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Running outline of 2.1, the "Children's Hour." The point here is simply to gather the section headers that appear in the page-by-page file into one file. To note, I break from other readings at certain points. As with anything on these pages, they are very much in flux, very much my thinking of the moment, subject to change. But I also think there is a great degree to which certain critics are unwilling to permit a greatly if not overtly sexual reading; which, especially in this chapter, would fatal. – last updated April 23, 2016

The chapter is simultaneously the children at play and a play of the children at play. That is, there is a framing device of a play performed in a theater. The story echoes and frequently refers to that of the Tale of Jarl Van Hoother and the Prankquean in 1.1 (21.5-23.15) with the character change that Issy now plays the role of the Prankquean and Chuff (Shem) now plays the rols of the Jarl: the children are playing at and performing the archetypal history of ALP and HCE. As well, the chapter reflects at many points 2.3, the Tavern chapter.

The game the children are playing is Angels and Devils. McHugh gives a quotation from a letter from Joyce to Harriet Weaver (of Nov. 11, 1930) at the start of the chapter:

The scheme of the piece I sent you is the game we used to call Angels and DEvils or colours. The Angels, girls, are grouped behind the Angel, Shawn, and the Devil has to come over three times and ask for a colour. If the colour he asks for has been chosen by any girl she has to run and he tries to catch her. As far as I have written he has come twice and been twice baffled. The piece is full of rhythms taken from English singing games. When first baffled vindictively he thinks of publishing blackmail stuff about his father, mother etc etc etc. The second time he maunders off into sentimental poetry of what I actually wrote at the age of nine: "My cot alas that dear old shady home where oft in yourful sport I played, upon they verdant grassy fields all day or lingered for a moment in thy bosom shade etc etc etc etc." This is interrupted by a violent pang of toothache after which he throws a fit. When he is baffled a second time the girls angels sing a humn of liberation around Shawn. . . . Note specially the treatment of the double rainbow in which the iritic colours are first normal and then reversed.



219.1 Every evening at lightning up o'clock sharp

— The Place (the Theater)


219.22 GLUGG (Mr Seaumas McQuillad

— The Characters and Cast


221.17 Time: the pressant.

— The Time


221.18 With futurist onehorse balletbattle pictures

— The Credits for the Production


222.21 An argument follows.

— The Argument of the Play


224.8 Towhere byhangs ourtales.

— The Play Begins.


219.22 GLUGG

— The Place


224.22 The youngly delightsome frilles-in-pleyurs are now showen drawen

— The scene of the players on the stage is described and the game begins.


224.13-14 she sproankled his allover with her noces of interregnation

— Izod asks Glugg the question

The question – "How do you do that lack a lock and pass the poker, please?" – echoes the Prankquean's question to the Jarl. As with the Prankquean, the question should be read contextually an invitation to sex.


225.22 – Have you monbreamstone?

— Glugg's first round of guesses (three reds).

In the three guesses you see also the sexual nature of the game: Glugg may be guessing colors, guessing the color of the Floras' undergarments, but he is talking about their – by extension Izod's – pudenda.


225.29 Off to clutch, Glugg!

— The Floras shun Glugg and dance around Chuff.


226.4 Poor Isa sits a glooming

— Isa sits sulking at the Glugg's failure.


226.21 So and so, toe by toe, to and fro they go round

— The Girls dance


228.3 Allwhile, moush missuies from mungy monsie

— Glugg contemplates running off


229.7 Go in for scribenery with the stiety of arthurs

— Glugg contemplates becoming a writer and "blackmailing" his father, mother, the rest of Dublin.


231.23 By, by Jove Chonides, Seed of Summ

— Glugg is brought out of his reveries by exorcism


232.9 When (pip!) a message interfering intermitting interskips from them (pet!)

— A new message, a new invitation, is sent by Izod.


232.27 Now a run for his money!

— Glugg faces the Floras for the second time.


233-21 — Haps thee jaoneofergs?

— Gluggs second round of guesses (yellows).


233.29 And he did a get, their anayance, and slink his hood away

— Glugg turns away in failure.


234.6 But, sin Showpanza, could anybroddy which walked

— The actions turns to Chuff.


234.18-19 whiles his host of spritties, lusspillerindernees, they went peahenning

— The Floras dance around Glugg.


234.34 Hymnumber twentynine. O, the singing!

— The Floras and Izod sing to and about Chuff.


236.19 Since the days of Roamaloose and Rehmoose

— Talking about dancing in Dublin


236.33 Just so stylled with the nattes are their flowerheads now

— Because of their dancing, Chuff can see the colors of the Floras' undergarments.


237.10 An they said to him:

— The Floras speak to Chuff; they ask him to post letters to them during his travels.


238.14-15 Now promisus as at our requisted you will remain ignorant

— The Floras ask Chuff (the Angel) to remain pure during his travels.

As the paragraph continues, it seems the Floras (and Izod) are torn between their want for Chuff to remain pure and their own sexual desires.


239.28 These bright elects, consentconsorted, they were waltzing up

— While the Floras and Chuff are walking off, Glugg lies in his grave.

Glugg's motion – down into a grave, into Erebus/Hell – is opposite that of Chuff, who is Angelic, and raised by the Floras as a sun-god.


240.5 By low, boys low, he rises, shrivering

— In echo of the archetypal resurrection(s) of HCE, Glugg rises from his grave.


242.25 Helpmeat too, contrasta toga, his fiery goosemother

— The archetypal digression continues with the appearance of ALP – perhaps to be read backwards as Izod also rising to meet Glugg.


244.3 But who comes yond with pire on poletop?

— A lampliter comes, announcing the coming night. Time to call the children home.


244.13 It darkles, (tinct, tint) all this our funnaminal world.

— Dublin settling into night.


245.30-31 here's dapplebellied mugs and troublebedded rooms and sawdust strown

— Including the Tavern, settling into its nightly habits.


246.3 But heed! Our thirty minutes war's alull.

— There has come a pause in the game.


246.15-16 So they must have their final since he's on parole.

— But the contest is yet to be settled.


246.21 The campus calls them Ninan ninan, the gattling gan!

— The girls are called back and return to the stage.


246.36 Postreintroducing Jeremy, the chastenot coulter

— Glugg, now resurrected, is reintroduced.


247.17-18 He wept indeiterum With such a tooth he seemed to love his wee tart when abuy.

— Glugg looks longingly upon Izod.


247.24-25 He no want missies blog all boy other look bruisy place blong him.

— Glugg swears off other women.


248.4 If you nude her in her prime

— The Floras reintroduce Izod.


248.11 My top it was brought Achill's low

— Izod speaks of their future together.


249.21 With a ring ding dong, they raise clasped hands

— The Floras form their lines between Glugg and Izod again.


249.26 — I rose up one maypole morning

— The Floras call to Glugg.


249.29 — My name is Misha Misha but call me Toggey Tough.

— Glugg (who, resurrected, is now Gemini, the union of the twins) answers the Floras.


250.3 — Willest thou rossy banders having?

— The Floras taunt Glugg.


250.23 A fork of hazel o'er the firld in vox the verveine virgins ode.

— Description of the field battle, the lines drawn.

In the next paragraphy Izod and the Floras step foward, in the manner of the Prankquean, to ask their question again.


251.4 He stanth their mun in his natural

— Glugg stands naked before the girls, and debates what actions he should take.


252.17 An each was wrought with his other.

— The dramatic tension of the lines facing off.


253.16-18 But Noodynaady's actual ingrate tootle is of come into the garner mauve and thy nice are stores of morning anb buy me a bunch of iodines.

— Glugg's third round of guesses: purples.


253.19 Evidantament he has failed as riercely as the deuce before

— Glugg is wrong again; the Floras mock him again.


253.28 But, vrayedevraye Blankdeblank, god of all machineries

— In echo of the Jarl's final response to the Prankquean, Glugg rises up, breaking the cycle of the game.

I read what follows as saying Glugg has an erection; he breaks the game by becoming greater than the game, the physical demonstration and reality of sexual desire.


255.3 Attach him! Hold!

— The Floras brace their lines in defense of Izod.


255.5 Why wilt though erewaken him from his earth

— Glugg breaks through the lines.

McHugh gives note about "Aquileyria" that explains the paragraph:

Gibbon: Decline & Fall of the Roman Empire XXXV reports that Attila, about to relinquish his siege of Auileia, observed a stork & family about to leave her nest in a tower in the walls. He deduced the tower must be unmanned, breached the wall there and destroyed the city


255.27 For the produce (Mr John Baptiser Vickar)

— The producer of the play calls Hump and Ann to the stage to get control of the children.


256.1 And eher you could pray mercy to goodness

— Ann gathers the girls and sends the Floras home.


256.17 For they are now tearing, that is, teartoretorning.

— Glugg, Chuff, and Izod are sent to their studies; the children are sad for it.


256.33 That little cloud, a nibulissa, still hangs isky.

— Izod sulks (because of the unfulfillment of the 'game').


257.3 While, running about their ways, going and coming

— The scene expands (in the nature of pulling back a camera) to include the whole of the tavern


257.27-8 Lukkedoerendunandurraskewdylooshoofermoyportertoory-

— The "door is shut": the curtain falls.


257.29 Byfall.

— The audience erupts in thunderous applause.


258.25 Loud, here us!

— A benediction is offered, closing the chapter.