O Finnegans Wake e os limites do romance
A disciplina pretende discutir questões que podem ter interesse para a teoria literária e a teoria do romance, a partir de um problema
de um texto problema, o Finnegans Wake, de James Joyce.
Se o livro de Joyce se organiza como tentativa de dizer da única maneira possível algo que prévia e continuamente foi e é identificado como indizível; ou seja, se o
Wake é o necessariamente incompreensível enunciado que diz o inefável, como fica a situação, em qualquer esquema que se pretenda conceber, do leitor, do intérprete,
do crítico... do tradutor?
Para chegarmos aí, no entanto, vamos necessariamente ter de dedicar boa parte do curso a uma introdução geral ao livro e à análise conjunta de trechos escolhidos.
Vamos tentar ler o Finnegans Wake. O que já é bastante.
OBJETIVOS:
Apresentar possibilidades de leitura e “interpretação” do romance final de James Joyce, com especial atenção para os tensionamentos e questionamentos propostos pelo Finnegans Wake para categorias chaves da teoria do romance e da teoria literária, como um todo. Discutir a possibilidade da legibilidade do romance, o que significa, nos termos forçosamente definidos pela própria obra, discutir inclusive o que significa a “legibilidade” dentro da tradição do romance, e em que medida essa categoria pode ter sido refundada no projeto linguístico radicalizado de Joyce.
JUSTIFICATIVA:
Se é de alguma maneira ponto pacífico que o Ulysses pode ter representado uma espécie de “suma” do romance modernista, encenando um ápice e, nesse mesmo processo, um questionamento violento dos elementos do romanesco em princípios do século XX, o Finnegans Wake, incalculavelmente mais radical, mais arriscado e mais pretensioso, continua em considerável medida “não lido” e talvez “não legível” graças a suas próprias premissas básicas. Compreender o projeto de Joyce ao propor esse desafio a gerações de leitores é, mais que fundamental, perigoso e, por isso mesmo, potencialmente iluminador para toda a teoria do romance.
(Esse foi o miniprograma divulgado. E vale. Stet. Mas aqui fica um conjunto um pouco mais detalhado de instruções, organizações e
etceterações, pra você poder decidir se quer mesmo cursar e, depois disso, pra poder acompanhar o andamento das atividades e tals.)
Primeiro de tudo: nenhuma leitura prévia é necessária. A bem da verdade, eu quase diria que leituras prévias não são nem recomendadas. Dada a natureza do programa,
o jogo mesmo vai ser a gente tentar essa leitura juntos. No fundo, no fundo, a essência do curso vai ser justamente composta por essa leitura conjunta. Na
minha experiência anterior, essa é a GRANDE forma de se ler o Wake.
CONTEÚDO (EMENTA):
A revolução joyceana na prosa romanesca.
O Finnegans Wake como o "fim" do romance.
Sobrevoo pelo Liffey. O livro, suas partes, tramas, pessoas.
Leitura coletiva de fragmentos do livro.
Discussão final. O romance no "fim" do Finnegans Wake.
Do texto do Wake, recomendo muito as versões disponíveis na rede, tanto no site da Trent University quanto neste; e, anotado, tando no do Slepon quanto, com uma interface mais maneira, neste aqui. E, outra dica internética, as sinopses
destiladas do Fweet, que pra sua maior comodidade eu já copio também aqui no pé desta página.
(Mas deixo anotadinho aqui que, em vistas do que a gente pretende fazer, talvez nem seja recomendável entrar direto [muito menos ANTES das aulas] na pira
anotacionista, extrapolacioneira... logo, de repente as notas mais pontuais do Slepon podem ficar pra depois. As sinopses são menos problemáticas. E podem ser
necessárias!)
Professor, quero ler a tradução portuguesa.
Ora, sinta-se em casa. Mas se a gente for discutir ponto a ponto as opções de tradução o curso não vai pra frente. Logo, em sala, ficamos direto com o original, que
vamos mastigando juntos.
Professor, eu não leio inglês direito.
Nem se preocupe, o livro não foi escrito em inglês direito.
** Isso deve ser o que um professor decente faria nas primeiras aulas. Aqui, só depois de termos tentado entender o que o livro queria e o que a gente pôde querer com o
livro no contato direto com o texto, aqui é que a gente para pra ouvir o que o Joyce pôde ter dito sobre o seu projeto e o que a gente mesmo pode pensar, com recurso a
teóricos, filósofos, whatever.
Claro que eu tenho as minhas referências, e que você vai ter as tuas. Tudo bem, tudo ok, todos em casa. Discutamos.
Claro, também, que essas (especialmente as minhas) leituras vão acabar transparecendo durante as primeiras aulas. Bem possível que essas aqui sirvam também (senão
mais) como síntese.
*** No tempo que sobrar, voltamos ao livro. Pra pra discutir mais pontualmente (é outra questão,
afinal, que deve nos assombrar durante todo o semestre) questões gerais de teoria e, também, de tradução.
Vai ser divertido.
Vai por mim.
Seremos muitos? Muito duvido.
We few, we happy few...
Abração
caetano
Bibliografia
AMARANTE, Dirce Waltrick do. Finnegans Wake (por um fio). São Paulo: Iluminuras, 2018.
_______. Para ler o Finnegans Wake. São Paulo: Iluminuras, 2009.
_______. A tradução da língua de Finnegans Wake. disponível online.
BECKMAN, Richard. Joyce’s rare view: the nature of things in Finnegans Wake. Gainesville: University Press of Florida, 2007.
BENSTOCK, Bernard. Joyce-again’s wake: an analysis of Finnegans Wake. disponível em < http://digicoll.library.wisc.edu/cgi-bin/JoyceColl/JoyceColl-idx?type=header;pview=hide;id=JoyceColl.BenstkBJoyceAgn>
BISHOP, John. “Introduction” em. Finnegans Wake. Londres: Penguin Books, 2000.
_______. Joyce’s Book of the Dark: Finnegans Wake. Madison: The University of Wisconsin Press, 1993.
BOSINELLI, Rosa Maria Bolletieri (ed.). Anna Livia Plurabelle di James Joyce. Turim: Einaudi, 1995.
BURGESS, Anthony. Homem Comum Enfim: uma introdução a James Joyce para o leitor comum. São Paulo: Companhia das Letras, 1994.
_______. Joysprick. Londres: Deutsch, 1973.
_______. A shorter Finnegans Wake. Londres: Faber and Faber, 1966.
CAMPBELL, Joseph & ROBINSON, Henry Morton. A Skeleton Key to Finnegans Wake. Novato: New World Library, 2005.
CAMPOS, Augusto & Haroldo de. Panaroma do Finnegans Wake. São Paulo: Perspectiva, 2001.
CRISPI, Luca & SLOTE, Sam. How Joyce wrote Finnegans Wake: a chapter by chapter genetic guide. Madison: The University of Wisconsin press, 2007.
CONNOLLY, Thomas E (ed.). James Joyce’s Scribbledehobble: the ur-book for Finnegans Wake. Evanston: Northwestern University Press, 1961.
DEANE, Seamus. “Foreword” em. Finnegans Wake. Londres: Penguin Books, 1992.
ECO, Umberto. A obra aberta. São Paulo: Perspectiva, 2001.
_______. “Ostrigota, ora capesco” em Anna Livia Plurabelle di James Joyce. Turim: Einaudi, 1995
_______. Quase a mesma coisa. Rio de Janeiro: Record, 2007.
_______. The Aesthetics of Chaosmos: The Middle Ages of James Joyce. Cambridge, MA: Harvard University Press, 1989.
ELLMANN, Richard. James Joyce. Oxford: Oxford University Press, 1983.
EPSTEIN, Edmund Lloyd. A guide through Finnegans Wake. Gainesville, Fl: University Press of Florida, 2009.
FORDHAM, Finn. Lots of fun at Finnegans Wake. Oxford: Oxford University Press, 2007.
FREUD, Sigmund. A interpretação dos sonhos (I) (Jayme Salomão, coord. da trad.). Rio de Janeiro: Imago, 1996.
_______. A interpretação dos sonhos (II) e Sobre os sonhos. (Jayme Salomão, coord. da trad.). Rio de Janeiro: Imago, 1996.
GALINDO, Eu mesmo. “Agora tornei-me a morte, destruidora de mundos”.
_______. “Sobre a possibilidade de que o Finnegans Wake, de James Joyce, represente uma espécie de síntese literária em moldes bakhtinianos”.
_______. “The Finnecies of music wed poetry: A música e o Finnegans Wake”
_______. “O Finnegans Wake, o neopentecostalismo, os médiuns, mágicos, profetas, e o que você tem a ver com isso; e, meu amigo, minha amiga, ah!, como tem.”
GLASHEEN, Adaline. Third Census of Finnegans Wake. disponível online.
GORDON, John. Finnegans Wake: a plot summary. Syracuse: Syracuse University Press, 1986.
HAYMAN, David. A first-draft version of Finnegans Wake. Austin: University of Texas Press, 1963. Disponível online.
HIGGINSON, Fred H. (Ed.). Anna Livia Plurabelle: the making of a chapter, Minneapolis: University of Minnesota Press, 1959.
JOYCE, James. Finnegans Wake. Londres: Penguin Books, 2000.
_______. Finnegans Wake/Finnícius Revém , 5 vols.(Donaldo Schüler, trad.). São Paulo: Ateliê, 2003.
KITCHER, Philip. Joyce’s Kaleidoscope: an invitation to Finnegans Wake. Oxford: Oxford University Press, 2007.
MARTIN, Timothy Peter. Joyce and Wagner: a Study of Influence. Cambridge: Cambridge University Press, 1992.
McHUGH, Roland. Annotations to Finnegans Wake. Baltimore: The Johns Hopkins University Press, 1991.
_______. The Finnegans Wake experience. Berkeley: University of California Press, 1981.
_______. The sigla of Finnegans Wake. disponível em < http://digicoll.library.wisc.edu/cgi-bin/JoyceColl/JoyceColl-idx?type=header;pview=hide;id=JoyceColl.McHughSigla>
SLEPON, Raphael, ed. The Finnegans Wake Extensible Elucidation Treasury (FWEET) <http://www.fweet.org/>.
TEZZA, Cristovão. Entre a prosa e a poesia: Bakhtin e o formalism russo. Rio de Janeiro: Rocco, 2003.
TINDALL, William York. A Reader’s Guide to Finnegans Wake. Syracuse: The Syracuse University Press, 1996.
VICO, Giambattista. The New Science (David Marsh, trad.). Londres: Penguin, 2000.
WITTGENSTEIN, Ludwig. Tractatus Logico-Philosophicus (D. F. Bears & B. F. McGuinness, trad). Nova Iorque: Routledge, 2001.
Música (para os adeptos, mais ainda no caso de um livro insanamente musical)
obrigatório
JOYCE, James. Anna Livia Plurabelle (trecho). Áudio disponível em. http://www.youtube.com/watch?v=JtOQi7xspRc
THE DUBLINERS, Finnegan’s Wake.
Outras versões da mesma música.
WAGNER, Richard. Tristan und Isolde. Pelo menos veja isso aqui
extra
ALBERT, Stephen. Sinfonia número 1: RiverRun
CAGE, John. Roaratorio: an Irish circus on Finnegans Wake e, The Wonderful Widow of Eighteen Springs
FINNEGANS WAKE. Uma banda. Pra quem gosta de fusion, progressivo, essas coisas…
MINTON, Phil (Phil Minton Quartet). Mouthfull of Ecstasy
NORTON, Jim (com Marcela Riordan). Finnegans Wake (trechos). Audiobook Naxos.
TAKEMITSU, Toru. Riverrun; A way a lone; A way a lone II etc.
I.1.1A.B: [003.04-003.14]: beginning of time - nothing yet had happened.
I.1.1A.C: [003.15-003.24]: the fall - the thunder.
I.1.1A.D: [004.01-004.17]: storms of warfare - fall and rise.
I.1.1A.E: [004.18-005.04]: Tim Finnegan the masterbuilder - his tower.
I.1.1A.F: [005.05-005.12]: his crest of heraldry - his fate.
I.1.1A.G: [005.13-006.12]: the causes of his fall - he dies.
I.1.1A.H: [006.13-006.28]: his wake - laying him to rest.
I.1.1A.I: [006.29-007.19]: he is interred in the landscape - about to be eaten as a fish, he disappears.
I.1.1A.J: [007.20-008.08]: he sleeps under Dublin - entrance to the museum.
I.1.1A.K: [008.09-010.23]: the museyroom - the battle of Willingdone versus the Lipoleums and Jinnies.
I.1.1B.A: [010.24-011.28]: the battle is over - a gnarlybird collecting spoiled goods.
I.1.1B.B: [011.29-012.17]: her stolen presents - her role in life.
I.1.1B.C: [012.18-013.05]: an overview of the city and its hills - so this is Dublin.
I.1.1B.D: [013.06-013.19]: the engraving on the wall - look and listen.
I.1.1B.E: [013.20-013.28]: the history book - the major characters.
I.1.1C.A: [013.29-014.15]: leaves of time - four entries from the annals.
I.1.1C.B: [014.16-014.27]: the fleeing scribe - the changing times.
I.1.1D.A: [014.28-015.11]: pastoral scenery - flowers and battlefields.
I.1.1D.B: [015.12-015.28]: the mutability of men - the stability of flowers.
I.1.1E.A: [015.29-016.09]: Mutt meets Jute - Mutt attempts to address him.
I.1.1E.B: [016.10-017.16]: the dialogue of Mutt and Jute begins - memories of the battle of Clontarf.
I.1.1E.C: [017.17-018.16]: Mutt tells of the fallen - the dialogue of Mutt and Jute ends.
I.1.2A.A: [018.17-019.19]: the book itself - a hoard of alphabets, snakes, etc..
I.1.2A.B: [019.20-019.30]: of the number 111 - sons and daughters.
I.1.2A.C: [019.31-020.18]: ancient times - writings and readings.
I.1.2A.D: [020.19-021.04]: the book in your hands - its tales and dances.
I.1.2B.A: [021.05-023.15]: the tale of the Prankquean and Jarl van Hoother - why do I am alook alike a poss of porterpease?.
I.1.2B.B: [023.16-024.02]: he, the silent mountain - she, the babbling stream.
I.1.2B.C: [024.03-024.15]: the mighty liberator's deeds - he revives.
I.1.2B.D: [024.16-026.24]: convincing him to stay dead - performing rites to keep him dead.
I.1.2B.E: [026.25-027.21]: everything is the same without him - the kids are fine.
I.1.2B.F: [027.22-027.30]: he attempts to rise - the four restrain him.
I.1.2B.G: [027.31-028.34]: the whole household is fine - so is the wife.
I.1.2B.H: [028.35-029.36]: he will not return - replacement is already here.
I.2.1.A: [030.01-033.13]: the origin of Earwicker's name, the result of a meeting with the king - Here Comes Everybody, with his imposing figure.
I.2.1.B: [033.14-034.29]: baser and preposterous allegations against him - the sin in the park.
I.2.2.A: [034.30-036.34]: his encounter with the cad in Phoenix Park - his self-defence.
I.2.2.B: [036.35-038.08]: the cad takes leave - he tells his wife the story over supper.
I.2.2.C: [038.09-039.13]: the wife tells reverend Browne - he, as Nolan, tells Philly Thurnston.
I.2.2.D: [039.14-039.27]: Treacle Tom and Frisky Shorty - they overhear the story at the racetracks.
I.2.2.E: [039.28-042.16]: Tom mumbles the story in his sleep - he is overheard by a trio of tramps, who turn the tale into a ballad.
I.2.2.F: [042.17-044.06]: the first performance of the ballad - its wide dissemination.
I.2.2.G: [044.07-044.21]: introducing the ballad - applause.
I.2.3.A: [044.22-047.29]: the ballad of Persse O'Reilly in fourteen stanzas - interspersed with cheers for Hosty.
I.3.1.A: [048.01-050.32]: what became of the previously-mentioned characters - as time passes, they are all dead.
I.3.1.B: [050.33-051.20]: the difficulty of identifying the man asked to tell the story - his appearance has much changed.
I.3.1.C: [051.21-052.17]: the cad in a damp English garden - he prepares to tell his version of the story.
I.3.1.D: [052.18-053.06]: Humphrey's clothing - the touching scene.
I.3.1.E: [053.07-053.35]: the peaceful landscape - their meeting.
I.3.1.F: [053.36-054.06]: remembrances of yesterday - listen.
I.3.1.G: [054.07-054.19]: a babble of tongues - numerous greetings.
I.3.1.H: [054.20-055.02]: HCE's response - some storyteller antics.
I.3.1.I: [055.03-056.19]: the story is repeated in a train car - it is further vividly retold.
I.3.1.J: [056.20-056.30]: similarly, our unfriended bard reaches a tavern - a similar quasi-smile.
I.3.1.K: [056.31-057.15]: where are all the formal facts and specifics? - the four's comments.
I.3.1.L: [057.16-057.29]: the facts are too uncertain - but there is the photograph with Alice.
I.3.1.M: [057.30-058.22]: one thing is certain - he was repeatedly tried.
I.3.1.N: [058.23-061.27]: a plebiscite - public opinion about the sin in the park.
I.3.2.A: [061.28-062.25]: can it be believed? - he flees to another land, to hostility and terror.
I.3.2.B: [062.26-063.19]: a tall man is assaulted on his way home - some reservations about the facts.
I.3.2.C: [063.20-064.21]: the assailant comes up with excuses for the gate incident - the boots is awakened by the noise.
I.3.2.D: [064.22-064.29]: a pause - roll away a film.
I.3.2.E: [064.30-065.33]: a old-man-two-young-girls film - preceded by some advertisements.
I.3.2.F: [065.34-066.09]: the moral of it all - to be continued.
I.3.2.G: [066.10-066.27]: will a huge chain-letter ever be delivered? - it might.
I.3.2.H: [066.28-067.06]: the coffin - its usefulness.
I.3.2.I: [067.07-067.27]: proceeding with the gate assault - the special constable's evidence.
I.3.3.A: [067.28-069.04]: the fate of the two maids - his reaction to it, or lack thereof.
I.3.3.B: [069.05-069.29]: back to the gate - and the shack behind it.
I.3.3.C: [069.30-073.22]: another assault, this time by his Austrian tenant – 111 abusive names he was called.
I.3.3.D: [073.23-073.27]: the assailant's departure - bringing the last stage in the siegings to an end.
I.3.3.E: [073.28-074.05]: he is gone - until he awakes again.
I.3.3.F: [074.06-074.12]: for God shall call him - his return will dispel the silence.
I.3.3.G: [074.13-074.19]: his body hibernates - he sleeps.
I.4.1A.A: [075.01-076.09]: perhaps, his dreams while besieged - maybe, his prayers and hopes while in agony.
I.4.1A.B: [076.10-076.32]: the teak coffin - the grave.
I.4.1A.C: [076.33-077.27]: the blasting and lining of the grave - he is buried in.
I.4.1A.D: [077.28-078.06]: numerous bric-a-brac would follow - to ease his sojourn.
I.4.1A.E: [078.07-078.14]: he burrows his way out - all the way to the surface.
I.4.1A.F: [078.15-079.13]: some time has passed - he is sighted on a dark plain.
I.4.1A.G: [079.14-079.26]: of ladies - of temptresses.
I.4.1A.H: [079.27-080.19]: Kate Strong's statement - the site of the Phoenix Park encounter.
I.4.1A.I: [080.20-080.36]: then he spoke - and the girls fled away.
I.4.1A.J: [081.01-081.11]: our position - in the park.
I.4.1A.K: [081.12-084.27]: yet another hostile assault (on or by HCE) - culminating in a truce and a police report.
I.4.1A.L: [084.28-085.19]: of the dangers of mistaken identity - how he almost got killed when peacefully strolling in the park.
I.4.1A.M: [085.20-086.31]: Festy King is haled into court - the crown's allegations against him.
I.4.1A.N: [086.32-090.33]: W.P.'s evidence - Hyacinth O'Donnell's evidence.
I.4.1A.O: [090.34-092.05]: Festy claims innocence upon oath - much to the court's amusement.
I.4.1B.A: [092.06-092.32]: equality of opposites, as exemplified by Festy and W.P. - the leap-year girls definitely gravitate towards the latter.
I.4.1B.B: [092.33-093.21]: the four judges pass their verdict - Festy leaves scot-free, to the leap-year girls' disapproval.
I.4.1B.C: [093.22-094.22]: so it all ended - the letter, what was it?.
I.4.1B.D: [094.23-095.26]: the four judges reminisce - especially about his overpowering smell.
I.4.1B.E: [095.27-096.25]: and so they go on chattering - well into disagreement.
I.4.2.A: [096.26-097.28]: of false evidence and truth - he is fox-hunted.
I.4.2.B: [097.29-100.04]: rumours of what became of him - he is presumed dead.
I.4.2.C: [100.05-100.08]: attention! - news!.
I.4.2.D: [100.09-100.23]: but smoke rises from his tower - and lights shine from within.
I.4.2.E: [100.24-100.36]: he is anything but ethereal - his existence is undoubtable.
I.4.2.F: [101.01-102.17]: slander and jeers abound - until she appears, to protect him.
I.4.2.G: [102.18-102.30]: his resting place and his name are protected - by a little lady by the name of ALP.
I.4.2.H: [102.31-103.11]: ALP's song - by the rivers of Babylon.
I.5.1.A: [104.01-104.03]: in the name of Anna - a prayer to ALP.
I.5.1.B: [104.04-107.07]: her untitled mamafesta - its numerous names.
I.5.1.C: [107.08-107.35]: initial inspection of the letter and its authorship - closer inspection reveals more.
I.5.1.D: [107.36-108.07]: who wrote it? - under what circumstances?.
I.5.1.E: [108.08-108.28]: patience - if the very existence of Earwicker is questionable, what could be said about the letter?.
I.5.1.F: [108.29-108.36]: beware of rash conclusions - especially relating to absent features.
I.5.1.G: [109.01-109.36]: the importance of the envelope - compared to a woman's clothing.
I.5.1.H: [110.01-110.21]: some facts - we are in for improbable possibilities.
I.5.1.I: [110.22-111.04]: the hen's discovery on the dump - observed by Kevin, who claimed to be the discoverer himself.
I.5.1.J: [111.05-111.24]: the text of the letter - the teastain.
I.5.1.K: [111.25-112.02]: the letter's deterioration in the mound - similar to negative overexposure.
I.5.1.L: [112.03-112.08]: confused? - cheer up!.
I.5.1.M: [112.09-112.27]: the historical importance of birds - a golden age heralded.
I.5.1.N: [112.28-113.22]: the letter's paper - the authoress' intentions.
I.5.4.A: [113.23-113.33]: let's talk straight - let's see what remains.
I.5.4.B: [113.34-114.20]: the text's directions - its writing.
I.5.4.C: [114.21-116.35]: the paper, teastain and missing signature - amateur psychonanalysis of the text.
I.5.4.D: [116.36-117.09]: Viconian cycles - again and again.
I.5.4.E: [117.10-117.32]: the old repeating story - universal recurring patterns.
I.5.4.F: [117.33-118.17]: about the letter's authorship - someone obviously wrote it.
I.5.4.G: [118.18-119.09]: the everchanging nature of anything connected with it - we should be thankful that we have even this much.
I.5.4.H: [119.10-123.10]: detailed analysis of its calligraphy - its sigla and letters.
I.5.4.I: [123.11-123.29]: quoting a critic about its style - basing his observations on a similar case.
I.5.4.J: [123.30-124.34]: its system of perforations - professor-provoked or hen-pecked.
I.5.4.K: [124.35-125.23]: no need for more questions - the scribe is revealed as Shem the Penman.
I.6.1A.A: [126.01-126.09]: introduction to the quiz - set by Shem, answered by Shaun.
I.6.1A.B: [126.10-139.14]: question and answer #1 (*E*) - his numerous feats.
I.6.1A.C: [139.15-139.28]: question and answer #2 (A) - her marvelousness.
I.6.1A.D: [139.29-140.07]: question and answer #3 (*F*) - its name.
I.6.1A.E: [140.08-141.07]: question and answer #4 (*X*) - their cities.
I.6.1A.F: [141.08-141.27]: question and answer #5 (*S*) - his job description.
I.6.1A.G: [141.28-142.07]: question and answer #6 (*K*) - her complaints.
I.6.1A.H: [142.08-142.29]: question and answer #7 (*O*) - their identities.
I.6.1A.I: [142.30-143.02]: question and answer #8 (*Q*) - their activities.
I.6.1A.J: [143.03-143.28]: question and answer #9 (*W*) - its dream.
I.6.1A.K: [143.29-148.32]: question and answer #10 (*I*) - her conversation with her mirror.
I.6.1A.L: [148.33-149.10]: question #11 (*V*) - would he save an exile poet's soul?.
I.6.1B.A: [149.11-149.33]: answer #11 begins - he refuses and offers to explain.
I.6.1B.B: [149.34-150.14]: of the word Talis - often misused.
I.6.2.A: [150.15-152.03]: sophisticated theoretical apologetics - of space and time.
I.6.3.A: [152.04-152.14]: as if lecturing to a squad of urchins - he will tell a fable.
I.6.3.B: [152.15-153.08]: the fable of the Mookse and the Gripes begins - the Mookse goes awalking and comes upon a stream.
I.6.3.C: [153.09-153.34]: he sees the Gripes on the far bank - he sits down on a stone.
I.6.3.D: [153.35-155.22]: a dialogue between the two - about what time it is.
I.6.3.E: [155.23-156.18]: the Mookse proves his point - while the Gripes attempts to juggle church dogmas.
I.6.3.F: [156.19-157.07]: another dialogue between the two - resorting to name-calling.
I.6.3.G: [157.08-158.05]: Nuvoletta is alone above them - she is unable to get their attention.
I.6.3.H: [158.06-158.24]: dusk is falling - the Mookse and the Gripes cease.
I.6.3.I: [158.25-159.05]: washerwomen come to take their washing from the river banks - only a tree and a stone remain, and Nuvoletta.
I.6.3.J: [159.06-159.18]: Nuvoletta turns into a tear - the fable of the Mookse and the Gripes ends.
I.6.3.K: [159.19-159.23]: no applause, please - back to the classroom.
I.6.4.A: [159.24-160.24]: he loves him - yet wants him to go far away.
I.6.4.B: [160.25-160.34]: let us murmur - for the four are listening.
I.6.4.C: [160.35-161.14]: some more proofs - which reminds him of Burrus and Caseous.
I.6.4.D: [161.15-161.36]: the story of Burrus and Caseous - the well-known dramatis personae in food form.
I.6.4.E: [162.01-163.11]: old Caesar is to be replaced - hence, Burrus and Caseous are introduced.
I.6.4.F: [163.12-164.14]: some theories of polarity dismissed - introducing Margareen.
I.6.4.G: [164.15-166.02]: of music and singing - of painting and portraiture.
I.6.4.H: [166.03-167.17]: back to Marge - she prefers Antonius.
I.6.4.I: [167.18-168.12]: repeating he would not! - answer #11 ends.
I.6.4.J: [168.13-168.14]: question and answer #12 (*C*) - his curse.
I.7.1.A: [169.01-169.10]: Shem's name - his origins.
I.7.1.B: [169.11-170.24]: Shem's appearance - the first riddle of the universe.
I.7.1.C: [170.25-171.28]: Shem's food - his drink.
I.7.1.D: [171.29-172.04]: his lowness - he is photographed.
I.7.1.E: [172.05-172.10]: a commercial - for a different butcher.
I.7.1.F: [172.11-172.26]: Shem's unpopularity - his unlikely survival.
I.7.1.G: [172.27-174.04]: his despicable character - his deceptive story.
I.7.1.H: [174.05-174.21]: his distaste for contention - his obsequious nature.
I.7.1.I: [174.22-175.04]: his violent treatment - his utter lowness.
I.7.1.J: [175.05-175.18]: a ballad - of recapitulation.
I.7.1.K: [175.19-176.18]: Shem's avoidance of games - such as those listed.
I.7.1.L: [176.19-177.12]: his cowardice - he escapes and barricades himself in his inkbottle house.
I.7.1.M: [177.13-178.07]: his vanity - his high opinion of himself.
I.7.1.N: [178.08-179.08]: he looks out through the keyhole - to see an assailant's revolver's barrel.
I.7.1.O: [179.09-179.16]: this lowlife - what was he really at?.
I.7.1.P: [179.17-180.33]: his deterioration - his useless book.
I.7.1.Q: [180.34-181.26]: his putrid smell - his forgeries.
I.7.1.R: [181.27-181.33]: an advertisement - of a personal nature.
I.7.1.S: [181.34-182.29]: his writing in his cell - his portraits.
I.7.1.T: [182.30-184.10]: Shem's filthy lair - its composition.
I.7.1.U: [184.11-185.13]: his cooking, mostly eggs - his manufacturing of ink and paper.
I.7.1.V: [185.14-185.26]: of the distillation of ink from excrement - in the language of cardinals.
I.7.1.W: [185.27-186.18]: using his skin as parchment - unfolding history.
I.7.1.X: [186.19-187.23]: the constable meets Shem outside - bringing home some unlikely drink.
I.7.2.A: [187.24-188.07]: Justius begins his address to Mercius - it is looking pretty black for Shem.
I.7.2.B: [188.08-189.27]: he is accused of heresy and agnosticism - he is accused of lack of progeny and of not marrying.
I.7.2.C: [189.28-190.09]: he is accused of pagan prophecies - about death and disaster.
I.7.2.D: [190.10-191.04]: he is accused of shirking work - emigrating instead.
I.7.2.E: [191.05-191.33]: he is accused of fratricide - killing his pure and perfect brother.
I.7.2.F: [191.34-193.08]: he is accused of malingering - he is accused of squandering.
I.7.2.G: [193.09-193.30]: he is urged to look at himself and see he's mad - Justius ends his address to Mercius.
I.7.2.H: [193.31-195.06]: Mercius accuses himself of forswearing his mother - she is coming.
I.8.1A.A: [196.01-200.32]: a dialogue of two washerwomen - gossiping about HCE and ALP.
I.8.1A.B: [200.33-201.20]: ALP's letter-song - dreaming of a new life and a new mate.
I.8.1A.C: [201.21-204.20]: her 111 children - her early sexual exploits.
I.8.1A.D: [204.21-205.15]: her hair - a pair of knickers in the wash.
I.8.1A.E: [205.16-206.28]: HCE's disgrace - ALP's plan for revenge.
I.8.1A.F: [206.29-207.20]: her cosmetic preparations - she comes out.
I.8.1A.G: [207.21-208.26]: describing her - her attire.
I.8.1B.A: [208.27-209.09]: her changed appearance - as seen by others.
I.8.1B.B: [209.10-212.19]: her bag's contents - a vengeful gift for everyone.
I.8.1B.C: [212.20-213.10]: arguing over the washing - and over books.
I.8.1B.D: [213.11-215.11]: spreading the laundry on the banks to dry - seeing indistinct things in the growing dusk.
I.8.1B.E: [215.12-216.05]: back to ALP and HCE - transformation into tree and stone at nightfall.
II.1.1.A: [219.01-219.21]: programme for the upcoming pantomime - the mime of Mick, Nick and the Maggies.
II.1.1.B: [219.22-221.16]: dramatis personae - the acting parties described.
II.1.1.C: [221.17-222.21]: production credits - who supplied what.
II.1.2.A: [222.22-222.31]: the antagonists - Chuff the Angel and Glugg the Devil.
II.1.2.B: [222.32-223.11]: evening falls with stars and girls - Izod's colour.
II.1.2.C: [223.12-223.24]: the antagonists meet - like Patrick meeting Ossian.
II.1.2.D: [223.25-224.07]: Glugg seeks in vain to find the colour - taunted by the girls, unaided by the four.
II.1.2.E: [224.08-224.21]: poor Glugg - taunted by Izod.
II.1.2.F: [224.22-225.08]: he appears before the flower-girls - exposed to their laughter and ridicule.
II.1.2.G: [225.09-225.21]: he runs off with a belly-ache - Izod urges him to speak.
II.1.2.H: [225.22-225.28]: Glugg's first guess at the colour - red/stone/Germanic.
II.1.2.I: [225.29-226.03]: the girls rejoice at his failure - but Izod is gloomy.
II.1.2.J: [226.04-226.20]: poor Isa - looking for her man.
II.1.2.K: [226.21-227.18]: the girls' double rainbow dance - forth and back through time.
II.1.2.L: [227.19-228.02]: his disgrace, torment and rage - he rages and lashes out.
II.1.2.M: [228.03-229.06]: his intentions - he will inform, he will write, he will flee.
II.1.2.N: [229.07-230.25]: he will publish the truth about his parents - and about his sufferings.
II.1.2.O: [230.26-231.08]: he reminisces about the entire family - and about his early poetry.
II.1.2.P: [231.09-231.22]: he suffers from toothache - unbearable pain.
II.1.2.Q: [231.23-232.26]: he recovers through painful exorcism - as Izod sends him a hopeful message.
II.1.2.R: [232.27-233.15]: he's back in a wink - back to the guessing game.
II.1.2.S: [233.16-233.28]: Glugg's second guess at the colour - yellow/month/French.
II.1.2.T: [233.29-234.05]: he flees again - from the mocking girls.
II.1.2.U: [234.06-234.33]: heavenly Chuff is left behind - with the girls dancing around him.
II.1.2.V: [234.34-236.18]: the girls sing a hymn to Chuff - their future domestic bliss.
II.1.2.W: [236.19-236.32]: the mutability of men - the stability of dances.
II.1.3.A: [236.33-237.09]: the flowery girls continue their dance - exposing themselves before Chuff.
II.1.3.B: [237.10-239.15]: they sing his praise - they seduce him.
II.1.3.C: [239.16-240.04]: they look forward to their sexual freedom - they dance away.
II.1.4.A: [240.05-242.24]: Glugg's plans for penance - he tells of his remarkable old man Hump.
II.1.4.B: [242.25-243.36]: he tells of his old woman Ann - and of their life together.
II.1.4.C: [244.01-244.12]: a light appears - the parents call the children back home.
II.1.5.A: [244.13-246.02]: night, dark and cold and quiet, falls - the tavern is open.
II.1.5.B: [246.03-246.20]: father calls them in - but the game is not over.
II.1.5.C: [246.21-246.35]: preparing for the battle of the brothers - else Izod will be left alone.
II.1.6.A: [246.36-247.16]: back to Glugg - he wants to go home.
II.1.6.B: [247.17-248.02]: his attraction to Izod - his dislike for the other girls.
II.1.6.C: [248.03-249.20]: Izod tries to help him - giving him cryptic clues to her colour.
II.1.6.D: [249.21-250.10]: the game resumes - the girls taunt Glugg.
II.1.6.E: [250.11-251.32]: the end is drawing near - he is full of foul thoughts.
II.1.6.F: [251.33-252.32]: the boys' face-off - difficult to tell apart.
II.1.6.G: [252.33-253.18]: Glugg's third guess at the colour - violet.
II.1.6.H: [253.19-253.32]: he has failed - the girls celebrate.
II.1.6.I: [253.33-255.26]: the father appears - he is analysed.
II.1.6.J: [255.27-256.16]: the mother appears - pulling the children home.
II.1.6.K: [256.17-257.02]: homework is waiting - Izzy is unhappy.
II.1.7.A: [257.03-257.28]: the game and play end - the door slams shut.
II.1.7.B: [257.29-258.19]: curtain fall - applause.
II.1.7.C: [258.20-259.10]: the children are home - a prayer.
II.2.1.A: [260.01-261.22]: the route back to the tavern - him and his mausoleum.
II.2.1.B: [261.23-262.02]: who is he? - approaching the tavern.
II.2.1.C: [262.03-262.19]: Chapelizod - at the tavern door.
II.2.1.D: [262.20-263.30]: inside the tavern - the publican.
II.2.2.A: [264.01-266.19]: the neighbourhood of the tavern, Chapelizod - up to the children's study-room.
II.2.3.A: [266.20-267.11]: in the room - the two boys and the girl.
II.2.3.B: [267.12-270.28]: the girl - thinking of grammar and grandma's advice on womanhood.
II.2.3.C: [270.29-272.08]: the two boys' history studies - the girl's indifference.
II.2.3.D: [272.09-275.02]: addresing the boys - lessons learned from history.
II.2.4+5.A: [275.03-276.10]: a side-story - the family story.
II.2.4+5.B: [276.11-278.06]: rural nightfall - an upcoming funeral and wake.
II.2.4+5.C: [278.07-278.24]: Fanciulla - of letters.
II.2.6+7.A: [278.25-281.03]: memorising liquid music - Issy's letter.
II.2.6+7.B: [281.04-281.13]: a Quinet quote - flowers and history.
II.2.6+7.C: [281.14-282.04]: the twins fail to see her point - back to the lessons.
II.2.8.A: [282.05-286.02]: from counting - to arithmetic and algebra.
II.2.8.B: [286.03-286.18]: at long last - please to lick one and turn over.
II.2.8.C: [286.19-287.17]: a geometry problem about a triangle - for Dolph to solve for Kev.
II.2.8.D: [287.18-292.32]: an interlude - describing Dolph in detail.
II.2.8.E: [293.01-300.08]: Dolph teaching Kev the geometry problem and other mathematical topics - the fig, or mother's genitals.
II.2.8.F: [300.09-302.10]: Kev embarassed - Kev devastated.
II.2.8.G: [302.11-303.10]: signing away - teaching Kev to write.
II.2.8.H: [303.11-304.04]: Kev is furious - Kev strikes Dolph.
II.2.9.A: [304.05-305.02]: Kev's insincere thanks to Dolph - Kev addresses the girl.
II.2.9.B: [305.03-306.07]: reconciliation - a conspiracy is hatched.
II.2.9.C: [306.08-308.04]: lessons are over - a list of fifty-two essay topics.
II.2.9.D: [308.05-308.25]: countdown to bedtime supper - a nightletter to the parents.
II.3.1A.A: [309.01-309.10]: maybe, but - a Viconian cycle.
II.3.1B.A: [309.11-310.21]: the tavern's wireless radio - its waves reaching all the way into the ear.
II.3.1C.A: [310.22-311.04]: the tavern - where the publican serves drinks to his customers.
II.3.1C.B: [311.05-311.20]: the tale of Kersse the tailor and the Norwegian captain begins - but first, a toast.
II.3.1C.C: [311.21-312.16]: the Norwegian captain orders a suit from the tailor - then sails away.
II.3.1C.D: [312.17-313.13]: the repercussions are discussed - by Kersse and others.
II.3.1C.E: [313.14-315.08]: the publican collects money for the drinks - then has a fall.
II.3.1C.F: [315.09-317.25]: the captain is back - to the ship's husband's surprise.
II.3.1C.G: [317.26-319.36]: the three tailors complain of the captain's hump - he complains in return about the awkward coat and trousers.
II.3.1C.H: [320.01-320.31]: the captain verbally assaults the tailor - then sails away again.
II.3.1C.I: [320.32-321.33]: time passes as he travels - drinking continues in the tavern.
II.3.1C.J: [321.34-323.24]: the tailor returns from the races in his white hat and bad temper - he claims the captain to be impossible to fit.
II.3.1C.K: [323.25-324.17]: the captain returns again - more drinking ensues.
II.3.1C.L: [324.18-325.12]: a radio broadcast - personal message, weather forecast, today's news, advertisements.
II.3.1C.M: [325.13-326.20]: the ship's husband sets to arrange a marriage suit for the captain - he has to be baptised and converted to christianity.
II.3.1C.N: [326.21-326.25]: nonsense - why should he be baptised?.
II.3.1C.O: [326.26-329.12]: the ship's husband extols the virtues of the tailor and his daughter - then those of the captain.
II.3.1C.P: [329.13-331.36]: the wedding takes place with much celebration - the tale of Kersse the tailor and the Norwegian captain ends.
II.3.2.A: [332.01-332.35]: the story is ended - he has been domesticated.
II.3.2.B: [332.36-334.05]: Kate brings a message to the publican from his wife - asking him to come to bed, now the children are asleep.
II.3.2.C: [334.06-334.31]: Kate speaks three times - then leaves.
II.3.2.D: [334.32-337.03]: retelling of past stories round the bar - arguing about the grand old man.
II.3.3.A: [337.04-338.03]: re-imagining the sin in the park - the customers ask for Butt and Taff, or How Buckley Shot the Russian General.
II.3.4.A: [338.04-340.03]: the dialogue of Butt and Taff begins - Butt describes the Russian General.
II.3.4.B: [340.04-341.17]: Butt describes the background of the scene - spirits rise with riddles, games, music and song.
II.3.4.C: [341.18-342.32]: first interlude - a report of a steeplechase horse-race.
II.3.4.D: [342.33-343.36]: the Crimean battle is raging - Butt describes his sighting of the General.
II.3.4.E: [344.01-345.33]: Butt explains why he could not shoot the defecating General - another round of drinks.
II.3.4.F: [345.34-346.13]: second interlude - four patrons on television.
II.3.4.G: [346.14-349.05]: Butt reminisces about his soldier days - a sentimental toast.
II.3.4.H: [349.06-350.09]: third interlude - a televised confessionary religious service.
II.3.4.I: [350.10-352.15]: Butt continues reminiscing up until the time he had met the General - how he shot him.
II.3.4.J: [352.16-353.21]: Butt and Taff are furious at the General - an insult to Ireland.
II.3.4.K: [353.22-353.32]: fourth interlude - a news bulletin about splitting of the atom.
II.3.4.L: [353.33-354.06]: after the kill - a last drink.
II.3.5.A: [354.07-354.36]: Butt and Taff merge into one - the dialogue of Butt and Taff ends.
II.3.5.B: [355.01-355.07]: fifth interlude - the screen goes blank.
II.3.6.A: [355.08-356.15]: back to the tavern - the host begins his apologia.
II.3.6.B: [356.16-358.16]: he tells of a book he has read - a fortnight ago in the lavatory.
II.3.6.C: [358.17-359.20]: the customers rise against him - accusing him of heresy.
II.3.6.D: [359.21-360.22]: a radio announcement - a musical interlude is about to start.
II.3.6.E: [360.23-361.34]: on the radio, the song of the nightingales or naughty girls - with the leaves falling around them.
II.3.6.F: [361.35-363.16]: back at the pub - the customers gossip about the landlord and his wife.
II.3.6.G: [363.17-367.07]: the host's apologia - mainly about the two maids.
II.3.6.H: [367.08-369.05]: the four old men in the ark - commandments.
II.3.6.I: [369.06-370.14]: the four and the rest of the customers are quite drunk - a report of supposedly known facts is compiled.
II.3.6.J: [370.15-370.29]: the twelve customers in the boat - the manservant appears.
II.3.7A.A: [370.30-373.12]: the manservant announces closing time - the customers reluctantly leave the inn or ship, singing.
II.3.7A.B: [373.12-380.06]: the expelled crowd affront, threaten and vituperate the tavern keeper at great length - wishing him dead.
II.3.7B.A: [380.07-382.30]: the publican cleans the bar-room, drinks dregs and passes out - King Roderick O'Connor, last high king of Ireland.
II.4.1+2.A: [383.01-383.17]: the song of the sea-birds - mocking King Mark.
II.4.1+2.B: [383.18-386.11]: the story of Mamalujo begins - watching the love scene of Tristan and Isolde.
II.4.1+2.C: [386.12-388.09]: the story associated with Johnny MacDougall - rambling reminiscences.
II.4.1+2.D: [388.10-390.33]: the story associated with Marcus Lyons – rambling reminiscences.
II.4.1+2.E: [390.34-392.13]: the story associated with Lucas Tarpey - rambling reminiscences.
II.4.1+2.F: [392.14-393.06]: the story associated with Matt Gregory - rambling reminiscences.
II.4.1+2.G: [393.07-395.25]: the four together - yet more rambling reminiscences.
II.4.1+2.H: [395.26-396.33]: the passionate and willing kiss - goal scored.
II.4.1+2.I: [396.34-398.28]: preparing to sing a final song - the story of Mamalujo ends.
II.4.3A.A: [398.29-398.30]: hear, o hear - music for Tristan and Isolde.
II.4.3B.A: [398.31-399.18]: a song for Tristan and Isolde - sung by the four, each with his own stanza.
III.1.1A.A: [403.01-403.17]: the four old men counting midnight bells - over a sleeping pair.
III.1.1A.B: [403.18-405.03]: Shaun approaches through the dreamy fog - his splendid attire.
III.1.1A.C: [405.04-407.09]: Shaun's immense diet - not that he was guilty of gluttony.
III.1.1A.D: [407.10-407.26]: his voice is heard - he speaks.
III.1.1A.E: [407.27-409.07]: Shaun's opening speech - he is tired (and unworthy) of carrying the letter.
III.1.1A.F: [409.08-409.10]: question #1 - who gave him the permit to be a postman?.
III.1.1A.G: [409.11-409.30]: answer #1 - he got it by prophecy and indeed what a difficult tiresome lot his is.
III.1.1A.H: [409.31-409.32]: question #2 - was he ordered to be a postman?.
III.1.1A.I: [409.33-410.19]: answer #2 - it was hereditarily condemned on him and he is fed up with it to death.
III.1.1A.J: [410.20-410.23]: question #3 - is he to carry the letter?.
III.1.1A.K: [410.24-410.27]: answer #3 - he has the power to.
III.1.1A.L: [410.28-410.30]: question #4 - where is he able to work?.
III.1.1A.M: [410.31-411.21]: answer #4 - here and his vocation is to be a preacher.
III.1.1A.N: [411.22-411.25]: question #5 - did he paint the town green?.
III.1.1A.O: [411.25-412.06]: answer #5 - proudly, yes.
III.1.1A.P: [412.07-412.12]: question #6 - will the green vanish?.
III.1.1A.Q: [412.13-413.26]: answer #6 - annoyedly, no and he intends to write a report about a post-office incident.
III.1.1A.R: [413.27-413.31]: question #7 - what is the story of his uniform?.
III.1.1A.S: [413.32-414.13]: answer #7 - none, what with him being in a barrel.
III.1.1B.A: [414.14-414.15]: question #8 - would he sing?.
III.1.1B.B: [414.16-414.21]: answer #8 - apologetically, he would rather tell a fable.
III.1.1C.A: [414.22-415.24]: the fable of the Ondt and the Gracehoper begins - the happy-go-lucky Gracehoper.
III.1.1C.B: [415.25-416.02]: the Ondt expresses his distaste - he prays for his own prosperity.
III.1.1C.C: [416.03-416.20]: the solemn frugal Ondt - the silly hungry Gracehoper.
III.1.1C.D: [416.21-417.02]: the Gracehoper had eaten all his furniture and wasted all his time - winter has arrived.
III.1.1C.E: [417.03-417.23]: the Gracehoper throws himself down in despair - meanwhile the Ondt regales himself with all pleasures of life.
III.1.1C.F: [417.24-418.08]: the Ondt is tickled pink at the Gracehoper's misfortune - the sight is just too much for him.
III.1.1C.G: [418.09-419.10]: the Gracehoper's song of reconciliation and complementarity - the fable of the Ondt and the Gracehoper ends.
III.1.1D.A: [419.11-419.19]: question #9 - could he read the letter?.
III.1.1D.B: [419.20-421.14]: answer #9 - sure he can read the trash, so he reads addresses and non-delivery reasons off the sealed envelope.
III.1.1D.C: [421.15-421.20]: question #10 - has he not himself used worse language than his celebrated brother?.
III.1.1D.D: [421.21-422.18]: answer #10 - he really doubts it and describes his notorious brother instead.
III.1.1D.E: [422.19-422.22]: question #11 - how was the letter created?.
III.1.1D.F: [422.23-424.13]: answer #11 - although it is well known, Shem is entirely to blame.
III.1.1D.G: [424.14-424.16]: question #12 - why was the letter created?.
III.1.1D.H: [424.17-424.22]: answer #12 - for Shem's language, like his thuderwords.
III.1.1D.I: [424.23-424.25]: question #13 - how could he pronounce the thunderword?.
III.1.1D.J: [424.26-425.03]: answer #13 - what nonsense, no one could.
III.1.1D.K: [425.04-425.08]: question #14 - couldn't he use worse of himself?.
III.1.1D.L: [425.09-426.04]: answer #14 - of course he could, easily, but why bother.
III.1.1D.M: [426.05-427.16]: he breaks down, overpowered with emotion - he gazes up, falls backs and rolls down (or up) the river in his barrel.
III.1.1D.N: [427.17-428.27]: his departure is lamented - his return, awaited.
III.2.2A.A: [429.01-429.24]: Jaun rests on the river bank - giving repose to his aching feet.
III.2.2A.B: [430.01-430.16]: twenty-nine schoolgirls nearby - learning and playing.
III.2.2A.C: [430.17-431.20]: the attraction is mutual - he spies Izzy among them.
III.2.2A.D: [431.21-432.03]: Jaun begins to take leave, addressing Izzy - he knows she will miss him, but he must go, as she had often told him.
III.2.2A.E: [432.04-433.09]: Jaun preaches to the girls - giving advice obtained from Father Mike.
III.2.2A.F: [433.10-439.14]: Jaun's commandments - mostly about sex.
III.2.2A.G: [439.15-441.23]: more advice - his views on suitable books for girls.
III.2.2A.H: [441.24-444.05]: his sermon continues - his beliefs on the proper physical handling of forward strangers and molesters.
III.2.2A.I: [444.06-445.25]: Jaun admonishes Izzy - she should keep straight, or else.
III.2.2A.J: [445.26-446.26]: he pines for her - he will return and then they will kiss.
III.2.2A.K: [446.27-448.33]: he speaks of their plans to clean up the possibly dear, but certainly dirty, Dublin - he will soon stop his hiking.
III.2.2A.L: [448.34-452.07]: he's in no hurry to change his status, the night is beautiful - he'll get loads of money, spoil her and fuck her silly.
III.2.2A.M: [452.08-452.33]: he is to go on a glorious mission - to meet a king.
III.2.2A.N: [452.34-454.07]: life is short, so no scenes please - he speaks of death and the afterlife.
III.2.2A.O: [454.08-454.25]: he laughs - then, suddenly, turns around and his attitude changes.
III.2.2A.P: [454.26-455.29]: farewell - he speaks of heavenly Heaven.
III.2.2A.Q: [455.30-457.04]: he goes on to speak of his favourite subject, food - he must be off on his rounds, after he collects what is owed him.
III.2.2A.R: [457.05-457.24]: he truly must be off - regardless of dangers.
III.2.2A.S: [457.25-461.32]: Izzy gives him a gift of nosepaper - she talks about him, her and her mirror image, promising faithfulness of sorts.
III.2.2B.A: [461.33-462.14]: Jaun drinks to her kindness - also promising faithfulness.
III.2.2B.B: [462.15-468.19]: he is leaving a proxy behind, Dave the Dancekerl - who happens to be back from his travels in time for introductions.
III.2.2C.A: [468.20-468.22]: the end is near - and a new beginning.
III.2.2C.B: [468.23-469.28]: Jaun's last farewell - he must go away.
III.2.2C.C: [469.29-470.10]: the girls rush to his assistance - they burst in tears over his departure.
III.2.2C.D: [470.11-470.21]: the girls' wail - over the departed Jaun.
III.2.2C.E: [470.22-471.34]: Jaun stamps himself - and he is off, after his hat.
III.2.2C.F: [471.35-473.11]: may he, Haun, fare well - his return will be awaited.
III.2.2C.G: [473.12-473.25]: like a phoenix - he shall rise again.
III.3.3A.A: [474.01-474.15]: Yawn sleeps in the landscape - he sighs, he wails.
III.3.3A.B: [474.16-475.17]: four travellers come to him - in the centre of Ireland.
III.3.3A.C: [475.18-477.02]: the four have come to question him - they crouch by his form, amazed.
III.3.3A.D: [477.03-477.30]: the examination begins - they spread nets over him as he arises.
III.3.3A.E: [477.31-479.16]: he is asked about his location, letters, language, identity, fears - Yawn answers cryptically in the voices of *V Y C*.
III.3.3A.F: [479.17-482.06]: the dialogue drifts to the mound or boat - and thence to his father, Persse O'Reilly.
III.3.3A.G: [482.07-485.07]: the dialogue drifts to the letter - and thence to the twins.
III.3.3A.H: [485.08-486.31]: the four futilely try to make sense of his answers - they submit him to a tripartite vision.
III.3.3A.I: [486.32-491.16]: the dialogue drifts back to the twins and Yawn's identity - each impersonating the other.
III.3.3A.J: [491.17-496.21]: the dialogue drifts back to Persse O'Reilly - Yawn defends him through the voice of *A*.
III.3.3A.K: [496.22-499.03]: the wake - as described by Yawn through the voices of *O*.
III.3.3A.L: [499.04-499.12]: the twenty-nine girls mourning - requiem.
III.3.3A.M: [499.13-499.29]: the revival - what a pack of lies.
III.3.3A.N: [499.30-501.06]: bits of a confused telephone conversation - ending in silence.
III.3.3A.O: [501.07-503.03]: the questioning resumes, concentrating on the encounter in the park - the inclement weather that night.
III.3.3A.P: [503.04-506.23]: the woeful site of the encounter - the midden, the warning sign, the tree.
III.3.3A.Q: [506.24-510.02]: the parties to the encounter - Toucher 'Thom', the P. and Q. sisters, Yawn.
III.3.3A.R: [510.03-515.26]: that night's boisterous festivities - a wedding feast, a wake.
III.3.3A.S: [515.27-519.15]: finally getting around to the famous encounter - yet another confusing version of the assault.
III.3.3A.T: [519.16-522.03]: Matthew, unconvinced, cross-examines Yawn about his contradictory statements - adding confusion to the matter.
III.3.3A.U: [522.04-526.10]: the four suggest psychoanalysis for Yawn - he replies by having several people talk through him, mainly about fish.
III.3.3A.V: [526.11-528.13]: moving on to the three soldiers and the two maids - the voice of *I* emerges through Yawn, talking to her reflection.
III.3.3A.W: [528.14-530.22]: this gives rise to numerous unanswered questions about the encounter - ending in a demand to hear *S*.
III.3.3A.X: [530.23-532.05]: *S* and *K* speak through Yawn - the four have heard enough about and are ready to hear from.
III.3.3B.A: [532.06-534.06]: *E* begins his long self-defence speech through Yawn - denying any sexual misconduct, what with him having a wife.
III.3.3B.B: [534.07-535.25]: he protests, shocked by the allegations against him - the lowness of his accuser, the preposterousness of it all.
III.3.3B.C: [535.26-540.12]: he identifies himself, poor Haveth Childers Everywhere - continuing his self-defence, he uses every possible argument.
III.3.3B.D: [540.13-546.28]: his famous exploits - how he founded and ruled a grand city and empire.
III.3.3B.E: [546.29-547.13]: he moves on to talk about his wife - faithful Fulvia Fluvia.
III.3.3B.F: [547.14-550.07]: how he conquered her and wed her - ALP, his wife and his river.
III.3.3B.G: [550.08-552.34]: how he cared and provided for her - and built a city around her.
III.3.3B.H: [552.35-554.10]: more feats he did for her - all for her pleasure.
III.4.4A.A: [555.01-555.24]: night by night - while the four in their corners watch over the two sleeping twins, Kevin and Jerry.
III.4.4A.B: [556.01-556.22]: night by night - while Isobel quietly sleeps in her cot.
III.4.4B.A: [556.23-556.30]: night by night - while the constable does his rounds on schedule, collecting lost items.
III.4.4C.A: [556.31-557.12]: night by night - while Kothereen recites into her pillow how she found the publican crawling naked downstairs.
III.4.4D.A: [557.13-558.20]: night by night - while the twelve try the publican, finding him guilty.
III.4.4E.A: [558.21-558.25]: night by night - while the twenty-nine are both happy and miserable.
III.4.4E.B: [558.26-558.31]: in their bed - the parents lie.
III.4.4F.A: [558.32-559.19]: the play begins - the scene is a a couple's bedroom.
III.4.4F.B: [559.20-559.29]: a man and a woman in bed - as seen from Matthew's point of view.
III.4.4F.C: [559.30-560.06]: action starts, scenes shifting - she jumps off the bed in response to a cry, followed by him.
III.4.4F.D: [560.07-560.36]: the four discuss the scene just seen - the Porters' house-tavern.
III.4.4F.E: [561.01-562.15]: the little girl, Buttercup - sleeping in her own room.
III.4.4F.F: [562.16-562.36]: the first twin boy, the adorable Kevin - happily asleep on the right side of their shared bed.
III.4.4F.G: [563.01-563.37]: the second twin boy, the wretched Jerry - crying in his sleep on the left side of their shared bed.
III.4.4F.H: [564.01-565.05]: a man's naked bottom, or Phoenix Park - as seen from Mark's point of view.
III.4.4F.I: [565.06-565.16]: one of the four trembles, much to Mark's annoyance - a woman's voice is heard.
III.4.4G.A: [565.17-566.06]: the mother soothes the crying twin - it's all a dream, there's no big bad father.
III.4.4H.A: [566.07-566.25]: an account of all participants - each with its own role.
III.4.4H.B: [566.26-570.13]: the four are lost in the park - chatting about the king's upcoming hunting visit and his meeting with the mayor.
III.4.4H.C: [570.14-570.25]: the four are back to discussing Mr Porter - his health and figure, his marriage and family.
III.4.4H.D: [570.26-571.26]: one must go to the toilet - or is it a stroll in the park?.
III.4.4J.A: [571.27-571.34]: back in the twins' room - the crying one is quieter now.
III.4.4K.A: [571.35-572.06]: the young are still a threat - threatening to bury their forefathers.
III.4.4L.A: [572.07-572.17]: a door opens - what? who?.
III.4.4L.B: [572.18-573.32]: a complex matrimonial case-study - of an intensely sexual nature.
III.4.4L.C: [573.33-576.09]: a legal and religious analysis of the matrimonial case - primarily of financial nature.
III.4.4M.A: [576.10-576.17]: let us go back to bed - from the twins' room to the parents'.
III.4.4M.B: [576.18-577.35]: a prayer to a road-creating divinity - for the parents' safe journey between the rooms, back to the conjugal bed.
III.4.4N.A: [577.36-578.02]: a stir - it's only the wind.
III.4.4P.A: [578.03-578.15]: who is he? - the big tavern-keeper in his nighshirt, nightcap and socks.
III.4.4P.B: [578.16-578.28]: who is she? - the little missus holding the lamp.
III.4.4P.C: [578.29-579.26]: they are coming back down the stairs to their room - down the way they went up.
III.4.4P.D: [579.27-580.22]: they went through a lot together - yet they persevere.
III.4.4P.E: [580.23-580.36]: they approach the base of the staircase - recapitulating the sequence of events from meeting a cad to Hosty's ballad.
III.4.4P.F: [581.01-581.36]: was he not verbally assaulted, abhored, made amenable? - by his drunk customers on their way home.
III.4.4P.G: [582.01-582.27]: let us offer them some kind words - we're all in it together.
III.4.4P.H: [582.28-584.25]: a man and a woman having sex, or cricket - as seen from Luke's point of view.
III.4.4P.I: [584.26-585.21]: the cock crows - many thanks are offered.
III.4.4Q.A: [585.22-585.33]: the pair lies coupled - they separate, member withdrawn.
III.4.4Q.B: [585.34-586.18]: let us rest - and allow others to rest too.
III.4.4Q.C: [586.19-587.02]: everything is back to normal, the house is dark and quiet - as would be noted by the patrolman, were he there.
III.4.4R.A: [587.03-588.34]: the three soldiers' account of their encounter with the publican - of dubious credibility.
III.4.4S.A: [588.35-589.11]: the sexual sin in the park - leading to commercial success in the brewery business.
III.4.4T.A: [589.12-590.12]: the seven failures that got him his wealth - by collecting the insurance.
III.4.4T.B: [590.13-590.30]: a man and a woman sleeping in bed, or dawn - as seen from John's point of view.
IV.1.1.A: [593.01-593.24]: dawn - time for a new day and a new generation.
IV.1.1.B: [594.01-595.29]: the sun is rising over generations-old Ireland - the house awakens, breakfast is on the way.
IV.1.1.C: [595.30-595.33]: cock crow - let him sleep on.
IV.1.1.D: [595.34-596.33]: the prodigal son returns, reborn, reincarnated - a young paladin.
IV.1.1.E: [596.34-597.22]: the sleeper is just about to roll over from one side to the other - why?.
IV.1.1.F: [597.23-597.29]: ups-a-daisy, he rolls - his backside is cold.
IV.1.1.G: [597.30-598.16]: a weather forecast on the radio, with a pleasant day ahead - farewell yesterday's night, welcome today's morning.
IV.1.1.H: [598.17-598.26]: the mystery of transubstantiation - the effects of time.
IV.1.1.I: [598.27-599.03]: the progression of time - it is just so o'clock for everybody.
IV.1.1.J: [599.04-599.24]: the recirculation of times - past and present.
IV.1.1.K: [599.25-600.04]: the recirculation of waters - little is known of the locality.
IV.1.1.L: [600.05-601.07]: the scene unfolds - pool, river, city, tree, stone become visible.
IV.1.1.M: [601.08-602.05]: the twenty-nine girls singing for Kevin to ascend - churchbells pealing.
IV.1.1.N: [602.06-603.33]: a postman bearing mail, a son bearing a meal - a confrontation of father and son.
IV.1.1.O: [603.34-604.21]: the morning sun shines through the village church windows and over the plains of Ireland - stars are still visible.
IV.1.1.P: [604.22-604.26]: a radio announcement - a gale warning.
IV.1.2.A: [604.27-606.12]: the tale of Saint Kevin at Glendalough - concentrically concentrating on the regeneration of man by water.
IV.1.2.B: [606.13-607.16]: multiple images intermingle - dream flashbacks.
IV.1.2.C: [607.17-607.22]: on the border between wakefulness and sleep - the sleeping couple apologetically rub and bump into each other.
IV.1.3.A: [607.23-607.36]: daylight continues to rise over Dublin - looking forward, or back, to a king's meeting with a mayor.
IV.1.3.B: [608.01-608.11]: looks can be deceiving - another reminder of the incident in the park.
IV.1.3.C: [608.12-608.36]: as we are passing from sleep to wakefulness, the dream begins to fade - only symbolic sigla remain.
IV.1.3.D: [609.01-609.23]: pleasantly drifting back into dream-world - remembering the four old men, their ass, the girls, the twelve, &c..
IV.1.3.E: [609.24-610.02]: the dialogue of Muta and Juva begins - watching the Paschal fire and arrival of Saint Patrick and Archdruid Berkeley.
IV.1.3.F: [610.03-610.32]: of King Leary, his smile, his bets, his water - the dialogue of Muta and Juva ends.
IV.1.3.G: [610.33-611.03]: headlines for the following horse-race newscast - here are the details.
IV.1.3.H: [611.04-612.15]: the debate of Saint Patrick and Archdruid Berkeley begins - the druid expounds his theory of colours.
IV.1.3.I: [612.16-612.30]: Patrick replies to show the druid's false logic - he wipes himself with his handkerchief and kneels before the rainbow.
IV.1.3.J: [612.31-612.36]: the druid explodes at the insult - he assaults Patrick and attempts to blot out the sun.
IV.1.3.K: [613.01-613.16]: the people, converted, cheer Patrick, as the sun rises - the debate of Saint Patrick and Archdruid Berkeley ends.
IV.1.3.L: [613.17-613.26]: flowers open to the growing sunlight - morning, with breakfast and bowel movements, has arrived.
IV.1.3.M: [613.27-614.18]: the time of change, ominous, thunderous, has arrived - all previous events are to reoccur, history repeating itself.
IV.1.4.A: [614.19-614.26]: the dream starts to be forgotten, to be only subliminally remembered - leaving behind many questions.
IV.1.4.B: [614.27-615.11]: a wonderful contraption - for the matutinal consumption of eggs and letters.
IV.1.4.C: [615.12-616.19]: the revered letter begins - condemning slander against her man in general and from Magrath in particular.
IV.1.4.D: [616.20-617.29]: providing confusing biographical details and telling of an upcoming funeral and wake - a sham ending to the letter.
IV.1.4.E: [617.30-619.15]: the letter continues - replying to more allegations, this time mainly aimed at her.
IV.1.4.F: [619.16-619.19]: ALP's signature and a postscript - the revered letter ends.
IV.1.5.A: [619.20-628.18]: the mother's morning monologue to her sleeping mate, as a river flowing to sea - continued in the book's first sentence.