APLICACIÓN DE LAS CINCO FUERZAS COMPETITIVAS

Anna Livia Plurabelle The title of Book I, chap- ter 8, of Finnegans Wake (FW 196.1–216.5), first published in TRANSITION in November 1927 and

later as a separate booklet by Crosby Gaige in New York in 1928. The first English edition of this frag- ment of WORK INPROGRESSwas published by FABER

ANDFABERin 1930. The chapter is named after its heroine, Anna Livia Plurabelle (see Characters, above), and contains some of the most lyrical pas- sages Joyce ever wrote. It may well be the most famous chapter of the work. In Anna Livia Plura-

belle: The Making of a Chapter, Fred H. Higginson

traces the chapter’s development from its initial stages to its final form in Finnegans Wake.

For additional information on this section of

Finnegans Wake, see Letters, III.6, 90–91, 97, 121–

122, 125, 128, 132–133, 142, 163–165, 169, 183, 191, 209, 212, 464, 468–471, and 476–477.

“Ballad of Persse O’Reilly, The” A ballad in

Finnegans Wake (FW 44.24–47.32) that identifies

H. C. Earwicker with Humpty Dumpty and his fall. Composed and sung by Hosty, the ballad mocks Earwicker and charges him with public crimes. In selecting the name of the balladeer, Joyce also invokes the presence of H C E by punning on the French word for earwig, perce-oreille. (Also see Ear- wicker, Humphrey Chimpden and O’Reilly, Persse (under Characters, above); and Book I, chapter 2 of Finnegans Wake.)

“Buckley and the Russian General” This is the title of a humorous story that Joyce heard from his father and retold through Butt and Taff in

Finnegans Wake Book II, chapter 3 (FW 346–353).

(Other allusions to the story occur in the Wake.) During the Crimean War (1853–56), Buckley, an Irish soldier in the British army, gallantly declines to fire at a Russian general whom he spies defecat- ing. But when the general rips up a clod of turf (in the soldier’s mind a symbol of Ireland) to wipe him- self, Buckley interprets the act as an “insult against Ireland” and shoots him (FW 353.15–21).

“Buy a book in brown paper” A six-line poem by Joyce (in the rhyme scheme aaa b cc) written as a blurb and printed on the dust jacket of the 1930 two-shilling FABER ANDFABERedition of the Anna

Livia Plurabelle chapter of Finnegans Wake, Book I,

chapter 8 (FW 196.1–216.5). This humorous verse in mock Finnegans Wake style entreats the reader to buy a copy and read about Anna Livia, who “ebb[s] music wayriver she flows.” (See also Anna Livia Plurabelle under Characters.)

Haveth Childers Everywhere This is the title of a fragment of WORK INPROGRESSfirst published

in June 1930 by Henry Babou and Jack Kahane in Paris and by the Fountain Press in New York. It comprises the last part of chapter 3 in Book III of

Finnegans Wake (FW 532.1–554.10). According to

Richard ELLMANN, Joyce composed an advertise- ment for the first British edition, published by Faber and Faber in 1931:

Humptydump Dublin squeaks through his norse,

Humptydump Dublin hath a horrible vorse And with all his kinks english

Plus his irismanx brogues

Humptydump Dublin’s grandada of all rogues. (James Joyce, p. 617)

As the initial letters of the title Haveth Childers

Everywhere indicate, this fragment is concerned

with H C E, who, at this point in the Wake, is given the chance to attempt some defense of himself against the ambiguous charges that have been brought against him. But the stuttering Earwicker

only makes matters worse. He attempts to explain his guiltlessness, prove his innocence of any crime in Phoenix Park, and clear any libel against him: “I contango can take off my dudud dirtynine articles of quoting here in Pynix Park before those in heaven to provost myself, by gramercy of justness” (FW 534.11–13).

In this section of the chapter, Earwicker also boasts of his many accomplishments, which include the establishment of a great city “of magnificient distances” (FW 539.25) and the conquest of his wife, Anna Livia Plurabelle: “I pudd a name and wedlock boltoned round her the which to carry till her grave, my durdin dearly, Appia Lippia Pluvia- billa, whiles I herr lifer amstell and been” (FW 548.5–7). The chapter ends with the Four Old Men laughing and braying in disbelief at Earwicker: “Mattahah! Marahah! Luahah! Joahanahana- hana!” (FW 554.10).

For additional information regarding this sec- tion, see Letters, III.120, 135, and 204.

Kevin, St. (Irish, Caemgen) (d. 618) Kevin was one of the patron saints of Dublin. Born near that city, supposedly into the royal line of the ancient Irish kingdom of Leinster, as a young man Kevin turned his back on secular life and chose instead to become a hermit living in Glendalough in County Wicklow. He subsequently founded a monastery there and served as its first abbot. Under his charge Glendalough became one of Ireland’s leading monasteries. No accurate biography of St. Kevin survives, but the legendary accounts of his life include his temptation at Luggelaw and again at Glendalough by the young girl, Cathleen, who killed herself when her second effort failed. The stories also stress St. Kevin’s role as a protector of animals. He died on June 3, 618, in Glendalough.

In Finnegans Wake Book I, chapter 8, the wash- erwomen at the River LIFFEYrecount, in a highly stylized fashion, the apocryphal temptation of St. Kevin (FW 203.17–204.5). In this instance, how- ever, the charms of the woman, now represented as A L P, prove too much: “[H]e had to forget the monk in the man so, rubbing her up and smoothing her down, he baised his lippes in smiling mood, kiss akiss after kisokushk (as he warned her niver to,

niver to, nevar) on Anna-na-Poghue’s of the freck- led forehead” (FW 203.33–204.1). One of Joyce’s earliest sketches in the composition of Finnegans

Wake was of St. Kevin; he later incorporated it into

Book IV (FW 604.27–606.12), where the saint is seen rising from the waters of new life.

Mamalujo This is an abbreviated form of the combination of the names of the four evangelists Matthew, Mark, Luke, and John, and the working title of an episode from Finnegans Wake (FW 383–399). The first fragment of the Wake to be published as a separate piece, this episode appeared under the title “From Work in Progress” in the April 1924 issue of the TRANSATLANTIC REVIEW. It

was subsequently revised by Joyce and placed in the final version of Finnegans Wake as chapter 4 in Book II. As a shortened version of the names of the four evangelists, Mamalujo also stands for the Four Masters of the Annals of Ireland, the Four Old Men and the Four Waves of Erin.

Joyce told Harriet Shaw WEAVERthat this chap- ter consisted of “a study of old age” (see Richard Ellmann, James Joyce, p. 555). The episode opens with a 13-line poem, the first 10 and the 13th lines of which all rhyme. The call of the circling gulls mocks Muster Mark’s helplessness and sexual inad- equacy, as Trustan steals his bride Usolde (FW 383.19; cf. TRISTAN ANDISOLDE). Lines 11 and 12 describe what Tristan will do to Isolde, and line 13 sums up: “And that’s how that chap’s going to make his money and mark!”

After a prose reprise of the ideas advanced in the poem, the narrative then turns to an introduc- tion of the Four Masters—Johnny MacDougall, Marcus Lyons, Luke Tarpey, and Matt Gregory. There is a brief general account of their back- ground, their place in Irish mythology, and their role as four old men who, like the four barons in Joseph BÉDIER’s translation of Tristan et Iseult, spy on the lovemaking of Tristan and Isolde. Following this are individual accounts of their recollections.

Johnny MacDougall begins his disquisition by recalling a Dublin auctioneer “in front of the place near O’Clery’s” (FW 386.20) and his sans souci youth. Johnny ends his comments by offering an account of the exit of King Mark from Isolde’s

room through a door and the entrance of Tristan, in his nightshirt, through a window. Much of the imagery of this passage is aquatic, with references to salt water, drowning, and the sea.

Marcus Lyons joins in next, evoking a series of important historical events. He speaks of the Flem- ish Armada (medieval Norman invaders of Ire- land), of St. Patrick and St. KEVIN, and of a series of other real and imagined invaders and colonizers of Ireland. Marcus Lyons ends his remarks with a bemused androgynous reference to how “the four of the Welsh waves” (FW 390.15–16) had been divorced by their “shehusbands” (FW 390.20) as had been foretold in song.

Lucas (Luke) Tarpey does his part by recalling the time of mythological Irish kings. He calls to mind how the other old men had been persecuted by “Mrs. Dowager Justice Squalchman” (FW 390.35–36). Lucas, however, asserts that he does really not wish to dwell upon these matters but would rather “forget and forgive (don’t we all?)” (FW 392.2).

The last of the four old men, identified here as Matt Emeritus (Matt Gregory), now comes for- ward, looking very much like a bumpkin from the west of Ireland, which he represents. The narrative goes into a pitiable description of him, but he never finds his own voice for a personal remembrance. The section ends with the narrator’s pious wish, “God be good to us” (FW 393.5).

After the last of these speakers has finished his presentation, the narrative begins a reminiscence of its own, compressing recollections of Sitiric Silkenbeard, the leader of the Danish forces at the Battle of Clontarf in 1014 (whose defeat by Brian Boru, the king of Munster, marked the end of Dan- ish hegemony in Ireland), and of the 18th-century Bartholomew Vanhomrigh, father of Jonathan SWIFT’s Vanessa and Lord Mayor of Dublin. This quickly merges into more androgynous remem- brances, this time of the lives of four “beautiful sis- ter misters” (FW 393.17). In a fragmented fashion it traces their existence from marriage to old age.

The chapter closes with the singing of the hymn for “lseult la belle” (FW 398.31–399.28). It takes the form of an epithalamion (a song in honor of the newly married), urging Isolde to forsake the old

man—King Mark—and go with the younger Tris- tan. As the chapter comes to a close, the final image is of the Four Old Men and their donkey by the river.

As the collective name of the four old men (Matthew, Mark, Luke, and John), Mamalujo rep- resents a recurring archetype throughout Finnegans

Wake. It also represents an ironically amalgamated

yet distinct view of the four evangelists and the authors of THE ANNALS OF THEFOUR MASTERS, a

history of Ireland, in 1636. In various guises, Mamalujo often takes on functions similar to that of a Greek chorus, adding a measure of irony, expo- sition, explication, and elaboration to the events they observe.

Adaline Glasheen reports that “Joyce told [Helen Joyce, Joyce’s daughter-in-law] that [Mamalujo] also stood for Mama (Nora BARNACLE), Lucia [JOYCE], Giorgio JOYCE” (Third Census of Finnegans Wake, p. 183). See the discussion above, under “Synopsis.” For additional information surrounding Joyce’s com- position of the Mamalujo episode, see Letters, III.81, 82, and 91. Also see Selected Letters, pp. 296–297, where in an October 1923 letter to Harriet Shaw Weaver, Joyce sketches an initial “plan of the verses,” which ends the episode (FW 398–399), a plan that, among other things, includes correspon- dences between the four evangelists and the Four Masters.

Mime of Mick, Nick and the Maggies, The

This is the title of a section of Finnegans Wake (FW 219–259) published in June 1934 by the Servire Press, The Hague. This edition included illustra- tions by Joyce’s daughter, Lucia JOYCE. In the final version of Finnegans Wake, it appears as Book II, chapter 1.

“The Mime of Mick, Nick and the Maggies” is presented by Shem, Shaun, and Issy (under Charac- ters, above) in the form of a play, and takes its shape from Joyce’s conception of a dramatized version of the Dublin children’s game Angels and Devils, or Colors (see Letters, I.295). In the play Shem, portray- ing the character Glugg, unsuccessfully tries to answer three versions of a riddle put to him by Issy and the Maggies, who, as The Floras (or Rainbow Girls), are but multiple manifestations of Issy herself.

(Riddles are a recurring motif throughout Finnegans

Wake; they first appear with the Prankquean in Book

I, chapter 1, FW 21.5–23.15.) As the title of the episode suggests, the play depicts the elemental con- flict between Light (= Mick = St. Michael = Shaun) and Dark (= Nick = Old Nick = the Devil = Shem), as well as between siblings.

The chapter opens with an announcement of the particulars of the play. Under the benediction of the martyr and patron saint of actors, “Holy Genesius Archimimus” (FW 219.9), the drama is being presented by the children of H C E and A L P every evening (“until further notice”) at dusk at the “Feenichts Playhouse,” Phoenix (or literally Fee Nix = no charge) Playhouse (FW 219.2). The play is called The Mime of Mick, Nick and the Maggies, and is an adaptation of material from Joseph Sheri- dan Le Fanu’s The House by the Churchyard. (Le Fanu, 1814–73, was an Irish writer whose work was characterized by elements of the supernatural and mysterious.)

The cast is as follows: Glugg is played by Shem, “the bold bad bleak boy of the storybooks” (FW 219.24). The Floras, a variation of the 28 Rainbow Girls, are represented by the Girl Scouts from St. Bride’s Finishing Establishment. The part of Izod is taken by Issy, “a bewitching blonde who dimples delightfully” (FW 220.7–8). Shaun, “the fine frank fairhaired fellow of the fairytales” (FW 220.12–13) takes the part of Chuff. The woman of the house, Ann, is played by A L P, and H C E plays Hump, the archetypal father figure and “the cause of all our grievances” (FW 220.27). Additional charac- ters are represented by the customers of H C E’s pub, by Kate the cleaning woman, and by Sacker- son the handyman.

In a burst of metatheater, the play itself opens with a play: Chuff (Shaun) has taken the part of St. Michael the Archangel and Glugg (Shem) has assumed the role of the devil. (As befitting an archetypal representation, the identities of each of these characters shifts back and forth over the sev- eral roles that each assumes throughout the chap- ter.) Glugg pursues several of the Floras, but is unable to catch any of them. Abruptly, they inter- rupt his pursuit by turning on him. They confront him with a riddle and demand that he come up

with the solution to it. Nonetheless, although he consults the Four Masters, Glugg cannot answer the puzzle.

The Floras ridicule him, and both Glugg’s men- tal and physical discomfort increase. He feels the need to pass water, and this sensation, in turn, makes him think of an instance when he saw his mother urinating. Heedless of Glugg’s uneasiness, the girls continue to press him for an answer to their riddle. In response, Glugg makes three more fruitless guesses. Feeling embarrassed and frus- trated, he runs away, much to the chagrin of Izod (Issy), who has developed a great affection for him. The Floras now dance in admiration around Chuff (Shaun). This demonstration of their affec- tion enrages Glugg, who is still smarting from the ridicule of the girls. He returns to the group, runs amok, attacks seven little boys (representing the seven sacraments), and swears that he will have his revenge upon them all by writing stories. As he thinks of his family life and of the possibilities of a literary career, Glugg gradually calms down. A sigh from Izod makes him think that she might actually want him again, and he returns to her and to the Floras to resume the guessing game.

The competition begins again, but as before, Glugg repeatedly fails to come up with the correct answer to the girls’ riddle, and again he runs away in chagrin. Chuff remains behind, and the girls begin to sing a hymn in his honor. The Floras, or the Rainbow Girls, in flowerlike fashion, begin to worship Chuff as a sun god. They cap their song of praise by offering themselves to him as they dance in an adoring circle around him. In the meantime, Glugg remains alone, sunk deep in despair.

Presently, however, Glugg rouses himself from his brooding and makes a final effort at reconcilia- tion with the others. He publicly confesses his faults and vows to those present that he will reform his life and henceforth live as a decent man. In closing he condemns “his fiery goosemother” (FW 242.25) for her own behavior and for the evil influ- ence that she exerted upon him when he was grow- ing to maturity. Now she seems to be joining with him in a pledge to amend her own behavior.

Suddenly, someone notices that the moon has risen. The hour is late. PHOENIX PARK is full of

lovers, and the time has come for the production to end. But despite H C E’s threatening calls and A L P’s efforts to prepare dinner, the players demur, deciding instead to continue their drama if only for a brief time. Once again Glugg runs amok among the other children, but this time he quickly breaks down and cries, frustrated over the attention that the girls give to Chuff and their obvious lack of interest in him. Glugg returns to his earlier plan to take revenge by publicizing secret information that he has acquired about them.

Izod interrupts Glugg’s ranting and with seduc- tive promises tempts him to come toward the group. However, as he attempts to move toward them, the Floras point to Glugg in revulsion. They compare him most unfavorably with Chuff, and then begin a dance. As they dance, they try to draw Glugg out by asking him teasing questions, but he only responds with crude gestures. Now led by Chuff, the Floras continue to taunt Glugg, who endures it all by focusing his mind on his desire for Izod. Glugg and Chuff confront each other, and suddenly Glugg is bested.

This new defeat throws Glugg into the depths of despair. He laments that he has no idea what will become of him or of his progeny. For a third time he has proven unable to solve the riddle, and now he has clearly lost Izod: “Evidentament he has failed as tiercely as the deuce before for she is wearing none of the three” (FW 253.19–20). Events now seem clearly headed for a denouement, but before the play can come to its expected conclusion, the chil- dren abruptly break off the action in anticipation of the appearance of H C E.

Taking its cue from the concerns of the children, the narrative next begins a long digression on the specific nature and origin of this father figure. A number of legends and rumors about him are recounted, and the narrative asks rhetorically why one would awaken him. It predicts ominously that “[t]he hour of his closing hies to hand” (FW 255.6–7). Nonetheless, instead of a dire event, A L P appears to gather together the children, stop their arguments, and set them to doing their homework before going to bed. At the sound of the shutting of the door, the curtain drops and the play ends. There is a general tumult as if it were the end of the world,

and H C E is awakened. The children are sent off to study, and the chapter comes to an end.