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| Collection last updated: | Mar 22 2023 |
| Engine last updated: | Feb 26 2023 |
| Finnegans Wake lines: | 36 |
| Elucidations found: | 125 |
| 123.01 | of all those fourlegged ems: and why spell dear god with a big |
|---|---|
| –123.01+ | Shakespeare believed to have occasionally put four legs to m's |
| –123.01+ | Joyce's notebooks contain some four-legged m's |
| –123.01+ | Annals of the Four Masters (*X*) |
| –123.01+ | M (Cluster: Letters) |
| –123.01+ | em: unit for measuring amount of printed matter in a line, page, etc. |
| –123.01+ | dog |
| –123.01+ | P.W. Joyce: English as We Speak It in Ireland 69: 'The expression the dear knows (or correctly the deer knows), which is very common, is a translation from Irish... The original expression is thauss ag Dhee... meaning God knows; but as this is too solemn and profane for most people, they changed it to Thauss ag fee, i.e. the deer knows' (Anglo-Irish) |
| 123.02 | thick dhee (why, O why, O why?): the cut and dry aks and wise |
| –123.02+ | D (Cluster: Letters) |
| –123.02+ | Irish dia: god (pronounced 'djee-e') |
| –123.02+ | VI.B.10.041h (g): 'why O, why' |
| –123.02+ | (the word 'GoD' in a draft of the Letter in a Joyce: Finnegans Wake manuscript looks not unlike a 'y-o-(upside down y)') |
| –123.02+ | YHWH: Tetragrammaton, God's unmentionable name in Judaism |
| –123.02+ | phrase cut and dry: ready-made, prepared beforehand (originally applied to herbs, grain, timber, etc.) |
| –123.02+ | Danish aks: ear (of grain) |
| –123.02+ | X (Cluster: Letters) |
| –123.02+ | German Weizen: wheat |
| –123.02+ | Y (Cluster: Letters) |
| 123.03 | form of the semifinal; and, eighteenthly or twentyfourthly, but |
| –123.03+ | 'Ithaca' (Joyce: Ulysses chapter, uses 'impersonal catechism') |
| –123.03+ | Joyce: Ulysses has eighteen chapters, The Odyssey has twenty-four books |
| 123.04 | at least, thank Maurice, lastly when all is zed and done, the pene- |
| –123.04+ | Maurice Darantière printed the first edition of Joyce: Ulysses; his name appears at the end |
| –123.04+ | Z (Cluster: Letters) |
| –123.04+ | said and done |
| –123.04+ | 'Penelope' (end of Joyce: Ulysses) |
| –123.04+ | Penelope patiently waited for Odysseus for many years |
| 123.05 | lopean patience of its last paraphe, a colophon of no fewer than |
| –123.05+ | paraph: flourish added to signature (from French paraphe) |
| –123.05+ | colophon: inscription formerly placed at end of book |
| 123.06 | seven hundred and thirtytwo strokes tailed by a leaping lasso — |
| –123.06+ | 732 pages in first edition of Joyce: Ulysses |
| –123.06+ | VI.B.6.053k (r): '5 strokes to 1 letter' |
| –123.06+ | Crépieux-Jamin: Les Éléments de l'Écriture des Canailles 193: 'Il n'est pas rare de rencontrer une seule lettre tracée par plusieurs coups de plume' (French 'It is not rare to come across a single letter traced with several strokes of the pen') |
| 123.07 | who thus at all this marvelling but will press on hotly to see the |
| –123.07+ | (will read on to get to the sexy bit at the end of the book, e.g. Molly's monologue in Joyce: Ulysses) |
| 123.08 | vaulting feminine libido of those interbranching ogham sex up- |
| –123.08+ | VI.B.3.123e (r): 'Is — her libido' |
| –123.08+ | Mordell: The Erotic Motive in Literature 161: (of Troilus in Chaucer's Troilus and Criseyde) 'The fear that he experienced at day, that his sweetheart would be lost to him — the anxiety that his libido would be repressed, become an anxiety dream' |
| –123.08+ | branching Ogham: a method of writing the ancient Irish Ogham alphabet, traditionally used on gravestones, so called because of its supposed resemblance to the branches of a tree (Irish Ogham craobh) |
| –123.08+ | VI.B.6.053e (r): 'ogham' |
| –123.08+ | orgasm |
| –123.08+ | up and in sweeps |
| 123.09 | andinsweeps sternly controlled and easily repersuaded by the |
| –123.09+ | |
| 123.10 | uniform matteroffactness of a meandering male fist? |
| –123.10+ | matter-of-factness: straightforwardness, prosaicness; factualness |
| –123.10+ | Colloquial fist: handwriting |
| 123.11 | Duff-Muggli, who now may be quoted by very kind arrange- |
| –123.11+ | {{Synopsis: I.5.4.I: [123.11-123.29]: quoting a critic about its style — basing his observations on a similar case}} |
| –123.11+ | Anglo-Irish duff: black |
| –123.11+ | deaf-mute |
| 123.12 | ment (his dectroscophonious photosensition under suprasonic |
| –123.12+ | Variants: {FnF, Vkg, Png: ...dectroscophonious...} | {JJA 49:455: ...electroscophonious...} (apparently corrupted in typescript at JJA 49:454) |
| –123.12+ | VI.B.46.095d (g): 'electric' |
| –123.12+ | Popular Wireless & Television Times 25 Dec 1937, 399/1: 'Light and Electrons': 'the growing importance of the photo-electric cell, particularly as applied to television' (Cluster: Television) |
| –123.12+ | VI.B.46.095e (g): 'scophony' |
| –123.12+ | Popular Wireless & Television Times 25 Dec 1937, 393/1: 'Television Topics': (of an early mechanical television system developed by the British company Scophony) 'the apparatus demonstrated was of Scophony make, for what other system is there at the present which can offer so much?' (Cluster: Television) |
| –123.12+ | Motif: ear/eye (phono-, photo-: sound-, light-) |
| –123.12+ | VI.B.46.095y (g): 'photosensitive' |
| –123.12+ | Popular Wireless & Television Times 25 Dec 1937, 399/2: 'Light and Electrons': (of a cathode-ray tube in a television) 'the stream itself has been produced by secondary emission... and is therefore altogether of a higher order of density than the ordinary or primary emission produced when light acts directly upon a photo-sensitive surface' (Cluster: Television) |
| –123.12+ | VI.B.46.095g (g): 'Super sonic light control' |
| –123.12+ | Popular Wireless & Television Times 25 Dec 1937, 393/3: 'Television Topics': (of a central component in an early mechanical television system) 'The Scophony supersonic light-control consists of a container, filled with a liquid, at one end of which is a quartz crystal. When the quartz is actuated by a modulated carrier frequency, supersonic waves are set up at a speed corresponding to the velocity of the sound waves in that particular liquid' (Cluster: Television) |
| –123.12+ | Motif: ear/eye (sonic, light) |
| 123.13 | light control may be logged for by our none too distant futures |
| –123.13+ | VI.B.46.095ag (g): 'logged' |
| –123.13+ | looked for |
| 123.14 | as soon astone values can be turned out from Chromophilomos, |
| –123.14+ | Variants: {FnF, Vkg, Png: ...astone...} | {JJA 49:455: ...as tone...} (apparently corrupted in typescript at JJA 49:454) |
| –123.14+ | VI.B.46.095x (g): 'tone values' |
| –123.14+ | Popular Wireless & Television Times 25 Dec 1937, 399/2: 'Light and Electrons': (of a cathode-ray tube in a television) 'the different tone values of the picture begin to show themselves as variations in the strength of the stream of electrons coming from the inside face of the screen' (Cluster: Television) |
| –123.14+ | Greek Artificial chrômophilos: colour-lover; easy to colour |
| –123.14+ | Greek 'omos: same, common |
| 123.15 | Limited at a millicentime the microamp), first called this kind of |
| –123.15+ | French centime: a coin worth one hundredth of a franc |
| –123.15+ | VI.B.46.095t (g): 'microamp' |
| –123.15+ | Popular Wireless & Television Times 25 Dec 1937, 399/1: 'Light and Electrons': 'in a photoelectric cell, the initial supply of working electrons depends, not upon heat, but upon the relatively feeble impact of a ray of light, which at most is only capable of producing an output of a microamp or so' (Cluster: Television) |
| 123.16 | paddygoeasy partnership the ulykkhean or tetrachiric or quad- |
| –123.16+ | William Carleton: Paddy-Go-Easy |
| –123.16+ | happy-go-lucky: carefree, cheerfully untroubled |
| –123.16+ | Danish ulykke: misfortune, accident |
| –123.16+ | Ulyssean |
| –123.16+ | Greek tetracheir: having four hands |
| –123.16+ | quadrumane: having four hands, belonging to the order of apes and monkeys (from Latin quadru-: four- + Latin manus: hand) |
| 123.17 | rumane or ducks and drakes or debts and dishes perplex (v. Some |
| –123.17+ | Variants: {FnF, Vkg, JCM: ...ducks...} | {Png: ...duck...} |
| –123.17+ | Motif: duck/drake [.29] |
| –123.17+ | dots and dashes |
| 123.18 | Forestallings over that Studium of Sexophonologistic Schizophre- |
| –123.18+ | German Vorstellungen über das Studium: conceptions of the study |
| –123.18+ | sex |
| –123.18+ | saxophone |
| –123.18+ | phonology: phonetics |
| –123.18+ | VI.B.6.129p (g): 'schizophrenia' |
| 123.19 | nesis, vol. xxiv, pp. 2-555) after the wellinformed observation, |
| –123.19+ | |
| 123.20 | made miles apart from the Master by Tung-Toyd (cf. Later |
| –123.20+ | tonguetied |
| –123.20+ | Jung |
| –123.20+ | Freud |
| 123.21 | Frustrations amengst the Neomugglian Teachings abaft the Semi- |
| –123.21+ | Muggletonians: a sect founded by Lodowick Muggleton, an English tailor [124.09] |
| 123.22 | unconscience, passim) that in the case of the littleknown periplic |
| –123.22+ | periplus: circumnavigation |
| 123.23 | bestteller popularly associated with the names of the wretched |
| –123.23+ | bestseller |
| –123.23+ | (Joyce: Ulysses) |
| –123.23+ | Coleridge: The Rime of the Ancient Mariner |
| 123.24 | mariner (trianforan deffwedoff our plumsucked pattern shape- |
| –123.24+ | Greek tria: three |
| –123.24+ | we doff our (hat) |
| –123.24+ | Sainéan: La Langue de Rabelais I.167: 'Chapeau à prunes sucées... en forme de noyau ou d'amande' (French 'Sugar-plum hat... in the form of a nut or an almond') |
| –123.24+ | German children's game Plumpsack: a children's game similar to 'Duck, duck, goose' [.17] [.29] |
| –123.24+ | shopkeeper |
| 123.25 | keeper) a Punic admiralty report, From MacPerson's Oshean |
| –123.25+ | V. Bérard's theory in Les Pheniciens et l'Odyssee that The Odyssey is a hellenisation of the sailing log (periplous) of a seafaring Semite |
| –123.25+ | VI.B.42.030a (r): 'Macpherson' [423.01] |
| –123.25+ | Yonge: History of Christian Names 242: 'the Scottish author, James Macpherson' (mentioned repeatedly in the chapter about Gaelic names) |
| –123.25+ | James Macpherson: author of Macpherson: The Poems of Ossian (claimed to be merely the translator of newly-discovered ancient epics, supposedly written by Ossian) |
| 123.26 | Round By the Tides of Jason's Cruise, had been cleverly capsized |
| –123.26+ | Jason and the Argonauts |
| –123.26+ | Jesus Christ |
| 123.27 | and saucily republished as a dodecanesian baedeker of the every- |
| –123.27+ | dodeca-: twelve- |
| –123.27+ | Dodecanese Islands, Aegean Sea |
| –123.27+ | Baedecker's guidebooks to European cities and countries |
| 123.28 | tale-a-treat-in-itself variety which could hope satisfactorily to |
| –123.28+ | |
| 123.29 | tickle me gander as game as your goose. |
| –123.29+ | well |
| –123.29+ | gander, goose (male and female geese) [.17] |
| –123.29+ | Slang goose: prostitute |
| 123.30 | The unmistaken identity of the persons in the Tiberiast du- |
| –123.30+ | {{Synopsis: I.5.4.J: [123.30-124.34]: its system of perforations — professor-provoked or hen-pecked}} |
| –123.30+ | Tiberian vocalisation: a system of diacritics applied to written Hebrew consonants (primarily dots and dashes placed under the letters), introduced by bible scholars from Tiberias around the 8th century, and still in use today |
| –123.30+ | Tiberius, Roman emperor (A.D. 14-37) at time of Christ's crucifixion |
| –123.30+ | (Oedipus complex) |
| –123.30+ | Latin duplex: twofold |
| 123.31 | plex came to light in the most devious of ways. The original |
| –123.31+ | |
| 123.32 | document was in what is known as Hanno O'Nonhanno's un- |
| –123.32+ | Italian hanno o non hanno: have or have not (third person plural; Motif: The haves and the have-nots) [182.20] |
| –123.32+ | Hanno, a 5th century B.C. Carthaginian geographer, left account of African voyage, written in Phoenician |
| –123.32+ | unbreakable (code) |
| –123.32+ | unbroken (i.e. continuous) |
| –123.32+ | scriptio continua: a style of writing without any spaces, punctuation marks, diacritics, or letter cases (common in early Greek and Latin texts) |
| 123.33 | brookable script, that is to say, it showed no signs of punctua- |
| –123.33+ | Sullivan: The Book of Kells 35: 'We find, as a fact, in the Book of Kells, many consecutive lines... where there is no trace of punctuation at all' |
| –123.33+ | (Joyce: Ulysses: 'Penelope', which has no punctuation) |
| 123.34 | tion of any sort. Yet on holding the verso against a lit rush this |
| –123.34+ | VI.B.6.057c (r): 'recto/verso' |
| –123.34+ | Sullivan: The Book of Kells 10: 'From fol. 20 R. to 26 V.' [.36] [124.02] |
| –123.34+ | verso (side of sheet) [.36] |
| –123.34+ | VI.B.11.027j (r): 'lit a rush' |
| –123.34+ | Graves: Irish Literary and Musical Studies 67: 'Joseph Sheridan Le Fanu': (of the outlaw Kirby, an inspiration for Le Fanu: other works: Shamus O'Brien) 'He was scarcely in bed when there was a loud knocking at the door, which his mother, having lit a rush, opened as quickly as possible' |
| –123.34+ | rush: the stem of a marsh plant, dipped in grease and used for lighting as a form of primitive candle |
| 123.35 | new book of Morses responded most remarkably to the silent |
| –123.35+ | James Henry Breasted: Development of Religion and Thought in Ancient Egypt, Lectures Delivered on the Morse Foundation at Union Theological Seminary (develops thesis that Mosaic ethical tradition originated from Egyptian solar religion) [.36] |
| –123.35+ | Morse Code |
| –123.35+ | Moses wrote Pentateuch |
| 123.36 | query of our world's oldest light and its recto let out the piquant |
| –123.36+ | (sun) |
| –123.36+ | recto (side of sheet) [.34] |
| –123.36+ | VI.B.14.215i (r): 'piquant fact' |
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