Lest we should think all this some remote fairy tale, however, we
are dragged back to the Earwicker bedroom to hear the tapping of t h e d e a d b r a n c h o n t h e w i n d o w - p a n e : ' T i p 1T i p t i p 1T i p t i p t i p l ' T h e sleeping mind picks on Kate, the Earwickers' cleaning-woman, to take on the role of eternal widow, gatherer of the scattered fragments ofher dead lord, to paint a p!
are dragged back to the Earwicker bedroom to hear the tapping of t h e d e a d b r a n c h o n t h e w i n d o w - p a n e : ' T i p 1T i p t i p 1T i p t i p t i p l ' T h e sleeping mind picks on Kate, the Earwickers' cleaning-woman, to take on the role of eternal widow, gatherer of the scattered fragments ofher dead lord, to paint a p!
re-joyce-a-burgess
He is the giant Finn MacCool asleep.
H,s he~d IS the Hill of Howth his feet are near Earwicker's pub at Chapehzod (or Iseult's chapel).
His fall, we hear, hastaken ~lacein Dublin's Phoenix Park-a sort of Eden whc;:re a notOrIOUS pohtH::al murder was to herald Ireland's phoenix-resurrection.
But this same park saw the fall of HCE whose vaaue sin involved two girls (his wife and daugh-
ter in disguise) and w:s witnessed by thr~esoldiers ,(his t~osons as a Ham-Shem-Japhet trio). But the mentIOn of sold,ers bnngs usto the theme of conflict. The bloody ructions that were to wake TIm Finnegan are swollen into a panorama of war in general. We go to the Wellington Memorial in Phoenix Park and are shown round It by an old woman (the eternal ageing wife who preserves fragments from the past as she gathers the smashed bits of the body of her dead lord, Humpty Dumpty, for transmission to the future). The Insh- man 'Willingdone', the battle of Waterloo, a couple? f c~valrymares who turn into female camp-followers and the two gIrlS m the park- these symbolise the conflict in HCE's sinning soul, but they also suggest how wafS are merely a vast projection of :amtlv confh~t.
The father aware of his failing sexual powers, WIll want to kill
younger m~n' the younger men -quarrel between themselves. We are brought b~ckto HCE's bedroom with the sound 'Tip'-a branch tapping on the window. History is here an~ now:
We leave the museum and, in the open alr ag. am, see . how the ? ld woman, eternal widow, has been transformed mto a blrd, peckmg up fragments of the past (and particularly of the smashed body of the dead hero) to feed us in the future:
How bootifull and how truetowife of her, when streng~y forebidden, to steal our historic presents from the past postprophetlca~s so as to will make us all lardy heirs and ladymaidesses of a pretty nIce kettle of
huit.
200
Bygmester FinneglUl
But we are concerned with Dublin-'Dyoublong? ' (Yes, we do. This is everybody's eternal city. ) 'Hush! Caution! Echoland! ' (There he is again - HCE. ) What we need is a guidebook, and we find one written by 'Mammon Lujius'- Mamalujo- Matthew, Mark, Luke andJohn, chroniclers of the past, four bedposts who look inward to the sleep of history, not outward to the emergent future. 'Four things . . . ne'er saIl fail', they say, 'til heathersmoke and cloudweed Eire's ile sail pall. ' These four things are a humped old man (Humphrey Chimpden Earwicker); 'a shce on a puir old wobban' (Anna Livia Plurabelle, ALP, river, ageing wife), 'an auburn mayde, o'brine a'bride, to be desarted' (their daughter) and 'a penn no weightier nor a polepost' (the two sons-Shem with his pen and Shaun, who can write no word oftruth but can at least, like a postman, deliver it). These four eternals (Shem and Shaun are one, twin yolks of the father-egg) are then seen emerging at various phases of mock-
history: A. D. I I 3 2 produced the father; A. D. 566 the mother (a
woman is half a man). There is a pause, and then history goes round,
only backwards (history is only a wheel): A. D. 566 brought the daughter and A. D. I I32 the two sons Primas and Caddy-the man of action ('Primas was a santryman and drilled all decent people') and the poet ('Caddy went to Winehouse and wrote 0 peace a farce').
We look up from the book at the land again, and here is prehistoric Dublin. The two brothers seem to merge into a pair of comic primi- tive men, one the native Celt Mutt and the other the Scandinavian invader Jute. It is evident that there is a good deal of stuttering HCE in the latter: 'What a hauhauhauhaudibble thing, to be cause! ' But some play is made with the word 'hesitancy', and we recognise a reference to those forged letters with which Piggot tried to incrimi- nate Parnell (Piggot spelled the above word as 'hesitency' and thus trapped himself). 'Hasateney? ' says Mutt and also, to remind us of one of Parnell's reincarnations, 'hence, cool at ebb' (HCE). Jute, though, says 'Hasitancy'. Even in Ireland's prehistory the seeds of Ireland's later sorrows (the invader, the betrayal of the redeemer)
are being sown.
But there is another theme of treachery to be stated and developed. Joyce takes the historical character of Grace O'Malley who called at Howth Castle for a night's lodging and, because the family was at dinner, was refused entrance. In revenge she kidnapped the son of the Earl of Howth and kept him until the Earl promised never again to close the doors of the castle at mealtimes. Joyce makes the Earl
20I
? ? ? The Man-made Mountain
into a Scandinavian-'Jarl van Hoother', a sort of HCE-and gives him two sons, Tristopher and Hilary, who are shown 'kickaheeling their dummy on the oil cloth flure of his homerigh, castle and earthenhouse' (HCE, also the father of Swift's Vanessa). The dum- my seems to be their sister, forbidden fruit the dream keeps shape- less and anonymous, especially as ('Dare! 0 dareI') we see 'the jiminy Toughertrees and the dummy . . . belove on the watercloth, kissing and spitting, and roguing and poghuing, like knavepaltry and naivebride and in their second infancy'. Grace O'Malley, who is called 'the prankquean', is twice refused 'a poss of PQrterpease' and, in revenge, kidnaps each son in turn, turning the 'jiminy' or twin Tristopher into a blackguard and Hilary into a Cromwellian. The third time she comes, the door is shut in her face with a thunderclap hundred-letter word. It is an allegory of HCE's inability to control the destinies of his children, his impotence in the face of a desired but forbidden relationship. The thunder is the noise of guilt.
But, says Joyce, '0 foenix culprit! ', parodying St Augustine's '0 felix culpa'- happy that sin of Adam which was to bring us a redeemer. The vague crime in Phoenix Park takes us back to the body of the giant Finnegan. A voice cries: 'Usqueadbaugham! ' which, among other things, means 'whiskey', and the great god awakens with 'Did ye drink me doornail l' But he is told to lie down again-'Now be aisy, good Mr Finnimore, sir. And take yourlaysure like a god on pension and don't be walking abroad. ' Life is going on well enough without Finnegan. Besides, 'there's already a big rody ram lad at random on the premises of his haunt of the hungred bordIcs, as it is told me':
. . . humphing his share of the showthers is senken on him he's such a grandfallar, with a pocked wife in pickle that's a flyfire and three lice nittle clinkers, two twilling bugs and one midget pucelle . . . Humme the Cheapner, Esc, overseen as we thought him, yet a worthy of the naym, carne at this timecoloured place where we live in our paroquial fermament one tide on another! with a bumrush in a hun of a wherry . . .
The Scandinavian successor to homegrown Finnegan has arrived by
water, and henceforth the tale is all his. 'Humile, -commune and ensectuous from his nature" it is he 'who will be ultimendly res- punchable for the hubbub caused in Edenborough'. In its sly way, that word 'ensectuous' tells us a great deal. When is a man an Ear- wicker or earwig 1 When he's an insect. When is he an insect 1 When his dream refuses to pronounce the word 'incest'. .
202
3: Here Comes Everybody
LET US NOT BE TOO MUCH TEMPTED TO DRAG THE BIG DREAM UP
towards the light: shadowiness, confusion, the melting of One per-
sonage mto another, of youth into age, friend into enemy-these are of :he essence ~f the dream. Thus, when we meet Humphrey Chlmp~en ~arWlcker, we cannot be sure whether we are looking at a real hlstoncal figure (one who kept a pub in Chapelizod) or at a? sort of paradigm of humanity. Nor can we be sure whether we meet him first as a child or as Adam, fully grown gardener. His name may be Humphrey or it may be Harold; it may even be best to call hIm Haromphreyld. Where did he get his surname 1 The anecdote
about the sailor king talking to our 'Iobstertrapping honest blunt' hero On a 'sultry sabbath afterno~n'has the portentous emptiness of all dream-stones. We Can Imagme ourselves laughing heartily at
HCE's -'aw warjist a cotchin on thon bluggy earwuggers' and then, on wakmg, feehng foohsh about it. Anyway, there soon emerges a vague bIg NordIC father-figure-a 'folksforefather all of the time . . . havmg the entirety of his house about him, with the invariable broad~tretched kerchief cooling his whole neck, nape and shoulder- blades and then, WIth a sort of urgency, we have to consider the
nature of his primal ~dam-sin. Everything is hearsay, a matter of tales and ru~ours, lIke the whole of early history; indeed, the narrator of thiS part of the dream doubts whether there was a sin at all:
. '. ' To a~yone who kne~ and loved the christlikeness of the big clean- m~nded giant H. C. EarWI? ker thr? ughout his excellency long vicefreegal eXistence the ~ere sug~estIon of hIm as a lustsleuth nosing for trouble in a boobytrap rmgs partIcularly preposterous.
Nevertheless, the story has it that Earwicker 'behaved with on- gentilmensky immodus opposite a pair of dainty maidservants in the
203
? ? The Man-made Moulltain
swoolth of the rushy hollow whither . . . dame nature in all innocency had spontaneously and about the same hour of the eventide sent them both'. Whatever the 'ongentilrnensky immodus' was, three soldiers saw it.
The trouble starts when, 'ages and ages after the alleged mis-
demeanour', Earwicker meets a 'cad with a pipe' in the park. The word 'pipe' seems to suggest musical connotations: CAD is a musical phrase; later, Shaun is to have a GBD in his FACE. The cad asks Earwicker the time. Earwicker, quite unnecessarily, launches into a stuttering refutation ofthe alleged accusations against him: '. . . there is not one tittle of truth, allow me to tell you, in that purest of fibfib fabrications'. The cad goes home, brooding on this, tells his wife about it, and 'our cad's bit of strife . . . with a quick ear for spit- toons' tells a priest- 'her particular reverend' -that there is some- thing fishy about HCE. And so the poison starts to spread, despite the priest's promise that 'the gossiple so delivered in his epistolear . . . would go no further than his jesuit's cloth'.
It is at this point that Joyce introduces the names of the Dublin publishers Browne and Nolan. They are useful names, for 'Browne' can be ltalianised to 'Bruno', and the philosopher Bruno came from Nola (very early in his writing career Joyce called him 'the Nolan'). Bruno taught that, in a God-run universe, all opposites must even- tually merge. He thus provides Joyce with a metaphysical justifica- tion for uniting opposing characters in a single personage, as Shem and Shaun, warring brothers, are reconciled in the father HCE. Similarly, HCE's accusers can take on the qualities ofHCE himself. The tale-telling priest is called 'Mr Browne'; 'in his secondary per- sonality as a Nolan" he soon has slanders about our hero circulating among the Dublin layabouts, particularly Peter Cloran, Hosty ('an illstarred beachbusker' or penniless maker of scurrilous ballads), and O'Mara, 'an exprivate secretary of no fixed abode (locally known as Mildew Lisa)'. Take note of that parenthetical 'Mildew Lisa', since it hides the true nature of HCE's guilt. It is a deformation of the German 'Mild und leise', the opening words of the love-death aria that Isolde (Iseult) sings over dead Tristan (Tristram) in Wagner's oper,a.
The scandal culminates in 'The Ballad ofPersse O'Reilly', which- after a guilt-and-fall-symbolising thundred-Ietter word-Hosty sings to a tune that Joyce kindly gives us-literate, undistorted, in the key of A major. 'Persse O'Reilly' is a folk version of the French perce- oreilie, which means an earwig. Like Bloom, HCE is a foreigner-
204
Here Comes Everybody
any foreigner, all foreigners-with the vices of a foreigner. The song is delightful:
He was one time our King of the Castle
Now he's kicked about like a rotten old parsnip.
And from Green street he'll be sent by order of His Worship To the penal jail of Mountjoy
(Chorus) To the jail of Mountjoy! Jail him and joy.
In it, HCE is identified with the falling Humpty Dumpty, likened to 'Lord Olofa Crumple', accused ofanumber ofbizarre crimes, cursed as a black and tan and a 'brave son of Scandiknavery', and threa- tened with execution and burial:
And not all the king's men nor his horses Will resurrect his corpus
For there's no true spell in Connacht or hell
That's able to raise a Cain.
And so we come to the third and fourth chapters and the fulfil- ment of the threat. First, though, we have to go through the form of a trial. The trio Hasty, O'Hara or O'Mara, and Cloran-Horan- Moran (how the names melt and shift, dreamlike) are no more, and,
as far as the collecting of evidence is concerned, we have chiefly to
rely on the priest Father San Browne or Padre Don Bruno. But opposites (Browne and Nolan) fuse into each other, nothing is cer- tain, vast eras of time have confounded the issue: all that emerges from the murmurs and shouts is the fact of HCE's guilt. Still, he has his defenders:
. . . three tommix, soldiers free, cockaleak and cappapee, of the Coldstream Guard~ were walking in Montgomery Street . . . It was the first woman, ! hey ~ald, souped. him, that fatal wellesday, Lili Coninghams, by suggest- mg hIm they go In a field. Wrolh mod eldfar, ruth redd stilstand wrath wrackt wroth, confessed private Pat Marchison retro. '
The real facts of HCE's sexual guilt strive to reach the surface, but the girl he longs for is herself a temptress, a sort of prankquean. So Adam blamed Eve. But before Eve there was Lilith: the seducible maiden is turned into the seducing older woman.
Many voices, as in a series of television interviews, give opinions and m~ke judgements. It is we ourselves, we begin to recognise, who wIll soon be on trial: HCE means 'Here Olmes Everybody'. Solidities emerge-a letter written by HCE's own wife (at least, it is
signed 'A Laughable Party'-ALP-Anna Livia Plurabelle), and a 205
? ? ? ? The Man-made Mountain
Here Comes Everybody
coffin. This coffin has 'been removed from the hardware premises of Oetzmann and Nephew, a noted house of the gonemost west, which in the natural course of all things continues to supply funeral requisites of every needed description'. It is destined for HCE: he must be buried deep down, unable to rise again. Finnegan was an amoral giant, but Earwicker is a man, and man must be cast into the bottomless depths for his primal sin. There is, as yet, no redeemer.
And so to the trial. Long Lally Tobkids, 'the special', gives evi- dence in which HCE appears as a sort of drunken butcher (he de- livers 'mattonchepps and meatjutes'-we are back with Mutt and Jute, foreigner-hating native and invading Teuton). But a certain MackPartland defends HCE: 'these camelback excesses are thought to have been instigated by one or either of the causing causes of all, those rushy hollow heroines in their skirtsleeves'. And, he adds, 'has not levy of black mail from the times the fairies were in it, and fain for wilde erthe blothoms followed an impressive private reputation for whispered sins I' HCE, like Parnell, is suffering for his greatness. As for the accused himself, he has shut himself away from it all with his Swiftian guilt: 'And let oggs be good old gaggles and Isther Estarr play Yesther Asterr'-there is Esther; there is (,EstaIT') Stella. But he has an unsolicited visitor- 'Davy or Titus, on a burgley's clan march from the middle west, a hikely excellent crude man about road who knew his Bullfoost Mountains like a starling bierd. ' The new world of America has to ha~e its say-
. . . weathering against him in mooxed metaphores from eleven thirty to two in the afternoon without even a luncheonette interval for House, son of Clod, to come out, you jewbeggar, to be executed Amen.
(Note the significant period of. time-I! . 30 to 2. 0, which can be telescoped into the only real date in the whole book: 1132. )
Poor Earwicker has compiled a long list of 'all abusive names he
was called'. Some are dream-nonsense; others make all too much
sense- Unworthy of the Homely Protestant Religion, I Divorce Thee Husband, Cumberer ofLord's Holy Ground, Dirt, Miching Daddy, Guilteypig's Bastard, and so on. The people are against him, even though the trial went in his favour. And so, 'playing on the least change of his manjester's voice, the first heroic couplet from the fuguall tropicall, Opus Elf, Thortytoe: My schemes into obeyance for This time has had to fall' (II32 again), he goes off to 'the duff and demb institutions' and we bid him 'Adyoe! ' He is not yet to die, but he is to shut himself away from all communication with men:
206
'Humph is in his doge. Words weigh no no more to him than rain-
drips to Rethfernhim. ' His death and resurrection are reserved to Joyce's next chapter.
This man 'Devoyd of the Commoner Characteristics of an Irish Nature' remembers, in his incarceration (like 'the lion in our tear- garden' remembering 'the nenuphars ofhis Nile'), those two 'lililiths' who undid him, combining as they do in 'corngold Ysit', desired daughter. But the time has come for an indignant people to shove him, guilt and all, in that stolen teak coffin and then bury him deep under Lough Neagh. The making of 'this wastohavebeen under- ground heaven, or mole's paradise which was probably also an inver- sion of a phallopharos, intended to foster wheat crops and to ginger up tourist trade' is a big civilised job, involving blasting with T. N. T. , but HCE remains a primitive hero, whose buried corpse is-despite the lack of a redeemer-a potential source of new life: 'abide Zeit's sumonserving, rise afterfall'. Even in the ground (or, rather, in his watery grave) HCE seems to send out shoots of chaotic energy-
h~htmng and flood abound. He becomes as legendary as sleeping Fmnegan, 'all this time of totality secretly and by suckage feeing on his own misplaced fat'. And the times, too, we see, are legendary- 'pagan ironed times of the first city (called after the ugliest Dana-
. dune)'.
Lest we should think all this some remote fairy tale, however, we
are dragged back to the Earwicker bedroom to hear the tapping of t h e d e a d b r a n c h o n t h e w i n d o w - p a n e : ' T i p 1T i p t i p 1T i p t i p t i p l ' T h e sleeping mind picks on Kate, the Earwickers' cleaning-woman, to take on the role of eternal widow, gatherer of the scattered fragments ofher dead lord, to paint a p! cture for us, 'in a dreariodreama setting, glowing and very vidual, of old dumplan as she nosed it'. We see that she is a very old aspect of ALP, as Issy or Iseult is a very young one. She recalls the mythical past, ending up, as we must always end up, in the park with HCE's fall. We ought really to reconsider that sin, the trial, the incarceration and burial, but the sinner-victim is long dead. All we can do is to call on his two sons, Shern and Shaun, to. re-e~act the whole affair. Shaun plays a ~haracter called Festy King- of a famIly long and honourably assoctated with the tar and feather industries'. But, though it is he who is arraigned on various
charges, there is a great deal of confusion caused by the fact that the chief witness for the prosecution is his twin brother, Shern. The verdict of the four judges (Mamalujo, the four old men who praise the past, the four bedposts) is 'Nolans Brurnans'. This (Bruno the
207
? ? ? ? The Man-made Mountain
Nolan with his doctrine of the identity of opposites, is hidden in . the m~ck-Latin) encapsulates the defence of Shaun ('Show'm the Posed'). The twins are-
o ? ? equals of opposites, evolved by a onesame power of natu:e or orspirit, iste as the sole condition and means of its himundher marufestat;lOl! and pol~rised for reunion by the symphysis of their antipathies. Dlstmctly different were their duasdestinies.
Shaun is a mere shadow of his father HCE. He is incapable of guilt, and he revels in the admiration of'the maidies ofthe bar" the twenty- eight girls who flutter and flatter around him. There is a twenty- ninth girl, ~or Leap-year Ca lovelookmg leapglrl ), who IS eVIdently a manifestation of 155y: she too adores him. He IS made for sexu~l success, the unworthy demagogic successor of his fathe:, though, his time is not yet. As for Shem ('Shun the Punman! '), he IS recogmsed as the enemy, the real betrayer of the father who, presumed dead and made mythical, is no longer a sinner but a saint. Hard words are spoken to Shern: 'You and your gift of your gaft of your garbage abaht our Farvver! and gaingridando: Hon! Verg! Nau! Putor! Skarn! Scharns! Shames! ' The artist, truth-seeker, is always reviled.
The four old men, judges, bedposts, gospellers, provinces of Ire- land drone on among themselves about the gloriou8 past. But the truth is surely not to be found in old men's drivellings but in that letter from ALP we all heard about before. Anyway, what happened to HCE? Previously he was presented to us (among so many things) as John Peel, the hunter, complete with hor~ in the mornmg, ~ut now it seems that he is running up and down hke a fox, a quarry hke poor Parnell ('But the spoil of hesitants, the spell of hesitency'). Or else 'he had laid violent hands on hImself . . . lam down, all lll, fagged out, with equally melancholy death'. It i~ best to assume that
he is gone, his successor elected, a new pope ( the pnsoner of that
sacred edifice'). We must turn now to his widow, ALP, the brave
little woman, cleanser of the reputation of her dea~ lord, always ready 'to crush the slander's head'. She is the river by. which we
mourn his death, the water which will purify him into samthood:
. . . For we, we have taken our sheet ~pon her st~)fies where we have hanged our hearts in her tress; and we 11st, as she bIbs us, by the waters of bab. long.
The next few chapters of Finnegans Wake will be all about Anna Livia.
~o8
4: ALP and her Letter
I SHALL TRY NOW TO SAY SOMETHING USEFUL ABOUT THE NEXT four chapters ofFinnegans Wake. We are still on the first great seclion of the book, which deals mainly with the coming of the archetypal family man after the fall of the primitive god-giant, and this section divides itself about equally into an account of Earwicker's fall, trial, . death and burial (though his substance is spread, like a great spilt egg, all about the world) and his wife Anna's life and letter-that hidden letter which tells the truth about HCE and thus, in a cryptic way, explains the universe. There are eight chapters in all-four chapters for the man-hill, four chapters for the woman-river. Nowt then, we come to Anna Livia Plurabelle-the river Anna Liffey, a plurality of femininity and beauty. She is hymned at the outset, however, as if she were God the Father:
In the name of Annah the Allmaziful, the Everliving, the bringer of Plurabilities, haloed be her eve, her singtime sung, her rill be run, un- hemmed as it is uneven!
But, of course, she reflects the eternal father, she bore his sons, she is the custodian ofthe truth about him. She deserves divine honours. First, though, we are concerned with her famous letter.
This 'untitled mamafesta' has had many names (Joyce gives us three full pages of these, from The Augusta Angustissimost for Old Seabeastius' Salvation to First and Last Only True Account all about the Honorary Mirsu Earwicker, L. S. D. , and the Snake (Nuggets 1) by a Woman ofthe World who only can Tell Naked Truths about a Dear Matl and all his Conspirators how they all Tried to Fall him Putting it all around Lucalizod about Privates Earwicker atld a Pair o f Sloppy
Sluts plainly Showing all the Unmentionabikty falsely Accusing about the Raincoats). There is a learned scholar at work here who, before he plunges into the depths of a lecture about the letter, tells us (and this is also Joyce telling us): 'Now, patience; and remember patience
2 0 9
? ? The Man-made Mountain
ALP and her Letter
is the great thing, and above all things else we must avoid anything like being or becoming out of patience. ' We need patience, wading through abstract theory before we learn anything about the prove- nance of the letter. At length we are told how a clever little hen called Belinda scratched up 'a goodish-sized sheet ofletterpaper originating by transhipt from Boston (Mass. ), from a mud-mound flavoured with bits of orange-peel. The letter mentions wedding cakes and the 'grand funferall of poor Father Michael' (Michael Finnegan? ) and sends love to the twins. It is tea-stained and unsigned. (Think of the Boston Tea Party, the release from ancient bondage and the start of a new epoch in history. Marriage, family life have replaced the old theocratic but unfruitful paternalism. And the Orange shall decay, says the Shan Van Vocht. ) As for interpreting this old page offamily gossip, is it not evident that ALP sees no great fault in HCE: 'Dancings (schwrites) was his only ttoo feebles. With apple har-
lottes' ?
The letter (there is a strong element of parody of pedantry in this chapter) is accorded the reverence given to the Book ofKells (that ancient Irish psalter, magnificently illuminated, that was buried to protect it from the invading Danes). Indeed, it is stated roundly that the letter plainly inspired 'the tenebrous Tunc page' of the Book of Kells-the page which has written, in a mass of magnificent illumina- tion, the words 'Tunc crucifixerunt X P I cum eo duos latrones'-'Then they crucified Christ and with him two thieves', the 'XPI' (first three letters of the Greek word Christos) being an interpolation. This stained old hen-grubbed scrawl is marvelled at; marginal por- traits are descried in it; niceties of punctuation are gravely discussed. But beneath the dream-satire there is seriousness ofa dreaming sort, since the principle of family-finding expression in a half-literate bit of chat-underlies all civilisation. The archetypes of the crucified triumvirate (the Son who is also the Father in the middle, the thieves of his substance on either side) are to be found in HCE and the twins.
We have the letter, then, but can we be sure that it is really the
letter that ALP wrote? Of course not: dreams do not disclose their hidden truths so easily. But this missive from Boston may be taken as a palimpcestuous precis of Finnegans Wake itself, and what fol- lows in the next chapter is a pretty full presentation of its main characters (all ofwhom are allegedly mentioned in the letter) through the medium of a mad quiz. This is apparently conducted by the hor- rible four- 'old Jeromesolem, old Huffsnuff, old Andy Cox, old Ole-
210
casandrum'-and it begins with a fatuous-seeming salutation: 'Who do you no tonigh, lazy and gentleman? ' The lazy one is probably Shem, and the gentleman undoubtedly Shaun, prize quiz-kid, who 'rated one hundrick and thin per storehundred on this nightly quis- quiquock of the twelve apostrophes, set by Jockit Mic Ereweak'. Who is 'Jockit'-Shaun (John, Jack, Jock) or Shem (Jacob)? The confusion is, as always, deliberate.
The 'twelve apostrophes' begin with a gigantic question (thirteen pages long) that seeks the identity of a 'maximost bridgesmaker' who stutters 'fore he falls and goes mad entirely when he's waked; is Timb to the pearly morn and Tomb to the mourning night', and so on. The answer is 'Finn MacCooll'-one of the manifestations of Finnegan-HCE. The next question, 'Does your mutter know your mike? ', is apparently addressed to Shaun, since he appears later as Mike or Mick or the Archangel Michael, would-be destroyer of the devilish Nick or Shem. 'Ann alive, the lisp of her' is part of the answer. So far, then, we have the father and mother. Then comes a dream version of the motto on the arms of the city of Dublin: 'Thine obesity, 0 civilian, hits the felicitude of our orb ! " This stands above the little orb, or world, of a fat and happy home. But this home is only a part of all Ireland, and the next question asks about Ireland's four main cities (of special interest to the four old men, who repre- sent the four provinces whose capitals these cities are). The answers are suitably disguised: Delfas; Dorhqk; Nublid; Dalway. I need not translate. Qyestions 5 and 6 refer to Earwicker's bartender, 'Pore ole JoeI', and cleaning-woman (,Summon In The Housesweep Dinah'-adeformationofasongin Ulysses-'There'ssomeoneinthe house with Dinah'). The old woman herself is heard, grumbling: '. . . who bruk the dandleass and who seen the blackcullen jam for Tomorrha's pickneck I hope it'll pour. '
The Twelve are now mentioned. They stand for the whole of human society and they have lowly but bizarre trades-'the doorboy, the cleaner, the sojer, the crook, the squeezer, the lounger, the curman, the tourabout, the mussroomsniffer, the bleakablue tramp, the funpowtherplother, the chrisrymansboxer'. We are told their names and places of origin and even given a specimen of their characteristic way of speaking:
. . . are the porters of the passions in virtue of retroratiocination, and, contributing their confljngent controversies of differentiation, unify their voxes in a vote of vaticination, who crunch the crusts of comfort due to
1 The motto of the city of Dublin is Ohediemia civium urhisJelidtas.
21I
? ? The Man-made Mountain
ALP and her Letter
depredat~on, drain ~he ~ea~ for, misery to incur intoxication, condone every eVIl by practIcal JusttficatIon and condam any good to its own gratification. . . ~
But, when asked who they really are, the answerer says: 'The Mor-
phlOS1' . T h e twelve citizens are sleepers, deliberating on life in
pretentlOus polysyllables but letting life pass them by-as, in fact, it has passed by the four old men, the quizzers.
. Next come the 'maggies', the girls in the park who melt into one gtrl, a daughter, a temptress ('yeth cometh elope year, coach and four, Sweet Peck-at-my-Heart picks one man more'). Mter that, Number 9, comes a description of the big dream itself and of this very book that enshrines it-'a collideorscape' (lovely and exact word): Qyestion IO is important, since-'What bitter's love but YUIning, what' sour lovemutch but a bref burning till shee that drawes doth smoake retouIne? '-it ushers in an answer from the primal temptress, Issy or Iseult, herself, all in Swiftian 'little lan- guage', coy girly-wirly talk, ghastly but fascinating:
'. ' . Now open, pet, your lips, pepette, like I used my sweet parted bpsabuss WIth I? an Holohan of facetious memory taught me after the flannel dance, WIth the proof of love, up Smock Alley the first night he smelled pouder and I coloured beneath my fan pipetta mia when you learned me the lingua to melt. "
She is all woman, but not in the ALP sense (mature mother trans-
mitter of life and her dead lord's good name): ogling, inflaming
paSSIOn but \vithholding its satisfaction, she loves her mirror best
and provides another explanation for her appearance as a duo in the
s~nful park. '\~lith my whiteness I thee woo,' she says, 'and bind my sIlk breasths I thee bound! Always, Amory, amor andmore. Till always, thou lovest! ' She is, of course, quite irresistible.
The penultimate question calls for a twenty-page answer. It is addressed to Shaun, whose name is changed to Jones for the occasion and who takes on rather petulant professorial qualities, and it con-:- cerns fraternal charity. The rhythm of the question derives from Thomas Moore's poem about the Exile of Erin, and it beats most pathetically when set out as verse:
or wringing his handcuffs for peace, the poor blighter,
praying Dieuf and Domb Nostrums foh thomethinks to eath;
if he weapt while he leapt and guffalled quith a quhimper,
made cold blood a blue mundy and no bones without flech, taking kiss, kake or kick with a suck, sigh or simper,
a difile to larn and a dibble to Iech;
if the fain shinner pegged you to shave his irnmartial,
wee skillmustered shaul with his ooh, hoodoodoo! braking wind that to wiles, woemaid sin he was partial,
we don't think, Jones, we'd care to this evening, would you?
The drunken, ailing, eye-aching exile is, of course, Joyce himself, poor'artist seeking succour and soul's salvation from a better endowed brother (or Buck Mulligan, with whom Shaun is sometimes identi- fied in his real-life form of Oliver St John Gogarty). Shaun will give no help, but, after his 'No, blank ye 1', he finds it necessary to indulge in lengthy explanations of his attitude. He wants 'to conclusively confute this begging question' (he is embarrassed, though: he says
'hasitate') by referring to the 'dimecash problem' and expatiating on 'talis qualis'.
But Shaun-Jones finds the only way to keep his audience awake is to give them a couple of fables, both of which work out the brother-opposition theme. Bruno Nolan is told to take his tongue out of the inkpot, and then the professor translates from the Javanese the story of the Mookse and the Gripes, beginning formally: 'Gentes and laitymen, fullstoppers and semicolonials, hybreds and lub- berds! ' The tale combines Aesop's Fox and Grapes and Lewis Carroll's Mock Turtle and Griffon, but it soon becomes clear that the Mookse is English Pope Adrian ('Bragspear') and the Gripes the
Irish people and the old Irish Church of the Book of Kells (more Byzantine than Roman). The bull Laudabiiiter is worked into the Mookse's threats-'That is quite about what I came on my missions with my intentions laudabiliter to settle with you, barbarousse'- and we remember that it was with the blessing of that bull that Henry II annexed Ireland, thus bringing Ireland into the Roman fold as well as under the English crown. With British bragging and 'poposity" the Mookse wades into the 'poor little sowsieved sub- squashed Gripes', and the battling sons of the one Mother Church (Anna Livia is subtly invoked in 'Amnis Limina Permanent') fail to notice that a little girl is looking down on them from the 'bannistars'. This is Nuvoletta, the little cloud, who is both Issy-Iseult and ALP in her source-capacity. The stupid quarrel blinds the Mookse and the Gripes to the permanent fact of their one river-mother (who
21 3
212
If you met on the bin. ge a poor acheseyeld from Ailing, when the tune of hIS tremble shook shimmy on shin
while his countrary rageci in the weak of his wailing like a rugilant pugilant Lyon O'Lynn;
, ,
if he maundered in misliness, plaining his plight or played fox and lice, pricking and dropping hips teeth,
11
I:
? ? ? ? ? ? The Man-made Mounta? n
ALP ;md hrt ["tier
flows along quietly all this while); the fighting brothers ('Bullfolly answered volleyball') miss the proffered beauty of 'the daughter of the queen of the Emperour of Irelande'. Two women-Valkyries or banshees-gather up severally the Mookse and the Gripes on the river-bank, and nothing is left but an elm-tree and a stone. The big theme of the Shem-Shaun antipathy has been expounded. 'Nolan Browne, you may now leave the classroom. '
But Professor Jones has another, more privy, story to tell. This concerns Caseous and Burrus (Cassius and Brutus, but also Cheese and Butter). These come from the same mothering milk, and in Burrus we see Shaun Ca genuine prime, the real choice, full of natural greace') and in Caseous ('a hole or two, the highstinks afore- felt and anygo prigging worms') Shem's less sunny properties. We arc asked to 'pursue Burrus and Caseous for a rung or two up their isocelating biangle', and in this figure we see ALP (Joyce's symbol for her is, in fact, an isosceles triangle). The whole tragedy of Shem and Shaun-whatever form Or fancy dress they put on-lies in their twinhood. The successor ofHCE should be the 'genuine prime', the first-born, and there is no first-born. I f Shaun is daddy's favourite, Shem must be mummy's, but a natural bequest to the father's favourite son is not only the right of rule but the monopoly of the mother. The sexual struggles between Shem and Shaun ironically get in the way of sexual conquest. In this present fable both Burrus and Caseous love Margareen ('J cream for thee, Sweet Margareen'), but she, eternal woman, wants ~either:
A c1eopatrician in her own right she at once complicates the position while Burrus and Caseous are contending for her misstery by implicating her- self with an elusive Antonius, a wop who would appear to hug a personal interest in refined chees of all chades at the same time as he wags an antomine art of being rude like the boor.
Whenever the brothers quarrel and fight, they seem to call into being a third personage (the third soldier /) like this Antonius who, 'a wop', possibly Antonio with his ice-cream cart, is also the dreamer's own tentative image of himself. Margareen, or whatever her name is, is the desired incestuous bride of the father and brothers alike.
The conclusion Of Shaun-Jones's long lecture is unequivocal. If
the 'proud pursebroken ranger' came to him 'to beg for a bite in our
bark Noisdanger', he would-'were we tucked in the one bed and bit by the one flea' - have no hesitation in footing him out. The last question of all asks 'Saar estol', in which the Latin saar means both 'blest' and 'accursed'-here, undoubtedly, the latter only: 'Will
214
you be accursed? ' The answer COmes from Shem: 'Semus sumusf'- 'Shem we are! ' And now-'Shem is as short for Shemus as Jem is joky for Jacob'-we are ready for a very entertaining and yet shock- ing chapter, in which mother's-boy Shem is revealed all too candidly as James Joyce ('Shame's voice')-the exiled artist, reviled by the sanctimonious, finding his salvation in being a sewer (back to 'The Holy Office'), perverse, 'a sham and a low sham', but still the scribe who penned his mother's letter, a hated but feared 'greekenhearted yude' like Bloom himself.
This chapter is a Rabelaisian triumph, though-in the true Joyce
manner-it uses laughter for a bitter end. Shem's 'lowness' is so
thoroughly celebrated that it takes on a kind of grandeur. It comes out first in his rejection of good plain food (that which fed the Irish literary Renaissance):
So low was he that he preferred Gibsen's teatime salmon tinned, as in- expensive as pleasing, to the plumpest roeheavy lax or the friskiest parr or smolt troutlet that ever was gaffed between Leixlip and Island Bridge and many was the time he repeated in his botulism that no junglegrown pine- apple ever smacked like the whoppers you shook out of Ananias' cans, Findlater and Gladstone's, Corner House, Englend. None of your inch- thick blueblooded Balac1ava fried-at-belief-stakes or juicejelly legs of the Grex's molten mutton or greasilygristly grunters' goupons or slice upon slab o f luscious goosebosom with lump after load of plumpudding stuffing all aswim in a swamp of bogoakgravy . . .
The rejected Irish salmon is that salmon of wisdom cooked by Finn MacCool; he will not belong to the native 'Grex' or flock. His art is nourished on poison ('his botulism'). If you want the good and wholesome you must go to his brother Shaun: 'Johns is a different butcher's . . . Feel his lambs! Ex! Feel how sheap! Exex! His liver too is great value, a spatiality! Exexex! COMMUNICATED. ' Shaun is revealed as the space-man, lord of solid objects, as well as the holy one who excommunicates the low artist. Shem's task is to capture the rhythm of time, draw inspiration from the creative mother-river.
A seedy Satan, rolled in the dirt, stinking, blasphemous, he has
committed the terrible crime of writing Ulysses, which not even he can understand: 'amid the inspissated grime of his glaucous den making believe to read his usylessly unreadable Blue Book of Eccles, edition de tenebres'. He is a pervert like the Jew of Eccles Street, putting out a filthy 'abortisement'-'Jymes wishes to hear from wearers of abandoned female costumes . . . to start city life together. His jymes is out of job, would sit and write. ' His house-'O'Shea or
21 5
?
ter in disguise) and w:s witnessed by thr~esoldiers ,(his t~osons as a Ham-Shem-Japhet trio). But the mentIOn of sold,ers bnngs usto the theme of conflict. The bloody ructions that were to wake TIm Finnegan are swollen into a panorama of war in general. We go to the Wellington Memorial in Phoenix Park and are shown round It by an old woman (the eternal ageing wife who preserves fragments from the past as she gathers the smashed bits of the body of her dead lord, Humpty Dumpty, for transmission to the future). The Insh- man 'Willingdone', the battle of Waterloo, a couple? f c~valrymares who turn into female camp-followers and the two gIrlS m the park- these symbolise the conflict in HCE's sinning soul, but they also suggest how wafS are merely a vast projection of :amtlv confh~t.
The father aware of his failing sexual powers, WIll want to kill
younger m~n' the younger men -quarrel between themselves. We are brought b~ckto HCE's bedroom with the sound 'Tip'-a branch tapping on the window. History is here an~ now:
We leave the museum and, in the open alr ag. am, see . how the ? ld woman, eternal widow, has been transformed mto a blrd, peckmg up fragments of the past (and particularly of the smashed body of the dead hero) to feed us in the future:
How bootifull and how truetowife of her, when streng~y forebidden, to steal our historic presents from the past postprophetlca~s so as to will make us all lardy heirs and ladymaidesses of a pretty nIce kettle of
huit.
200
Bygmester FinneglUl
But we are concerned with Dublin-'Dyoublong? ' (Yes, we do. This is everybody's eternal city. ) 'Hush! Caution! Echoland! ' (There he is again - HCE. ) What we need is a guidebook, and we find one written by 'Mammon Lujius'- Mamalujo- Matthew, Mark, Luke andJohn, chroniclers of the past, four bedposts who look inward to the sleep of history, not outward to the emergent future. 'Four things . . . ne'er saIl fail', they say, 'til heathersmoke and cloudweed Eire's ile sail pall. ' These four things are a humped old man (Humphrey Chimpden Earwicker); 'a shce on a puir old wobban' (Anna Livia Plurabelle, ALP, river, ageing wife), 'an auburn mayde, o'brine a'bride, to be desarted' (their daughter) and 'a penn no weightier nor a polepost' (the two sons-Shem with his pen and Shaun, who can write no word oftruth but can at least, like a postman, deliver it). These four eternals (Shem and Shaun are one, twin yolks of the father-egg) are then seen emerging at various phases of mock-
history: A. D. I I 3 2 produced the father; A. D. 566 the mother (a
woman is half a man). There is a pause, and then history goes round,
only backwards (history is only a wheel): A. D. 566 brought the daughter and A. D. I I32 the two sons Primas and Caddy-the man of action ('Primas was a santryman and drilled all decent people') and the poet ('Caddy went to Winehouse and wrote 0 peace a farce').
We look up from the book at the land again, and here is prehistoric Dublin. The two brothers seem to merge into a pair of comic primi- tive men, one the native Celt Mutt and the other the Scandinavian invader Jute. It is evident that there is a good deal of stuttering HCE in the latter: 'What a hauhauhauhaudibble thing, to be cause! ' But some play is made with the word 'hesitancy', and we recognise a reference to those forged letters with which Piggot tried to incrimi- nate Parnell (Piggot spelled the above word as 'hesitency' and thus trapped himself). 'Hasateney? ' says Mutt and also, to remind us of one of Parnell's reincarnations, 'hence, cool at ebb' (HCE). Jute, though, says 'Hasitancy'. Even in Ireland's prehistory the seeds of Ireland's later sorrows (the invader, the betrayal of the redeemer)
are being sown.
But there is another theme of treachery to be stated and developed. Joyce takes the historical character of Grace O'Malley who called at Howth Castle for a night's lodging and, because the family was at dinner, was refused entrance. In revenge she kidnapped the son of the Earl of Howth and kept him until the Earl promised never again to close the doors of the castle at mealtimes. Joyce makes the Earl
20I
? ? ? The Man-made Mountain
into a Scandinavian-'Jarl van Hoother', a sort of HCE-and gives him two sons, Tristopher and Hilary, who are shown 'kickaheeling their dummy on the oil cloth flure of his homerigh, castle and earthenhouse' (HCE, also the father of Swift's Vanessa). The dum- my seems to be their sister, forbidden fruit the dream keeps shape- less and anonymous, especially as ('Dare! 0 dareI') we see 'the jiminy Toughertrees and the dummy . . . belove on the watercloth, kissing and spitting, and roguing and poghuing, like knavepaltry and naivebride and in their second infancy'. Grace O'Malley, who is called 'the prankquean', is twice refused 'a poss of PQrterpease' and, in revenge, kidnaps each son in turn, turning the 'jiminy' or twin Tristopher into a blackguard and Hilary into a Cromwellian. The third time she comes, the door is shut in her face with a thunderclap hundred-letter word. It is an allegory of HCE's inability to control the destinies of his children, his impotence in the face of a desired but forbidden relationship. The thunder is the noise of guilt.
But, says Joyce, '0 foenix culprit! ', parodying St Augustine's '0 felix culpa'- happy that sin of Adam which was to bring us a redeemer. The vague crime in Phoenix Park takes us back to the body of the giant Finnegan. A voice cries: 'Usqueadbaugham! ' which, among other things, means 'whiskey', and the great god awakens with 'Did ye drink me doornail l' But he is told to lie down again-'Now be aisy, good Mr Finnimore, sir. And take yourlaysure like a god on pension and don't be walking abroad. ' Life is going on well enough without Finnegan. Besides, 'there's already a big rody ram lad at random on the premises of his haunt of the hungred bordIcs, as it is told me':
. . . humphing his share of the showthers is senken on him he's such a grandfallar, with a pocked wife in pickle that's a flyfire and three lice nittle clinkers, two twilling bugs and one midget pucelle . . . Humme the Cheapner, Esc, overseen as we thought him, yet a worthy of the naym, carne at this timecoloured place where we live in our paroquial fermament one tide on another! with a bumrush in a hun of a wherry . . .
The Scandinavian successor to homegrown Finnegan has arrived by
water, and henceforth the tale is all his. 'Humile, -commune and ensectuous from his nature" it is he 'who will be ultimendly res- punchable for the hubbub caused in Edenborough'. In its sly way, that word 'ensectuous' tells us a great deal. When is a man an Ear- wicker or earwig 1 When he's an insect. When is he an insect 1 When his dream refuses to pronounce the word 'incest'. .
202
3: Here Comes Everybody
LET US NOT BE TOO MUCH TEMPTED TO DRAG THE BIG DREAM UP
towards the light: shadowiness, confusion, the melting of One per-
sonage mto another, of youth into age, friend into enemy-these are of :he essence ~f the dream. Thus, when we meet Humphrey Chlmp~en ~arWlcker, we cannot be sure whether we are looking at a real hlstoncal figure (one who kept a pub in Chapelizod) or at a? sort of paradigm of humanity. Nor can we be sure whether we meet him first as a child or as Adam, fully grown gardener. His name may be Humphrey or it may be Harold; it may even be best to call hIm Haromphreyld. Where did he get his surname 1 The anecdote
about the sailor king talking to our 'Iobstertrapping honest blunt' hero On a 'sultry sabbath afterno~n'has the portentous emptiness of all dream-stones. We Can Imagme ourselves laughing heartily at
HCE's -'aw warjist a cotchin on thon bluggy earwuggers' and then, on wakmg, feehng foohsh about it. Anyway, there soon emerges a vague bIg NordIC father-figure-a 'folksforefather all of the time . . . havmg the entirety of his house about him, with the invariable broad~tretched kerchief cooling his whole neck, nape and shoulder- blades and then, WIth a sort of urgency, we have to consider the
nature of his primal ~dam-sin. Everything is hearsay, a matter of tales and ru~ours, lIke the whole of early history; indeed, the narrator of thiS part of the dream doubts whether there was a sin at all:
. '. ' To a~yone who kne~ and loved the christlikeness of the big clean- m~nded giant H. C. EarWI? ker thr? ughout his excellency long vicefreegal eXistence the ~ere sug~estIon of hIm as a lustsleuth nosing for trouble in a boobytrap rmgs partIcularly preposterous.
Nevertheless, the story has it that Earwicker 'behaved with on- gentilmensky immodus opposite a pair of dainty maidservants in the
203
? ? The Man-made Moulltain
swoolth of the rushy hollow whither . . . dame nature in all innocency had spontaneously and about the same hour of the eventide sent them both'. Whatever the 'ongentilrnensky immodus' was, three soldiers saw it.
The trouble starts when, 'ages and ages after the alleged mis-
demeanour', Earwicker meets a 'cad with a pipe' in the park. The word 'pipe' seems to suggest musical connotations: CAD is a musical phrase; later, Shaun is to have a GBD in his FACE. The cad asks Earwicker the time. Earwicker, quite unnecessarily, launches into a stuttering refutation ofthe alleged accusations against him: '. . . there is not one tittle of truth, allow me to tell you, in that purest of fibfib fabrications'. The cad goes home, brooding on this, tells his wife about it, and 'our cad's bit of strife . . . with a quick ear for spit- toons' tells a priest- 'her particular reverend' -that there is some- thing fishy about HCE. And so the poison starts to spread, despite the priest's promise that 'the gossiple so delivered in his epistolear . . . would go no further than his jesuit's cloth'.
It is at this point that Joyce introduces the names of the Dublin publishers Browne and Nolan. They are useful names, for 'Browne' can be ltalianised to 'Bruno', and the philosopher Bruno came from Nola (very early in his writing career Joyce called him 'the Nolan'). Bruno taught that, in a God-run universe, all opposites must even- tually merge. He thus provides Joyce with a metaphysical justifica- tion for uniting opposing characters in a single personage, as Shem and Shaun, warring brothers, are reconciled in the father HCE. Similarly, HCE's accusers can take on the qualities ofHCE himself. The tale-telling priest is called 'Mr Browne'; 'in his secondary per- sonality as a Nolan" he soon has slanders about our hero circulating among the Dublin layabouts, particularly Peter Cloran, Hosty ('an illstarred beachbusker' or penniless maker of scurrilous ballads), and O'Mara, 'an exprivate secretary of no fixed abode (locally known as Mildew Lisa)'. Take note of that parenthetical 'Mildew Lisa', since it hides the true nature of HCE's guilt. It is a deformation of the German 'Mild und leise', the opening words of the love-death aria that Isolde (Iseult) sings over dead Tristan (Tristram) in Wagner's oper,a.
The scandal culminates in 'The Ballad ofPersse O'Reilly', which- after a guilt-and-fall-symbolising thundred-Ietter word-Hosty sings to a tune that Joyce kindly gives us-literate, undistorted, in the key of A major. 'Persse O'Reilly' is a folk version of the French perce- oreilie, which means an earwig. Like Bloom, HCE is a foreigner-
204
Here Comes Everybody
any foreigner, all foreigners-with the vices of a foreigner. The song is delightful:
He was one time our King of the Castle
Now he's kicked about like a rotten old parsnip.
And from Green street he'll be sent by order of His Worship To the penal jail of Mountjoy
(Chorus) To the jail of Mountjoy! Jail him and joy.
In it, HCE is identified with the falling Humpty Dumpty, likened to 'Lord Olofa Crumple', accused ofanumber ofbizarre crimes, cursed as a black and tan and a 'brave son of Scandiknavery', and threa- tened with execution and burial:
And not all the king's men nor his horses Will resurrect his corpus
For there's no true spell in Connacht or hell
That's able to raise a Cain.
And so we come to the third and fourth chapters and the fulfil- ment of the threat. First, though, we have to go through the form of a trial. The trio Hasty, O'Hara or O'Mara, and Cloran-Horan- Moran (how the names melt and shift, dreamlike) are no more, and,
as far as the collecting of evidence is concerned, we have chiefly to
rely on the priest Father San Browne or Padre Don Bruno. But opposites (Browne and Nolan) fuse into each other, nothing is cer- tain, vast eras of time have confounded the issue: all that emerges from the murmurs and shouts is the fact of HCE's guilt. Still, he has his defenders:
. . . three tommix, soldiers free, cockaleak and cappapee, of the Coldstream Guard~ were walking in Montgomery Street . . . It was the first woman, ! hey ~ald, souped. him, that fatal wellesday, Lili Coninghams, by suggest- mg hIm they go In a field. Wrolh mod eldfar, ruth redd stilstand wrath wrackt wroth, confessed private Pat Marchison retro. '
The real facts of HCE's sexual guilt strive to reach the surface, but the girl he longs for is herself a temptress, a sort of prankquean. So Adam blamed Eve. But before Eve there was Lilith: the seducible maiden is turned into the seducing older woman.
Many voices, as in a series of television interviews, give opinions and m~ke judgements. It is we ourselves, we begin to recognise, who wIll soon be on trial: HCE means 'Here Olmes Everybody'. Solidities emerge-a letter written by HCE's own wife (at least, it is
signed 'A Laughable Party'-ALP-Anna Livia Plurabelle), and a 205
? ? ? ? The Man-made Mountain
Here Comes Everybody
coffin. This coffin has 'been removed from the hardware premises of Oetzmann and Nephew, a noted house of the gonemost west, which in the natural course of all things continues to supply funeral requisites of every needed description'. It is destined for HCE: he must be buried deep down, unable to rise again. Finnegan was an amoral giant, but Earwicker is a man, and man must be cast into the bottomless depths for his primal sin. There is, as yet, no redeemer.
And so to the trial. Long Lally Tobkids, 'the special', gives evi- dence in which HCE appears as a sort of drunken butcher (he de- livers 'mattonchepps and meatjutes'-we are back with Mutt and Jute, foreigner-hating native and invading Teuton). But a certain MackPartland defends HCE: 'these camelback excesses are thought to have been instigated by one or either of the causing causes of all, those rushy hollow heroines in their skirtsleeves'. And, he adds, 'has not levy of black mail from the times the fairies were in it, and fain for wilde erthe blothoms followed an impressive private reputation for whispered sins I' HCE, like Parnell, is suffering for his greatness. As for the accused himself, he has shut himself away from it all with his Swiftian guilt: 'And let oggs be good old gaggles and Isther Estarr play Yesther Asterr'-there is Esther; there is (,EstaIT') Stella. But he has an unsolicited visitor- 'Davy or Titus, on a burgley's clan march from the middle west, a hikely excellent crude man about road who knew his Bullfoost Mountains like a starling bierd. ' The new world of America has to ha~e its say-
. . . weathering against him in mooxed metaphores from eleven thirty to two in the afternoon without even a luncheonette interval for House, son of Clod, to come out, you jewbeggar, to be executed Amen.
(Note the significant period of. time-I! . 30 to 2. 0, which can be telescoped into the only real date in the whole book: 1132. )
Poor Earwicker has compiled a long list of 'all abusive names he
was called'. Some are dream-nonsense; others make all too much
sense- Unworthy of the Homely Protestant Religion, I Divorce Thee Husband, Cumberer ofLord's Holy Ground, Dirt, Miching Daddy, Guilteypig's Bastard, and so on. The people are against him, even though the trial went in his favour. And so, 'playing on the least change of his manjester's voice, the first heroic couplet from the fuguall tropicall, Opus Elf, Thortytoe: My schemes into obeyance for This time has had to fall' (II32 again), he goes off to 'the duff and demb institutions' and we bid him 'Adyoe! ' He is not yet to die, but he is to shut himself away from all communication with men:
206
'Humph is in his doge. Words weigh no no more to him than rain-
drips to Rethfernhim. ' His death and resurrection are reserved to Joyce's next chapter.
This man 'Devoyd of the Commoner Characteristics of an Irish Nature' remembers, in his incarceration (like 'the lion in our tear- garden' remembering 'the nenuphars ofhis Nile'), those two 'lililiths' who undid him, combining as they do in 'corngold Ysit', desired daughter. But the time has come for an indignant people to shove him, guilt and all, in that stolen teak coffin and then bury him deep under Lough Neagh. The making of 'this wastohavebeen under- ground heaven, or mole's paradise which was probably also an inver- sion of a phallopharos, intended to foster wheat crops and to ginger up tourist trade' is a big civilised job, involving blasting with T. N. T. , but HCE remains a primitive hero, whose buried corpse is-despite the lack of a redeemer-a potential source of new life: 'abide Zeit's sumonserving, rise afterfall'. Even in the ground (or, rather, in his watery grave) HCE seems to send out shoots of chaotic energy-
h~htmng and flood abound. He becomes as legendary as sleeping Fmnegan, 'all this time of totality secretly and by suckage feeing on his own misplaced fat'. And the times, too, we see, are legendary- 'pagan ironed times of the first city (called after the ugliest Dana-
. dune)'.
Lest we should think all this some remote fairy tale, however, we
are dragged back to the Earwicker bedroom to hear the tapping of t h e d e a d b r a n c h o n t h e w i n d o w - p a n e : ' T i p 1T i p t i p 1T i p t i p t i p l ' T h e sleeping mind picks on Kate, the Earwickers' cleaning-woman, to take on the role of eternal widow, gatherer of the scattered fragments ofher dead lord, to paint a p! cture for us, 'in a dreariodreama setting, glowing and very vidual, of old dumplan as she nosed it'. We see that she is a very old aspect of ALP, as Issy or Iseult is a very young one. She recalls the mythical past, ending up, as we must always end up, in the park with HCE's fall. We ought really to reconsider that sin, the trial, the incarceration and burial, but the sinner-victim is long dead. All we can do is to call on his two sons, Shern and Shaun, to. re-e~act the whole affair. Shaun plays a ~haracter called Festy King- of a famIly long and honourably assoctated with the tar and feather industries'. But, though it is he who is arraigned on various
charges, there is a great deal of confusion caused by the fact that the chief witness for the prosecution is his twin brother, Shern. The verdict of the four judges (Mamalujo, the four old men who praise the past, the four bedposts) is 'Nolans Brurnans'. This (Bruno the
207
? ? ? ? The Man-made Mountain
Nolan with his doctrine of the identity of opposites, is hidden in . the m~ck-Latin) encapsulates the defence of Shaun ('Show'm the Posed'). The twins are-
o ? ? equals of opposites, evolved by a onesame power of natu:e or orspirit, iste as the sole condition and means of its himundher marufestat;lOl! and pol~rised for reunion by the symphysis of their antipathies. Dlstmctly different were their duasdestinies.
Shaun is a mere shadow of his father HCE. He is incapable of guilt, and he revels in the admiration of'the maidies ofthe bar" the twenty- eight girls who flutter and flatter around him. There is a twenty- ninth girl, ~or Leap-year Ca lovelookmg leapglrl ), who IS eVIdently a manifestation of 155y: she too adores him. He IS made for sexu~l success, the unworthy demagogic successor of his fathe:, though, his time is not yet. As for Shem ('Shun the Punman! '), he IS recogmsed as the enemy, the real betrayer of the father who, presumed dead and made mythical, is no longer a sinner but a saint. Hard words are spoken to Shern: 'You and your gift of your gaft of your garbage abaht our Farvver! and gaingridando: Hon! Verg! Nau! Putor! Skarn! Scharns! Shames! ' The artist, truth-seeker, is always reviled.
The four old men, judges, bedposts, gospellers, provinces of Ire- land drone on among themselves about the gloriou8 past. But the truth is surely not to be found in old men's drivellings but in that letter from ALP we all heard about before. Anyway, what happened to HCE? Previously he was presented to us (among so many things) as John Peel, the hunter, complete with hor~ in the mornmg, ~ut now it seems that he is running up and down hke a fox, a quarry hke poor Parnell ('But the spoil of hesitants, the spell of hesitency'). Or else 'he had laid violent hands on hImself . . . lam down, all lll, fagged out, with equally melancholy death'. It i~ best to assume that
he is gone, his successor elected, a new pope ( the pnsoner of that
sacred edifice'). We must turn now to his widow, ALP, the brave
little woman, cleanser of the reputation of her dea~ lord, always ready 'to crush the slander's head'. She is the river by. which we
mourn his death, the water which will purify him into samthood:
. . . For we, we have taken our sheet ~pon her st~)fies where we have hanged our hearts in her tress; and we 11st, as she bIbs us, by the waters of bab. long.
The next few chapters of Finnegans Wake will be all about Anna Livia.
~o8
4: ALP and her Letter
I SHALL TRY NOW TO SAY SOMETHING USEFUL ABOUT THE NEXT four chapters ofFinnegans Wake. We are still on the first great seclion of the book, which deals mainly with the coming of the archetypal family man after the fall of the primitive god-giant, and this section divides itself about equally into an account of Earwicker's fall, trial, . death and burial (though his substance is spread, like a great spilt egg, all about the world) and his wife Anna's life and letter-that hidden letter which tells the truth about HCE and thus, in a cryptic way, explains the universe. There are eight chapters in all-four chapters for the man-hill, four chapters for the woman-river. Nowt then, we come to Anna Livia Plurabelle-the river Anna Liffey, a plurality of femininity and beauty. She is hymned at the outset, however, as if she were God the Father:
In the name of Annah the Allmaziful, the Everliving, the bringer of Plurabilities, haloed be her eve, her singtime sung, her rill be run, un- hemmed as it is uneven!
But, of course, she reflects the eternal father, she bore his sons, she is the custodian ofthe truth about him. She deserves divine honours. First, though, we are concerned with her famous letter.
This 'untitled mamafesta' has had many names (Joyce gives us three full pages of these, from The Augusta Angustissimost for Old Seabeastius' Salvation to First and Last Only True Account all about the Honorary Mirsu Earwicker, L. S. D. , and the Snake (Nuggets 1) by a Woman ofthe World who only can Tell Naked Truths about a Dear Matl and all his Conspirators how they all Tried to Fall him Putting it all around Lucalizod about Privates Earwicker atld a Pair o f Sloppy
Sluts plainly Showing all the Unmentionabikty falsely Accusing about the Raincoats). There is a learned scholar at work here who, before he plunges into the depths of a lecture about the letter, tells us (and this is also Joyce telling us): 'Now, patience; and remember patience
2 0 9
? ? The Man-made Mountain
ALP and her Letter
is the great thing, and above all things else we must avoid anything like being or becoming out of patience. ' We need patience, wading through abstract theory before we learn anything about the prove- nance of the letter. At length we are told how a clever little hen called Belinda scratched up 'a goodish-sized sheet ofletterpaper originating by transhipt from Boston (Mass. ), from a mud-mound flavoured with bits of orange-peel. The letter mentions wedding cakes and the 'grand funferall of poor Father Michael' (Michael Finnegan? ) and sends love to the twins. It is tea-stained and unsigned. (Think of the Boston Tea Party, the release from ancient bondage and the start of a new epoch in history. Marriage, family life have replaced the old theocratic but unfruitful paternalism. And the Orange shall decay, says the Shan Van Vocht. ) As for interpreting this old page offamily gossip, is it not evident that ALP sees no great fault in HCE: 'Dancings (schwrites) was his only ttoo feebles. With apple har-
lottes' ?
The letter (there is a strong element of parody of pedantry in this chapter) is accorded the reverence given to the Book ofKells (that ancient Irish psalter, magnificently illuminated, that was buried to protect it from the invading Danes). Indeed, it is stated roundly that the letter plainly inspired 'the tenebrous Tunc page' of the Book of Kells-the page which has written, in a mass of magnificent illumina- tion, the words 'Tunc crucifixerunt X P I cum eo duos latrones'-'Then they crucified Christ and with him two thieves', the 'XPI' (first three letters of the Greek word Christos) being an interpolation. This stained old hen-grubbed scrawl is marvelled at; marginal por- traits are descried in it; niceties of punctuation are gravely discussed. But beneath the dream-satire there is seriousness ofa dreaming sort, since the principle of family-finding expression in a half-literate bit of chat-underlies all civilisation. The archetypes of the crucified triumvirate (the Son who is also the Father in the middle, the thieves of his substance on either side) are to be found in HCE and the twins.
We have the letter, then, but can we be sure that it is really the
letter that ALP wrote? Of course not: dreams do not disclose their hidden truths so easily. But this missive from Boston may be taken as a palimpcestuous precis of Finnegans Wake itself, and what fol- lows in the next chapter is a pretty full presentation of its main characters (all ofwhom are allegedly mentioned in the letter) through the medium of a mad quiz. This is apparently conducted by the hor- rible four- 'old Jeromesolem, old Huffsnuff, old Andy Cox, old Ole-
210
casandrum'-and it begins with a fatuous-seeming salutation: 'Who do you no tonigh, lazy and gentleman? ' The lazy one is probably Shem, and the gentleman undoubtedly Shaun, prize quiz-kid, who 'rated one hundrick and thin per storehundred on this nightly quis- quiquock of the twelve apostrophes, set by Jockit Mic Ereweak'. Who is 'Jockit'-Shaun (John, Jack, Jock) or Shem (Jacob)? The confusion is, as always, deliberate.
The 'twelve apostrophes' begin with a gigantic question (thirteen pages long) that seeks the identity of a 'maximost bridgesmaker' who stutters 'fore he falls and goes mad entirely when he's waked; is Timb to the pearly morn and Tomb to the mourning night', and so on. The answer is 'Finn MacCooll'-one of the manifestations of Finnegan-HCE. The next question, 'Does your mutter know your mike? ', is apparently addressed to Shaun, since he appears later as Mike or Mick or the Archangel Michael, would-be destroyer of the devilish Nick or Shem. 'Ann alive, the lisp of her' is part of the answer. So far, then, we have the father and mother. Then comes a dream version of the motto on the arms of the city of Dublin: 'Thine obesity, 0 civilian, hits the felicitude of our orb ! " This stands above the little orb, or world, of a fat and happy home. But this home is only a part of all Ireland, and the next question asks about Ireland's four main cities (of special interest to the four old men, who repre- sent the four provinces whose capitals these cities are). The answers are suitably disguised: Delfas; Dorhqk; Nublid; Dalway. I need not translate. Qyestions 5 and 6 refer to Earwicker's bartender, 'Pore ole JoeI', and cleaning-woman (,Summon In The Housesweep Dinah'-adeformationofasongin Ulysses-'There'ssomeoneinthe house with Dinah'). The old woman herself is heard, grumbling: '. . . who bruk the dandleass and who seen the blackcullen jam for Tomorrha's pickneck I hope it'll pour. '
The Twelve are now mentioned. They stand for the whole of human society and they have lowly but bizarre trades-'the doorboy, the cleaner, the sojer, the crook, the squeezer, the lounger, the curman, the tourabout, the mussroomsniffer, the bleakablue tramp, the funpowtherplother, the chrisrymansboxer'. We are told their names and places of origin and even given a specimen of their characteristic way of speaking:
. . . are the porters of the passions in virtue of retroratiocination, and, contributing their confljngent controversies of differentiation, unify their voxes in a vote of vaticination, who crunch the crusts of comfort due to
1 The motto of the city of Dublin is Ohediemia civium urhisJelidtas.
21I
? ? The Man-made Mountain
ALP and her Letter
depredat~on, drain ~he ~ea~ for, misery to incur intoxication, condone every eVIl by practIcal JusttficatIon and condam any good to its own gratification. . . ~
But, when asked who they really are, the answerer says: 'The Mor-
phlOS1' . T h e twelve citizens are sleepers, deliberating on life in
pretentlOus polysyllables but letting life pass them by-as, in fact, it has passed by the four old men, the quizzers.
. Next come the 'maggies', the girls in the park who melt into one gtrl, a daughter, a temptress ('yeth cometh elope year, coach and four, Sweet Peck-at-my-Heart picks one man more'). Mter that, Number 9, comes a description of the big dream itself and of this very book that enshrines it-'a collideorscape' (lovely and exact word): Qyestion IO is important, since-'What bitter's love but YUIning, what' sour lovemutch but a bref burning till shee that drawes doth smoake retouIne? '-it ushers in an answer from the primal temptress, Issy or Iseult, herself, all in Swiftian 'little lan- guage', coy girly-wirly talk, ghastly but fascinating:
'. ' . Now open, pet, your lips, pepette, like I used my sweet parted bpsabuss WIth I? an Holohan of facetious memory taught me after the flannel dance, WIth the proof of love, up Smock Alley the first night he smelled pouder and I coloured beneath my fan pipetta mia when you learned me the lingua to melt. "
She is all woman, but not in the ALP sense (mature mother trans-
mitter of life and her dead lord's good name): ogling, inflaming
paSSIOn but \vithholding its satisfaction, she loves her mirror best
and provides another explanation for her appearance as a duo in the
s~nful park. '\~lith my whiteness I thee woo,' she says, 'and bind my sIlk breasths I thee bound! Always, Amory, amor andmore. Till always, thou lovest! ' She is, of course, quite irresistible.
The penultimate question calls for a twenty-page answer. It is addressed to Shaun, whose name is changed to Jones for the occasion and who takes on rather petulant professorial qualities, and it con-:- cerns fraternal charity. The rhythm of the question derives from Thomas Moore's poem about the Exile of Erin, and it beats most pathetically when set out as verse:
or wringing his handcuffs for peace, the poor blighter,
praying Dieuf and Domb Nostrums foh thomethinks to eath;
if he weapt while he leapt and guffalled quith a quhimper,
made cold blood a blue mundy and no bones without flech, taking kiss, kake or kick with a suck, sigh or simper,
a difile to larn and a dibble to Iech;
if the fain shinner pegged you to shave his irnmartial,
wee skillmustered shaul with his ooh, hoodoodoo! braking wind that to wiles, woemaid sin he was partial,
we don't think, Jones, we'd care to this evening, would you?
The drunken, ailing, eye-aching exile is, of course, Joyce himself, poor'artist seeking succour and soul's salvation from a better endowed brother (or Buck Mulligan, with whom Shaun is sometimes identi- fied in his real-life form of Oliver St John Gogarty). Shaun will give no help, but, after his 'No, blank ye 1', he finds it necessary to indulge in lengthy explanations of his attitude. He wants 'to conclusively confute this begging question' (he is embarrassed, though: he says
'hasitate') by referring to the 'dimecash problem' and expatiating on 'talis qualis'.
But Shaun-Jones finds the only way to keep his audience awake is to give them a couple of fables, both of which work out the brother-opposition theme. Bruno Nolan is told to take his tongue out of the inkpot, and then the professor translates from the Javanese the story of the Mookse and the Gripes, beginning formally: 'Gentes and laitymen, fullstoppers and semicolonials, hybreds and lub- berds! ' The tale combines Aesop's Fox and Grapes and Lewis Carroll's Mock Turtle and Griffon, but it soon becomes clear that the Mookse is English Pope Adrian ('Bragspear') and the Gripes the
Irish people and the old Irish Church of the Book of Kells (more Byzantine than Roman). The bull Laudabiiiter is worked into the Mookse's threats-'That is quite about what I came on my missions with my intentions laudabiliter to settle with you, barbarousse'- and we remember that it was with the blessing of that bull that Henry II annexed Ireland, thus bringing Ireland into the Roman fold as well as under the English crown. With British bragging and 'poposity" the Mookse wades into the 'poor little sowsieved sub- squashed Gripes', and the battling sons of the one Mother Church (Anna Livia is subtly invoked in 'Amnis Limina Permanent') fail to notice that a little girl is looking down on them from the 'bannistars'. This is Nuvoletta, the little cloud, who is both Issy-Iseult and ALP in her source-capacity. The stupid quarrel blinds the Mookse and the Gripes to the permanent fact of their one river-mother (who
21 3
212
If you met on the bin. ge a poor acheseyeld from Ailing, when the tune of hIS tremble shook shimmy on shin
while his countrary rageci in the weak of his wailing like a rugilant pugilant Lyon O'Lynn;
, ,
if he maundered in misliness, plaining his plight or played fox and lice, pricking and dropping hips teeth,
11
I:
? ? ? ? ? ? The Man-made Mounta? n
ALP ;md hrt ["tier
flows along quietly all this while); the fighting brothers ('Bullfolly answered volleyball') miss the proffered beauty of 'the daughter of the queen of the Emperour of Irelande'. Two women-Valkyries or banshees-gather up severally the Mookse and the Gripes on the river-bank, and nothing is left but an elm-tree and a stone. The big theme of the Shem-Shaun antipathy has been expounded. 'Nolan Browne, you may now leave the classroom. '
But Professor Jones has another, more privy, story to tell. This concerns Caseous and Burrus (Cassius and Brutus, but also Cheese and Butter). These come from the same mothering milk, and in Burrus we see Shaun Ca genuine prime, the real choice, full of natural greace') and in Caseous ('a hole or two, the highstinks afore- felt and anygo prigging worms') Shem's less sunny properties. We arc asked to 'pursue Burrus and Caseous for a rung or two up their isocelating biangle', and in this figure we see ALP (Joyce's symbol for her is, in fact, an isosceles triangle). The whole tragedy of Shem and Shaun-whatever form Or fancy dress they put on-lies in their twinhood. The successor ofHCE should be the 'genuine prime', the first-born, and there is no first-born. I f Shaun is daddy's favourite, Shem must be mummy's, but a natural bequest to the father's favourite son is not only the right of rule but the monopoly of the mother. The sexual struggles between Shem and Shaun ironically get in the way of sexual conquest. In this present fable both Burrus and Caseous love Margareen ('J cream for thee, Sweet Margareen'), but she, eternal woman, wants ~either:
A c1eopatrician in her own right she at once complicates the position while Burrus and Caseous are contending for her misstery by implicating her- self with an elusive Antonius, a wop who would appear to hug a personal interest in refined chees of all chades at the same time as he wags an antomine art of being rude like the boor.
Whenever the brothers quarrel and fight, they seem to call into being a third personage (the third soldier /) like this Antonius who, 'a wop', possibly Antonio with his ice-cream cart, is also the dreamer's own tentative image of himself. Margareen, or whatever her name is, is the desired incestuous bride of the father and brothers alike.
The conclusion Of Shaun-Jones's long lecture is unequivocal. If
the 'proud pursebroken ranger' came to him 'to beg for a bite in our
bark Noisdanger', he would-'were we tucked in the one bed and bit by the one flea' - have no hesitation in footing him out. The last question of all asks 'Saar estol', in which the Latin saar means both 'blest' and 'accursed'-here, undoubtedly, the latter only: 'Will
214
you be accursed? ' The answer COmes from Shem: 'Semus sumusf'- 'Shem we are! ' And now-'Shem is as short for Shemus as Jem is joky for Jacob'-we are ready for a very entertaining and yet shock- ing chapter, in which mother's-boy Shem is revealed all too candidly as James Joyce ('Shame's voice')-the exiled artist, reviled by the sanctimonious, finding his salvation in being a sewer (back to 'The Holy Office'), perverse, 'a sham and a low sham', but still the scribe who penned his mother's letter, a hated but feared 'greekenhearted yude' like Bloom himself.
This chapter is a Rabelaisian triumph, though-in the true Joyce
manner-it uses laughter for a bitter end. Shem's 'lowness' is so
thoroughly celebrated that it takes on a kind of grandeur. It comes out first in his rejection of good plain food (that which fed the Irish literary Renaissance):
So low was he that he preferred Gibsen's teatime salmon tinned, as in- expensive as pleasing, to the plumpest roeheavy lax or the friskiest parr or smolt troutlet that ever was gaffed between Leixlip and Island Bridge and many was the time he repeated in his botulism that no junglegrown pine- apple ever smacked like the whoppers you shook out of Ananias' cans, Findlater and Gladstone's, Corner House, Englend. None of your inch- thick blueblooded Balac1ava fried-at-belief-stakes or juicejelly legs of the Grex's molten mutton or greasilygristly grunters' goupons or slice upon slab o f luscious goosebosom with lump after load of plumpudding stuffing all aswim in a swamp of bogoakgravy . . .
The rejected Irish salmon is that salmon of wisdom cooked by Finn MacCool; he will not belong to the native 'Grex' or flock. His art is nourished on poison ('his botulism'). If you want the good and wholesome you must go to his brother Shaun: 'Johns is a different butcher's . . . Feel his lambs! Ex! Feel how sheap! Exex! His liver too is great value, a spatiality! Exexex! COMMUNICATED. ' Shaun is revealed as the space-man, lord of solid objects, as well as the holy one who excommunicates the low artist. Shem's task is to capture the rhythm of time, draw inspiration from the creative mother-river.
A seedy Satan, rolled in the dirt, stinking, blasphemous, he has
committed the terrible crime of writing Ulysses, which not even he can understand: 'amid the inspissated grime of his glaucous den making believe to read his usylessly unreadable Blue Book of Eccles, edition de tenebres'. He is a pervert like the Jew of Eccles Street, putting out a filthy 'abortisement'-'Jymes wishes to hear from wearers of abandoned female costumes . . . to start city life together. His jymes is out of job, would sit and write. ' His house-'O'Shea or
21 5
?
