Outline for Finnegans Wake by James Joyce This outline was compiled by Bob Williams prospero@netins.net I think a brief preface is in order. I'd like to disclaim any special value of the outline and stress that it's created for the convenience that such an outline provides. ------------------------------------------------------------------------ (Chapter/Section Titles are commonly used in Wakean Studies, but are not actually used in the book) Book 1 Chapter 1, The Wake +003.01 - 003.24 The Fall+ 004.01 - 004.17 From the age of battles to the building of cities 004.18 - 005.12 Finnegan the builder 005.13 - 006.12 He falls 006.13 - 006.28 He is waked 006.29 - 008.08 He merges into the landscape, undergoes sacramental transformation and, through a modification of the scene in the park, comes into focus as Wellington's Museum. +008.09 - 010.23 The Museyroom+ 010.24 - 013.03 We return to the giant in the landscape but the emphasis is on the bird (the hen?) and a woman (Anna). The focus widens and softens as we see people and hear of more battles. 013.04 - 014.15 We are, we have always been, in Dublin, specifically in an unnamed tavern. There is a history lesson, complete with dates, that describes the family dynamics. 014.16 - 015.28 From history we turn to the scribe from whose work we derive history, especially here the history of early mating customs. 015.29 - 018.16 History comes alive in the person of Mutt and Jute, the native and the invader. 018.17 - 020.18 Now we look at the printed word but the message is glum even if it brings our story up to date. 020.19 - 021.04 Let's try a happier way, the fairytale, even though it reawakens the dreadful scene in the park. +021.05 - 023.15 The Prankquean+ 023.16 - 024.14 The story of the prankquean ends with a loopy translation of the city of Dublin motto. This section begins with an equally loopy translation of 'felix culpa' and unites the renewed themes of hero and heroine at the dawn of experience with the sacramental character of the hero. 024.15 - 029.36 Funeral rites for the dead hero but is he dead? He revives but his mourners persuade him to stay dead. They tell him that his widow has adjusted well to his loss and how his replacement, himself in another incarnation, is about to arrive and assume responsibility for all human failings. Note: in the structural similarity between this and the last chapter, there is a parallel between the death/rebirth of Anna and this death/rebirth of the hero. ------------------------------------------------------------------------ Book 1 Chapter 2, The Ballad 030.01 - 033.13 Names are mysterious. How for example did Humphrey Chimpden Earwicker get his name? Although the subject is not clear, one account says that he got it from the king himself but possibly it was from Sharazad and her sister. HCE appears before his people at a play, The Royal Divorce, but their plaudits are steeped in derision. 033.14 - 034.29 An unidentified narrator indignantly rejects accusations against HCE but he does so clumsily and we must believe that there is a basis of truth to the accusations. +034.30 - 036.34 The Cad+ HCE is no better at defending himself and stammers guiltily to the Cad who accosts him in Phoenix Park. 036.35 - 038.08 At dinner the Cad mulls over everything that HCE said and his wife overhears everything. 038.09 - 042.16 She tells everything to a priest and he tells it to Philly Thurnston at a horse race. Two petty criminals, brothers, Treacle Tom and Frisky Shorty, overhear and they rehearse the story with Peter Cloran, O'Mara and Hosty. The companions undergo various vicissitudes - including name changes: Peter Cloran becomes Roche Mongan and O'Mara becomes Lisa Deavis. An unnamed sixth man (M'Intosh?) joins this raffish group. 042.17 - 044.36 There is a crowd, lovingly and convincingly described. It swells to enormous proportions and to it Hosty performs his ballad, 'The Ballad of Pearse O'Reilly.' 045.01 -047.34 The Ballad Book 1 Chapter 3, Gossip 048.01 - 050.32 The dreamer passes from deep sleep to confused dreams, the elements of which adumbrate themes of history and theatricals. Hosty, differently named, appears as do all the other participants in HCE's disgrace. Of each is observed in a variety of languages the words 'he was.' 050.33 - 053.06 The narrator begins a discussion of reality but he finds himself discussing the incident in Phoenix Park instead. As noted repeatedly below, this inability to grasp the correct subject is the dominant characteristic of this chapter. 053.07 - 054.19 The fall of HCE becomes the paradigm of the whole world of history and myth. 054.20 - 055.02 But the broken rhythm continues and another of HCE's incriminating self-defenses breaks through. 055.03 - 057.15 The text oscillates between the mythical-historical and the life, time and appearance of HCE. 057.16 - 057.29 The unfacts are too few (and, presumably, the converse) to make conclusions possible. We look at HCE through analogy with Lewis Carroll, another man with a little girl fixation. 057.30 - 058.22 HCE, however, is our eucharistic sacrifice, human, erring and condonable. 058.23 - 061,27 The three soldiers themselves open a long section of comments on the disgraced HCE. 061.28 - 062.25 The narrator tries to assess these comments but is unable to stick to the point. +062.26 - 063.19 An Unknowable Assailant+ A more violent version of the encounter between HCE and the Cad. 063.20 - 064.29 More attempts to come to terms with the unfacts but the narrator's wobbly approach defeats the attempt. 064.30 - 066.09 He sees a parable in the story of Peaches Browning. 066.10 - 067.27 The narrator lurches around crazily for a key and ends with a kind of trial that involves Cain and Able types. 067.28 - 069.29 We learn almost by accident that one of the girls involved in HCE's disgrace took her own life and that the other one took up a life of vice. The focus again strays to broader but less well-defined issues and finally comments on the efforts of HCE's retainers to protect him from attack by placing him in protective custody. 069.30 - 073.22 There is a vacationer from Austria and a yankee hogcaller. Connections, if any, are unclear. The latter throws stones at HCE and calls him names. HCE patiently adds them to the list of such. The assault ends abruptly and is compared to devastating attacks in various battles. 073.23 - 074.19 The text unravels into obscurity. The chapter ends as it began, in a state of deep sleep. ------------------------------------------------------------------------ Book 1 Chapter 4, The Lion 075.01 - 076.09 The narrator is more in command and begins with an appropriate generality. He develops his idea well enough but the language is especially difficult and tortured. The lion in his confinement anticipates/remembers HCE in his. 076.10 - 079.13 The preparation of HCE's jail/grave. He is confined in it and left to live on his own fat. 079.14 - 081.11 Society's condition at the time of HCE's imprisonment. 081.12 - 085.19 Encounter of two antagonists, possibly the brothers although the encounter seems a version of that between HCE and the Cad but, like the similar episode in Chapter 3, more violent. +085.20 - 092.05 Festy King+ A trial reappears. A shadowy figure, Festy King - HCE apparently - testifies. Another - St John Gogarty -also testifies at even greater length. +092.06 - 093.21 Fest King (continued)+ The Rainbow Girls pay homage to Shaun and Shem, now identified as one of the trial participants, and he flees in disgrace. 093.22 - 094.22 The trial is over but the letter's importance is stressed and the theme broadens to consider the founding of cities. 094.24 - 097.24 The four (Mamalujo) gossip about HCE 097.25 - 100.23 HCE escapes and as a fox eludes his pursuers. He appears then as a human fugitive and is the subject of many rumors, including the rumor that he has been elected pope. 100.24 - 103.12 The scene widens in scope and historical conditions emerge, especially Buckley and the Russian general. The narrator at last focuses on Anna and her devotion to her family, especailly HCE. Book 1 Chapter 5, The Hen 104.01 - 107.07 Invocation and litany of Anna 107.08 - 107.35 The narrator plunges into a discussion of the manuscript. It develops that this is the Book of Kells, Anna's letter and FW itself which, the narrator claims, inspired the Book of Kells. 107.36 - 108.07 An ill-bred yankee (Ezra Pound) interrupts with questions about authorship and technical production. 108.08 - 110.21 The narrator stresses the need for patience and wanders hilariously from the point to consider the importance of outward appearances. 110.22 - 113.33 About the hen, Belinda of the Dorans, with a glimpse of the letter. 113.34 - 119.09 A very broad discussion of calligraphy, the nature of work, of creativity and of their interaction with history. +119.10 - 124.34 The Book of Kells+ 124.35 - 125.23 The narrator turns from the hilarious pedantry of the past few pages to the anticipation of another theme, Shem the Penman. Book 1 Chapter 6, Twelve Questions 126.01 - 139.14 But instead of a chapter devoted to Shem as promised at the close of Chapter 5, we get a pop quiz. The questioner is a Shaun-like figure and it is Shaun who answers most of the questions. The first question is a long list of attributes and the answer is Finn MacCool. 139.15 - 139.28 Answer: the mother. 139.29 - 140.07 The motto of Dublin +140.08 - 141.07 The Four Irish Capitals+ (Answered according to John Gordon by the four old men.) 141.08 - 141.27 Joe Behan 141.28 - 142.07 Kate 142.08 - 142.29 The twelve customers. 142.30 - 143.02 The Rainbow Girls. 143.03 - 143.28 The Wake itself. Shaun answers this incorrectly since he says collideroscape which is really not a bad answer. 143.29 - 148.32 Issy and Issy herself speaks, herself in all her feather-headed glory. 148.23 - 152.14 Shaun, in the character of a pedantic lecturer, strives to give acceptably objective reasons for hating his brother, Shem. He resorts to parable. +152.15 - 159.23 The Mookse and the Gripes.+ 159.24 - 168.12 He senses that he has been unconvincing and launches into an even less convincing story about Anthony, Burrus, Caseous and Margarine. 168.13 - 168.14 Who shall be accursed? Shem. Book 1 Chapter 7, Shem the Penman 169.01 - 169.10 The narrator is Shaun-like in his dislike of Shem and discounts any possibility that he can be of good birth. +169.11 - 170.24 The First Riddle of the Universe.+ When is a man not a man? When he is a Sham. 170.25 - 174.21 Shem prefers low foods, drinks a peculiar wine, sponges on his brother (not always successfully), distresses his friends, low as they are, by his own low habits and his dislike of physical conflict. 174.22 - 176.18 He is, however, exposed to violence, at least in the imagination of his friends. There is a song of sorts that refers to the Ballad. This is followed by a digression about games and a list of some. +176.19 - 179.16 The Bludgeony Unity Sunday+ Shem lives through real, as opposed to imaginary, civil conflict. 179.17 - 182.29 More details about Shem's lowness, ridiculous appearance and pretensions as an author. +182.30 - 186.18 Shem's Inkbottle House.+ Here Shem hides out, continues being low and - deprived by a righteous society of paper and ink - makes ink from his bodily wastes and writes upon the only material available, his own body. 186.19 - 187.23 Constable Sistersen keeps watch but the text becomes evasive as if retreating from surveillance. +187.24 - 195.06 Impropeia+ or Reproaches. Shaun, now known as Justius, attacks Shem directly. Shem, speaking as Mercius, defends himself briefly and, interestingly, no more effectively than HCE, his father. The river theme appears and the rhythm brings us to Anna and the next chapter. Book 1 Chapter 8, Anna Livia Plurabelle 196.01 - 205.15 Two washerwomen on the banks of the Liffey gossip about Anna and HCE, their relationship, her song, her children and her sexual history. 205.16 - 213.10 Her excursion, her appearance and her distribution of gifts to her 111 children. +213.11 - 216.05 Anna Livia Plurabelle+ The gossips begin a transformation into a tree and a stone. They are separated by the widening river and communication becomes more difficult. Anna's children are dispersed. The landscape seems haunted and Anna's tale becomes one with nursery rhyme, fairy tale and myth. The washerwomen, now transformed, merge into the night. ------------------------------------------------------------------------ Book 2 Chapter 1, The Mime of Mick, Nick and the Maggies 219.01 - 219.21 A businesslike introduction that outlines the activity and the environment in which it takes place. This is about children at play but it is also about the other, dramatic, sense of the word play. +219.22 - 222.21 Dramatis Personae of the Mime.+ 222.22 - 225.28 First round of the game. Glugg (Shem) has to guess the color of Issy's underpants. They are heliotrope and the text fairly bristles with clues. He guesses incorrectly and, enraged, goes away. 225.29 - 227.18 Games: interlude. 227.19 - 233.28 Glugg returns, still in a rage. The narrative commemorates separate episodes of Ulysses and a childhood poem by Joyce. Glugg has a toothache. Second round of the game. Glugg fails again. 233.29 - 239.27 The girls glorify Chuff (Shaun). 239.28 - 243.36 But Glugg cannot be put down. He, in fact, comes back to life with words that recall those of Finnegan in the ballad. The text explores history and myth. 244.01 - 246.02 Night falls. A lamplighter, very like HCE with his pot on a pole in Chapter 2, appears. Animals settle down for a night's slumber. 246.03 - 250.10 Father calls the children home. Glugg (now named Jeremy) reappears and renews the contest. He fails the third round. 250.11 - 252.32 Although the game is over, Glugg and Chuff continue their rivalry over Issy. 252.33 - 255.26 Glugg's failure and the animosity of the brothers in their contest for Issy's favor are projected into broad historical terms. 255.27 - 259.10 The play as play and the play as drama winds down. We receive very exact measurements of Anna. The children disperse to their homes and lessons after evening prayers. Book 2 Chapter 2, Lessons 260.01 - 260.07 An introduction based on metaphysical inquiry. 260.08 - 261.22 A celebration of great men: philosophers, linguists, astronomers and painters. 261.23 - 262.19 Kabbalistic lore in operation. 262.20 - 266.19 From the mystic generality to its application in the concrete: the inn at Chapelizod. A sketch of characters and events with a mention of the children at their studies. 266.20 - 268.06 Of the children upstairs, the brothers become rivals on many levels. The scene is primitive with taboos and repressions. 268.07 - 270.28 The confluence of the children and primitive society with its terrors merges into a lesson in grammar. 270.29 - 279.09 The lessons take up historical themes. The family broils and conflicts of history and myth bubble below, and erupt into, the surface. The sequence ends to give Issy an opportunity to speak at length. Her note is a typical blend of lascivious folly and prudential self-interest. 280.01 - 282.04 The letter, never far away, re-emerges. It modulates to an environment appropriate to the quotation from Quinet. This is followed by a lyrical embroidery on the theme of the quotation and on the themes of the book. +282.05 - 304.04 The Triangle.+ 282.05 - 287.17 The lessons treat of numbers: aritmetic and geometry. Geometry permits Shem (Dolph) to trick Shaun (Kev) into drawing a picture of their mother's genitals. 287.18 - 292.32 Before the drawing, however, there is a prelude. Both marginal voices are quiet but Issy's footnotes continue. After an invocation in Latin, it becomes a loopy lecture on erotic themes from myth and history. When the marginal voices resume, the brothers have switched sides. 293.01 - 302.10 A short geometrical introduction, the picture, further geometrical considerations (laced with a riot of double meanings) and another version of the letter. 302.11 - 306.07 The brothers quarrel and Kev hits Dolph who forgives him. The lesson still has mathematical overtones but the main references are philosophical. 306.08 - 308.36 The children graduate in a ceremony/examination in which figures from history and myth match cockeyed key words in the text. The close reintroduces kabbalistic matter and, again, a version of the letter. ------------------------------------------------------------------------ Book 2 Chapter 3, The Tavern 309.01 - 309.10 The introductory lines recapitulate Viconian cycles. 309.11 - 310.21 The radio given to the tavern by its patrons. +311.05 - 331.36 Kerrse the Tailor and the Norwegian Captain.+ 310.22 - 330.11 The Innkeeper. He (?) tells the story of Kerrse and the captain. Comments by and descriptions of the patrons interrupt the story. The captain, like the prankquean or Glugg, makes three appearances. The reconciliation involves the marriage of the captain and Kerrse's daughter. 330.12 - 332.35 But what happens in myth can happen in life and the gossip of the patrons, never stilled, now focuses on HCE. 332.26 - 334.31 Kate enters with a message for HCE. Silence follows. 334.32 - 337.31 On a song cue, already heard in the earlier pages of this chapter, the gossip begins again, spiced with more songs, fairytale references and, as usual, myth and history. 337.32 - 355.07 The patrons call for television and the comedians Butt (Budd) and Taff (acronymically expressed). The story, with interruptions, concerns Buckley and the Russian General. +338.04 - 355.07 Butt and Taff.+ 355.08 - 359.20 Was the television appearance a fantasy within the dream and was its material a tale told by HCE himself? Whatever the truth, he tries to address the patrons but his words betray him and his secret. 359.21 - 363.16 The radio resumes its broadcast but it fades away into the patrons' gossip about HCE. 363.17 - 367.07 He defends himself in a speech that is long, eloquent and curiously touching but also rather muddled. It fails apparently since the song after it is 'Down Went Maginty,' not a good omen. 367.08 - 371.05 The four old men discuss everything. They seem at sea -- literally and a very stormy sea at that. Poetry erupts, one in the metre of Omar and the other in the metre of the blues. The four share deliberations with the twelve. There is another version of the letter. There seems to be some disorder for Sockerson appears in the role of a bouncer. 371.06 - 373.11 A Hosty-like ballad appears, interspersed with miscellaneous commotion. Hosty is here, appropriately, called Hoisty. 373.12 - 380.06 A long indictment of HCE. +380.07 - 382.30 Roderick O'Conor.+ Deserted and disgraced, HCE, as Rory O'Conor, drinks himself into a stupor. Book 2 Chapter 4, Mamalujo +383.01 - 399.36 Tristan and Isolde.+ 383.01 - 383.15 Seabirds (which include capercailzies!) sing a satirical song about Mark. 383.16 - 393.06 Not only are the birds present, so are the four. They spy on Tristan and Isolde's lovemaking. The four remember their own past as they watch. Tristan at Isolde's request recites an appropriate verse. The four continue to reminisce about the sights and sounds of the past including the death by drowning of Martin Cunningham. Sections are marked off as if in an illuminated manuscript: Johnny (386.12 - 388.09), Marcus (388.10 - 390.33), Lucas (390.34 - 393.03) and Matt (393.04 - 393.06). 393.07 - 395.25 Senile voyeurism. 395.26 - 396.33 Further lovemaking, interrupted with the law court sounds associated with Mamalujo. 396.34 - 399.36 The senile quartet and the lovers slip in and out of focus. The chapter ends with a song. Tindall says it is sung by Tristan and Gordon says that it is sung, like the Shannon Bells song on page 141, by Mamalujo and is, like that song, a charivari. ------------------------------------------------------------------------ Book 3 Chapter 1, Shaun 403.01 - 403.04 A rumble of numerals in various foreign languages and suggestive of time. 403.05 - 407.25 The meditations of Johnny MacDougal's ass and a description of the arrival of Shaun the Post. 407.26 - 409.07 Shaun speaks, and as usual when he speaks for any time at all, he rambles on about his brother. 409.08 - 409.30 Shaun replies evasively to a question about the authority under which he performs his duties. 409.31 - 410.19 The questioner tries again and Shaun gives him another evasive answer. 410.20 - 410.27 A not very clear question and a correspondingly unclear answer. 410.28 - 411.21 Shaun, at the questioner's prompting, describes his mail route. 411.22 - 412.06 Hazy question and baffling reply. 412.07 - 413.26 An inscrutable question but it provokes a violent reply and a short interlude about Mrs Sanders (missenders?) and her letters. 413.27 - 414.13 The question (laced with Swiftian references): what, Shaun, is your story? Shaun's reply is also full of Swiftian references and its conclusion has eucharistic echoes. 414.14 - 414.21 Shaun, asked for a song, offers instead to tell a fable, the introduction to which contains the hundredletter thunder name. +414.22 - 419.10 The Ondt and the Gracehoper.+ 419.11 - 421.14 But can Shaun read the shemletters patent? His reply is an outburst of scorn for Shem and his works followed by a paragraph of mail delivery problems. 421.15 - 422.18 The questioner persists about Shem and provokes another outburst. 422.19 - 424.13 The questioner is most obsequious but Shaun continues to abuse Shem. 424.17 - 426.04 The questioner fairly grovels and gets another thunderword for his pains. He comments on it, even calls it by name, 'The hundredlettered name again,' but the joke's on him since this one contains 101 letters. Shaun claims that Shem plagiarized him. The questioner tends to evade this when he suggests that Shaun could do as well as Shem and Shaun, mollified, agrees but excuses himself from the contest. 426.05 - 427.09 Shaun leaves but the departure is unimpressive for the barrel in which he is floating tips over. 427.10 - 428.27 Blessings (ironic) wished upon the departed Shaun. Book 3 Chapter 2, Juan 429.01 - 433.09 Shaun, now Juan and still in the barrel, collides with Constable Sigurdsen and comes to rest. He meets the 29 girls of St Bride's and they give him a fulsome greeting. He quickly turns his attention to Issy. +433.10 - 439.14 Juan's Commandments.+ 439.15 - 445.25 He continues to give typically Shaunian advice. 445.26 - 448.33 His ambitions and his devotion to Ireland. This passage, like the one before it, ends in "Amen.' 448.34 - 457.24 He again addresses Issy. He is uneasy, sunstruck he says. He pauses as he grapples with this but resumes his address to the girls. +457.25 - 461.32 Issy's Response to Juan.+ Although she tries to end with an 'amen' - or is merely repressing a sneeze - Juan completes it for her. 461.33 - 469.28 Juan's farewell and promise of a paraclete, his brother Dave the Dancekerl. 469.29 - 471.34 Juan's ascension. His adoring girls litanize him but, instead of ascending in approved godlike manner, mails himself (after all, he is Shaun the Post) and goes running down the highway of the nation, Traitor's Track. 471.35 - 473.25 An ironic panegyric on the departed Juan which ends with 'amen.' Book 3 Chapter 3, Yawn 474.01 - 477.30 Shaun is very like his father now, immobile, a giant imprisoned in the landscape. Mamalujo approach him to conduct an inquest. 477.31 - 479.16 Although the questioners are senile and the answerer is evasive, it proves that they are at the midden heap, the orangery. Yawn complains of the cold, cries out for pepette and expresses his fear of the wolves. 479.17 - 482.15 The answers respond tangentally to the questions and the discourse dwells on Viconian cycles, seafaring invaders and the animals in the fable of Reynard the Fox. HCE is in Yawn and keeps surfacing to the confusion of Mamalujo. 482.16 - 486.31 They ask Yawn about Kevin. The reply is to the point but Yawn launches into a long semi-theological discussion which picks up references to Dean Swift and alchemy. Mamlujo misunderstands Yawn and waxes indignant. Yawn lapses into pidgin. The inquisitors seek remedy through the imposition of a jade T-square. Yawn obligingly regresses. 486.32 - 491.22 Yawn replies echoaically to the questions but evasiveness dominates and Yawn gives into distraction, such as a flea bite, He talks about his brother, hints about the letter and quotes very approximately the song that opens Book 2, Chapter 4. 491.233 - 499.34 The inquest bumps along and erupts into Egyptian burial rites mixed with historical/mythical references and snatches of Irish songs. Coherence is deteriorating. 499.35 - 501.07 All kinds of transmissions flood in. "SILENCE" puts an end to the greater chaos which has swamped the relative chaos of Yawn and his questioners. 501.09 - 503.27 The ceremonies of a sacred night, Beltane? Imbolc? 503.28 - 505.35 The World Tree. I consider this to be a key passage. 505.36 - 521.20 A consideration of Adam in Paradise -- after all, the World Tree and the Tree of Good and Evil may be the same -- slips into consideration of the specific family and of the scene in the park. The tale of Kerrse and the captain surfaces. Details from Joyce's own life float along this stream. ("I eyewitless foggus," so important to Bishop, 515.30). The last part contains nothing clear on the surface but resonates with associations. 521.21 - 523.20 The inquisitors, provoked with Yawn's loony answers, threaten to beat him up. He protests and the questioning continues. Yawn, however, as a bone snaps into place, begins to answer from different levels. +523.21 - 526.15 Treacle Tom and Frisky Shorty.+ The closing lines hint at the nature of the shadowy composite son: 'Shem and Shaun and the shame that sunders em.' 526.16 - 532.05 Inquiry continues. Yawn replies as Issy. The aroused questioner discourses suggestively and then, in a meditation on the Virgin Mary, comically. A questioner asks a series of questions in a stream. None receive an answer. The questioners' parts expand. +532.06 - 554.10 Haveth Childers Everywhere.+ How HCE trained his wife, founded his city (interruption of sociological report: 543.22 - 545.12) and, once more, about his wife. Book 3 Chapter 4, The Parents 555.01 - 558.33 The inquisitors are back. This time spying on a man and woman in the same way that they spied on Tristan and Isolde. In this case there are children nearby. We learn as well of a serving woman, the 12 tavern patrons who found the innkeeper guilty and the 29 Rainbow Girls. We return to the couple. There is a cry off but where are we and when? 558.34 - 563.36 We are on a stage or the set of a movie. The man and woman are in bed. The cry off is repeated. We see more of the set. The family is named Porter but it has the pattern of HCE's family.The parents look in on the children. 564.01 - 566.06 The positions that we have been asked to look at turn out to be sexual positions. The backside and genitals of the man are described in terms of landscape, of Phoenix Park. There is a hint that the children are watching. The scene becomes a promotional text for Chapelizod. 566.07 - 571.26 A court scene followed by another anatomical extravaganza, a celebration of the renowned and of churches. 571.27 - 572.18 Interplay of the parents and children. +572.19 - 576.09 The Trial of Honophrius.+ The first of two parts is a chancery examination of tangled sexual relations. The second part is a trial of a corrupt firm named Tangos. Limited. 576.10 - 585.33 The scene, as before, is the parents looking in on their children or in bed making love. The shadows on the window advertise their activity. They hear a cock crow. How it was for him we are not told but the woman seems disappointed. 585.34 - 590.30 Postcoital thoughts are depressing, 'Others are as tired of themselves as you are.' Critical strictures of Ireland are followed by hints about the scene in the park. The couple seems to fall asleep and the woman fancies herself more satisfied in retrospect. Book 4, Dawn +593.01 - 595.33 Dawn.+ 595.34 - 604.26 Meditations on Earwicker, the nature of reality and the coming of day. We anticipate Kevin. +604.27 - 606.12 St Kevin.+ 606.13 - 609.23 Echoes of themes incorporated into further meditations on day. 609.24 - 610.32 Muta and Juva, an echo of Mutt and Jute from Book 1,Chapter 1. 610.33 - 611.03 Prelude to +611.04 - 612.36 St Patrick and the Druid.+ 613.01 - 619.19 A very elaborate recapitulation in the musical sense with the letter motif uppermost. +619.20 - 628.16 Anna Livia's Final Soliloquy.+ She moves HCE to come with her. The excursion is to take them to a mysterious lord or king but she at last rejects this as a wish rather than as a reasonable expectation. She remembers how grand HCE was in his youth, how vast his ambitions. Anna knows she is to be replaced, that her replacement is, in fact, near. She distances herself from loss in two ways. She sees realistically those she leaves and she regresses in age as she approaches her father of the sea. She departs both book and life with an uncompleted thought for the last word is 'the' and this connects only mechanically with 'riverrun,'