O material abaixo foi todo retirado do Finnegans Wake Extensible Elucidation Treasury, de Raphael Slepon, de longe um dos recursos mais preciosos como auxílio para
a leitura do inclassificável romance final de Joyce.
O que eu fiz foi apenas recortar cada sinopse de onde ela se encontrava e montar um documento contínuo com todas elas
AS SINOPSES DO SLEPON
I.1.1A.B: [003.04-003.14]: beginning of time - nothing yet had happened.
I.1.1A.C: [003.15-003.24]: the fall - the thunder.
I.1.1A.D: [004.01-004.17]: storms of warfare - fall and rise.
I.1.1A.E: [004.18-005.04]: Tim Finnegan the masterbuilder - his tower.
I.1.1A.F: [005.05-005.12]: his crest of heraldry - his fate.
I.1.1A.G: [005.13-006.12]: the causes of his fall - he dies.
I.1.1A.H: [006.13-006.28]: his wake - laying him to rest.
I.1.1A.I: [006.29-007.19]: he is interred in the landscape - about to be eaten as a fish, he disappears.
I.1.1A.J: [007.20-008.08]: he sleeps under Dublin - entrance to the museum.
I.1.1A.K: [008.09-010.23]: the museyroom - the battle of Willingdone versus the Lipoleums and Jinnies.
I.1.1B.A: [010.24-011.28]: the battle is over - a gnarlybird collecting spoiled goods.
I.1.1B.B: [011.29-012.17]: her stolen presents - her role in life.
I.1.1B.C: [012.18-013.05]: an overview of the city and its hills - so this is Dublin.
I.1.1B.D: [013.06-013.19]: the engraving on the wall - look and listen.
I.1.1B.E: [013.20-013.28]: the history book - the major characters.
I.1.1C.A: [013.29-014.15]: leaves of time - four entries from the annals.
I.1.1C.B: [014.16-014.27]: the fleeing scribe - the changing times.
I.1.1D.A: [014.28-015.11]: pastoral scenery - flowers and battlefields.
I.1.1D.B: [015.12-015.28]: the mutability of men - the stability of flowers.
I.1.1E.A: [015.29-016.09]: Mutt meets Jute - Mutt attempts to address him.
I.1.1E.B: [016.10-017.16]: the dialogue of Mutt and Jute begins - memories of the battle of Clontarf.
I.1.1E.C: [017.17-018.16]: Mutt tells of the fallen - the dialogue of Mutt and Jute ends.
I.1.2A.A: [018.17-019.19]: the book itself - a hoard of alphabets, snakes, etc..
I.1.2A.B: [019.20-019.30]: of the number 111 - sons and daughters.
I.1.2A.C: [019.31-020.18]: ancient times - writings and readings.
I.1.2A.D: [020.19-021.04]: the book in your hands - its tales and dances.
I.1.2B.A: [021.05-023.15]: the tale of the Prankquean and Jarl van Hoother - why do I am alook alike a poss of porterpease?.
I.1.2B.B: [023.16-024.02]: he, the silent mountain - she, the babbling stream.
I.1.2B.C: [024.03-024.15]: the mighty liberator's deeds - he revives.
I.1.2B.D: [024.16-026.24]: convincing him to stay dead - performing rites to keep him dead.
I.1.2B.E: [026.25-027.21]: everything is the same without him - the kids are fine.
I.1.2B.F: [027.22-027.30]: he attempts to rise - the four restrain him.
I.1.2B.G: [027.31-028.34]: the whole household is fine - so is the wife.
I.1.2B.H: [028.35-029.36]: he will not return - replacement is already here.
I.2.1.A: [030.01-033.13]: the origin of Earwicker's name, the result of a meeting with the king - Here Comes Everybody, with his imposing figure.
I.2.1.B: [033.14-034.29]: baser and preposterous allegations against him - the sin in the park.
I.2.2.A: [034.30-036.34]: his encounter with the cad in Phoenix Park - his self-defence.
I.2.2.B: [036.35-038.08]: the cad takes leave - he tells his wife the story over supper.
I.2.2.C: [038.09-039.13]: the wife tells reverend Browne - he, as Nolan, tells Philly Thurnston.
I.2.2.D: [039.14-039.27]: Treacle Tom and Frisky Shorty - they overhear the story at the racetracks.
I.2.2.E: [039.28-042.16]: Tom mumbles the story in his sleep - he is overheard by a trio of tramps, who turn the tale into a ballad.
I.2.2.F: [042.17-044.06]: the first performance of the ballad - its wide dissemination.
I.2.2.G: [044.07-044.21]: introducing the ballad - applause.
I.2.3.A: [044.22-047.29]: the ballad of Persse O'Reilly in fourteen stanzas - interspersed with cheers for Hosty.
I.3.1.A: [048.01-050.32]: what became of the previously-mentioned characters - as time passes, they are all dead.
I.3.1.B: [050.33-051.20]: the difficulty of identifying the man asked to tell the story - his appearance has much changed.
I.3.1.C: [051.21-052.17]: the cad in a damp English garden - he prepares to tell his version of the story.
I.3.1.D: [052.18-053.06]: Humphrey's clothing - the touching scene.
I.3.1.E: [053.07-053.35]: the peaceful landscape - their meeting.
I.3.1.F: [053.36-054.06]: remembrances of yesterday - listen.
I.3.1.G: [054.07-054.19]: a babble of tongues - numerous greetings.
I.3.1.H: [054.20-055.02]: HCE's response - some storyteller antics.
I.3.1.I: [055.03-056.19]: the story is repeated in a train car - it is further vividly retold.
I.3.1.J: [056.20-056.30]: similarly, our unfriended bard reaches a tavern - a similar quasi-smile.
I.3.1.K: [056.31-057.15]: where are all the formal facts and specifics? - the four's comments.
I.3.1.L: [057.16-057.29]: the facts are too uncertain - but there is the photograph with Alice.
I.3.1.M: [057.30-058.22]: one thing is certain - he was repeatedly tried.
I.3.1.N: [058.23-061.27]: a plebiscite - public opinion about the sin in the park.
I.3.2.A: [061.28-062.25]: can it be believed? - he flees to another land, to hostility and terror.
I.3.2.B: [062.26-063.19]: a tall man is assaulted on his way home - some reservations about the facts.
I.3.2.C: [063.20-064.21]: the assailant comes up with excuses for the gate incident - the boots is awakened by the noise.
I.3.2.D: [064.22-064.29]: a pause - roll away a film.
I.3.2.E: [064.30-065.33]: a old-man-two-young-girls film - preceded by some advertisements.
I.3.2.F: [065.34-066.09]: the moral of it all - to be continued.
I.3.2.G: [066.10-066.27]: will a huge chain-letter ever be delivered? - it might.
I.3.2.H: [066.28-067.06]: the coffin - its usefulness.
I.3.2.I: [067.07-067.27]: proceeding with the gate assault - the special constable's evidence.
I.3.3.A: [067.28-069.04]: the fate of the two maids - his reaction to it, or lack thereof.
I.3.3.B: [069.05-069.29]: back to the gate - and the shack behind it.
I.3.3.C: [069.30-073.22]: another assault, this time by his Austrian tenant – 111 abusive names he was called.
I.3.3.D: [073.23-073.27]: the assailant's departure - bringing the last stage in the siegings to an end.
I.3.3.E: [073.28-074.05]: he is gone - until he awakes again.
I.3.3.F: [074.06-074.12]: for God shall call him - his return will dispel the silence.
I.3.3.G: [074.13-074.19]: his body hibernates - he sleeps.
I.4.1A.A: [075.01-076.09]: perhaps, his dreams while besieged - maybe, his prayers and hopes while in agony.
I.4.1A.B: [076.10-076.32]: the teak coffin - the grave.
I.4.1A.C: [076.33-077.27]: the blasting and lining of the grave - he is buried in.
I.4.1A.D: [077.28-078.06]: numerous bric-a-brac would follow - to ease his sojourn.
I.4.1A.E: [078.07-078.14]: he burrows his way out - all the way to the surface.
I.4.1A.F: [078.15-079.13]: some time has passed - he is sighted on a dark plain.
I.4.1A.G: [079.14-079.26]: of ladies - of temptresses.
I.4.1A.H: [079.27-080.19]: Kate Strong's statement - the site of the Phoenix Park encounter.
I.4.1A.I: [080.20-080.36]: then he spoke - and the girls fled away.
I.4.1A.J: [081.01-081.11]: our position - in the park.
I.4.1A.K: [081.12-084.27]: yet another hostile assault (on or by HCE) - culminating in a truce and a police report.
I.4.1A.L: [084.28-085.19]: of the dangers of mistaken identity - how he almost got killed when peacefully strolling in the park.
I.4.1A.M: [085.20-086.31]: Festy King is haled into court - the crown's allegations against him.
I.4.1A.N: [086.32-090.33]: W.P.'s evidence - Hyacinth O'Donnell's evidence.
I.4.1A.O: [090.34-092.05]: Festy claims innocence upon oath - much to the court's amusement.
I.4.1B.A: [092.06-092.32]: equality of opposites, as exemplified by Festy and W.P. - the leap-year girls definitely gravitate towards the latter.
I.4.1B.B: [092.33-093.21]: the four judges pass their verdict - Festy leaves scot-free, to the leap-year girls' disapproval.
I.4.1B.C: [093.22-094.22]: so it all ended - the letter, what was it?.
I.4.1B.D: [094.23-095.26]: the four judges reminisce - especially about his overpowering smell.
I.4.1B.E: [095.27-096.25]: and so they go on chattering - well into disagreement.
I.4.2.A: [096.26-097.28]: of false evidence and truth - he is fox-hunted.
I.4.2.B: [097.29-100.04]: rumours of what became of him - he is presumed dead.
I.4.2.C: [100.05-100.08]: attention! - news!.
I.4.2.D: [100.09-100.23]: but smoke rises from his tower - and lights shine from within.
I.4.2.E: [100.24-100.36]: he is anything but ethereal - his existence is undoubtable.
I.4.2.F: [101.01-102.17]: slander and jeers abound - until she appears, to protect him.
I.4.2.G: [102.18-102.30]: his resting place and his name are protected - by a little lady by the name of ALP.
I.4.2.H: [102.31-103.11]: ALP's song - by the rivers of Babylon.
I.5.1.A: [104.01-104.03]: in the name of Anna - a prayer to ALP.
I.5.1.B: [104.04-107.07]: her untitled mamafesta - its numerous names.
I.5.1.C: [107.08-107.35]: initial inspection of the letter and its authorship - closer inspection reveals more.
I.5.1.D: [107.36-108.07]: who wrote it? - under what circumstances?.
I.5.1.E: [108.08-108.28]: patience - if the very existence of Earwicker is questionable, what could be said about the letter?.
I.5.1.F: [108.29-108.36]: beware of rash conclusions - especially relating to absent features.
I.5.1.G: [109.01-109.36]: the importance of the envelope - compared to a woman's clothing.
I.5.1.H: [110.01-110.21]: some facts - we are in for improbable possibilities.
I.5.1.I: [110.22-111.04]: the hen's discovery on the dump - observed by Kevin, who claimed to be the discoverer himself.
I.5.1.J: [111.05-111.24]: the text of the letter - the teastain.
I.5.1.K: [111.25-112.02]: the letter's deterioration in the mound - similar to negative overexposure.
I.5.1.L: [112.03-112.08]: confused? - cheer up!.
I.5.1.M: [112.09-112.27]: the historical importance of birds - a golden age heralded.
I.5.1.N: [112.28-113.22]: the letter's paper - the authoress' intentions.
I.5.4.A: [113.23-113.33]: let's talk straight - let's see what remains.
I.5.4.B: [113.34-114.20]: the text's directions - its writing.
I.5.4.C: [114.21-116.35]: the paper, teastain and missing signature - amateur psychonanalysis of the text.
I.5.4.D: [116.36-117.09]: Viconian cycles - again and again.
I.5.4.E: [117.10-117.32]: the old repeating story - universal recurring patterns.
I.5.4.F: [117.33-118.17]: about the letter's authorship - someone obviously wrote it.
I.5.4.G: [118.18-119.09]: the everchanging nature of anything connected with it - we should be thankful that we have even this much.
I.5.4.H: [119.10-123.10]: detailed analysis of its calligraphy - its sigla and letters.
I.5.4.I: [123.11-123.29]: quoting a critic about its style - basing his observations on a similar case.
I.5.4.J: [123.30-124.34]: its system of perforations - professor-provoked or hen-pecked.
I.5.4.K: [124.35-125.23]: no need for more questions - the scribe is revealed as Shem the Penman.
I.6.1A.A: [126.01-126.09]: introduction to the quiz - set by Shem, answered by Shaun.
I.6.1A.B: [126.10-139.14]: question and answer #1 (*E*) - his numerous feats.
I.6.1A.C: [139.15-139.28]: question and answer #2 (A) - her marvelousness.
I.6.1A.D: [139.29-140.07]: question and answer #3 (*F*) - its name.
I.6.1A.E: [140.08-141.07]: question and answer #4 (*X*) - their cities.
I.6.1A.F: [141.08-141.27]: question and answer #5 (*S*) - his job description.
I.6.1A.G: [141.28-142.07]: question and answer #6 (*K*) - her complaints.
I.6.1A.H: [142.08-142.29]: question and answer #7 (*O*) - their identities.
I.6.1A.I: [142.30-143.02]: question and answer #8 (*Q*) - their activities.
I.6.1A.J: [143.03-143.28]: question and answer #9 (*W*) - its dream.
I.6.1A.K: [143.29-148.32]: question and answer #10 (*I*) - her conversation with her mirror.
I.6.1A.L: [148.33-149.10]: question #11 (*V*) - would he save an exile poet's soul?.
I.6.1B.A: [149.11-149.33]: answer #11 begins - he refuses and offers to explain.
I.6.1B.B: [149.34-150.14]: of the word Talis - often misused.
I.6.2.A: [150.15-152.03]: sophisticated theoretical apologetics - of space and time.
I.6.3.A: [152.04-152.14]: as if lecturing to a squad of urchins - he will tell a fable.
I.6.3.B: [152.15-153.08]: the fable of the Mookse and the Gripes begins - the Mookse goes awalking and comes upon a stream.
I.6.3.C: [153.09-153.34]: he sees the Gripes on the far bank - he sits down on a stone.
I.6.3.D: [153.35-155.22]: a dialogue between the two - about what time it is.
I.6.3.E: [155.23-156.18]: the Mookse proves his point - while the Gripes attempts to juggle church dogmas.
I.6.3.F: [156.19-157.07]: another dialogue between the two - resorting to name-calling.
I.6.3.G: [157.08-158.05]: Nuvoletta is alone above them - she is unable to get their attention.
I.6.3.H: [158.06-158.24]: dusk is falling - the Mookse and the Gripes cease.
I.6.3.I: [158.25-159.05]: washerwomen come to take their washing from the river banks - only a tree and a stone remain, and Nuvoletta.
I.6.3.J: [159.06-159.18]: Nuvoletta turns into a tear - the fable of the Mookse and the Gripes ends.
I.6.3.K: [159.19-159.23]: no applause, please - back to the classroom.
I.6.4.A: [159.24-160.24]: he loves him - yet wants him to go far away.
I.6.4.B: [160.25-160.34]: let us murmur - for the four are listening.
I.6.4.C: [160.35-161.14]: some more proofs - which reminds him of Burrus and Caseous.
I.6.4.D: [161.15-161.36]: the story of Burrus and Caseous - the well-known dramatis personae in food form.
I.6.4.E: [162.01-163.11]: old Caesar is to be replaced - hence, Burrus and Caseous are introduced.
I.6.4.F: [163.12-164.14]: some theories of polarity dismissed - introducing Margareen.
I.6.4.G: [164.15-166.02]: of music and singing - of painting and portraiture.
I.6.4.H: [166.03-167.17]: back to Marge - she prefers Antonius.
I.6.4.I: [167.18-168.12]: repeating he would not! - answer #11 ends.
I.6.4.J: [168.13-168.14]: question and answer #12 (*C*) - his curse.
I.7.1.A: [169.01-169.10]: Shem's name - his origins.
I.7.1.B: [169.11-170.24]: Shem's appearance - the first riddle of the universe.
I.7.1.C: [170.25-171.28]: Shem's food - his drink.
I.7.1.D: [171.29-172.04]: his lowness - he is photographed.
I.7.1.E: [172.05-172.10]: a commercial - for a different butcher.
I.7.1.F: [172.11-172.26]: Shem's unpopularity - his unlikely survival.
I.7.1.G: [172.27-174.04]: his despicable character - his deceptive story.
I.7.1.H: [174.05-174.21]: his distaste for contention - his obsequious nature.
I.7.1.I: [174.22-175.04]: his violent treatment - his utter lowness.
I.7.1.J: [175.05-175.18]: a ballad - of recapitulation.
I.7.1.K: [175.19-176.18]: Shem's avoidance of games - such as those listed.
I.7.1.L: [176.19-177.12]: his cowardice - he escapes and barricades himself in his inkbottle house.
I.7.1.M: [177.13-178.07]: his vanity - his high opinion of himself.
I.7.1.N: [178.08-179.08]: he looks out through the keyhole - to see an assailant's revolver's barrel.
I.7.1.O: [179.09-179.16]: this lowlife - what was he really at?.
I.7.1.P: [179.17-180.33]: his deterioration - his useless book.
I.7.1.Q: [180.34-181.26]: his putrid smell - his forgeries.
I.7.1.R: [181.27-181.33]: an advertisement - of a personal nature.
I.7.1.S: [181.34-182.29]: his writing in his cell - his portraits.
I.7.1.T: [182.30-184.10]: Shem's filthy lair - its composition.
I.7.1.U: [184.11-185.13]: his cooking, mostly eggs - his manufacturing of ink and paper.
I.7.1.V: [185.14-185.26]: of the distillation of ink from excrement - in the language of cardinals.
I.7.1.W: [185.27-186.18]: using his skin as parchment - unfolding history.
I.7.1.X: [186.19-187.23]: the constable meets Shem outside - bringing home some unlikely drink.
I.7.2.A: [187.24-188.07]: Justius begins his address to Mercius - it is looking pretty black for Shem.
I.7.2.B: [188.08-189.27]: he is accused of heresy and agnosticism - he is accused of lack of progeny and of not marrying.
I.7.2.C: [189.28-190.09]: he is accused of pagan prophecies - about death and disaster.
I.7.2.D: [190.10-191.04]: he is accused of shirking work - emigrating instead.
I.7.2.E: [191.05-191.33]: he is accused of fratricide - killing his pure and perfect brother.
I.7.2.F: [191.34-193.08]: he is accused of malingering - he is accused of squandering.
I.7.2.G: [193.09-193.30]: he is urged to look at himself and see he's mad - Justius ends his address to Mercius.
I.7.2.H: [193.31-195.06]: Mercius accuses himself of forswearing his mother - she is coming.
I.8.1A.A: [196.01-200.32]: a dialogue of two washerwomen - gossiping about HCE and ALP.
I.8.1A.B: [200.33-201.20]: ALP's letter-song - dreaming of a new life and a new mate.
I.8.1A.C: [201.21-204.20]: her 111 children - her early sexual exploits.
I.8.1A.D: [204.21-205.15]: her hair - a pair of knickers in the wash.
I.8.1A.E: [205.16-206.28]: HCE's disgrace - ALP's plan for revenge.
I.8.1A.F: [206.29-207.20]: her cosmetic preparations - she comes out.
I.8.1A.G: [207.21-208.26]: describing her - her attire.
I.8.1B.A: [208.27-209.09]: her changed appearance - as seen by others.
I.8.1B.B: [209.10-212.19]: her bag's contents - a vengeful gift for everyone.
I.8.1B.C: [212.20-213.10]: arguing over the washing - and over books.
I.8.1B.D: [213.11-215.11]: spreading the laundry on the banks to dry - seeing indistinct things in the growing dusk.
I.8.1B.E: [215.12-216.05]: back to ALP and HCE - transformation into tree and stone at nightfall.
II.1.1.A: [219.01-219.21]: programme for the upcoming pantomime - the mime of Mick, Nick and the Maggies.
II.1.1.B: [219.22-221.16]: dramatis personae - the acting parties described.
II.1.1.C: [221.17-222.21]: production credits - who supplied what.
II.1.2.A: [222.22-222.31]: the antagonists - Chuff the Angel and Glugg the Devil.
II.1.2.B: [222.32-223.11]: evening falls with stars and girls - Izod's colour.
II.1.2.C: [223.12-223.24]: the antagonists meet - like Patrick meeting Ossian.
II.1.2.D: [223.25-224.07]: Glugg seeks in vain to find the colour - taunted by the girls, unaided by the four.
II.1.2.E: [224.08-224.21]: poor Glugg - taunted by Izod.
II.1.2.F: [224.22-225.08]: he appears before the flower-girls - exposed to their laughter and ridicule.
II.1.2.G: [225.09-225.21]: he runs off with a belly-ache - Izod urges him to speak.
II.1.2.H: [225.22-225.28]: Glugg's first guess at the colour - red/stone/Germanic.
II.1.2.I: [225.29-226.03]: the girls rejoice at his failure - but Izod is gloomy.
II.1.2.J: [226.04-226.20]: poor Isa - looking for her man.
II.1.2.K: [226.21-227.18]: the girls' double rainbow dance - forth and back through time.
II.1.2.L: [227.19-228.02]: his disgrace, torment and rage - he rages and lashes out.
II.1.2.M: [228.03-229.06]: his intentions - he will inform, he will write, he will flee.
II.1.2.N: [229.07-230.25]: he will publish the truth about his parents - and about his sufferings.
II.1.2.O: [230.26-231.08]: he reminisces about the entire family - and about his early poetry.
II.1.2.P: [231.09-231.22]: he suffers from toothache - unbearable pain.
II.1.2.Q: [231.23-232.26]: he recovers through painful exorcism - as Izod sends him a hopeful message.
II.1.2.R: [232.27-233.15]: he's back in a wink - back to the guessing game.
II.1.2.S: [233.16-233.28]: Glugg's second guess at the colour - yellow/month/French.
II.1.2.T: [233.29-234.05]: he flees again - from the mocking girls.
II.1.2.U: [234.06-234.33]: heavenly Chuff is left behind - with the girls dancing around him.
II.1.2.V: [234.34-236.18]: the girls sing a hymn to Chuff - their future domestic bliss.
II.1.2.W: [236.19-236.32]: the mutability of men - the stability of dances.
II.1.3.A: [236.33-237.09]: the flowery girls continue their dance - exposing themselves before Chuff.
II.1.3.B: [237.10-239.15]: they sing his praise - they seduce him.
II.1.3.C: [239.16-240.04]: they look forward to their sexual freedom - they dance away.
II.1.4.A: [240.05-242.24]: Glugg's plans for penance - he tells of his remarkable old man Hump.
II.1.4.B: [242.25-243.36]: he tells of his old woman Ann - and of their life together.
II.1.4.C: [244.01-244.12]: a light appears - the parents call the children back home.
II.1.5.A: [244.13-246.02]: night, dark and cold and quiet, falls - the tavern is open.
II.1.5.B: [246.03-246.20]: father calls them in - but the game is not over.
II.1.5.C: [246.21-246.35]: preparing for the battle of the brothers - else Izod will be left alone.
II.1.6.A: [246.36-247.16]: back to Glugg - he wants to go home.
II.1.6.B: [247.17-248.02]: his attraction to Izod - his dislike for the other girls.
II.1.6.C: [248.03-249.20]: Izod tries to help him - giving him cryptic clues to her colour.
II.1.6.D: [249.21-250.10]: the game resumes - the girls taunt Glugg.
II.1.6.E: [250.11-251.32]: the end is drawing near - he is full of foul thoughts.
II.1.6.F: [251.33-252.32]: the boys' face-off - difficult to tell apart.
II.1.6.G: [252.33-253.18]: Glugg's third guess at the colour - violet.
II.1.6.H: [253.19-253.32]: he has failed - the girls celebrate.
II.1.6.I: [253.33-255.26]: the father appears - he is analysed.
II.1.6.J: [255.27-256.16]: the mother appears - pulling the children home.
II.1.6.K: [256.17-257.02]: homework is waiting - Izzy is unhappy.
II.1.7.A: [257.03-257.28]: the game and play end - the door slams shut.
II.1.7.B: [257.29-258.19]: curtain fall - applause.
II.1.7.C: [258.20-259.10]: the children are home - a prayer.
II.2.1.A: [260.01-261.22]: the route back to the tavern - him and his mausoleum.
II.2.1.B: [261.23-262.02]: who is he? - approaching the tavern.
II.2.1.C: [262.03-262.19]: Chapelizod - at the tavern door.
II.2.1.D: [262.20-263.30]: inside the tavern - the publican.
II.2.2.A: [264.01-266.19]: the neighbourhood of the tavern, Chapelizod - up to the children's study-room.
II.2.3.A: [266.20-267.11]: in the room - the two boys and the girl.
II.2.3.B: [267.12-270.28]: the girl - thinking of grammar and grandma's advice on womanhood.
II.2.3.C: [270.29-272.08]: the two boys' history studies - the girl's indifference.
II.2.3.D: [272.09-275.02]: addresing the boys - lessons learned from history.
II.2.4+5.A: [275.03-276.10]: a side-story - the family story.
II.2.4+5.B: [276.11-278.06]: rural nightfall - an upcoming funeral and wake.
II.2.4+5.C: [278.07-278.24]: Fanciulla - of letters.
II.2.6+7.A: [278.25-281.03]: memorising liquid music - Issy's letter.
II.2.6+7.B: [281.04-281.13]: a Quinet quote - flowers and history.
II.2.6+7.C: [281.14-282.04]: the twins fail to see her point - back to the lessons.
II.2.8.A: [282.05-286.02]: from counting - to arithmetic and algebra.
II.2.8.B: [286.03-286.18]: at long last - please to lick one and turn over.
II.2.8.C: [286.19-287.17]: a geometry problem about a triangle - for Dolph to solve for Kev.
II.2.8.D: [287.18-292.32]: an interlude - describing Dolph in detail.
II.2.8.E: [293.01-300.08]: Dolph teaching Kev the geometry problem and other mathematical topics - the fig, or mother's genitals.
II.2.8.F: [300.09-302.10]: Kev embarassed - Kev devastated.
II.2.8.G: [302.11-303.10]: signing away - teaching Kev to write.
II.2.8.H: [303.11-304.04]: Kev is furious - Kev strikes Dolph.
II.2.9.A: [304.05-305.02]: Kev's insincere thanks to Dolph - Kev addresses the girl.
II.2.9.B: [305.03-306.07]: reconciliation - a conspiracy is hatched.
II.2.9.C: [306.08-308.04]: lessons are over - a list of fifty-two essay topics.
II.2.9.D: [308.05-308.25]: countdown to bedtime supper - a nightletter to the parents.
II.3.1A.A: [309.01-309.10]: maybe, but - a Viconian cycle.
II.3.1B.A: [309.11-310.21]: the tavern's wireless radio - its waves reaching all the way into the ear.
II.3.1C.A: [310.22-311.04]: the tavern - where the publican serves drinks to his customers.
II.3.1C.B: [311.05-311.20]: the tale of Kersse the tailor and the Norwegian captain begins - but first, a toast.
II.3.1C.C: [311.21-312.16]: the Norwegian captain orders a suit from the tailor - then sails away.
II.3.1C.D: [312.17-313.13]: the repercussions are discussed - by Kersse and others.
II.3.1C.E: [313.14-315.08]: the publican collects money for the drinks - then has a fall.
II.3.1C.F: [315.09-317.25]: the captain is back - to the ship's husband's surprise.
II.3.1C.G: [317.26-319.36]: the three tailors complain of the captain's hump - he complains in return about the awkward coat and trousers.
II.3.1C.H: [320.01-320.31]: the captain verbally assaults the tailor - then sails away again.
II.3.1C.I: [320.32-321.33]: time passes as he travels - drinking continues in the tavern.
II.3.1C.J: [321.34-323.24]: the tailor returns from the races in his white hat and bad temper - he claims the captain to be impossible to fit.
II.3.1C.K: [323.25-324.17]: the captain returns again - more drinking ensues.
II.3.1C.L: [324.18-325.12]: a radio broadcast - personal message, weather forecast, today's news, advertisements.
II.3.1C.M: [325.13-326.20]: the ship's husband sets to arrange a marriage suit for the captain - he has to be baptised and converted to christianity.
II.3.1C.N: [326.21-326.25]: nonsense - why should he be baptised?.
II.3.1C.O: [326.26-329.12]: the ship's husband extols the virtues of the tailor and his daughter - then those of the captain.
II.3.1C.P: [329.13-331.36]: the wedding takes place with much celebration - the tale of Kersse the tailor and the Norwegian captain ends.
II.3.2.A: [332.01-332.35]: the story is ended - he has been domesticated.
II.3.2.B: [332.36-334.05]: Kate brings a message to the publican from his wife - asking him to come to bed, now the children are asleep.
II.3.2.C: [334.06-334.31]: Kate speaks three times - then leaves.
II.3.2.D: [334.32-337.03]: retelling of past stories round the bar - arguing about the grand old man.
II.3.3.A: [337.04-338.03]: re-imagining the sin in the park - the customers ask for Butt and Taff, or How Buckley Shot the Russian General.
II.3.4.A: [338.04-340.03]: the dialogue of Butt and Taff begins - Butt describes the Russian General.
II.3.4.B: [340.04-341.17]: Butt describes the background of the scene - spirits rise with riddles, games, music and song.
II.3.4.C: [341.18-342.32]: first interlude - a report of a steeplechase horse-race.
II.3.4.D: [342.33-343.36]: the Crimean battle is raging - Butt describes his sighting of the General.
II.3.4.E: [344.01-345.33]: Butt explains why he could not shoot the defecating General - another round of drinks.
II.3.4.F: [345.34-346.13]: second interlude - four patrons on television.
II.3.4.G: [346.14-349.05]: Butt reminisces about his soldier days - a sentimental toast.
II.3.4.H: [349.06-350.09]: third interlude - a televised confessionary religious service.
II.3.4.I: [350.10-352.15]: Butt continues reminiscing up until the time he had met the General - how he shot him.
II.3.4.J: [352.16-353.21]: Butt and Taff are furious at the General - an insult to Ireland.
II.3.4.K: [353.22-353.32]: fourth interlude - a news bulletin about splitting of the atom.
II.3.4.L: [353.33-354.06]: after the kill - a last drink.
II.3.5.A: [354.07-354.36]: Butt and Taff merge into one - the dialogue of Butt and Taff ends.
II.3.5.B: [355.01-355.07]: fifth interlude - the screen goes blank.
II.3.6.A: [355.08-356.15]: back to the tavern - the host begins his apologia.
II.3.6.B: [356.16-358.16]: he tells of a book he has read - a fortnight ago in the lavatory.
II.3.6.C: [358.17-359.20]: the customers rise against him - accusing him of heresy.
II.3.6.D: [359.21-360.22]: a radio announcement - a musical interlude is about to start.
II.3.6.E: [360.23-361.34]: on the radio, the song of the nightingales or naughty girls - with the leaves falling around them.
II.3.6.F: [361.35-363.16]: back at the pub - the customers gossip about the landlord and his wife.
II.3.6.G: [363.17-367.07]: the host's apologia - mainly about the two maids.
II.3.6.H: [367.08-369.05]: the four old men in the ark - commandments.
II.3.6.I: [369.06-370.14]: the four and the rest of the customers are quite drunk - a report of supposedly known facts is compiled.
II.3.6.J: [370.15-370.29]: the twelve customers in the boat - the manservant appears.
II.3.7A.A: [370.30-373.12]: the manservant announces closing time - the customers reluctantly leave the inn or ship, singing.
II.3.7A.B: [373.12-380.06]: the expelled crowd affront, threaten and vituperate the tavern keeper at great length - wishing him dead.
II.3.7B.A: [380.07-382.30]: the publican cleans the bar-room, drinks dregs and passes out - King Roderick O'Connor, last high king of Ireland.
II.4.1+2.A: [383.01-383.17]: the song of the sea-birds - mocking King Mark.
II.4.1+2.B: [383.18-386.11]: the story of Mamalujo begins - watching the love scene of Tristan and Isolde.
II.4.1+2.C: [386.12-388.09]: the story associated with Johnny MacDougall - rambling reminiscences.
II.4.1+2.D: [388.10-390.33]: the story associated with Marcus Lyons – rambling reminiscences.
II.4.1+2.E: [390.34-392.13]: the story associated with Lucas Tarpey - rambling reminiscences.
II.4.1+2.F: [392.14-393.06]: the story associated with Matt Gregory - rambling reminiscences.
II.4.1+2.G: [393.07-395.25]: the four together - yet more rambling reminiscences.
II.4.1+2.H: [395.26-396.33]: the passionate and willing kiss - goal scored.
II.4.1+2.I: [396.34-398.28]: preparing to sing a final song - the story of Mamalujo ends.
II.4.3A.A: [398.29-398.30]: hear, o hear - music for Tristan and Isolde.
II.4.3B.A: [398.31-399.18]: a song for Tristan and Isolde - sung by the four, each with his own stanza.
III.1.1A.A: [403.01-403.17]: the four old men counting midnight bells - over a sleeping pair.
III.1.1A.B: [403.18-405.03]: Shaun approaches through the dreamy fog - his splendid attire.
III.1.1A.C: [405.04-407.09]: Shaun's immense diet - not that he was guilty of gluttony.
III.1.1A.D: [407.10-407.26]: his voice is heard - he speaks.
III.1.1A.E: [407.27-409.07]: Shaun's opening speech - he is tired (and unworthy) of carrying the letter.
III.1.1A.F: [409.08-409.10]: question #1 - who gave him the permit to be a postman?.
III.1.1A.G: [409.11-409.30]: answer #1 - he got it by prophecy and indeed what a difficult tiresome lot his is.
III.1.1A.H: [409.31-409.32]: question #2 - was he ordered to be a postman?.
III.1.1A.I: [409.33-410.19]: answer #2 - it was hereditarily condemned on him and he is fed up with it to death.
III.1.1A.J: [410.20-410.23]: question #3 - is he to carry the letter?.
III.1.1A.K: [410.24-410.27]: answer #3 - he has the power to.
III.1.1A.L: [410.28-410.30]: question #4 - where is he able to work?.
III.1.1A.M: [410.31-411.21]: answer #4 - here and his vocation is to be a preacher.
III.1.1A.N: [411.22-411.25]: question #5 - did he paint the town green?.
III.1.1A.O: [411.25-412.06]: answer #5 - proudly, yes.
III.1.1A.P: [412.07-412.12]: question #6 - will the green vanish?.
III.1.1A.Q: [412.13-413.26]: answer #6 - annoyedly, no and he intends to write a report about a post-office incident.
III.1.1A.R: [413.27-413.31]: question #7 - what is the story of his uniform?.
III.1.1A.S: [413.32-414.13]: answer #7 - none, what with him being in a barrel.
III.1.1B.A: [414.14-414.15]: question #8 - would he sing?.
III.1.1B.B: [414.16-414.21]: answer #8 - apologetically, he would rather tell a fable.
III.1.1C.A: [414.22-415.24]: the fable of the Ondt and the Gracehoper begins - the happy-go-lucky Gracehoper.
III.1.1C.B: [415.25-416.02]: the Ondt expresses his distaste - he prays for his own prosperity.
III.1.1C.C: [416.03-416.20]: the solemn frugal Ondt - the silly hungry Gracehoper.
III.1.1C.D: [416.21-417.02]: the Gracehoper had eaten all his furniture and wasted all his time - winter has arrived.
III.1.1C.E: [417.03-417.23]: the Gracehoper throws himself down in despair - meanwhile the Ondt regales himself with all pleasures of life.
III.1.1C.F: [417.24-418.08]: the Ondt is tickled pink at the Gracehoper's misfortune - the sight is just too much for him.
III.1.1C.G: [418.09-419.10]: the Gracehoper's song of reconciliation and complementarity - the fable of the Ondt and the Gracehoper ends.
III.1.1D.A: [419.11-419.19]: question #9 - could he read the letter?.
III.1.1D.B: [419.20-421.14]: answer #9 - sure he can read the trash, so he reads addresses and non-delivery reasons off the sealed envelope.
III.1.1D.C: [421.15-421.20]: question #10 - has he not himself used worse language than his celebrated brother?.
III.1.1D.D: [421.21-422.18]: answer #10 - he really doubts it and describes his notorious brother instead.
III.1.1D.E: [422.19-422.22]: question #11 - how was the letter created?.
III.1.1D.F: [422.23-424.13]: answer #11 - although it is well known, Shem is entirely to blame.
III.1.1D.G: [424.14-424.16]: question #12 - why was the letter created?.
III.1.1D.H: [424.17-424.22]: answer #12 - for Shem's language, like his thuderwords.
III.1.1D.I: [424.23-424.25]: question #13 - how could he pronounce the thunderword?.
III.1.1D.J: [424.26-425.03]: answer #13 - what nonsense, no one could.
III.1.1D.K: [425.04-425.08]: question #14 - couldn't he use worse of himself?.
III.1.1D.L: [425.09-426.04]: answer #14 - of course he could, easily, but why bother.
III.1.1D.M: [426.05-427.16]: he breaks down, overpowered with emotion - he gazes up, falls backs and rolls down (or up) the river in his barrel.
III.1.1D.N: [427.17-428.27]: his departure is lamented - his return, awaited.
III.2.2A.A: [429.01-429.24]: Jaun rests on the river bank - giving repose to his aching feet.
III.2.2A.B: [430.01-430.16]: twenty-nine schoolgirls nearby - learning and playing.
III.2.2A.C: [430.17-431.20]: the attraction is mutual - he spies Izzy among them.
III.2.2A.D: [431.21-432.03]: Jaun begins to take leave, addressing Izzy - he knows she will miss him, but he must go, as she had often told him.
III.2.2A.E: [432.04-433.09]: Jaun preaches to the girls - giving advice obtained from Father Mike.
III.2.2A.F: [433.10-439.14]: Jaun's commandments - mostly about sex.
III.2.2A.G: [439.15-441.23]: more advice - his views on suitable books for girls.
III.2.2A.H: [441.24-444.05]: his sermon continues - his beliefs on the proper physical handling of forward strangers and molesters.
III.2.2A.I: [444.06-445.25]: Jaun admonishes Izzy - she should keep straight, or else.
III.2.2A.J: [445.26-446.26]: he pines for her - he will return and then they will kiss.
III.2.2A.K: [446.27-448.33]: he speaks of their plans to clean up the possibly dear, but certainly dirty, Dublin - he will soon stop his hiking.
III.2.2A.L: [448.34-452.07]: he's in no hurry to change his status, the night is beautiful - he'll get loads of money, spoil her and fuck her silly.
III.2.2A.M: [452.08-452.33]: he is to go on a glorious mission - to meet a king.
III.2.2A.N: [452.34-454.07]: life is short, so no scenes please - he speaks of death and the afterlife.
III.2.2A.O: [454.08-454.25]: he laughs - then, suddenly, turns around and his attitude changes.
III.2.2A.P: [454.26-455.29]: farewell - he speaks of heavenly Heaven.
III.2.2A.Q: [455.30-457.04]: he goes on to speak of his favourite subject, food - he must be off on his rounds, after he collects what is owed him.
III.2.2A.R: [457.05-457.24]: he truly must be off - regardless of dangers.
III.2.2A.S: [457.25-461.32]: Izzy gives him a gift of nosepaper - she talks about him, her and her mirror image, promising faithfulness of sorts.
III.2.2B.A: [461.33-462.14]: Jaun drinks to her kindness - also promising faithfulness.
III.2.2B.B: [462.15-468.19]: he is leaving a proxy behind, Dave the Dancekerl - who happens to be back from his travels in time for introductions.
III.2.2C.A: [468.20-468.22]: the end is near - and a new beginning.
III.2.2C.B: [468.23-469.28]: Jaun's last farewell - he must go away.
III.2.2C.C: [469.29-470.10]: the girls rush to his assistance - they burst in tears over his departure.
III.2.2C.D: [470.11-470.21]: the girls' wail - over the departed Jaun.
III.2.2C.E: [470.22-471.34]: Jaun stamps himself - and he is off, after his hat.
III.2.2C.F: [471.35-473.11]: may he, Haun, fare well - his return will be awaited.
III.2.2C.G: [473.12-473.25]: like a phoenix - he shall rise again.
III.3.3A.A: [474.01-474.15]: Yawn sleeps in the landscape - he sighs, he wails.
III.3.3A.B: [474.16-475.17]: four travellers come to him - in the centre of Ireland.
III.3.3A.C: [475.18-477.02]: the four have come to question him - they crouch by his form, amazed.
III.3.3A.D: [477.03-477.30]: the examination begins - they spread nets over him as he arises.
III.3.3A.E: [477.31-479.16]: he is asked about his location, letters, language, identity, fears - Yawn answers cryptically in the voices of *V Y C*.
III.3.3A.F: [479.17-482.06]: the dialogue drifts to the mound or boat - and thence to his father, Persse O'Reilly.
III.3.3A.G: [482.07-485.07]: the dialogue drifts to the letter - and thence to the twins.
III.3.3A.H: [485.08-486.31]: the four futilely try to make sense of his answers - they submit him to a tripartite vision.
III.3.3A.I: [486.32-491.16]: the dialogue drifts back to the twins and Yawn's identity - each impersonating the other.
III.3.3A.J: [491.17-496.21]: the dialogue drifts back to Persse O'Reilly - Yawn defends him through the voice of *A*.
III.3.3A.K: [496.22-499.03]: the wake - as described by Yawn through the voices of *O*.
III.3.3A.L: [499.04-499.12]: the twenty-nine girls mourning - requiem.
III.3.3A.M: [499.13-499.29]: the revival - what a pack of lies.
III.3.3A.N: [499.30-501.06]: bits of a confused telephone conversation - ending in silence.
III.3.3A.O: [501.07-503.03]: the questioning resumes, concentrating on the encounter in the park - the inclement weather that night.
III.3.3A.P: [503.04-506.23]: the woeful site of the encounter - the midden, the warning sign, the tree.
III.3.3A.Q: [506.24-510.02]: the parties to the encounter - Toucher 'Thom', the P. and Q. sisters, Yawn.
III.3.3A.R: [510.03-515.26]: that night's boisterous festivities - a wedding feast, a wake.
III.3.3A.S: [515.27-519.15]: finally getting around to the famous encounter - yet another confusing version of the assault.
III.3.3A.T: [519.16-522.03]: Matthew, unconvinced, cross-examines Yawn about his contradictory statements - adding confusion to the matter.
III.3.3A.U: [522.04-526.10]: the four suggest psychoanalysis for Yawn - he replies by having several people talk through him, mainly about fish.
III.3.3A.V: [526.11-528.13]: moving on to the three soldiers and the two maids - the voice of *I* emerges through Yawn, talking to her reflection.
III.3.3A.W: [528.14-530.22]: this gives rise to numerous unanswered questions about the encounter - ending in a demand to hear *S*.
III.3.3A.X: [530.23-532.05]: *S* and *K* speak through Yawn - the four have heard enough about and are ready to hear from.
III.3.3B.A: [532.06-534.06]: *E* begins his long self-defence speech through Yawn - denying any sexual misconduct, what with him having a wife.
III.3.3B.B: [534.07-535.25]: he protests, shocked by the allegations against him - the lowness of his accuser, the preposterousness of it all.
III.3.3B.C: [535.26-540.12]: he identifies himself, poor Haveth Childers Everywhere - continuing his self-defence, he uses every possible argument.
III.3.3B.D: [540.13-546.28]: his famous exploits - how he founded and ruled a grand city and empire.
III.3.3B.E: [546.29-547.13]: he moves on to talk about his wife - faithful Fulvia Fluvia.
III.3.3B.F: [547.14-550.07]: how he conquered her and wed her - ALP, his wife and his river.
III.3.3B.G: [550.08-552.34]: how he cared and provided for her - and built a city around her.
III.3.3B.H: [552.35-554.10]: more feats he did for her - all for her pleasure.
III.4.4A.A: [555.01-555.24]: night by night - while the four in their corners watch over the two sleeping twins, Kevin and Jerry.
III.4.4A.B: [556.01-556.22]: night by night - while Isobel quietly sleeps in her cot.
III.4.4B.A: [556.23-556.30]: night by night - while the constable does his rounds on schedule, collecting lost items.
III.4.4C.A: [556.31-557.12]: night by night - while Kothereen recites into her pillow how she found the publican crawling naked downstairs.
III.4.4D.A: [557.13-558.20]: night by night - while the twelve try the publican, finding him guilty.
III.4.4E.A: [558.21-558.25]: night by night - while the twenty-nine are both happy and miserable.
III.4.4E.B: [558.26-558.31]: in their bed - the parents lie.
III.4.4F.A: [558.32-559.19]: the play begins - the scene is a a couple's bedroom.
III.4.4F.B: [559.20-559.29]: a man and a woman in bed - as seen from Matthew's point of view.
III.4.4F.C: [559.30-560.06]: action starts, scenes shifting - she jumps off the bed in response to a cry, followed by him.
III.4.4F.D: [560.07-560.36]: the four discuss the scene just seen - the Porters' house-tavern.
III.4.4F.E: [561.01-562.15]: the little girl, Buttercup - sleeping in her own room.
III.4.4F.F: [562.16-562.36]: the first twin boy, the adorable Kevin - happily asleep on the right side of their shared bed.
III.4.4F.G: [563.01-563.37]: the second twin boy, the wretched Jerry - crying in his sleep on the left side of their shared bed.
III.4.4F.H: [564.01-565.05]: a man's naked bottom, or Phoenix Park - as seen from Mark's point of view.
III.4.4F.I: [565.06-565.16]: one of the four trembles, much to Mark's annoyance - a woman's voice is heard.
III.4.4G.A: [565.17-566.06]: the mother soothes the crying twin - it's all a dream, there's no big bad father.
III.4.4H.A: [566.07-566.25]: an account of all participants - each with its own role.
III.4.4H.B: [566.26-570.13]: the four are lost in the park - chatting about the king's upcoming hunting visit and his meeting with the mayor.
III.4.4H.C: [570.14-570.25]: the four are back to discussing Mr Porter - his health and figure, his marriage and family.
III.4.4H.D: [570.26-571.26]: one must go to the toilet - or is it a stroll in the park?.
III.4.4J.A: [571.27-571.34]: back in the twins' room - the crying one is quieter now.
III.4.4K.A: [571.35-572.06]: the young are still a threat - threatening to bury their forefathers.
III.4.4L.A: [572.07-572.17]: a door opens - what? who?.
III.4.4L.B: [572.18-573.32]: a complex matrimonial case-study - of an intensely sexual nature.
III.4.4L.C: [573.33-576.09]: a legal and religious analysis of the matrimonial case - primarily of financial nature.
III.4.4M.A: [576.10-576.17]: let us go back to bed - from the twins' room to the parents'.
III.4.4M.B: [576.18-577.35]: a prayer to a road-creating divinity - for the parents' safe journey between the rooms, back to the conjugal bed.
III.4.4N.A: [577.36-578.02]: a stir - it's only the wind.
III.4.4P.A: [578.03-578.15]: who is he? - the big tavern-keeper in his nighshirt, nightcap and socks.
III.4.4P.B: [578.16-578.28]: who is she? - the little missus holding the lamp.
III.4.4P.C: [578.29-579.26]: they are coming back down the stairs to their room - down the way they went up.
III.4.4P.D: [579.27-580.22]: they went through a lot together - yet they persevere.
III.4.4P.E: [580.23-580.36]: they approach the base of the staircase - recapitulating the sequence of events from meeting a cad to Hosty's ballad.
III.4.4P.F: [581.01-581.36]: was he not verbally assaulted, abhored, made amenable? - by his drunk customers on their way home.
III.4.4P.G: [582.01-582.27]: let us offer them some kind words - we're all in it together.
III.4.4P.H: [582.28-584.25]: a man and a woman having sex, or cricket - as seen from Luke's point of view.
III.4.4P.I: [584.26-585.21]: the cock crows - many thanks are offered.
III.4.4Q.A: [585.22-585.33]: the pair lies coupled - they separate, member withdrawn.
III.4.4Q.B: [585.34-586.18]: let us rest - and allow others to rest too.
III.4.4Q.C: [586.19-587.02]: everything is back to normal, the house is dark and quiet - as would be noted by the patrolman, were he there.
III.4.4R.A: [587.03-588.34]: the three soldiers' account of their encounter with the publican - of dubious credibility.
III.4.4S.A: [588.35-589.11]: the sexual sin in the park - leading to commercial success in the brewery business.
III.4.4T.A: [589.12-590.12]: the seven failures that got him his wealth - by collecting the insurance.
III.4.4T.B: [590.13-590.30]: a man and a woman sleeping in bed, or dawn - as seen from John's point of view.
IV.1.1.A: [593.01-593.24]: dawn - time for a new day and a new generation.
IV.1.1.B: [594.01-595.29]: the sun is rising over generations-old Ireland - the house awakens, breakfast is on the way.
IV.1.1.C: [595.30-595.33]: cock crow - let him sleep on.
IV.1.1.D: [595.34-596.33]: the prodigal son returns, reborn, reincarnated - a young paladin.
IV.1.1.E: [596.34-597.22]: the sleeper is just about to roll over from one side to the other - why?.
IV.1.1.F: [597.23-597.29]: ups-a-daisy, he rolls - his backside is cold.
IV.1.1.G: [597.30-598.16]: a weather forecast on the radio, with a pleasant day ahead - farewell yesterday's night, welcome today's morning.
IV.1.1.H: [598.17-598.26]: the mystery of transubstantiation - the effects of time.
IV.1.1.I: [598.27-599.03]: the progression of time - it is just so o'clock for everybody.
IV.1.1.J: [599.04-599.24]: the recirculation of times - past and present.
IV.1.1.K: [599.25-600.04]: the recirculation of waters - little is known of the locality.
IV.1.1.L: [600.05-601.07]: the scene unfolds - pool, river, city, tree, stone become visible.
IV.1.1.M: [601.08-602.05]: the twenty-nine girls singing for Kevin to ascend - churchbells pealing.
IV.1.1.N: [602.06-603.33]: a postman bearing mail, a son bearing a meal - a confrontation of father and son.
IV.1.1.O: [603.34-604.21]: the morning sun shines through the village church windows and over the plains of Ireland - stars are still visible.
IV.1.1.P: [604.22-604.26]: a radio announcement - a gale warning.
IV.1.2.A: [604.27-606.12]: the tale of Saint Kevin at Glendalough - concentrically concentrating on the regeneration of man by water.
IV.1.2.B: [606.13-607.16]: multiple images intermingle - dream flashbacks.
IV.1.2.C: [607.17-607.22]: on the border between wakefulness and sleep - the sleeping couple apologetically rub and bump into each other.
IV.1.3.A: [607.23-607.36]: daylight continues to rise over Dublin - looking forward, or back, to a king's meeting with a mayor.
IV.1.3.B: [608.01-608.11]: looks can be deceiving - another reminder of the incident in the park.
IV.1.3.C: [608.12-608.36]: as we are passing from sleep to wakefulness, the dream begins to fade - only symbolic sigla remain.
IV.1.3.D: [609.01-609.23]: pleasantly drifting back into dream-world - remembering the four old men, their ass, the girls, the twelve, &c..
IV.1.3.E: [609.24-610.02]: the dialogue of Muta and Juva begins - watching the Paschal fire and arrival of Saint Patrick and Archdruid Berkeley.
IV.1.3.F: [610.03-610.32]: of King Leary, his smile, his bets, his water - the dialogue of Muta and Juva ends.
IV.1.3.G: [610.33-611.03]: headlines for the following horse-race newscast - here are the details.
IV.1.3.H: [611.04-612.15]: the debate of Saint Patrick and Archdruid Berkeley begins - the druid expounds his theory of colours.
IV.1.3.I: [612.16-612.30]: Patrick replies to show the druid's false logic - he wipes himself with his handkerchief and kneels before the rainbow.
IV.1.3.J: [612.31-612.36]: the druid explodes at the insult - he assaults Patrick and attempts to blot out the sun.
IV.1.3.K: [613.01-613.16]: the people, converted, cheer Patrick, as the sun rises - the debate of Saint Patrick and Archdruid Berkeley ends.
IV.1.3.L: [613.17-613.26]: flowers open to the growing sunlight - morning, with breakfast and bowel movements, has arrived.
IV.1.3.M: [613.27-614.18]: the time of change, ominous, thunderous, has arrived - all previous events are to reoccur, history repeating itself.
IV.1.4.A: [614.19-614.26]: the dream starts to be forgotten, to be only subliminally remembered - leaving behind many questions.
IV.1.4.B: [614.27-615.11]: a wonderful contraption - for the matutinal consumption of eggs and letters.
IV.1.4.C: [615.12-616.19]: the revered letter begins - condemning slander against her man in general and from Magrath in particular.
IV.1.4.D: [616.20-617.29]: providing confusing biographical details and telling of an upcoming funeral and wake - a sham ending to the letter.
IV.1.4.E: [617.30-619.15]: the letter continues - replying to more allegations, this time mainly aimed at her.
IV.1.4.F: [619.16-619.19]: ALP's signature and a postscript - the revered letter ends.
IV.1.5.A: [619.20-628.18]: the mother's morning monologue to her sleeping mate, as a river flowing to sea - continued in the book's first sentence.