1

Narrating Sigla:
The Battle Diagram and Structuring Finnegans Wake, Chapter
One
By Jonathan McCreedy

In chapter one of Finnegans Wake there is a three paged section of text (FW 008.8

010.14), which is titled the Museyroom in criticism, and in the following article I shall

study it using a genetic analysis of Joyces early drafts in his Archive. It is almost exclusively

defined in criticism that the mother figure of Finnegans Wake is not a featured protagonist in

the Museyroom section. In the four canonical synoptic guides to Finnegans Wake:

Glasheens Third Census of Finnegans Wake; Rose and OHanlons Understanding

Finnegans Wake; Campbell and Robinsons Skeleton Key to Finnegans Wake; Gordons

Finnegans Wake: A Plot Summary, the cast in the narrative action of the Museyroom

section is clearly defined.1 They state that there are five protagonists: Willingdone (a

character avatar for the father figure HCE in Finnegans Wake); the two Jinnies

(representing his daughter Issy); and the Lipoleums (the three adult sons in the family who

are titled Shaun, Shem and Shaun-Shem). However, in these readings there is a

conspicuous absence of the mother figure (ALP) of Finnegans Wake.2 ALP (or her full

title: Anna Livia Plurabelle) is part of the novels Earwicker family unit and she is the

wife to the father figure HCE, and the mother to Shem, Shaun and to Issy. In the passages of

Finnegans Wake written contemporaneous to the Museyroom section in late 1926,3

including the following: the overture (Lernout 49) in Book I chapter 1 (cf. FW 001.1-

007.18); the Triangle vignette (cf. FW 282.6-304.2) in Book II chapter 2; and the first

drafts of Book III chapter 4; the protagonists HCE, ALP, Shaun, Shem and Issy interact in

archetypal roles that complete a family circle. It is a discrepancy that ALP is not included

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within the Museyroom section and therefore, it is possible that her character is overlooked

in criticism. ALPs presence is embedded deep within the narrative and although her

character interacts with the other protagonists in a complex network of archetypal familial

relationships, she is a quiet figure who looks on at the raging battle in the distance. She

suffers mentally as she watches the warfare. The battle between the Jinnies and Willingdone

is instigated by sexual blackmail that concerns her and the battle between the Lipoleums and

Willingdone occurs because they are avenging his infidelity to her. I wish to trace ALPs

narrative presence throughout the Museyroom section, associating her family roles together

with the other characters on its battlefield, as well as studying her multiple geographical

identities that structure the landscape upon which the whole scene takes place.

The Museyroom section in chapter one is special in Finnegans Wake as it is

accompanied by an extremely rare diagram in its drafts, which Joyce sketched together with

his earliest workings on the text.4 Its study facilitates possible interpretations of the

Museyroom passage by using its design as a basis for reviewing characters in the text.

Joyces most marked genetic omission in Finnegans Wake, and therefore one of its most

secret treasures, is a detailed diagram of sigla, structured upon the design of a battlefield,

composed in 1926 following his visit to Waterloo.

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(BL 47482a 91v; JJA 44: 17; Hayman, 50)5

From late 1923 to early 1924, the composition of sigla was amongst one the most important

developments in Joyces notebook work. Their invention would provide Joyce with a range of

new stylistic possibilities on the genetic level of composition and facilitate a system of

categorisation of the protagonists in Finnegans Wake. Their development would also create a

very significant influence in his compositional workings to the extent that they would impress

themselves upon the narrative of the chapter in a thematic and non-technical sense.

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The sigla in the diagram represents the protagonists in the Museyroom section.

Although there are more sigla on the diagram, this study concerns itself with the following

character representations. In the battle, ALP is present on the field, evident by Joyces

sketching of her nominative siglum ( ), or symbol, on the diagram. ALP, whose siglum is an

equilateral triangle in Finnegans Wake, is drawn at the top of the page in bold, directly beside

a row of what appear to be triangles that continue onto the edge of the page. This

identification has not been made in genetic criticism. Therefore, the protagonists in the

Museyroom section and their respective sigla are:

Willingdone:

The Jinnies: and

The Lipoleums: , and .

Anna Livia Plurabelle:

Considering that only three texts have reprinted it, the diagram is not well known or utilised

in comparison to other critical accounts of Finnegans Wake. Within contemporary Wake

studies the content of the diagram is usually glossed, but not comprehensively reviewed.

There is little active debate within genetic criticism as to its associations with chapter ones

narrative. However, Gordon has an excellent interpretation that the fadeout engravings (BL

47482a 99; JJA 44, 30; cf. FW 0 13.6-7) or outwashed engravure (FW 0 13.6-7) is the

battle diagram as graffiti on the toilet wall (113). We are lucky that the Museyroom has a

diagram as it offers us a view into the processes of Joyces mind in a visual schematic

fashion; the representation of the passage in such a form is unexpected.

The diagram is fundamentally useful because it alerts us to the presence of ALP.

There are three avatars for ALP in the Museyroom; the alp mountains (FW 008.30); a

crimealine (or crinoline) dress (FW 008.30); the living detch or river Liffey (FW

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008.22); and all of them integrate her character into the battle. These avatars are fluid

identities and they shift throughout the narrative. This is because the shape

on the diagram represents each one; the mountain; the dress; the river; and they interchange

according to her characters actions in the narrative. Although ALP is a hidden character in

the Museyroom who appears only through multi-layered symbols, her siglum is drawn

alongside the sigla of Willingdone, the Jinnies and the Lipoleums with clarity. The diagram

partially removes the mystery that surrounds ALPs figure within the narrative and this is why

it is a schematic representation that can theoretically be integrated into the final version of the

novel. Danis Rose considers in Understanding Finnegans Wake that Joyce may have

intended to [include the diagram] in the final text [...]. (26-27).6 In the following analysis, I

will provide a close reading of ALPs characterisation in the Museyroom section to unveil a

little known layer of narrative about her which is hidden within its very complicated text, but

elicited through the diagram.

In the short passage (FW 007.19 008.8) that precedes the Museyroom section,

ALPs husband, HCE lies interred in the landscape under Dublin, his gigantic subterranean

body raising the city from the bay to its outskirts. His feet, which protrude from the ground,

are clay (BL 47482a -90; JJA 44: 13; FW 007.30) covered with grass which erects the

location of the Magazine wall in Phoenix Park, a garrison built on a hill. A number of soldiers

wait with lustful impatience for the yondmist (BL 47471-a; JJA 44: 51; FW 007.29) to clear

so that they can scale HCEs gigantic head in the distance and visit a building known as the

museumound (BL 47482a-91; JJA 41: 15; JJA 44:15; cf. FW 008.5).7 The museumound

is a sexual location that attracts the soldiers on leave, their excitement charged by viewing it

from a distance. The two quitewhite villagettes (BL 47482a -91; JJA 44: 15; FW 008.3) are

the first seen in the location of the waterloose country (FW 008.2-3), before the remaining

landscape and figures emerge upon final arrival. The villagettes are two girls, shortly

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identified as taking part in a battle where they are standing. The white colour of their dresses

makes them visible through the mist and evidently they are country girls or villagettes

living on the Waterloo battle-ground. As we approach the museum, it advertises at its

entrance: Penetrators are admitted in this museumound free, welshers and ^the^ militains

one shellink. (BL 47482a 91; JJA 44: 15; cf. FW 008.5-6). This early draft, in version

1A.*0 of the manuscript, with clarity indicates that the museum has a sexual design,

specifically that of the genitals of a prostitute. Indeed, mound in museomound is

indicative of the female pubic mound, or mons pubis. Militains or militants, who visit

prostitutes whilst on leave, are provided with a monetary discount of one shellink, a

combination of shilling and ammunition shell, whereas Penetrators are allowed in free. The

key to the door of the museumound is held by a Mistress (BL 47482a 92; JJA 44: 17;

FW 008.8) or Madame called Kate, who must be paid. Kate runs the museumound as a

brothel, instructing the men as they enter inside its door to wear a contraceptive: Mind your

^hat^ going in (BL 47482a 92; JJA 44: 17; cf. FW 008.9) where the hat is the condom

which must be worn.

The vaginal door seems to enter into an outside location wherein a full scale battle is

raging. The logistics of this transition are such that Kates role as a Madame changes to a

janitrix (FW 008.9), or female janitor (McHugh, Annotations 8) and she is the tour guide

for a waxworks called the museyroom (FW 008.8). It is an open-air museum containing

military artefacts. The initial exhibits are various items of war memorabilia from an unnamed

conflict but it is one closely associated with Waterloo. The Museyroom is a dump that is

covered by military relics, such as guns, flags and bullets deposited after a war: This is is

[sic] a Prooshious gunn. This a ffrinch. Tip. This the flag-o-the-proosh^hious. This is a bullet

that bing the flag-o-th prooshious (BL 47482a-92; JJA 44:17; cf. FW 008.10-13). Kates

control over proceedings as the tour guide is replaced by the battle, which is not pre-destined

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in its outcome. Instead of wax figures in fixed positions, the characters are dynamic, moving

from position to position in the narrative in war-like movements; attacking, retreating,

sending correspondences, crossing mountains and rivers.

ALPs husband is a figure known as Willingdone who is attacked on two opposing

fronts throughout in the battle. His initial conflict is against the Jinnies, two young girls who

are blackmailing him about his numerous sexual liaisons which ALP does not know about.

ALP is titled ann (BL 47482a 93; JJA 41: 19; FW 009.14) and she is married to

Willingdone, although he is unfaithful to her. Cheng writes that Wellington is portrayed with

his telescope in many of his portraits and that the Duke preferred these pictures to any others

as he believed they presented him best as a military commander (280). Willingdone also has a

telescope but he uses it to spy on the young female protagonists. The telescope is first

referenced in the following quotation: This is big Willingdone mormorial tallowscoop

Wounderworker obscides on the flanks of the jinnies (FW 008.35-6). The telescope is a

phallic image as it is extendable. When it is unfolded and he looks at the Jinnies it is

paralleled with an erect penis. In Sir Thomas Lawrences portrait of Wellington he holds a

telescope operated using a sliding mechanism in his right hand (Kauffmann 111).

Willingdone is an HCE figure in the Museyroom passage and he is a voyeur just as HCE is

throughout Finnegans Wake. Simultaneously, Willingdone is modeled on the Duke of

Wellington. The sound of his name strongly relates Joyces protagonist to the Duke of

Wellington just as the fictional characters image is shaped by the Dukes. Willingdones

appearance in the Museyroom is structured upon the iconic characteristics of the Duke and

these include the association with certain items, specific costume, and animals. However,

Willingdone is a grotesque caricature of the Duke and these features are represented in very

disturbing ways. Almost all of the words in this sentence may be interpreted as phallic

symbols including tallowscoop as it is similar to telescope in its sound. It is a

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representation of a flesh and blood phallus since tallow is a form of beef or mutton fat and

it belongs to Willingdone because he is a very fat half man-half horse character with a big

wide harse (FW 008.21). However, the historical usage of tallow fat to mould candles is

an additional phallic image. Initially, prior to being lit, it is in the shape of an erect penis.

However, as it burns out its length decreases and it figuratively becomes flaccid.

ALP and Willingdone are not implicitly coupled together and this encases or hides

their relationship status as man and wife deep with the narrative. The mountrumeny (FW

010.3) between ALP and Willingdone is suitably distance in its emotional standing, with ALP

having the identity of the token soldiers wife, a nameless figure, who remains at home,

looking after the children, whilst her husband fights abroad, and is indifferent to her

emotional needs.8 As mount indicates copulation, Willingdone marries ALP for lustful sex,

not love, fitting his constantly excited physical state on the battlefield and his misognistic,

non-romantic, attitude towards women. Willingdone, who is out of ALPs sight, takes every

available opportunity to cheat on her.

Prior to the arrival of the Lipoleums, Willingdone is fighting two girls known as the

Jinnies9 over the matter of his infidelity to ALP. However, his correspondence with the pair

on the battlefield is erotic. The Jinnies, via correspondence on the battlefield, write a letter to

Willingdone which threatens that they know scandalous information about his sex life. They

blackmail him by saying in phonetic German: ^Leapcher^ Awthur fieldgates ^gaze^ ^the^

tiny frow? (BL 47482a 93; JJA 44: 19; cf. FW 009.5), which, in the first draft 1A.*0, is

especially close to: Lieber Arthur. Wie gehts deine Frau? (Glasheen and Wilder 350). This

translates into an open-ended threat to Willingdone, in English: Dear Arthur. How is your

wife?. The Jinnies instruct Willingdone to fieldgaze (FW 009.5) or pick up his telescope

and look into the distance of the battlefield, for the purposes of him viewing ALP, who is his

tiny frow in the spy-glass. Willingdones ^hurried dispatch^, or letter sent in return to the

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Jinnies on the battlefield is damn fairy ann (BL 47482a 93; JJA 44: 19; cf. FW 009.13-

14), a condemnation of his wife by her first name. Willingdones retort is without fear to the

threat of the Jinnies. The anger is a characteristic of the historical Duke of Wellington who,

when blackmailed by Harriet Wilson, a former lover, to give money or else details of their

affair would be revealed in her memoirs, he said: Publish and be damned (Eckley 34). ALP,

with the dampness that surrounds Willingdone, instigates the final stage of conflict between

him and the Jinnies, provoking his anger and making him fight for his reputation as an

honourable man on the battlefield. Willingdone defeats the Jinnies by resolutely refusing to

be blackmailed as he is courageous and is not threatened by their communication. The

Jinnies do not respond to Willingdone and it seems that Willingdone has called their bluff.

They stop their design to disgrace him. The Jinnies are defeated as they are temptresses and

upon realising that they do not have any power over him they have no other means of offence

in this situation. They are forced to withdraw from battle and Willingdones victory is

accompanied by a hail of cannon fire and bombs that chase them away: This is the

Willingdone by the splinters of Cork, order fire. Tonnerre! (Bullsear! Play!) This is camelry,

this is floodens, this is the solphereens in action, this is their mobbily, this is panikburns

(FW 009.21-24).

During Willingdones skirmish with the Jinnies, three soldiers, identified as the

Lipoleums, cross a river and they march towards the battlefield. Once Willingdone has

defeated the Jinnies using brute force, the Lipoleums arrive and fight him. Their sigla are:

and . Willingdones masculinity, defined by his sexual exploits, together with his abilities

on the battlefield, is protected and re-affirmed by the victory over the Jinnies. His military

telescope, or ^marmorial^ tallowscoop (BL 47482a-97; JJA 44: 27; FW 009.34), views

them in the distance, whilst it is also his erection: This is the Willingdone branlish his same

marmorial tallowscoop Sophy-Key-Po for his royal diversion on the rinnaway jinnies (FW

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009.33-35). Initially, in the Museyroom section, the soldiers engage in trench warfare

within a living ditch (cf. FW 008.22): ^This^ is [the] Lipoleums ^boyne^ grouching [in]

^the^ ^living^ ditch (BL 47482a 92; JJA 44: 17; cf. FW 008.21-22).10 The ^living^ ditch

in which the Lipoleums submerse themselves is the first instance wherein life-giving water

pervades the Museyroom section, itself defined as a waterloose country. The stream is

ALP, whose identity as little Anny Rayiny (BL 47482a- 9; JJA 44: 13; JJA 41: 13; FW

007.25), the flowing Liffey past HCEs brontoichthyan form(BL 47482a-9; JJA 44: 13; FW

007.21) is perhaps its figurative source. With urine the focus of much interpretation of the

section, there has consequently been a curious neglect of the association between water and

its life-giving properties. In Gordons synopsis of Finnegans Wake, the urination implicit in

Waterloo, or waterloose, locates the section on the privy, or toilet, so that we are witness to

the bodily evacuations, or excretions, of the major characters (112). ALP, the life-giving river

and the personification of fertility in Finnegans Wake, gives birth, rather than excretes. Her

water imagery is not a sterile product of bodily waste, but amniotic fluid, baptismal water,

which fertilises agricultural canals, in this section alone. Indeed, in the preface to Book I

chapter 1s volume in the James Joyce Archive, Groden interprets a river flowing through the

battle diagram (JJA 44: xxiv) because ALPs jagged triangles resemble waves. As noted,

whilst Willingdone is fighting his war against the Jinnies, ALP remains at home bringing up

their children. ^Living^ from ^living^ ditch integrates the letters LIV from ALPs

surname Livia to further characterise her in the passage. But since ^living^ is the creation

of life, the ^living^ ditch is symbolically ALPs womb, wherein she gives birth to

Willingdones children. The Lipoleums, when submerged in ALPs waters, gestate together as

triplets, their relationship to ALP being that of mother to sons. The betrayal of Willingdone

consequently dictates their opposition to him on the battlefield. The Lipoleums, as brothers,

initially fight each other in the womb, with the largest beating up the smallest in the wet bog

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which is ALPs amniotic fluid, but it is also a location on the battlefield, which is always

damp: ^This is the bog lipoleum mordering the lipoleum beg^ (BL 47482a 92v; JJA 44:

16; cf. FW 008.24). This is in part since it rained constantly during the Battle of Waterloo, the

conflict whose historical significance dominates the structure of the passage. Sam Slote

mentions that it rained constantly during the three days of the battle (Slote 113 n15). But the

water is also ALP at all times, and her character actively contributes to the narrative when its

imagery is present.

The Lipoleums are subsequently born to ALP, and their respective Christened names:

^Touchhole Tuobush Man and Dirty Dyke and Hairy OHurry^ (BL 47482a 95; JJA 44:

23; cf. FW 008.26-27) reference their mothers organ, which they have just been born

through. They are also nicknames for the Lipoleums as fully grown, sexual experienced

soldiers approaching the battlefield. Following this, ALP assumes a new shape in the

narrative as her womb, which is the ^living^ ditch is now empty. The new identity for ALP

is that of a mountain, with Joyces change in the geography of the waterloose country

constructing her subsequent role as a mother of the Lipoleums. Using a Greek mythological

model for ALP, the Lipoleums are nurtured by her, with her body as a mountain providing

them with the protective powers of mother earth (Eckley 32), making them grow and

mature prior to their advancement onto the battlefield. This identity is sketched on the battle

diagram using a superimposed visual meaning to that of ALPs triangles which also represent

wave shapes and the river. The diagram facilitates, with a simultaneous interpretation of

ALPs siglum, that the Lipoleums have a mountain range to cross. In European travel guides

available in the 1920s, such as those written by Karl Baedeker and Findlay Muirhead, an

equilateral triangle on a map, accompanied by a number, was the legend for the summit of a

mountain and its height in metres. On a page of Central Italy and Rome: Handbook for

Travellers by Karl Baedeker, two mountains are represented on the map thusly: M.

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Terminuto 722 and M. Mardello 625 (82). Additionally, in Joyces Finnegans Wake

notebook: VI.B.15 that he brought with him on his 1926 summer holiday to Belgium, he

writes the entry: chains of Mts. [Mountains] (VI.B.15 2).11 This is one indication that

ALPs visual identity on the battle diagram changes in meaning, from the wave shapes of a

river to that of the peaks of mountains. This is supported by Roses genetic evaluation that

The scrawl probably indicates the position of the alps (Rose and OHanlon

10). ALPs narrative shift in identity to The Delian alps (BL 47482a 91v; JJA 44: 16; FW

008.28), a long geographical barrier in the path of the Lipoleums, smothers them like an over-

protective mother, with mountains being her figurative breasts. In Greek cosmogony, Gaia, or

Mother Earth, supports the sea whilst her breasts are the mythical representation of mountains

on land. ALPs three lettered name is ALP and although the although the Delian Alps do

not geographically exist as part of any mountain range, the title Delphos associates with the

Greek Delphoi meaning womb (McHugh, Annotations 8). The womb of ALP is now the

breast of Gaia which nourishes the Lipoleums and provides them with the life force to

figuratively grow into mountains themselves: ^This is Mont Tipple [,] this is Mont Tipsey [,]

this is the Mons Injun^ (BL 47482a -95; JJA 44: 23; FW 008.28-29). The Lipoleums grow

up as debauched soldiers, having been fighting as early as the womb, their tipple[s]

indicating excessive drinking, and the titles of historical battles written within the names of

the mountains demonstrating their desire for violence. However, ALP, with her motherly

instincts, does not want the Lipoleums to leave her for war, evident in her geographical

personification as a mountain range impeding their journey to the battlefield. ALPs

mountains are a part of the landscape and the Lipoleums, as in any military expedition, scale

them with difficulty. The Lipoleums are held back by ALP as they cross: ^This is the Delian

alps sheltershocking the three lipoleums behind a crim ^crimmealine^ (BL 47482a 91v;

JJA 41: 16; cf. FW 008.28-30). Since shellshock (see VI.B.15 53) is psychological

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damage from experiences on the battlefield, the Lipoleums receive significant trauma whilst

passing the mountains. However, ALPs shellshocking is motherly, not military. Her

attempts to stop the Lipoleums advancing are by hiding them under her skirt and not allowing

them to leave. The crinoline or ^crimmealine^ which ALP wears in the conflict is a large,

cone shaped Victorian dress, structured using a series of concentric hoops made out of whale-

bone. Her siglum is a cone in three dimensions. The fear of regressing from mature soldiers

to children who cower under their mothers dress, is considerable for the Lipoleums who

fight against ALP and escape her influence. The Lipoleums, who venture south on the

diagram to attack their father Willingdone in the classic oedipal conflict, have left their home,

together with the womb, breasts and dress of their mother.

In conclusion, the majority of Finnegans Wake criticism omits ALPs character within

studies of the Museyroom section. However, by studying the book I, chapter 1 battle

diagram in the first draft within the James Joyce Archive, it can be determined that she is a

protagonist with three animistic avatars; a mountain; a dress; and a river. ALPs narratological

omission creates structural instability if the section is to be interpreted as a battle within an

archetypal family unit. A mother figure is needed to complete this character network and a

reading of the Museyroom without her is an incomplete model of the conflict. Her

hidden presence may be uncovered by a parallel reading of the diagram and the

Museyroom section. Multiple ALP sigla link together on the diagram and their horizontal

positioning visually represents all of her avatars; the waves of the river; the peaks of the

mountains; and the cone shape of the crimealine dress. The inclusion of the battle diagram

as a source text could provide a corrective to canonical critical accounts of the Museyroom

because the absence of ALPs character in each interpretation prompts revision. ALPs

avatars gesture towards post-colonial readings of the Battle of Waterloo and the Duke of

Wellingtons biography (Eckley, 23- 40; and Cheng, 278-288); the gender politics that exist

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between within the warring archetypal family on the battlefield (Campbell and Robinson 41;

and Gordon 111-114); and genetic criticism of the diagram (McHugh, Sigla 82; and Lernout

56). ALP is an inexplicably covert character and arguably without a hidden and highly

complex sigla diagram that Joyce did not intend the reader to see it is incredibly difficult to

determine any hint of her presence in the Museyroom narrative. Although Joyces

motivation for ALPs near-complete narratological obscurity in the section remains unclear,

thankfully the recovered diagram in the James Joyce Archive offers hope that ALP has

academic significance in this passage and that soon her character may be integrated into all

methodological approaches to studying the Museyroom section of Finnegans Wake.

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1Notes:
The texts provide interpretations of the Museyroom section on the following pages: (Glasheen, Third Census xxvi);
(Rose and OHanlon 9-13); (Campbell and Robinson 41-42); (Gordon 111-114).

2 Only two critics; McHugh (Sigla 8) and Eckley (35) acknowledge that the words alp (FW 008.30) and ann
(FW 009.14) reference ALPs name in the section.

3 According to Hayman in the James Joyce Archive, Joyce wrote the draft material for these sections in a single
fibre-board notebook in late 1926. See James Joyce Archive Volume 44, 1. Hence: JJA 44: 1.

4 The diagram is drawn within the first extant draft of Book I chapter 1 (titled 1A.*0) and its page number in
the James Joyce Archive is: BL 47482a 91v; JJA 41: 16.

5 In this paper, I am quoting from Haymans reproduction of the Battle diagram in A First Draft Version of
Finnegans Wake. It is also reproduced as a facsimile in Rose and OHanlon (10) and there is a simplified version
in McHugh (Sigla 82).

6 However, in 2010 he clearly determines that it was not excluded from the final text by an editorial error. In The Restored
Edition of Finnegans Wake, the battle diagram is not integrated into the Museyroom section of Book I chapter 1 whereas
if his initial theory remained in place then it would be reproduced.

7 In 1.*1, the name changes to museomound (BL 47471-10; JJA 41: 55; FW 008.5).

8 Eckley theorises that the female characters in the Museyroom section (in particular the Jinnies) represent the
women who travelled with the British troops during the campaign against Napoleon (33).

9 Wilder suggests that Jinnies springs from the French: jeunesses for young ladies (350).

10 My emendations. Joyce inserts these words in draft 1.*1, creating syntactical clarity in the sentence.

11 This notebook is contained in the James Joyce Archive, Volume 31.

Works cited:

Baedeker, Karl. Central Italy and Rome: Handbook for Travellers. Leipzig: Karl Baedeker, 1904. Print.

Campbell, Joseph and Henry Morton Robinson. A Skeleton Key to Finnegans Wake. New York: Viking Press, 1969. Print.

Cheng, Vincent. Joyce, Race and Empire. Great Britain: Cambridge, 1995. Print.

Eckley, Grace. The Wellington Career in Finnegans Wake. ire Ireland. 12.3 (1977): 23-40. Print.

Glasheen, Adaline. A Third Census of Finnegans Wake. Berkeley: University of California Press, 1978. Print.

Glasheen, Adaline and Wilder, Thornton. A Tour of the Darkling Plain: The Finnegans Wake Letters of Thornton Wilder and
Adaline Glasheen. Ed. Burns, Edward M.; Gaylord, Joshua A. Dublin: UCD Press, 2001. Print.
Gordon, John. Finnegans Wake: A Plot Summary, USA: Syracuse UP, 1986. Print.

Hayman, David. A First Draft Version of Finnegans Wake. Austin: U of Texas P, 1963. Print.

Joyce, James. Finnegans Wake. England: Penguin, 1939. Print.

. Finnegans Wake, Book I, Chapter 1: A Facsimile of Drafts, Typescripts & Proofs. Ed. Danis Rose, with the
assistance of John O'Hanlon, James Joyce Archive volume 44, New York: Garland, 1978. Print.

. Finnegans Wake: A Facsimile of Buffalo Notebooks VI. B.9-VI. B.12. Ed. David Hayman. The James Joyce
Archive 31. New York: Garland, 1978.

. The Restored Finnegans Wake. Ed. Danis Rose, and John O'Hanlon. Cornwall: Houyhnhnm Press, 2010. Print.

Kauffmann, C.M. Catalogue of Paintings in the Wellington Museum: Apsley House. Verona: English Heritage and Paul
Holberton Publishing, 2009. Print.

Lernout, Geert. The Beginning: Chapter I.1. How Joyce Wrote Finnegans Wake. Ed. Luca Crispi and Sam Slote. USA: U
of Wisconsin P, 2007. Print.

McHugh, Roland. The Sigla of Finnegans Wake. Great Britain: Edward Arnold, 1976. Print.

. 2006. Annotations to Finnegans Wake. 3rd Ed. Baltimore: John Hopkins UP. Print.

Rose, Danis and OHanlon, John. Understanding Finnegans Wake. New York: Garland, 1982. Print.

Slote, Sam. Did God Be Come: The Definitive Exgenesis of HCE. Writing His Wrunes for Ever: Essays in Joycean
Genetics. Ed. Daniel Ferrer and Claude Jacquet. Tusson: Editions du Lrot, 1998. 103-18. Print.

William, Gordon. A Dictionary of Sexual Language and Imagery in Elizabethan and Stuart Literature. Athlone: Cambridge
UP, 1994. Print.