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^{TN1 [9 A>}Chest Cee!^{<ATN2 9] [5 A>}'Sdense !^{<A 5] [8+ A>}Corpo di ^{[9 TD} <baraggio> barragio ^9] !^{<A 8+] [8 [9 TD} <^A>You> you^{TN3 9]} spoof of visibility in a freakfog ? ^[8+ <^B>!^<B Of> , of^{TN4 8+]} mixed sex cases among goats, hill cat and plain mousey, Bigamy Bob and ^[8+ <and ^?sould Sin Shanock^?>^TN5 his old Shanvocht ^8+] ? ^B>!^{<B [8+} <^B>C>the (sociable) democrat,^<C>^{TN6 8+]} the ^C>The^<C Blackfriars treacle plaster outrage be liddled!^{<B<A 8] [1 [3 A>}Under ^{3] [2} <(> ^{2] [3} rather ^A>Therewith ^[4 <there> ^4] was released^{<A 3] [8+ A>}in that kingsrich 48.05^B>kingsrick^<BTN7 of Humidia^{<A 8+]} a ^[2 <)^<A> ^{2] 1] [2} <A> ^{2] [3 A>}poisoning^{<A 3] [4} volume^TN8 of ^4] cloud ^{[8 A>}barrage^{<A 8] [1} of witnesses ^1] indeed ^{[5 TD} <!> . ^5] Yet all ^{[1 [2} <of> ^{2] 1] [2} <these> they who heard or redelivered ^2] are ^[1 now ^{1] [9 A>}with^TN9 that family of bards and Vergobretas himself and the crowd of Caraculacticors^{<A 9]} as much now no more as ^[4 <were> be ^4] they ^[1 <^A>now^<A> ^1] not yet ^[1 now ^1] or had they then ^[4 <not ever> notever ^4] been. ^{[3 [4} <^A>Perhaps> Canbe ^4] in some future we shall presently ^[4 <hear> here ^{4] [9 A>}amid 48.10those zouave players of Inkermann the mime mumming the mick and his nick miming the ^B>their^<B maggies ^B>, Hilton St Just ( ^{[9T TD} <Mr> ^[13 Mr. ^A>Mr^{<A 13] 9T]} Frank Smith), Ivanne Ste Austelle ( ^{[9T TD} <Mr> ^{[13 A>}Mr.^{<A A>}Mr^{<A 13] 9T]} J. F. Jones) _◊^C>, Coleman^TN10 of Lucan taking four parts, the D'O Doily a choir of the ^D>O'Daley^{<D [9T TD} <O'Doyles> ^{[10T TD} <O' Doyles> O'Doyles ^{10T] 9T]} doublesixing the chorus , ^D>in Fenn Mac Call and the Serven Feeries of Loch Neach, 48.15Galloper ^{[9T TD} <Tropples and> Troppler and^{TN11 9T]} Hurleyquinn^{<D<C<B [9T TD} <and^<A>^{TN12 9T] 9]} the zitherer of the past ^[4 <and> with ^4] his merrymen ^[4 all, zimzim ^{[6 TD} ,^{TN13 6]} zimzim ^4] .^{<A 3] [5} Of ^{[6 TD} <^A>of^<A> Of^{TN14 6] 5] [3} Hosty ^A>B>the ^[4 persons ^A>persins^{<A 4] [4} <in> sin ^{4] [5} the story ^A>this Eyrawyggla saga^{<A 5] C>}(which ^{[9 A>}, thorough readable to int from and,^{<A 9]} is completely ^[4 ⊂all⊃ ^{4] D>}from ^[4 <tub> tubb ^4] to ^[4 <bottom^<D> ^{[7 TD} <buttom>^{<A [8 TD} <button> buttom^{TN15 8] 7]} all ^4] falsetissues and ^[4 , ^4] antilibellous and nonactionable ^{[4 [5 TD} <,> ^{5] 4] [4} <^D>&> and ^4] this applies to the ^[4 <in> to its ^4] whole of the ^[5 volume^{<D A>}wholume^{<A 5]} )^{<C<B [4 [6 TD} <.>^{TN16 6] [5} Of ^A>of^{<A 5] 4] [9 A>}poor^{<A 9] [9} Osti^{<A A>}Osti-Fosti^{<A 9] 3] [12*} ,^{TN17 12*] [13 A>},^{<A 13] [9 A>}described as^{<ATN18 9]} 48.20quite a musical genius in ^[1 a ^1] small way ^[4 ⊂,⊃ ^{4] [2} and possessed ^A>the owner^<A of a ^A>an exceedingly^{<A [3} nice ^A>niced^{<A 3]} ear ^2] , ^{[8 A>}with tenorist voice to match,^{<A 8] [9 A>}not^TN19 alone, but a very major poet of the poorly meritary order (he began Tuonisonian but worked his passage up as far as the we-all-hang-together Animandovites ^[12* ;^{<A A>})^{<ATN20 12*] 9] [2} <the end is unknown> no ^{[3 A>}one^{<A 3]} end ^{[6 TD} <is> ^{[8 TD} <in> is^{TN21 8] 6]} known ^2] . ^{[9 A>}If^TN22 they ^{- 9]}

Textual Notes

¹ Though the “The data” passage (FW: 57.16-61.28 [JJA: 45.138]) is first-drafted first, Joyce must have decided almost at once to precede it with the “cloud of witnesses” passage (FW: 48-50.32 [JJA 45: 137]), to which he then adds the “well-authenticated fact” passage (FW: 50.35-56.19 [JJA 45: 140, 142-3]) as a long overlay addition to level 1. At level 2 Joyce brings “Under rather a cloud . . .” to the margin, as he usually did when copying (or having typed) a new unit of the book (as do also the typescript at levels 3 and 5 and the fair copy at level 4). At this point, then, I think he intended chapter 3 to begin where in fact it does.

² See VI.B.44: 120, “Chest C”, among notes on Souvenir of the Twenty-Fifth Anniversary of the Opening of the Gaiety Theatre, a “small volume” which was “published 'with Michael Gunn's Compts' in November 1896 and printed by Dollard Printinghouse, Dublin” (JJA: 39.xvii).

³ That “You” is clearly capitalized and double underlined on level 8+, but lower case on level 9, suggests instruction: hard to see how a typesetter could miss it.

⁴ There is a comma after “freakfog” at level 8+, which is not visible in the Archive reproduction because occluded by the British Museum gluestrip.

⁵ At level 8 “sould Sin Shanoch” is uncertain: the three words begin with “s”, surely upper case for the latter two words; “sould” is a guess; “Sin” could be “Sid”; “Shanoch” could be “Shavoch”. That “and” is written twice there is no doubt.

⁶ The phrase “the (sociable) democrat,” at level 8, is indexed in the left margin to precede the “the Blackfriars . . .” overlay, which itself however is not indexed to follow what is at that point “Shanoch!” in the bottom margin below (BL 47475—22v; JJA: 45.290a). “[T]he (sociable) democrat” is not crossed out, and indeed it is not carried forward. Since the lower case “t” of “the Blackfriars” is copied upper case on level 8+, so that it can begin a sentence after “Shanoch!”, I think a conscious decision was made to omit “the (sociable) democrat,” rather than that it was missed.

⁷ The final letter in “kingsrich” as drafted on level 8+ seems clearly to have been “h”—it is heavily scored over and it is not perfectly clear that it is changed to “k”, but it was thus read by level 9.

⁸ In level 3 overlay, “volume” is the last word of overlay “(which is . . . volume” (FW: 48.17-19), but that word “volume” immediately follows and is alone on a line with the overlay “poisoning”" which is inserted within “a cloud” (FW: 48.05). Clearly, “a poisoning cloud” is what Joyce had in mind, and “volume” had nothing to do with it. On level 4, however, Joyce is misled by the contiguity of those two actually separate overlays into copying both words (and adding “of” for the grammar) at FW: 48.05, but he copies “volume” again in its proper place as well.

⁹ Note that the overlay “with that family of bards . . . Caraculacticors” is indexed with a “z” (the overlay and its indices are in black ink, unlike the others on the page) on the yellow supplementary page BL 47476b-437 (JJA 49: 281), matching a black “z” index on the galley page. Though the Archive does not print it with the other level 9 galley additions, it clearly belongs with them rather than being a level 9+ “Late addition” as the Archive designates it.

¹⁰ The tertiary overlay “Coleman . . . Hurleyquinn” is drafted in red ink (with further overlay levels as shown) on the additional overlay page BL 47476b-437 (JJA 49: 281), indexed there with a blue pencil “z”: there is not a matching “z” after “Jones)” on the galley page, and this caused difficulty with the typing. I think the typist ended the overlay with “Jones)”, and then continued transcribing subsequent overlay: after one line-break “poor Osti-Fosti” was typed (though unlike anything else on the first pass through the page it is justified six spaces further left than the rest) and “poor old his husband” after another, with a line reversing the phrases to make them the proper “his husband poor old”. These have the proper index numbers written in before them (“3” and “4”), but phrases and numbers alike are exed out, and the typing of the “Coleman . . .” overlay is done around them (the phrases, still assigned the numbers “3” and “4”, are typed on the next page). Pages must have been returned to the typewriter for all three copies (9T, 10T, 11T) since the passage is in ribbon (a nice fresh one) on all three. There are few differences, but 9T has “O'Daley O' Doyles” (i.e., an extra space after the second “O'”), where 10T and 11T have “O'Daley O'Doyles”, as it no doubt should be and as it remains. Also, there is an extra set of three exes at level 9T over the “poor” of “poor Osti-Fosti”. Note that the whole overlay set incorporates material from R.M. Levey and J. O'Rorke, Annals of the Theatre Royal, Dublin (Dublin: Dollard, 1880) identified in Roland McHugh, “The Theatre Royal in Notebook VI.B.44”, AWN, XVI, no. 5 (October, 1979), 67-72. [check to make sure that's not Ian Gunn's pagination].

¹¹ I am quite sure that Joyce intended “Tropples” rather than “Troppler” at level 9: see the different slant to the final stroke from that of “Galloper”. And note that the typist at level 9T wrongly underlines “and”, suggesting a single piece combining Gulliver's Travels and the character Harlequin.

¹² The “and” which follows the “s” index after “maggies” in the first overlay level is not typed at level 9T after the insertion ending with “Hurleyquinn” as it should have been, although it was typed and then exed out after “maggies” when the typist noticed the insertion which the “s” indexes, which begins “, Hilton . . .”

¹³ The comma which appears after the first “zimzim” at level 6, since it improves the punctuation, suggests instruction, probably on a missing level 5+*. On the likelihood that pages deserving that designation existed, see my “Sequence and Authority in Some transition Typescripts and Proofs”, in Sam Slote and Wim Van Mierlo, edd., Genitricksling Joyce (European Joyce Studies 9, Amsterdam: Rodopi, 1999), pp. 159-84.

¹⁴ Joyce seems quite clearly, and quite incorrectly, to overwrite the capital “O” of “Of” to lower case at level 5. Perhaps he saw the close parenthesis after “wholume”, missed the period, and thought his sentence continued. It is capitalized again at level 6, perhaps under instruction on 5+*.

¹⁵ Note that “button”, corrected on level 6 but that correction unattended to on level 7, appears correctly as “buttom” on level 8, suggesting some extradraft instruction.

¹⁶ At level 4 Joyce, most unusually, turns a grammatical sentence to a fragment: “Of the persins sin the story (. . .) .”, with nothing after the parentheses. Since it is where he copies “volume” for the second time from level 3 overlay (see note above), I think he was simply nodding, rather than intending some special effect. The grammar is corrected in stages, the case of “Of” being lowered on level 5 and the period disappearing on level 6, probably under instruction, though the correction makes the “saga” read as Hosty's rather than Earwicker's.

¹⁷ There being a number of index marks after “Osti” on level 11 (and the other two galley levels), I think it almost certain that the dropping of the comma was a typesetter's error as he made the changes called for in the revisions, rather than a conscious choice by whoever checked the page proofs. This is the more likely since it is restored in the Buffalo Errata.

¹⁸ Overlay “described as” is in black ink on the yellow supplementary overlay page 47476B-432 (JJA 49:279). This page has overlay for several galleys, this one with the instruction “p 27 before quite a musical insert 'described as'”. Joyce, or perhaps a helper, underneath the scrawl clarifies in pencil with “=described as=”. A very faint blue pencil index mark (a simple vertical line) at level 9 is overwritten by a red index mark characteristic of the helper (Paul Léon, I think) who prepares the typescript. That mark is supplemented by red “d” on both galley and typescript, so this is not marked as overlay for which Joyce's index mark is missing.

¹⁹ The “, not alone...” overlay on galley 27 at level 9 is in black ink, at the top of the page, indexed “b”. Index “a”, also in black, is at the bottom of the page. There is no black ink index “b” in the text (though there is a blue ink one indexing a supplementary page), and the indexing here is accomplished by a pencilled “b”, in Paul Léon's hand, in the text. My hunch is that Joyce intended this very early overlay for a different place but failed to mark its placement, and that he instructed for this not entirely satisfactory one late in the process. Possibly Paul Léon decided the place himself, but this not certain enough to mark as departure.

²⁰ In his overlay draft on level 9, Joyce begins his parenthetical clause, “he began . . . Animandovites”, with an open parenthesis but ends it with a semicolon, a simple inadvertence. The correction, by change of the semicolon to a close parenthesis at the end, is a rare instance of something we can be quite sure was correction on the page proof.

²¹ “in”, wrong on levels 6 and 7, is correctly “is” at level 8, changed probably in some extradraft instruction.

²² The overlay “If they . . . doom” (FW: 48.24-49.02) is in black ink with black insertion instructions on 4746B-432 (JJA 49: 279), in this case reading “before 'Ei fu' insert If they . . . doom”. Like the other overlay for galley 27 on this page, “described as”, it is indexed on the galley by a blue pencil index mark overwritten by a red one with a red index letter in the margin. The needed period (at FW: 49.02) appears on the typescript, level 9T.