew *223,254, "'476, etc.
Mark
*253, *256, etc.
Luke
*290, *325, etc.
John
*367, *377, *397, etc.
Epistles
374
The Acts 222.
Apocalypse 6, 242, 364, 455.
Apocrypha 242.
180
CHAPTER 9
r82
183
CHAPTER
10
The Liturgy
3 Ibid., p. 35:.
Ibid., p. 351.
THE LITURGY
true, indeed the authors of A Skeleton Key had previously pointed out
Joyce's use of a part of the Mass of the Pre-Sauctified.1 This is the
'Improperia' or 'Reproaches'. Shaun says, 'Impropedal! I saved you
fore of the Hekkites aud you loosed me hind bland Harry to the burghmote of Aud Dub .. I brought you from the loups of Lazary aud you
have remembered my lapsus laugways' (484.20). The 'Improperia' that
are being parodied begin, 'Because I brought thee out of the land of
Egypt, thou hast prepared a cross for thy Saviour.' There are thirteen
similar reproaches each followed by the repetition, first in Greek, then
in Latin, of the Trishagion:
'Agios 0 Theos.
Agios ischyros.
Agios athauatos.
Sauctus Deus.
Sauctus fortis.
Sauctus immortalis.'
Neither Kenner nor the authors of A Skeleton Key seem to have noticed
that Joyce makes a travesty of this as, 'Haggis good,
strong,
haggis never say die' (456.9). This is, of course, one of the mauy
quotations that would have to be ignored by auyone claiming to pr()ve
that Joyce was a devout Catholic treating the Mass with respect. But
the Mass that is being quoted in the Wake does seem to be the Mass for
Good Friday as Joyce suggests in the sentence, 'You never wet the tea'
(585.3 1 ).
But there are mauy phrases quoted from the Mass which do not fit
with this particular day. For example, 'a laddery dextro' (I96.14)
suggests 'a latere dextro' which is a phrase from the autiphon for
Paschal time: Vidi Aquam. And I can see no particular progression in
the scraps of quotation from parts of the Mass that occur in the Wake.
In fact I would say that Joyce simply quotes from the Mass whenever a
quotation seems apposite without bothering about any correspondence
of the Wake, as a whole, with the Mass. To show the kind of thing that
happens I will list here some of the more obvious quotations in the
order in which they occur in the Mass.
Introibo ad altare Dei
Spera in Deo
Gloria Patti ... et in
saecula saeculorum
Adjutorium nostrum in
nomine Domini
Gonfiteor
1
mea culpa
mea maxima culpa
Introit
Kyrie
Gloria
Epistle
Gospel
Munda cor meum
Credo
Offertory
Consecration)
Qui tecum. vivit et regnat 'Quick take um whiffat andrainit' (414.I3)
Preface
'the prefacies' (347.21)
Sursum corda
'Sussumcordials' (453.26)
Gratias agamus
'gratiasagam' (93.15); 'Grassy ass ago'
(252 . 1 3)
Scmctus
Consecration
Pater Noster
186
THE LITURGY
of his work would expect. In fact I consider it certain that he was
carefully avoiding setting up any such pattern. And the quotations are of
such a flippant nature that it seems unlikely that Joyce is speaking for
himself in making them. The temptation to suppose that an author is
saying something because he makes one of his characters say it is
particularly strong in Finnegans Wake where it is not always clear who is
supposed to be speaking. But it is certain that the most irreverent
travesties of the words of the Mass are all made by Shaun, whose
character they help to define, although they are not very different from
the parodies still recited by altar-servers off duty.
The parodies of the Lord's Prayer are much more complex, but can
be divided into two kinds. Sometimes Joyce does not seem to be concerned with the meaning of the words for which he is substituting his
own. For example: 'haloed be her eve, her singtime sung, her rill be
run, unhemmed as it is uneven' (14.2) is using the original in the way
that Joyce often uses the words of songs-simply to give him an
interestiug rhythm and a vague suggestion of the tone of the original.
'Bring us this days our maily bag' (603.7) is another parody that seems
to have no connection with its source except its rhythm. The other type
of parody derives its meaning from Joyce's conception of God as the
first committer of original sin. 'Ouhr Former who erred' (530.36) is a
clear example of this. 'Oura vatars that arred in Himmal' (599.5) says
the same thing less distiuctly. 'Foughtarundser' (78.16) turns the
German Vater unser into a warrior God. Always the father-figure seems
to include H.C.E. and many other people as in 'the grasping one, the
kindler of paschal fire; forbids us our trespasses as we forgate him'
(128.33), which also brings in St. Patrick. Joyce is forced to use these
distortions by his theories about creation. 'Who trespass against me?'
(587.3) is a question asked by one of the three soldiers to which the
answer is 'our grainpopaw, Mister Beardall, an accompliced burgomaster'. It is a part of the accusation against H.C.E. for the crime
which had to be committed afresh in each era.
Joyce, who described himself as being 'in honour bound to the cross
of your own cruelfiction' (I92.18), applied his axioms ruthlessly to every
era. For the Christian era the sin he imputes is the same symbolic incest
that he accused Lewis Carroll of, and he makes the accusation clearly
enough in such statements as 'maker mates with made (0 my!)' (261.8).
Joyce also uses the Angelus to advance this theme in such phrases as
'behose our handmades for the lured' (239.10) which is intended to
suggest 'Behold the handmaid of the Lord' and to connect this era with
that of Ancient Egypt which is discussed later. He goes further than
187
THE LITURGY
(Roman Catholic) liturgy, the language of which is Syrian is at the
back of it. On Good Friday the body of Jesus is unscrewed from the
cross, placed in a sheet and carried to the sepulchre while girls dressed
in white throw flowers at it and a great deal of incense is used. The
Maronite ritual is used on Mount Lebanon. Ab [Shaun] departs like
Osiris the body of the young god being pelted and incensed. He is seen
as already a Yesterday (Gestern, Guesturning back his glance amid
wails of "Today!" from To Morrow (to-maronite's wail etc.). The
apostrophe balances the hyphen guesturn's, To-maronites.
'This censing scene is led up to by:
licet ut libanos =this may be used as incense (libanos is Greek for
incense)
the "libanos and the sickamours and the babilonias etc" of Issy's
rambling remarks. [In the final version this is now 'the libans and the
sickamours, the cyprissis and babilonias, where the frondoak rushes
to the ask' (460.22). It is ten pages away from the passage it introduces.]
'The choir of girls splits into two=those who pronounce Oahsis
and those who pronounce Oeyesis (cf. Our Father who/which art
etc). The Latin is "Quasi cedrus exaltata sum in Lebanon etc" see
A.P.O.T.A.A.A.Y.M. Belvedere College chapter. There are in all 29
words in the threnody 6X4=24 and the final 5=29 (Tu autell,
Domine, misere nobis!)'l
I have quoted these lengthy extracts from Joyce's letter because it
shows, more clearly than any of Joyce's other explanations, the extraordinary lengths that he went to in complicating the text of his book,
and the extraordinary demands he makes on his readers' memories.
It also shows that Joyce always provided his readers with the necessary
key. The words 'to-maronite's wail' (470.14) point out the connection
with the Maronite ritual, and should send those of Joyce's readers who
are prepared to play Joyce's game to study the Maronites in their
reference books. The idea may appal some people-but there it is.
Finnegans Wake was written for people who find books interesting,
and are prepared to search around in libraries for particular pieces of
information. I do not, however, suppose that Joyce expected anybody
to notice the numerical structure of the passage he annotates. It is an
extra grace-note to please the author, and anyone who happened to
notice, which he disclosed to his patron. There are many such embellishments in the Wake. For example Book II, Chapter 3, begins with a
phrase: 'It may not or maybe a no concern of the Guinesses but' (39.1).
1
189
190
CHAPTER II
rank Budgen was the first to point out that Joyce had made use
of The Book of the Dead. This was in an article entitled 'Joyce's
Chapters of Going Forth By Day',! a title which quotes the
'common name for the Book of the Dead in the Theban period . .
coming forth from the day.'2 He wrote that, 'Many philosophies flit
mothlike with characteristic words across the pages of Firmegans Wake,
and ancient ritual books and compilations, particularly the Norse Edda
and the Egyptian Book of the Dead, are constantly recurring themes.'3
But he does not tell us much about the use Joyce makes of The Book
of the Dead. Harry Levin, who is usually the most informative of the
Joycean exegetes, appears to suggest a parallel in the words, 'Joyce's
book of the dead calls upon the O'Learys and the Finnegans and all
good Irishmen to awake and come forth by day. "Irise, Osirises!" '4
But this is the only reference to The Book of the Dead in Levin's tightly
packed guide to Joyce's sources and intentions. The authors of A
Skeleton Key are much more helpful in this respect and point out five
places in the Wake in which there are references to, or quotations from,
The Book of the Dead. s Joyce himself seems to have decided that there
was a seriolls omission in the list of authorities and source-books
compiled by Beckett and the rest in An Exagmination, for he wrote to
Miss Weaver, 'To succeed 0 [His symbol for An Exagmination] I am
planning X, that is a book of only four long essays by 4 contributors
(as yet I have found only one-Crosby-who has a huge illustrated
Horizon, September 1941. Reprinted Givens, Two Decades, pp. 345-89.
E. A. Wallis Budge (Editor), The Book of the Dead, The Papyrus of Ani,
the Egyptian text with Interlinear Translation. The British Museum, I895,
1
p.=.
contain pictures of Kephera, a god in the form of a beetie, but one of its
chapters, XXXb, is described by Budge as having been 'inscribed on
numberless scarabs'.4 Joyce quotes this chapter in the Wake, as I will
show shortly. It seems likely that Joyce used the Papyrus of Ani, which
is the best and fullest copy of The Book of the Dead in the British
Museum. A large folio facsimile of this, edited by Sir E. A. Wallis
Budge, was published by the British Museum in 1890. It was probably
1
2
and Cahoon, A Bibliography of James Joyce, p. 77, where it appears that nine
years after publication Shakespeare & Co. disposed of unsold copies to Faber
and Faber and New Directions.
See E. A. Wallis Budge, Osiris & the Egyptian Resurrection. London:
The Medici Society, 1891, Vol. I, p. 283, etc.
4 The Book of the Dead, Facsimile of the Papyrus of Ani in the British Museum.
London: British Museum, r890, plate XV.
I92
1
i
I93
13
194
1927.1 Joyce uses the phrase 'Us, t.'he real Us' twice (62.26 and 446.36);
it translates nuk per nuk, '1, even 1', in the royal plural as it was used by
the Pharaohs in their inscriptions.
An important part of The Book of the Dead is known as 'The
Negative Confession'. There were two forms of this and Joyce gives
short quotations from each. The first version is introduced by the prayer,
'I know thee, I know thy name. I know the names of the two-and-forty
gods who live with thee in this Hall of Maati, who keep ward over those
who have done evil ... 1 have brought Truth to thee. 1 have destroyed
wickedness for thee.'2 This is followed by about thirty-eight statements
beginning, '1 have not .. .' The thirty-third statement is '1 have not
obstructed water where it should run.' Joyce has 'I have not Stopped
Water Where it Should Flow' (r05.24). This particular form of words
suggests that Joyce consulted Budge's Osiris and the Egyptian Resurrection for the rendering Budge gives in his Papyrus of Ani is 'I have not
turned back water at its season's which is less like the words in the
Wake. The other form of the Negative Confession has the deceased
addressing in turn, by their names, each of the forty-two gods who are
assessors of the dead. 'He had already told Osiris that he knew their
names and proceeded to prove it by saying the following:
I. 'Hail, Usekh-nemmet, coming forth from Anu,1 have not done
iniquity." This continued until forty-two gods had been addressed,
each concerned with a different sin. Joyce has, '0, lord of the barrels,
comer form from Anow (I have not mislaid the key of Efas-Taem), 0,
Ana, bright lady, comer form from Thenanow (1 have not left temptation in the path of the sweeper of the threshold), O!' (3II.II). 'Anow'
is clearly Joyce's mutation of Anu, the Egyptian name of a city which
the Greeks called Heliopolis. 1 have already pointed out that this gave
Joyee the connection he wanted between Anu and Dublin, the city of
Timothy Healy or 'Hea1iopolis'.
'Sure you'd only lose yourself in healiopolis now' (24.I8) Mr.
Finnimore is told in the passage which includes the reference to shabti
imagt:S. The connection between Dublin and Anu is strengthened by a
reference to 'when the fiery bird dis embers' (24.II); this must be the
phoenix, the bird of Dublin's park and-as 'Bennu', of the XVIIth
1 Tutankhamen is named at least eleven times in the Wake: 26.18; 29.28;
102.22; 242.18; 291.4; 295.8; 335.25; 367.10; 385.4; 395.23; 512.34. The discovery of his mummy seems to have been counted by Joyce as a resurrection,
so he is a type of H.C.E. and scattered evenly through the book.
2 Budge, Osiris, Vol. r, p. 338.
a Budge, Papyrus of Ani with Interlinear Translation, p. 196.
'Budge, Osiris, Vol. I, p. 340.
195
196
1
2
I97
fionn uisge of Phoenix Park once more, and it has now become magic
water which makes foolish people hear everything blend into one, or
perhaps it makes the deaf hear and become blind. Joyce's statement that
it is clear is ironically contrasting its name with the obscurity of its
history.
The scattering of the parts of the body of Osiris has many echoes in
the Wake, beginning on u"'1e first page when Finnegan 'sends an
unquiring one well to the west in quest of his rumptytumtoes' (3.20).
Later he is told that 'The whole bag of tricks, faIconplumes and jackboots incloted, is where you flung them that time. Your heart is in the
system of the Shewolf and your crested head is in the tropic of Copricapron. Your feet are in the cloister of Virgo. Your olaIa is in the region
ofsahuls' (26.10). This comes on the page after the address to the 'good
Mr. Finnimore' about the 'shabbty little imagettes'. Joyce blends the
Egyptian theme with all the other themes. Isis is identified with Izod
of Chapelizod in a sentence which follows, 'The headboddylwatcher of
the chempel of Isid, Totumcalmum, saith: I know thee, metherjar, I
know thee, salvation boat' (26.17). The formula '1 know thee' is from
The Book of the Dead, in which it is said to every obstacle on the way
to salvation.
The body of Osiris was not only divided, it was also eaten. Budge
thinks that there is some survival of cannibalism in the ritual of the
Ancient Egyptians.:!. But, as he says, the ceremonial eating of the god
is also connected with the identification of Osiris with wheat. 'The grain
which is put into the ground is the dead Osiris, and the grain which has
germinated is Osiris who has once again renewed his Iife.'2 This theme
constantly recurs in the Wake, and is-as might be expectedconnected with the Last Supper, the Mass and the Communion
Service. It is first mentioned in 'Grampupus is fallen down but grinny
sprids the boord. Whase on the joint of a desh? Finfoefom the Fush.
Whase be his baken head? A loaf of Singpantry's Kennedy bread
But,10, as you would quaffoffhis fraudstuff and sink teeth through that
pyth of a flowerwhite badey behold of him as behemoth for he is
noewhemoe. Finiche!' (7.8). On that occasion the eating of the fatherfigure seems to be a mere illusion. But in the section of the 'Questions
and Answers' Chapter that has 'Answer: Finn MacCool!' (139.14) we
are told that he is, 'figure right, he is hoisted by the scurve of his
shaggy neck, figure left, he is rationed in isobaric patties among the
crew' (133.2). A cannibal is mentioned in 'We rescue thee, 0 Baass,
1 Budge, Osiris and the Egyptian Resurrection, Vol. II, p.
Loc. cit.
292,
note
I.
199
1 See E. W. Budge, The Book of the Dead, English Translation. London: Kegan
Paul, Trench, Triibner & Co., 1938, p. lxili, note I.
2 With Klee, see above, pp. 52 and 84.
200
CHAPTER
I2
The Koran
'studding cowshots over the noran' (37.23)
oyee had, as I shall show, studied the Koran in some detail and
was probably talking about himself when he made his Shaun say
of his Shem: 'I have his quoram of images all on my retinue,
Mohomadhawn Mike' (443.I). On one level of meaning this can be taken
as saying that Joyce, who is jokingly calling himself a Mohammedan
Irishman-and a homadhaun, which is Irish for a lout-has all the
images from the Koran on his retina. This last word is also telling us that
the first European translation of the Koran was a Latin version by an
Englishman, 'Robert of Retina' -a fact which Joyce may have learned
from Hughes's Dictionary oj Islam, where Robert of Chester is so
named, and where the Koran is always given its Atabic spelling
Q;tr-an.
The Koran is divided into a hundred and fourteen chapters called
suras, each with its own somewhat quaintly-sounding title, such as Ant,
Bee, Cow, and so on, taken from some distinguishing word in one of
its verses, often the first word. The word sura is said to mean a row or
series of similar objects, such as a row of bricks; but it is never used for
anything except the chapters of the Koran. It occurs several times in
Finnegans Wake with its usual connotation. 'Surabanded' (492.28) is
probably intended to draw the reader's attention to the fact that Joyce
is weaving the titles of the suras into his text whenever Islam or the
Koran are being mentioned. The English titles seem to have been taken
from a table, set out in Hughes's Dictionary, which is reprinted at the
end of this section v.ri.th the addition of the numbers of the pages
in the Wake on which they are quoted.
Joyce occasionally quotes the Atabic titles and refers to a number of
them mockingly at one point: 'what though preferring the stranger, the
coughs and the itches and the minnies and the ratties' (488.33). 'The
coughs' are suras 50, I8, and 46: Qat KahJ, and AhqaJ. 'The itches' are
15 and 70: Hijr and Ma'arij (the letter J in Atabic has a sound like our
201
tch). 'The minnies' are suras 40 and 23: Mu'rmn and MU'minum. 'The
xatties' are 13 and 49: Ra'd and Hujurat. The basic meaning of the
passage seems to be that a man is foolish to leave his own home and his
own country to go seeking after strange gods amongst alien people
speaking a foreign tongue. ('The stranger' is still current Irish usage
for a man who is not Irish.)
Usually the titles are given in English, although two or three are in
Latin, and a few others may owe their English form to the fact that
Joyce owned a copy ou. C. Mardrus's French translation of the Koran.1
Mardrus's name is mentioned twice in the Wake, 'the Murdrus dueluct'
874.12) and 'the author, in fact, was mardred' (SI7.n). On both
occasions there is a strong suggestion that Joyce disapproved of
Mardrus's translation-a1though this may refer mainly to his Thousand
and One Nights, of which the Encyclopaedia Britannica says that it
'refers to no known original'. Professor Connolly tells us that only the
first thirty-two pages of Joyce's copy of the Mardrus translation had
been opened, so Joyce cannot have read very much-perhaps he only
used the list of chapter-titles.
But Joyce certainly read the Koran in some version, and a knowledge
of the contents of the sura which is being named is often needed to
understand his text. 'The grand ohold spider'2 (352.23) is a reference to
sura 29: Spider. This titl.e is taken from the words of verse 4I: 'The
parable of those who take guardians beside Allah is as the parable of
the spider that makes for itself a house .... Verse 43 of the same sura
reads: 'And as for these parables We set them forth for men, and none
understand them but the learned.' At about an equal distance down his
own page Joyce sticks out his tongue to retort: 'Dom Allaf O'Khorwan,
connundurumchuff.'
Lokman (367.I) is the Muslim prophet whose name is used as the
title of sura 31. He is best known for the admonition he gave to his son
on the respect due to parents, in the comse of which he told his son that
Allah knew all his acts, even to the weight of a grain of mustard seed
sunk deep into the earth. Joyce had little sympathy with such paternal
homilies and comments, 'And he grew back into his grossery baseness:
and for all his grand remonstrance', which seems to say that Lokman's
hortation was fruitless-it certainly turns his buried mustard seed into
a grocery business in the basement.
The first sura of the Koran, Fatihah, has to be recited every time a
Muslim says his prayers. There is a description of this being done at
the point where this surf. is named in the Wake. 'They say their salat
1
Connolly, p. 23.
THE KORAN
[salat is Arabic for prayer], the maidens' prayer to the messiager ofRis
Nabis (Nabi is Arabic-and Hebrew-for prophet] prostitating their
selfs .... Fateha. fold the hands. Be it honoured, bow the head' (235.1).
Folding the hands, bowing the head, and prostrating oneself are wellknown attitudes of Mohammedan prayer. <Ablution', which must
precede such prayer, is mentioned next. Then the prayer begins and
we are told: 'Their orison arises misquewhite [Arabic, masquid, a
mosque] as Osman glory, ebbing wasteward, leaves to the soul of light
its fading silence (alla-1ah-Iahlah lah!), a turquewashed sky.' The phrase
in parentheses is an echo of the Muslim call to prayer: La ilaha t1l-Allah,
'There is no god but God.' The titles of several other suras are woven
into the same passage. 'The Messenger' is sura 77, and Naba is the
Arabic title of sura 78. <Light' is sura 24; its Arabic title NUT is used by
Joyce elsewhere, together with an allusion to the contents of this sura,
in which it is written that God's light is like a lamp encased in glass.
No doubt this was a rich and shining image to the Arabs of the seventh
century, but it reminds Joyce of an electric light bulb: 'a 1ur of Nur,
immerges a mirage in a merror, for it is where by muzzinmessed for one
watthour .. bottlefilled' (310.24). It will. be noticed that there is an
error in the mirror, for the Koran is quoted only to be confuted.
Joyce's hostility to the Koran is shown in his reference to sura III,
Abu Lahab, or 'Flame'. This sura, one of the shortest, consists entirely
of a declaration that Abu Lahab shall be burned and his wife laden with
the wood for his pyre. Joyce gives the name and number of the sura
in his reply: 'and a hundred and eleven other things ... I will. commission to the flames' (425.31), and it may be significant to note that
Joyce quotes the titles of exactly one hundred and eleven of the hundred
and fourteen suras.
The passages of the Wake in which the suratie titles come thickest
al,o contain examples of Arabic or Turkish words-more often Turkish
than Arabic, perhaps because there was no dictionary of Arabic in our
alphabet and Joyce was restricted to the words he could find transliterated in his books of reference. A small group of Turkish words
comes at the end of the first chapter: shebi, likeness; adi, ordinary;
batin, belly; and 'hamissim' (29.33) which includes hamisen, fifthly.
Several more come in the pages just before the momentary appearance
ofLokman. 'Villayets' (365.I6) is vilayet, a province. Tara/means ends
or limits. 'A bad of wind and a barran of rain' (365-18) is an example of
a trope which Joyce sometimes employs with foreign words by which
the first word is translated by the second and also forms a part of a
phrase with a different meaning. Thus bad means wind, and baran
203
THE KORAN
Joyce parodies this twice. Once he turns it into 'In the name of Annah
the Allmaziful, the Everliving .. .' (104.1). Ana is the Turkish for
mother, mazi is Turkish for olden times and the past tense. On the next
page is a reference to 'the stream of Zemzem'. Zemzem, usually rendered
Zamzam, is the sacred well within the precincts of the mosque at
Mecca. Joyce may have taken it from Hughes, but the spelling suggests
that he consulted the earliest accurate account of it in English in the
'Preliminary Discourse' to George Sale's translation of the Koran
where we are told that 'The Mohammedans are persuaded that it is the
very spring which gushed out for the relief of Ishmael, when Hagar his
mother wandered with him in the desert; and some pretend it was so
named from her calling to him, when she spied it, in the Egyptian tongue,
Zem, zem, that is, "Stay, stay", though it seems rather to have had the
name from the murmuring of its waters.'l
The same passage in the Wake contains the phrase 'his Dual of
Ayessha' (105.19), which includes the name of Ayesha, the best-loved
wife of the Prophet. They were married when she was nine and he was
over fifty-a disparity in ages which gives one reason for the inclusion
of Mohammed in the Wake in which he forms one incarnation of the
figure of the old man with child lovers that dominates the book. The rest
of Mohammed's family are also named. 'Abdullah' (34.2) was the
Prophet's father, and the question 'Ibdullin what of Himana' (309.13)
contains a variant spelling of Abdullah, and an anagram of Aminah,
the name of the Prophet's mother. Fatima, Mohammed's daughter, is
mentioned twice by name-once as a type of Eve (25.31), perhaps
because all the 'Posterity of the Prophet' are descended from her; once
as an example of the transmitter ofa tradition (389.I5), for many of the
'Sayings of the Prophet' are said to owe their preservation to her
marvellous memory.
Mohammed is mentioned by name many times. It is significant of the
part he plays in the Wake that he is never allowed the exclusive use of
his own ~ame. One example is 'So saida to Moyhammlet and marhaba
to your MOW'lt!' (4I8.17). Hamlet is combined with Mohammed and
seems to combine the Shakespearian character with the words 'my
hamlet'. Saida is Arabic for 'Good evening', and marhaba Arabic for
'Good morning'. Saida also means 'said l' and includes the name of
Zaid, the prophet's adopted son who divorced his "TIe so that Mohammed could marry her: one said 'Good evening' while the other said
'Good morning!' The MOW'lt combines the mountain, that proverbially
l. George Sale (Trans.), The Koran. London: F. Warne & Co. [1891J, p. 9Z.
The first edition of this work was published in 1734.
205
Letters, p. 254. Letter dated '3I May 1927'. And see below, p. 227.
206
THE KORAN
shoulder which is variously described as a wart, a slight deformity, or
an organ of prophecy. H.C.E. is himself another incarnation of Finn
McCool, the giant. In a section describing Finn we are told that 'the
false hood of a spindler web chokes the cavemouth of his unsightliness
but the nestlings that liven his leafscrean sing him a lover of arbuties'
(131.18). This alludes to the legend that Mohammed hid from his
enemies in a cave, where he slept while a spider built its web across the
entrance and a bird laid its eggs on the ground before it, so that the
Prophet's enemies were certain that no one had approached the cave
for days, and did not look inside. When Shaun considers exile he
mentions Mohammed's legendary night journey on a winged horse to
Jerusalem. 'I'll borrow a path to lend me wings, quickquack, and from
Jehusalem's wall, clickclack, me courser's clear ... I'll travel the void
world over ... Break ranks! After wage-of-battle bother I am thinking
most ... You watch my smoke' (469.8). The 'wage of battle bother'
is referring to the division of the spoils after the Battle of Badr which is
described in the Koran in sura 8: Spoils. Ranks and Smoke are the titles
ofsuras 37 and 4I.
There are several aspects of Mohammed's life and character, apart
from the sexual prowess which seems to have been his main attraction
for Joyce, to suggest his inclusion a~ a type of the writer and creator.
He was an exile forced to leave home in order to continue his mission
and compose his book. He was a son who found, to his sorrow-like
Joyce's Stephen-that his religious convictions forbade him to pray
for his dead mother. But it was not so much Mohammed as his book,
the Koran, and its sums, 'the sure ads of all quorum' (312.34), which
attracted Joyce's attention as being, for millions of people, what he
wished his own book to be-The Book. At the same time Joyce's
dream-technique 'touring the no placelike no timelike absolent in his
sinegar clutchless' (609.1) has to include also all Mohammed's background, even introducing Ad, the legendary founder of the Arab tribes,
who is mentioned in the Koran. So the 'sure ads' are not only the suras,
whose titles tell us when the Koran is being mentioned in the Wake,
but also the twelve tribes of Arabs, confident in their faith.
The Koran interested Joyce not only because it is one <..fthe world's
major sacred books but also for a technical reason which made it useful
for his purpose; it is not only sacred but also extremely difficult to
interpret. Perhaps it has been the necessity of making a reputedly
infallible book conform with all the changing needs of Islamic civilization in successive centuries that has led to the growth of the intricate
science of Koranic exegesis, perhaps it is the intricacy of the Koran
207
(r) The words are of four classes: special, hidden, ambiguous, and
complex.
(2) Sentences are of two kinds: obvious and hidden.
(3) Obvious sentences may be clear, explained, technical, or incontrovertible.
(4) Hidden sentences may conceal a second meaning, may have two
obvious but incompatible meanings, may display a whole variety of
meanings, or may have no meaning that any human intelligence can
grasp.
(5) There are four levels of meaning. They are literal, figurative,
palpable, and metaphorical.
But this last point is subject, Hughes tells us, to debate; and he adds
that some Islamic scholars maintain that there are more than four
levels of meaning. The alternative usually put forward is seven, but
other larger numbers have been suggested.
This business of finding multiple meanings in a sacred book is an
ancient and reputable occupation for scholars which must have been
well known to Joyce. Several years have gone by since Professor Levin
first suggested in his pioneer book, James Joyce, A Critical Introduction,
that the four levels of meaning which Dante declared to be present in
the Divine Comedy were present also in Finnegans Wake. It now seems
certain that this is true; but with Joyce's customary 'toomuchness ...
fartoomanyness' (122.36), it also seems certain that there are more than
four levels, and that one of the purposes, and the results, of the slow
process of accretion that produced the Wake was the addition of more
and more levels to t.lle literal foundation.
This may not have anything to do with the use Joyce made of the
Koran. But, on the other hand, if Joyce heard of anything that could
be done with words he was likely to try doing it himself. Carroll's
Doublets are a good example of this. And if Joyce read the article about
Koranic exegesis in Hughes he would be certain to make use of it.
208
THE KORAN
Perhaps it is just by accident that the various types of words described
by Hughes appear in the Wake, but it is not impossible that the
intricacy of the levels in Joyce's book owes something to Hughes's
article.
In other, less important ways Joyce certainly used the Koran a good
deal. It may well be that the Koran (and perhaps also the Book of
Mormon) is being discussed when Joyce's washerwomen are 'dodwell
disgustered but chickled with chuckles at the tittles is drawn on the
tattlepage' (212.33). If so, the 'tittles' in this case are the suratic tides
and 'dodwell' includes J. M. Rodwell, a translator of the Koran. E. H.
Palmer, another translator, is named in the sentence, 'Like as my
palmer's past policy I have had my best master's lessons' (539.8).
His name may also be meant in 'Paddy Palmer' (254.10), as well as a
reference to St. Patrick. Sale may also be mentioned, as 'saale' (196.15),
but his name is a common word in more than one language.1
The Koran appears in several unexpected ways. Most surprisingly
it is referred to as if it were a telephone directory, or at least phone
numbers given in the Wake only acquire significance if they are taken
as being references to a chapter and verse of the Koran. For example,
we are told that the reason H.C.E. does not 'reach for the hello gripes
and ring up Kimroage Outer 17.67' (72.20) is because 'he thought the
rowmish devowrlon known as the howly rowsary might reform him'.
The double meanings of the last phrase are fairly obvious, but I can
suggest no meaning to 'Kimmage Outer 17.67' except that it is a
reference to the Koran, n:67, which is a verse addressed to Satan and
used as a protection against the devil: 'Verily my servants, thou hast no
authority over them: thy Lord is guardian enough over them.' And the
surrounding pages are full of references to the Koran, including the
tides of six suras. Another example is: 'that royal pair in their palace
of quicken boughs hight The Goat and Compasses ('phone number
17:69, if you want to know) his seaarm strongsround her, her velivole
eyne ashipwracked' (275.14). If this' 'phone number' is taken as a
reference to the Koran it gives us : 'And when a mishap befalleth you at
sea, they whom you invoke beside God are not to be found.' The Goat
and Compasses is a name sometimes found on the signboards of English
inns which is often said to be a corruption of 'God encompasses US'.2 SO
in Joyce's text at this point we have shipwreck and the all-embracing
presence of God to justify the quotation of the Koranic verse.
I suspect that there is another reference of this kind intended when
1
2
THE KORAN
lay dying. 'Before we lump down upown our leatherbed' is the sunset
prayer. The ownership of leather beds was one of the subjects of
discussion after the Battle of Badr and is mentioned in sura 8: The
Spoils. 'In the night' is the prayer when night has closed in; and the
last one, 'at the fading of the stars', is the prayer just before dawn.
This is to be said at 'the morning moment he could dixtinguish a white
thread from a black' (63.25). Even without the interspersed allusions
to things Islamic there can be no doubt but that this is meant to be an
account of the Islamic prayers; and it is significant that Joyce chose this
set of prayers to open Finnegans Wake. It disproves completely, I think,
the contention still being made in some places that Joyce remained to
the end a Catholic or even a Christian. What he seems to have been
attempting was some kind of blend of all religions-whether as equally
true or untrue is not so certain, but I incline to the belief that the former
was his view.
Joyce, like Carlyle, admired Mohammed for the statement he is said
to have made that the Koran was his miracle and that no other was
required to prove his mission divine. The Koran refers to the accusation
that Mohammed had forged the book. 'Or do they say he has forged it?
Then bring a chapter like this and ask who you can to write it besides
Allah!' (Ko. rO:38). Mohammed repeatedly challenged his detractors
to compose even one chapter like those of the Koran. Much is made in
the Wake of Shem's 'epical forged cheque' (r8I.r6), and Joyce's
interest in the topic of forgery has been discussed in the section on
manuscripts. But the important point here is that Joyce, who devoted
an entire chapter of Ulysses to proving that he could write like anybody
he wished to imitate, was not the man to let a challenge like Mohammed's go unanswered; and in one place in the Wake he seems to be
claiming that he has accepted Mohammed's challenge and defeated
him.
Since I first suggested this, some years ago,1 a book by David Hayman,
Joyce et Mallarme, has demonstrated conclusively that in this challenge
Joyce also includes Mallarme, whose Un Coup de Des is the Wake's
only rival in contemporary obscurity. Mallarme is never quite named;
but his name, by another of the innumerable accidents Joyce was so quick
to seize, combines easily with that of Mohammed-granted Joyce's
liberty of spelling any way he wished.
The action at the point we are now concerned with is a cross-talk
scene between two comedians Butt and Tw. They are discussing the
1 See 'Islam and the Koran in Finnegans Wake', Comparative Literature, VI,
3, 1954, p. 250.
2II
p.120.
212
THE KORAN
as the Christian champion, defeating Mohammed-and at the same
time Mallarme and Carroll, whose connection with this passage has
already been mentioned. On other levels the exposure theme is repeated
and the creative act becomes a defecation. 'I ups with my crozzier.
Mirrdo! With my how on armer and hits leg an arrow cockshock
rockrogn. Sparro!' This presents us with a picture of Joyce's heresiarchal crozier blasting the Mallarm6m symbols to bits, and reducing
his swan of poetry to a realization of its comparative insignificance;
Sparrow!
THE SURAS OF THE KORAN IN
Finnegans Wake
The first two columns are taken from Hughes's Dictionary of Islam.
Some of the titles are common words and no attempt has been made to
list all the occurrences of such words as 'night'. Page numbers in
ordinary figures refer to the English title; italic numbers refer to the
Arabic title.
Arabic
Fatihah
2. Baqaeah
I.
3. Alu' Imran
4.
5.
6.
7.
Nisa
Maidah
Amam
A'raf
8. Anfal
9. Taubah
10. Yunus
II. Hud
12. Yusuf
13. Ra'd
14.
Ibrahim
Mention in F. W.
English
Preface
Cow
235,347
63. 83, 90, 105, 243, 427,
444,445. etc.
The Family ofImran 3I6 (him .. Ran), 228?, 444
Women
173, 548, 58!, etc.
Table
26, 94, 127, 456, 462
Cattle
63,3 16,548
Araf
5 (arafata)
Eminences
. . his
494 (emanence
seventh)
Spoils
124
Repentance
231 ? (contrite attrition)
Jonah
245. 323, 35 8, 455
Hud
186, 285
Joseph
125,213.262,366, 5 I2 , 607
('fourth of the twelfth' indicates verse 4 of sura 12,
Joseph's dream)
Thunder
5, 52, 3 14, 488, 491, etc.
Abraham
78, 104, ro6, 307, 346, 570,
etc.
IS. Hijr
Rock
2I3
Bee
Children of Israel
Cave
!9. Maryam.
Mary
20. Ta Ha
21. Ambiya
T.R.
22. Haji
Pilgrimage
23. Mu'minin
24. Nur
25. Furqan
Believers
Light
Koran
27
16, ][31, 261, 365, 1.88,
586
27, 239, 265, 293, 309, 366,
440 ,49 2
443 TocH.=T.H.
29, 33, 50, 68, 240, 305
('He prophets most who
bilks the best'. Verse 5 of
this sura says: 'They say
it is a medley of dreams;
nay he has forged it.'),
307, etc.
51, 62, 3I2, 347, 472, 483,
533,57 I
352 , 4 88, 49 1
2I4,31O
Beekeeper.
Prophets
Shu'ara
Naml
Qasas
'Ankabut
Rum
Luqman
Sajdah
Ahzab
Saba
Mala'ikah
Ya Sin
Saffat
Sad
Zumar
Poets
Ants
Story
Spider
Greeks
Lokman
Prostration
Confederates
Sheba
Angels
482
18, 197, 340, 5I6, 579
12, 28, 35, 63, etc.
108, 131, 244, 352
6, II, I7, 243, 28I, 620
367
235
84,349
68, 198
90, 238, 482, 605
270 (ya, in), 605
y.s.
Ranks
S.
Troops
4 69
THE KORAN
301 , 352, 488, 49 1
63,5 24
34 (committee)
183
64, 337, 362, 469, 577, 578
394,612
488
20, 54, 82, 156, 244, 297,
312, 353, 418, 49 1, 499,
623
105, 379, 472, 500
45, 94, lOS, 272 , 455, 456,
488, 548, 585
40. Mu'min
41. Fussilat
42. Shura
43. Zukhruf
44. Dukhan
45. Jasiyay
46. Ahqaf
47. Muhammad
Believer
Explanation
Council
Ornaments
Smoke
Kneeling
Ahqaf
Mohammed
48. Fath
49. Hujurat
Victory
Chambers
50. Qaf
51. Zariyat
52. Tur
Scattering Winds
Mountain
53.
54.
55.
56.
57.
Star
Moon
Merciful
Inevitable
Iron
Najm
Qamar
Rahman
Waqihah
Hadid
58. Mujadilah
59.
60.
61.
62.
63.
Hasl}.r
Mumtahinah
Jumnuah
Saff
Muuafiqun
Q.
488
Disputer
Assembly
Proved
Assembly
Alray
Hypocrites
161
65. Talaq
Mutual Deceit
(Manifestation of
Defects)
Divorce
66. Tahrim
67. Mulk
Prohibition
Kingdom
64. Taghabuu
21,)
IU,213
Pen
69. Haqqah
fuevitable Day
70. Ma'arij
7r. Nuh
Steps
Noah
72 Jinn
73. Muzzamml
Genii
Wrapped Up
74- Muzzamml
Enfolded
75. Qiyamah
76. Dahr
Resurrection
Time
77. Mursalat
Messengers
78. Naba
79. Nazi'at
News
Those Who Drag
80.
81.
82.
83.
He Frowned
Folding Up
Oeaving Asunder
Short Measure
60 9
'Abasa
Takwir
Infitar
Tatfif
84. Inshiqaq
Rending in Sunder
85. Buruj
86. Tariq
Celestial Signs
[of the Zodiac]
Night Stall."
87. A'la
88. Ghashiyah
Most High
Overwhelming
216
576
546
336 (? 'measures', probably
not meant as a sura)
170 ('rending of the rocks'with sura IS), 546 (with
suras 79, 82-these three
seem to form a sort of
'word ladder')
56 ('signs of his zooteac')
34 (with Lewis's Tarr),239,
274,256
2I3, 30 9, 3 II , 355, 60 9
381
THE KORAN
89. Fajr
90. Balad
Daybreak
City
9I. Shams
Sun
92.
93.
94.
95.
96.
97.
Lail
Zuha
Inshirah
Tin
'Alaq
Qadr
Night
Sun in his Meridian
Expanding
Fig
Congealed Blood
Power
98. Baiyanah
99. Zalzalah
100. 'Adiyat
101. Qari'ah
Evidence
Earthquake
Swift Horses
Striking
102.
103.
104.
105.
Takasum
Asr
Humazah
Fil
106. Qaraish
107. Ma'un
lOS. Kausar
Afternoon
Slanderer
Multiplying
Elephant
Whale
Necessaries
Kausar
109. Kafuun
IIO. Nasr
III. Abu Lahab
Infidels
Assistance
Abu Lahab
II2. Ikhlas
II3. Falaq
II4. Nas
Unity
Daybreak
Men
353
42, etc. (ballad), 127, 205,
364, etc.
170, etc., 90, 473, 481, 494,
etc.
40,49, 138, etc.
494 (sun in his emanence)
410, 440, 448
12, 42,322, 583
453
56,303,346,347, etc. (with
Frank Power and Power's
spirits)
86,3 1 4,534
IS (quaky . earth)
15,490 (both 'houybnhnms')
314, 501 (unhindered and
odd times
101)
460
34, 199 (calumnia)
II9, 281, 405
244, 300, 427, 461, 513, 564
197, 241, 245, 3II
201, 254, 553
(Although the name of a
river in Paradise this does
not seem to be used)
589, 61 4
381,433
153 (the one one oneth of
the propecies)
101, 176, 585
353
62,461, 472, etc., 516, 522,
524, etc. (But Naas is a
race-course and Maas was
a singer. Nas is the last
word in the Koran)
21 7
CHAPTER 13
The Eddas
'eddaying back to thew? (389.21)
rank Budgen was the first to write about Joyce's use of the Eddas
in an article called 'James joyce's Work in Progress and Old
Norse Poetry' which appeared first in transition and aa."terwards in
An Exagmination. Joyce must have thought well of this essay for he told
Miss Weaver that he hoped to have it translated and published in a
Danish or Swedish review. l Budgen says that he can 'see a kinship'
between Joyce and 'heathen Scandinavia'2 and suggests that the Mutt
and Jute episode (pp. 16-18) presents a kind of parallel to the Voluspo.
'In the Edda', he writes, 'we find the same sense of continuous creation
as in Joyce's Work in Progress. The world and the Gods were doomed
but phoenix like they were to rise again .. Thor's hammer fell into the
mighty hands of his two sons . In Wark in Progress the poet's
imagination seems one with racial memory. Human society in its groups,
tribes, nations, races, searches the earth and its legends for the story of
its beginoing.'3 It is in this sense, as the attempt of the Norse people to
describe the creation of the world, that Joyce uses the Eddas.
There are also many references to the Sagas, indeed the Wake itself
is once described as 'this Eyrawyggla saga' (48.16). This is a good
description for it refers to the Eyrbyggja saga, a title which Morris
translated as The Ere-landers Saga, and 'Ere' would be near enough to
Eire or Erin for Joyce's purposes. The saga itself describes how an
increasing number of 'undead' who were causing trouble by their
hauntings were finally laid by holding a court over them and passing
judgement upon them. Joyce probably had this in mind when he wrote
about the trial of Shaun. The Heimskringla is being named in 'a waast
wizzard all of whirlworlds' (I7.28) for its title is derived from Kringla
heimsins, 'the world's circle', and there are other references to this
Letters, p. 28I. Letter dated '28 May 1929'.
SAn Exagmination, p. 37.
3 Ibid., p. 40.
218
THE EDDAS
work.1 Joyce also adds many romantic details. For example in his
introduction to the Mutt and Jute episode which Budgen said paralleled
the Voluspo we are told that 'it is slaking nuncheon out of some thing's
brain pan' (15.33). This reflects 'a conception of the viking which
appealed to romantic taste in England, an incredibly heroic viking,
completely indifferent to death, eager to enter Valhalla and drink beer
from the skulls of his enemies . . . The detail of drinking from skulls
made an especial appeal, and for a long time few writers could mention
a viking without telling the strange fashion of his drinking ... Horace
Walpole and Southey prate of it, Percy has it in the Dying Ode of
Ragnar, and Matthew Arnold in Balder Dead. The originator was
Olafsson who mistranslated the lines of the Krahumal ... '2 The lines in
question contain a kenning for horn cups, 'from curved branches of
skulls' which was mistakenly translated as 'the skulls of his victims'.
Joyce's account of Mutt and Jute is more than half parody and he
includes this discredited detail to add to the fun. It is pretty certain
that he would use E. V. Gordon's Introduction to Old Norse, from which
I have quoted the account of the orii.n and progress of the mistake,
for it is the standard book on the Old Norse language for English
readers, and-as Patricia Hutchins says-'Joyce went to infinite
trouble over his work. One day Mrs. Joyce arrived in my room ..
"You have Norwegian friends, haven't you? Will you ask them to get
this book from Oslo-my husband wants it at any price?" '3 Unfortunately it is not stated what the book is, and Budgen's essay mentions no work in Norse except the Eddas. 'Noirse made easy' (314.27)
may refer to Gordon's book, aud 'Gordon' (392.34) to the author.
The Eddas are named in the Wake quite often. On one occasion,
when they are combined with the Arabian Nights, an explanation of
their title is mentioned. This is in 'unthowsent and wonst nice or in
eddas and oddes bokes' (597.5). One suggested derivation for the word
edda is from the
of 'Oddi',4 the name of a settlement in the
south-west of Iceland where Snorri Sturlason and Saemund the Wise,
the two who are thought to have compiled the Eddas, are traditionally
said to have lived. But there is no certainty about the composition of
the Eddas. 'How did it but all come eddaying back to them' (389.21)
wonders Joyce.
1
See H. E. Bellows (Trans.), The Poetic Edda. New York: The AmericanScandinavian Foundation, I923, p. xvi.
219
220
I62.
THE EDDAS
Thor's for yo!' (424.22). Ragnarok has no place in the Wake after this
for several reasons: we are no longer in a 'Divine' period according to
Vico's theories; we are in a Christian, rather than pre-Christian period;
the falls have occurred and the main remaining business is to describe
the resurrection. Shaun's thunder-word contains the name of Thor's
hammer, 'Molnir', and the names of Loki or Surt, and Fenris, the
wolf who was the most dangerous of Loki's children, who, together
with their father, will attack the gods on the day of their downfall.
Midgard, which is the home of mortals, is named as 'mudgaard' in the
same hundred-lettered word (257.36).
Another passage which contains references to the Norse gods is the
letter written by Issy which is appended as a note to the 'Night Lessons'
chapter. She writes 'I learned all the runes of the gamest game ever from
myoId nourse Asa. A most adventuring trot is her and she vicking well
knowed them all heartswise and fourwords ... bolt the thor. Auden'
(279, note). 'Asa' is frequently used as the English for the Norse word
for gods, lEsir. Incidentally there is another strand in the connection
Joyce makes between god and the donkey in the Old Norse word for
god-which is Ass. It will be noticed that Issy also mentions the name of
Thor who was the most popular god in Norse mythology and who causes
the thunder. He is named very frequently in the Wake-thirty times
at least. His father Odin is named seven or eight times. But, of course,
these names are not necessarily connected with the Eddas.
But there are many indications that Joyce did make use of the Eddas.
The word 'daysent' (578.14) includes the name of George Webbe
Dasem who translated the Prose Edda into English. It is followedabout a-page later-by 'brought Thawland within Har danger' (579.28).
'Thawland' here probably means the land of Thor and 'Har' is the
name of the god Odin when he answers the questions in the Prose Edda.
It is probably meant in 'a most adventuring trot is har' (279. note I).
There is also a pun on Hardanger-the name of a fjord-in the same
line. One question and answer has many echoes in the Wake. It is: 'Then
said Gangleri: What is the headseat or holiest stead of the Gods? Har
answers: That is at Yggdrasil's ash, there must the Gods hold their
doom every day ... The Ash is of all trees best and biggest, its boughs
are spread over the whole world, and stand above heaven; three roots
of the tree hold it up and stand wide apart.'l This is connected in the
Wake with all the other important trees, particularly the Tree of
1 (G. W. Dasent), The Prose of Younger Edda commonly ascribed to Snorri
Sturlason translated/rom the Old Norse by George Webbe Dasent. Stockholm and
London, 1842, pp. I6-17.
221
222
THE EDDAS
223
CHAPTER 14
shall not attempt to discuss all the sacred books that Joyce used.
To do so would require a knowledge of Eastern languages which I
do not possess. Joyce did not have it either but, as I have already
pointed out, he used all kinds of people to supply him vvith words in the
languages he wanted to use. Sometimes he seems to have used books
about religions rather than the sacred texts. The best example I know
of this way of working is from a book by Heinrich Zimmer, Maya der
indische Mytlws, for Joyce's personal copy of this book is now in the
Lockwood Memorial Library at Buffalo and is described in Connolly's
monograph. Many passages in this volume are marked in pencil in the
margin and ther.e are three pages of notes which are, according to
Connolly, 'by one of Joyce's readers designed to point out passages of
interest to Joyce'.l Connolly not only reproduces these notes but prints
all the marked passages both in the original German and in an English
translation. In a
letter he has infornled me that he intends to
publish a book on Joyce's use of Zimmer's work in a year or two's time.
So I will not discuss it here except to point out that Zimmer's name is
mentioned twice in the Wake. The first i.s in 'Herr Betreffender, out for
his zimmer holedigs' (69.32) which seems to have the surface meaning
of 'the previously mentioned gentleman looking for rooms for his
summer holiday'. T'ne second is 'zimmerminnes' (349.4) in a passage
that probably contains many words in Sanskrit-'sanscreed' (215.26)and other Oriental languages. But Joyce could not have used Zimmer's
book for all the time when the Wake was being written, for it was only
published in 1936 and Joyce only received his copy in 1938.
Connolly, pp. 42-7. The book discussed is given as: 'Zimmer, Heinrich,
der indische Mythos. Berlin: Deutsche Verlags-Anstalt" 1936. Presentatiom: 'James Joyce in Bewanderung 8.IO.3S. H. Zimmer'.
1
M~a
224
226
227
229
Part IV
APPENDIX
N
T
Author's name
= Tide of book
Q = Quotation
ADAMNAN, St.: Life of St. Columba.
N-267.18: Adamman.
ADy, Endre: Works.
N-(?) 472.21: true as adie.
AEsop: Fables.
NT-29.I3: Eset fibble. N-289.5: esoupcans; 307 margin: Esop.
NT-414.17: the grimm gests of Jacko and Esaup, fable one, feeble
too; 422.22: anesiop's foible (The Mohammedans ascribe the fables to
an Ethiopian named Luqman).
AGRIPPA, Henricus Cornelius: Works. (On alchemy.)
N-84.16: jugglemonkysh agripment; 94.I3 (?): Agrippa, the propastored.
A.1IDERSEN, Hans Christian: Fairy Tales.
N-I38.I6: the charms ofH. C. Enderson.
&"'IDERSON, Margaret: My Thirty Years' War.
N-406.7: Margareter, Margaretar, Magarasncandeatar. T-246.3:
Our thirty minutes war's alull.
&"ifONYMOUS
APPENDIX
Summa Theologiae.
N--93.9: tumassequinous. NQ-15S.2I: Thisfoluminous dozen odd.
Quas primas-but 'tis bitter to compote my knowledge's fructos of.
Tomes. N-248.8: tumescinquinance. NT-417.8: aquinatance
umsummables. Reference III.29: macromass of all sorts of horse-
Litteras.
N-38.z8: Ecclesiastes of Hippo (See main text: 'The Fathers of the
Church').
AUSTEN, Jane: Pride
and Prejudice.
T-344: pridejealice.
LITERARY ALLUSIONS
BARRINGTON, Sir Jonah: Recollections oj My Own Times.
N-536.32: Zerobubble Barrentone, Jonah Whalley. (These names
have other references as well but it is likely that they are intended
to refer to this author. Joyce told Gorman that his father had a copy
of the book, and it is the likeliest source for the story of 'Borumborad'
(49 2.22).)
BASILE, Giambattista: It Pentamerone.
N-374.3I: Basil; 463.22: Basilius; 335.2: madjestky (Punning on
Basileus, 'king', in a passage about folk-stories. Basile's book is one of
the main collections of European folk-stories. It also includes long
lists of children's games which may have given Joyce the idea of including similar lists in the Wake.)
BAUDELAIRE, Charles: Works.
N-4.3: Baddelaries partisanes (B. wrote 'Those who like me are
condemned-I would even say contemptible if I cared to flatter nice
people.'-Fusees); 207.II: she sended her boudeloire maids to his
aflluence. Q-89.28: my shemblable! My freer!
BECK, Jacob Sigismund: Works.
N-415.IO: beck from bulk (In a context full of philosophers' names.
Beck summarized Kant's Works).
BELAl'-t"EY, George Stansfield, 'Grey Owl': Works.
N-7I.31: Grunt Owl's Facktatem (BeIaney claimed to be a Red
Indian).
BENNETT, Arnold: Grand Babylon Hotel.
T-17.33: babylone the greatgrandhotelled.
BERANGER, Jean-Pierre de: Works.
N-372.II: the snug saloon seanad of our Cafe B6ranger (May
include a real cafe but echoes Lanson's criticism of Beranger: 'n a
une philosophie et une sensibilite de cafe-concert . .'-Hist. de la
litterature jran;.aise, p. 968),
BERKELEY, George, Bishop of Cloyne: Sins.
N-260.n: Berkeley; 287.18: Barekely; 312.29: Burklley; 435.10: the
phyllisophies of Bussup Bulkeley; 39I.31: the general of the
Berke1eyites. Q-130.4: drinks !barr and wodher for his asama;
304, note 4: the cups that peeves; 341.12: tartar warter! (See main
text: 'Irish writers'.)
BESA....."T, Annie: Works.
N-432.32: the lover of liturgy, bekant or besant.
BLAKE, William: Works.
N-409.23: (?) MacBlakes; 563.13: Blake tribes bleak .. With pale
blake I 'write tintingface. (Alluding to etching?) Q-72.13: miching
235
APPENDIX
Daddy; 253.16: Noodynaady; 30.4: enos; 57.7: Zoans; Hear the four
of them! (Although a good deal has been written about Joyce's use
of Blake in the Wake I can find few
of it, and think that Joyee
had left Blake and gone on to other mystics, for whom Blake had
prepared him. But Joyce may have remembered such lines as: 'Eno,
a daughter of Beulah .. took an atom of space & opened its centre
Into Infinitude'; and 'Wondering she saw her woofbegl..l1 to animate,
& not/As Garments woven subservient to her hands, but having a
will/Of its own perverse and laboured'-Vala, or The Four Zoas.)
BLAVATSKY, Helena Petrovna: Isis Unveiled. The Mahatma Letters to
A. P. Sinnett.
N-66.23: Cox's wife, twice Mrs. Hahn; 393.23: her mudhen republican name (Madame Blavatsky's maiden name was Hahn-Hahn. Hahn
is German for cock, and this gives Joyce II tie-up with the hen that
found the letter. 'Twice' and 'republican' refer also to the bigamous
marriage of Madame Blavatsky in America). T-Mahamawetma,
pride of the province. QT-242.36 ... 243.1 ... I5 ... 22 ...27: Madame
Cooley-Couley . , hundreads elskerelk's yahrds of anuams call away
tschaina the devlins .. mahatmas (The 'Mahatma Letters'
were supposed to be written by Tibetan 'masters' one of them was
called 'Morya" 53.30; 316.21); 137.25: his year-letter concocted by
masterhands (They were said to be conveyed from Tibet by te1ekenesis or osmosis); 198.21: telekenesis (This follows 'reussischer
Honddu jarkon', i.e. Russian Hindu jargon); 585.22: Anunska .
annastomoses; 615.5: anastomosically assimilated (The recipient,
A. P. Sinnett is named); 352.13: the procuratress of the hory synnotts (Another of Madame B.'s friends, Colonel Olcott, had a big
white beard which is mentioned); 35I.3I. .. 352.4: my respeaktoble
medams culonelle...whitesides do his beard! 357.2I: the loose looves
leaflefts jaggled casuallty on the lamatory (This follows the men~
tion of a 'sliding panel', which is probably the one described in Who
Wrote the Mahatma Letters ? by H. E. and W. L. HARE, q.v.) Madame
Blavatsky seems to be a link between the hen and A.L.P. who wrote
'lettering you erronymously'-6I7.30).
BOCCACCIO, Giovanni: Decameron.
NT-56I.24: Boccucia's Enameron. T-435.9: dowdycameramen.
Q-560.I: Fiamelle la Diva.
BOERNE, Karl Ludwig: Works.
N-26P9: (?) mine boerne.
BOILEAU, Nicolas: L' Art Poitique.
N-527.I2: Eulogia, a. perfect apposition ... from Boileau's.
23 6
LITERARY ALLUSIONS
BORROW, George:
APPENDIX
Emily: Wuthering Heights.
N-7.22: Brunto; Referen.ce (with Heathcllife); 241.5: with pruriest
pollygameous inatentions . . . ailment spectacularly in heather cliff
on. gale days because soufi"rant from a plenitude of house torts.
BROUGHTON, Rhoda: Red as a Rose is She.
NT-569.33: a she be broughton, rhoda's a rosy she (The heroine,
who is called 'Essie', gets engaged to two men at once. The style of
the book resembles, and may have been one of the models for, the
'Nausicaa' chapter of Ulysses).
)BROWNE, W. J.: Botany for Schools (Dublin, 1881).
NT-503.34: Browne's Thesaurus Plantarum from Nolan's, the
Prittlewell Press.
)BROWNING, Robert: 'Pippa Passes'. 'Mr. Sludge the Medium'. 'How
They Brought the Good News from Ghent to Aix'.
N-35 I. I : brownings. T-55.16: pippa pointing; 439.22: the medium
... sludgehummer; 278 margin: How he broke the good news to Gent.
Q-225.3I: All's rice with their whorl!
BRUNO, Giordano: Works.
(A major source. See 'Structural Books'.)
BUNYAN, John: Pilgrim's Progress. Grace Abounding.
T-234.20: pilgrim prinlcips; 384.18: pulchrum's proculs; 577.1.6:
grace abunda. Q-r8.2: Despond's sung; 273.28: Napolyon
(AppolyonjNapoleon).
BURNS, Robert: Songs.
N-52o.26: Bobby burns (There are many quotations from Burns's
songs).
BURTON, Sir Richard: (Trans.) The Thousand Nights and a Night.
Printed by the Burton Club for private subscribers only. 17 vols. n.d.
(This was in Joyce's 'Personal Library'. See Connolly, p. 10.)
N-595.I8: Old Bruton; T-5.28: one thousand and one stories;
5I.4: in this scherzarade of one's thousand one nightinesses; 335.27:
another doesend end once tale; 357.17: alternate joys of a thousand
kirids but one kind; 597.5: unthowsent and wonst nice. Q-4.32:
Haroun; 358.28: herouns in that alraschi1; 32.8: Skertsiraizde with
Donyahzade; 357.19: shahrrer; 79.6: barmecidal days (with MANGAN,
q.v.); 387.21: barmaisigheds (With R. D'A. WILLIAMS, q.v.); 36I.26:
till there came the marrer of mirth (This is one of the common ways
of ending a story by putting an end to the time 'they lived happily
ever aftet); 577.18: baron and feme ('Baron and femme' is a phrase
common in Burton); 580.26: the slave of the ring; 256.25: Sindat
saildior.
)BRONTE,
LITERARY ALLUSIONS
APPENDIX
CABELL, James Branch: Jurgen.
N-(?) 234.3: cabaleer; 488.21: Negoist Cabler. T-35.28: Jurgensen's Uurgen is mentioned here in connection with a watch because
when he went into Cockaigne, 'Time, they report, came in with
Jurgen because
was mortal.'-Jurgen, Chap. 22); 621.22:
Jorgen Jargonsen. Q-243.!4: Hetman Michael (A character in
Jurgen).
CAESAR, Julius: Works.
N-I6I.36: Caesar (But the reference is to Cesare Borgia's motto:
Aut Caesar aut nullus); 306 margin: Julius Caesar; 271.3: Sire
Jeallyous Seizer. Q-512.8: He came, he kished, he conquered.
CAIRNES, John E.: Leading Principles of Political Economy.
N-594.24: cairns; 6046: Read Higgins, Cairns and Egen.
CAMPBELL, Thomas: Poems. 'The Exile of Erin'.
N-343.3: Campbell. Q-148.33 ... 149.IO: If you met on the binge
a poor acheseyeld from Ailing ..; I68.3: if he came to my preach,
a proud pursebroken ranger . . . ; 45.29: far away on the pillow
(Parodies 'far away on. the billow' from 'The Burial of Sir John
Moore at Corunna').
CARBERRY, Ethna: Works.
N-228.18: carberry banishment care of Pencylmania; 318.12:
Ethna pret:typlume (E. A. Boyd says that Miss Carberry refused to
allow her poems to be published in England. See Ireland's Literary
Renaissance, 2nd ed., p. 202).
CARLETON, William: Works.
T-360.7: pere Golazy; (?) 123.16: paddygoeasy (Both Paddy-GoEasy. For Carleton's other writings see main text: 'Irish writers').
CARLYLE, Thomas: SartlY! Resartus.
N-517.22: Carlysle. T-314.17: sartor's risorted; 352.25= shutter
reshottus. Q-68.2I: Tawfulsdreck. (109.1-36 is an expansion of a
sentence in S.R.: 'For our purpose the simple fact that such a Naked
World is possible, nay actually exists (under the Oothed one) will
be sufficient.'-Chapter X).
CARRoLL, Lewis.
(See main text, chapter: 'Lewis Carroll'.)
CARTER, J.,andPOLLARD, G.: An Enquiry into the Nature of Certain Nineteenth Century Pamphlets.
N-229.3I: his auditers, Caxton and Pollock .. sindbook .. his
innersense (This book exposed the forgeries of T. J. Wise, whose
name is hidden in the 'Letter' passage, 123.2: the cut and dry aks and
wise form of the semifinal ..).
240
LITERARY ALLUSIONS
CERVANTES, Miguel de: Don QJJixote.
T-234.4: donkey shot ... Sin Showpanza; 482.14: donkeyschott.
Q-234.24: dulsy m.yer (Dulcinea says 'No' as the ass neighs
sweetly); 404.rr: sansa pagar. TQ-198.35: queasy quizzers of his
ruful continence.
CHART, David Alfred: The Story of Dublin.
(An important source book. See main text.)
CHARTIER, Emile ('Alain'): Works.
N-608.17: meassurers soon and soon, but the voice of Alina gladdens
the cock1yhearted dreamerish (Joyce seems to be saying that the
French critics-Messieurs so-and-so-make their assessmentsmeasurings-too soon, but Alain's timid readers like to have their
minds made up for them).
CHAUCER, Geoffrey: Works.
N-245.35: Chavyout Chacer (With Chevy Chase). Q-265.23:
tabard, wine tap and warm tavern; 395.28: Cook of corage; 550.9:
knobby lauch and the rich morsel of the marrolebone and shains
of garleeks (Prologue: 633-4-'knobbes syttinge on his chekes. WeI
loved he garleek, onyons and eek lekes'); 552.22: piggiesknees (From
'The Miller's Tale', line 82: She was a prymerole, a pigges-nye).
CHEKHOV, Anton Pavlovich: Chayka (The Seagull). Vishnevy Sad (The
Cherry Orchard, Uncle Vanya.
T-424.10: Chaka a seagull; 588.17: ivysad; 339.n: varnashed rosdans (With Rosdus).
CHuRCIDLL, Charles: The Rosciad.
N-587.16: churchal (With Sir Winston Churchill). (?) T-53.9:
Humphriad; 339.n: roscians (see above).
('Strange to relate but wonderfully true
That even shadows have their shadows too
With not a single comic power endu'd
The first a mere mere mimic's mimic stood ..
Quill, from afar, lur'd by the scent offame,
A stage leviathan put in his claim'.)
APPENDIX
Works.
N-I52.10: etcicero; ][82.9: cinsero. Q-395.6: how long, tandem
(Quousque tandem . . .'-In Cat. I, 1). Q-Z93.7: some somnione sciupiones (Somnium Scipionis from De Re Publica, VI,
9-2 9).
CLEMENS, Samuel L. ('Mark Twain'): Works.
N-42529: mark twang; 455.29: Mark Time's Finist Joke; Huckleberry Finn. T -.130.14: fanned of heckleberries; 137.12: Hugglebelly's
funniral; 297.20: Hurdlebury Fenn. Q-245.25: And if you wend to
Livmouth, wenderer, while Jempson's weed decks Jacqueson's
Island . . . You took me with the mulligrubs (Jimpson Weed is
mentioned in Huckleberry Finn as growing on Jackson's Island. Huck
was drifting to the rivermouth); 317.13: he sure had the most
sand; 283.29: Give you the fantods.
The Prince and the Pauper. T -422.15: his prince of the apauper's
pride.
Innocents Abroad. T -II5.28: innocent allabroad.
Pudd'nhead Wilson. Q-32.16: Chimbers to his cronies; 212.U:
Roxana ('Roxana has heard the phrase valet de chambre somewhere,
and, as she supposed it was a name, she loaded it on her darling. It
soon got shortened to "Chambers" of course.'-Pudd'nhead Wilson,
Chap. 2.) Q-335.8: mop's varlet de shambles.
Tom Sawyer. T-132.36: sawyer; .173.28: bottom sawyer; 374.34:
topsawys. Q-4IO.35: Top, Sid and Hucky (A pun is always intended
on the words 'Tom saw you').
COCKTON, Henry: Valentine Vox, the Ventriloquist.
T-439.17: the valiantine vaux (With Vauxhall). Reference, 105.21:
Suppotes a Ventriloquorst Merries a Corpse.
COLERIDGE, Samuel Taylor: The Rime of the Ancient Mariner.
T-I23.23: the names of the wretched mariner; 324.8: They hailed
him cheeringly, their encient, the murrainer. Q-137.22: by stealth
of a kersse her aulburntress abaft his nape she hung (Based on:
'Instead of a cross .. .' as is the next); 512.21: In steam ofkavos now
arbatos above our hearths doth hum; 202.12: Waiwhou was the first
thurever burst?; 558.27: Albatrus ... her beautifell hung up on a nail.
Biographia Literaria. Q-I59.7: myriads of drifting minds; 576.24:
mirrorminded (From Chapter XV, 'myriad-minded').
COLLINGWOOD, Stuart Dodgson: The Life and Letters of Lewis Carroll.
London: Thomas Nelson & Sons. n.d. [1898].
See Connolly, p. II. (An important source-book. See main text:
'Lewis Carroll'.)
CICERO:
LITERARY ALLUSIONS
COLUM, Padraic: 'A Portrait'.
NQ-68.3S: The column of lumps lends the pattrin of the leaves
behind us ... for wilde erthe blothoms (This refers to Colum's poem
which ends:
'But what avail my teaching slight?
Years hence in rustic speech, a phrase,
As in wild earth a Grecian vase').
COLUl\ffiA, St.
N-24o.21: Saint Calembaurnus. Q-I8S.14: altus prosator.
COLUMELLA, Lucius Jucius Moderatus: De Re Rustica.
N-255.19: contumellas; 281.5: Columelle; 3I9.8: colleunellas; 354.26:
Calomella; 615.2: Columcellas (With Columkill. He seems to be
named with FLINY (q.v.) to recall the quotation from Quinet in which
their names are linked.)
CO:NrUCIUS, or K'UNG FU-TEE: The Doctrine of the Mean. The Elements.
NT-I08.II: Kung's doctrine of the meang. N-I31.33: has the
most conical hodpiece of confusianist heronim and that chichuffous
chinchin of his is like a footsey kungoloo around Taishantyland
('Chin' is the Chinese character UJ, see Letters, p. 250); 485.35:
Hell's Confucium and the Elements! ... chinchin chat with nipponnippers. N-IS.12: confusium; 417.15: a confucion of minthe.
CONNELLY, Marc: The Green Pastures.
N-457.I: Connolly. Q-232.22: Did you boo mighty lowd ..
Satanly, lade; 356.16: the tarikies held sowansupper. Let there bean
a fishfrey; 363.13: Has they bane reneemed? Soothinly low; 568.35:
Rex Ingram (Played 'De Lawd' in this play).
COOPER, James Fenimore: Works.
N-439.12: Cooper Funnymore.
CORELLI, Marie: The Sorrows of Satan.
T-230.10: a caughtalock of all the sorrows of Sexton (Joyce told
Miss Weaver-Letters, p. 302-that he was using a book by Marie
Corelli, but I can find no trace of anything except this title).
CORNEILLE, Pierre: Works.
N-173.20: cornaille ... tarabooming great blunderguns.
COWPER, William: 'The Loss of the Royal George'.
the lapses leqou asousiated with the royal gorge. Q461.6: the coupe that's chill (See BERKELEY).
CROCE, Benedetto: Works.
N-5II.3I: crocelips (1 do not understand the allusion but Joyce
seems to have used many of Croce's works.)
243
APPENDIX
CROKER, Thomas Crofton.: Fairy Legends of South Ireland, etc.
CRONE,
Concordance.
NT-358.6: concrude.
D'ALTON. Rev. Edward AJfred: A History of Irela:nd.
CRUDEN, Alexander:
DARWIN,
244
LITERARY ALLUSIONS
Style.
NQ-3I9.5: ringing rinbus round Demetrius (Demetrius wrote: 'The
graceful needs for its utterance some ornament, and it uses beautiful
words . . . For instance: "Earth myriad-garlanded is rainbowhued." '-Loeb Ed., p. 405). Q-13.15: With a grand funferall
('Fun at a funeral', Loeb Ed., p. 319); 414.35: funny funereels.
DE MORGAN, William; Joseph Vance.
T-2II.32: a stonecold shoulder for Donn Joe Vance Goyce gave up
trying to read this novel-perhaps because he began by mistake at
volume two. See Letters, p. 101).
DE QUlNCEY, Thomas: Works.
N-285 note 6: De Quinceys salade.
DESCARTES, Rene: Works.
N-304.27: a reborn of the cards; 269, note 2: If she can't follow
suit Renee goes to the pack; 301.25: Cartesian spring. Q-304.31:
cog it out, here goes a sum ~See main text: 'Some Typical Books').
DICKENS, Charles: Works.
N-I77.3S: greet scoot, dl'.ckings and thuggery (With Scott and
Thackeray); 434.27: dickette.
Bleak House. T-337.II: bleakhusen. Reference (?) 6.2: je1lybies.
Cricket on the Hearth. T-138.26: cricket on the earth; 549.29:
the little crither of my hearth.
David Copperfield. T-434.28: Doveyed Covetfilles.
Old Curiosity Shop. T-434.30: the old cupiosity shape.
Our Mutual Friend. T-434.28: your meetual fan; 63.35: our
mutual friends.
Pickwick Papers. T-I06.20: Pic.kedmeup Peters. References
131.16: Up Micawber; 178.27: a tompip peepestrel1a throug a threedraw eighteen hawkspower durdicky telescope (Characters from
Great Expectations. The telescope is a little like Sam Weller's 'gas
microscope'. Pip and Estella are named frequently but the reference
is mainly to Swift's Journal).
DIGBY, Sir Kene1m: Works. (On Alchemy.)
N-313.26: that is Twomeys that is Digges that is Heres. (This is
probably Digby, Hermes, and perhaps Thomas of Bologna-three
alchemists-as Tom, Dick and Harry; i.e. any writers on Alchemy.)
DIGGES, Thomas (fl. 1576): Works.
N-313.26: that is Twomeys that is Digges (And see above).
DILNOT, George: The Trial of Jim the Penman ('Famous Trials' Series).
T -93.13: Shun the Punman; 125.23: Shem the Penman; 192.23:
Pain the Shamman; 212.18: Shem, her penmight; 369.27: Schelm the
245
DEMETRIUS: On
APPENDIX
Pelman; 517.18: shin the pumnan. ('Jim the Penman' was James
Townsend Savard. A play Jim the Penman, by Sir Charles YOUNG,
bears little relation to the facts of Savard's life, hut neither this nor
the book seems to have been used by Joyce.)
History.
N-39I.23: poor Dion Cassius Pooseycomb (With Boucicault).
(Perhaps confused by Joyce with Diodorus Siculus who gave !I38
years as the whole period ofms History (I, 5, I), frequently used the
word epiphany for the appearance of a god (1, 23, 5, etc.), and gave
the famous description of the trouble after a cat was killed in Cairo
(1,83,8-9) which seems to be alluded to in 59.19: Who kills the cat
Domesday Book.
T-485.6: Domesday. Q-I28.5: hidal in carucates he is enumerated,
hold as an earl, he counts, shipshaped phrase ofbuglooking words ..
to our dooms brought he law, our manoirs he made his vill of.
DONNELLY, Ignatius: The Great Cryptogram.
N-28I, note 3: Donnelly (This note is to: 'But Bruto and Cassio
are ware only of trifid tongues.' Joyce conceals the name 'Bacon'
near many of his references to Shakespeare, and there is probably
a cryptogram in this section of the Wake).
DOSTOYEVSKY, Fedor Mikhailovich: Crime and Punishment.
Q-235.32: Lady Marmela Shortbred will walk in for supper with
her marchpane switch on, her necldace of almonds and her poirette
Sundae dress with bracelets of honey .. (Marmaledoff in C. and P.
says that he has drunk all his wife's belongings-<J have actually
drunk her stockings and her shoes ... I even drank her little Angora
shawl.' Joyce's Marmela seems prepared for such treatment).
472.2I: you of the boots; 489.23: In his hands a boot ('Your boot ...
the whole day you held it in your hands', p. 95); 343.II: A forward
movement ... and dispatch (p. 254); 467.I ...4 ... 7: the misery billyboots . go to a general and 1'd pray confessions for him ... blood ..
greeping hastily down his blousyfrock; 5I7.6: to wend himself to a
medicis (Quoting Raskolnikov's advice when Svidrigailov described
246
LITERARY ALLUSIONS
how his dead servant came at his bidding.-Crime and Punishment,
'Everyman' Ed., pp. 218-19). Q-156.IO: raskolly.
DOUGHTY, Charles Montagu: Adam Cast Forth.
N-363.2I: doughdoughty (I suspect that this is a criticism of
Doughty's prose); 361.35: Back to Droughty! The water of the face
has flowed.
DOUGLAS, Norman: London Street Games.
Q-I04-I07.7 (Many of the phrases in this passage are distortions
of the names of games mentioned by Douglas); Q-87.33: Deadman's
Dark Scenery Court; 176.1: games like ..; 225.6: peace in his
preaches and play with esteem.
DOWSON, Ernest: 'Cynara'.
T-236.2: puffumed cynarettes.
DoYLE, Sir Arthur Conan: The Sherlock Holmes Stories. The History of
Spiritualism. The History of the Boer War. The Land of Mist.
N-I42.26: doyles when they deliberate (With the Dati); 228.13:
Our war, Dully Gray! A conansdream of 10dascirc1es (Combines a
reference to a song popular in the Boer War with 'conan'. The name
Doyle occurs often in the Wake, usually ",ith no reference to Conan
Doyle); 574-5(?): DoyIes; 617.14: Conan Boyles (Doyle's Hist. of
Spiritualism is not named in the Wake; but it is a standard work and
may have been Joyce's source for the following, in which the reference
to the Wake is given in the form usually adopted here, and the
reference to the Hist. of Sp. with the volume and page numbers:
528.14: Eusapia
494.14: Eva
482.17: Mrs. Hayden
546.33 Red Indians
II,I-20
II, 92 , 95
1,36
1;31
247
APPENDIX
St.: Works.
N-34I.26: Father Epiphanes.
EUCLID: The Elements.
N-155.32: Neuclidius; 206.12: Casey's Euclid; 284.24: nuc1euds.
NT-302.12: elementator joyclid.
EVANS, Mary Ann ('George Eliot'): The Millon the Floss. Daniel Deronda.
T-213.2: Mill ... on the Floss. N-229.2: Nom de plume! . And
send Jarge for Mary Inklender. T-189.12: congested around
(Conceals the name 'Deronda'; the name 'George Sands' is also
concealed in this passage about 'accomplished women'). N-533.5:
EpIPHANES,
E,'anS.
John: Sylva.
N-62.34: Pomona Evlyn. T-I33.IS: Sylviacola.
EVELYN,
248
LITERARY ALLUSIONS
FARQUHAR, George: Sir Harry Wildair.
T-210.25: Wildairs' breechettes for Magpeg Woppington (Sir Harry
Wildair was Peg Woffington's most famous breeches part). Q233.1 .. 5 ... 8: telltale tall of his pitcher .. Angelinas .. For a
haunting we will go (The villain in this play tries to deceive Sir
Harry by means of a picture of his supposedly dead wife, Angelica,
who complicates the story by pretending to be her own ghost).
FERGUSON, Sir Samuel: Hibernian Nights Entertainment.
T-335.26: hiberruan knights underthaner.
FIELDING, Henry: Jonathan Wild, the Great.
T-540.28: Jonathans, wild and great. N-274.24: fieldgosongingon.
FITZGERALD, Edward: (Trans.) The Rubaiyat of Omar Khayyam.
N-(?) 2II.14: Funny Fitz. References: 122.9: from the fane's
pinnacle is tossed down by porter to within an aim's ace of their
quatrain ofrubyjets among Those Who arse without the Temple ...
O'Mara has it ... K. M. O'Mara ('rubyjets'=Rubaryat; 'O'Mara,
K. M.'=Omar Khayyam); 351.9: hand to hand as Homard keyenne
was always jiggily-jugging about with his wendowed courage when
our woos with the wenches went wined for a song; 368.24: And thus
within the Tavern's secret booth The wisehight ones who sip the
tested sooth Bestir them as the Just as bid to jab The punch of
quaram on the mug of truth (In the form of FitzGerald's quatrains).
FLAUBERT, Gustave: Bouvard eC pecuchet. Salammba.
T -302.9: Buvard to dear Picuchet (There seem to be references to
SalammbO at 538.9-13).
FLETCHER, Phineas: The Purple Island, or The Isle of Man.
NT-263 note 2: jietches the isle we love in espice, Punt. N-312.36:
fletcherbowyers (With Beaumont and Fletcher?). T -76.23:
Isle of Man; I59.32: isle of manoverboard; 287.I5: the isle of
Mun; 291.9: the ives of Man; 310.31: ale of man; 496.6: the Isle of
Woman.
FLORIAN, Jean-Pierre Qovis de: Fables.
NT-385.II: Florian's fables (They do not seem to be used, but
Joyce names all the great fabulists).
FORT, Paul: Works.
N-83.ro: marx my word fort.
FRANKLIN, Benjamin: Autobiography.
(In Joyce's 'Personal Library'. See Connolly, p. r6.)
N-289.9: live wire, fired Benjermine Funkling outa th'Empyre;
372.7: our benjamin liefest, soemtime frankling to thise citye;
606.14: three Benns ... Whether they were franklings by name also
249
APPENDIX
has not been fully probed. Q-(?) 271.5: tryonforit; 163.9: purr tyron
(Tryon was a vegetarian whose regime Franklin adopted. Both the
references have food m the context).
FREUD, Sigmund: The Interpretation of Dreams.
N-II5 2 3: yung and easilyfreudened; 337.7: freudzay; 411.35:
freudful mistake; 579.20: freund. T-338.29: an mtrepidation of our
dreams (556.3I-557.12 seems to be based on a dream described in
Freud's boek. See main text: 'The Structural Books').
FuR.'ITSS, Rev. John, C.SS.R.: The Sight of Hell.
NT-289.13: Furniss's and .. Ellishly Haught's.
GALEN, Claudius: Works.
N-184.13 ... I7: lithargogalenu ... cocked and petched in an athanor
(I am not sure whe--J1er Joyce is considering Galen as an Alchemist
or referring to the public burning of his works by Parace1sus. But
Alchemy certainly comes into the passage); 424.7: Then he went to
Cecilia's treat on his own to pick up Galen ('Cecilia's treat' is Cecilia
Street, for which the entry in the old Dublin Street Directory reads:
'4, 5 and 6, School of Medicine of Apothecaries' Hall. Site of Crowstreet Theatre Royal and anciently that of the Monastery of the
Holy Trinity.' The School of Medicine fits Galen; Crow Theatre fits
'Cecilia's treat' (cr. 'King's treat'), and the Monastery of the Holy
Trinity is referred to in 'on his solo' and the previous sentence).
GALL, Franz Josef: Anatomie .. du Cerveau.
NT-364.14: Skall of a gall. .
GARDINER, Samuel Rawson: History of England.
N-I33.23: master gardiner.
GAY, John: The Beggar's Opera.
N-(?) I93.I9: Gay Socks (Gay was for a time a silk mercer).
Q-235.2I: palypeachum.
GELLIUS, Aulus: Noctes atticae.
NT-255.I7 ... 20: the nights of labour ... what Aulus Gellius
picked on Micmacrobius (See main text: 'Some Typical Books').
GmBoN, Edward: The Decline and Fall of the Roman Empire.
N-504.29: gibbonses; 531.I: gibbous disdag. T -I05.22: From the
Rise to the Fall (With. Motley's Rise of the Dutch Republic).
GILBERT, J. T.: History of Dublin.
N-573.14: as Gilbert first suggested (All the names cited in parentheses in this part of the Wake belong to Irish historians).
GILBERT, Sir William Schwenk: Trial by Jury.
N-573.I4: Gilbert (With above but following Sullivan). T-242.14:
trial by julias; 466.29: betrayal by jury.
250
LITERARY ALLUSIONS
GOETHE, Johann Wolfgang von: Works.
NT-344.5: song of sorrowmon! Which goatheye and sheepkeeper
they damnty well know. ('Song of sorrowmon' may combine The
Sorrows of Werther with The Song of Solomon. N-539.6: Gouty
(This phrase also names Dante and Shakespeare along with the
Bible and Wordsworth as examples of great literature). T -283.28:
Worse nor herman dororrhea. Give you the fantods seemed to him.
(The title of Hermann und Dorothea is made to suggest German
diarrhoea; but the passage occurs in the schoolroom section and ends
with a quotation from Huckleberry Finn to whom any form of education 'gave the fantods', so it must not be taken as Joyce's verdict on
Goethe). T-7I.8: Contrastions with Inkermann (Conversations with
Eckermann). Q-479.29: Weissduwasland. QT-292.22: the crame
of the whole faustian fustian, whether your launer's lightsome or
your soulard's schwearmood. (Laune=mood; Schwermut=melancholy; Leichtsinn=levity. The reference is to Faust, and especially
to the speech when Faust tells Wagner about the two opposing natures ofhis soul). Q-540.28: Been so free (Bin so frei grad herein zu
treten). TN-480.23 ...36: weynecky fix . . . Wolfgang (Reineke
Fuchs).
GOGOL, Nikoloy Vasilyevich: Dead Souls (Mertvye dush~).
NQ-339.4 ... 29: Oalgoak's Cheloven ... capecloaked hoodooman!
First he s s st steppes (Chelovek is Russian for 'man'). N-34I.7:
gigls; 343.3: gogemble. T-348.II: alma marthyrs. I dring to
them, bycorn spirits . . . (All these are in a passage full of concealed references to Russian authors. <Bygone spirits' =Dead
Souls).
GOLDSMITH, Oliver: The Deserted Village. She Stoops to Conquer.
N-(with Sheridan) 256.12: sherrigoldies. Q-13.26: An auburn
mayde . . . desarted; 174.31: Auborne-to-Auborne; 265.6 ... 28:
Sweetsome Auburn . . . Distorted mirage, alooliest of the plain;
381.4: Hauburnea's liveliest vinnage on the brain; 617.36: Swees
Aubumn. QT-17o.14: when lovely woman stoops to conk him
(Quotation of song from The Vicar of Wakefield-and T. S. Eliotand the title of She Stoops to Conquer. See PORTER, F. T., and ELIOT,
T. S. Joyce is combining a number of allusions); 323.32 ... 324.1. .. 13:
Toni Lampi ... Trollderoll ... lumpenpack; 56.3: Melancholy
Slow (See main text: <Irish Writers').
GONCOURT, E. L. A. H. de and J. A. H. de: Journal des Goncourt.
Q-88.5: as to whether he was one of those lucky cocks for whom the
audible-visible-gnosible-edible-world existed (But Joyce is probably
251
APPENDIX
referring to the quotation in Wilde's De Profundis of 'Je sms un
homme pour qui Ie monde exterieur existe', which the Goncourts
report Gautier to have said).
GOODRICH, Samuel Griswold ('Peter Parley): Peter Parley's Tales about
Ancient Greece, etc.
T-240.27: Anaks Andrum parleyglutton; 276, note 4: Parley;
288, note 6: Creeping Crawleys peteryparley (These books were used
at Clongowes when Joyce was there).
GORKY, Maxim: The Mother.
NT-132.35: methyr ... gorky.
GORMAN, Herbert: James Joyce, A Definitive Biography.
N-407.I: between gormandising and gourmeteering he grubbed his
tuck all right. TN-349.25: The Martyrology of Gorman (A
medieval O'Gorman wrote a Martyrology and Joyce jokingly uses
the title for Gorman's book).
GRAY, Thomas: Elegy Written in a Country Churchyard. Works.
NT-192.34: crazy elegies. Q-32I.2: Ignorinsers' bliss . none too
wisefolly; 385.26: purest air serene.
GRIFFIN, Gerald: The Collegians. Talis Qualis.
N-450.14: griffeen. T-228.32: collegions; 385.8: collegians; 167.5:
qualis . . talis.
GRIMM, Jacob and Wilhelm: Fairy Tales.
NT-335.5: the grimm grimm tale; 414.17: the grimmgests of Jacko
and Esau (With Aesop); 448.24: it isagrim tale (With Isengrim);
206.2: Grimmfather (With Havelock the Dane?); Grimm's Law378.27: smotthermock Gramm's laws! T-64.27: Snowwhlte and
Rosered; 618.2: handsel for gerdes.
HAGGARD, Rider: She.
N-580.6: haggards. Reference 105.20: Ayesha (With the wife of
Mohammed).
HALIDAY, Charles: The Scandinavian Kingdom of Dublin.
LITERARY ALLUSIONS
embaraced Vergemout Hall; 2II.31 (With Jekyll): a jackal with bide
for Browne but Nolan.
HALLIDAY, William Reginald: Greek and Roman Folk Lore.
N-264.4: halliday of roaring month with its two lunar eclipses and
three saturnine settings. Horn of Heathen, Highbrowed! (With a
pun on 'holiday', and perhaps with Charles HALIDAY).
HAMILTON, Anthony: Mhlzoires de la vie du Comote de Gramant.
TN-I37.35 ... 138.I: the single maiden speech .. to her Grand
Mount . . . hebrew set to himmeltones or the quicksilversong of
qwaternions (Three Hamiltons are named here to personify the
confusion: 'Single-speech' Hamilton is followed by Anthony of the
'Grand Mount'; and we then meet 'Quaternions', a method of
mathematical analysis invented by Sir William Rowan Hamilton).
HARE, Harold Edward, and William Loftus: Who wrote the Mahatma
Letters?
(This seems to be one of Joyce's sources for information about
Madame Blavatsky, and the word 'hare' may include their name
whenever it occurs.) N-83.I ...2: hares . . . between hopping and
trapping (With an Alice allusion); 285.4: hare and dart (With the
German hier und dart, 'here and there'); II8.24: the hare and turtle
pen and paper, the continually more or less intermisunderstanding
minds of the anticollaborators ..; 238.2I: May he coIp, may he colp
her, may he mixandmass colp her! Talk with a hare and you wake of a
tartars (One of the implications of this is that a Hare has proved the
Russian to be guilty. They describe the 'miracles' which attended the
delivery of the Mahatma letters. A cup was produced from a mound;
a broken china saucer was repaired by means of a sliding panel in a
supposedly sealed cupboard; a little bell which occasionally rang was
concealed in Madame Blavatsky's skirts-these incidents are described by the Hares and have echoes in the Wake). Q-8.12: the
Cup and Soracer (The cup and saucer); 243.22: tschaina; 353.36:
crockery; 336.4: sorracer; 357.20: sliding panel; 205.12: Which leg
is it? The one with the bells on it?
HAluNGTON, Sir John: The Metamorphosis of Ajax.
N-266.I2: Harington's invention (The water-closet as described
in bis book). TN-447.I...9: Jakeline .. the sludge of King Haarington's at its height (Jacqueline Pascal is also named in this
passage).
HAruus, Joel Chandler: Uncle Remus.
N-326.32(?): Harris. T-442.8: Uncle Remus. Q-574.4: Brexfuchs;
574.36: Breyfawkes.
253
APPENDIX
HARVEY, William: Works.
LITERARY ALLUSIONS
HERODOTUS:
History.
APPENDIX
HOMER: Iliad. Odyssey.
(See main text: 'Some Typical Books').
HOPKINs, Gerard Maruey, S.J.: Works.
N-26.2: Hopkins and Hopkins. Q-594.16: A Hesch and rasch,
it shall come to pasch, as hearth by hearth leaps live. (Suggests
Hopkins's 'World's wildfire leave but ash
In a flash, at a trumpet crash .. .'-
LITER..<\RY ALLUSIONS
The Justice of the Peace in Ireland (4th ed. 1871).
NT-134.34: Humphrey's Justesse of the Jaypees; 275, note 4:
Humphrey's Justice of the Piece. N-Ig6.2I: the King fiercas
Humphrey with illysus distilling, exploits and all.
HlJYSMANS, Joris Karl: A Rebours. La Cathedrale.
Q-I20.I3: that ideai reader (From: 'Le roman . . . deviendrait
une communion entre un ecrivain magique et un ideallecteur.'-A
Rebours, p. 265). QT-486.17: a blackfrinch pliestrycook . . . a
cathedral of lovejelly (Includes the tide of La Cathedrale and an
allusion to the dinner entirely in black described in A Rebours).
IBSEN, Henrik: Works.
N-I70.26: Gibsen's teatime; 378.25: Shaw and Shea are loruing
obsen; 535.19: Ibscenest nanscence!
Brand. T-583.29: brand; 617.16: a brand rehearsal.
Catiline. T-307 margin: Catilina.
Crown Pretenders (Kongsemmerne). T-133.36: kongsemma; 252.15:
crown pretenders.
The Doll's House (Et Dukkehjem). T-294, note I: dolls' home;
395.29: duckhouse; 533.18: cagehaused duckyheim (With The Wild
Duck); 57p: weak wiffeyducky (With The Wild Duck).
Emperor and Galilean (Kejser og Galilt2er). T -540.23: quaysirs and
galleyliers.
An Enemy of the People (En Folkefiende). T-442.2: enemy of our
country; 542.18: folksfiendshlp, enmy pupuls.
Ghosts (Gengangere). T-I26.IS: chainganger's; 323.35: ghustorily
spoking, gen and gang ...; 540.24: gaingangers.
Hedda Gabler. T-540.24: stale headygabblers.
The Lady from the Sea (Fruenfra Havet). T -540.24: fresh letties
from the say.
The League of Youth. T-3IO.17: the Ligue of Yahooth O.S.v.
(O.s.v. is a Nonvegian abbreviation meaning 'Aud so on'. The Order
of St. Vincent are Irish teaching fathers.)
Little Eyolf (Lille Eyolf). T -201.33: abbles for Eyolf.
Love's Comedy. T (?)-540.26: politicoecomedy.
HUMPHREYs, Henry:
APPENDIX
'peer' punning on 'pair'); 25I.I4: pierce; 540.22: peers and gints;
614.3: Ormepierre. Q-246.6: at Asa's arthre; 279, note I: myoId
nourse Asa; 326.10: aase; 313.13: boyg; 330.8: soloweys sang (801veig's song).
Pillars of Sodety (Sanfundets Stotter). T-96.3I: some funneer
stotter; 540.24: pullars off societies.
The Viking's Barrow (Kjaempehejen). T-I8.13: viceking's graab;
383.22: Downbelow Kaempersally (With W. W. Kelly and Sally).
The Warriors of Helgeland (Haermaende paa Helgeland) T (?)Trp. 22: horneymen.
The Wild Duck (Vildanden). T-233.I2: wily geeses; 263-19: vild
need (And see The Doll's House above).
When We Dead Awaken (Naar vi dade vaagner). T -17o.I8: when
wee deader walkner; 540.24: dudder wagoners.
Poems. Q-I99.4: holding doomsdag over hunselv, dreeing his
weird (This was pointed out by Kenner in Dublin's Joyce, p. 78. At
digt--det er at holdej dommedag over sig selv: 'To write poetry is to
hold doom-sessions over oneself').
INGELOW, Jean: 'High Tide on the Coast of Lincolnshire'.
Q-577.26: cowslips yillow, yellow, yallow.
INGRAM., John Kells: 'The Memory of the Dead'.
N-93.29: Sean Kelly's anagrim. Q-553.3Z: truemen like yahoomen.
IRENAEUS, St.: Against Heresies.
N-Z3.19: Irenean. Q-447.24: Why such a number . why any
number at all (11,26,2).
JAMES, Henry: The Lesson of the Master. The Altar of the Dead.
N-The name James occurs often and may sometimes refer to Henry
James, but he is never named in full. T-539.8: my best master's
lessons. Q-540.28: Been so free! Thank: you besters! (The first
three words are the exclamation of the Hero of The Lesson when he
learns that 'The Master', Mr. H. St. George, has stolen the girl he
loves while he has been following 'the Master's' advice by giving
all his attention to his writing). T-462.I: maitre d'autel (Combines
both titles); 465-2: Julia Bride (A story in The Altar of the Dead).
Q-464-36: I'm proud ofyoo french (French is a character of whom
Julia Bride says she is proud); 536.17: husband her verikerfully
(Vereker is a writer, the secret of whose works is never penetrated in
'The Figure in the Ca...rpet', one of the stories in The Altar of the
Dead. It was so involved that the difficulties seemed insuperable until
'some day somewhere when he wasn't
they fell, in all their
superb intricacy, into the one right combination. The figure in the
258
LITERARY ALLUSIONS
carpet came out.' This is another image for the Wake-but the solver
dies before he can explain his discovery).
lARRY, Alfred: Works.
N-463.12: He has novel ideas I know and he's a iarry queer fish
betimes (Jarry wrote Le Surmale, which has been described as 'the
only strictly surrealist novel', and Ubu Roi, an extravagant farce in
which one of his former teachers is enthroned as king. All his works
are full of novel, but perhaps queer, ideas. He was very eccentric).
JONES, Henry Arthur: Michael and his Lost Angels.
N-48].Io:Jones. T-I47.z ... 6: lost, angel ... Ivtitche11; 443.35:
Michan and his lost angeleens.
JONSON, Benjamin: Volpone. Underwoods.
N-38.z: benjamin; I92.35: joyntstone. T-97.I4: volponism. Q84.I: Moscas; 40.25: nano. T-526.3Z: Underwood.
JOUSSE, Rev. Marcel, S.J.: Works.
N-468.5: he jousstly says; 535.3: joussture; 568.8: joustle for that
sonneplace (Fr. Jousse is a philologist who believes that language is
derived from gesture. Joyce agreed with him.) N(?)-4I6.I2: joust.
JOYCE, James: Works.
(See main text. All Joyce's works are mentioned in the Wake.)
JUNG, Carl Gustave: Works.
N-Il5.22: yung; 268, note 3: The law of the jungerl; 460.20: Jungfraud's Messongebook (See main text: 'The Structural Books').
KARRs, Alphonse: Voyage autour de monjardin.
N-339.14: Karrs and Polikoff'& the men's confessioners. T-309.7:
like your rumba round me garden allatheses (Kart's thesis was that
all women and all countries are alike-so why travel?)
KEATS, John: Works.
Q-162.35: A king off duty and a jaw for ever! 266.14: love at the
latch (Joyce may be thinking of Isabella: 'He knew whose gentle hand
was at the latch/ Before the door had given her to his eyes').
lZENNEDY, Margaret: The Constant Nymph.
N-498.I9: at Kennedy's kiln. T -577. I I : constant lymph.
KEEGAN, John: 'Caoch the Piper'.
T-43.20: Caoch O'Leary.
KELLER, Gottfried: Works.
N-527.30: in his storm collar (Theodor Storm was Keller's friend).
KIcKHAM, Charles Joseph: Knocknagow.
N-208.3I: Kickhams a frumpier ever you saw. T-228.32: a
knockonacow (This probably refers also to the often-repeated story
that Kickham was once found gazing intently at a picture of a cow
259
APPENDIX
in a Dublin gallery, and, when asked why, said: 'She is so like an old
cow at Mullinahone').
KIERKEGAARD, Soren Aabye: Enten-Eller (Either-Or).
N-20I.3I: kirkeyaard; 246.1: kerkegaard. T-28I.25: Enten eller.
either or. (Ibsen saw the world in colours-or, rather, shades of
grey-as Kierkegaard painted it, but I do not think that his philosophy seriously affected Joyce, although I would not attempt to
defend this statement if it were contested by someone with a knowledge of Danish, in which some quotations from Kierkegaard are
possibly concealed. His three 'stages' of life: aesthetic, ethic and
religious, may have been imposed on Vieo's epochs).
KINGSLEY, Charles: The Water Babies. 'The Three Fishers'.
T-198.8: the waterbaby. Q-512.25: hairweed . . bar in the
moarning.
KIPLING, Rudyard: Works.
'Danny Deaver'. T-352.27: the Dann Deafir warcry.
'Love O'Women'. T-436.13: Loves 0' women.
'Boots'. Q-332.35: boths, booths, booths, booths.
'The Absent-Minded Beggar'. Q-249.17: paypaypay.
Just-So Stories. T-I53.26: justotoryum (This is mocking at
Kipling for the admitted didactic element in his stories for children'Just to Tory them'. ][t is noteworthy that Kipling forestalled Joyce in
some of his innovations; and stated in Something of Myself that he
deliberately wrote Puck of Pook's Hill on four levels, to be interpreted by four different types of readers; and even included a cryptogram in it-although he had himself forgotten the answer).
KLEIST, Heinrich von: Der zerbrochene Krug.
TQ-70.4: myth brockendootsch, making his reporterage on Der
Fall Adams. Q-532.6: Amtsadam, sir, to you! (The play is an
allegory of the fall of Adam through his love for Eve. Adam is the
local judge-Amt=office-trying a case in which a jug has been
broken; but he has broken the jug himself while attempting to seduce
t...h.e innocent girl, Eve Rull).
KRAFT-EBBING, Richard von: Psychopathia Sexualis.
N-290.28: his craft ebbing (I have been told that Joyce was given a
copy of this book in ZUrich and afterwards lost it. Perhaps this explains why it seems to have been used for Uh'sses and not for the Wake).
KROPOTKIN, Peter Alexeivich: Works.
N-8I.18: cropatltin.
KRYLOV, Ivan: Fables.
NT-159.14: crylove fables (There is a faint echo in 416.14 of
260
LITERARY ALLUSIONS
Krylov's 'Gadfly and Ant'. See Krylov's Fables, trans. Bernard Pares,
London: Jonathan Cape, 1926, p. 71).
LA FONTAINE, Jean: Fables.
N(?)T-414.17: one from the grimm gests of Jacko and Esaup, fable
one, feeble too ... the Ondt and the Gracehoper. (La Cigale et la
fourmi is 'fable one' in La Fontaine's book, and Joyre's story simply
turns it inside out, so perhaps 'Jacko' indicates Jean).
LAVATER, Johann Kaspar: Physiognomische Fragmente.
N-260.IO: diagnonising Lavatery Square (Lavater wrote that: 'The
outward and visible is determined by the inner and spiritual.')
LANNIGAN, Rev. John: Ecclesiastical History of Ireland.
N-354.17: Meetinghouse Lanigan.
LAYAMON: Brut.
NT-254.6: your brutest layaman; 359.17: layaman's brutstrenth.
LEAR, Edward: A Book of Nonsense, by Lear and others. Everyman's
Library.
(This book was in Joyce's library, see Connolly, p. 9. It contains 'The
English Struwwelpeter' which may be referred to in 212.2: Roaring
Peter. But the quotations from Lear are from poems not in this book.)
N-65.4: Mr Leer. Q-275.27: crackley hat; 406.5: the roastery who
lives on the hilli. 334.24: pobbel; 454.35: pobbel queue's remainder.
LECKY, W. E. H.: History of Ireland. History of Rationalism.
N-279.16: lecking; 438.25: in the slack march of civilisation ... becoming guilty ofunleckylike intoxication (Lecky saw history as a march
of progress; Joyce thought it went round in circles-irrationally).
LEE, Nathaniel: The Rival Queens.
TN-I32.IO ... 15: their rival queens ... lVliraculone, Monstrueceleen.
LE FANU, Joseph Sheridan: The House by the Churchyard.
NT-213.I: Lefanu (Sheridan's) Old House by the Coachyard.
N-265.4: Lefanunian. T-<)6.7: the old house by the chapelizod;
245.36: De Dud huis bij de kerkegaard. (A major source. See main
text: 'Irish Writers'.)
LEIBNITZ, Gottfried Wilhelm: La Monadologie.
N-416.29: the leivnits in his hair made him think he had the
Tossmania (Combines the name Leibnitz \Vith a mocking reference
to his Monads-simple substances endowed with power of action).
LELAN'D, Thomas: History of Ireland.
N-3II.5: lea1and; 487.31: Lee1ander.
LEVER, Charles: Tom Burki3 of Ours. Harry Lorrequer.
N-93.34: Samvouwill Leaver (With Samuel Lover, q.v.). T-I06.5:
Tonnoburkes; 228.21: hurry laracor.
261
APPENDIX
LEVy-BRUHL, Lucien: How Natives Think. Primitive Mentality . ..
N-I50.15: Professor Loewy-Brueller; 15LII: Professor Levi-Brulo;
151.32: Professor Llewellys ap Bryllars (A major source. See main
text: 'The Structural Books').
LEWIS, Percy Wyndham: Works.
Time and Westem Man. T -292.6: Spice and Westend Woman
(utterly exhausted before publication, indiapepper edition shortly).
QN-56.2I...28: some lazy scald or maundering pote, lift wearywilly
his slowcut snobsic eyes ... Nonsense! There was not very much
windy Nous blowing at the given moment through the hat of Mr
Melancholy Slow! ('Windy' is naming Lewis. The passage replies to
Lewis's: 'There is not very much reflection going on at any time inside
the head of Mr. James Joyce', and his complaint that Stephen moves
'with incredible slowness . . . how he raises his hand, passes it over
his aching eyes ...'). Q-l08.27: this Aludin's cove of our cagacity
(Lewis described Ulysses as 'an Aladdin's cave of incredible bric-abrac'); 167.I2: gropesarching eyes (Lewis mocked the phrase 'great
searching eyes' in Ulysses). T -320.17: wastended shootmaker.
Childermass. T -330.33: The kilder massed; 355.34: childerness.
NT-236.7: Luisome ... Cantalamesse (Includes Candlemas DayFebruary 2nd, Joyce's birthday).
Cantelman's Spring Mate. (Named above with Childermass.)
T-I72.6: You will enjoy cattlemen's spring meat.
Snooty Baronet. T-493.14: Snooker, bort.
Blasting and Bombardiering. T -167.14: blasted . . . bomb (See
Kenner, Dublin's Joyce, pp. 362-9).
LIVY: History of Rome.
N-260.9: Long Livius Lane; 452.18: the annals of our ... livy.
LODGE, Sir Oliver: Raymond.
N-42I.2: lodge. Q-535.36: That was Communicatot, a former
colonel. A discarnated spirit . . . may fernspreak shortly with messuages from my deadported; 533.24: K.K. (Raymond, p. 255: 'a
colonel'; p. 360: 'the Communicator'; p. 205: 'K.K.'-a medium.
The chief medium mentioned is Miss Alta Piper who is referred to as
'A.L.P.' on almost every occasion. There are many minor detailsspirits smoking cigars, and so on-which Joyce may have borrowed).
LONGFELLOW, Henry Wadsworth: Poetical Works.
N-26I, note 2: Longfellow; 82.13: stlongfella.
Hiawatha. Q-206. li:5: Minn.eha . . .; 450.5: minnowahaw. T600.7: minnyhahaing here from hiarwather.
The Wreck of the Hesperus. T -557.6: the wrake of the haps~urus.
262
LITERARY ALLUSIONS
Q-387.20: the wreak: of Wormans' Noe ('The reef of Norman's
Woe').
The Belfry of Bruges. Reference: 56.15: as Roland rung, a wee
dropeen of grief (Roland is the name of the alarm bell in the belfry;
when it rang Longfellow found his eyes 'wet with most delicious
tears'. The name Roland in the Wake always includes this bell in its
signification) .
LOVELACE, Richard: Poems.
N-231.I2: lovvey. (This attribution is made in A Skeleton Key,
p. 126.)
LOVER, Samuel: Handy Andy. Legends and Stories of Ireland. 'Molly
Bawn'.
N-93.34: Samyouwill ... Lover that jolly old molly bit. T-I29.I7:
the handiest of all andies; 229.2: a writing in handy antics; 409.3I:
ambly andy. Q-557.6: Kong Gander O'Toole ('King Gander
O'Tool' from Legends and Stories).
LUCAN: Pharsalia.
N-419.36: Charley Lucan (With CHARLES LUCAS, q.v.); 255.21: that
Buke of Lukan (Follows a list of Latin authors but includes St.
Luke's Gospel and the Book of Lecan as well as Lucan's work.)
T-353.24: Parsuralia.
LUCAS, Charles: Pamphlets on the Government of Ireland.
N-4I9.36: Thefuellest filth ever fired since Charlie Lucan's (Lucas's
pamphlets were banned).
L YLY, John: Works.
N-583.9: lylyputtana. (With Swift's Lilliput.)
LYTTON, Lord Edward George Bulwer-Lytton, 1st Baron: The Lady of
Lyons. Richelieu. The Last Days of Pompeii.
T-229.IO: lady the lalage of lyonesses; 449. II : my lady of Lyons;
5I9.33 and 520.I3: Mrs Lyons (?). Q-34.33: Pauline, allow!;
306.r8: Is the pen mightier than the sword? (Richelieu, Act 2,
Scene 2-but this is a well-known quotation). T-64.14: last days of
pompery.
MACAULAY, Lord Thomas Babington, 1st Baron: Essays. Lays of
Ancient Rome.
N-25.36: Mick Mac Magnus MacCawley; 618.1: MacCrawls.
T-277.5: lays of ancient homes. Q-83.7: lards porsenal.
Essay on Clive. Q-IOLI6: everyschoolfilly of sevens core moons
or more who knows; 339.32: who strungled Attahilloupa with what
empoisoned El Monte de Zuma; 492.I8: Zenaphia Holwell . . .
Surager Dowling ... I hindustand.
263
APPENDIX
LITERARY ALLUSIONS
William: Works.
N-458.r8: magginbottle (Maginn drank: himself to death. Joyce
knew by heart Mangan's poem, 'The Nameless One', which contains
the lines:
MAGINN,
Des.
T-I22.13: Day the Dicebox ThIom. (Un Coup de Des). (See main
text and D. Hayman, Joyce et Mallarme.)
MALORY, Sir Thomas: Morte d'Arthur.
T -151.20: Mortadarthella taradition. N-I5I.24: Mullocky (This
is also Malachi who 'wore the collar of gold' but the traditions of
Tara and Camelot are combined in this passage). T-392.34: The
merthe dirther! Q-285.2: mierelin roundtableturning; 132.5: the
modareds that came at him in Camlenstrete; 389.23: gouty old galahat, with his peer of quinnyfears (With Peer Gynt. There are about
twenty references to Arthur and Guinevere but
are combined
with many other themes. E.g. 28.r: queenoveire (Makes Guinevere
queen of Ireland); 285 margin: Arthurgink's hussies and Everguin's
men (Here King Arthur's Gwendolen and Guinevere are balanced
against his queen's lovers to the rhythm of 'All the king's horses and
265
APPENDIX
all the king's men'. The balanced reversals of the names set up the
kind of pattern Joyce liked to establish.)
.MANGAN, James Qarence: Poems.
N(?)-4I.4: Mongan; 209.7: Clarence (With Qarence from Richard
II!); 2II.I: Mann in the Cloack. Q-93.27: from dark Rosa Lane
a sigh and a weep; 351.9: durck rosolun; 4I9.25: from the Otherman
or off the Toptic (Also a quotation from Joyce's essay on Mangan);
387.I7:
long ago ... the barmaisigheds, when my heart knew no
care (And see: WILLIAMS, R. D'A.); 535.29: Nine dirty years mine
age, hairs hoar (The Nameless One: 'Old and hoary/ At thirty nine');
66.14: written in seven divers stages of ink (From a description of a
Mangan MS. by Imogen Guiney: 'O'Daly also had said that the
versions of the Munster poets were often brought to him in differentcoloured inks indicative of different public houses in which they were
composed.'-I. Guiney, James Clarence Mangan. London: John
Lane, 1897, p. 22.)
.M..A.NNERS, John Hartley: Peg 0' My Heart (A play).
T-290.3: peg-of-my-heart; 362.2.0: the peg ... off his heart; 490.3I:
of his heart .. Pegeen; 577.16: peg of bis .. heart (There are
probably references to Manners's wife, Laurette Taylor, who played
the pa...'1: of Peg). T-143.1: Sweet Peck-at-my-Heart picks one
man more. N-99.8: masculine manners; 365.33: Taylor.
.MANzoNI, Alessandro: I Promessi Sposi.
T -361.6: Spose we try it promissly. N-36I.13: man's in his ..
MARDRUS, J. C.: (Trans.) Le Koran.
(In Joyce's library, but only the first thirty-two pages have been
opened. See Connolly, p. 23.) N-374.12: the Murdrus duelect;
. 517.U: The author, in fact, was mardred.
.MARGADANT, Simon Lemnius: Raetius.
TQN-32.7.II .. 13 .. 14 ... IS ... 18: rheadoromanscing ...
ester ... pled ... glatscb ... piz ... aura ... marchadant (The first
word gives the language, Raeto-RomapJc or Romansch, and tt'1e title;
the last word gives the authors name; between come Romansch words
meaning-in order-foreign, word, ice, mountain-peak and weather.)
.MARx, Karl: Das Kapital
N-83.IO: marx; 83.15: remarxing; 365.19: nompos mentis like
Novus Elector what with his Marx and their Groups (Seems to
include the statement that the new voter who favours Marx is of
unsound mind.)
MATHARAN, M.-M.: Casus de matrimonio.
(According to Counolly: 'The most heavily marked of all the books
266
LITERARY ALLUSIONS
in the Joyce Library.'-p. 25. Its influence, however, seems to be
confined to the passage beginning 572.I9: 'The Procurator Interogarius Mealterum ... ' and ending 573.32: 'Has he hegemony and
shall she submit?' Incidentally this passage is the subject of a story,
'A Case of Conscience', in Best SF (Ed. E. Crispin) Faber & Faber.l
MATURIN, Charles Robert: Melmoth the Wanderer.
N-335.35: 0 Mr Mathurin, they were calling, what a topheavy
hat you're in! (With St. Maturin, the French patron of fools, whose
hat, presumably, is a fool's cap. The Camb. Hist. of Lit., XIII, II,
p. 26I, describes Melmoth as being 'written in a style of towering
nonsense'. The reference here may include Oscar Wilde, who took
the name Melmoth in Paris, and 'mathurin' is a French slang word for
a sailor.)
MEAD, G. R. S.: Thrice Great Hermes.
N-563.3: A stake in our mead ... How his book of craven images;
479.8: Meads Marvel, thass withumpronounceable tail; (?) I8.22:
Meades. Q-263.2I: The tasks above are as the flasks below, saith
the emerald canticle of Hermes. (But Joyce met this first in Arthur
Symons, The Symbolist Movement in Literature, see above, p. 46.)
MELVILLE, Herman: Moby Dick.
Reference I3.34: groot hwide Whalefisk; 270.I4: queckqueck.
MrCHELET, Jules: (Translator) Principes de la philosophie de l'histoire,
traduits de la scienza nuova de J. B. Vico, et precedes d'un discours
sur Ie systeme et la vie de l'auteur. Bruxelles, I839.
N-II7.II: The olold stolium! From quiqui quinet to michemiche
chelet and a jambebatiste to a brulobrulo! (Michelet was a friend of
Edgar Quinet who translated Herder and wrote an essay on Vico,
from which Joyce quotes the sentence 28I.4-I3. The summary
(pp. 6-39) of Vico's theories contains nearly everything that Joyce
used from Vico. Perhaps a major source.
MILL, John Stuart: The Subjugation of Women. On Liberty.
NT-2I3.2: Mill (J) On Woman with Ditto on the Floss. Ja, a
swamp for Altmuehler and a stone for his flossies. (According to a
letter in the T.L.S., 2Ist August, I953, by P. G. Burbidge, this
comes from H. R. Wheatley, What is an Index? London: Henry
Sotheran& Co., I878, p. 66: 'Mill on Liberty
- on the Floss.')
N-416.32: hegelstomes, millipedes (In a passage about philosophers).
1 Since expanded into a full-length novel: A Case of Conscience. James Blish,
Faber & Faber, 1959.
APPENDIX
MILLER, Hugh: Old Red Sandstone. Footprints of the Creator.
NT-2I3.2: Altmuehler and a stone. T-I37.16: footprints on the
megacene.
MILLIGAN, Alice: The Last Feast of the Fianna (A play).
N-I33.26: was drummatoysed by Mac Milligan's daughter (The
passage is about Finn).
MILTON, John: Paradise Lost, Works.
N-7I.7: Milltown. T-6IO.34: Peredos Last; 6I5.25: paladays last.
Q-I82.4: light phantastic; 194.15: clothed upon with the mettuor
and shimmering like the horescens (This combines two phrases from
P.L.: 'clothed with transcendent light'-I, 86; and 'shone like a
meteor'-I, 537). 230.25: such as engines weep; 55.16: like angels
weeping; 343.36: Of manifest 'tis obedience and the. Flute! 233.33:
pure undefallen engelsk.
lucydlac; Q-203.26 ... 28 ...
30: enamelled eyes ... violetian ... laurals (Lycidas, 11. 134, 139, I49.)
MINUCIUS, Felix: Octavius.
N-486.13: Minucius Mandrake. Q-124.I6: the ancestral pneuma
of one whom, with rheuma, he venerated shamelessly ... at Cockspur
Common.
MISTRAL, Frederic; Works. Mireille.
N-453-I7: Mistral; T-327.30: mireic11es; Q-43.22: the felibrine
trancoped metre (Mistral founded the Fe1ibrige school of poets).
MITCHELL, John: Jail Journal.
N-I3.9: Miry Mitchell; 281, note 4: All this Mitchells . . . T228.33: gheol ghiornal (Probably includes Wilde's De Profundis).
Q-60I.17... 34 (This passage is mainly about Kevin Izod O'Doherty
whom Mitchel met and called 'St. Kevin').
MOLIERE, Jean Baptiste Poquelin: Le Malade lmaginaire. Le Bourgeois
Gentilhomme.
N-II7.12: jambebatiste. (With Vico and St. John the Baptist).
T-I77.27: bis Ballade lmaginaire; 365.4: baron gentilhomme.
Q-3.I2: sosie (The word is used in French to signify 'twin or
double' from the character Sosie in Moliere's version of Amphitryon).
MOMMSEN, Theodor: Roman History.
N-I55.33: Mumfsen. (Cited as one of the Mookse's authorities.)
MOORE, George: Confessions of a Young Man. Ave. Salve. Vale.
N-I60.25: Will you please come over and let us mooremoore murgessly to each's OL1.er down below our vices (This alludes to Moore's
weakness for confession and combines him with Moore and Burgess,
the black-faced minstrels).
Aves SelvaeAcquae Valles! 305.27
Ave ... Vale ... salvy; 600.7: whereinnoncewelave'tisalveandvale.
268
LITERARY ALLUSIONS
MOORE, Thomas: Irish Melodies. Lallah Rookh.
TN-I06.8: Medoleys from Tammany Moohr; 184.15: lallaryrook
moromelodious . . .; 331.12: Tommy Melooney; 439.9: Moore's
melodies; 468.27: the moore the melodest; 492.34: tummy moor's
maladies. Q-Mr. M. J. C. Hodgart has pointed out that Joyce
quotes all the titles of Moore's Melodies together 'With the name of the
air to which each was set. For example: 49.6: alohned in crowds to
warnder on like Shuley Luney. This comes from 'Alone in crowds to
wander on', words which Moore wrote to the tune Shule Aroon. But
as these borrowings have been fully discussed by lVlr. Hodgart, and
come under the heading of songs rather than literature, they will not
be listed here. There do not seem to be any quotations from Lallah
Rookh; but 68.12: Aslim-all-Muslim may refer to Azim, the hero of
the first part of that book, and 394.18: Lally ... and Roe, to the
reference in it to Sir Thomas Roe.
MORGAN, Sydney, Lady: The Wild Irish Girl.
N-36.5: Morganspost; 60.27 ... 33: Sydney . . . Moirgan's
lady.
MORLEY OF BLACKBv"RN, John, 1st Viscount: The Life of Gladstone.
N-54I.12: morely. (Gladstone forms a part of the figure of H.C.E.
and this work is probably Joyce's source for the details about
Gladstone, e.g. 31.16: some shortfingeredness. See WRIGHT, Peter E.)
MORRIS, William: News from Nowhere.
NT-333.36: Noviny news from Naul ... Morrienbaths.
MOTLEY, John Lothrop: The Rise of the Dutch Republic.
N-338.II: Mottledged. T -15.22: the Rise of the Dudge Pupublic.
MUGGLETON, Lodowick: The Divine Looking-Glass.
N-I23.21: Neomugglian Teachings; 312.26: Muggleton. T-408.2I:
what Simms sobs today I'll reeve tomorry ... I'm thine owelglass.
(Muggleton's associate was John Reeves, here combined with the
tenor Simms Reeves. But there is no evidence that Joyce had read
Muggleton's books. 'Neomugglian Teachings' is probably referring
to the modem psycho-analysts, particularly J ung and Freud, who
claim. that no one can be accepted as an authority on their subject
who has not himself been psycho-analysed. Joyce compares this to
the taunt made by O. W. HOLMES (q.v.) in The Professor at the
Breakfast Table about the Muggletonians-who will only accept
criticism from people who have professed Muggletonianism. The
reference to Holmes's book follows shortly after the reference to
Neomugglian teachings, and this is surrounded by phrases suggesting
psycho-analysis.)
APPENDIX
MURRAY, Lindley: Grammar of the English Language.
N-269.20: all them fine clauses in Lindley's and Murrey's.
NASHE, Thomas: Pierce Penniless, His Supplication to the Devil.
N-75.20: Nash; 290.29 ...291.27: the unirish title, Grindings of
Nash .. a notoriety, a foist edition . (This passage is mainly about
authors and Nashe seems to be one of them, although only the name
and title may be used. Nash is Hebrew for snake-a symbol for
Satan, and Pierce is short for Peter-whose pence are proverbial: so
Pierce being penniless presents Joyce with another personification
of his image of the writer as anti-Christ: 'his word wounder' (75.19).
There are many things in the Wake that could have been taken from
Nashe's works, but most of them are likely to have other sources.
The following are typical examples. My references to Nashe are to
McKerrow's edition-3o.2 (etc.): Humphrey; 45.17: nunch with
good Duke Humphrey (Nashe, I, 163, III, 147); 86.8: Crowbar
(Nashe I, 167); 94.13: Agrippa (Nashe I, 19I); 415.15: sommerfool
(Nashe III, 227: Summer's Last Will and Testament. This is a play
about Will Sommers, Henry VIII's fool. Joyce is also punning on
somervogel, Swiss-German for butterfly). Q-378.20: Theplaygue
will soon be over (Nashe: The plague full swift goes bye-III, 283towards the end of the play.)
NEPOS, Cornelius: Themistocles.
N-389.28: Cornelius Nepos. TQ-392.24: Themistletocles on his
multilingual tombstone ('An epitaph in several languages was written
on his tomb'-Themistocles, X, 4).
NEWMAN, John Henry, Cardinal: 'Lead, Kindly Light'.
N-282.20: his element curdinal numen; 467.33: numan;596.36 and
614.17: newman. T-II2.9: Lead, kindly fowl! (See Letters, p. 305).
Q-594.6: light kindling light has led we hopas but hunt me the
journeyon.
NICHOLAS OF CuSA:
De Docta Ignorantia.
LITERARY ALLUSIONS
quick, stay so long, come down slow. T-513.II: Dawncing the
kniejinksky choreopiscopally like an easter sun ...
O'DOHERTY, Kevin Izod: Works.
N-2II.14: Kevineen O'Dea; 231.13: coffin acid odarkery; 283.14:
o doherlynt! 601.18: Keavn!
O'GORMAN: Martyrology.
(See GORMAN.)
O'HEGARTY, P. S.: The Victory of Sinn Fein.
Q-473.8: devil era (Joyce's information about 'Document Number
One', etc., may come in part from this book).
OLIPHANT, Laurence and Margaret: Works.
N-427.22: Tuskland where the oliphants scrum (Both cousins were
born in Cape Town and became voluminous writers).
ORCZY, Baroness: The Scarlet Pimpernel.
T -564.28: a scarlet pimparnell.
O'REILLY, John Boyle: Works.
N-23I.13: gumboil owrithy.
ORIGEN: Works.
N-I6I.8: origen. T(?)-I55.3S: the Cappon's collection.
OVID (P. Ovidius Naso): Metamorphoses. Tristia. Ex Ponto.
N-306 margin (Ironically placed opposite: 'Is the pen mighter than
the sword? A career in the Civil Service); 403.7: nasoes. T-190.30:
a song of alibi . metamorphoseous (The first phrase probably
refers to Tristia and Ex Ponto). QT-434.30: You'll fix: your eyes
darkles on the autocart ... but here till youre martimorphysed please
sit still ... how wrong will he look (One of the allusions here is to
Ovid's statement that he was exiled because he saw something.Tristia, III, 5, 50). Q-267.9: plutonically pursuant . . . pretty
Proserpronette whose slit satchel spilleth peas (But, like several other
allusions-to Deucalion and Pyrrha, for example-this does not
necessarily involve Ovid).
PARACELSUS (Theophrastus Bombastes von Hohenheim): Works.
N-484.34: Theophrastlls Spheropneumaticus (It seems unlikely
that Joyce read Paracelsus. Possibly his source was the 'Digressions
to Swift's Tale of A Tub).
PARTRIDGE, Eric: Works.
N-344.7: partridge; 447.28: I am perdrix and upon my pet ridge
(These allusions seem to combine four things: there is the almanack-maker, the modern lexicographer whose books Joyce seems
to have used, the mythological Perdix and the phrase Toujours
perdrix).
27 1
APPENDIX
PASCAL, Blaise: Lettres Provinciales. Pansees.
N-372.IO: Blaize (And in the word 'paschal'). T-403.I4: Pensee!
48.31: what the eldest daughter she was panseying; 443.14: pansements; 446.3: loveliest pansiful thoughts (With Hamlet); 447.1...12:
help our jakeline sisters . . . the provincials. References: 446.26:
EuphoIDa; 528.24: Euphiamasly (pascal's sister Jacqueline took the
name of Euphemia in religion at Port Royal, and wrote a Life of her
brother. Joyce is using the pair as characters for Shem/Shaun and
188y). Q-271 margin: Cliopatria, thy hosies history; 172.27: You see
chaps it will trickle out . . . (Pascal seems to be included in the page
following this as a pa.."'t of the character of Shem).
PATRICK, St.: Confessio. Tripartite Life.
N-3.IO: thuartpeatrick; 37.22: Saint Patrick (The name occurs
nearly fifty times in various versions); 54.15: Cothraige; 480.12:
Magnus; (?) 485.7: Suck at! (St. Patrick had four names: Sucat,
Cothraige, Magonius and Patricius. See Tripartite Life, Rolls Series,
1887, p. 35. He is recognized as one of the voices that speak from the
sleeping Yawn. His contributions begin on p. 478) 478.21: Moy jay
trouvay fa clay dang les champs; 478.25: trefling .. partnick . . .
padredges; 479.12: Pat ...; 480.2: the slaver ... Folchu ... (These
references thicken until pp. 483-4 is almost solidly based on the
Confessio). N-483.34: patristic. T -484.1: I confess; 486.28: your
tripartite. Q-I69.n:: an adze of a skull ('St. Patrick was called
Adzehead from his tonsure'-Tripartite Life, p. 35); 480.13: laid
bare his breast to give suck (Refers to St. Patrick's refusal to accept
adoption by this ancient ceremony); 605.8: portable altare cum
baIneo ('The portable stone altar ... swam round the boat'-Tripartite Life, p. 447)
PELAGIUS: Works.
N-I82.3: pelagiarist; 525.7: Pelagiarist!; 538.36: Pelagios.
PETRARCH, Francesco: Works.
N-203.30: throw those laurels now on her daphdaph teasesong
petrock; 269.24: the greater the patrarc the griefer the pinch.
PLATO: Works.
QN-I64.5 ... II: the omber the Skotia of the one .. babbling point
of platicism (Republic, 515 A). T -2II.24: symposium's syrup.
Q-2I4.7: we're umbas all (Rep., 514-8); 231.15: as thought it had
been zawhen intwo (Referring to Aristophanes' speech in The Symposium about man's original body having been sawn in two). N241.13: Talop's .. legture; 262.2: Approach to lead our passage!
(Invoking Plato by an anagram of the initial letters). Q-28I.I7:
272
LITERARY ALLUSIONS
shadows shadows multiplicating (Rep., 515 C.); 291.8: timocracy
(Rep., 545 R, with T. M. Healy's Dublin). NQ-292.30: twinnt
Platonic yearlings-you must, how, in undivided reawlity draw the
line somewhawre (Combines the Aristophanic joke about divided
bodies with Plato's image of 'the divided line' (Rep., 509 D.), and the
'two circles appointed to go in contrary directions' (Tim., 39 A.)
which are referred to frequently in the next four pages). T-294.I2:
me now! (Meno-named for the geometry lesson it contains).
Q-300.20 ... 22: that Other by the halp of his creactive mind ... our
Same ... ('God ... blended a third form of Being ... out of the
Same and the Other .. .' (Tim., 39 A.). Tbis is quoted by Yeats in a
passage in A Vision ('Creative Mind', pp. 68 et seq.) wbich is also
being quoted here). N-307 margin: Plato; 348.8: platoonic. T415.34: me no. N-417.I5: plate 0'. Q-424.32: Every dimmed letter
in it is a copy and not a few of the silbils and wholly words I can show
you in my Kingdom of Heaven (Rep., 5x6-8); 486.9: Mere man's
mine: God has jest. N-622.35= Platonic (Gorgias is also likely to
be named and used, but its title is difficult to distinguish from the
name of Joyce's son Giorgio. It may be intended in the following.)
T-3.8: gorgios; 303.17= Georgeous; 458.25: gorgiose; 492.34: singorgeous (With G. Joyce and St. George's Channel); 562.29: gorgeous
(The statement that 'Men who have spent their lives in evildoing
are transformed at their next incarnation into women' (Gorgias,
91 A.) may be one explanation of the occasional changes of sex
inF.W.).
PLINY, 'the Elder': Natural History.
PLINY, 'the Younger': Letters.
N-28I.4: aux temps de Pline et de Columelle (Joyce sometimes combines the two, and their name is mentioned four or five times
together with that of COLUMELLA (q.v.), presumably because Quinet
named them together in the sentence from bis essay on Vico wbich
Joyce quotes in the Wake); 255.18: While Pliny the Younger writes
to Pliny the Elder his calamolumen of contumeilas; 354.26: bright
plinnyflowers in Calomella's cool bowers; 319.6: it's a suirite's stircus
haunting hesteries round old volcanoes. We gin too gnir and thus
plinary indulgence makes collemullas of us all (Tbis refers to the
famous letter, Bk. VI, 16, from the Younger Pliny to Tacitus
describing the eruption of Vesuvius wbich caused his uncle's death);
615.2: Plooneyand Columcellas. Q-2IO.23: a drowned doll to face
downwards (Natural History, VII, 17, says that drowned men float
face upwards, women face downwards).
273
APPENDIX
PLOTINUS; Works.
N-76.I8: out of plotty existence; 470.20: Oisis, plantainous dewstucqmirage playtennis! (These conceal Plotinus's name, Egyptian
birth, and belief in the purely spiritual nature of existence.)
POE, Edgar Allan: 'The Raven'. Tales of Mystery and Imagination.
NQ-3I5.34: pounautique, with pokeway paw, and sadder raven
evermore. N-236.30: po's taeorns; 534.21: Poe's Toffee's Directory. Q-49.II: queth their haven evermore; 129.3: Nevermore;
II2.25: weird week-day in bleak Janiveer. T-4I9.20: furloined notepaper (Includes 'The Purloined Letter').
POPE, Alexander: Works.
N-I33.20: popeling; 448.17: Pope's Avenue; 466.II: popetry.
Q-6I.30: this leaden age ofletters ('To hatch a new Saturnian age
of lead'-Dunciad); 301.24: Sink deep or touch not the Cartesian
spring! 397.24: and by the world forgot; I61.I: michelangelines have
fooled to dread; 568.I8: his clouded cane. T-542.29: raped lutetias
in the lock (With The Rape of Lucrece and the 'Lock' Hospital);
423.21: He was grey at three, like sygnus the swan, when he made his
boo to the public ... rapes the pad offhis lock (Joyce brings in Pope
as an example of a literary child prodigy who 'lisped in numbers',
and compares him with himself, whose bow to the public was some
verses booing T. M. Healy).
PORPHYRY: Works.
N-264, note 3: Porphyrious Olbion, redcoatliar, we were always
wholly rosemarines on our side every time. (porphyry was a Neoplatonist with whose ideas Joyce might have sympathized. The name
of his Syrian name, Malchus=King, but Joyce
is a Greek
seems to be using it merely in its sense of purple.)
PORTER, F. T.: Gleanings and Reminiscences (Dublin, I875).
N-I35.7: whon missed a porter (This combines the song 'Oh
Mr. Porter' with Ii complicated pattern of allusion involving F. T.
Porter and T. S. Eliot. Eliot wrote of 'When lovely woman stoops to
folly' quoting Goldsmith. Joyce wrote of 'When lovely woman stoops
to conk him'-I7o.14. This refers to an incident described, and
elucidated, by IF. T. Porter in his book. The Dublin Annals in
Thom's Almanack state that in the year 1822 a woman threw a bottle
into the Lord Lieutenant's box. Attempts to find the culprit were
unsuccessful for thirty years until Porter found out that a man called
Henry Hanbri.dge was responsible. Joyce completes his pattern with
an allusion to the song quoted by Eliot about 'The sun shines bright
on Mrs. Porter').
274
LITERARY ALLUSIONS
POUND, Ezra: Works.
N-89.24: A maunderin tongue in a pounderin jowl (Refers to
Pound's translations from the Chinese, but 'maundering' is a I7th
century cant word for begging, and I think there is also an allusion
to Pound's pronouncements on literary topics); II6.2: blurtbruskblunt as an Esra (This describes Pound's blunt epistolary style which
is compared to a view of buttocks through the looking-glass: 'Esra');
309.23 and 566.1: pound (Joyce seems to have accepted many of
Pound's prejudices-against Housman, for example-perhaps without realizing where he had got them from; his own final technique
may owe something to the maxims laid down by Pound. See main
text: 'The Structural Books').
PREVOST D'Exn.ES, A. F., Abbe: Manon Lescaut.
N-5.2z: sways like that provost scoffing bedoueen the jebel and the
jpysian sea (May refer to his leaving the Church and then returning
to it, but still writing about women although he was in orders).
T-203.2I: Nanon L'Escaut.
PRICHARD, James Cowles: The Eastern Origin of the Celtic Nations.
N-44.8: Pritchards; 176.2: Pritchards.
PRINCE, Morton: The Dissociation of a Personality.
N-278.26: prince; 280.22: prints chumming; 460.I2 ... 22: prince ...
mort; 5I1.33: the sap that hugged the mort (A major source. See
above, pp. 40-41).
PRIOR, Matthew: Works.
N-422.36: noisy priors.
PROUST, Marcel: A La Recherche du Temps Perdu.
N-424.9: Prost bitte! Conshy! Tiberia is waiting on you, arrestocrank! 482.3r: the prouts who will invent a writing (Combined with
'Father Prout' who invented spoof classical originals for the writings
of his contemporaries). T -564.28: pities of the plain (Cities of the
Plain); 587.26: two legglegels in blooms (A l'ombre de jeune filles en
fleur, with the song 'Two Little Girls in Blue'); 410.3 and (?)I27.15:
Swann; 450.5 and 465.35: swansway (Perhaps with the Anglo-Saxon
image for the sea). Q-s8r.I7: lord made understanding, how betwixt \vife1y rule and mens conscia recti (The Latin phrase was the motto
of the Baron de Charlus; Joyee is mischievously assuming that Proust
intended a pun on the word rectum-but see VIRGIL); 536. 12: Mongrieff!
o Hone! Guestermed with the nobelities (This seems to combine
Proust's English ttanslatorwith D. Hone, the medium, a Gaelic Alas l)
PSALMANAZAR, George: Autobiography.
NT-15o.16 ... 24: Shalmanesir . . . his talked off confession (He
275
APPENDIX
said that he had formed his name from Shalmaneser-2 Kings,
17:3)
PUSHKIN, Alexander Sergeyevich: Works.
T -33.26: that man d'airain (The Bronze Horseman); 2Il.8: Ludmilla
(Ruslan and Ludmila); 348.5: omegrims (Eugene Onegin); 134.8 ...
135.II: spates ... dames; 34I.34: damas; 548.13: dame, pick (Pigue
Dame); 351.12: tsingirillies' zyngarettes (Tsyngany). QT-341.8 ...
344.27 ... 346.3: ivory girl and ebony boy . .. Peder the Greste .
Ibrahim (The Moor of Peter the Great-his name was Ibrahim).
N(?)-32P6: pushkalsson.
QUINET, Edgar: Introduction a la philosophie de l'histoire de l'huw.anite.
N-II7.U: quinet (A sentence from this essay is quoted almost
verbatim 281.4-13, and parodied at 14.35 and 236.19. I give here the
sentence as printed in Quinet's (Euvres Completes, Paris, 1857, II,
p. 367: 'Aujourd'hui, comme aux joms de Pline et de Colume1le,
18 jacinthe se plalt dans les Gaules, la pervenche en IllY'tie, 1a
marguerite sur les ruines de Numance; et pendant qu'autour d'elles
les villes ont change de maitres et de nom, que plusieurs sont rentrees
dans Ie neant, que les civilisations se sont choquees et brisees, leurs
paisibles generations ont traverse les ages et se sont succedes l'une
it I'autre jusqu'a nous, fraiches et riantes comme aux jours des
batailles.' This differs in several minor ways from Joyce's version
which follows a transcript in Joyce's hand reproduced in the James
Joyce Year Book, facing p. 128).
RABELAIS, Fran~ois: Gargantua and Pantagruel.
Q-229.23: the c1ufl: that meataxe delt her (With a pun on Delta);
368.I5: And not to be always .. treeing unselves up with one exite;
381.2: the leak of McCarthy's mare.
READE, Charles: The Lyons Mail (A play).
N-63.2: Reade. T-465.15: the lyonised mails.
RENAN> Ernest: 'Prayer on the Acropolis'.
T-541.24: praharfeast upon acorpolous.
RIMBAUD, Arthur: Works. 'Les Voyelles'.
N-3!9.5: rinbus. Reference 318.::n: With that coldbrundt natteldster wefting stinks from Alpyssinia, wooving nihilnulls from Memoland and wolving the ulvertones of the voice. But his spectrem onlymergeant crested from the irised sea in plight, calvitousness, loss,nngnr,
glydinyss, unwill and snorth. T -267.17: se1fioud (Selbslaut, German for vowel; f0I10Wi."lg rainbow and with pun on loud self-praise.)
ROBIRT OF CHEsTER (or ROBERT OF RETINA): Works.
N-86.7: P.e. Robart; 443.1: his quorum of L'llages all on my
276
LITERARY ALLUSIONS
retinue, Mohomadha,vn Mike. (Robert of Chester translated the
Koran into Latin in II42, and an Arabic book of Alchemy two years
later. Although Robert is disguised as a policeman in the first
reference, the mass of alchemical details in the context make this
identification certain. Joyce does not appear to have used the Book
of the Composition of Alchemy, but he could have learned of it from
almost any book on the history of Alchemy.)
ROUSSEAU, Jean-Jacques: Confessions.
N-463; the jeanjakes.
ROWNTREE, Benjamin Seebohm: Poverty, a Study of Town Life.
N-544.35: Rowntrees (See main text: 'Some Typical Books').
SAPPHO: Works.
N-go7 margin: Sappho.
SAXO GRA.Jl.iMATICUS; Works.
N-go4.18: Saxon Chromaticus; 388.3I: Sexon grimmacticals (This
probably refers to the history of the Danes).
SCALIGER, Julius Caesar: Works.
N-49I.z8: the blutchy scaligerl; 524.31: scaligerance (In both cases
the reference seems to be to J. C. Scaliger's fertility rather than to
his son Joseph Justus Scaliger's learning.. The elder Scaliger, after
having been a Franciscan brother, married and had fifteen children
of whom the famous scholar was the tenth).
SCHELLING, Friedrich Wilhelm Joseph von: The World Soul.
NT-4I6.4: bynear saw altitudinous wee a schelling in kopfers ..
when he was not making spaces in his psyche.
SCHILLER, Johann Christoph Friedrich: Die Rauber.
TQ-224.32: the rapier of the two though thother brother can hold
his own, especially for he brandished it with his hand (There is a
reference here to the two warring brothers in Die Rauber whose
father favours the hypocrite while the good one is banished to a
bandit band).
SCHOPENHAUER, Arthur: Works.
N-414.3g: schoppinhour.
SCHWEITZER, Iohan Friedrich ('HELVETIUS'): Works (On Alchemy).
N-4.2I: Helviticus (With Leviticus.)
SCOTT, Sir Walter: Works.
N-I6I.23: reading for our prepurgatory, hot, Schott? .. Schott!
NT-I77.3S: great scoot, duckings and thuggery .. with all the
teashop lionses of Lumdrum hivanhoesed up gagainst him; 2II.29:
Great Tropical Scott. T-38I.I6: heart of midleinster; 465.36: The
leady on the lake. Q-r68.I: who never with himse1fwas fed (From
277
APPENDIX
'That never to himself has said . .'-Lay of the Last Minstrel);
24.12: Have you whines for my wedding, did you bring bride and
bedding, will you whoop for :my deading .. ? ('Young Lochinvar');
344.1: though the unglucksarsoon is giming for to git (This seems to be
based on, 'Oh the young Lochinvar is come out of the west . !).
SHAKESPEARE,
af Venus.
Midsumnze?' Night's Dream. 502.29: Miss Somer's nice dream.
Much Ado About Nothing. 227.33: McAdoo about nothing.
Othella. 196.1: 0 tell me (?)
Pericles. 306
Pericles.
Richard II.
Richo;fd Ill. 319.20: Reacher the Thaurd; :;:38.33: writchad the
thord.
LITERARY ALLUSIONS
Troilus and Cressida. 129.2: trollyours (?)
Twelfth Night. 364.3: Twelfth.
Two Gentlemen of Verona. 569.41: two genitalmen of Veruno.
Winter's Tale. 20I.II: winter's doze.
The Rape of Lucrece. 277, note 2: rape in his lucreasious.
(There are so many quotations from Shakespeare in the Wake that
I shall make no attempt to list them. See main text: 'The World's a
Stage'.)
SHAW, George Bernard: Plays.
N-4I.8: shavers in the shaw; II2.34: as a strow will shaw; 256.13:
your wildeshaweshowe moves swiftly sterneward; 303.7: Pshaw (In
a list of Irish writers); 378.25: Shaw and Shea are loming obsen;
33I.21: shaws; 132.10: bragshaw; 369.7: Mr G. B. W. Ashbumer
(With Gas from a Burner); 527.8: bombashaw. T-24.9: windower's
house; 155.14: motherour's houses. Q-299, note 3: Gee each owe
tea eye spells nsh; 226.13: Mammy was, Mimmy is, Minuscoline's
to be (Man and Superman). Q(?)-226.13: And among the shades
that Eve's now wearing she'll meet a new nancy, tryst and trow (Back
to Methuselah). Q-I62.3: a thunpledrum mistake (Refers to the song
in St. Joan. See Letters, p. 221.)
SHAW, Henry Wheeler ('Josh Billings'): Works.
(Some of the references to the name Shaw may apply to this American
humorist who used distorted spellings.)
SHELLEY, Percy Bysshe: Works.
N-23 I. 12: feastking of sheIlies. NQ-450.lo: shellyholder ..
abower ... L'Alouette's Tower (To a Skylark). T -41.5: epipsychidically (Epipsychydion); 32.36: Alustrelike (Alastor); 560.1: Promiscuouos Omebound (Prometheus Unbound).
SHENSTONE, William: The Schoolmistress.
N-332.13: shenstone. T -228.r6: sheolmastress.
SHERIDA...~, Richard Brinley: Works.
N-I84.24: Sharadan; 256.12: sherigoldies (From Boswell, with
Goldsmith); 545.35: Sheridan's Circle. T-208.14: the rivals. QIII.2I: lydialike languishing. T-80.34: a whole school for scamper
(School for Scandal).
SIGERSON, George ('Erionach'): Bards of the Gael and Gall.
N-530.2I: sickerson the lizzyboy! Sackerson, magnon of Errick
(With Sackerson, the famous Elizabethan bear-I do not know why).
T-63.6: gaelishgall; I34.22: the gale of his gall; 5IP5: the Gaelier's
Gall; 5I5.7: a gael galled (But since Gall means ungaelic in Gaelic
none of these certainly refers to Sigerson).
279
APPENDIX
SINNETT, Alfred Percy: Life of Madame Blavatsky.
NT-352.13: be me procuratress of the hory synotts.
SMOLLETT, Tobias George: Works.
NT-28.35: be that samesake sibsubstitute of a hooky salmon there's
already a big rody ram lad atrandom .; 29.5: humphiug his share ...
in pickle .. clin..kers. (A young salmon is called a smolt=Smollett,
at one stage. Roderick Random, Peregrine Pickle and Humphrey Clinker
are all named in the same sentence.)
blackmail him I will
in arrears or my name's not penitent Ferdinand (Ferdinand Fathom).
N-580.8: Toobiassed (Tnis may refer to Smollett's statement in the
first paragraph of Ferdinand Fathom that: 'How upright soever a
man's intentions [in writing his own memoirs] he will be sometimes
misled by his own phantasy and represent objects as they appeared
to him through the mists of prejudice and passion.' Smollett is never
named clearly in the Wake. I think this is a tribute to him from Joyce
who seems to have considered him to be his forerunner in using misspellings to suggest another, and usually bawdy, meaning. In
Humphrey Ch'nker, whose eponymous hero has the same name as one
hero of the Wake, Sir Launcelot Greaves writes phrases such as
'privileges and beroguetifs', and a whole series of letters from. a
female servant are written in a language almost closer to Finnegans
Wake than to standard English). T-38I.Il: Roderick Random; 539.1:
Roderick's our most monolith; 129.Il: (?) Roderick, Roderick,
Roderick, 0 (With Roderick O'Connor). Q-456.3Z: the marshalsea
(leads up to the mention of Count Fathom who was imprisoned
there).
LITERARY ALLUSIONS
SPEKE, J obn Hanning: Journal of the Discovery of the Source of the Nile.
(The Nile is given at the end of the Wake as one of Anna Livia's
sisters. Speke forms a part of the mysterious character-Man the
Explorer-whose identity troubles the two washerwomen-202.12:
Waiwahou was the first ... ?) Q-202.18: will find where the Doubt
arises like Nieman . . . found the Nihil. Worry you sighin foh
Albern, 0 Anser? N-455.II: Joe Hanny (Speke wrote: 'I saw that
old father Nile without any doubt rises in the Victoria Nyanza, and
as I had foretold, that lake is the great source of the holy river which
cradled the first expounder of our religious belieP). Q-595.r8:
Wisely for us Old Bruton has withdrawn his theory (This is Sir
Richard BURTON (q.v.) who accompanied Speke at the beginning of
his journey, having withdrawn his own theory about the source of the
Nile, but fell ill and had to leave Speke to continue alone. Page 597
contains references to The Thousand and One Nights); 598.5: Nuctumbulumbumus wanderwards the Nil. Victorias neanzas. Alberths neantas. It was a long ... an allburt unend, scarce endurable, and we
could add mostly quite various and somewhat stumbletumbling
night. (Joyce finds a close parallel between the discovery of the source
of the Nile and the writing-and perhaps the reading-of Finnegans
Wake.)
APPENDIX
same thing . (Spinoza lived at The Hague' from 1663 till his death
in 16]7. 'Matter' and 'Form' are aspects of the Scholastic view of the
world; 'Extension' is a term used by Spinoza (as one of the aspects of
the Divinity susceptible to human understanding) which Joyce
perhaps equated with one of these. But Spinoza held that all modes of
existence are comprehensible only as aspects of an immanent Divinity
and is brought into the Wake again in the debate between Berkeley
and St. Patrick); 6II.36: his fellow saffron pettikilt look same hue of
boiled spinasses.
STANIHURST: Description of Ireland.
(See main text: 'Irish Writers', Joyce only quotes the quotation from
S. in Chart's Dublin.)
STEELE, Sir Richard: The Tatler.
N-303.5: This is Steal (In a list ofIrish writers). Q-138.24: and to
know whom was a liberal education (The Tatler, No. 49. But Joyce
would have known the tag, or could have got it from Bartlett's
Dictionary of Quotations, a copy of which was in his library. See
Connolly, p. 8); 178.23: bickerrstaffs. (Isaac Bickerstaff was the
pesudonym under which Steele published the first numbers of The
Tatler; but Joyce may be referring only to Swift's use of the name).
STEIN, Gertrude: Works.
N-287.19: gert stoan.
STERNE, Laurence: Tristram Shandy.
N-4.21: stemely; 36.35: stern; 199.7: stemes; 256.14: swiftly stemward; 282.7: a stem poise for a swift pounce; 291, note 4: hitching
your stern; 292.3: sternly; 303.6: Starn; 454.20: swifter as mercury
282
LITERARY ALLUSIONS
STOPES,
283
APPENDIX
Reiver's Neck-Verse', 'Faggot and fire for ye> my dear>/ Faggot and
fire for ye'); 178.2: bad cad dad fad sad mad nad vanbaty bear
(Combines a reference to Vanity Fair with 'VIDon our sad bad glad
mad brother's name' from 'A Ballad of Francis Villon'). N-434.3S:
Antist Algy. T-19.15: Wippingham. Q-270.S: a solicitor's appendix, a pipe clerk or free functionist flyswatter, that perfect little cad,
from the languors and weakness of limberlimbed lassithood. (Watts,
later Watts-Dunton, was originally a solicitor; his name comes in
'flyswatter'. Swinburne's 'Lilies and languors . .' is then quoted.)
SYNGE> John Millington: Works.
N(?)-Z5I.Io: anysing. N-2S6.13: yeassymgnays (in a group of
Irish playwrights); 466.21: sedulous to singe (Combined with a
quotation from STEVENSON (q.v.), this follows Shaun's statement that
women like violent men as lovers); 466.13: Rip ripper rippest ...
that's the side that appeals to em, the wring wrong way to wright
women. (Christy Mahon is sought after by all the girls in The Playboy
of the Western World because they believe he has killed his father).
NQ-S49.3: quintacasas .. syngeing (The first word may include
the Widow Quin's house from The Playboy). Q-16.1: What a quhare
soott of a mahan (The first version of this, B.M. Add. MS. 4747I,
f. 28, has 'mahon'. Adaline Glasheen says, A Census, p. 82, that
'Mahan appears to be one name of the Man Servant.' It also seems
that one aspect of the Man Servant is Christy Mahon, described by
Pegeen Mike as 'The oddest walking fellow I ever set my eyes on',
and told by her, a minute later: 'You're pot boy now in this place.'
C 245.33: Watsy Lyke sees after all rinsings); 254.26: Mahun
Mesme; 62.30: Christy Mellestrals (Probably the addition of Christy
Mahon to the Christy minstrels explains the violence in this passage);
224.20: Misty's trompe . . The youngly delightsome friUes-inpleyurs are now showen drawens up (This may include a reference to
the speech which helped to cause the 'Playboy Riots' of I907: 'What'd
I care if you brought me a drift of chosen females standing in their
shifts itself, maybe ...). Q-482.22: Sometimes he would keep silent
for a few minutes as if in prayer . and he would not mind anybody
talking to him or crying stinking fish (This parodies the last speech
in Riders to The Sea, ' ... maybe a fish that would be stinking .. . She
kneels down, crossing herself and saying prayers under her breath').
T-183.2: in violent abuse of self and others this was the worst, it is
hoped, even in our western playboyish world for pure mousefarm filth.
Works.
N-I7.3: as Tacitu.."'1l pretells, our wrongstory shortener (Taciturn
TACITUS, Cornelius:
284
LITERARY ALLUSIONS
is probably intended to describe To's prose style. The reference may
be to Agricola, 24, where we are told that' Agricola had in his protection one of the petty kings of Ireland who had been exiled through
domestic sedition and whom he kept, under the appearance of
friendship, till an opportunity should arise to make use of him' . This
is the first appearance in literature of 'the Exile of Erin', and the first
mention of 'domestic sedition' in Ireland. Perhaps Joyce meant that
this was the first summary of the state of Ireland).
The Talmud.
T-30.10: the Dumlat, read the reading of Hofed-ben-Eclar (Joyce
does not, in my opinion, use The Talmud to any appreciable extent in
the Wake. The parody of a Rabbi's name above just means the Hill
of Howth).
TAYLOR, Thomas: Works.
N-356.IO: how comes ever a body in this our tayloIised world to
se1ve out thishis, whither it gives a primeum nobilees for our notomise
or not (Taylor'S works on Neo-Platonism are obscurely written. Joyce
seems to be discussing his theories here).
TENNYSON, Alfred, 1st Lord: Works.
N-48.23: Tuonisonian.
The Charge of the Light Brigade. T- I 59. 32: charge of the night
brigade; 349.IO: the charge of a light barricade; 474.I6: the light
brigade. Q-87.IO: theirs not to reason why; 188. I: plunders to night
of you, blunders what's left of you; 292.27: half a sylb, helf a solb,
half a salb onward; 334.26: canins to ride with 'em, canins that leapt
at 'em woolied and flundered (With 'John Peel'); 339.7: Limbers
affront of him, lumbers behund; 347.14: heave a lep onwards;
567.3: half a league wrongwards.
Maud. TQ-253.17: come into the garner mauve. Q-405.36: the
batblack night oerflown; 446.34: Come into the garden guild and be
free of the gape athome.
A Dream of Fair Women. T-S32.33: dreams of faire women.
In Memoriam. Q-213.19: Wring out the clothes! Wring in the
dew!
The Lady of Shalott. T -550.15: shallots out of Ascalon.
Locksley Hall. Q-II9.23: Cathay cyrcles; 328.6: turn my t:hiriks
to things alove.
The May Queen. TQ-360.I3: Carmen Sylvae, my quest, my
queen. Lou must wail to cool me early! Coil me curly, warbler dear!
('Carmen Sylvae' refers also to the pen-name of ELISABETH, Queen of
Rumania, and the last sentence may refer to her Unter der Blume).
28 5
APPENDIX
William Makepeace: Works.
NT-I77.35 ... 178.3: greet scoot, duckings and thuggery ... vanhaty
bear; 225.6(?): make peace. TN-434.24: Vanity flee and Verity fear!
Diobell! Whalebones and buskbutts may hurt you (thwackaway
thwuck!). T -2:1:2.32: vanitty fair; 327.9: funnity fare; 177.30:
Maistre Sheames de 1a Plume (This is the Diary of c. Jeames de la
Pluche, Esq. It is mentioned because of the Christian name and
because 'Jeames' wrote letters containing many comical misspellings.
Prophet for profit is a typical example and is used in the Wake,305.I,
and reversed 68.28).
THEOCRITus: Works.
N-307 margin: Theocritus.
THEOPHRASTus: The Characters.
N-484.30: Theophrastius. T-302.31: the charictures.
THIBAULT, Jacques Anatole ('Anatole France'): L'Isle des Pingouins.
N-420.9: handmud figures from Francie; 504.30: proffering praydews to their anatolies (This also refers to Zacharias, VI, 12, the
LXX version of which gives &w:t:mA~, 'sunrise, east', for the Hebrew
~em~, 'shoot of a plant'). QT-577.I. .2 6 ... I7 ... 27 ... 34: mandragon mor and weak willey duckey . . . basilisk glorious with his
weeniequeenie ... feel-this-feather ... cliffscaur grisly ... pinguind
... karkery felons (Cf. L'1. des P., Bk. II, chaps. V-X. 'Karkery'
includes Kraken, the 'Dragon d'Alca'). Q(?)-I4.17: lines of litters
slittering up ... ('Les lettres ... s'echappent dans toutes les directions . .' etc., Book II, chap. IV).
THOMAS, Brandon: Charley's Aunt.
N-(Thomas and Tom occur often). T-I83.27: Charleys' Aunts'.
TrncK, Ludwig: Works.
N-I8.20: Tieckle. T-467.8: Octavium.
TODHUNTER, Isaac: School Algebra, etc.
N-293, note 2: toadhauntered.
TOLAND, John: Works (Include a translation of Bruno's Of the Infinite
Universe and Innumerable Worlds).
N-60Jr.34: Tolan who farshook our showrs. (He was driven out of
Ireland after the publication of Christianity not Mysterious). NT599.23: Browne yet Noland. (Toland's translation of Bruno begins:
'If I had held the plow, most Illustrious Lord' ... he had, however,
no land.)
TROLLOPE, Anthony: Works.
N-409.6: trollop ... Samt Anthony Guide! (Trollope had a position
in the Post Office. S.A.G. are initials written on the backs of
286
THACKERAY,
LITERARY ALLUSIONS
envelopes by pious Catholics to invoke St. Anthony's guidance for
their letters). NQ-S82.34: mettrollops, Leary, leary, twentytun
(Larry Twentyman is a character in The American Senator). N63.28: heliotrollops. T -132.36: thee warden (? The Warden. Joyce
had a copy of volume two of the Everyman Edition of Phineas Finn.
Finn is the hero of the Wake, but I can find no indication that Joyce
ever used this book in any way. Perhaps it seemed too obvious a
source book).
TOBIN, John: The Honeymoon (A play).
Q-445.I2: the man who lifts his pud to a woman is saving the way
for kindness (The Honeymoon, II, I-'The man that lays his hand
upon a woman,/ Save in the way of kindness is a wretch/ Whom
'!Were gross flattery to name a coward.' But Joyce probably took this
from Bartlett's Familiar Quotations, a copy of which was in his
library).
Twelve Tables, The Law of the
T-I67.23: Twelve tabular times till now have I edicted it; 389.3:
twelve tables. Q-I68.13: Sacer esto. (Cf. HORACE, Satires.)
Upanishads.
T-303.13: Upanishadem!
VAUGHAN, Fr. Bernard, S.J.: The Workers' Right to Live.
NT-609.2: pettyvaughan populose.
VAUGHAN, Henry ('The Silurist'), or his twin brother,
VAUGHAN, Thomas ('Eugenius Philalethes'): Works.
N(?)-482.I8: Evan Vaughan ... that found the dogumen number
one.
VEGA, Garcilaso: History of the Incas.
NT-423.2: a mouther of the incas with a garcielasso.
VEGA, Lope de: Works.
N-44o.17: Loper de Figas.
VERNE, Jules: Around the World in Eighty Days.
N-469.18: Jerne valing is. T-237.14: round the world in forty
mails. '
VICO, Giovanni Battista: Scienza Nuova.
(A major source. See main text: 'The Structural Books'.)
VIRGIL: Works.
N-27o.25: valve the virgil page (With the Valva, the wise woman of
the Voluspo, and a reference to the sorces virgilianae, added to a pun
on virgin); 618.2: virgils; 569.16: open virgilances (Again with a
reference to the sortes, which interested Joyce); 281 margin: SORTES
VIRGINIANAE. Q-389.19: Arma virumque romano (Based on the first
28 7
APPENDIX
line of the Aeneid); 403.9: Tegmine-sub-Fagi (Based on the first line
of the Eclogues. Joyee's classical quotations are by no means recondite); 58r.I7: mens cons cia recti (Aeneid, I, 604. But see PROUST);
5 12.36 : Nascitur ordo seculi numfit (Eclogues, IV, 5); 545.28: parciful
afmy subject but debelledem superb (Aeneid, VI, 853). QT-I85.27:
pious Eneas; 240.33: pious alios; 291, note 3: a drooping dido; 357.I5:
Culpo de Dido! (With Un Coup de Des).
VILLON, Fran<;ois: 'Ballade des dames du temps jadis'.
Q-54-3: but wowhere are those yours of Yestersdays?
VOLTAIRE, Fran<;ois Marie Arouet: Works.
Q-:33.25: if he did not exist it would be necessary quoDiam to
invent him (But this is a well-known saying and in all the dictionaries
of quotations and I can find no other references to Voltaire, except
perhaps to 'The best of all possible worlds' from Candide) 158.9: the
waste of all peaceable worlds.
WADDING, Luke: Annales Minorum.
N-573.26: according to Wadding (Au Irish Franciscan who wrote
the history of his Order. Joyce seems to have used only his name).
WALPOLE, Horace: Letters.
N-72.6: Horace the Rattler; Q-46S.26: Gunning; 596.15: GunDings (Adaline Glasheen suggests tl'lat the 'House that Jack built'
rhythms of the 'Museyroom' passage are based on Walpole's letter to
Miss Berry, about u~e Gunning scandal, beginning: 'This is the note
that nobody wrote'. 'Rattle' was Walpole's word for gossip.)
WALTON, Izaak: The Compleat Angler.
N-76.26: a ttoutbeck, vainyvain of her osiery and a chatty sally with
any Wilt or Walt who would ongle her as Isaak did to the tickle of
his rod and watch her waters. ('Walt' is, of course, Walton; but there
may be a reference to the story of Sir Walter Raleigh and the maid of
honour told in Aubrey's Brief Lives.) T -296.23: to compleat anglers.
WARE, Sir James: History of Ireland.
N-464-4(?): Be ware; 572.32: the supposition is Ware's.
WHITMAN, Walt: Works.
N-z63.9: old Whiteman self. Q-8I.36: the cradle rocking equally
('Out of the cradle endlessly rocking'. A. Glasheen in her A Census
writes: 'Compare A Portrait of the Artist as a Young Man (Modern
Library Ed., pp. I98-201) with "Out of the cradle endlessly rocking",
and compare F. W. 536-54 with "Song of Myself".' The similarities
do in fact suggest that Joyce had Whitman's work in mind when he
wrote these passages). Q-r69.18: manroot (From 'Children of
Adam'-'mauroot ... I am large. I contain multitudes').
288
LITERARY ALLUSIONS
WILDE, Oscar Fingall O'Flahertie: Works.
N--69.3: wilde (And with the same spelling 41.9; 81.17; 98.2;
510.II); 46.20: Fingal Mac Oscar; 419.25: Oscan Wilde. (See main
text: 'Irish Writers'.)
WILLL.\.\iS, Richard D'Alton: Poems.
Q-387.2I: the barmaisigheds ('The Barmaid Sighs').
WILLS, William Gorman: A Royal Divorce.
N-577.21. T-9.35: his royal divorsion; 32.33: A Royal Divorce;
243.35: their loyal devouces; 260, note 3: a royal divorce; 315.1:
raolls davors; 348.15: royal devouts; 365.29: a reyal devouts; 388.7:
A Royenne Devours; 423.3: his royal divorces; 616.15: His real devotes.
(See main text: 'The World's a Stage'.)
WrsDEN, J.: The Cricketer's Almanack.
N-584.16: wisden. (Source for the cricketers' names on pp. 583-4,
etc. But Joyee was interested in cricket and would know most of the
names without using Wisden.)
WOOD, Antony A.: Autobiography.
NQ-80.3: Sorrel a wood knows (Combines wood-sorrel, with the
horse Sorrel whose stumble caused William Ill's death, and A Wood
who mentioned it).
WORDSWORTH, William: Works.
N-539.5: a wordsworth's of that primed favourite continental poet
(Groups him with Shakespeare and Dante, but I can't find a single
quotation).
WRIGHT, Peter E.: Portraits a:nd Criticisms (London, 1925).
N-269.8: a pale peterwright in spite of all your tense accusatives;
466.15: wrong way to wright women (This book is used often in the
Wake. To fit with Joyce's theories Gladstone, as a father-figure, the
G.O.M., had to be a sinner. In his book Wright foolishly accused
Gladstone of constandy pursuing and possessing all sorts of women.
Gladstone's sons, believing that 'no property in law can exist in a
corpse' (576.5), or that no libel action could be taken on behalf of
a dead person, forced Wright to take them to court by describing
him publicly as 'a liar, a fool and a coward'. Wright's action ended
with this being adjudged fair comment. But Wright's accusations
figure frequendy in the Wake. N-597.II: the wright side and the
wronged side. (This seems to admit that Wright was doing
harm.)
WYSS, Johann ~udolf: The Swiss Family Robinson.
N-203.15: wyst . or where the hand of man has never set foot ...
the fairy ferse time. T-129.34; the Suiss family Collesons.
289
APPENDIX
XENOPHON:
Anabasis.
BIBLIOGRAPHY I
BIBLIOGRAPHY
GILBERT, Stuart (Editor), The Letters of James Joyce. London: Faber
& Faber, 1957; New York: Viking Press, 1957.
GILBERT, Stuart, and HuxLEY, Aldous, Joyce-tr.e Artificer, Two Studies
of Joyce's Method. London: 'Issued for Private Circulation in an
edition of 90 copies', 1952.
GILLET, Louis, Stele pour James Joyce. Paris: Sagittaire, 1943.
GrORGIANNI, Enis, Inchiesta su James Joyce. Milano: Edizioni Epilogb.i.
di Perseo, 1934.
GIVENS, Seon (Editor), James Joyce, Two Decades of Criticism. New
York: The Vanguard Press, 1948.
GLASHEEN, Adaline, A Census of 'Finnegans Wake'. Evanston: Northwestern University Press, 1956, and London: Faber & Faber, 1957.
GoLDING, Louis, James Joyce. London: Thornton Butterworth Ltd.,
1933
GORMAN, Herbert, James Joyce, a Definitive Biography. New York:
Farrar & Rinehart, 1939; London: John Lane the Bodley Head, 1941.
HAYMAN, David, Joyce et Mallarme. Paris: Lettres Modemes, 1956.
HUTCHINS, Patricia, James Joyce's Dublin. London: The Grey Walls
Press, 1950.
JOLAS, Maria (Editor), The Joyce Book. London: The Sylvan Press,
192 3.
JOLAS, Maria (Editor), A James Joyce Yearbook. Paris: Transition Press,
1949
JONES, William Powell, James Joyce and the Common Reader. Norman,
Oklahoma; University of Oklahoma Press, 1955.
KAIN, Richard M., Fabulous Voyager, James Joyce's Ulysses. Chicago:
The University of Chicago Press, 1947.
KAIN, Richard M., and MAGALANER, Marvin,Joyce, the Man, the Work,
the Reputation. New York: New York University Press, I956.
KENNER, Hugh, Dublin's Joyce. London: Chatto & Windus, 1955.
LEVIN, Harry, James Joyce, a Critical Introduction. London: Faber &
Faber, 1944. New York: New Directions.
NOEL, Lucie, James Joyce and Paul Leon, the Story of a Friendship.
New York: The Gotham Bookmart, 1948.
NOON, William T., Joyce and Aquinas. New Haven: Yale University
Press, 1957.
PARIS, Jean, James Joyce par lui-meme. Paris: Editions du Seuil, 1957.
PARKER, Alan, James Joyce: A Bibliography of His Writings. Critical
Material and Miscellanea. Boston: Faxon, 1948.
RIvOALAN, A., Littirature irlandaise contemporaine. Paris: Hachette, 1939.
ROTHE, Wolfgang, James Joyce. Wiesbaden: Limes Verlag, 1957.
292
293
BIBLIOGRAPHY II
Articles in Periodicals
THIs lists only articles about Finnegans Wake which have been used
in some way by the present writer. It do,es not include any articles which
have afterwards been published in books which are listed in Bibliography I, and only contains those articles of my own which have not
been incorporated into this book.
Leonard, 'James Joyce and the Masons', AD., Vol. II, 1951,
PP40-52
ATHERTON, James S., 'Frank Power in Finnegans Wake', Notes and
Queries, Vol. 198, NO.9, Sept. I953, pp. 399-400.
ATHERTON, James S., 'Finnegans Wake: the gist of the .pantomime',
Accent, Vol. XV, No. I, Winter 1955, pp. 14-26.
BREBE, Maurice, <Whose Joyce?' The Kenyon Review, Vol. XVIII,
NO.4, Autumn 1956, pp. 650-8.
BURMAN, Ben Lucien, 'The Cult of Unintelligibility', The Saturday
Review, Vol. XXXV, !st Nov. I952, pp. 9-10.
CAss, Andrew, 'Childe Horrid's Pillgrimace', Envoy, Vol. V, April 1951,
PPI9-3 0
DAVIES, Aneiran, 'A Note on Finnega:ns Wake', The Welsh Review,
Vol. VII, Summer 1948, pp. 141-3. (The first account ofTIuJ House
by the Churchyard in F. W.)
DUFF, Charles, 'Magnificent Leg-Puller', The Saturday Review, Vol.
XXXIII, 9th Sept. 1950, p. 24.
ELLMA.'rn, Richard, 'The Backgrounds of Ulysses', The Kenyon Review,
Vol. XVI, NO.3, Summer !954, pp. 337-86. (This is part of
Ellmann's forthcoming life of Joyce which will probably become the
definitive authority on the subject.)
ELLMANN, Richard, 'joyce and Yeats', The Kenyon Review, Vol. XII>
NO.2, Autumn 1950, pp. 618-38. (Treats the relationship between
the two from a biographical viewpoint but includes some literary
criticism and tends to the view that Joyce was not much influenced
by Yeats.)
EUMANN, Richard, 'Ulysses the Divine Nobody', The Yale Review.
294
ALBERT,
ARTICLES IN PERIODICALS
Autumn 1957, pp. 56-71. (Contains new material about the Dublin
background in 1904.)
GLASHEEN, Adaline, 'Finnegans Wake, and the Girls from Boston,
Mass." The Hudson Review, Vol. VII, No. I, Spring I955,PP. 89-96.
(points out the use Joyce makes of Morton Prince's The Dissociation
of a Personality.)
GOGAATY, Oliver St. John, 'They Think They Know Joyce', The
Saturday Review, Vol. XXXIII, March 18, I950, pp. 8-9.
HALPER, Nathan, 'Most Eyeful Hoyth of Finnegans Wake', New
Republic, Vol CXXIV, 7 May I95I, pp. 20-23.
HALPER, Nathan, 'James Joyce and the Russian General', Partisan
Review, Vol. XVIII, July-August 1951, pp. 424-31.
HALPER, Nathan, 'Twelve O'Dock in Finnegans Wake', The James Joyce
Review, Vol. I, No.2, pp. 40-4I.
HODGAAT, M. J. c., 'Work in Progress" The Cambridge Journal, Vol. VI,
No. I, Oct. 1952, pp. 23-39. (Outlines the literary background of
the Wake.)
HODGART, M. J. C., 'Shakespeare in Finnegans Wake', The Cambridge
Journal, Vol. VI, No. 12, Sept. 1953. pp. 735-52. (This gives a
very full account of Joyce's use of Shakespeare in the Wake and lists
his quotations from Shakespeare in an appendix.)
JUNG, Carl G., 'Ulysses-ein Monolog', Europaische Revue, Vol. VIII,
1932, pp. 547-68. (English translation: 'Ulysses-A Monologue',
Nimbus, Vol. II, June 1953, pp. 7-20.)
KArn, Richard M., 'Mythic Mazes in Finnegans Wake" The Saturday
Review, Vol. XXXIII, 4 March 1950, p. 19.
KELLY, Robert G., 'James Joyce: a Partial Explanation" PMLA,
Vol. LXIV, March 1949, pp. 26-27.
KLEIN, A. M., 'The Black Panther: a Study in Technique', Accent,
Vol. X, Spring 1950, pp. 139-55.
LITz, Walton, 'The Genesis of Finnegans Wake', N. & Q., Vol. 198,
Oct. 1953, pp. 445-47.
MAsON, Ellsworth, 'Joyce's Categories', The Sewanee Review, Vol. 61,
July I953, pp. 427-3 2
MAyOUX, Jean-Jacques, 'L'Heresiede James Joyce', English Miscellany
(Rome), 1951, pp. 222-46. (In spite of its title this article is mainly
about Joyce's use oflanguage.)
McLUHAN, Herbert M., 'A Survey of Joyce Criticism', Renascence,
Vol. IV, 1951, pp. 12-18.
MONTGOMERY, Niall, 'The Pervigilium Phoenicis', New Mexican
Quarterly, Vol. XXIII, Winter 1953, pp. 437-69. (A valuable
295
BIBLIOGRAPHY
article which provides useful and accurate lists of the appearances
of certain words and phrases in the Wake.)
MORSE, J. Mitchell, 'Jacob and Esau in Finnegans Wake', Modern
Philology, Vol. LII, NO.2, Nov. 1954, pp. 123-30.
MORSE, J. Mitchell, 'Cain, Abel, and Joyce', ELH, Vol. XXII, NO.1,
March 1955, pp. 48-60.
MORSE, J. Mitchell, 'Augustine, Ayenbite, and Ulysses', PMLA,
Vol. LXX, NO.5, Dec. )[955, pp. II43-59. (Discusses Joyce's use of
St. Augustine's Confessions.)
PARANDOWSKI, Jan, 'Begegnung mit Joyce', Die WeZtwoche, ZUrich,
I I Feb., 1949.
PEERY, William, 'Shakbisbeard at Finnegans Wake', Studies in English,
University of Texas, Vol. XXX, 1951, pp. 243-57.
POLSKY, Ned, 'Joyce's Finnegans Wake', The Explicator, Vol. IV, 1950,
item 24.
PRESCOTT, Joseph, 'Notes on Joyce's Ulysses', PMLA, Vol. LXVIII,
Dec. 1953, pp. 1223-8. (Some of the notes apply also to the Wake.)
PREsCOTT, Joseph, 'Concerning the Genesis of Finnegans Wake',
PMLA, Vol. LXIX, NO.5, Dec. 1954, pp. 1300-5.
PRESCOTT, Joseph, 'Two .Manuscripts by Paul L. Leon concerning
James Joyce', Modern Fiction Studies, Vol. II, NO.2, May 1956,
PP7 1-76.
SWEENEY, James J., 'The Word Was His Oyster', Hudson Review,
Vol. V, 1952, pp. 404-8.
THOMPSON, Francis J., 'A Portrait of the Artist Asleep', Western
Review, Vol. XIV, 1950, pp. 245-53. (States that Joyce is himself
intended to be the dreamer of the Wake.)
TINDALL, William Y., 'Joyce's Chambermade Music', Poetry, Vol.
LXXX, May 1952, pp. 105-][6. (Suggests a coprophilic basis for
Joyce's poems.)
VON PHUL, Ruth, 'Who Sleeps at Finnegans Wake ?', James Joyce
Review, Vol. I, NO.2, pp. 27-38.
WmTE, William, 'James Joyce: Addenda to Alan Parker's Bibliography', Papers of the Bibliographical Society of America, Vol. XLIII,
Fourth Quarter 1949, pp. 401-II.
WHITE, William, 'Addenda to James Joyce Bibliography, 1950-1953',
The James Joyce Review, Vol. I, NO.2, June 1957, pp. 9-25.
WmTE, William, 'Addenda to James Joyce Bibliography, 1954-57,
The James Joyce Review, Vol. I, NO.3, Sept. 1957, pp. II-23.
WORTmNGTON, Mabel P., 'Nursery Rhymes in Finnegans Wake,' Journal of American Folklore, Vol. 70, Jan.-March, 1957, pp. 37-48.
296
Index
Abbey Theatre, 151
Abdullah, 205
Abel,175
Abraham, 176 2JO
Abu Lahab, 203, 217
Ad,207
Adam, 24> 30, 141, 142, 164, 175, 222,
260
Adamnan, 233
Adrian IV, 147
Ady, 233
Adzehead, 272
Aeneas, 8o
Aesir, 221
Aesop, 233, 252
Agrippa, Henricus Cornelius, 233
Ainsoph, 134
Ajax, 74
Alain,241
Albert, Leonard, 294
Albina, 144
Alchemy, 46, 47, 65, 67, 245, 254,
277,290
Ali,206
Alice (Alice Liddell), II7, 126, I28,
129, 130, 131, 253
Aline (Solness), 157
Allah, utS, 202, 203, 204, 205, 2II
Allt, Peter, 291
Ally Sloper, 170
A.L.P. (Anna Livia Plurabelle), 14,
15, 24, 3 1, 34, 40, 63, 72 , 93, H7,
120, 121, 126, 130, 149, ISO, 156,
157,236,239, 262
Ambrose, St., 147
Amentat, 126
Amenti, I93, 194
Amlnah, 205
Andersen, Hans Christian, 233
Anderson, Margaret, 233, 291
St. Andrew's cross, 66
Angelus, 187, 188
Ani, 192, 193
Annals, 97
Annals oj the Four Masters, 89
Anonymous, 233
Ansars, 204
Antheil, George, 169
Anthony, St., 287
Anti-selves, 41, 165
Anu (Heliopolis), I95
Apep, 200
Apollo,73
Aquinas, St. Thomas, 20, 137, 138,
139, 234
Arabian Nights, 219 (see Thousand and
One Nights)
Archdruid, 98
Archer, Charles (Dangerfield), III
Archer, William, 234
Aristophanes, 21, 234, 272, 273
Aristotle, 234
Arius, 147
Arnauld, Antoine, 86
Arnold, Matthew, 219
.'Up, Hans, 52, 84, 234
Arrah, 158, I59, 160, 161
Arrah-na-Pogue, 149, 151, 157-61,
237
Arthur, King, 265
Arthur's Seat, 42
Asella, 144
Asita, 225
Ass, donkey, u5, 121, 221, 241
Asvaghosa, 170
Atem, 32, 55, 125, 132, I33, 194, 196,
197,200
Atherton, J. S., 19, 32, 92, 100, 127,
2II,294
Aubrey, 288
Augustine, St., 13, 140-3, 234, 296
Augustus, 68
Austen, Jane, 234
Avebury, J. L., 234
Avicenna, 234
Axioms, 22, 28, 29, 30, 36, 37, 48, 50,
5 2-4, 132, 146, 169, 175, I79, r87
Ayenbite oj Inwyt, 19, 46, 47
Ayesha, 205, 210, 252
Azim, 269
Babel, tower of, 174
Bacon, Francis, 164, 165, 246
Badr, battle of, 207, 21I
Balbus, 174
Ball, F. E., 122
Banim, Michael, 94,95,234
Barham, Richard Hams, 234
Barnacle" Nora, 13" 24
297
INDEX
Batta, 182
Baudelaite, Charles, 235
Beach, Sylvia, 16, 19
Beach, T. M., 176
Beauchamp, Christine L. (Sally), 40,
4I, II7, 129
Beaumont and Fletcher, 249
Beck, J. S., 235
Beckett, Samuel, 15, 16, 29, 49, 73,
191,291
Beebe, Maurice, 27, 294
The Beggar's Opera, 86
Behemoth, 206
Bekker, Immanuel, 67
Belaney, G. S., 235
Bell, D. C., 87
Bell, E. T., 85
Bellows, H. E., 219
Belvedere College, 73
Bennett, Arnold, 235
Bennu, 195, 196
Beowulf,68
Beranger, Jean-Pierre de, 235
Bergin, Fisch, 29
Berkeley, George, 18, 47, 97-9, 103,
141, 235, 243, 282
Berry, Miss, 288
Besant, Annie, 235
Bible, 28, 45, 73, 164, 171, 172-83,
208,25 1
Bickersfaff, u8, u9, 120, 282
Bismillah, 204, 205, 212
Blak
.
65, 235
Bia
, 228, 236, 253
Bloom,
pold,71, 158
Bloom, Molly, 71, 158
Boccaccio, Giovanni,
Boerne, Ludwig, 84,
Boetbius, 80
Boileau, Nicolas, 236
Bolivar, Simon, 120
Book of Common Prayer, 184, 188
Book of the Dead, 21, 132, 171, 183,
191-200
Book of Kells, 19, 62, 63, 64-7, 104
Book of Mormon, 209
Borrow, George, 237
Borselino, 13
Borgia, Cesare, 240
Boru, Brian, 23, 93
Boston, Mass., 40, 41
Boswell, James, 237, 279
Boucicault, Dion, 99, 151, 157-61,
237,246
Bouquet, A. C., 179
de Bourca, Seamus, I60
Bourke, P. J., 160
Bowman, lsa, 130, I3l, 133
Boyd, E. A., 240
Braddon, M. E., 237
Brahe, Tycho, 237
298
INDEX
Carroll, Lewis, 32, 33, 54, 69, 92 ,
115,124-36,187,206,208,213,240
Carter, J., 240
Casanova, 109
Cass, Andrew, 294
Cassius, 178
Castlemallard, Lord, I I I
Catechism, 180
Catholicism, 3I, 45, I38, 139, 142,
147, 184, 185, 188, 190, 2II
Caterpillar, 95, 96, 128, 135
Cavendish, Lord Frederick, II I
Cervantes, Miguel de, 241
Chamber Music, 48, 107
Chambers, 130
Charlus, Baron de, 275
Chan, D. A., 91, 241, 282
Chartier, Emile, 241
Chassant et Tuasin, 33
Chaucer, Geoffrey, 241
Chekhov, A. P., 241
Chevreu1, 52
Chin, 227,243
Christ, 65, 183, 189
Christ Church, 132, 133,
Church Catechism, 70
Churchill, Charles, 241
Churchill, Sir Wiuston, 241
Cicero, 68,75, I44, 242
Clarence, 266
Claudius, 68
Clement, Pope, 147
Clemens, Samuel L. (Mark Twain),
242,244
Cleopatra, 68, 69
Clontarf, 93
Cocoa, II8
Cockton, Henry, 242
Coffee, II7, u8, 153
Cohen Library, 161
Coleridge, S. T., 37, 165, Z42
Collette, Charles, 255
Collingwood, S. D., 127, 129, 130,
132, 136, 242
Colum Cille, 63
Colum, Mary, 48,291
Colum, Padraic, 243
Columba, St., 63, 243
Columbus, Christopher, 176
Columella, L. J., 63, 243, 273
Comic Cuts, 20
COIl...+ucius, 227
Confucianism, 171, 243
Conn, the Shaughrllun, 237
Connelly, Marc, 243
Connolly, Thomas E., 21, 22, 43,
87, 90, 184, 202, 224,
248,
252, 261, 265, 266, 282,
Cooper, J. F., 84, 243
Copenhagen, 155
Corelli, Marie, 20, 84" 109, 243
299
INDEX
'DOC', 100
The Doctrine of the Mean, 227
Document Number One, 271
Dodgson, Charles Lutwidge (Lewis
Carroll), 124-36, 246
Dolph, 65
Domesday Book, 104,246
Domitian, 69
Donnelly, Ignatius, 246
Donovan, Dick, 70
Dostoyevsky, F. M., 246
Dousy, 246
Doughty, Charles Montagu, 247
Douglas, NOIIuan, 79, 247
Dowden, E., 48
Dowson, Ernest, 247
Doxology, 174, 177
Doyle, Conan, 47, 247
Dream, n, 17,38, 106, 128, 138, 150,
173,250
Druids, 79, 228
Dryden, John, 247
DUblin Annals, 92, 93
Dublin Gaiety Theatre, I5!
Dubliners, 101, 106, 107, 109
Duff, Charles, 291, 294
Duffy, James, 99
Dulcinea, 241
Duma~Alexandre,247
Eyrbyggjasaga,2I8
300
INDEX
Galba,68
Galen, Claudius, 250
Gall, Franz Josef, 250
Galleotto, 81
Gulliver, 120
Gunn, Michael, 151
Gwendolen, 265
Haggai,42
Haggard, Rider, 252
Haliday, Charles, 90, 252, 253
Haliday, William, 252
Hall, Harriet, 212
Hall, John B., 252, 253
Hall, Samuel, 212
Halliday, W. R., 253
Halper, Nathan, 103, 295
Ham, 176
Hamilton, Anthony, 253
Hamilton, W. G. 'Single Speech', 253
Hamilton, Sir William Rowan, 253
Hamlet, 36, 67, 205, 206
Hammerton, J. A., 87
Hanbridge, Henry, 279
Hap, 200
Hare, H. E., 253
Hargreaves, MIs. Reginald (Alice
Liddell), 136
Harley, 254
Harmsworth,255
Harrington, Sir John, 74,253
Harris, J. C., 253
Harris, Rendell, 42
Harris, Walter, 92
Harvey, William, 254
Hastings, 148
Hathaway, Ann, 165
Hawthorne, Nathaniel, 254
Haussmann, Baron, 256
Havelock the Dane, 252
Hayden, MIs., 247
Hayman, David, 28, 49, 50, 177, 2II,
212, 265, 292
H.C.E. (Humpbxey Chimp den Earwicker), II, 12, 13, 17, 18, 23, 24,
34. 40, 42, 73, 95, 98, 99, 103, 104,
II5, II6, 120, I26, 136, 142, 143,
145, 150, 153, 154, 155, 157, 163,
170, 179, 180, 181, 183, 187, 190,
195, 197, 199, 206, 207, 209, 220,
225, 227, 269
Healy, T. M., 125, 133, 195, 254, 273,
274,283
Heathc1iffe, 238
Hegel, Georg, 18, 138, 254
Heimskringla, 218, 283
Helena, St., 20
Heliotrope, 109, II7
Heliopolis, I25, 133, 195, 196
Hell,80
Helvetius, 277
Hemans, MIs. Felicia Dorothea, 87,
254
Hen, 65, 68, 157, 236
Henry II, 92, 147
301
INDEX
Hera, 72
Heraldry, 30, 32, 33, 54
Herder, J. G., 34,267
Hermes, 245
Hermes Trismegistus, 46, 254
Herodoms, 255
Herrera y Tordesillas, 255
Herrick, Robert, 255
Hesitancy, 96, !O2, 103, 125, 131, 136
Hester, II7
Heywood, Thomas, 255
Hibbert, H. G., 255
Hill, Dr. Birbeck, II8
History, 18, 23, 30, 32, 34, 35, 46, 52,
53, 55, 126, I46, 151, 182
Hodgart, M. J. C., 14, 20, 50, 69, 164,
172, 269, 295
Hoffmann, Frederick J., 38
Hogg, James, 13, 4I, 42, 255
Holmes, O. W., 255, 269
Home, John, 255
Homer, 59, 72, 73, 74, 184
Homosexualism, 95, 96
Houyhnhnms, 120, 121
The Holy Office, 101, 107
Hone, D., 275
Hopkins, G. M., 256
Horace, 200, 256
Horus, 197, 200, 210, 256
Houghton, Stanley, 255
Housman, A. E., 255, 275
H'siung, S. I., 256
Hubbard, Mother, 255
Hughes, 201, 204, 205, 208, 209, 212,
213
Huginn,223
Hugo, Victor, 256
Hurne, David, 256
Humphreys, Henry,
Humpty Dumpty, 92,
127
Hunefer, I93
Hutchins, Patricia, 13, 22, 59, 107,
137,219, 292
Huxley, Aldous, 292
Huysmans, J. K., 50, 257
Ibrahim., 276
Ibsen, Hendrik, 31, 45, 73, 75, 108,
141, 151, 152-7,234,257,260
Iliad, 72, 74
!ngelow, Jean, 258
Ingram, J. K.,258
Invincibles, I II
Ireland, William, 70
Irenaeus, St., 258
Irons, Ezekiel, lI3
Isaac, 210
Isabel, Issy, 23, 40, II2,
I22,
133, I42, ISS, 189, 221,
Isengrim,25 2
Iseult (see Isabel), II7, 128, 130, 131
302
INDEX
Kenner, Hugh, 14, I6, 22,41, 59, 60,
65, I30, 134, 165, x84, 185, 258,
262,292
Kephera, 192
Kev,65
Kevin, St., 105, 145, 268
Kevin, I0 5
Kickham, C. J., 94, 259, 260
Kierkegaard, Soren, 39, 260
Kingsley, Charles, 260
Kipling, Rudyard, 260
Kiss, l58, 159
Klee, Paul, 52, 53, 84, 200, 234
Klein, A. M., 295
Kleist, Heinrich von, 260
The KZora:n, 170
Koran, 45, 171, 172,201-17,276,277
Kraft-Ebbing, Richard von, 260
Kropotkin, P. A., 260
Krylov, Ivan, 260, 261
Ku Klux Klan, 170
K'ung Ch'iu, 227
Kung fu Tze, 227
The Lady of Lyons, 109
La Fontaine, Jean, 234,261
Lamb, Charles, 73
Lancelot, 81
Lang, Andrew, 73
Language, IS, 16, 17, 30, 32, 34, 50,
5r, 52, 53, 14, II4, lIS, I21, 143,
170, 171, 177, 196,200
Lannigan,John,91,261
Lanson, G., 235
Larbaud, Valery, 16
Larionov, 52, 54
Lavater, J. K., 261
The Law of the Twelve Tables, 256, 287
Lea, 144
Leaf, Walter, 73
Lear, Edward, 261
Leah and Rachel, 81
Le Carron, Henri, 176
Lecky, W. E. H., 91, 92,261
Lee, Nathaniel, 26x
LeFanu,Sheridan,x7,94,IIQ-I3,z61
Leibnitz, Gottfried, 261
Leit-motiv, 50, 54, 69, 154, 162
Leland, Thomas, 92, 261
Lennon, F. B., 135, 136
Leno, Dan, l47
Leo, Pope, 147
Leslie, Shane, n8
The Letter, 13, 40, 63, 65, 69, II6,
236,250
Lever, Charles, 261
INDEX
Maginn, William, 265
Magonius (St. Patrick), 145, 272
Mahaprajapati, 225
Mahon, Christy, 284
Mahony, F. S., 265
Mahound,206
Malachi,265
Malherbe, Fran<;ois, de, 265
Mallarme, Stephane, 28, 49, 50, 53,
108, 142, 2II, 212, 213,265
Malory, Sir Thomas, 265
Manesse codex, 71
Manesse, Riideger von, 71
Mangan, James Clarence, 107, 121,
238, 264, 266
Manners, J. H., 266
Manzoni, Alessandro, 84, 266
Mara, 226
Marcella, 144
Marcion, 148
Mardrus, J. C., 202, 266
Marengo, 155
Margadant, Simori Lemnius, 266
Marie Louise, 149, 162, 206
Mark, King, IrS, 131
Mark, St., 180, 183
Marmaledoff, 246
Maronite lirurgy, 188, 189
Martin, Maria, 36
Martin, St., 147
Marx, Karl, 138, z66
Mary, Virgin, 128, 130, 188, z06
Mason, Ellsworth, 295
Mass, 184, 185, 186, 187, 190, 198, 199
Matharan, M. M., 90, 266, 267
Matthew, St., 181, I8z, 183
Maturin, C. R., 95, 267
Marurln, St., 267
Maunsel, I07
Maya, 22, 227
Mayoux, Jean-Jacques, 295
Mead, G. R. S., 2&;
Meade, 'L. T.', 170
Melkarth, 188
Melnoth, Sebastian, 94, 267
Melnotte, Claude, 109
Melville, Herman, 267
Metempsychosis, 18
Mezouzah, 174
Michael, 174, 175
Michael of Northgate, 46
Michelet, Jules, 28, 267
Midas, lI2
Midgard, 2:1.1
Migne, 145, 148
Mike, Pegeen, 284
Mill, J. S., 267
IV1iller, Hugh, 268
Milligan, Alice, 268
Milton, John, 206, 268
Min, 194
INDEX
Patricius, 145
Patrick, St., 18, 63, 98, I45, 187, 209,
210, 272, 282
Patrick, Croagh, 120
Patrologia Latina, 20, I38, 145, I48
Paula, I44
Pauline, 109
Peery, William, 296
O'Clery, Michael, Conary and Pere- Pelagius, 147, 272
grine, 89
Perdix, 120, 27 I
O'Connor, Sir James, 127
Peter, Jack and Maron, II9
O'Connor, Roderick, 280
Pethers, Caroline, 134, 135
Odin, 42, 221, 223
Petrarch,80,272
O'Doherty, K. 1., 104, lO5, 268, Petrus, 147
27 1
Pepeue, lI5
O'Doherty, Mary Ann (Eva), 105
Pepi 1,196
O'Donnell, 101
Pepi II, 200
O'Donovan, T., 89
Pepper ghost, I62
184
Odyssey, 73, 74,
Petronius, 247
O'Flaherty, Fireworker, III
Phil the Fluter, 146
Ogham writing, 67
Phoenix, 173, I95, 196
O'Gorman, 252, 271
Phoenix Park, 17, III, 142, 150, I73,
O,Hegarty, P. S., 92, 127, 27I
179, 196, 198
Olafsson, 219
Phoenix Park Murders, 83, 102
Olcott, Colonel H. S., 225, 236
Pigou, Richard, 96, !O2, 103
Old Testament, 55, I43, 172-80
Pilate, 182
Oliphant, Laurence, 271
Pip and Estella, 245
Ondt and Gracehoper, 139, 140
Piper, Alta, 262
O'Mulconry, Farfessa, 89
Plato, 206, 272, 273
Orczy, Baroness, 271
Pliny, the Elder, 273
O'Reilly, I. B., 104, 271
Pliny, the Younger, 273
Origen, 145,271
Plautl.1s,90
Orkhon, 146
Plotinus, 274
Oscar, 95
Poe, E. A., 274
O'Shea, Captain, 134
Pollard, G., 240
O'Shea, KiUy, 134
Polsky, Ned, 60, 296
Osiris, I89, 190, 191, 193, 195, 197, Pope, Alexander, 70, 85, 274
198, 199
Porphyry, 274
Othello, 241
Porter, 150
Otho,68
Porter, F. T., 251, 2 4
O'Toole, Lawrence, I8g
Portrait of the Artzst as a Young
Ovid, 120, 271
.
Man, 100, 101, 107, 108, 109, 123,
Oxford Dictionary of Quotations, 141
133, 137, 169, 288
Pound, Ezra, 28, 52, 53, 227, 256, 275
'Ppt', 114
Palmer, E. H., 209
Prescou, Joseph, 17,226,296
Paolo and Francesca, 79, 80
Prevost,
Abbe, 275
Papyrus of Ani, 192, 193, 195
Prichard, J. C., 275
Paracelsus, 46, 250, 271
Prince, Morton, 40--1, II7, 275
Parandowski, Jan, 51,296
Paris, Jean, 292
Prior, Matthew, 275
Proust, Marcel, 275, 288
Parizot, J. P., 47
Parker, Alan, 292
Prout, Father, 265, 1.75
Psalmanazar, George, 70, 275, 276
Parley, Peter, 252
Parnell, C. S., 3,96,100-4, II7, 134, Ptah,200
Pushkin, Alexander, 276
135, 176
Pyrrha, 271
Parr, Old, 254
Pattridge, 120
Pytha.goras, 87
Partridge, Eric, 125, 129, 159, 271
Queen of Sheba, 182
Pascal, Blaise, 85, 86, 272
Queen's Theatre, 161
Pascal, Jacqueline, 85, 86,253,272
Pater, Walter, 50, 53
Quin, Widow, 284
Novel,14
NumbeIS, 44, 48, 53, 134, 176, 209
Nun, 204
Nuy, 203, 214
Nuuer, III
Nutting, Mrs., 127
30 5
INDEX
Quinet, Edgar, 28, 34, 35, 39, 63, III,
243, 267, 273, 2-;6
. J., 277
F. W. j. von, 277
Schiller, C. F., 277
SChopennauer, Arthur, 277
306
INDEX
Soddy, Frederick, 280
Solness, Halvard, 155, 156, 157, 257
Solness, Mrs., I54
Solomon, 178, 180, 181, 182
Solveig, 258
Sommers, Will, 270
Sopbocles, 81,280
Sorrel,289
Sosie, 268
Soupault, Philippe, 293
Southey, Robert, 219
Space, 54, 55,
Speke, J. H., I7I, 28I
Spengler, Oswald, 281
Spenser, Edmund, 206, 281
Spmoza, Baruch, 281, 282
Stanford, W. B., 73
Stanihurst, Richard, 91, 282
Stapleton., H. E., 47
Steele, Sir Richard, 282
Stein, Gertrude, 282
Stella, 69, II4> lIS, II6, II7, II8, 122,
129
Stensgard, 257
Stephen Hero, 137
Stephens, James, II3
St. Stephen's, Ie7
Stern, J. P. M., 137
Sterne, Laurence, n8, 123, 282
Stevenson, R. L., 282, 284
Stockman, Peter, 154
Stoker, Bram, 282
Stoker, Whitley, 63, 145
Stone and Tree, II2
Stopes, Marie, 283
Stowe, H. B., 283
Strand Magazine, 23
Strong, Kate, 91
Strong, L. A. G., II4, IX7, 293
Sttuldbugs, 121, 176
Stuart, D. M., 283
Sturk, I7, III
Srurlason, Snorri, 219, 220, 283
Stutter, 31, 54, 131, 136, I74, 182
Sucat CSt. Patrick), I4S, 272
Suetonius, 283
Sudlow, Bessy, 151
Sullivan, Sir Atthur, 283
Sullivan, Sir Edward, 62, 63, 64, 65,
66, 67, 250, 283
Sulpicius, 68
Suso, Heinrich, 283
Surt,222
S,idrigailov,246,247
Sweeney, J. J., 296
Swedenborg, Emmanuel, 20, 283
Swift, Jonathan, 44, 54, 69, II3, II4123,
13I, 134, 153, 173, 176,
283
271,
Swinburne, C. A., 283, 284
Sylvie, 136
INDEX
Tompion, Thomas, 55
transition, 22, 64
Tl'aube, L., 69
Tree, lI2, 183
Trieste Note-book, 49, 50
Trollope, Anthony, 286, 287
Trot, Even, 100
Tryon, 250
Tunc page, 54, 66
Turgesius, 68
Tutankhamen, 159, 194> 195
Twentyman, Larry, 287
Twenty-nine girls, 100, II7, 120, 183,
r89
Two temptresses, 33
Uachet, 200
Ugg Ugg, 136
Ugolino. 147
Ulysses, 12, 38, 39, 48, 50, 59, 65, 67.
73, 74> 94, 101, 103, I09, 123, I37,
158, r84, 190, 2rI, 225, 229, 238,
252, 260, 262, 283
Upanishads, 228, 248, 287
Ussher, Arland, 293
Vanessa, 114, II6, lI7, 1I8, 122
Vanhomrigh, Esther, II7
Varina crane Waring), IIS
Vaughan, Henry, 287
Vaughan, Thomas, 287
Vega, Garcilaso, 287
Vega, Lope de, 287
Vauxhall, 242
The Venture, ro7
Vera, 97
Vereker, 2$8
Verne, Jules, 287
Vespasian, 69
Vice, Giovanni Battista, 18, 19> 22,
28, 2~34, 52, 53, 54>
126, 136,
149, ISO, 260, 267, 268,
Victoria Nyanza, 171
Virag, 65
Virgil, 75, 80, 146, 275, 287, 288
Villon, Fran9ois, 288
Vishnu, 225
Vitellius, 68
Voltaire, 288
Voluspo, 218, 2Ig, 220, 287
Volva, 220, 287
Von Phul, Ruth, 296
Vousden, Val, 151, r60
Vulgate, 96, 143, 172, 177, 178, 179,
181, 182
Wadding, Luke, 91, 288
Wagner (in Faust), 82, 83, 25!
Wagner, Richard, 28, 50, 54, 69
Waldock, A. J. A., 293
Walpole, Horace, u8, 219,288
English Literature