FINNEGANS WAKE: PAGE 007

Notes/Explanations:

– ¶0 numbers the carry-over paragraph
– solid-line boxed text marks my running outline

– rolling over critical sources give more specific citations as available

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1.1 Page 007
– last update: May 13, 2015

LINK: PAGE 7 ON FINNEGANS WEB

page 6 ← → page 8

¶0

¶1

 

20      Yet may we not see still the brontoichthyan form outlined a-
21 slumbered, even in our own nighttime by the sedge of the trout-
22 ling stream that Bronto loved and Brunto has a lean on.

¶1 The narrative is transitioning here (for a moment) from the world of myth to the world of contemporary Dublin. Flowing out of the previous paragraph with the death of Finn:

he is smolten in our mist, woebecanned and packt away. So that meal's dead off for summan, schlook, schlice and goodridhirring. (7.17-19)

you have the simple transition of “So was Finn dead. Yet, can we not still see him outlined in the geography of Dublin?” The paragraph continues describing how the laid out body of Finn can be seen (or is also) the geography of Dublin. In being the first attention to the geography of Dublin (which is of some importance in the Wake), the description is doubled with reference to the Phoenix Park incident:

His clay feet, swarded in verigrass, stick up starck where he last fellonem, by the mund of the magaziner wall, where our maggy seen all, with her sisterin shawl. While over against this belles' alliance beyind Ill Sixty [. . .] lurk the ombushes, the site of the lyffing-in-wait of the upjock and hock ums.(7.26-32)

Yet may we not see still the brontoichthyan form: "bronto" for the mound of Howth; "ichthy" for the River Liffey.

 

Hic cubat edilis. Apud libertinam parvulam. “Here sleeps the magistrate with his little freed girl” (McHugh) Note HCE/ALP.

 

the Maggies: witnesses to the event at the Magazine Wall. I follow Benstock in taking the Maggies as being Issy in her internal duality.

There’s one daughter – internally in agon because she is of the feminine principle. There are two sons – externally in agon because they are of the masculine principle. Mythical cosmogeny plays out in its normal patterns in the Wake. Indeed, I believe that the Axiom of Maria Prophetissa &ndash “out of one comes two, out of two comes three, out of the three comes the unity that is one” – as is seen in the singular, dual, and triple forms of Shem and Shaun.

 

25 Arrah, sure, we all love little Anny Ruiny, or, we
26 mean to say, lovelittle Anna Rayiny, when unda her brella, mid
27 piddle med puddle, she ninnygoes nannygoes nancing by. Yoh!
28 Brontolone slaaps, yoh snoores. Upon Benn Heather, in Seeple
29 Isout too. The cranic head on him, caster of his reasons, peer yu-
30 thner in yondmist. Whooth? His clay feet, swarded in verdigrass,
31 stick up starck where he last fellonem, by the mund of the maga-
32 zine wall, where our maggy seen all, with her sisterin shawl.”

• There are two points I want to pull out of this passage:

(1) “Upon Benn Heather, in Seeple Isout too.” &ndash Binn Éadair is Howth; Seipéal Iosaid is Chapelizod (McHugh). Chapelizod in adjacent to Phoenix Park, though, not to Howth. So, I am wondering if Chapel is where the adult Issy lives (and the child Issy plays). (This may be basic knowledge, but right now I don’t know/remember.)

(2) Note the puns within the Phoenix Park moment: mund is German for mouth, and “fellonem” puns on fellatio. This could be another possibility for what happened at Phoenix Park, though I also see the possibility that HCE and ALP had sex at the magazine wall as well (and perhaps that is why HCE would return there). (There is more that points to this, but maybe another time. Also, it might be worth saying here that Issy and ALP, being female (that is, incarnations of the mythic female), are united (coupled, doubly identified) in a deeper way than are Shem/Shaun and HCE, the males. Issy functions ideationally in part as the young, sexually attractive and active part of ALP. So HCE’s sexual attraction to Issy is the sexual attraction he had for the younger ALP &ndash which is not to say there is no attraction any more, though that may be argued as central to the "fall" of Earwicker the tavern keeper is his sexual inabilities with Anna Livia.)