"The fall," and the strange polysyllable following it,
introduce
us to the propelling impulse of Finnegans Wake.
A-Skeleton-Key-to-Finnegans-Wake
The mighty sweep of her longing for release from the pressing shores and for reunion with the boundless ocean swells into a magnificent monologue (pp.
?
?
?
-?
?
).
Anna Liffey re- turns to the vast triton-father; at which moment the eyes open, the dream breaks, and the cycle is ready to start anew.
Demonstration
The First Four Paragraphs of Finnegans Wake
The first page and a half of Finnegans Wake hold in suspension the seed energies of all the characters and plot motifs of the book. Here the Joycean volcano in full eruption vomits forth raw lumps of energy-containing lava, a mythogenetic river still aflame as it floods across the page. The first
? impression is one of chaos, unrelieved by any landmark of meaning or recognition. Unless James Joyce could be trusted as a wielder of the most disciplined logic known to modern letters, there would be little hope that these hurtling igneous blocks would eventually respond to the solvent of analysis. The fact is, however, that these opening paragraphs are choked with nutrient materials of sense and sustenance. The themes here darkly announced are developed later with such organic inevitability that the reader, having finished the book, gazes back with amazement at the prophetic con- tent and germinal energy of the first page.
The first four paragraphs of Finnegans Wake remotely suggest the first verses of the Book of Genesis. On a darkened stage, and against a cosmic backdrop, terrestrial scenes and characters begin to emerge in a drama of creation. The landscape itself gropes its way into action, and in the primeval dawn we dimly descry a river and a mountain.
riverrun, past Eve and Adam's, from swerve of shore to bend of bay, brings us by a commodius vicus of recirculation back to Howth Castle and Environs.
Appropriately, the first word of Finnegans Wake is "riverrun. " Opening with a small letter, it starts the book in the middle of a sentence. "Riverrun," however, is not a beginning, but a continuation--a continua- tion among other things of the ecstatic, swiftly slipping, and abruptly in- terrupted sentence with which the volume ends. For the book is composed in a circle; the last word flows into the first, Omega merges into Alpha, and the rosary of history begins all over again.
"Riverrun" is more than a clue to the circling plan of Finnegans Wake; it characterizes the essence of the book itself. For in this work, both space and time are fluid; meanings, characters, and vocabulary deliquesce in con- stant fluxion. The hero is everywhere: in the elm that shades the salmon pool, in the shadow that falls upon the stream, in the salmon beneath the ripples, in the sunlight on the ripples, in the sun itself. Three men looking at you through one pair of eyes are not men at all, but a clump of shrubs; not shrubs either, but your own conscience; and finally, not your private conscience, but an incubus of the universal nightmare from which the sub- lime dreamer of cosmic history will awaken, only to dream once more.
Alive to the depthless metaphor in which we are moving, let us begin
? ? A Skeleton Key to Finnegans Wake ? ? Synopsis and Demonstration ? ?
? by bringing into focus the composition of place indicated in the first sen- tence of Finnegans Wake. Specifically, "riverrun" refers to Dublin's River Liffey, flowing past a Franciscan church called by Dubliners "Adam and Eve's," which is situated on its banks. As Adam and Eve stand at the be- ginning of human history, so they stand at the beginning of our book, sug- gesting Eden, sexual polarity, the fall of man, and the promise of redemption. "Riverrun" suggests, too, the river of time, on which these world events are borne.
from swerve of shore to bend of bay . . .
We follow the topography of the Irish shoreline from the mouth of River Liffey northward to a deep bend where the waters of Dublin Bay pound the Hill of Howth. The swerve of shore is the coy gesture of the pretty isle herself which invites the assault of the bay waters, thus hinting at a Seduction theme which will later emerge full of import. Again, the waters of Dublin Bay continually pounding the Head of Howth represent, on an elemental level, the perennial invaders of Ireland continually pum- meling the head of the defender.
brings us by a commodius vicus of recirculation. . .
Joyce here announces in the word "recirculation" the Viconian ricorso theme, the metaphysical pivot on which the Finnegan cycle turns. The cunning key word, "vicus," means street or highway, but is at the same time the Latin form of the Italian Vico. "Commodius" sweeps the mind back to the Rome which showed its first severe symptoms of decay in the time of the emperor Commodus. It also suggests the broad and easy path that leads our present civilization to destruction. [[It may also suggest Dante's Commedia. --ELE]]
back to Howth Castle and Environs . . .
The Dublin landmark (note the initials HCE peeping through the name) is a high headland crowned by a castle and guarding Dublin Bay. It is popularly regarded as the cranium of a recumbent giant whose belly is the city of Dublin and whose feet turn up amidst the hillocks of Phoenix Park. If the River Liffey is the heroine, this sleeping landscape giant is the hero. Historical associations crowd around his recumbent form. On this headland the sentinels of Finn MacCool stood guard against invaders
? from the sea. Centuries later, when the Anglo-Norman king Henry II sub- jugated the island, the present castle was founded by one of the invading company, Sir Almeric Tristram. That was in the century of the flowering of the Arthurian romances, with which are inseparably woven the names of Tristram and Iseult.
So now we read:
Sir Tristram, violer d'amores, fr'over the short sea, had passencore re- arrived from North Armorica on this side the scraggy isthmus of Europe Minor to wielderfight his penisolate war . . .
The basic sense is this: Sir Tristram, musician of love, from across Saint George's Channel,* had not yet rearrived? from North Brittany, which is on Ireland's side of rugged Europe,? to wage again his war. The war is des- ignated "penisolate," which suggests "late, or recent war of the penis," a designation not inappropriate to the gest of a Tristram. But the word may also be read "pen-isolate," whereupon it suggests a war waged with the pen, not by a robust extrovert, but by an isolated, introverted man of letters. The Tristram figure will later split into such antipodal characters, giving battle to each other. Finally, if we read "Peninsular War," we shall be re- minded of the Anglo-Irish Dubliner, Arthur Wellesley, first duke of Wellington, who in the Peninsular War waged his first great battles against Napoleon.
With this sounding of the Tristram motif of guilty love, Joyce boldly strikes some of the major chords of Finnegans Wake. The legend of Tristram and the two Iseults is well known; its mold fits perfectly over HCE. He has a bewitching daughter whom he compares to the second Iseult, her of Brittany, whereas his wife in some of her transformations is identical with Iseult of Ireland. Torn between the two, the man is tempted and destroyed by the representatives of the younger, but he is gathered up
? ? * Tristram first arrived in Ireland by coracle from Cornwall, over the same sea crossed by the historical Sir Almeric Tristram, founder of Howth Castle.
? Note the curious implication of "rearrived. " Joyce intends to indicate that in the courses of the Viconian cycle all has happened before and is on the point of happening again.
? North Armorica is North Brittany, the scene of the love-death of Tristram and Iseult of Ireland. It was the scene also of Tristram's morbid, unconsummated marriage with the second and younger Iseult, Iseult of Brittany.
? ? A Skeleton Key to Finnegans Wake ? ? Synopsis and Demonstration ? ?
? and his wounds are healed by the older, whom he never ceases to cherish. This conflict which drives a wedge into HCE's heart is a manifestation of the ambiguous guilt-neurosis that has troubled men of the western world since the medieval innovation of romantic love.
The double note of love and war is to become the pervasive theme of Finnegans Wake: key changes and modulations will break the simple state- ments into baffling congeries of dissonance and harmony. Ambiguous the love--ambiguous too will be the war, continually outcropping in the struggles between Shem and Shaun and their shadow extensions Butt and Taff, Mutt and Jute, the historical figures of Wellington and Napoleon, Caesar and Brutus, Sigtrygg and Brian Boru, and those curiously inchoate personages, Buckley and the Russian General. Under many appearances, love and war are the constant life expressions of that polarized energy which propels the universal round.
"North Armorica" suggests North America. The phrase following de- velops this evocation of the New World Beyond the Sea, to which those Irish fled who took refuge from the English plunderer, and where many a canny Irishman has won money and prestige:
nor had topsawyer's rocks by the stream Oconee exaggerated them- selse to Laurens County's gorgios while they went doublin their mumper all the time . . .
Oddly enough there is a stream Oconee flowing through Laurens County, Georgia, U. S. A. , and on the banks of this stream stands Dublin, the county seat. Thus an American duplication of Dublin on Liffey is Dublin on Oconee. The word Oconee resembles the Irish exclamation of grief "ochone," undoubtedly uttered by many an Irishman leaving his home for America.
Numerous suggestions resound through this passage: Tom Sawyer, for instance, with his associations of Huck Finn and Mark Twain (Mark the Second). * When men are sawing timber over a saw pit, a top sawyer stands above the log; a pit sawyer stands below. This image carries forward the idea of the opposed brothers: the sawyer on top is the successful one; his "rocks"
? (slang for "money") "exaggerate themselves," that is to say, increase. Also the rocks transform themselves into property in Laurens County, Georgia; the citizens of this area are the "gorgios,"* fruit of Topsawyer's rocks--rocks now meaning "testicles. "
The drift of this dense passage is as follows: A successful son of HCE emigrates from East to West, as his father before him. Settling in America he begets a large progeny and bequeaths to them a decent, even gorgeous prosperity. The idea of procreation and prosperity is carried forward by the expression "doublin their mumper? all the time," which may be read pri- marily as "doubling their number all the time. "
But the passage refers to Ireland, as well as to America, and precisely to Ireland of the time of the Anglo-Norman conquest. The bishop of Dublin, at that time, was Lawrence O'Toole; Dublin County would be Lawrence's County. Furthermore, in honor of his victory under the patronage of St. Lawrence, Sir Almeric Tristram, founder of Howth Castle, changed his family name to Lawrence.
nor avoice from afire bellowsed mishe mishe to tauftauf thuart- peatrick . . .
The primary reference here is to St. Patrick and his Christianizing of Ireland. This saint baptizes (tauftauf) the peat rick, Ireland; taufen is German "to baptize," which reminds us that St. Patrick's spiritual tutor was St. Germanicus. From a fire below comes the voice of the virgin lady of the isle--the goddess Brigit, who became St. Bridget when baptized. "Mishe mishe," she says in her native tongue, "I am, I am," thus affirming her character as the mother-substance of all being, namely, ALP. On the level of spiritual allegory, Patrick is HCE--the perennial invader--this time fructifying Mother Ireland with the gyzm of life eternal. The peat fire refers to the legendary miracle of St. Patrick's Purgatory. He drew a circle on the ground and the earth opened in flame; into this fire the most
? ? * "Gorgio" is a gypsy word meaning "non-gypsy," also "youngster. "
? Other hints rise from this word "mumper": "Mum," a sweet strong beer first brewed in ? ? ? ? , the year of the discovery of America. HCE is identified with beer; he not only con- sumes and serves it in his tavern, he is beer. Finally, "doubling mum" introduces the Superfetation theme, the theme of one world burrowing on another, which is the great key to the dynamism of Finnegans Wake.
? ? * Mark Twain (Samuel Clemens) appears frequently in Finnegans Wake. Both he and his hero Huck Finn (Finn in America) were adventurers, rose to a height, and took a fall. Interestingly enough, Samuel Clemens called his wife "Livy. "
? ? A Skeleton Key to Finnegans Wake ? ? Synopsis and Demonstration ? ?
? zealous of his converts descended. References to "Pat's Purge" occur several times in Finnegans Wake.
not yet, though venissoon after, had a kidscad buttended a bland old isaac. . .
This brings us back to the Old Testament brother battle of Jacob and Esau, in which Father Isaac, wishing to bless the elder son, becomes the butt of the cadet's (younger son's) cunning. The passage may be read: Not yet, though very soon after, Jacob, disguised in the kidskin, duped his blind old father. There is also a local Irish suggestion in the juxtaposition of the words "butt" and "isaac. " Isaac Butt, in ? ? ? ? , was ousted from lead- ership of the Irish Nationalist party through the machinations of the younger Parnell, who himself then moved into command.
The word "venissoon" not only signifies the goat venison of the Biblical story, but points forward to the Swift-Vanessa theme, struck in the statement following:
not yet, though all's fair in vanessy, were sosie sesthers wroth with twone nathandjoe. . .
"Nathandjoe" is an anagram for Jonathan (Dean Jonathan Swift) split in two and turned head over heels by his two young-girl loves, Stella and Vanessa. Not yet, though all's fair in the vain game of love, were these saucy sisters wroth with their father-surrogate, the two-in-one Wise Nathan and Chaste Joseph. (There exists a little riddle, attributed to Vanessa herself, which plays on Jonathan Swift's name in this way. )
"Sosie sesthers wroth" is also a transformation of the names of Susannah, Esther, and Ruth, the heroines of three Biblical tales involving the loves of old men for young girls. "In vanessy" suggests Inverness, the name of the castle of Macbeth: Macbeth was seduced by the wiles of the Three Weird Sisters.
Rot a peck of pa's malt had Jhem or Shen brewed by arclight . . .
One thinks of the moment after the ark had come to rest on Ararat, when Noah began to till the ground and plant a vineyard. Drinking of the wine, he became drunk and was seen naked by his son Ham. But Shem and Japheth, the other two sons, put a cloak on their shoulders, and going back- ward covered their father's nakedness. This passage should be construed in
? terms of the Father-castration theme and the superseding of the father by the sons. The three names, Shem, Japheth, and Ham, are telescoped to com- prise the Shem and Shaun duality of the Earwicker household. Instead of wine the intoxicant is beer, in keeping with the Germano-Celtic pattern.
and rory end to the regginbrow was to be seen ringsome on the aquaface . . .
And toward the orient (rory end to) the rainbow was to be seen cast- ing its reflection on the face of the waters. This rainbow, the sign of God's promise and man's hope, with its seven hues of beauty, is one of the dom- inant images of Finnegans Wake. It balances the thunderclap, the signal of God's wrath and man's fear.
"Rory" connotes Rory O'Connor who was High King of Ireland when the royal brow of the conqueror, Henry II, came up over the eastern hori- zon. This brow was the coming of a new age, as was the rainbow in the time of Noah.
The fall (bababadalgharaghtakamminarronnkonnbronntonner- ronntuonnthunntrovarrhounawnskawntoohoohoordenenthurnuk! ) . . .
"The fall," and the strange polysyllable following it, introduce us to the propelling impulse of Finnegans Wake. The noise made by the thumping of Finnegan's body tumbling down the ladder is identical with the Viconian thunderclap, the voice of God's wrath, which terminates the old aeon and starts the cycle of history anew.
of a once wallstrait oldparr is retaled early in bed and later on life down through all christian minstrelsy. . . .
"Old Parr" was the nickname of Thomas Parr (? ? ? ? -? ? ? ? ! ), of Shropshire, who lived to be one hundred and fifty-two years old. "Parr" and "wallstrait" are also plays on the rise and fall of stockmarket values in the modern world. The fall of this Old Parr is the fall of Adam in the gar- den, Finnegan from the wall, HCE in Phoenix Park.
The great fall of the offwall entailed at such short notice the pftjschute* of Finnegan, erse solid man, that the humptyhillhead of
? ? * "Pftjschute" suggests "chute," also the hissing rush of a falling meteor--Lucifer falling into Hell.
? ? A Skeleton Key to Finnegans Wake ? ? Synopsis and Demonstration ? ?
? humself prumptly sends an unquiring one well to the west in quest of his tumptytumtoes . . .
Note the lumpishness of the wording, and the suggestion of the fall and scattering of Humpty Dumpty, the Cosmic Egg. Inquiring tourists who wish to trace the anatomy of the fallen giant in the Dublin landscape must seek his head in the Hill of Howth and his upturned toes at Castle Knock in a cemetery in Phoenix Park. In this Park the Orangemen (in- vaders) have been laid to rest upon the Green since the first Dubliner loved Anna Liffey. This thought is concluded in the following lines:
and their upturnpikepointandplace is at the knock out in the park where oranges have been laid to rust upon the green since devlins- first loved livvy.
In the next paragraph there rages around the upturned toes of the giant a turmoil comparable to that of the Roman twilight, when Ostrogoth battled Visigoth; comparable to the chaos of the deluge, where oyster battled fish; comparable to the disorder of the underworld, where an Aristophanic frog chorus croaks in a murk:
What clashes here of wills gen wonts, oystrygods gaggin fishygods! Bre? kkek Ke? kkek Ke? kkek Ke? kkek! Ko? ax Ko? ax Ko? ax! Ualu Ualu Ualu! Qua? ouauh! Where the Baddelaries partisans are still out to math- master Malachus Micgranes and the Verdons catapelting the cami- balistics out of the Whoyteboyce of Hoodie Head. Assiegates and boomeringstroms. Sod's brood, be me fear! Sanglorians, save! Arms appeal with larms, appalling. Killykillkilly: a toll, a toll. What chance cuddleys, what cashels aired and ventilated!
Clearly, the tone of the entire passage is brawling and primitive; early warriors are out to kill each other. This much is indicated by "clashes," "par- tisans," "arms," "catapelting," and "boomeringstroms. " But who are these warriors? They are "wills gen wonts"--the have-not's vs. the have's--in- vaders vs. native inhabitants. There is a hint that the passage is symbolic of the fall of Rome; it also contains references to early Irish religious quarrels.
"Oystrygods gaggin fishygods": Ostrogoths vs. Visigoths; also a refer- ence to the shellfish-eaters, said to have preceded the fish-eaters on the coasts of Ireland. "Gaggin" hints at the Germanic gegen meaning "against"; also conveys the idea that the conquest was rammed down the throats of the conquered.
? "Bre? kkek Ke? kkek Ko? ax Ualu Qua? ouauh," etc. : The guttural sound "bre? kkek ko? ax," borrowed from Aristophanes' comedy The Frogs, suggests a swampy, damp terrain where these early struggles took place. Allegorically, this passage hints at the post-Flood battles of primitive man.
"Ualu" and "Qua? ouauh": Welsh cries of lament.
"Mathmaster": Math is Anglo-Saxon for "mow" or "cut down," and Sanskrit for "annihilate. " It is also Hindustani for "hut" and "monastery. " This word says: "to overpower by cutting down men and annihilating their homes and monasteries. "
"Badellaries; Malachus Micgranes": Apparently Celtic clans and fami- lies involved in early tribal wars.
"Catapelting the camibalistics": "Catapelting" suggests both "catapult" and "pelting. " The first syllable of "camibalistics" is Celtic for "crooked and perverse. " In the entire word double connotations of barbaric flesh-eating practices and ballistics are conveyed. The sentence now runs: "Certain tribes were hammering the perverse cannibalistic instincts out of their rivals by means of catapults and primitive weapons. "
"Whoyteboyce of Hoodie Head": The "White-boys" were a band of religious fanatics who went about hooded much after the fashion of the Ku Klux Klan. "Hoodie Head" is perhaps, too, the Hill of Howth.
"Assiegates and boomeringstroms": The first two syllables of "assie- gates" are identical with those of assie? ger (French), "to besiege. " Again, they suggest "assegai," a spear. The last part of the word being "gates," the sum becomes "attempts by means of spears and darts to lay siege to city or castle gates. " "Boomeringstroms" suggests both "boomerangs" and the booming sounds of cannon. Strom is a Scandinavian word for "whirlpool," which draws men down to death.
"Sod's brood, be me fear": "Sod" is "Old Sod" or Ireland. "Children of Ireland, I fear for you"; also "I fear you. " Sod's brood suggests "God's blood. "
"Sanglorians, save": The first syllable of "sanglorians" is sang, French for "blood"; the first two syllables are "sanglo," which has the same sound as sanglot, French for "sob. " Obviously, the word has overtones of blood and tears. Blood and tears for what? For "glori," which occurs in the very middle of the word. "Save" can be construed as either the Latin salve, meaning "hail," or the English "save," meaning "to protect. " The whole
? ? A Skeleton Key to Finnegans Wake ? ? Synopsis and Demonstration ? ?
? expression is in the vocative: Joyce is addressing someone. "You who fought in blood and tears for glory's sake, I hail you. " Or to use an alter- native rendition of "save," the expression becomes: "May God protect you who fought in blood and tears for glory. "
Always seek in a Joycean expression an antinomy or contradiction. He delights in saying two opposite things in the same words. Thus, while there was plenty of "blood and tears" in the obscure Irish wars, there was but little "glory. " The first syllable of "sanglorians" suggests sans, French for "without. " So it is quite possible that Joyce ironically says here, "You who fought in blood and tears without glory. "
"Arms apeal with larms": Larm[e]s, French for "tears," repeats the grief theme. La? rm, German for "noise," gives the din of battle.
"Killykillkilly, a toll, a toll": nothing but killing; a humorous half- reference to the two Kilkenny cats which fought till nothing was left but their tails. "Toll" hints at the sad ringing of bells for dead heroes. Also, the terrific cost in lives. The word "atoll" means a coral island. Ireland, of course, is an island. "A toll, a toll" echoes the Irish brogue "a-tall, a-tall. "
"What chance cuddleys": "Cuddleys" suggests "cudgels"; what an op- portunity for cudgeling! The word also has overtones of softness and weak- ness. What chance would a weakling have? Or again, "cuddle" is suggested. What opportunities for chance love-making (in the lawless manner of the Viconian giants).
"What cashels aired and ventilated! " "Cashel": a circular wall enclos- ing a church or group of ecclesiastical buildings; a stone building. Turning to a gazetteer, we find "Cashel, population ? ,? ? ? , Tipperary County, at the base of Rock of Cashel, ? ? ? feet high, on which are ruins of a cathe- dral, a chapel and a tower. " Translated, the expression becomes, "What church walls were broken down, what fresh air was blown through musty religious institutions by these religious wars! "
What bidimetoloves sinduced by what tegotetabsolvers! What true feeling for their's hayair with what strawng voice of false jiccup!
"Bid-me-to-loves" are temptresses; "te^te-a`-te^te absolvers" are father confessors. "Teg" is a lamb or woman. "Goat" (got) is the animal of lech- ery. Things are so topsy-turvy that the preachers of God's word lead the prostitutes into sin.
? "The voice is Jacob's voice, but the hands are the hands of Esau"; Isaac's words before blessing the usurper of the birthright are mingled with an echo of "Hayfoot, Strawfoot, bellyful of beansoup! " Hayfoot and Strawfoot are antagonistic brothers.
O here here how hoth sprowled met the duskt the father of fornica- tionists but, (O my shining stars and body! ) how hath fanespanned most high heaven the skysign of soft advertisement! But waz iz? Iseut? Ere were sewers? * The oaks of ald now they lie in peat yet elms leap where askes lay. Phall if you but will, rise you must: and none so soon either shall the pharce for the nunce come to a setdown sec- ular phoenish.
The "father of fornicationists," a primordial man, has met the dust; but the rainbow, sign of the promise of his renewal, now emerges. The prom- ise is here associated with the name and theme of Iseult, who enacts in Finnegans Wake a dual role; first, of tempting the all-father to his fall, and then, of gathering up and handing forward the reanimated remains. As mother, she will receive his substance and renew it in her children. As charming virgin, she is the rainbow to beckon him forward again, in the coy, teasing game of expectation and despair.
With the image of Iseult and the theme of the rainbow hope, the motif of the Cycle comes before us. The oaks of the past have fallen into peat, yet where ashes lay there now spring living elms. And the phallic pun "Phall if you but will, rise you must" gives a Rabelaisian twist to the wheel of life. Nothing will end: apparent Finish will be converted to Phoenix-rebirth, as the Fall in the Phoenix Park of Eden entailed the miracle of Redemption.
These few lines of commentary are an admittedly inadequate gloss on the first four paragraphs for Finnegans Wake. All the literal and allegorical ref- erences compressed into these paragraphs would fill many volumes with historical, theological, and literary data. But even should the reader one day find himself in control of the entire bulk of this material, there would re- main to be conquered the depths of moral and anagogical implication.
? ? * In the list of errata that James Joyce prepared shortly before his death, he introduced these three question marks.
? ? ? A Skeleton Key to Finnegans Wake
? Here no commentary could do more than furnish introductory clues; for it is impossible to exhaust the import of a poetical image or a mythologi- cal symbol. The present interpretation can only hint at some of the secrets of Joyce's language and indicate the great outlines of his method: the expe- riencing of the work must be left to the sensibilities of the apt reader.
Suffice it to say, that three great moments have presented themselves during the course of these opening paragraphs: (? ) The Fall, (? ) The Wake, (? ) The Rise. The first is associated with the theme of the thunderclap and "pftjschute"; the second with the quarrels and loves of human history; the third with the sky sign, the elms, the phallus, and the phoenix. The Fall is, in a profound sense, prehistoric, and the Rise will take place at the end of time. Meanwhile, the living and quarreling of the Wake is a kind of fer- mentation or superfetation of maggot sons and daughters out of the body of the gigantic sleeper, "doublin their mumper" all the time. And no mat- ter where we turn, if we regard carefully any phenomenon or complication of the world picture, we shall find that the surface configurations disinte- grate to reveal, ever present, the foundation substance of the old World Father. As his initials emerge through the pattern of "Howth Castle and Environs," so through all the loves, all the brother betrayals, and all the ventilatings of cashels, he will go on. By a commodius vicus of recircula- tion, riverrun will bring us always, ever, and only back to Him.
? ? book i
? THE BOOK OF THE PARENTS ?
Q
? ? chapter i Finnegan's Fall
? [The story of Finnegan, freed from the thematic entanglements of the first four paragraphs, now begins to run in a narrative style comparatively easy to follow. Henceforth a thin line-tracing of the basic story of Finnegans Wake will suffice to guide the reader. It is not our purpose to elucidate fully any page or group of images but to weld together the fundamental links of the narrative itself. Our comments are in brackets and in footnotes; the numbers in parentheses refer to the pages of the Viking Press edition of Finnegans Wake, ? ? ? ?
Demonstration
The First Four Paragraphs of Finnegans Wake
The first page and a half of Finnegans Wake hold in suspension the seed energies of all the characters and plot motifs of the book. Here the Joycean volcano in full eruption vomits forth raw lumps of energy-containing lava, a mythogenetic river still aflame as it floods across the page. The first
? impression is one of chaos, unrelieved by any landmark of meaning or recognition. Unless James Joyce could be trusted as a wielder of the most disciplined logic known to modern letters, there would be little hope that these hurtling igneous blocks would eventually respond to the solvent of analysis. The fact is, however, that these opening paragraphs are choked with nutrient materials of sense and sustenance. The themes here darkly announced are developed later with such organic inevitability that the reader, having finished the book, gazes back with amazement at the prophetic con- tent and germinal energy of the first page.
The first four paragraphs of Finnegans Wake remotely suggest the first verses of the Book of Genesis. On a darkened stage, and against a cosmic backdrop, terrestrial scenes and characters begin to emerge in a drama of creation. The landscape itself gropes its way into action, and in the primeval dawn we dimly descry a river and a mountain.
riverrun, past Eve and Adam's, from swerve of shore to bend of bay, brings us by a commodius vicus of recirculation back to Howth Castle and Environs.
Appropriately, the first word of Finnegans Wake is "riverrun. " Opening with a small letter, it starts the book in the middle of a sentence. "Riverrun," however, is not a beginning, but a continuation--a continua- tion among other things of the ecstatic, swiftly slipping, and abruptly in- terrupted sentence with which the volume ends. For the book is composed in a circle; the last word flows into the first, Omega merges into Alpha, and the rosary of history begins all over again.
"Riverrun" is more than a clue to the circling plan of Finnegans Wake; it characterizes the essence of the book itself. For in this work, both space and time are fluid; meanings, characters, and vocabulary deliquesce in con- stant fluxion. The hero is everywhere: in the elm that shades the salmon pool, in the shadow that falls upon the stream, in the salmon beneath the ripples, in the sunlight on the ripples, in the sun itself. Three men looking at you through one pair of eyes are not men at all, but a clump of shrubs; not shrubs either, but your own conscience; and finally, not your private conscience, but an incubus of the universal nightmare from which the sub- lime dreamer of cosmic history will awaken, only to dream once more.
Alive to the depthless metaphor in which we are moving, let us begin
? ? A Skeleton Key to Finnegans Wake ? ? Synopsis and Demonstration ? ?
? by bringing into focus the composition of place indicated in the first sen- tence of Finnegans Wake. Specifically, "riverrun" refers to Dublin's River Liffey, flowing past a Franciscan church called by Dubliners "Adam and Eve's," which is situated on its banks. As Adam and Eve stand at the be- ginning of human history, so they stand at the beginning of our book, sug- gesting Eden, sexual polarity, the fall of man, and the promise of redemption. "Riverrun" suggests, too, the river of time, on which these world events are borne.
from swerve of shore to bend of bay . . .
We follow the topography of the Irish shoreline from the mouth of River Liffey northward to a deep bend where the waters of Dublin Bay pound the Hill of Howth. The swerve of shore is the coy gesture of the pretty isle herself which invites the assault of the bay waters, thus hinting at a Seduction theme which will later emerge full of import. Again, the waters of Dublin Bay continually pounding the Head of Howth represent, on an elemental level, the perennial invaders of Ireland continually pum- meling the head of the defender.
brings us by a commodius vicus of recirculation. . .
Joyce here announces in the word "recirculation" the Viconian ricorso theme, the metaphysical pivot on which the Finnegan cycle turns. The cunning key word, "vicus," means street or highway, but is at the same time the Latin form of the Italian Vico. "Commodius" sweeps the mind back to the Rome which showed its first severe symptoms of decay in the time of the emperor Commodus. It also suggests the broad and easy path that leads our present civilization to destruction. [[It may also suggest Dante's Commedia. --ELE]]
back to Howth Castle and Environs . . .
The Dublin landmark (note the initials HCE peeping through the name) is a high headland crowned by a castle and guarding Dublin Bay. It is popularly regarded as the cranium of a recumbent giant whose belly is the city of Dublin and whose feet turn up amidst the hillocks of Phoenix Park. If the River Liffey is the heroine, this sleeping landscape giant is the hero. Historical associations crowd around his recumbent form. On this headland the sentinels of Finn MacCool stood guard against invaders
? from the sea. Centuries later, when the Anglo-Norman king Henry II sub- jugated the island, the present castle was founded by one of the invading company, Sir Almeric Tristram. That was in the century of the flowering of the Arthurian romances, with which are inseparably woven the names of Tristram and Iseult.
So now we read:
Sir Tristram, violer d'amores, fr'over the short sea, had passencore re- arrived from North Armorica on this side the scraggy isthmus of Europe Minor to wielderfight his penisolate war . . .
The basic sense is this: Sir Tristram, musician of love, from across Saint George's Channel,* had not yet rearrived? from North Brittany, which is on Ireland's side of rugged Europe,? to wage again his war. The war is des- ignated "penisolate," which suggests "late, or recent war of the penis," a designation not inappropriate to the gest of a Tristram. But the word may also be read "pen-isolate," whereupon it suggests a war waged with the pen, not by a robust extrovert, but by an isolated, introverted man of letters. The Tristram figure will later split into such antipodal characters, giving battle to each other. Finally, if we read "Peninsular War," we shall be re- minded of the Anglo-Irish Dubliner, Arthur Wellesley, first duke of Wellington, who in the Peninsular War waged his first great battles against Napoleon.
With this sounding of the Tristram motif of guilty love, Joyce boldly strikes some of the major chords of Finnegans Wake. The legend of Tristram and the two Iseults is well known; its mold fits perfectly over HCE. He has a bewitching daughter whom he compares to the second Iseult, her of Brittany, whereas his wife in some of her transformations is identical with Iseult of Ireland. Torn between the two, the man is tempted and destroyed by the representatives of the younger, but he is gathered up
? ? * Tristram first arrived in Ireland by coracle from Cornwall, over the same sea crossed by the historical Sir Almeric Tristram, founder of Howth Castle.
? Note the curious implication of "rearrived. " Joyce intends to indicate that in the courses of the Viconian cycle all has happened before and is on the point of happening again.
? North Armorica is North Brittany, the scene of the love-death of Tristram and Iseult of Ireland. It was the scene also of Tristram's morbid, unconsummated marriage with the second and younger Iseult, Iseult of Brittany.
? ? A Skeleton Key to Finnegans Wake ? ? Synopsis and Demonstration ? ?
? and his wounds are healed by the older, whom he never ceases to cherish. This conflict which drives a wedge into HCE's heart is a manifestation of the ambiguous guilt-neurosis that has troubled men of the western world since the medieval innovation of romantic love.
The double note of love and war is to become the pervasive theme of Finnegans Wake: key changes and modulations will break the simple state- ments into baffling congeries of dissonance and harmony. Ambiguous the love--ambiguous too will be the war, continually outcropping in the struggles between Shem and Shaun and their shadow extensions Butt and Taff, Mutt and Jute, the historical figures of Wellington and Napoleon, Caesar and Brutus, Sigtrygg and Brian Boru, and those curiously inchoate personages, Buckley and the Russian General. Under many appearances, love and war are the constant life expressions of that polarized energy which propels the universal round.
"North Armorica" suggests North America. The phrase following de- velops this evocation of the New World Beyond the Sea, to which those Irish fled who took refuge from the English plunderer, and where many a canny Irishman has won money and prestige:
nor had topsawyer's rocks by the stream Oconee exaggerated them- selse to Laurens County's gorgios while they went doublin their mumper all the time . . .
Oddly enough there is a stream Oconee flowing through Laurens County, Georgia, U. S. A. , and on the banks of this stream stands Dublin, the county seat. Thus an American duplication of Dublin on Liffey is Dublin on Oconee. The word Oconee resembles the Irish exclamation of grief "ochone," undoubtedly uttered by many an Irishman leaving his home for America.
Numerous suggestions resound through this passage: Tom Sawyer, for instance, with his associations of Huck Finn and Mark Twain (Mark the Second). * When men are sawing timber over a saw pit, a top sawyer stands above the log; a pit sawyer stands below. This image carries forward the idea of the opposed brothers: the sawyer on top is the successful one; his "rocks"
? (slang for "money") "exaggerate themselves," that is to say, increase. Also the rocks transform themselves into property in Laurens County, Georgia; the citizens of this area are the "gorgios,"* fruit of Topsawyer's rocks--rocks now meaning "testicles. "
The drift of this dense passage is as follows: A successful son of HCE emigrates from East to West, as his father before him. Settling in America he begets a large progeny and bequeaths to them a decent, even gorgeous prosperity. The idea of procreation and prosperity is carried forward by the expression "doublin their mumper? all the time," which may be read pri- marily as "doubling their number all the time. "
But the passage refers to Ireland, as well as to America, and precisely to Ireland of the time of the Anglo-Norman conquest. The bishop of Dublin, at that time, was Lawrence O'Toole; Dublin County would be Lawrence's County. Furthermore, in honor of his victory under the patronage of St. Lawrence, Sir Almeric Tristram, founder of Howth Castle, changed his family name to Lawrence.
nor avoice from afire bellowsed mishe mishe to tauftauf thuart- peatrick . . .
The primary reference here is to St. Patrick and his Christianizing of Ireland. This saint baptizes (tauftauf) the peat rick, Ireland; taufen is German "to baptize," which reminds us that St. Patrick's spiritual tutor was St. Germanicus. From a fire below comes the voice of the virgin lady of the isle--the goddess Brigit, who became St. Bridget when baptized. "Mishe mishe," she says in her native tongue, "I am, I am," thus affirming her character as the mother-substance of all being, namely, ALP. On the level of spiritual allegory, Patrick is HCE--the perennial invader--this time fructifying Mother Ireland with the gyzm of life eternal. The peat fire refers to the legendary miracle of St. Patrick's Purgatory. He drew a circle on the ground and the earth opened in flame; into this fire the most
? ? * "Gorgio" is a gypsy word meaning "non-gypsy," also "youngster. "
? Other hints rise from this word "mumper": "Mum," a sweet strong beer first brewed in ? ? ? ? , the year of the discovery of America. HCE is identified with beer; he not only con- sumes and serves it in his tavern, he is beer. Finally, "doubling mum" introduces the Superfetation theme, the theme of one world burrowing on another, which is the great key to the dynamism of Finnegans Wake.
? ? * Mark Twain (Samuel Clemens) appears frequently in Finnegans Wake. Both he and his hero Huck Finn (Finn in America) were adventurers, rose to a height, and took a fall. Interestingly enough, Samuel Clemens called his wife "Livy. "
? ? A Skeleton Key to Finnegans Wake ? ? Synopsis and Demonstration ? ?
? zealous of his converts descended. References to "Pat's Purge" occur several times in Finnegans Wake.
not yet, though venissoon after, had a kidscad buttended a bland old isaac. . .
This brings us back to the Old Testament brother battle of Jacob and Esau, in which Father Isaac, wishing to bless the elder son, becomes the butt of the cadet's (younger son's) cunning. The passage may be read: Not yet, though very soon after, Jacob, disguised in the kidskin, duped his blind old father. There is also a local Irish suggestion in the juxtaposition of the words "butt" and "isaac. " Isaac Butt, in ? ? ? ? , was ousted from lead- ership of the Irish Nationalist party through the machinations of the younger Parnell, who himself then moved into command.
The word "venissoon" not only signifies the goat venison of the Biblical story, but points forward to the Swift-Vanessa theme, struck in the statement following:
not yet, though all's fair in vanessy, were sosie sesthers wroth with twone nathandjoe. . .
"Nathandjoe" is an anagram for Jonathan (Dean Jonathan Swift) split in two and turned head over heels by his two young-girl loves, Stella and Vanessa. Not yet, though all's fair in the vain game of love, were these saucy sisters wroth with their father-surrogate, the two-in-one Wise Nathan and Chaste Joseph. (There exists a little riddle, attributed to Vanessa herself, which plays on Jonathan Swift's name in this way. )
"Sosie sesthers wroth" is also a transformation of the names of Susannah, Esther, and Ruth, the heroines of three Biblical tales involving the loves of old men for young girls. "In vanessy" suggests Inverness, the name of the castle of Macbeth: Macbeth was seduced by the wiles of the Three Weird Sisters.
Rot a peck of pa's malt had Jhem or Shen brewed by arclight . . .
One thinks of the moment after the ark had come to rest on Ararat, when Noah began to till the ground and plant a vineyard. Drinking of the wine, he became drunk and was seen naked by his son Ham. But Shem and Japheth, the other two sons, put a cloak on their shoulders, and going back- ward covered their father's nakedness. This passage should be construed in
? terms of the Father-castration theme and the superseding of the father by the sons. The three names, Shem, Japheth, and Ham, are telescoped to com- prise the Shem and Shaun duality of the Earwicker household. Instead of wine the intoxicant is beer, in keeping with the Germano-Celtic pattern.
and rory end to the regginbrow was to be seen ringsome on the aquaface . . .
And toward the orient (rory end to) the rainbow was to be seen cast- ing its reflection on the face of the waters. This rainbow, the sign of God's promise and man's hope, with its seven hues of beauty, is one of the dom- inant images of Finnegans Wake. It balances the thunderclap, the signal of God's wrath and man's fear.
"Rory" connotes Rory O'Connor who was High King of Ireland when the royal brow of the conqueror, Henry II, came up over the eastern hori- zon. This brow was the coming of a new age, as was the rainbow in the time of Noah.
The fall (bababadalgharaghtakamminarronnkonnbronntonner- ronntuonnthunntrovarrhounawnskawntoohoohoordenenthurnuk! ) . . .
"The fall," and the strange polysyllable following it, introduce us to the propelling impulse of Finnegans Wake. The noise made by the thumping of Finnegan's body tumbling down the ladder is identical with the Viconian thunderclap, the voice of God's wrath, which terminates the old aeon and starts the cycle of history anew.
of a once wallstrait oldparr is retaled early in bed and later on life down through all christian minstrelsy. . . .
"Old Parr" was the nickname of Thomas Parr (? ? ? ? -? ? ? ? ! ), of Shropshire, who lived to be one hundred and fifty-two years old. "Parr" and "wallstrait" are also plays on the rise and fall of stockmarket values in the modern world. The fall of this Old Parr is the fall of Adam in the gar- den, Finnegan from the wall, HCE in Phoenix Park.
The great fall of the offwall entailed at such short notice the pftjschute* of Finnegan, erse solid man, that the humptyhillhead of
? ? * "Pftjschute" suggests "chute," also the hissing rush of a falling meteor--Lucifer falling into Hell.
? ? A Skeleton Key to Finnegans Wake ? ? Synopsis and Demonstration ? ?
? humself prumptly sends an unquiring one well to the west in quest of his tumptytumtoes . . .
Note the lumpishness of the wording, and the suggestion of the fall and scattering of Humpty Dumpty, the Cosmic Egg. Inquiring tourists who wish to trace the anatomy of the fallen giant in the Dublin landscape must seek his head in the Hill of Howth and his upturned toes at Castle Knock in a cemetery in Phoenix Park. In this Park the Orangemen (in- vaders) have been laid to rest upon the Green since the first Dubliner loved Anna Liffey. This thought is concluded in the following lines:
and their upturnpikepointandplace is at the knock out in the park where oranges have been laid to rust upon the green since devlins- first loved livvy.
In the next paragraph there rages around the upturned toes of the giant a turmoil comparable to that of the Roman twilight, when Ostrogoth battled Visigoth; comparable to the chaos of the deluge, where oyster battled fish; comparable to the disorder of the underworld, where an Aristophanic frog chorus croaks in a murk:
What clashes here of wills gen wonts, oystrygods gaggin fishygods! Bre? kkek Ke? kkek Ke? kkek Ke? kkek! Ko? ax Ko? ax Ko? ax! Ualu Ualu Ualu! Qua? ouauh! Where the Baddelaries partisans are still out to math- master Malachus Micgranes and the Verdons catapelting the cami- balistics out of the Whoyteboyce of Hoodie Head. Assiegates and boomeringstroms. Sod's brood, be me fear! Sanglorians, save! Arms appeal with larms, appalling. Killykillkilly: a toll, a toll. What chance cuddleys, what cashels aired and ventilated!
Clearly, the tone of the entire passage is brawling and primitive; early warriors are out to kill each other. This much is indicated by "clashes," "par- tisans," "arms," "catapelting," and "boomeringstroms. " But who are these warriors? They are "wills gen wonts"--the have-not's vs. the have's--in- vaders vs. native inhabitants. There is a hint that the passage is symbolic of the fall of Rome; it also contains references to early Irish religious quarrels.
"Oystrygods gaggin fishygods": Ostrogoths vs. Visigoths; also a refer- ence to the shellfish-eaters, said to have preceded the fish-eaters on the coasts of Ireland. "Gaggin" hints at the Germanic gegen meaning "against"; also conveys the idea that the conquest was rammed down the throats of the conquered.
? "Bre? kkek Ke? kkek Ko? ax Ualu Qua? ouauh," etc. : The guttural sound "bre? kkek ko? ax," borrowed from Aristophanes' comedy The Frogs, suggests a swampy, damp terrain where these early struggles took place. Allegorically, this passage hints at the post-Flood battles of primitive man.
"Ualu" and "Qua? ouauh": Welsh cries of lament.
"Mathmaster": Math is Anglo-Saxon for "mow" or "cut down," and Sanskrit for "annihilate. " It is also Hindustani for "hut" and "monastery. " This word says: "to overpower by cutting down men and annihilating their homes and monasteries. "
"Badellaries; Malachus Micgranes": Apparently Celtic clans and fami- lies involved in early tribal wars.
"Catapelting the camibalistics": "Catapelting" suggests both "catapult" and "pelting. " The first syllable of "camibalistics" is Celtic for "crooked and perverse. " In the entire word double connotations of barbaric flesh-eating practices and ballistics are conveyed. The sentence now runs: "Certain tribes were hammering the perverse cannibalistic instincts out of their rivals by means of catapults and primitive weapons. "
"Whoyteboyce of Hoodie Head": The "White-boys" were a band of religious fanatics who went about hooded much after the fashion of the Ku Klux Klan. "Hoodie Head" is perhaps, too, the Hill of Howth.
"Assiegates and boomeringstroms": The first two syllables of "assie- gates" are identical with those of assie? ger (French), "to besiege. " Again, they suggest "assegai," a spear. The last part of the word being "gates," the sum becomes "attempts by means of spears and darts to lay siege to city or castle gates. " "Boomeringstroms" suggests both "boomerangs" and the booming sounds of cannon. Strom is a Scandinavian word for "whirlpool," which draws men down to death.
"Sod's brood, be me fear": "Sod" is "Old Sod" or Ireland. "Children of Ireland, I fear for you"; also "I fear you. " Sod's brood suggests "God's blood. "
"Sanglorians, save": The first syllable of "sanglorians" is sang, French for "blood"; the first two syllables are "sanglo," which has the same sound as sanglot, French for "sob. " Obviously, the word has overtones of blood and tears. Blood and tears for what? For "glori," which occurs in the very middle of the word. "Save" can be construed as either the Latin salve, meaning "hail," or the English "save," meaning "to protect. " The whole
? ? A Skeleton Key to Finnegans Wake ? ? Synopsis and Demonstration ? ?
? expression is in the vocative: Joyce is addressing someone. "You who fought in blood and tears for glory's sake, I hail you. " Or to use an alter- native rendition of "save," the expression becomes: "May God protect you who fought in blood and tears for glory. "
Always seek in a Joycean expression an antinomy or contradiction. He delights in saying two opposite things in the same words. Thus, while there was plenty of "blood and tears" in the obscure Irish wars, there was but little "glory. " The first syllable of "sanglorians" suggests sans, French for "without. " So it is quite possible that Joyce ironically says here, "You who fought in blood and tears without glory. "
"Arms apeal with larms": Larm[e]s, French for "tears," repeats the grief theme. La? rm, German for "noise," gives the din of battle.
"Killykillkilly, a toll, a toll": nothing but killing; a humorous half- reference to the two Kilkenny cats which fought till nothing was left but their tails. "Toll" hints at the sad ringing of bells for dead heroes. Also, the terrific cost in lives. The word "atoll" means a coral island. Ireland, of course, is an island. "A toll, a toll" echoes the Irish brogue "a-tall, a-tall. "
"What chance cuddleys": "Cuddleys" suggests "cudgels"; what an op- portunity for cudgeling! The word also has overtones of softness and weak- ness. What chance would a weakling have? Or again, "cuddle" is suggested. What opportunities for chance love-making (in the lawless manner of the Viconian giants).
"What cashels aired and ventilated! " "Cashel": a circular wall enclos- ing a church or group of ecclesiastical buildings; a stone building. Turning to a gazetteer, we find "Cashel, population ? ,? ? ? , Tipperary County, at the base of Rock of Cashel, ? ? ? feet high, on which are ruins of a cathe- dral, a chapel and a tower. " Translated, the expression becomes, "What church walls were broken down, what fresh air was blown through musty religious institutions by these religious wars! "
What bidimetoloves sinduced by what tegotetabsolvers! What true feeling for their's hayair with what strawng voice of false jiccup!
"Bid-me-to-loves" are temptresses; "te^te-a`-te^te absolvers" are father confessors. "Teg" is a lamb or woman. "Goat" (got) is the animal of lech- ery. Things are so topsy-turvy that the preachers of God's word lead the prostitutes into sin.
? "The voice is Jacob's voice, but the hands are the hands of Esau"; Isaac's words before blessing the usurper of the birthright are mingled with an echo of "Hayfoot, Strawfoot, bellyful of beansoup! " Hayfoot and Strawfoot are antagonistic brothers.
O here here how hoth sprowled met the duskt the father of fornica- tionists but, (O my shining stars and body! ) how hath fanespanned most high heaven the skysign of soft advertisement! But waz iz? Iseut? Ere were sewers? * The oaks of ald now they lie in peat yet elms leap where askes lay. Phall if you but will, rise you must: and none so soon either shall the pharce for the nunce come to a setdown sec- ular phoenish.
The "father of fornicationists," a primordial man, has met the dust; but the rainbow, sign of the promise of his renewal, now emerges. The prom- ise is here associated with the name and theme of Iseult, who enacts in Finnegans Wake a dual role; first, of tempting the all-father to his fall, and then, of gathering up and handing forward the reanimated remains. As mother, she will receive his substance and renew it in her children. As charming virgin, she is the rainbow to beckon him forward again, in the coy, teasing game of expectation and despair.
With the image of Iseult and the theme of the rainbow hope, the motif of the Cycle comes before us. The oaks of the past have fallen into peat, yet where ashes lay there now spring living elms. And the phallic pun "Phall if you but will, rise you must" gives a Rabelaisian twist to the wheel of life. Nothing will end: apparent Finish will be converted to Phoenix-rebirth, as the Fall in the Phoenix Park of Eden entailed the miracle of Redemption.
These few lines of commentary are an admittedly inadequate gloss on the first four paragraphs for Finnegans Wake. All the literal and allegorical ref- erences compressed into these paragraphs would fill many volumes with historical, theological, and literary data. But even should the reader one day find himself in control of the entire bulk of this material, there would re- main to be conquered the depths of moral and anagogical implication.
? ? * In the list of errata that James Joyce prepared shortly before his death, he introduced these three question marks.
? ? ? A Skeleton Key to Finnegans Wake
? Here no commentary could do more than furnish introductory clues; for it is impossible to exhaust the import of a poetical image or a mythologi- cal symbol. The present interpretation can only hint at some of the secrets of Joyce's language and indicate the great outlines of his method: the expe- riencing of the work must be left to the sensibilities of the apt reader.
Suffice it to say, that three great moments have presented themselves during the course of these opening paragraphs: (? ) The Fall, (? ) The Wake, (? ) The Rise. The first is associated with the theme of the thunderclap and "pftjschute"; the second with the quarrels and loves of human history; the third with the sky sign, the elms, the phallus, and the phoenix. The Fall is, in a profound sense, prehistoric, and the Rise will take place at the end of time. Meanwhile, the living and quarreling of the Wake is a kind of fer- mentation or superfetation of maggot sons and daughters out of the body of the gigantic sleeper, "doublin their mumper" all the time. And no mat- ter where we turn, if we regard carefully any phenomenon or complication of the world picture, we shall find that the surface configurations disinte- grate to reveal, ever present, the foundation substance of the old World Father. As his initials emerge through the pattern of "Howth Castle and Environs," so through all the loves, all the brother betrayals, and all the ventilatings of cashels, he will go on. By a commodius vicus of recircula- tion, riverrun will bring us always, ever, and only back to Him.
? ? book i
? THE BOOK OF THE PARENTS ?
Q
? ? chapter i Finnegan's Fall
? [The story of Finnegan, freed from the thematic entanglements of the first four paragraphs, now begins to run in a narrative style comparatively easy to follow. Henceforth a thin line-tracing of the basic story of Finnegans Wake will suffice to guide the reader. It is not our purpose to elucidate fully any page or group of images but to weld together the fundamental links of the narrative itself. Our comments are in brackets and in footnotes; the numbers in parentheses refer to the pages of the Viking Press edition of Finnegans Wake, ? ? ? ?
