The Complete Works of   JAMES JOYCE

by James Joyce

  My colonial, wardha bagful! A bakereen’s dusind with tithe tillies to boot. That’s what you may call a tale of a tub ! And Hi-bernonian market! All that and more under one crinoline enve — lope if you dare to break the porkbarrel seal. No wonder they’d run from her pison plague. Throw us your hudson soap for the honour of Clane! The wee taste the water left. I’ll raft it back, first thing in the marne. Merced mulde! Ay, and don’t forget the reckitts I lohaned you. You’ve all the swirls your side of the cur-rent. Well, am I to blame for that if I have? Who said you’re to blame for that if you have? You’re a bit on the sharp side. I’m on the wide. Only snuffers’ cornets drifts my way that the cracka dvine chucks out of his cassock, with her estheryear’s marsh narcissus to make him recant his vanitty fair. Foul strips of his chinook’s bible I do be reading, dodwell disgustered but chickled with chuckles at the tittles is drawn on the tattlepage. Senior ga dito: Faciasi Omo! E omo fu fo. Ho! Ho! Senior ga dito: Faciasi Hidamo! Hidamo se ga facess…. Ha! Ha! And Die Windermere Dichter and Lefanu (Sheridan’s) old House by the Coachyard and Mill (J.) On Woman with Ditto on the Floss. Ja, a swamp for Alt-muehler and a stone for his flossies ! I know how racy they move his wheel. My hands are blawcauld between isker and suda like that piece of pattern chayney there, lying below. Or where is it? Lying beside the sedge I saw it. Hoangho, my sorrow, I’ve lost it! Aimihi! With that turbary water who could see? So near and yet so far! But O, gihon! I lovat a gabber. I could listen to maure and moravar again. Regn onder river. Flies do your float. Thick is the life for mere.

  Well, you know or don’t you kennet or haven’t I told you every telling has a taling and that’s the he and the she of it. Look, look, the dusk is growing! My branches lofty are taking root. And my cold cher’s gone ashley. Fieluhr? Filou! What age is at? It saon is late. ’Tis endless now senne eye or erewone last saw Waterhouse’s clogh. They took it asunder, I hurd thum sigh. When will they reassemble it? O, my back, my back, my bach! I’d want to go to Aches-les-Pains. Pingpong! There’s the Belle for Sexaloitez! And Concepta de Send-us-pray! Pang! Wring out the clothes! Wring in the dew! Godavari, vert the showers! And grant thaya grace! Aman. Will we spread them here now? Ay, we will. Flip ! Spread on your bank and I’ll spread mine on mine. Flep! It’s what I’m doing. Spread ! It’s churning chill. Der went is rising. I’ll lay a few stones on the hostel sheets. A man and his bride embraced between them. Else I’d have sprinkled and folded them only. And I’ll tie my butcher’s apron here. It’s suety yet. The strollers will pass it by. Six shifts, ten kerchiefs, nine to hold to the fire and this for the code, the convent napkins, twelve, one baby’s shawl. Good mother Jossiph knows, she said. Whose head? Mutter snores? Deataceas! Wharnow are alle her childer, say? In kingdome gone or power to come or gloria be to them farther? Allalivial, allalluvial! Some here, more no more, more again lost alla stranger. I’ve heard tell that same brooch of the Shannons was married into a family in Spain. And all the Dun-ders de Dunnes in Markland’s Vineland beyond Brendan’s herring pool takes number nine in yangsee’s hats. And one of Biddy’s beads went bobbing till she rounded up lost histereve with a marigold and a cobbler’s candle in a side strain of a main drain of a manzinahurries off Bachelor’s Walk. But all that’s left to the last of the Meaghers in the loup of the years prefixed and between is one kneebuckle and two hooks in the front. Do you tell me. that now? I do in troth. Orara por Orbe and poor Las Animas! Ussa, Ulla, we’re umbas all! Mezha, didn’t you hear it a deluge of times, ufer and ufer, respund to spond? You deed, you deed! I need, I need! It’s that irrawaddyng I’ve stoke in my aars. It all but husheth the lethest zswound. Oronoko ! What’s your trouble? Is that the great Finnleader himself in his joakimono on his statue riding the high hone there forehengist? Father of Otters, it is himself! Yonne there! Isset that? On Fallareen Common? You’re thinking of Astley’s Amphitheayter where the bobby restrained you making sugarstuck pouts to the ghostwhite horse of the Peppers. Throw the cobwebs from your eyes, woman, and spread your washing proper! It’s well I know your sort of slop. Flap! Ireland sober is Ireland stiff Lord help you, Maria, full of grease, the load is with me! Your prayers. I sonht zo! Madammangut! Were you lifting your elbow, tell us, glazy cheeks, in Conway’s Carrigacurra canteen? Was I what, hobbledyhips? Flop! Your rere gait’s creakorheuman bitts your butts disagrees. Amn’t I up since the damp tawn, marthared mary allacook, with Corri-gan’s pulse and varicoarse veins, my pramaxle smashed, Alice Jane in decline and my oneeyed mongrel twice run over, soaking and bleaching boiler rags, and sweating cold, a widow like me, for to deck my tennis champion son, the laundryman with the lavandier flannels? You won your limpopo limp fron the husky hussars when Collars and Cuffs was heir to the town and your slur gave the stink to Carlow. Holy Scamander, I sar it again! Near the golden falls. Icis on us! Seints of light! Zezere! Subdue your noise, you hamble creature! What is it but a blackburry growth or the dwyergray ass them four old codgers owns. Are you meanam Tarpey and Lyons and Gregory? I meyne now, thank all, the four of them, and the roar of them, that draves that stray in the mist and old Johnny MacDougal along with them. Is that the Poolbeg flasher beyant, pharphar, or a fireboat coasting nyar the Kishtna or a glow I behold within a hedge or my Garry come back from the Indes? Wait till the honeying of the lune, love! Die eve, little eve, die! We see that wonder in your eye. We’ll meet again, we’ll part once more. The spot I’ll seek if the hour you’ll find. My chart shines high where the blue milk’s upset. Forgivemequick, I’m going! Bubye! And you, pluck your watch, forgetmenot. Your evenlode. So save to jurna’s end! My sights are swimming thicker on me by the sha-dows to this place. I sow home slowly now by own way, moy — valley way. Towy I too, rathmine.

  Ah, but she was the queer old skeowsha anyhow, Anna Livia, trinkettoes! And sure he was the quare old buntz too, Dear Dirty Dumpling, foostherfather of fingalls and dotthergills. Gammer and gaffer we’re all their gangsters. Hadn’t he seven dams to wive him? And every dam had her seven crutches. And every crutch had its seven hues. And each hue had a differing cry. Sudds for me and supper for you and the doctor’s bill for Joe John. Befor! Bifur! He married his markets, cheap by foul, I know, like any Etrurian Catholic Heathen, in their pinky limony creamy birnies and their turkiss indienne mauves. But at milkidmass who was the spouse? Then all that was was fair. Tys Elvenland ! Teems of times and happy returns. The seim anew. Ordovico or viricordo. Anna was, Livia is, Plurabelle’s to be. Northmen’s thing made southfolk’s place but howmulty plurators made eachone in per-son? Latin me that, my trinity scholard, out of eure sanscreed into oure eryan! Hircus Civis Eblanensis! He had buckgoat paps on him, soft ones for orphans. Ho, Lord ! Twins of his bosom. Lord save us! And ho! Hey? What all men. Hot? His tittering daugh-ters of. Whawk?

  Can’t hear with the waters of. The chittering waters of. Flittering bats, fieldmice bawk talk. Ho! Are you not gone ahome? What Thom Malone? Can’t hear with bawk of bats, all thim liffeying waters of. Ho, talk save us ! My foos won’t moos. I feel as old as yonder elm. A tale told of Shaun or Shem? All Livia’s daughter-sons. Dark hawks hear us. Night! Night! My ho head halls. I feel as heavy as yonder stone. Tell me of John or Shaun? Who were Shem and Shaun the living sons or daughters of? Night now! Tell me, tell me, tell me, elm! Night night! Telmetale of stem or stone. Beside the rivering waters of, hitherandthithering waters of. Night!

  PART II

  Synopsis of the second part

  While Part I deals mostly with the parents Humphrey Chimpden Earwicker and Anna Livia Plurabelle, Part II shifts that focus onto their children, Shem, Shaun and Issy.

  The first chapter opens with a pantomime programme, which outlines, in relatively clear language, the identities and attributes of the Part’s main characters. The chapter then concerns a guessing game among the children, in which Shem is challenged three times to guess by “gazework” the colour which the girls have chosen. Unable to answer due to his poor eyesight, Shem goes into exile in disgrace, and Shaun wins the affection of the girls. Finally Hump
hrey Chimpden Earwicker emerges from the pub and in a thunder-like voice calls the children inside.

  Chapter two follows Shem, Shaun and Issy studying upstairs in the pub, after having been called inside in the previous chapter. The chapter depicts “[Shem] coaching [Shaun] how to do Euclid Bk I, 1”, structured as “a reproduction of a schoolboys’ (and schoolgirls’) old classbook complete with marginalia by the twins, who change sides at half time, and footnotes by the girl (who doesn’t)”. Once Shem (here called Dolph) has helped Shaun (here called Kev) to draw the Euclid diagram, the latter realises that he has drawn a diagram of Anna Livia Plurabelle’s genitalia, and “Kev finally realises the significance of the triangles [..and..] strikes Dolph.” After this “Dolph forgives Kev” and the children are given “[e]ssay assignments on 52 famous men.” The chapter ends with the children’s “nightletter” to Humphrey Chimpden Earwicker and Anna Livia Plurabelle, in which they are “apparently united in a desire to overcome their parents.”

  The third chapter moves to Humphrey Chimpden Earwicker working in the pub below the studying children. As Humphrey Chimpden Earwicker serves his customers, two narratives are broadcast via the bar’s radio and television sets, namely “The Norwegian Captain and the Tailor’s Daughter”, and “How Buckley Shot the Russian General”. The first portrays Humphrey Chimpden Earwicker as a Norwegian Captain succumbing to domestication through his marriage to the Tailor’s Daughter. The latter, told by Shem and Shaun ciphers Butt and Taff, casts Humphrey Chimpden Earwicker as a Russian General who is shot by the soldier Buckley. Earwicker has been absent throughout the latter tale, having been summoned upstairs by Anna Livia Plurabelle. He returns and is reviled by his customers, who see Buckley’s shooting of the General as symbolic of Shem and Shaun’s supplanting their father. This condemnation of his character forces Humphrey Chimpden Earwicker to deliver a general confession of his crimes, including an incestuous desire for young girls. Finally a policeman arrives to send the drunken customers home, the pub is closed up, and the customers disappear singing into the night as a drunken Humphrey Chimpden Earwicker, clearing up the bar and swallowing the dregs of the glasses left behind, morphs into ancient Irish high king Rory O’Connor, and passes out.

  Chapter four, whilst ostensibly portraying the drunken and sleeping Earwicker’s dream, chronicles the spying of four old men (Matthew, Mark, Luke and John) on Tristan and Iseult’s journey. The short chapter portrays “an old man like King Mark being rejected and abandoned by young lovers who sail off into a future without him”, while the four old men observe Tristan and Isolde, and offer

  CHAPTER ONE

  Every evening at lighting up o’clock sharp and until further notice in Feenichts Playhouse. (Bar and conveniences always open, Diddlem Club douncestears.) Entrancings: gads, a scrab; the quality, one large shilling. Newly billed for each wickeday perfumance. Somndoze massinees. By arraignment, childream’s hours, expercatered. Jampots, rinsed porters, taken in token. With nightly redistribution of parts and players by the puppetry pro-ducer and daily dubbing of ghosters, with the benedict;on of the Holy Genesius Archimimus and under the distinguished patron-age of their Elderships the Oldens from the four coroners of Findrias, Murias, Gorias and Falias, Messoirs the Coarbs, Clive Sollis, Galorius Kettle, Pobiedo Lancey and Pierre Dusort, while the Caesar-inChief looks. On. Sennet. As played to the Adelphi by the Brothers Bratislavoff (Hyrcan and Haristobulus), after humpteen dumpteen revivals. Before ah the King’s Hoarsers with all the Queen’s Mum. And wordloosed over seven seas crowdblast in cellelleneteutoslavzendlatinsoundscript. In four tubbloids. While fern may cald us until firn make cold. The Mime of Mick, Nick and the Maggies, adopted from the Ballymooney Bloodriddon Murther by Bluechin Blackdillain (authorways ‘Big Storey’), featuring:

  GLUGG (Mr Seumas McQuillad, hear the riddles between the robot in his dress circular and the gagster in the rogues’ gallery), the bold bad bleak boy of the storybooks, who, when the tabs go up, as we discover, because he knew to mutch, has been divorced into disgrace court by

  THE FLORAS (Girl Scouts from St. Bride’s Finishing Establish-ment, demand acidulateds), a month’s bunch of pretty maidens who, while they pick on her, their pet peeve, form with valkyri-enne licence the guard for

  IZOD (Miss Butys Pott, ask the attendantess for a leaflet), a be-witching blonde who dimples delightfully and is approached in loveliness only by her grateful sister reflection in a mirror, the cloud of the opal, who, having jilted Glugg, is being fatally fascinated by

  CHUFF (Mr Sean O’Mailey, see the chalk and sanguine picto-graph on the safety drop), the fine frank fairhaired fellow of the fairytales, who wrestles for tophole with the bold bad bleak boy Glugg, geminally about caps or puds or tog bags or bog gats or chuting rudskin gunerally or something, until they adumbrace a pattern of somebody else or other, after which they are both car-ried off the set and brought home to be well soaped, sponged and scrubbed again by

  ANN (Miss Corrie Corriendo, Grischun scoula, bring the babes, Pieder, Poder and Turtey, she mistributes mandamus monies, after perdunamento, hendrud aloven entrees, pulcinellis must not miss our national rooster’s rag), their poor little old mother-inlieu, who is woman of the house, playing opposite to

  HUMP (Mr Makeall Gone, read the sayings from Laxdalesaga in the programme about King Ericus of Schweden and the spirit’s whispers in his magical helmet), cap-a-pipe with watch and top-per, coat, crest and supporters, the cause of all our grievances, the whirl, the flash and the trouble, who, having partially re-covered from a recent impeachment due to egg everlasting, but throughandthoroughly proconverted, propounded for cyclo-logical, is, studding sail once more, jibsheets and royals, in the semblance of the substance for the membrance of the umbrance with the remnance of the emblence reveiling a quemdam super-cargo, of The Rockery, Poopinheavin, engaged in entertaining in his pilgrimst customhouse at Caherlehome-upon-Eskur those statutory persons

  THE CUSTOMERS (Components of the Afterhour Courses at St. Patricius’ Academy for Grownup Gentlemen, consult the annu-ary, coldporters sibsuction), a bundle of a dozen of representa — tive locomotive civics, each inn quest of outings, who are still more sloppily served after every cup final by

  SAUNDERSON (Mr Knut Oelsvinger, Tiffsdays off, wouldntstop in bad, imitation of flatfish, torchbearing supperaape, dud half-sovereign, no chee daily, rolly pollsies, Glen of the Downs, the Gugnir, his geyswerks, his earsequack, his lokistroki, o.s.v.), a scherinsheiner and spoilcurate, unconcerned in the mystery but under the inflounce of the milldieuw and butt of

  KATE (Miss Rachel Lea Varian, she tells forkings for baschfel-lors, under purdah of card palmer teaput tosspot Madam d’Elta, during the pawses), kook-and-dishdrudge, whitch believes wan-thingthats, whouse be the churchyard or whorts up the aasgaars, the show must go on.

  Time: the pressant.

  With futurist onehorse balletbattle pictures and the Pageant of Past History worked up with animal variations amid ever-glaning mangrovemazes and beorbtracktors by Messrs Thud and Blunder. Shadows by the film folk, masses by the good people. Promptings by Elanio Vitale. Longshots, upcloses, outblacks and stagetolets by Hexenschuss, Coachmaher, Incubone and Rock-narrag. Creations tastefully designed by Madame Berthe Dela — mode. Dances arranged by Harley Quinn and Coollimbeina. Jests, jokes, jigs and jorums for the Wake lent from the properties of the late cemented Mr T. M. Finnegan R.I.C. Lipmasks and hairwigs by Ouida Nooikke. Limes and Floods by Crooker and Toll. Kopay pibe by Kappa Pedersen. Hoed Pine hat with twentyfour ventholes by Morgen. Bosse and stringbag from Heteroditheroe’s and All Ladies’ presents. Tree taken for grafted. Rock rent. Phenecian blends and Sourdanian doofpoosts by Shauvesourishe and Wohntbedarft. The oakmulberryeke with silktrick twomesh from Shop–Sowry, seedsmanchap. Grabstone beg from General Orders Mailed. The crack (that’s Cork!) by a smoker from the gods. The interjection (Buckley!) by the fire- ment in the pit. Accidental music providentially arranged by L’Archet and Laccorde. Melodiotiosities in purefusion by the score. To star
t with in the beginning, we need hirtly bemark, a community prayer, everyone for himself, and to conclude with as an exodus, we think it well to add, a chorale in canon, good for us all for us all us all all. Songs betune the acts by the ambiamphions of Annapolis, Joan MockComic, male so-prano, and Jean Souslevin, bass noble, respectively: O, Mester Sogermon, ef thes es whot ye deux, then I’m not surpleased ye want that bottle of Sauvequipeu and Oh Off Nunch Der Rasche Ver Lasse Mitsch Nitscht. Till the summit scenes of climbacks castastrophear, The Bearded Mountain (Polymop Barethe-rootsch), and The River Romps to Nursery (Maidykins in Undi — form). The whole thugogmagog, including the portions under — stood to be oddmitted as the results of the respective titulars neglecting to produce themselves, to be wound up for an after-enactment by a Magnificent Transformation Scene showing the Radium Wedding of Neid and Moorning and the Dawn of Peace, Pure, Perfect and Perpetual, Waking the Weary of the World.