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Finnegans Wake lines: 36
Elucidations found: 120

114.01soully when 'tis thime took o'er home, gin. We cannot say aye
–114.01+Archaic 'tis: it is
–114.01+time to go home
–114.01+Archaic o'er: over
–114.01+again
–114.01+Jim (i.e. Joyce, perhaps as spoken by Nora)
–114.01+phrase see eye to eye
–114.01+Motif: yes/no (Dialect aye: yes + noes) [.02]
114.02to aye. We cannot smile noes from noes. Still. One cannot help
–114.02+tell
–114.02+smell nose to nose
–114.02+noesis: the sum total of the mental processes of a rational animal
–114.02+(this description may well be applied to the drafts of Joyce: Finnegans Wake) [.02-.19]
114.03noticing that rather more than half of the lines run north-south
–114.03+crossed letter: a letter with lines running both horizontally and vertically (to save on paper and postage) [.11]
–114.03+Motif: 4 cardinal points [.03-.05] [.07]
114.04in the Nemzes and Bukarahast directions while the others go
–114.04+Albanian Nemc: Austrian, Hungarian, German
–114.04+Russian nemetskii: German (adjective)
–114.04+Albanian búkur: beautiful
–114.04+Bukhara
–114.04+Bucharest, capital of Romania
–114.04+Albanian rahat: quiet
114.05west-east in search from Maliziies with Bulgarad for, tiny tot
–114.05+Albanian mal: mountain
–114.05+Malaysia
–114.05+Belgrade, Bulgaria
–114.05+Variants: {FnF, Vkg, JCM: ...for, tiny...} | {Png: ...for tiny...}
114.06though it looks when schtschupnistling alongside other incuna-
–114.06+Albanian shqupni: Albania (pronounced 'schtschupni')
–114.06+nestling
–114.06+incunabula: books printed before 1500
–114.06+Latin incunabula: cradle
–114.06+Variants: {FnF, Vkg, JCM: ...incunabula, it...} | {Png: ...incunabula it...}
114.07bula, it has its cardinal points for all that. These ruled barriers
–114.07+cardinal points: the four principal compass directions (Motif: 4 cardinal points) [.03]
–114.07+(lines)
114.08along which the traced words, run, march, halt, walk, stumble
–114.08+
114.09at doubtful points, stumble up again in comparative safety seem
–114.09+VI.B.6.053o (r): 'doubtful points'
–114.09+Crépieux-Jamin: Les Éléments de l'Écriture des Canailles 194: 'l'écriture hésitante et lente d'un débile peu cultivé... Ne sachant pas l'orthographe, il s'arrête à presque chaque mot en reposant, dans l'intervalle, la plume sur le papier, d'où les points où il n'en faut pas' (French 'the hesitant and slow writing of an idiot of little education... Since he does not know how to spell, he stops at almost every word, resting the pen, in the meantime, on the paper, whereby the points where there should be none')
114.10to have been drawn first of all in a pretty checker with lamp-
–114.10+lampblack: a black pigment or ink made from burnt soot (Sullivan: The Book of Kells 47: 'The black is lamp black, or possibly fish-bone black') [119.34] [277.02-.03] [290.22]
114.11black and blackthorn. Such crossing is antechristian of course,
–114.11+crossing: writing across or at a right angle to other writing [.03]
–114.11+anti-christian
114.12but the use of the homeborn shillelagh as an aid to calligraphy
–114.12+shillelagh: black-thorn stick
114.13shows a distinct advance from savagery to barbarism. It is
–114.13+Sir George Birdwood: Sva (1910), xxi: 'there must be wars, and in the earlier stages of the evolution of humanity from savagery to barbarism... there was war in heaven; Michael and his angels, against the Dragon and his angels'
114.14seriously believed by some that the intention may have been
–114.14+
114.15geodetic, or, in the view of the cannier, domestic economical.
–114.15+geodetic: pertaining to surveying
–114.15+Latin domesticus: Greek oikonomikos: pertaining to the house
114.16But by writing thithaways end to end and turning, turning and
–114.16+(boustrophêdon) [018.32-.34]
–114.16+phrase from end to end: from the very beginning to the very end, from one extremity to the other, throughout
–114.16+phrase end to end: in a row with the ends touching
114.17end to end hithaways writing and with lines of litters slittering
–114.17+Anne Hathaway: William Shakespeare's wife
–114.17+lines... slittering up and louds... slettering down [005.03-.04]
–114.17+Motif: alliteration (l)
114.18up and louds of latters slettering down, the old semetomyplace
–114.18+Motif: up/down
–114.18+Budge: The Book of the Dead, introduction, p. lxxiv: (of Horus, the son of Osiris, and a mythical ladder joining heaven and earth) 'Horus... the god who is the lord of the ladder'
–114.18+letters
–114.18+French Sem: Shem (Motif: Shem, Ham and Japhet) [.19]
–114.18+sematology: study of meaning
–114.18+see me to my place
–114.18+cemetery
–114.18+tomb
114.19and jupetbackagain from tham Let Rise till Hum Lit. Sleep,
–114.19+Japhet [.18]
–114.19+Ham [.18]
–114.19+William Shakespeare: Hamlet
–114.19+rise, sleep
–114.19+University Colloquial Hum. Lit.: Humaniores Literæ, the humanities
–114.19+please
114.20where in the waste is the wisdom?
–114.20+T.S. Eliot: The Waste Land
–114.20+west
114.21     Another point, in addition to the original sand, pounce pow-
–114.21+{{Synopsis: I.5.4.C: [114.21-116.35]: the paper, teastain and missing signature — amateur psychonanalysis of the text}}
–114.21+pounce: powder used to prevent ink spreading, or to prepare parchment
114.22der, drunkard paper or soft rag used (any vet or inhanger in
–114.22+VI.B.6.055h (r): 'drinking paper'
–114.22+Crépieux-Jamin: Les Éléments de l'Écriture des Canailles 221: 'le lecteur peut aisément se procurer un spécimen d'écriture floue en écrivant lui-même sur un papier très légèrement humide, ou buvard' (French 'The reader can easily obtain a sample of indistinct writing by writing on very slightly damp paper, or on blotting paper')
–114.22+French papier buvard: blotting paper (related to French buveur: drinker)
–114.22+(used in paper manufacture)
–114.22+Albanian vet: person
–114.22+German Anhänger: adherent; trailer
–114.22+Albanian hângër: to eat
114.23ous sot's social can see the seen for seemself, a wee ftofty od
–114.23+our
–114.23+Albanian sot: today
–114.23+scene
–114.23+himself [143.26]
–114.23+Albanian ftoftë: cold
–114.23+Albanian odë: room
114.24room, the cheery spluttered on the one karrig, a darka disheen
–114.24+Albanian qiri: candle
–114.24+sherry
–114.24+Albanian karrigë: chair, seat
–114.24+Albanian darkë: supper, dinner
–114.24+dish
–114.24+Irish duisín: dozen
–114.24+Anglo-Irish -een (diminutive)
114.25of voos from Dalbania, any gotsquantity of racky, a portogal
–114.25+Albanian ve, voe: egg
–114.25+Colloquial boose: alcoholic drink, liquor
–114.25+Dublin
–114.25+Albania
–114.25+Colloquial phrase any God's quantity: an abundance, a large amount
–114.25+Albanian gotë: drinking glass, tumbler
–114.25+Albanian raki: brandy
–114.25+Albanian portogal: an orange
114.26and some buk setting out on the sofer, you remember the
–114.26+Albanian bukë: bread
–114.26+book
–114.26+sofa
–114.26+Albanian sofër: table, dining table
–114.26+Hebrew sefer: book
114.27sort of softball sucker motru used to tell us when we were all
–114.27+soft-ball sugar: a stage in the boiling of sugar as part of the process of candy-making (identified by a small spoonful of syrup forming a "soft ball" when dropped in cold water)
–114.27+Albanian motër, motra: sister
–114.27+mother
114.28biribiyas or nippies and messas) it has acquired accretions of
–114.28+Albanian bir: child; son
–114.28+Albanian bije: children; daughter
–114.28+Albanian nip: nephew
–114.28+Slang nippy: a Lyons' tea-shop girl
–114.28+Albanian mbesë: niece (Motif: niece)
114.29terricious matter whilst loitering in the past. The teatimestained
–114.29+(terrestrial)
–114.29+(in mudmound)
–114.29+tea-time-stained (Motif: The Letter: teastain)
–114.29+timestained
114.30terminal (say not the tag, mummer, or our show's a failure!) is a
–114.30+it is considered unlucky for an actor to recite the tag (the last line or sentence of a play) at rehearsal
–114.30+German Tag: day
–114.30+Slang mummer: actor (contemptuous)
114.31cosy little brown study all to oneself and, whether it be thumb-
–114.31+phrase be in a brown study: be withdrawn
–114.31+itself
114.32print, mademark or just a poor trait of the artless, its importance
–114.32+trademark
–114.32+Portrait of the Artist
114.33in establishing the identities in the writer complexus (for if the
–114.33+(identity of the writer)
114.34hand was one, the minds of active and agitated were more than
–114.34+VI.B.6.055a (r): 'active v agitated'
–114.34+Crépieux-Jamin: Les Éléments de l'Écriture des Canailles 211: (of a handwriting sample) 'On ne saurait trouver un meilleur exemple de la différence qu'il y a entre l'agitation et l'activité' (French 'One could not find a better example of the difference between agitation and activity')
114.35so) will be best appreciated by never forgetting that both before
–114.35+
114.36and after the battle of the Boyne it was a habit not to sign letters
–114.36+Battle of the Boyne, 1690 (famous victory of the Protestant William III of Orange over the Catholic Jacobites)
–114.36+(hence the teastain may be the author's mark)


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