d:cr, the lw-dcst part
ofFiatpM
Wdt is iu shell.
Hart-Clive-1962-Structure-and-Motif-in-Finnegans-Wake
Fi""'K41U W.
.
.
u, the opposite ""tremc 0( .
.
.
If_assured obliquity, rontaitts perhapol evet!
moT(: personal involw:mtot than do the PIJItIC, and hcn<;e in writing it J oyce inevitably condtnuted hiIIIKIf to ".
,.
111.
a giddy ridge ICpar.
Uin, the twin abY"'" of IW nightma~the inwmpubenoihility of tou.
!
indirection and me, ICntimcnt:.
olily which alwaY"' ch.
.
.
.
.
meriw:d his Itrong emotional commitments.
Though for mOlt of its length Filllltg41lJ W".
b is dd i,atdy poioed between th.
.
.
, dangen, it i.
s not without its weak points 1I which J oycc h.
.
overbalanced
"
? Some Asptcts rif Finmgans Wake
one way or the other, More disturbing than its notoriously impenetrable pa"agcs art\ those oc(Alional paragraphs of unuJ! ual lucidity where Joy<< $ettru 10 have capitulated all 100 eMily 10 a moment of undi"inguishrd lyricism. Such moments ~ to me rather too frequent in the much-praised 'Anna Livia Plurabdle' (1. 8) which, except fur the bravura ronchl_ sion, I find less ronvincing than the excitingly penpicaciollJ sketch"" of Anna'. rounlerpart, Issy (I'B-3, 457-61). Senti_ mentality w"-l al",aY' Ihe grealest hazard fOT Joyce. By ron_ ,inent u'" ofparody and ,atire he managed to awid its pilfalls mOl! t of the li,ne, lhough perhap! not quite ofien enough in FilllUgatU Wake. One may W<lnder how ,ueeC$lful he W<luld have been in hi, projectrd I"-It book, which was to have been charac_ tcriv. d by a return 10 lucidity. I ! ll$pr:cl Ihal there was rath~. r more than a bitler jibe at the adulato,. . in Joyce'. re_ mark to Nino Frank: 'Co: &Crait dr6le que je faw: un petit J"(Iman mondain a la Bourget . . . lis leraient bien attrapc. . ,
hein? "
Th:opile its undoubled complexity and abundant contenl, I
bdiev<: Fitwgmu Wah to have been . omcwhat extravagantly ovt:rl"(:ad by a number of . . . :cenl rommentatOTl, T oo <>ficn its <:onvolulions have been treated . . " a kind "rendless verbal equivalent of the Rorschach Ink-blot Test. The limits of . . . :Ie_ vancy ha. . . , been pu. hrd furthCl" and further back and thematic analysis h. . " been made to depend On the most tenuOllS of <WOcialive linb. I find it impoMib1c to believe and fruitl= to ,uppost, for example, Ihal we are meant 1<> find 'Mallarme in every 1! J. ru. ,yllahle word containing two m's, as one wriler claiIIlll. ' Explication ofFinnegaos Wakt threaten. , indeed, to g<:t altogelhCl" out of hand. It i, hardly . urpriting thaI the joyce industry' iL< a whole ,uffers the 100m of the unconvcned when
we have the unhappy . pectacle of a critic and acquaintance of J oyce'. devoling almoot a page to the proud elucidation of a word which does not, in fact, OCCur in the hook. ' In the partial
, K F. Ink, ? Sou,-m;" ,m Jonu:. Joyc. o:', L. . -r. lt. _ . 0>0. ~" p. ,686.
'94! J.
? 0. H. yrn. . . n. J_ " M. It. m. J, Par". '956, V<)i. II,p, "9?
? M. ? 00 p, Cotwn, 0", F,itoJJ-'Jo/a, Londoo, '9
'9)~p. ,ro.
? SIJTI! ( AsjJ<<ts rif Finmgans Wake
""~whicba~includedinthis. tudyIbavealwaY'pre. ferred to err on the aide of comervatiam rather than fullow up unlikely aUu';on? . r ~li. "" that lOme of the publilhed over? reading deriv. . from all. exaggerated idea of lh<: bonk', per.
venity, which h. . in turn led to an e"<<:so of zeal in the wrr:sde with word. and meanings. Jo)'<:<:', method. of word_formation and thematic allusion aJe almnst always very runple, and the
bonk'. d<:I1oted content is fairly . "-Iy to ~cogrWc. The ,. . ,ader of FilUltganJ W. . . . . can ""ually be et:rtain that if he exercise, ,. . ,awnable (arc he will have little trouble in picking up any major all. w. on to ide. . and thing. wilb which he ;" familiar. The dilfu:ulty in understanding what went into the bonk Ii. . mainly in the intuprccalion of allusions to unfamiliar material, fur it is ! lO1 alway> e. . . y to know jmt where to look for the cxplanati(ln <>f an obscurity. Although b~ wanted 10 be read
and appre<:iattd, Jore<' also aimed at giving hi< audience the imprt:";Qn Ibat Ibere w. . . always IOmething more beyond what they had undt:r. ltood, >(Im. thing more to be Itriven for, and this is et:rtainly one realDn fur the 1:>o<,k'l gr<:at load of all. w. on and rcferenr,c. A< ~tr. J . S. Atherton h. . . pointed oul,' when J oy"" attempted to create a microoosmi~ equivalent of God's macro- <<osm, he forced hi""elf into the position of having 10 write a
work which w1>l1ld ~flect the ultimale ioucrucability of the unive. . . along with all its other characteristics, but tbis constant awattne>l on the part (If the reader that he h. . not grouped everything can be irritating, and iCe"" to accounl for some of the choleric ombu. . . ! :! againlt the book. I do nOI, howe""r, want to rcopen that tired old debate about whether it ;, all worth the dfon and whether ,nch intentional obKurity can be
artistically justified. It mwt by now, I dunk, be evident to all thaI there arc great literary tre~ures buried in Fimrtgmu Wake and that potentially al any n. te il is in the lame clau . . . Ulyms- whicl' immediately pu! :! it among the great bonk. . ofthe CC! llury - bul whether the riches are . ullicient to ""pay tbe coruider. ahle labour which m""t be expended to bring them 10 Ihe . urface mlUt very likely alway1 remain a malter of talle and
, Alh<t1on, p. "9.
"
? Sa~ kptfts ofFi1ll1t8ans Watt
ICmperamcnt. Fortunau:ly, like the lobotcn devoured by H. C. Ear. . . . .
d:cr, the lw-dcst part ofFiatpM Wdt is iu shell. Beneath \. he l'IU. IIive superstructureofintcn'lOven motifs t. huciI a fundamental syntactical clarity and . implicity-KI much so, indeed, that oomp~ with \. he n. dicalliu:rary cxperimenu of the 1920', and 30'S Fin~ttQIIS Wab is almost conventional in style. All its technical advances arc dcvdopmentt-rcmarkable only in the ""ten! to which j oyce has pU$ho:d thc:TJ>--OI" ts\ab. lisbcd pra~ticc. joy<:e makes no a! tempt, for eumpLe, to break up the normal pror. . . . . . . . of word-. . ! OC;ation, nor to dispense with d aUIC-StruCture,'" do S<cin,j ol. . . . or the Dadais11. This under- lying oonxrv:aw,n is very dearly revealed in the nunu$Cripl3,
wheremostof\. hefirstdrafu,whichwn"C tobeencnutedlater with glittering o rnamentation, prove to have been wrillon 0 01 \ in the f1alles! communiutive proae.
I I : A R T O F P A N N I N G ( 18. j. . ~. . )
joyce Ita, been . "3Iiously praised and ""iled fOT filling hi. iatet" book:s witb litenory rubbish--<atci'? phr. ues, clicha, jour. naltle, popular lOngs, and the WOnt kind of guob from girll' . . . ? <<ltliel. II it undt:nU. ble that he round considcnblc dcLijjht in such trash, and a delight that was not alw. o. }", criticil. Some commentaton have certainly been too charitable to j oyce in implying that the bad operas, windy rhetoric, and . . ,ntiment,l dillieJ ,",re collected purely as lIylillie aunt-sallies, though at
us. . . l j oy" tU"'<<<Is, by hi. devious methods, in making functional ntaBity and uncritical delight go hand in haDd.
The primary energy which maintain. the highly cha r p poIaritiQ ofFu-gas Wdt iI su. mlted by cydeJ ofconstantly varied rcpetition- 'Thc Kim anew', u j oya pUB it (2 tS. 2S). The: ttronger the prc. . . ,. tablished tapectancy, the wider can be
the variations played on a word or motif. A pun u effective oaly when itt lint term is vividly prcpar. . :\ rD. by the contcxt. By OIling a vocabulary and "yle packed with well. worn uniu
J oyce iI ablt to play on what the psychologisB call the reader't 3'
? Strtm ASplds rifFi1l/Uglml Wakl
'readin",,'. As with tlle haMc 'tyl~, '" with the more Ipeci:. ol4cd mc:Ki. f! : ifJoyce build< Ihem up from familiar phl'alQ he is abdvcd from the need to CltaLllisb f. lUniliarily . . ith their ohape in the early part:I of Ihe book (which would be ou t of keeping in . . reaUy cyclie work) and is immediately able 10 make the widest punning acursions while n;m. aining , Ure orIlia readcn' PO""'" of . oxognil>on. The majority of the motifs listed in Ihe APf"'Ddix are in fact proverbs, calCh-phl'a$C$, and the ~mpty ~rbal formulae (]r~'Ulg:ar . pc<:eb.
The alential value cf the pun (If" portl1UJlleau-word in HIrtIIga1U Wa. b Ii. . OOt in ill elu,ive and luggesli. . . e qualitiet bul in its capacily to oonlprcsa much meaning into little space. T oo much ILu been written about the Stlggcstive, connolatiV'C
aspec'" of Hlf1Itgmu Walt and 100 liltle about the power of Joyce's new polyhedral vocabolary to accumulate denotation. In OOnl. . . . 110 Ihe effccl created by greM luggcstive wwb like
those: ofMaLlanne-with which Joyce', art h. . . ail110lt nothing io common-Ihe more one reado Fju,lfU'$ Wah and karns to recognilC how all the little bricks fil inlO the finUbed struClure. the ""'" suggati,. . , Ihe book tttnu. f. . arly impressioou of myftery aoo hypnolic inc. . nlation begin to wear a"'ay, and the tech- nique hegins to look mOT~ ! ike a . df-coruciou. lIylistic short- itand thart an appeal dire<:1 to the unOOll3Cioou mind M the car. Tite manuscripts. nowJO}tt in the pmc'! ofadding to h. ia tCllt 001 music or colour Or emotive 0. . . 0 1 0 _ , but ICmantcmes. H e
was certainly not indifferenl 10 those other thingl, but almOlt C\'CI')'Where me ukidoeoopic effecll of imagery io PUlMllIN
1Y. . . u and ! he peculiar texture of the writing are achieved, . . . in the bell of Sir Thoma. . Browne, by a massi,,, concentration of pun: denotation jostling around in a confined 'pace. Again, the puus . Ihou. . ld not be: judged by the wual criterion of willy effectiven. . . Mr. Atland Uaher u ntiWng the point when he oomplai. . . of the 'weakncsa' of a pun like 'Sea "a~t a pool' (338"41. ' Sometimes Joyce """tea verticaUy ruher than hori? zontally, hamumieally rather than contrapuntally, in wruch ea. e a clwter of pUll! may aU oontain internally iUuminating
L A . U . h << , ' I . , . , . . G . . . . . I ' W O - . . L o o d . . , . 'g~ ? ? p . ' ! I l I . ,.
? SOIm Asputs of Finneg(111s Wake
rdatiomhip", Su~h puns (xilt in their OWn right at . . ,If. . ufficienl liltle ideograms. A good example i. the word 'paltipsypote' (337. 2. ) from the '&ene in the Public', which neatly integrates 'pal', 'tipsy' and 'pote' into the idea of 'participating' in a round of Guinne",. But J oyce does not always write harmoni- cally, and just at the harmonic relationship" in a mu. iul fugue may very well be irrdevant, SO the vertical relationship" of the twO or more meanings within aJoycean pun are onen unimpor- tant, which can never be true of the everyday pun or humorow
intent. What always matte. . . mOSI is IhaL ill each enat: the pUll alSure the horizQTl\. a1 continuity of the various 'VQic<:s' in the passage. In the clUlmple which troubl. . Mr. U,sher there arc at least four voi=, hardly relatrd to each other (except in SO far as Fi1llutallS Wak, uhimatdy relates all conte:<U). but all carrying the matrix of the 'Butt and Tall"' epWe One step further. First, there i. the obvious content of the whole: 'Sev""topol', the scene of the shooting of the Russian G""erai; next, thc mOilt appal""t meaning of all pam tu"" as a d au. . ,: 'see a vast pool'. which . . t. abl"h. . tbe correspondence of the
battleo at Sevastopol and Dublin ('Black_poor), and the horm. . . of the Flood; there is probably an allusion to the 'apple' which brought about the original Fall and all ito VlUt consequences (the pun we are considering is plaerd at the beginning of the
'Butt and TalY' episode); and, finally, the first two word.
"
? Some Asptcts rif Finmgans Wake
one way or the other, More disturbing than its notoriously impenetrable pa"agcs art\ those oc(Alional paragraphs of unuJ! ual lucidity where Joy<< $ettru 10 have capitulated all 100 eMily 10 a moment of undi"inguishrd lyricism. Such moments ~ to me rather too frequent in the much-praised 'Anna Livia Plurabdle' (1. 8) which, except fur the bravura ronchl_ sion, I find less ronvincing than the excitingly penpicaciollJ sketch"" of Anna'. rounlerpart, Issy (I'B-3, 457-61). Senti_ mentality w"-l al",aY' Ihe grealest hazard fOT Joyce. By ron_ ,inent u'" ofparody and ,atire he managed to awid its pilfalls mOl! t of the li,ne, lhough perhap! not quite ofien enough in FilllUgatU Wake. One may W<lnder how ,ueeC$lful he W<luld have been in hi, projectrd I"-It book, which was to have been charac_ tcriv. d by a return 10 lucidity. I ! ll$pr:cl Ihal there was rath~. r more than a bitler jibe at the adulato,. . in Joyce'. re_ mark to Nino Frank: 'Co: &Crait dr6le que je faw: un petit J"(Iman mondain a la Bourget . . . lis leraient bien attrapc. . ,
hein? "
Th:opile its undoubled complexity and abundant contenl, I
bdiev<: Fitwgmu Wah to have been . omcwhat extravagantly ovt:rl"(:ad by a number of . . . :cenl rommentatOTl, T oo <>ficn its <:onvolulions have been treated . . " a kind "rendless verbal equivalent of the Rorschach Ink-blot Test. The limits of . . . :Ie_ vancy ha. . . , been pu. hrd furthCl" and further back and thematic analysis h. . " been made to depend On the most tenuOllS of <WOcialive linb. I find it impoMib1c to believe and fruitl= to ,uppost, for example, Ihal we are meant 1<> find 'Mallarme in every 1! J. ru. ,yllahle word containing two m's, as one wriler claiIIlll. ' Explication ofFinnegaos Wakt threaten. , indeed, to g<:t altogelhCl" out of hand. It i, hardly . urpriting thaI the joyce industry' iL< a whole ,uffers the 100m of the unconvcned when
we have the unhappy . pectacle of a critic and acquaintance of J oyce'. devoling almoot a page to the proud elucidation of a word which does not, in fact, OCCur in the hook. ' In the partial
, K F. Ink, ? Sou,-m;" ,m Jonu:. Joyc. o:', L. . -r. lt. _ . 0>0. ~" p. ,686.
'94! J.
? 0. H. yrn. . . n. J_ " M. It. m. J, Par". '956, V<)i. II,p, "9?
? M. ? 00 p, Cotwn, 0", F,itoJJ-'Jo/a, Londoo, '9
'9)~p. ,ro.
? SIJTI! ( AsjJ<<ts rif Finmgans Wake
""~whicba~includedinthis. tudyIbavealwaY'pre. ferred to err on the aide of comervatiam rather than fullow up unlikely aUu';on? . r ~li. "" that lOme of the publilhed over? reading deriv. . from all. exaggerated idea of lh<: bonk', per.
venity, which h. . in turn led to an e"<<:so of zeal in the wrr:sde with word. and meanings. Jo)'<:<:', method. of word_formation and thematic allusion aJe almnst always very runple, and the
bonk'. d<:I1oted content is fairly . "-Iy to ~cogrWc. The ,. . ,ader of FilUltganJ W. . . . . can ""ually be et:rtain that if he exercise, ,. . ,awnable (arc he will have little trouble in picking up any major all. w. on to ide. . and thing. wilb which he ;" familiar. The dilfu:ulty in understanding what went into the bonk Ii. . mainly in the intuprccalion of allusions to unfamiliar material, fur it is ! lO1 alway> e. . . y to know jmt where to look for the cxplanati(ln <>f an obscurity. Although b~ wanted 10 be read
and appre<:iattd, Jore<' also aimed at giving hi< audience the imprt:";Qn Ibat Ibere w. . . always IOmething more beyond what they had undt:r. ltood, >(Im. thing more to be Itriven for, and this is et:rtainly one realDn fur the 1:>o<,k'l gr<:at load of all. w. on and rcferenr,c. A< ~tr. J . S. Atherton h. . . pointed oul,' when J oy"" attempted to create a microoosmi~ equivalent of God's macro- <<osm, he forced hi""elf into the position of having 10 write a
work which w1>l1ld ~flect the ultimale ioucrucability of the unive. . . along with all its other characteristics, but tbis constant awattne>l on the part (If the reader that he h. . not grouped everything can be irritating, and iCe"" to accounl for some of the choleric ombu. . . ! :! againlt the book. I do nOI, howe""r, want to rcopen that tired old debate about whether it ;, all worth the dfon and whether ,nch intentional obKurity can be
artistically justified. It mwt by now, I dunk, be evident to all thaI there arc great literary tre~ures buried in Fimrtgmu Wake and that potentially al any n. te il is in the lame clau . . . Ulyms- whicl' immediately pu! :! it among the great bonk. . ofthe CC! llury - bul whether the riches are . ullicient to ""pay tbe coruider. ahle labour which m""t be expended to bring them 10 Ihe . urface mlUt very likely alway1 remain a malter of talle and
, Alh<t1on, p. "9.
"
? Sa~ kptfts ofFi1ll1t8ans Watt
ICmperamcnt. Fortunau:ly, like the lobotcn devoured by H. C. Ear. . . . .
d:cr, the lw-dcst part ofFiatpM Wdt is iu shell. Beneath \. he l'IU. IIive superstructureofintcn'lOven motifs t. huciI a fundamental syntactical clarity and . implicity-KI much so, indeed, that oomp~ with \. he n. dicalliu:rary cxperimenu of the 1920', and 30'S Fin~ttQIIS Wab is almost conventional in style. All its technical advances arc dcvdopmentt-rcmarkable only in the ""ten! to which j oyce has pU$ho:d thc:TJ>--OI" ts\ab. lisbcd pra~ticc. joy<:e makes no a! tempt, for eumpLe, to break up the normal pror. . . . . . . . of word-. . ! OC;ation, nor to dispense with d aUIC-StruCture,'" do S<cin,j ol. . . . or the Dadais11. This under- lying oonxrv:aw,n is very dearly revealed in the nunu$Cripl3,
wheremostof\. hefirstdrafu,whichwn"C tobeencnutedlater with glittering o rnamentation, prove to have been wrillon 0 01 \ in the f1alles! communiutive proae.
I I : A R T O F P A N N I N G ( 18. j. . ~. . )
joyce Ita, been . "3Iiously praised and ""iled fOT filling hi. iatet" book:s witb litenory rubbish--<atci'? phr. ues, clicha, jour. naltle, popular lOngs, and the WOnt kind of guob from girll' . . . ? <<ltliel. II it undt:nU. ble that he round considcnblc dcLijjht in such trash, and a delight that was not alw. o. }", criticil. Some commentaton have certainly been too charitable to j oyce in implying that the bad operas, windy rhetoric, and . . ,ntiment,l dillieJ ,",re collected purely as lIylillie aunt-sallies, though at
us. . . l j oy" tU"'<<<Is, by hi. devious methods, in making functional ntaBity and uncritical delight go hand in haDd.
The primary energy which maintain. the highly cha r p poIaritiQ ofFu-gas Wdt iI su. mlted by cydeJ ofconstantly varied rcpetition- 'Thc Kim anew', u j oya pUB it (2 tS. 2S). The: ttronger the prc. . . ,. tablished tapectancy, the wider can be
the variations played on a word or motif. A pun u effective oaly when itt lint term is vividly prcpar. . :\ rD. by the contcxt. By OIling a vocabulary and "yle packed with well. worn uniu
J oyce iI ablt to play on what the psychologisB call the reader't 3'
? Strtm ASplds rifFi1l/Uglml Wakl
'readin",,'. As with tlle haMc 'tyl~, '" with the more Ipeci:. ol4cd mc:Ki. f! : ifJoyce build< Ihem up from familiar phl'alQ he is abdvcd from the need to CltaLllisb f. lUniliarily . . ith their ohape in the early part:I of Ihe book (which would be ou t of keeping in . . reaUy cyclie work) and is immediately able 10 make the widest punning acursions while n;m. aining , Ure orIlia readcn' PO""'" of . oxognil>on. The majority of the motifs listed in Ihe APf"'Ddix are in fact proverbs, calCh-phl'a$C$, and the ~mpty ~rbal formulae (]r~'Ulg:ar . pc<:eb.
The alential value cf the pun (If" portl1UJlleau-word in HIrtIIga1U Wa. b Ii. . OOt in ill elu,ive and luggesli. . . e qualitiet bul in its capacily to oonlprcsa much meaning into little space. T oo much ILu been written about the Stlggcstive, connolatiV'C
aspec'" of Hlf1Itgmu Walt and 100 liltle about the power of Joyce's new polyhedral vocabolary to accumulate denotation. In OOnl. . . . 110 Ihe effccl created by greM luggcstive wwb like
those: ofMaLlanne-with which Joyce', art h. . . ail110lt nothing io common-Ihe more one reado Fju,lfU'$ Wah and karns to recognilC how all the little bricks fil inlO the finUbed struClure. the ""'" suggati,. . , Ihe book tttnu. f. . arly impressioou of myftery aoo hypnolic inc. . nlation begin to wear a"'ay, and the tech- nique hegins to look mOT~ ! ike a . df-coruciou. lIylistic short- itand thart an appeal dire<:1 to the unOOll3Cioou mind M the car. Tite manuscripts. nowJO}tt in the pmc'! ofadding to h. ia tCllt 001 music or colour Or emotive 0. . . 0 1 0 _ , but ICmantcmes. H e
was certainly not indifferenl 10 those other thingl, but almOlt C\'CI')'Where me ukidoeoopic effecll of imagery io PUlMllIN
1Y. . . u and ! he peculiar texture of the writing are achieved, . . . in the bell of Sir Thoma. . Browne, by a massi,,, concentration of pun: denotation jostling around in a confined 'pace. Again, the puus . Ihou. . ld not be: judged by the wual criterion of willy effectiven. . . Mr. Atland Uaher u ntiWng the point when he oomplai. . . of the 'weakncsa' of a pun like 'Sea "a~t a pool' (338"41. ' Sometimes Joyce """tea verticaUy ruher than hori? zontally, hamumieally rather than contrapuntally, in wruch ea. e a clwter of pUll! may aU oontain internally iUuminating
L A . U . h << , ' I . , . , . . G . . . . . I ' W O - . . L o o d . . , . 'g~ ? ? p . ' ! I l I . ,.
? SOIm Asputs of Finneg(111s Wake
rdatiomhip", Su~h puns (xilt in their OWn right at . . ,If. . ufficienl liltle ideograms. A good example i. the word 'paltipsypote' (337. 2. ) from the '&ene in the Public', which neatly integrates 'pal', 'tipsy' and 'pote' into the idea of 'participating' in a round of Guinne",. But J oyce does not always write harmoni- cally, and just at the harmonic relationship" in a mu. iul fugue may very well be irrdevant, SO the vertical relationship" of the twO or more meanings within aJoycean pun are onen unimpor- tant, which can never be true of the everyday pun or humorow
intent. What always matte. . . mOSI is IhaL ill each enat: the pUll alSure the horizQTl\. a1 continuity of the various 'VQic<:s' in the passage. In the clUlmple which troubl. . Mr. U,sher there arc at least four voi=, hardly relatrd to each other (except in SO far as Fi1llutallS Wak, uhimatdy relates all conte:<U). but all carrying the matrix of the 'Butt and Tall"' epWe One step further. First, there i. the obvious content of the whole: 'Sev""topol', the scene of the shooting of the Russian G""erai; next, thc mOilt appal""t meaning of all pam tu"" as a d au. . ,: 'see a vast pool'. which . . t. abl"h. . tbe correspondence of the
battleo at Sevastopol and Dublin ('Black_poor), and the horm. . . of the Flood; there is probably an allusion to the 'apple' which brought about the original Fall and all ito VlUt consequences (the pun we are considering is plaerd at the beginning of the
'Butt and TalY' episode); and, finally, the first two word.
