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TextWordPassage & CitationAnalysis Contributor(s)
Finnegans Wake bababadalghara-ghtakamminarron-nkonnbronnto-nnerronntuo-nnthunntrovarr-hounawnsk-awntoohooho-ordenenthurnuk "The fall (bababadalghara-ghtakamminarron-nkonnbronnto-nnerronntuo-nnthunntrovarr-hounawnsk-awntoohooho-ordenenthurnuk!) of a once wallstraight oldparr" (FW 003.15-17) First of the Wake’s thunder-words, which usually signify the beginning of a new Viconian era (see vicus). It contains parts of words signifying “thunder” in different languages including Hindustani: gargarahat, karak; Japanese: kaminari; Finnish: ukkonen; Greek: bronté (βροντή); French: tonnerre; Italian: tuono; Portuguese: trovão; Swedish: åska; Danish: torden; and Irish: tórnach. The opening of this thunder-word also evokes the characteristic babbling of HCE along with the fall of Babel. Ciaran McMorran & Terence Killeen
Finnegans Wake bellowsed "nor avoice from afire bellowsed mishe mishe" (FW 003.09) Bellow, bellows, and “the response of the peatfire of faith to the windy words of the apostle” (Selected Letters of James Joyce , ed Richard Ellmann, 317). Ciaran McMorran & Terence Killeen
Ulysses bullockbefriending “Mulligan will dub me a new name: the bullockbefriending bard.” (U 2.431) First I would be hesitant to call such a composition a “neologism,” though technically it might be – the spelling checker instantly bristles. Joyce has a way of forming unhyphened compounds and so creating radiant units that attract attention to themselves. In this case Stephen obviously imitates Buck Mulligan’s penchant for exaggerated alliteration, as in “jejune jesuit,” partly in imitation of an Irish trait. But here the manner is Anglo-Saxon, and anticipates passages in fake Old English in Oxen of the Sun (“Before born be bliss had,” [14.60]). Stephen’s tit for Mulligan’s tat. Possibly with a hint at the precarious friendship, or former friendship, between the two, bullock instead of Buck. Whether Bullock harbour nearby is also echoed (1.467, 14.519) I cannot determine. Fritz Senn
Finnegans Wake commodius “a commodius vicus of recirculation” (FW 003.02) “a commodius vicus of recirculation” initially appeared in the first set of galley proofs for Finnegans Wake. It could be a printing error given that the word “commodious” appears in manuscript in the (earlier) second set of transition proofs. Danis Rose and John O’Hanlon rectify this possible misprint in their Houyhnhnm Press edition of Finnegans Wake by altering “commodius” to “commodious” (“a commodious vicus of recirculation”) (see Terence Killeen, ‘“Tackling the errears and erroriboose: Another Look at the Rose/O’Hanlon Finnegans Wake”’, Genetic Joyce Studies, Issue 13 (Spring 2013), p. 3). “Commodius” expands concepts of comfort, convenience and spaciousness, along with the chamber pots and furniture (commode), to accommodate the divine (Latin: dius) and variousfigures in Greek mythology (Dius). These include Dius, whose father Priam fell in the Trojan war; Dius,son of Apollo; Dius, son of Anthas; Dius, son of Pandorus; and Dius, the deposed Dorian king who waged war with Oxylus and, like HCE, suffered a tragic and humiliating fall. Ciaran McMorran & Terence Killeen
Finnegans Wake d’amores “Sir Tristram, violer d’amores” (FW 003.04) Portuguese: “of loves”. See violer. Ciaran McMorran & Terence Killeen
Finnegans Wake devlinsfirst “since devlinsfirst loved livvy” (FW 003.24-25) Devlins: Dublins; devils; Evelyn’s; Devlins (Devlin: Irish surname which originated from the O’Develin chiefdom). Again, this could be a textual error for “devlins first” (see Rose/O’Hanlon edition page 3). Ciaran McMorran & Terence Killeen
Finnegans Wake doublin “[...] while they went doublin their mumper all the time [...]” (FW 003.08-09) A conflation of “doubling”, “Dublin”, and “doubloon”. “Doubloon” originates from the Spanish word doblón, which derives from doble, meaning “double” (doubloons were originally worth double a pistole).There are numerous “doublings” of Dublin throughout Finnegans Wake, by which city’s local characteristics are overlayed with features of foreign locales. Ciaran McMorran & Terence Killeen
Finnegans Wake erse “Finnegan, erse solid man” (FW 003.19-20) Archaic term for the Irish gaelic and Scottish gaelic; arse; German: erste, first; else. Ciaran McMorran & Terence Killeen
Finnegans Wake gorgios "nor had topsawyer's rocks by the stream Oconee exaggerated themselse to Laurens County's gorgios" (FW 003.06-08) Georgia, USA; gorges; possible allusion to Giorgio Joyce (see John Gordon, Finnegans Wake: A Plot Summary). Also Gypsy “gorgios”, a term for non-Gypsy peoples (see OED). Ciaran McMorran & Terence Killeen
Ulysses hismy “My cockle hat and staff and hismy sandal shoon.” (U 3.487) Variants of the word/phrase suggest altered readings. In the 1922 first edition of Ulysses (50), it appears as “hismy” but subsequent editions, beginning with the 1926 corrected edition by Shakespeare and Company, separates the word into “his my.” All subsequent editions, notably the Odyssey Press edition of 1932, the US edition of 1934 and the Bodley Head edition of 1936, reset in 1960, maintain the separation to read “his my.” The Gabler edition of 1984, however, restores the original “hismy” printing. The format affects the meaning. If the word remains “hismy” it implies the elimination of distance between subject and object: “hismy sandal shoon” suggests a merging of Stephen with an other, likely Lucifer alluded to in the preceding sentence with a Latin phrase attached, translated as “the morning star, I say, who knows no setting.” But as “his my,” the phrase clearly separates Stephen from Lucifer. The meaning remains but without the impact of the co-joined words: the sandals of both Stephen and Lucifer shoon. The allusion of the sentence is to Ophelia’s speech in Hamlet where she asks in her song how will she know true love? “By his cockle hat and staff/ and his sandal shoon” is her answer (IV.v.23-6). The image of the cockle, hat according to Gifford and Seidman, suggests the lover as pilgrim. “Shoon” may mean shoe but it is also the past tense of shine: to give out a light according to the OED. And the light is to illuminate Stephen’s journey “to evening lands.” Shakespeare writes in A Midsummer Night’s Dream, “Well shone Moone” at V.i.262. Ira B. Nadel