<center>**~ [Finnegans Wake – A Prescriptive Guide](https://peakd.com/literature/@harlotscurse/finnegans-wake-a-prescriptive-guide-1) ~**</center>

<center>https://i.imgur.com/R9SbBLb.jpg</center><center>**RFW 022.09–023.02**</center>

The penultimate paragraph of the opening chapter of James Joyce’s _Finnegans Wake_ is an important and revealing one. Filling more than a whole page in the original edition, it looks forward to the very end of the novel—**Zee End**—and casts some light on HCE’s complicated relationships with both his wife ALP and his daughter Issy. It also hints at the actual date on which _Finnegans Wake_ takes place.

<center>https://i.imgur.com/G9WuU0C.jpg</center><center>**Hayman 60:12-31**</center>

## First-Draft Version ##
The first draft of this paragraph comprised just four or five lines. These were originally part of a single fifteen-line paragraph that ran from _And would again could whispering grassies wake him_ (RFW 019.18) to _Finn no more!_ (RFW 023.02). In the final published text, these fifteen lines had grown to four-and-a-half pages (three-and-a-half in the _Restored Finnegans Wake_), spread over seven paragraphs. The seventh paragraph, the one we are now studying, runs to thirty-four lines—about eight times its original length:

>I’ve an eye on queer Behan and Old Kate and the milk, trust me. And we put on your clock again, sir, for you. And it’s herself that’s fine too, don’t be talking, and fond of the concertina of an evening: Her hair’s as brown as ever it was. And wivvy and wavy. Repose you now! Finn no more! ([Hayman 60]( http://digicoll.library.wisc.edu/cgi-bin/JoyceColl/JoyceColl-idx?type=goto&id=JoyceColl.HaymanFirstDrft&isize=M&submit=Go+to+page&page=60))

Once again we must ask ourselves: Who speaks these lines? Or, perhaps, we should be asking who _speak_ these lines, as there may be multiple narrators in this paragraph.

Behan and Kate are surely **S** and **K**, HCE’s elderly manservant and ALP’s elderly maid-of-all-work, so neither of them speaks the opening sentence (Glasheen 27). Could the speaker here be HCE or ALP, concerned that their servants are stealing milk? **Queer** is a slang term for _drunk_, and Joyce later emended **milk** to **butter**. This suggests a connection with Charles Dickens’ _Great Expectations_:

>Here’s the cook lying insensibly drunk on the kitchen floor, with a large bundle of fresh butter made up in the cupboard ready to sell for grease! (Dickens 73)

It may be easier to tease out the different lines of dialogue in the final, expanded draft.

Whose hair is as brown as ever it was, ALP’s or Issy’s? Probably both are meant. HCE fell in love with ALP when she was young and beautiful. Now that she is old and losing her looks, he is falling in love with his daughter, who is coming to resemble the young ALP more and more. In this paragraph, the young ALP is conflated with Issy. Against this, however, must be weighed those passages in which it is implied that ALP’s hair is auburn and Issy’s blonde:

>ALP’s hair, having been set aflame by her lover’s ‘flightening’ eyes (and singed by her recent ‘permanent’), is a fire-coloured ‘auburnt’ ... Aside from her voice, the two most solidly established facts about Issy’s appearance are that she wears cosmetics and has blonde hair. But even these details fade under scrutiny ... As for her blonde hair, it seems at times to have been another of the dreamer’s conjurations. (Gordon 63 ... 77 ... 78)

The River Liffey is brown as it flows through the city of Dublin. This is the ultimate source of the brown colour of ALP’s and Issy’s hair.

<center>https://i.imgur.com/qjUYrsL.jpg</center><center>**The River Liffey, Dublin**</center>

# Who Said What? #
There’s a lot to unpack in this long paragraph, so let’s see if we can make some sense of it.

>I’ve an eye on queer Behan and old Kate and the butter, trust me. She’ll do no jugglywuggly with her war souvenir postcards to help to build me murial. Tippers, I’ll trip your traps! Assure a sure there!

The reference to **me murial** suggests that these lines are spoken by the deceased HCE. **Tippers** brings to mind the rubbish tip behind the Mullingar House, which is often identified with HCE’s burial mound. In the Museyroom Episode, Kate repeatedly said **Tip!** Her **war souvenir postcards** may be mementos she sells to visitors, who are the **Tippers** addressed by HCE in the next sentence. These are, I presume, HCE’s sons Shem and Shaun, who would like to dump their father onto the rubbish tip and step into his shoes. But HCE does not intend to make things easy for them.

The following lines seem to be spoken mainly by **K** and **S**, who are addressing to HCE:

>**K** And we put on your clock again, sir, for you.
>**HCE** Did or didn’t we, sharestutterers?
>**S** So you won’t be up a stump entirely.
>**K** Nor shed your remnants.
>**S** The sternwheel’s crawling strong.
>**K** I seen your missus in the hall. Like queenoveire.

I will discuss the significance of the clock shortly. Throughout _Finnegans Wake_, HCE’s stutter is a sign of his guilty conscience, but who are his **sharestutterers** (ie those who share his stutter)? I surmise that HCE speaks this line, addressing **K** and **S** as his fellow-stutterers?

Kate sees ALP in the hall and is impressed by her appearance. She is like King Arthur’s consort Guinevere, or the Queen of Éire. Is Kate reporting an apparition of ALP’s ghost in the hall? On one level of _Finnegans Wake_ ALP dies and HCE is left a widower, while on another level it is HCE who dies, leaving his wife a widow. Later, at RFW 433.17 ff, Kate sees HCE’s ghost on the stairs.

There is a cluster of quotations here from Mark Twain’s _Huckleberry Finn_. Why?

I suspect that the next sentence is spoken by the ghost of ALP in the hall and overheard by Kate. She is speaking about Issy—or, possibly, the young ALP of the distant past—who is the focus of attention for much of this paragraph:

>Arrah, it’s herself that’s fine, sure, don’t be talking!

Issy is a constant chatterer. She is the Scheherazade of _Finnegans Wake_, the incessant spinner of yarns. Is she the speaker of the following lines?

>Shirksends? You storyan Harry chap longa me Harry chap storyan grass woman plelthy good trout. Shakeshands.

In this exchange, Joyce makes use of [Bêche-la-Mar](https://en.wikipedia.org/wiki/Bislama), a Melanesian Pidgin language, dialects of which are still spoken in Vanuatu (Bislama), the Solomon Islands (Pijin) and Papua Guinea (Tok Pisin). On the [James Joyce Digital Archive](http://jjda.ie/main/JJDA/f/FF/fnbs/n53all.htm#n53025a), Danis Rose and John O’Hanlon describe it thus:

<center>https://i.imgur.com/Exxr93T.jpg</center><center>**Solomon Islanders in Battle Dress**</center>

>Note: Bêche-la-Mar is a simple patois developed to ease communication between the natives of the Melanesian islands and the Europeans they encountered while trading. Its name, also given as Sandalwood English, derives from two commodities traded—sandalwood, a fragrant wood from the tree _Santalum album_, and Bêche-le-mer (from the Portuguese _bicho do mar_, or ‘worm of the sea’), a sea slug highly prized by the Chinese as a delicacy. The vocabulary is simplistic, of necessity, and in the main English, while the syntax is almost comical.

I have no idea what the import of this exchange is. The image of two hairy chaps trying to communicate with one another reminds me of the Mutt & Jute Dialogue. Should they shake hands (friends) or shake spears (enemies)? The **grass woman** must be ALP, a grass widow deserted by her husband. But what’s with the plenty of healthy good trout? Is there a reference here to the Salmon of Knowledge of Irish mythology? In the next line, **lex** suggests the Old Norse: **lax**, _salmon_.

Issy is the Wake’s **storyan**, I suppose, but she is usually associated with Rhaeto-Romanic (Romansch), not Bêche-la-Mar. The word [_grass_](http://jjda.ie/main/JJDA/F/flex/a/lexa.htm#n53009ay), however, does mean _fat_ in Rhaeto-Romanic, so there’s that.

>Dibble a hayfork’s wrong with her only her lex’s salig.

Anglo-Irish: **devil a hap’orth**, _nothing_. Tybalt is a kinsman of the Capulets in Shakespeare’s _Romeo and Juliet_. The _Lex Salica_, or Salic Law, was a Frankish lawbook which excluded females from the line of succession. It features in the plot of Shakespeare’s _Henry V_. King Henry V was previously known as Prince Harry. So we have Shakespeare, Tybalt, Prince Harry, the _Lex Salica_, the Devil and his pitchfork, the Salmon of Knowledge. What do these have in common? I’m afraid I am still none the wiser.

<center>https://i.imgur.com/VUWfCWG.jpg</center><center>**Decoying More Nesters**</center>

>Bald Tib does be yawning and smirking cats’ hours on the Pollockses’ woolly round tabouret cushion watching her sewing a dream together, the tailor’s daughter, stitch to her last. Or, while waiting for winter to fire the enchantment, decoying more nesters to fall down the flue. It’s an allavalonche that blows nopussy food.

In the first edition of _Finnegans Wake_, Issy’s cat is called _Boald Tib_, conflating _Bold_ and _Bald_, but in _The Restored Finnegans Wake_, Rose & O’Hanlon have emended this to _Bald_. Like _Dibble_, there is an allusion to _Romeo & Juliet’s_ [Tybalt](https://en.wikipedia.org/wiki/Tybalt), who is mocked in the play as _Prince of Cats_. The proverbial phrase, _Ill blows the wind that profits nobody_, occurs in another of Shakespeare’s plays, _3 Henry VI_ (2:5:55).

I don’t understand the significance of the reference to Castor and Pollux, twin brothers of Helen of Troy. I Presume they represent Shem and Shaun, while Helen is Issy.

The tailor’s daughter—Issy or the young ALP—features in _How Kersse the Tailor Made a Suit of Clothes for the Norwegian Captain_, one of the mock-heroic tales in Chapter II.3, _The Scene in the Public_.

>If you only were there to explain the meaning, best of men, and talk to her nice of guldenselver. The lips would moisten once again. As when you drove with her to Findrinny Fair. What with reins here and ribbons there all your hands were employed so she never knew was she on land or at sea or swooped through the blue like Airwinger’s bride. She was flirtsome then and she’s fluttersome yet. 

ALP is now addressing the absent HCE. The memory of HCE driving with the young ALP|Issy to Findrinny Fair seems to be based on Joyce’s elopement with Nora Barnacle on 8 October 1904 (Norburn 23):

>On 16 October 1934 James Joyce wrote to his son Giorgio and said, among other things, “A 30-year wedding should be called a ‘findrinny’ one. Findrinny is a kind of white gold mixed with silver”. Subtract thirty years from 1934 and you get 1904, the year in which Joyce met his Nora Barnacle and consummated what he regarded as his marriage to her. Like nearly everything else, the word was put into _Finnegans Wake_, and again between gold and silver. (Donoghue 125, _Letters I_ 348)

The following lines describe the young ALP or Issy in some detail:

>She can second a song and adores a scandal when the last post’s gone by. Fond of a concertina and pairs passing when she’s had her forty winks for supper after kanekannan and abbely dimpling and is in her merlin chair assotted, reading her _Evening World_. To see is it smarts, full lengths or swaggers. News, news, all the news. Death, a leopard, kills fellah in Fez. Angry scenes at Stormount. Stilla Star with her lucky in goingaways. Opportunity fair with the China floods and we hear these rosy rumours.

The prevalence of Arthurian themes—Guinevere, Avalon, Round Table, Merlin—is appropriate here. Of all the characters in _Finnegans Wake_, Issy is the one most besotted with Medieval Romances.

The Merlin chair was an early type of self-propelled wheelchair, designed by Jean-Joseph Merlin, an 18th-century inventor from Liège. It was primarily designed for sufferers of gout. Why would Issy or the young ALP require such a chair?

<center>https://i.imgur.com/j9PCh3U.jpg</center><center>**Merlin Chair**</center>

_The Evening World_ was a New York newspaper published between 1887 and 1931. Of course, _Finnegans Wake_ is itself a depiction of the evening world.

The recurrence of _Harry chap_ suggests that the following line is spoken by Issy:

>Ding Tams he noise about all same Harry chap.

The next seven lines resume the portrait of young ALP|Issy:

>She’s seeking her way, a chickle a chuckle, in and out of their serial story, _Les Loves of Selskar et Pervenche_, freely adopted to _The Novvergin’s Viv_. There’ll be bluebells blowing in salty sepulchres the night she signs her final tear. Zee End. But that’s a world of ways away. Till track laws time. No silver ash or switches for that one! While flattering candles flare. Anna Stacey’s how are you! Worther waist in the noblest, says Adams and Sons, the wouldpay actionneers. Her hair’s as brown as ever it was. And wivvy and wavy.

This passage foreshadows not only the mock-heroic tale of _How Kersse the Tailor Made a Suit of Clothes for the Norwegian Captain_ but also the very end of _Finnegans Wake_, in which ALP finally passes away.

The final words, addressed by ALP to the deceased HCE, repeat the injunction to lie down:

>Repose you now! Finn no more!

French: **reposez-vous**, _lie down!_ Those last three words, however, tell us that HCE is no longer the giant Finn MacCool interred in the Irish landscape, whose image has informed much of this introductory chapter. Joyce is now preparing the way for the following chapter—I.2, _The Humphriad I_—in which HCE will be portrayed as a bourgeois citizen of modern Dublin.

<center>https://i.imgur.com/gH2dH9E.jpg</center><center>**Waterbury Pocket Watch**</center>

## Time of Day ##
In an earlier article in this series, I laid out the hypothesis that _Finnegans Wake_ is a multilayered work, with several different planes of narrative. We have it on Joyce’s own authority that the book is to be read and understood on more than one level:

<div class="pull-left">
https://i.imgur.com/vl0E23q.jpg
<center><b>Joyce</b></center>
</div>

>I might easily have written this story in the traditional manner. Every novelist knows the recipe. It is not very difficult to follow a simple, chronological scheme which the critics will understand. But I, after all, am trying to tell the story of this Chapelizod family in a new way. Time and the river and the mountain are the real heroes of my book. Yet the elements are exactly what every novelist might use: man and woman, birth, childhood, night, sleep, marriage, prayer, death. There is nothing paradoxical about all this. Only I am trying to build many planes of narrative with a single esthetic purpose. Did you ever read [Laurence Sterne](https://en.wikipedia.org/wiki/Laurence_Sterne)? (Givens 11-12, Ellmann 554)

A reminder of what I had to say about the first of those layers would not be amiss here:

I choose to take Joyce at his word: there are several planes of narrative in _Finnegans Wake_. But how many?

Four. That, at least, is how many there are in my working hypothesis as it currently stands. Perhaps there are more, perhaps fewer, but let us not complicate matters. I can discern four—just about—and that is more than enough to be getting on with.

I believe that each of these planes of narrative can be located in space and time.

## A Joycean Template ##
Joyce’s earlier epic, _Ulysses_, is a good place to begin. Everyone knows that _Ulysses_ tells the story of a single day in Dublin. Joyce even provided his readers with a pair of [schemata](https://en.wiktionary.org/wiki/schema) to help them find their way through his labyrinthine text:

 * [Linati Schema](https://en.wikipedia.org/wiki/Linati_schema_for_Ulysses)
 * [Gilbert Schema](https://en.wikipedia.org/wiki/Gilbert_schema_for_Ulysses)

<center>http://i.imgur.com/XNWinsi.jpg</center><center>**Joyce’s Linati Schema**</center>

Although there are some discrepancies between the two, it is not disputed that _Ulysses_ takes place in Dublin, that it begins at approximately 8 am on Thursday 16 June 1904, and that it ends in the small hours of the following morning. We can also pin down many of the incidents in the novel to specific points in space and time. For example, when Leopold Bloom hears the _bells of George’s church_ chiming 8:45 am, he is standing in the back garden of his house at 7 Eccles Street. At precisely the same moment, Stephen Dedalus is walking _along the upwardcurving path_ at the [Forty Foot](https://en.wikipedia.org/wiki/Forty_Foot) in Sandycove.

There is clearly a plane of narrative in which the events of Bloom’s and Stephen’s lives on this particular day and in this particular city are located. In _Ulysses_, Bloom and Stephen are real people. They are of course _fictional _ characters in a novel, but in that novel they are just as real as you and me. They really do have breakfast, feed the cat, teach history, go to a funeral, get drunk, etc.

<center>https://i.imgur.com/ALhfrvS.jpg</center><center>**_Ulysses_**</center>

But not everything in _Ulysses_ is as real as this. Some of the things attributed to Bloom only occur in his imagination, or in his unconscious. For instance, Bloom does not really become pregnant and give birth to _eight male yellow and white children_, as is narrated in the _Circe_ episode. And the ghost of Stephen’s mother does not really confront him in the same episode. Nor do the Royal and Grand Canals really swap places, as is implied in the _Wandering Rocks_ episode. These events are located on another plane of narrative.

# The First Plane of Narrative – Nocturnal #
Is there a narrative plane in _Finnegans Wake_ that corresponds to the real world, the world of Leopold Bloom and Stephen Dedalus? I believe there is. This is the plane Joyce was referring to when he made the following statement to [Ole Vinding](https://da.wikipedia.org/wiki/Ole_Vinding) in Copenhagen in 1936:

<div class="pull-left">
http://i.imgur.com/uyARsMQ.jpg
<center><b>Vinding</b></center>
</div>

>There are, so to say, no individual people in the book—it is as in a dream, the style gliding and unreal as is the way in dreams. If one were to speak of a person in the book, it would have to be of an old man, but even his relationship to reality is doubtful. (Vinding _et al_ 180-181)

While _Ulysses_ is populated with dozens of real people, there is only one truly real person in _Finnegans Wake_—an old man—and even he is not quite as real as Bloom and Dedalus. Who is this old man, and what do we know about him?

 * He is the landlord—retired?—of the Mullingar House in Chapelizod.
 * He is seventy years old.
 * He is a widower.
 * He has three grown-up children: two sons and a daughter.

On the opening page of the book he falls asleep in the four-poster bed in the master bedroom on the first floor at the rear of the Mullingar House. The precise moment he falls asleep—punctuated by the word _fall_ (RFW 003.14)—is 11:32 pm on Saturday 12 April 1924. He sleeps, more or less soundly, for about eight hours and wakes up the following morning on the last page of the book. The precise moment of his awakening is punctuated by the words _a way_ (RFW 493.07).

Remember that all of this is highly conjectural. It is just a working hypothesis. But there are many scraps of circumstantial evidence to back it up—some internal and some external.

In addition to the comments quoted above, Joyce said numerous other things that confirm the nocturnal nature of _Finnegans Wake_. Most of these were made late in the process of composition to men like Jacques Mercanton and Ole Vinding, so they represent Joyce’s mature reflections on the book.

>I reconstruct the nocturnal life. (Mercanton & Parks 704)
>
>I want to describe the night itself. _Ulysses_ is related to this book as the day is to the night. Otherwise there is no connection between the two books. (Vinding _et al_ 180)

In the final chapter of the book itself, a very revealing statement is made:

>You mean to see we have been hadding a sound night’s sleep? ([RFW 466.06](http://www.fweet.org/cgi-bin/fw_grep.cgi?srch=%5E597..%3F%2801%7C02%29&cake=&icase=1&accent=1&regex=1&beauty=1&hilight=1&escope=1&rscope=1&dist=4&ndist=4&fontsz=100&shorth=1&showtxt=1))

In the course of the book, we learn various things about the protagonist:

>[He] owns the bulgiest bungbarrel that ever was tiptapped in the privace of the Mullingar Inn ... ([RFW 109.29-31](http://www.fweet.org/cgi-bin/fw_grep.cgi?srch=%5E138..%3F%2818%7C19%29&cake=&icase=1&accent=1&regex=1&beauty=1&hilight=1&escope=1&tscope=1&rscope=1&dist=4&ndist=4&fontsz=100&shorth=1))

>[He] came at this timecoloured place where we live ... and has been repreaching himself like a fishmummer these sixtyten years ever since ... ([RFW 023.20-26](http://www.fweet.org/cgi-bin/fw_grep.cgi?srch=%5E029..%3F%2820%7C21%7C22%7C23%7C24%7C25%7C26%29&cake=&icase=1&accent=1&regex=1&beauty=1&hilight=1&showtxt=1&escope=1&tscope=1&rscope=1&dist=4&ndist=4&fontsz=100&shorth=1))

>... in his windower’s house ... ([RFW 019.17](http://www.fweet.org/cgi-bin/fw_grep.cgi?srch=%5E024..%3F%2808%7C09%29&cake=&icase=1&accent=1&regex=1&beauty=1&hilight=1&showtxt=1&escope=1&tscope=1&rscope=1&dist=4&ndist=4&fontsz=100&shorth=1))

>... he’s such a granfallar, with a pocked wife in pickle that’s a flyfire and three lice nittle clinkers, two twilling bugs and one midgit pucelle. ([RFW 023.09-11](http://www.fweet.org/cgi-bin/fw_grep.cgi?srch=%5E029..%3F%2807%7C08%29&cake=&icase=1&accent=1&regex=1&beauty=1&hilight=1&showtxt=1&escope=1&tscope=1&rscope=1&dist=4&ndist=4&fontsz=100&shorth=1))

The number 1132 pops up all over _Finnegans Wake_ ... Clive Hart was the first—I believe—to suggest that the book begins at 11:32:

>The whole book ... begins at the magical hour of 11.32 a.m. ... (Hart 71)

Hart’s analysis here is relevant to my second plane of narrative, which I believe begins at 11:32 in the morning. But what I have been calling the first plane of narrative begins at 11:32 at night.

As for the date—Saturday 12|Sunday 13 April 1924—there are several pieces of evidence scattered throughout the final text and Joyce’s notebooks in support of this. In the Roman calendar 13 April was the [_ides of April_](https://en.wikipedia.org/wiki/Ides):

>They tell the story ... how one happy-go-gusty Ides-of-April morning ... (RFW 027.39-028.01)
>
>The other spring offensive on the heights of Abraham ... (RFW 062.28)

One of the oft-recurring motifs in _Finnegans Wake_ is ALP’s Letter. As we have seen, this document frequently symbolizes the entire book itself. For example, when the Letter is referred to as _The Suspended Sentence_ (RFW 084.30-31) we are to understand that this also applies to _Finnegans Wake_ itself:

>The book really has no beginning or end. (Trade secret, registered at Stationers Hall.) It ends in the middle of a sentence and begins in the middle of the same sentence. (_Letters_ 8 November 1926)

During the lengthy and piecemeal drafting of the book, Joyce first conceived of the Letter as a postcard, as we learn from the following note in one of the earliest of the _Finnegans Wake_ notebooks, _Scribbledehobble_ (VI.A):

>on the N.E. slope of the dunghill the slanteyed hen of the Grogans scrutinised a clayed p.c. from Boston (Mass) of the 12th of the 4th to dearest Elly from her loving sister with 4½ kisses ([VI.A: 271](http://jjda.ie/main/JJDA/F/FF/fnbs/ssaall.htm#sa0271c))

It is true that the final version of this passage speaks not of a postcard dated 12th April, but of:

>a goodishsized sheet of letterpaper originating by transhipt from Boston (Mass.) of the last of the first ... (RFW 088.20-21)

But I am going to assume that Joyce changed the date from the actual one to a symbolic one (_The last shall be first and the first shall be last_) because he did not want to make things easy for the reader.

There is one last point about the date I wish to make, as it is relevant to the paragraph we are now studying:

>And we put on your clock again, sir, for you. (RFW 022.11-12)

On Sunday 13 April 1924, at 2 am in the morning, the clocks went forward one hour as Irish summer time began:

>SUMMER TIME ACT, 1924 ... For the purpose of this Act, the period of summer time for the year 1924 shall be taken to be the period beginning at two o’clock, West-European time, in the morning of the 13th day of April, in the year 1924, and ending at two o’clock, West-European time, in the morning of the 21st day of September, in the year 1924 ([_Achtanna an Oireachtais_, Number 12 of 1924](http://www.acts.ie/en.act.1924.0012.1.html) )

Personal dates were important to Joyce. He set _Ulysses_ on the day of his first date with Nora Barnacle, and took pains to have it published on 2 February 1922, his own fortieth birthday. 13 April turns up more than once in the Joycean canon. In _A Portrait of the Artist as a Young Man_, one of Stephen’s entries in his diary is dated 13 April:

>13 April: That tundish has been on my mind for a long time. I looked it up and find it English and good old blunt English too. Damn the dean of studies and his funnel! What did he come here for to teach us his own language or to learn it from us? Damn him one way or the other! (Joyce 1916:297)

Handel’s [_Messiah_](https://en.wikipedia.org/wiki/Messiah_(Handel)) had its world première in Dublin on 13 April 1742, and [Catholic Emancipation](https://en.wikipedia.org/wiki/Roman_Catholic_Relief_Act_1829) was passed into law on 13 April 1829. But if this particular date held any special significance for Joyce, I am not aware of it.

And this is a good place to stop.

---

## References ##
 * [Charles Dickens](https://archive.org/details/greatexpectation02dick/page/72/mode/2up), _Great Expectations_, Volume 2, Chapman and Hall, London (1861)
 * [Denis Donoghue](https://www.jstor.org/stable/25477269), _One-Way Communication_, _**Irish University Review**_, Volume 9, Number 1, pp 119-141, Edinburgh University Press, Edinburgh (1979)
 * [Richard Ellmann](https://1lib.eu/book/2351943/3b87e8), _James Joyce_, Second Edition, Oxford University Press, Oxford (1982)
 * [Seon Givens (editor)](https://archive.org/details/jamesjoycetwodec00manl), _James Joyce: Two Decades of Criticism_, Vanguard Press, New York (1963)
 * [Adaline Glasheen](http://digicoll.library.wisc.edu/cgi-bin/JoyceColl/JoyceColl-idx?type=header&id=JoyceColl.GlasheenFinnegans&isize=M&q1=Kelleher), _Third Census of **Finnegans Wake**_, University of California Press, Berkeley CA (1977)
 * [John Gordon](https://books.google.com/books?id=InCmQW7K1QUC), _Finnegans Wake: A Plot Summary_, Syracuse University Press, Syracuse NY (1986)
 * [Clive Hart](http://digicoll.library.wisc.edu/cgi-bin/JoyceColl/JoyceColl-idx?type=header&id=JoyceColl.HartStructure&isize=M&q1=284), _Structure and Motif in Finnegans Wake_, Northwestern University Press, Evanston IL (1962)
 * [David Hayman](http://digicoll.library.wisc.edu/cgi-bin/JoyceColl/JoyceColl-idx?type=turn&entity=JoyceColl.HaymanFirstDrft.p0066&id=JoyceColl.HaymanFirstDrft&isize=M), _A First-Draft Version of **Finnegans Wake**_, University of Texas Press, Austin TX (1963)
 * [James Joyce](https://archive.org/stream/portraitofartist00joycrich#page/n5/mode/2up), _A Portrait of the Artist as a Young Man_, B W Huebsch, New York (1916)
 * [James Joyce](https://en.wikisource.org/wiki/Ulysses_(1922)), _Ulysses_, Shakespeare & Company, Paris (1922)
 * James Joyce _et al_, _The Letters of James Joyce_, [Volume I](https://archive.org/details/letters00joyc), Stuart Gilbert (editor), [Volumes II and III](https://archive.org/details/letterofjamesjoy03joyc), Richard Ellmann (editor), Viking Press, New York (1957, 1966)
 * [James Joyce](https://archive.org/stream/finneganswake00joycuoft#page/n7/mode/2up), _Finnegans Wake_, The Viking Press, New York (1958, 1966)
 * [Jacques Mercanton](http://www.jstor.org/stable/4334273), Lloyd C Parks (translator), _The Hours of James Joyce, Part I_, _The Kenyon Review_, Volume 24, Number 4 (Autumn 1962), pp 700-730, Kenyon College, Gambier OH (1962)
 * [Roger Norburn](https://1lib.eu/book/2684822/01d110), _A James Joyce Chronology_, Palgrave Macmillan, London (2004)
 * [Danis Rose, John O’Hanlon](https://www.penguin.co.uk/books/176988/the-restored-finnegans-wake/), _The Restored Finnegans Wake_, Penguin Classics, London (2012)
 * [Ole Vinding, Helge Irgens-Moller (translator), Brookes Spencer (translator)](http://www.jstor.org/stable/25476048), _James Joyce in Copenhagen_, _James Joyce Quarterly_, Volume 14, Number 2, Joyce Reminiscences Issue (Winter, 1977), pp 173-184, University of Tulsa, Tulsa, OK (1977)

## Image Credits ##
 * [King Arthur’s Hall](https://commons.wikimedia.org/wiki/File:ArthursHallPanorama.jpg): Megalithic Monument, Bodmin Moor, Cornwall © [Dietrich Krieger](https://commons.wikimedia.org/wiki/User:DKrieger), Creative Commons License
 * [The River Liffey, Dublin](https://commons.wikimedia.org/wiki/File:River-liffey.jpg): © [Dave Meier](https://picography.co/river-liffey/), Public Domain
 * [Solomon Islanders in Battle Dress](https://solomon-unesco.typepad.com/solomon-unesco/2014/12/lart-sobre-et-raffin%C3%A9-des-iles-salomon-au-quai-branly.html): William Henry Jackson (photographer), Public Domain
 * [Decoying More Nesters](https://www.pinterest.ie/pin/587086501397492627/): Aoife Mac Manamon, Copyright Unknown, Fair Use
 * [Merlin Chair](https://wellcomecollection.org/works/fhfprsk3): Rudolph Ackermann (artist), [Wellcome Collection](https://wellcomeimages.org/indexplus/image/V0016493.html), Creative Commons License
 * [Waterbury Pocket Watch](https://www.sellingantiques.co.uk/403409/waterbury-watch-co-pocket-watch-with-original-box/): Waterbury Pocket Watch and Original Box (1890), © 2020 Sellingantiques Ltd, Fair Use
 * [James Joyce](https://www.pinterest.com/pin/178595941443149050/): Gisèle Freund, © IMEC, Fair Use
 * [_Ulysses_](https://commons.wikimedia.org/wiki/File:JoyceUlysses2.jpg): Front Cover of _Ulysses_, First Edition (1922), Public Domain
 * [Joyce’s Linati Schema](https://www.pinterest.com/pin/318770479851556222/): Lockwood Memorial Library (SUNY, Buffalo), Public Domain
 * [Ole Vinding](http://gravsted.dk/person.php?navn=olevinding): Unknown Copyright, Fair Use

## Useful Resources ##
 * [Joyce Tools](http://www.riverrun.org.uk/joycetools.html)
 * [FWEET](http://www.fweet.org/cgi-bin/fw_grep.cgi?r=1&f=100&b=1&i=1&o=1&s=^027)
 * [The James Joyce Scholars’ Collection](http://digicoll.library.wisc.edu/JoyceColl/Browse.html)
 * [FinnegansWiki](https://www.finnegansweb.com/wiki/index.php/Page_27)
 * [James Joyce Digital Archive](http://jjda.ie/main/JJDA/F/FWHome.htm)
 * [Annotated _Finnegans Wake_ (with Wakepedia)](http://fwannotated.blogspot.com/2014/09/p27e.html)
 * [From Swerve of Shore to Bend of Bay](https://peterchrisp.blogspot.com/)
 * [John Gordon’s _Finnegans Wake_ Blog](https://johngordonfinnegan.weebly.com/book-i)
 * [James Joyce: Online Notes](http://www.jjon.org/home)

![](https://i.imgur.com/7kq532u.png)