Song in the Works of James Joyce 9780231890953

Citation preview

SONG IH THE WORKS

OF JAMES JOYCE

SOHG

IH THE

W O R K S OF

JAMES

by

MATTHEW and, M A B E L

PUBLISHED

FOR

BY Columbia

J. P.

JOYCE

C.

HODGART

WORTHINGTON

Temple

University

University

Publications

Press, NEW YORK 1959

COPYRIGHT © LIBRARY

1959 TEMPLE

UNIVERSITY,

PHILADELPHIA

OF CONGRESS CATALOG CARD N U M B E R :

59-II971

P U B L I S H E D I N GREAT B R I T A I N , C A N A D A , INDIA, AND BY

T H E OXFORD U N I V E R S I T Y

PAKISTAN

PRESS

LONDON, TORONTO, B O M B A Y , AND

KARACHI

M A N U F A C T U R E D I N T H E U N I T E D STATES OF

AMERICA

PREFACE

This book records the findings of two readers of Joyce who independently began noting song references in Joyce's works some seven years ago. Learning of each other's labors in 1955, we decided to combine our discoveries. We are indebted to a number of people who have added to our list of songs or who have sung the songs for us, notably James Atherton, Dominic Behan, G . de Fraine, Adaline Glasheen, Clive Hart, Richard S. Hill of the Library of Congress, Pat Hodgart, Helen Joyce, John V. Kelleher, the late James Kelly, Frank Mulcahy, Lawrence Murphy, Peadar Nunan, Joseph Prescott, Fritz Senn, and Seth and Mabel Worthington. We gratefully acknowledge the cooperation of the Society of Authors; of Miss Harriet Weaver and Mr. Lionel Monro, administrators of the estate of James Joyce; of Professor Hughbert Hamilton, editor of Temple University Publications; of Mrs. Ada Schlechter, who did really painstaking work on the manuscript; and of our editor, Mr. William F. Bernhardt, of Columbia University Press. We also thank the Temple University Faculty Committee on Research for a grant which helped us complete our project. Sins of omission and commission are ours. Acknowledgment is also made to the following publishers for permission to quote from the works listed: Alfred A. Knopf, Inc., for Stuart Gilbert's Joyce's Ulysses; New Directions, for James Joyce's Stephen Hero (copyright 1944 by New Directions); Random House, Inc., for Joyce's Ulysses

VI

PREFACE

(copyright 1934 by the Modern Library, Inc.); and Yriking Press, Inc., for Joyce's Dubliners, A Portrait of the Artist as a Young Man, and Finnegans Wake. MATTHEW J . C . HODGART Pembroke

College,

Cambridge

University

M A B E L P . WORTH INGTON Temple July,

'9S9

University

CONTENTS

I. //.

THE SOURCES

/

SONGS AND THE INTERPRETATION

OF

FintiegaJlS

Wake III.

SONG

24 REFERENCES

Poems

S9

Exiles

J5>

Dubliners Stephen

60 Hero

A Portrait

60

of the Artist as a Young

Ulysses Finnegans IV. V.

Man

61 62

Wake

ALPHABETICAL

INDEX TO THE SONGS

BIBLIOGRAPHY

AND DISCOGRAPHY

85 IJ2 212

SONG

IH THE WORKS OF JAMES JOYCE

I. THE SOURCES

Beyond the river he saw a goods train winding out of Kingsbridge Station, like a worm with a fiery head winding through the darkness, obstinately and laboriously. It passed slowly out of sight; but still he heard in his ears the laborious drone of the engine reiterating the syllables of her name. He turned back the way he had come, the rhythm of the engine pounding in his ears. He began to doubt the reality of what memory had told him. He halted under a tree and allowed the rhythm to die away. Dubliners, "A Painful Case"

I. Rhythmical patterns have a peculiar significance in James Joyce's writing. Like Mr. Duffy in " A Painful Case," Joyce apprehends an emotion in terms of rhythm: conversely, every rhythm in his consciousness seems to carry emotional overtones. A4r. Duffy has refused to become involved with Mrs. Sinico, who is in love with him, and thus virtually condemns her to death. She takes to drink and is killed crossing a railway track. Thus the sound of the engine is the symbol of two wasted lives, whose frustration is presented in the choric words, "obstinately and laboriously . . . laborious . . . reiterating." When Mr. Duffy has "allowed the rhythm to die away," his feelings about Mrs. Sinico, bound up in this rhythm, also die away. "He could not feel her near him in the darkness nor her voice touch his ear. He waited for some minutes listening. He could hear nothing: the night was perfectly silent. He listened again: perfectly silent. He felt that he was alone." This device is used several times in Dubliners. In "An Encounter" the happiness of the truant boy is expressed by a musical rhythm: " T h e granite stone of the bridge

2

THE

SOURCES

was beginning to warm, and I began to pat it with my hands in time to an air in my head. I was very happy." A street harpist is described in " T w o Gallants": "One hand played in the bass the melody of 'Silent, O Moyle,' while the other hand careered in the treble after each group of notes. The notes of the air sounded deep and full." This air later becomes the vehicle for the cadger Lenehan's desolation: " T h e air which the harpist had played began to control his movements. His softly padded feet played the melody while his fingers swept a scale of variations idly along the railings after each group of notes." Stephen, in Stephen Hero

(33),

doubled backwards into the past of humanity and caught glimpses of emergent art as one might have a vision of a pleisiosaurus emerging from his ocean of slime. H e seemed almost to hear the simple cries of fear and joy and wonder which are antecedent to all song, the savage rhythms of men pulling at the oar. . . . A n d over all this chaos of history and legend, of fact and supposition, he strove to draw out a line of order, to reduce the abysses of the past to order b y a diagram. 1

And again (79): For him a song b y Shakespeare which seems so free and living, as remote from any conscious purpose as rain that falls in a garden, or as the lights of evening, discovers itself as the rhythmic speech of an emotion otherwise incommunicable, or at least not so fitly.

And on page 184, Stephen says there should be an art of gesture; by gesture, he says, he means a rhythm, and he makes "a graceful anapestic gesture with each arm" to illustrate a line from a song. All kinds of rhythms are sounded in Joyce's prose. There are mechanical ones (the printing press in the "Aeolus" chapter of Ulysses) and natural ones (the sound of the river in 1

All references to Stephen

>955-

Hero are to the New Directions edition,

THE

SOURCES

3

the "Anna Livia Plurabelle" section of Finnegans Wake)-, there is the rhythm of the speaking voice, caught with brilliant mimesis in every dialogue he wrote; and there is even an attempt to present pure musical rhythms in the fugal "Sirens" chapter of Ulysses. But perhaps the most important of all are the rhythms of song, of "words for music." In a song, the words are always incomplete in themselves: they need the music to give them their full aesthetic meaning, and at the same time the music tends to empty them of their normal prose meaning. All of us carry in our heads scraps of song, in which the words are for us devoid of their dictionary sense and even of the poetic overtones carried by a verse quotation. If we hum to ourselves La ci darem la mano (to take a theme song of Ulysses), we do not normally think of the full prose meaning of the words, let alone their dramatic significance in the action of Don Giovanni. The words occupy a halfway position between the sense and nonsense, although their full literal and dramatic content can always be put back into them if we hear or imagine ourselves hearing them in the right context—that is, during a performance of Mozart's opera. This potentiality that song has of emptying itself of and refilling itself with meaning is what interested Joyce. He took the songs that he heard about him, as he did the clichés of everyday talk, presented them in the flattest form, with every significance drained away, then invested them with the greatest possible symbolical weight relevant to his narrative. In the course of Ulysses, La ci darem la mano changes from an ill-understood phrase that Bloom keeps humming into a poignant evocation of his cuckolding by Don Blazes Boylan.2 There is no need to insist that Joyce knew a great deal about music or that he had an admirable tenor voice; the facts 3 Vernon Hall, "Joyce's Use of Da Ponte and Mozart's Don PMLA, L X V I (1950,78-84.

Giovanni,"

4

THE

SOURCES

3

are recorded in all the books about him. What needs stressing is that song was one of the most living parts of Dublin culture in the 1900s, as can be learned from Herbert Gorman's biography and more clearly from Stuart Gilbert's study of Ulysses: "The opening pages of my commentary on the episodes of 'The Sirens' reproduce, word for word, information given me by Joyce." * The commentary begins: "One of the most remarkable features of Dublin life in the heyday of Mr. Bloom was the boundless enthusiasm of all classes of citizens for music, especially of the vocal and operatic varieties. This passion is illustrated by their cult of the divo, carried to a degree unknown even in Italy. All the great singers came to Dublin, and the names of Campanini, Joe Maas, Mario, Piccolomini . . . Tietjens, Giuglini, Trebelli-Bettini and many others were household words." 6 The catholicity of Dublin musical taste was remarkable. For example, Joyce often refers to the Christy Minstrels and to the songs by Stephen Foster and others that were sung at the minstrel shows; according to J . F. Byrne, the "Cranly" of A Portrait, they were extremely popular in Dublin. Collections of the words and music of these songs were published, and were to be found in almost any home that had even such a simple musical instrument as a concertina or a mouth organ. M a n y American folk songs, and melodies of the coloured people, were perhaps as frequently sung, and widely known, as Ye Banks and Braes 0' Bonnie Doon or Maxwelton Braes. A n d at a conver"See L. A . G . Strong, The Sacred River (London, 1949); we are indebted to his discussion of Dubliners, the Portrait, the "Sirens" chapter of Ulysses, and Finnegans Wake. See also Oliver St. John Gogarty, "James Joyce as a Friend of Music," Tomorrow, IX, No. 4 (Dec., 1949), 42-45; Stanislaus Joyce, My Brother's Keeper (New York, 1958); Hugh Kenner, Dublin's Joyce (Bloomington, Ind., 1956); Joyce's Letters, edited by Stuart Gilbert (New York, 1957). 'Stuart Gilbert, James Joyce's Ulysses, new edition (New York, 1952), p. 12.

'Ibid., p. 237.

THE

SOURCES

5

sazione or a smoking concert in, for instance, University College or Nugent's Hotel, an American folk song and one of the coloured people would almost surely be heard. Amateur Christy Minstrel groups were numerous in Dublin, many of these groups being in schools, and among altar boys and confraternities. A n d then there were professional groups that frequently visited such places in Dublin as the Rotunda Round Room, the Ancient Concert Room, the Queen's Theatre, and Dan Lowry's; and in later years the Savoy and the Leinster Hall (afterwards the Theatre Royal). Yes, such songs as Maryland, Old Black Joe, Swanee River, and many others were to be heard by any child almost from its cradlehood. 8

Stephen, while he and Cranly "sat in the pit of the music hall and one unfolded to the other the tapestry of his poetical aims while the band bawled to the comedian and the comedian bawled to the band" (Stephen Hero, 125), must have kept at least one ear cocked to the band while he engaged both of Cranly's with his "poetical aims." For Joyce's later work, particularly Finnegans Wake, is full of references to musichall songs and ballads. From Joyce's books we get a picture of Dublin in full song, from "the nasal chanting of street-singers, who sang a comeall-you about O'Donovan Rossa, or a ballad about the troubles in our native land" (Dubliners, "Araby"), to bel canto performed by Simon Dedalus in the Ormond Bar. The finest story in Dubliners, "The Dead," has as its setting a Dublin musical evening, a microcosm of the city's musical life. In the Portrait there is a description of Stephen's home, where "they would sing for hours, melody after melody, glee after glee, till the last pale light died down on the horizon, till the first dark night clouds came forth and night fell." There are about a dozen songs woven into the narrative of the Portrait. Ulysses presents this aspect of Dublin life even more vividly. "Quoted from a letter to Mabel P. Worthington. Mr. Byrne's The Silent Years (New York, 1953) contains much information about the Dublin of Joyce's time. See American Literature, X X V I I I (19J6), 199.

6

THE

SOURCES

Molly Bloom is a professional singer, and the cast is full of gifted amateurs like Ben Dollard, "base barreltone," and the Dedaluses, father and son. Everyone in Dublin knows what Mario the tenor looked like, although Mario has been dead for years. The dividing lines between folk song, popular song, and serious music were shadowy in this culture: everyone had a working knowledge of the whole range, so that Italian opera was as popular as street balladry. In his early works Joyce had begun to use song with his special half-naturalistic and half-symbolist technique which reached its culmination in Finnegans Wake. In "Clay" (Dubliners) the main irony of the story is carricd by a long quotation from Balfe's / dreamt that I dwelt in marble halls, sung by the pauper Maria. Important in "The Dead" is a song called by Joyce The Lass of Aughrim (a variant of The Lass of Roch Royal): O the rain falls on my heavy locks And the dew wets my skin My babe lies cold.

This is sung by Bartell D'Arcy to Mrs. Conroy, who remembers that it used to be sung by her dead lover: the song drives everything out of her head except the memory of the dead boy, and this in turn leads to her husband's vision of the whole universe dissolving in snow. Ulysses contains allusions to over four hundred songs, many of them used thematically, such as Mulligan's Ballad of Joking Jesus, La ci darem la mano, The Death of Nelson, My Girl's a Yorkshire Girl, The Croppy Boy, M'appari from Flotow's Martha, Love's Old Sweet Song, Good-bye, Sweetheart, Good-bye, etc. There are about fifty Irish songs in Ulysses, that is, songs composed by Irish men and women, which celebrate Irish experiences, historical or otherwise; they are about war, battles, nature, love, drinking, all in an Irish context. Such songs are known and sung by the Irish, and by very few others. In

THE

SOURCES

7

the time of Joyce's growing up, when national feelings were high, when the Gaelic League was keeping alive or reviving all branches of Irish culture, these songs assumed a special importance among the people. Certainly Joyce's father knew them, and in Stephen Hero we are told that the young man, in his wanderings through the slums, read "all the street ballads which were stuck in the dusty windows of the Liberties" (145). Typical of the Irish songs in Ulysses are The Shan Van Vocht, celebrating Ireland as the "Poor Old Woman," The Boys of Wexford, God Save Ireland, The Memory of the Dead, etc. One would expect references to these in the pub scenes, but they also invade the consciousness of the semiforeigner Bloom, the nonpolitical Molly, and the young would-be artist who is about to say good-bye to "all that." 7 There are, in addition to the Irish songs, those of the type which Molly and her fellow artists sing at their concerts, the "semi-classicals," many of them forgotten today. Chief among these is Love's Old Sweet Song, which haunts Bloom during the day and Molly during her morning soliloquy; there are also In Old Madrid, Waiting, The Holy City, Ebren on the Rhine, Home, Sweet Home, The Lost Chord, and many more.8 Another group consists of music-hall and popular songs of the day: The Absent-minded Beggar, words by Kipling, music by Sir Arthur Sullivan, which urges the public to support the families of the men in the Boer War; Has Anybody Here 7

See Mabel P. Worthington, "Irish Folk Songs in Joyce's Ulysses," PMLA,hXXl (June, 1956), 321-39. "Note the number of songs containing the words "Bloom," "Flower," "Rose," and "Lily" in Ulysses: There is a flower that bloometh and O Maritana, Wild-wood Flower, from Maritana; When the Bloom Is on the Rye; The flowers that bloom in the spring, from The Mikado; Blumenlied; She Wore a Wreath of Roses; "Yorkshire Rose" in My Girts a Yorkshire Girl; Shall I Wear a White Rose or Shall I Wear a Red?; The Rose of Castille; 'Tis the last rose of summer; The Lily of Killarney; Lily of the Valley.

8

THE

SOURCES

Seen Kelly?; Good-bye, Dolly Gray; Tommy, Make Room for Your Uncle; The Man That Broke the Bank at Monte Carlo, etc. Then there are parts of the Mass (Gloria), religious music (The Seven Last Words of Christ), opera (from the Irish "Ring," Mozart, Rossini, et al.), operetta (Gilbert and Sullivan), folk songs (Burns, Weel May the Keel Row, etc.), minstrel songs (Someone''s in the House with Dinah), revival hymns (Washed in the Blood of the Lamb), nursery songs (Clap hands, Ride a cock horse), Shakespearean songs (Tell me where is fancy bred), bawdy songs (Staboo, Stabella), and so on. All these types of songs appear again in Finnegans Wake, and a great many of the same songs. In her final monologue Mollv Bloom naturally thinks in terms of song. Several of the allusions in this section were first identified by Professor Joseph Prescott (in an unpublished dissertation),9 the most significant being the one by which Molly symbolizes her final surrender to Bloom-Ulysses. It is Shall I Wear a White Rose?, quoted on page 744, repeated on page 766, and answered in the last few words before sleep on page 768.10 There must be an overtone of My love is like a red, red rose, and the last words show Penelope's love granted again to Ulysses: and G i b r a l t a r as a girl w h e n I w a s a F l o w e r of the M o u n t a i n y e s w h e n I p u t the rose in m y hair like the Andalusian girls used o r shall I w e a r a red y e s and h o w he kissed me under the M o o r i s h w a l l and I t h o u g h t w e l l as w e l l him as another . . . " S e e Professor Prescott's articles: "Local Allusions in Joyce's Ulysses PMLA, V o l . L X V I I I (Dec., 1953); " A Song in Joyce's Ulysses," Notes and Queries, V o l . C X C V I I I (Jan. 5, 1952); "Notes on Joyce's Ulysses," MLQ, V o l . XIII (June, 1952). 10 Ulysses ( N e w York, 1934). Page references are to the Random House edition. T h e song is by H . J . Clarke and E . B. Farmer, 1877. T h e r e must also be an allusion to La Dame aux Camélias: cf. " H o n e y s wore camélia paints,"' Finnegans Wake, p. 113.

THE

SOURCES

9

There are even more songs in Finnegans Wake than in Ulysses, and more reliance is placed on them for building up the structure. Joyce is in part a naturalistic novelist, and most of the bricks in his immense fabric are of common clay. The dreamworld of Finnegans Wake is firmly based on demotic culture, mainly that of early twentieth-century Dublin but also the common Anglo-Saxon culture of Joyce's lifetime. He was interested in slang catch-phrases, American comic strips, movies, jazz, advertisements, and even Punch jokes, as is shown in the dawn sequence of Book IV: "Guld modning, have yous viewsed Piers' aube? Thane yaars agon we have used yoors up since when we have fused now orther" (593). This can be identified with the help of The Oxford Dictionary of Quotations (which is strong on popular culture) as "Good morning, have you used Pears' soap?" (advertisement) and "I used your soap two years ago; since then I have used no other" {Punch, 1884). But song is used more frequently than any of these other elements, because it was a more essential part of the Dublin ambiance, because it is more suitable for refilling with meaning, and because its rhythms are stronger. II. The first surprise in studying the songs in Finnegans Wake was the discovery of nearly all of Thomas Moore's Irish Melodies11 in the text. T o be more exact, we have found all but two of the 124 melodies: the other two are probably hidden in the text somewhere. In every case Joyce quotes them by the title, which is usually part or whole of the first line; if u S e e Thomas E . Connolly, The Personal Library of James Joyce, a Descriptive Bibliography (Buffalo, 1955). Item no. 207 in the catalogue of Joyce's personal library is Moore's Irish Melodies with the Celebrated and Unsurpassed Symphonies and Accompaniments of Sir John Stevenson and Sir Henry Bishop with a Biography of Thomas Moore and an Essay on the Music of Ireland (London: W a r d , Lock, B o w e n & Co., n.d.). T h e editorial comment (p. 29) is, " T a b l e of contents heavily marked with crayon of various colors."

IO

THE

SOURCES

Moore has given the poem a separate title, that is often quoted as well as the first line; and in most cases the air to which Moore indicated the words were to be sung is given. These airs are traditional folk tunes of great beauty, which have survived with various sets of words other than Moore's The

Girl

Savourneen

I Left

Behind

Deelish,

Me,

Boyne

Water,

Eileen

Cruiskeen

Lawn,

Garry oiven).

(e.g., Aroon,

J o y c e is

reminding us that Moore set a precedent in putting new words to old tunes, and that to appreciate all the overtones in a quotation w e must think of both. Here are some examples of the Melodies in Finnegans

Wake:

'Tis the last rose of summer (air—The Groves of Blarney): 157, "She was alone. A l l her nubied companions were asleeping with the squirrels"; 371, "the last dropes of summour down through their grooves of blarneying"; 433, " N e v e r miss your lostsomewhere mass f o r the couple in Myles you butrose to brideworship." 64, " L H e was woken up] while hickstrey's maws was grazing in the moonlight b y hearing hammering on the pandywhank scale emanating from the blind pig and anything like it (oonagh! oonagh!) [he never heard]" combines While gazing 011 the moon's light (Oonagh) and While History's muse the memorial was keeping (Paddy Whack). 74, "Silence was in thy faustive halls, O Truiga, when thy green woods went dry but there will be sounds of manymirth on the night's ear ringing when our pantriarch of Comestowntonobble gets the pullover on his boots" combines Silence is hi our festal halls (The Green Woods of Truiga) and There are sounds of •mirth in the night air ringing (The priest in his boots). In the morning of life (The little harvest Rose): morning of light calms our hardest throes."

427, "ere the

O for the sword of former times (air unknown): 353, "Olefoh, the sourd of foemoe times! U n k n u n ! " O/ ye Dead! (Plough Tune): o f f " ; 452, "of the dead."

452, "to the tune the old plow tied

These allusions to Moore were mostly added after the early transition versions of Finnegans

Wake, but some appear in the

THE

SOURCES

earliest drafts. It may be asked why Joyce went to such fantastic lengths to work in most or all of the Melodies: the answer is that these songs were entirely suitable to his purpose. First, their use is naturalistic, since every Irish household that could afford it possessed a copy of the Melodies with music, and the songs were on everyone's lips. Secondly, they provide a complete cycle, covering almost every topic of interest to the Irish and as such prefiguring Finnegans Wake. Some of the melodies are historical ( L e t Erin remember) or mythological (Song of Fionnuala)—the two categories are never clearly distinguished in Ireland, a fact that led Professor Macalister to comment acidly on Irish archaeological textbooks that used Moore as a source. Others are political (She is far from the land, which is about Robert Emmet), others Bacchic {Come, send round the wine), or romantic {The young May moon is beaming, love). We cannot think of any praise of horseflesh in the Melodies, but otherwise the range of Irish interests is complete. Despite their sentimentality, the songs in the Irish Melodies were a real contribution to national culture and had some political import. Thirdly, Joyce must have admired them as art. Though faintly absurd on the printed page, they come to life when sung, expressing simple feelings with purity and abounding in subtle rhythmical patterns. Apart from Burns, Moore is almost the only writer of true songs since the end of the seventeenth century. Joyce may jeer at Moore's second-class Romantic Agony by calling the melodies "Tummy Moore's maladies," but his inclusion of the whole cycle is a tribute. Silent, O Moyle appears in Dublmers ( " T w o Gallants"). Stephen Hero refers to no Moore songs, although there are references to "old country songs" of England and Scotland, and Stephen knows "a few southern songs in Irish," taught him by Mr. Casey. A Portrait of the Artist mentions a few Moore songs, but young Stephen is more preoccupied with the Elizabethans. The Irish songs are the property of his

12

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father, Simon, to whom Stephen addresses a few words of condescending praise in Cork. The "popular" songs are sung by the lower classes in Dublin, whom Stephen looked upon with scorn. Joyce of course outgrew this attitude; by Ulysses he tolerates and even sympathizes with hoi polloi; by Finnegans Wake he sees that the hod carrier and Finn MacCool and Christ are all Man, and that Maggie and Jiggs and Diarmuid and Grania and Tristan and Isolde and Earwicker and his Annie all repeat a single pattern, that all men regardless of class or time or place lead one life. III. In addition to the Irish Melodies, we have found almost a thousand songs in Finnegans Wake, and there may be many more. For convenience, we may begin by discussing the Irish songs. Another corpus which is as comprehensive in its way as Moore's is found in the Irish street ballads and comeall-ye's. Most of those Joyce quotes he must have known by heart, since their appearance in print is fugitive at best, on broadsheets or in obscure collections. The "come-all-ye" which Simon Dedalus sings, beginning " 'Tis youth and folly/ Makes young men marry," has not been located by us in any collection, although we have heard variations of it sung by two Irishmen. One learned it as a boy from his father in Waterford almost fifty years ago; the other heard it sung by companions in the I.R.A. during the 1920s. Neither recalls having seen it in print. Some of the lines appear in Waly, Waly, and the song may be regarded as a variant of this. The street ballads dealt with every topic of current interest. Naturally, politics came first: the finest are about the '98 rising, but the tradition was maintained until and even after the Civil War. "Coogan Barry" (Finnegans Wake, 98) combines Callanan's song Gougane Barra with the ballad Kevin Barry: Died for Ireland, 1st November 1920; he was "but a lad of eighteen summers," known as The Kid; Jackie Coogan played

THE

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I 3

in Chaplin's The Kid. The ballads also deal with sport: Master McGrath is about a famous Irish greyhound who defeated the English greyhounds in 1869. He duly turns up as a character in Finnegans Wake; so does Mrs. McGrath, a widow whose son Ted came back from the wars looking like Johnny-Ihardly-knew-ye, "without any legs/ And in their place he has two wooden pegs." Other ballads in the cycle are amorous, others purely comic. In the last class are Lannigan's Ball (by D. K. Gavan, the Galway poet, c.1869) and Finnegaris Wake (author unknown). The version of this last song best known to readers of Joyce will be that given in Gorman's biography (330-31), but the one in O'Lochlainn 1 2 seems to be closer to Joyce's parodies. Tim Finnegan is a drunken building laborer who falls from the scaffold; at his wake some whiskey splashes on his corpse and he revives: it is a perfect death-and-resurrection myth. The refrain runs: Whack fol the dah, dance to your partner, Welt the flure, yer trotters shake, Wasn't it the truth I told you, Lots of fun at Finnegan's Wake. Cf. 42, "whackfolthediddlers"; 360, "wheckfoolthenairyans"; 4, "tuck up your part inher." Here are some other quotations: Stanza 2, "One morning Tim was rather full,/ His head felt heavy which made him shake": 6, "wan warning Phill filt tippling full. His howd feeled heavy, his hoddit did shake." " [ T h e y ] laid him out upon the bed,/ With a gallon of whiskey at his feet/ And a barrel of porter at his head": 6, "They laid him brawdawn alanglast bed. With a bockalips of finisky fore his feet. And a barrowload of guenesis hoer his head." (From Genesis to Revelation.) Stanza 3, "Arrah, Tim avourneen, why did you die?" 6, "orra whyi deed ye diie?" The mourners start rioting: " 'Twas woman to woman and man u

Colm O'Lochlainn, Irish Street Ballads (Dublin, 1938).

14

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to man,/ Shillelagh law did all engage." Stanza 5, "The liquor scattered over Tim/ Bedad he revives, see how he rises": 240, "But low, boys low, he rises." The last line consists of Tim's words, "Thanam o'n dhoul, do you think I'm dead?" (Anglice, your souls to the devil). This, as we shall see, is used thematically throughout the book. It is typical of Joyce to use a purely stage-Irish song, an affront to Irish nationalism, as his main source. As O'Lochlainn says primly in his introduction (x): "In the '6o's and '70's of the last century, and ever since, the Irish element on both American and English variety stage . . . produced many songs of the rollicking type, represented here by 'Lanigan's Ball' and 'Finnegan's Wake' . . . a type that saw its downfall with the advent of the Gaelic League and a more virile nationality. . . . The late Percy French—most lovable of men —was a modern composer in the same strain." Joyce mentions Percy French and quotes him widely: Phil the Flutefs Ball is almost as important as the ballad about Finnegan in the Wake scenes, and Off to Philadelphia in the Morning is a recurrent theme. He also quotes Are Ye Right There, Michael, Are Ye Right?, Slattery's Mounted Foot (a skit on revolutionaries), Abdul the Bulbul Ameer, and The Mountains of Mourne. Joyce had no inhibitions about using this kind of song, nor were his intentions satirical when he used as a prototype for the central figure of Finnegans Wake a comic Irishman from the Anglo-American stage. He invests Finnegan with as much patriarchal dignity as he needs, leaving the "more virile nationality" to his usurping son, Shaun the Post. Next come the more respectable Irish folk songs and the patriotic-sentimental drawing-room ballads in the tradition of Moore. Both are well represented: the former include Brennan on the Moor, The Cruiskeen Lawn, Bobbin''s Flowery Vale, and The Foggy Dew (a folk song with several political settings). The second class is even commoner:

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15

Claribel's Come Back to Erin is always being telegraphed to the exiled Shem; Fred Weatherly contributes Danny Boy and other songs; Father O'Flynn, Killarney, The Rose of Tralee, and The Dear Little Shamrock are rendered by the tenor Shaun. After Shaun's first triumph over Shem in Book I, chapter 4 (93), there is a passage based on songs of this kind and on their authors: From dark Rosa Lane a sigh and a weep, from Lesbia Looshe the beam in her eye, from lone Coogan Barry his arrow of song, from Sean Kelly's anagrim a blush at the name, from I am the Sullivan that trumpeting tramp, from Suffering Dufferin the Sit of her Style, from Kathleen May Vernon her Mebbe fair efforts, from Fillthepot Curran his scotchlove machreether, from hymn Op. 1 Phil Adolphus the weary O, the leery, O, from Samyouwill Leaver or Damyouwell Lover thatjolly old molly bit or that bored saunter by...

In other words: Mangan's My Dark Rosaleen, Moore's Lesbia hath a beaming eye, J . J . Callanan's Gougane Barra, Kevin Barry, the Longfellow-Balfe The Arrow and the Song, John Kells Ingram's The Memory of the Dead ("Who fears to speak of '98,/ Who blushes at the name?"), T . D. Sullivan's God Save Ireland (to the tune of Tramp, Tramp, Tramp), Helena Selina Dufferin's The Lament of the Irish Emigrant ("I'm sitting on the stile"), Airs. Crawford's Kathleen Mavourneen ("It may be for years and it may be forever"), John Philpot Curran's Acushla Machree, Percy French's Off to Philadelphia, Burns's The Weary Pund 0' Tow, Samuel Lover's The Bowld Sojer Boy (with a glance at Lever's novel Charles O'Malley). The highest point in this kind of music is represented by the three operas that were once known as the Anglo-Irish "Ring": The Bohemian Girl (Balfe), The Lily of Killarney (Benedict, with Dion Boucicault's libretto), and Maritana (Wallace). Nearly all the famous airs from these are travestied:

16

THE

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he dreamed that he'd wealthes in mormon halls (64). I'll dreamt that I'll dwealth mid warblers' walls when throstles and choughs to m y sigh hiehied ( 4 4 9 ) . T h e gloom hath rays, her lump is love ( 4 1 1 : raised her lamp a b o v e " ) .

" T h e moon hath

Although something is taken from Maritana (Alas, those chimes . . . the mansions of the blest, 426; There is a flower that bloometh . . . the memory of the past, 407; Turn on, old time, thy hour-glass, 408, 426, 469, 517; 'Tis the harp in the air, 475, 624), it is not so important as the other two, which are drawn on for their plots and characters. As has been mentioned elsewhere, 13 Earwicker appears as Danny Mann, the sinister hunchback of the Lily (14, 621); and the pairs of rivals are used, Hardress Cregan and Myles-na-Coppaleen in the Lily, Florestan and Thaddeus in The Bohemian Girl. E t la pau' Leonie has the choice of her lives between Josephinus and Mario-Louis for w h o is to wear the lily of Bohemey, Florestan, Thaddeus, Hardress or M y l e s ( 2 4 6 ) .

This also brings in Napoleon, Josephine, and Marie-Louise, Florestan from Fidelio, Thaddeus the brother of Christ, and three tenors mentioned elsewhere, Joseph Maas, Mario, and Ludwig, alias Ledwidge. IV. It would be wrong to overstress the Irishness of the songs in Finnegans Wake. The demotic culture on which the book is based may be primarily Dublin-Irish, but it is also in part British. There are several quotations from Scottish songs, particularly Burns's. Passing over these, we come to one of the richest mines of urban folklore, the English music hall, which enjoyed its greatest efflorescence between the 1880s and the 1914 war, and enriched the common tongue with "Matthew J. C. Hodgart, "Work in Progress," Ctrmbridge V I (Oct., 1952), 27.

Journal,

THE

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17

many catch-phrases. Here the author and composer matter less than the performer: the songs are always described as "sung by Marie Lloyd," or by Florrie Ford or by Charles Coburn, etc. Joyce must have been an amateur of this genre, since he quotes so widely. His favorite seems to have been At Trinity Church I Met My Doom (sung by Tom Costello, words and music by Fred Gilbert): She told me her age was five-and-twenty, Cash in the bank of course she'd plenty, I like a lamb believed it all,

I was an M - U - G —

{Drum)

A t T r i n i t y Church I met m y doom, N o w w e live in a top back room, U p to m y eyes in debt f o r " r e n t y , " T h a t ' s what she done f o r me.

(Orchestra) (Orchestra) {Drum)

This is the original of the song on pages 102-3, which introduces Anna Livia as wife and mother; even the bang on the drum appears: Sold him her lease of ninenineninetee, Tresses undresses so dyedyedaintee, G o o , the groot gudgeon, gulped it all. H o o was the C.O.D.? Bum! A t Island Bridge she met her tide. Attabom, attabom, attabombomboom! T h e Fin had a flux and his Ebba a ride. Attabom, attabom, attabombomboom! W e ' r e all up to the years in hues and cribies. That's what she's done f o r wee! Woe!

Almost as frequently quoted are Marie Lloyd's O Mister Porter, Whatever Shall I Do? ("I wanted to go to Birmingham but they carried me on to Crewe") and The Man That Broke the Bank at Monte Carlo, sung by Charles Coburn. Among the others are After the Ball, Daisy Bell, Dear Old Pals, Good-bye-ee, Her Golden Hair Was Hanging Down

i8

THE

SOURCES

Her Back, Hi-tiddley-hi-ti, If Those Lips Could Only Speak, Knocked 'em in the Old Kent Road, Little Annie Rooney, My Old Dutch, Ta Ra Ra Boom De Ay (247, "the Tarara boom decay"), Two Little Girls in Blue, What Ho, She Bumps! (547, "she began to bump a little bit"), and You Are the Honeysuckle, I Am the Bee (141, "I am your honey honeysugger phwhtphwht tha Bay"). These have been listed at some length because the wonderfully sentimental, cynical, and absurd world of the music hall is not well known to some of Joyce's readers.14 Joyce drew much also from the common stock of English "community" song, which consists of the better-known folk songs, patriotic songs, sea chanteys, hymns and carols, etc. The hundred-odd songs in this class should cause no difficulty. Rather more recherché today are the Victorian drawing-room ballads, the basis of Molly Bloom's repertoire. Though everyone knows Tennyson's Come into the Gardeti, Maud, as set by Balfe, Thomas Haynes Bayley's She Wore a Wreath of Roses the Night That First We Met has probably disappeared from the concert platform, along with Alice, Where Art Thou?, Ever of Thee I'm Fondly Dreaming, Good-bye, Sweetheart, Good-bye, Not in Vain, and a dozen others that are quoted, particularly in Molly's soliloquy in Ulysses, and throughout Finnegans Wake. The most highbrow of the songs, which were hardly highbrow to middle-class Dubliners, are those from Italian opera. They are nearly all tenor arias, which Joyce considered to be the highest kind of music ("Je n'aime pas la musique . . . j'aime le chant," he once told Louis Gillet 1 3 ), and they represent the repertoire of a popular concert tenor: the records listed under John McCormack in old H. M. V . catalogues 14

T h e bibliography is necessarily difficult, but there are convenient collections published by Messrs. Francis, Day, and Hunter. " L o u i s Gillet, Stèle pour James Joyce (Paris, 1946), p. 146.

THE

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19

will give most of them. W e are not expert in this field but have noted La Calunnia e un venticello (Rossini, The Barber of Seville); Casta Diva (Bellini, Norma); La donna e mobile and Questa o quella (Verdi, Rigoletto, representing the two Temptresses); E lucevan le stelle (Puccini, La Tosca); Ecco ridente in cielo (Rossini, The Barber of Seville); II mio tesoro (Mozart, Don Giovanni); M'appari (Flotow, Martha); Quant' e bella (Donizetti, Uelisir d'Amore). V. About seventy of the better-known nursery rhymes are quoted, many of which are songs. Symbolizing the first stage in the Viconian cycle, they are used throughout Finnegans Wake but particularly in the children's play of Book II, chapter 1, "The Mime of Mick, Nick and the Maggies," where they are combined with singing games. Joyce explained his intentions in letters to Harriet Weaver: "The scheme of the piece I sent you is the game we used to call Angels and Devils or colours. The Angels, girls, are grouped behind the Angel, Shawn, and the Devil has to come over three times and ask for a colour. If the colour he asks for has been chosen by any girl she has to run and he tries to catch her. As far as I have written he has come twice and been twice baffled. The piece is full of rhythms taken from English singing games." 1 6 Again, he mentioned "the books I am using for the present fragment which include . . . scores of children's singing games from Germany, France, England, and Italy, and so on." 1 7 The Rainbow Girls dance to Lubin Loo—"Withasly glints in. Andecoy giants out. They ramp it a little, a lessle, a lissle. Then rompride round in rout." (226)—and divide into two bands: "And these ways wend they. And those ways went they" (227; "When I was a young girl . . . O this way went I. O this way and that way . . ."). There is also some " L e t t e r of Nov., 1930. See Letters, ed. Stuart Gilbert, p. 295. " L e t t e r of March 4, 1931. See ibid., p. 302.

20

THE

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of this in the first chapter of Book I: "to piff the business on. Paff. T o puff the blaziness on. PofFpoff." (12; Push the business on). The last three songs can be found in A Hundred Singing Games, edited by Frank Kidson (1916), a probable source, but more come from London Street Games, by Norman Douglas (1916, revised 1931)- As one would expect from the author of South Wind, this is a charming and witty book, as well as a fine piece of folklore collecting. Joyce took not only the words of skipping-chants and counting-rhymes from Douglas but also the names of non-singing games and even a scrap of Cockney dialogue: Piss up your leg and play wiv the steam becomes "Prissoji your Pritchards and Play Withers Team" (176, Errata), "and he make peace in his preaches and play with esteem" (225). On page 176 there is a list of games that the delinquent Shem refuses to play with the good chiU dren: from Adam and Ell to Last Man Standing there are two dozen games recorded by Douglas, with such fascinating titles as Moggies (cats) on the Wall, Writing a Letter to Punch, Solomon Silent reading, etc. The list rehearses the characters and the main themes of the book. Douglas discovered some boys' games with romantic names that Joyce could hardly fail to use: e.g., Dead Man's Dark Scenery or Coat (87) and Dead Man's Rise—O (74, a Resurrection mime). The following from Douglas appear in the children's play of Book II, chapter 1: Old Mother Mason, Stockings red and garters blue, Shoes laced up with silver, The farmer's in his den or The Farmer in the Dell, Oats, peas, beans, and barley grow (239, "oaths and screams and bawley groans"), Old Roger is dead and gone to his grave (240, "For poor Glugger was dazed and late in his crave, ay he, laid in his grave"). These games were not confined to London; many of them must have been played by Dublin children; and despite Douglas's forebodings many have survived to this day among English-speaking elementary school children.

THE

SOURCES

21

T h e nursery rhymes are available in many collections: The Oxford Dictionary of Nursery Rhymes, edited by Iona and Peter Opie (1953), contains all but a half dozen of the rhymes used by Joyce, and there are interesting notes. One of the books in Joyce's Paris library was Henry Bett's Nursery Rhymes and Tales (London, 1924); Dr. Bett stressed the antiquity and the universal quality of a number of the rhymes, and it is clear that Joyce found much to agree with in the book. His use of the rhymes and other folk material indicates that he considered them expressions of important, universal, and ever-recurring experiences of the human race. There are scattered references to the rhymes in Ulysses (74, 193, 385, 476, 522, 552). T h e w a y they are used is fairly clear. In Finnegans Wake, the use of the rhymes is somewhat more complex. T h e one most quoted is Humpty Dumpty, who is Finnegan, Finn MacCool, H.C.E.: in brief, Everyman, because, like Everyman, he fell. Certain rhymes are always paraphrased in connection with Anna Livia. Chief among these is Ring a-ring o' Roses. Anna Livia goes round and round. One version of Ring a-ring continues "One for Jack, and one for Jim, and one for little Moses"; Anna Livia gives presents to her children. Polly, put the kettle on is another rhyme associated with Anna Livia, with her role as seductress and her part in the Wake. The theme of the death of the father and the inheritance of the sons is illustrated by The Holly and the Ivy ( " M y father left me three acres of land"). T h e relatedness of all people and things is expressed by use of The House That Jack Built and As 1 was going to St. Ives. T a f f y , of Taffy was a Welshman, is Shem the alien: "Caddy went to Winehouse and wrote o peace a farce" (14). So is the "crooked man" of There was a crooked man. Little Bo Peep and Little Nancy Etticoat are the young Isabel. And of course the Four are Matthew, Mark, Luke, and John.

22

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VI. Joyce, coining from a musical city in a musical period, and like Shem, "all ears," filled his works with music. T w o facts should be noted about his use of musical references. First, the number of these references increases from work to work, and the quality of his prose tends more and more to the musical. As L. A. G. Strong points out, Joyce's reading of a selection from Finnegans Wake is the performance of a tenor singer. The master of words in his last work went beyond words, or rather made words do what they had not hitherto done. The words evoke music, and only music can come close to expressing the inexpressible. But Joyce could not have expressed what he wanted to express as a composer. He needed the word, too, for his genius was rational and logical as well as intuitive. T h e second fact that should be noted is that Joyce's use of musical references became more conscious and deliberate as time went on. Most of the references in Finnegans Wake were added after the first draft, which contained relatively few. In Joyce's books, particularly in Finnegans Wake, we have the author's expression of his impression of the human experience. He took as his subject nothing less than life itself. He started with his own life, then went on to the life of his city, and finally to the life of Man. A Portrait of the Artist, by fidelity to the particular, achieved universality, so that the story is the story not only of a lower-middle-class Irish Catholic youth in Dublin in the late nineteenth century, but the story of every young man (and woman) everywhere, in every time. The characters of Dubliners can be met with in any city of the world. Bloom and Stephen are two aspects of Everyman, and the day's journey around Dublin is Everybody's Odyssey. The hero of Finnegans Wake is truly Mankind, the subject Essential Life. Joyce saw Essential Life expressed all around him, all through the past ("down through all Christian minstrelsy")

THE

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23

and all through the night ("this nonday diary, this allnights newseryreel," he calls his book). It was expressed not only in the greatest works of literature, in "Shapesphere" and Milton (Finnegans Wake is full of references to Paradise Lost and is in a sense a modern Paradise Lost); but also in lesser works such as Goldsmith's The Deserted Village and Twain's Huckleberry Finn. It is expressed in myth and legend, epic and fairy tale. It is expressed in current popular culture—the vaudeville stage and the comic strip. It is expressed above all in song: opera, ballads, folk songs, "nonsery reams," music-hall songs, jazz songs, minstrel songs—music which lasts and music which is ephemeral. For music, to Joyce, has to a more marked degree what man's other artistic achievements have to a lesser degree: form and tone and rhythm. For young Stephen, a song of Shakespeare was "the rhythmic speech of an emotion otherwise incommunicable, or at least not so fitly." The young man "doubled backwards into the past of humanity," almost heard "the simple cries of fear and joy and wonder which are antecedent to all song, the savage rhythms of men pulling at the oar." He heard rather than saw. Then, "over all this chaos of history and legend, of fact and supposition, he strove to draw out a line of order, to reduce the abysses of the past to order by a diagram." What is Finnegans Wake but this fait accompli? All Joyce's life as an artist was a striving to find this pattern, this diagram. It emerges more and more clearly with each book, and more and more it is a pattern heard. Joyce, more than any other writer, may be said to have heard, if not the music of the spheres, the music of his sphere.

II. SONGS AND THE OF F1NNEGANS

INTERPRETATION WAKE

I. 1 Joyce was in part a naturalistic novelist, an admirer of Defoe, who gave his allegiance to the nineteenth-century naturalists, especially Flaubert and Ibsen. Finnegans Wake is in part a novel about a Dublin publican and his family; as Edmund Wilson was the first to point out, apparently with Joyce's approval, it has a plot, concerning a shift in family relationships. A lower-middle-class ambiance is evoked with even more richness and pathos than in Dubliners, especially in the final monologue. Critics of Joyce have sometimes misled us by overstressing the myth at the expense of the literal narrative; it is still necessary to insist that Joyce was trying to mirror the world he lived in. The naturalism of Finnegans Wake stands out in several ways: in the riddling questions about the publican (126-39); 2 ^ survey of Dublin and city life in general called "Haveth Childers Everywhere" (532-54), especially in the passage based on excerpts from Rowntree's sociological study Poverty (543-45); in the fragments of colloquial speech, proverbs, music-hall jokes, radio clichés, advertisements, and popular journalism which fill the dream-consciousness of all the characters and in which they naturally express themselves. And of course the immense number of quotations from songs is part of this naturalistic approach, since it builds up the picture of a Dublin where 1

T h i s section is adapted from M. J. C. Hodgart, "Shakespeare and Finnegans Wake" Cambridge Journal, V I (1953), 735—52. 3 AH references to Finnegans Wake are to the Viking Press edition.

SONGS

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everyone could "suddenly burst out singing," the musical wonderland that we have described in the first chapter. The great majority of the songs quoted are such as any Dubliner would understand and would use to convey his ideas and feelings. It would, however, be absurd to make too much of this point, since Finnegans Wake, no matter how much naturalism it may exhibit, is the story of a dream, told with the most elaborate symbolical structure ever used in any work of literature. T o this aspect of the book songs and music make an important contribution, as they do to its realism. There is no need to discuss the vertical structure of the book at length, since this has been well described by many critics, most recently by Adaline Glasheen in her Census of Finnegans Wake, but in outline it is as follows. Finnegans Wake is a dream, but who is the dreamer? It may be Joyce himself, dreaming about his own life and his relationships with his wife and children. It may be Joyce's father dreaming about his encounter with a tramp in Phoenix Park and of his many falls from grace, and retelling in his sleep his favorite stories about the Norwegian captain and how Buckley shot the Russian general. It may be a fictitious Dublin publican, by name possibly Porter (560) rather than Earwicker, whose unconscious mind weaves his obsessions into a fantastic narrative. Or it may be the dreams of all three at once—we are never allowed to be sure—combining to produce the symbolical figures of H. C. Earwicker and his family. Earwicker's central story is the incident involving two girls and three soldiers, in which he seems to have acted as voyeur or exhibitionist; Earwicker himself dreams, transforming this story into the history of Everyman. Earwicker's Fall is paralleled throughout myth, legend, and history by many "types," and around them an epic of mankind is related. Joyce uses the medieval system of "types," drawn from the interpretation

26

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of the Old Testament. Thus, according to the medieval theologians, Adam is a type of Christ, because the creation of Eve from his side during sleep prefigures Christ's Passion; Jonah and the whale correspond to the Resurrection; Noah's ark is a type of the Church; and so on through every biblical character. Earwicker, the symbolic hero of Finnegans Wake, has as his types first Joyce himself, Joyce's father, the Dublin publican, then Adam, Noah, Oedipus, Odysseus, King Arthur, King Mark, Swift, Lewis Carroll, to name only a few. Each type appears according to the role Earwicker is assuming at a particular point in the narrative, whether of patriarch, cuckold, or old man in love. The twin sons have as their types Ormuzd and Ahriman, Cain and Abel, Jacob and Esau, and so on. Just as in the cycle of history father is superseded by son, so Earwicker is at certain moments transformed into one of his sons, and there is a rearrangement of the correspondences. In this allegorical pattern, some of the types are drawn from songs, as we shall see: in particular, Humpty Dumpty, Brian O'Linn, and Finnegan the bricklayer, who fell, died, and was resurrected. So much for the vertical structure of the book. The horizontal structure, by which the flow of narrative is regulated, with its digressions, transformations, and stylistic polyphony, can best be described in musical terms. The early appearance of the first phrase of the Liebestod from Tristan und Isolde (Act II, scene iii, "Mild und leise wie er lächelt, wie das Auge hold er öffnet," cf. "Meldundleize," 18) proclaims not only that Tristan and Isolde are to be characters in the story but also that the Wagnerian technique of leitmotiv is going to be followed. A character appears in a particular aspect by being reincarnated into one of the "types," speaking with a new voice like a "control" taking possession of a medium in a séance, or like a part of a dissociated personality asserting itself in hysteria or hypnosis. (These are not casual figures of

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27

speech, for Joyce makes great use of reincarnation, spiritualism, and split personalities.) When a "type" is about to be materialized, its coming is announced by the faint and obscure sounding of motifs associated with that type: thus Swift may be heralded by scraps from the Journal to Stella, Lewis Carroll by puns on Alice, looking glasses, etc. When a "type" has become the main subject of the narrative, the allusions to him are thickened, the leitmotivs are stated more openly; and after he has begun to fade, a few themes may linger on. T o change the metaphor, a character-type acts as a magnet, attracting allusions like iron filings in its field, a field which may extend through several paragraphs or pages in either direction. Hence it is to be expected that songs, like Shakespearean quotations, will come not in single spies but in battalions, spread out over passages of varying length, and with each group announcing the presence of a corresponding character. Songs are, however, more closely associated with the basic themes of the book (the cycle of life, death, the wake, resurrection, exile and return, flight and pursuit, and others) than with its characters. By repetition, a song becomes established as a means of stating one of these recurrent themes. II. About two dozen of the songs, from all the kinds we have surveyed, are used thematically: they are quoted at intervals throughout the narrative, each representing a basic motif. The hero, who is the dying god, is ritually murdered to the tune of Who killed Cock Robhi? The Four Old Men are "the birds of the air": "All the birds of the sea. . . . all four of them, all sighing and sobbing" (383, 384). The hero is then ritually dismembered and eaten in communion to the refrain of Johnny, I Hardly Knew Ye (whose hero comes back from the wars with most of his anatomy missing) and Hooligan's Christmas Cake. The refrain "There was guns and drums and drums and guns" is part of the Wake music:

28

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" T h e r e was plumbs and grumes" beaunes"

(58),

IN

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( 6 ) , "Swiping rums and

" T h e y were plumped and plumed"

(288),

" w i t h his drums and bones and hums in drones y o u r innereer'd heerdly heer he" ( 4 8 5 ) . T h e merriment of the W a k e is symbolized by Phil the Fluter's

Ball:

W i t h the tootle of the flute and the twiddle of the fiddle, O! Hopping in the middle like a herring on a griddle O! Up, down, hands-aroun', crossing to the wall, Oh! hadn't w e the gaiety at Phil the Fluter's Ball! becomes " T e e the tootal of the fluid hang the twoddle of the fuddled, O ! " (6, the first and fullest description of the W a k e ) . "hopping round his middle like kippers on a griddle, O " ( 1 2 ) . "when Marie stopes Phil fluther's game to go. A r m s arome, side aside, face into the wall. T o the tumble of the toss tot the trouble of the swaddled, O . " (Shaun is giving advice out of a handbook on sex b y Dr. Stopes, 444.) " f o r addn't w e to gayatsee with Puhl the Punkah's bell?" (297), etc. T h e line from Phil the Fluter's

Ball, " A n d they all joined

in with the utmost joviality," is quoted on pages 6, 58, and 3 5 1 . T h e flute is an obvious phallic symbol for Finnegan's "rise," as is the horn that " w o k e me from m y bed" (Do Ye Ken

John

Peel?, quoted often, particularly in Book III, chapter 3 ) . A t this point the dead giant revives, to the words " Y o u r souls to the devil, did y e think me dead?" from the ballad gan's

Wake.

The

volcanic energy of the resurrected

breaks up society, and the Viconian

cycle

moves

Finnehero on to

Doomsday. " A n a m muck an dhoul! Did ye drink me doornail?" (24). "Animadiabolum, mene credidisti mortuum?" (74, the Writing on the W a l l ) . " T o Mezouzalem with the Dephilim, didits dinkun's d u d ? " (258). " Y o u r sow to the duble" (297). " Y o u r sows tin the topple, dodgers, trink me dregs!" ( 3 2 1 ) .

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Finnegan's Fall (the fall of Lucifer, Adam, the Master Builder) is most commonly represented by Humpty Dumpty, but also by a street ballad and nursery rhyme called Brian O'Linn: Brian O'Linn, his wife and wife's mother W e r e all going home o'er the bridge together. T h e bridge it broke down, and they all tumbled in, " W e ' l l go home by water," says Brian O'Linn.

This is also used for the theme of clothes and disguises (Sartor Resartus): Brian "had no breeches to wear,/ He got an old sheepskin to make him a pair," etc. Probably The Rocky Road to Dublin, another street ballad often quoted, represents the via cruris, since Joyce indicated that chapters 1 and 2 of Book III (the original book of "Shaun") were based on the fourteen Stations of the Cross, and all roads lead to Dublin. At Trinity Church I Met My Doom, the music-hall song quoted in chapter 1 above, is the theme song of the Earwicker couple's married life, though the context makes us take the words "Trinity," "Church," and "Doom" at their full value. Another trinity appears in A. P. Graves's Father O'Flynn ("Slainte and slainte and slainte again") where it is usually combined with the Trisagion, "Sanctus, sanctus, sanctus." Political strife in divided Ireland is symbolized by Lilliburlero on one side, and The Wearing of the Green and The Shan Van Vocht on the other. The theme of the Irish in exile, whether of the Wild Geese in the seventeenth century or the peasants of the nineteenth, is introduced by The Girl I Left Behind Me, The Lament of the Irish Emigrant, Off to Philadelphia in the Morning, and, with the complementary theme of return from exile, by Come Back to Erin and It's a Long Way to Tipperary. The alternation of Irish politics between torpidity and violent activity, and the duality of the whole story is suggested by lines of The West's Awake ("The West's asleep. . . . The West's awake!"). Each character is associated with a particular song or group

30

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of songs: the servant Kate mutters music-hall songs in the kitchen, the Four Old Men wheeze out Auld Lang Syne (the basic motif of their chapter of memories, Book II, chapter 4) and the drinking song One More Drink for the Four of Us: Glorious, glorious! One keg of beer f o r the four of us! G l o r y be to G o d there are no more of us, F o r the four of us will drink it all alone.

This is often used in passages describing the Last Supper or the Communion celebrating the hero. The "four of us" are Matthew, Mark, Luke, and John, the four judges, the four masters of Ireland, the four elements, winds, etc. Sinister and drunken Struldbrugs, they are no longer clear what they are celebrating. Earwicker's Fall is, of course, Humpty Dumpty's; Earwicker is also the old fox, hunted down to the tune of Do Ye Ken John Peel? Balfe's Then you'll remember me, which begins "When other lips and other hearts," is a theme associated with Anna Livia, evoking sentimental memories "of days that have happy been." It has a last echo in her final monologue, "mememormee . . . Lps," where her words have a coquettish wistfulness: the young seductress is not entirely lost in the tired old wife and mother.3 The Three Soldiers march off to war to the tune of Tramp, Tramp, Tramp, a song of the American Civil War which also provides the air of God Save Ireland. "Ramp, ramp, ramp, the boys are parching" (78) suggests rampaging, long thirsty marches, and the reason Wellington's soldiers enlisted. "And vamp, vamp, vamp, the girls are merchand" (246) defines woman's part in war as seducing and selling. Both are combined on page 340, where Brian Boru, who led the Irish against the Danes, is compared with Samson as a military leader; "For he devoused the lelias on the fined and he conforted samp, tramp and marchint ' See Mabel P. Worthington, "ALP's Farewell," X I V (May, 1956).

The Explicator, Vol.

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out of the drumbume of a narse." Shem alone of the characters seems to have no particular song linked with him: he is the lawless, unmusical rebel, "That mon that hoth no moses in his sole" (167.36). Shaun, on the other hand, is so closely associated with music that he deserves discussion on a later page. A major philosophic motif of the book is Unity and Multiplicity. Every character splits into a number of other characters or assumes multiple personae; the whole history of the world grows out of one man's dream; we live in the expanding universe which started as one point in space. Joyce echoes Hamlet's lament, "O God! I could be bounded in a nut-shell, and count myself a king of infinite space, were it not that I have bad dreams" in "Omnitudes in a knutshedell" (276, margin) and "Allspace in a Notshall" (455.29).® Several cumulative nursery rhymes, which suggest that one thing grows out of another until everything in the universe is linked, reinforce this motif. There is The House That Jack Built, and a jingle of the same pattern, the a of the b of the c, etc. (Cf. The Wild Man from Borneo Has Just Come to Town.) But the most important of these rhymes is "As I was going to St. Ives,/ I met a man with seven wives,/ And every wife had seven . . . etc." Just as Isabel develops a dissociated personality and turns into first seven and then twenty-eight other girls,6 so the white light of the sun is broken up into the seven colors of the rainbow. The rainbow, introducing as it does Noah and God's covenant, Arthur Rimbaud and his sonnet on the colors of vowels, and other themes, appears throughout 4

See Mabel P. W o r t h i n g t o n , "American Folk Songs in Joyce's Finnegans Wake," American Literature, X X V I I I (1956), 203. " Hamlet, IIii.260. See H o d g a r t , "Shakespeare and Finnegtms Wake," Cambridge journal, V I (1953), 742. * See Adaline Glasheen, A Census of Finnegans Wake (Evanston, 111., 1956), s.v. Beauchamp, Issy, Prince; and her article "Fiimegans Wake and the Girls f r o m Boston, Mass.," Hudson Review, VII, 89-96.

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the book until the great debate at the end between St. Patrick and Berkeley the Arch-Druid, when the One is finally victorious over the Many, and Day over Night. The most lyrical statement of this motif occurs at the end of Book I ("Anna Livia Plurabelle," 215): H a d n ' t he seven dams to w i v e him? A n d every dam had her seven crutches. A n d every crutch had its seven hues. A n d each hue had a differing cry. . . . H e married his markets, cheap b y foul, I know, like any Etrurian Catholic Heathen, in their pinky limony creamy birnies and their turkiss indienne mauves. . . . but h o w multy plurators made eachone in person?

The restoration of Unity after Multiplicity ("harmonise your abecedeed responses?," 140) is announced by the chimes of Father Prout's The Bells of Shandon. As an example of the way Joyce develops a song-motif throughout the book, one can take Home, Sweet Home, which occurs at least ten times. Joyce uses the word "home" to refer literally to the house of the Earwickers (who in Book III, chapter 4, are also known as the Porters), since Finnegans Wake is on one level a domestic drama. "Home" also refers to the spiritual home, the Church: as Shaun admonishes his lapsed brother, " N o martyr where the preature is there's no plagues like rome" (465). It also refers to our last home, the grave (humus). And it refers to our first home, the womb. The paragraph on pages 79-80 deals with a mound of earth which is the world (full of relics of the past, guarded by woman), the tomb, and also the bed in which the All-Father and his woman were making love when the thunderclap announcing the end of a cycle was heard.7 Here, "where race began . . . the first babe of reconcilement is laid in its last cradle of hume sweet hume." The union of two opposites (woman is here earth; cf. page 137, "his father presumptively 'Joseph Campbell and Henry Morton Robinson, A Skeleton Key to Finnegans Wake (New York, 1944), p- 76n.

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ploughed it deep") results in the child. For Joyce, the child reconciles the man and the woman, making them one, and ending for them and for the time being the battle of the sexes. At the same time, by creating children the parents pronounce their own doom, for the children will succeed them. In time, the children will return to "hume sweet hume," replaced by their children. On pages 493-94 Anna Livia is testifying about the scene in the park, which she describes in terms of the heavenly constellations: "there was that skew arch of chrome sweet home, floodlit up above the flabberghosted farmament and bump where the camel got the needle." That is, the story of H.C.E.'s Fall is an archetypal story, written in the heavens. Chrome suggests "Cronos," the first father supplanted by his sons; and also "yellow" and the age of gold; as well as the modern home. The story of mankind has repeated itself over and over again down through history, and it has been a domestic drama of man's sin and fall and his succession by his sons. On page 609 our guide through the history of man sums it all up neatly: "It was allso agreenable in our sinegear clutchless, touring the no placelike no timelike. . . ." The book has been about Everyman, not limited by the accidents of space and time, and our tour has never left home. John Brown's Body is used in illustration of the theme of the cycle. The father dies, but lives on through his sons. In his speech of self-defence H.C.E. reiterates this truth: "Shaum Baum's bode he is amustering in the groves while his shool comes merging along!" (364). The distortion of the name indicates that it is the Irishman, the Jew, the German, as well as the American, who both die and continue to live. "Baum" means tree, while "groves" is also a reminder of H.C.E. as the tree of life (cf. Woodman, Spare That Tree!, 42 and 77). Again, "Shaum Baum's Bode" echoes The Shan Van Vocht ("Poor Old Woman," or Ireland): the female principle, and the nation, also persist. "Along" instead of "on" at the end

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suggests Old Man River, who "just keeps rolling along." Another adaptation of John Brown's Body, on page 415, announces a leading theme of the book: "O'Cronione lags acrumbling in his sands but his sunsunsuns still tumble on." Chronos, or Time, is falling to pieces, but his sons, or the days, still tumble on. This sentence, with its images of crumbling and tumbling, suggests not only a decrepit old man and his disorderly children, but also an old civilization, as described by Yeats in "The Second Coming," and the last days of that civilization, repetitiously chaotic. Jovce, in his apparently repetitive and chaotic book, mirrors those days, his days and ours. III. These are the more important leitmotivs of the book and the principal meanings that cluster round each of them. Joyce does not, however, use songs solely as leitmotivs, nor is Finnegans Wake to be understood merely as a fragmentary collection of themes, repeated over and over again. The chaos is only on the surface: each episode turns out to be a complete and ordered narrative, and the story moves steadily toward its climax. In each episode songs and music are used to keep the narrative moving, as well as to sound the innumerable overtones which go to make up the poetic meaning of the book. W e shall try to demonstrate this by the analysis of a passage from Book II, chapter 3 (359-60), which contains not only several songs but a great many references to musicians, and an evocation of bird-song, by allusion and by onomatopoeia.8 Page 359 31

W e are now diffusing among our lovers of this sequence (to you! to y o u ! ) the dewfolded song of the naughtingels (Alys! Alysaloe!) from their sheltered positions, in rosescenery haydyng, on the heather side of waldalure, Mount Saint John's, ' A n earlier version of this analysis appeared in M. J. C. Hodgart, " W o r k in Progress," Cambridge Journal, V I (1952), 28-31.

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Jinnyland, whither our allies winged by duskfoil from Moore36 parque, swift sanctuary seeking, after Sunsink gang (Oiboe! Page 360 1 Hitherzither! Almost dotty! I must dash!) to pour their peace in partial (floflo floreflorence), sweetishsad lightandgayle, twittwin twosingwoolow. Let everie sound of a pitch keep still in resonance, jemcrow, jackdaw, prime and secund with their terce that 5 whoe betwides them, now full theorbe, now dulcifair, and when we press of pedal (sof!) pick out and vowelise your name. A mum. You pere Golazy, you mere Bare and you Bill Heeny, and you Smirky Dainty and, more beethoken, you wheckfoolthenairyans with all your badchthumpered peanas! W e are gluck10 glucky in our being so far fortunate that, bark and bay duol with Man Goodfox inchimings having ceased to the moment, so allow the clinkars of our nocturnefield, night's sweetmoztheart, their Carmen Sylvae, my quest, my queen. Lou must wail to cool me airly! Coil me curly, warbler dear! May song it flourish (in the 15 underwood), in chorush, long make it flourish (in the Nut, in the Nutsky) till thorush! Secret Hookup. T h e first draft (British Museum Additional M S S 47480, f. 155) went as follows: W e are now diffusing among our wordless lovers of this sequence (to you! to you!) the dewfolded song of the naughtingels (Alys! Alysaloe!) from their sheltered positions, in rosescenery haydyng, on the heather side of waldalure, Mount Saint John's, whither our allies winged by duskfoil after Sunsink gang (Oiboe! Hitherzither!) to pour their peace in partial. Let everie sound of a pitch keep still in reasonance. You pere Golazy, you mere Bare, and you Bill Heeny, and you Smirky Dainty and, more beethoken, you wheckfoolthenairyans with all your badchthumpered peanas! W e are gluckglucky in our being fortunate that, bark and bay duol with Man Goodfox inchimings having ceased for the moment, so allow the clinkars of our nocturne field, night's sweetmoztheart, their Carmen Sylvae. May song it flourish (in the underwood), in chorush, long make it flourish (in the Nut, in the Nutsky) till thorush! Secret Hookup. In this chapter, H. C. Earwicker dreams that he is in his tavern, serving drinks to his hostile customers, w h o constitute the jury trying him for his real and imaginary crimes. T o

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escape from his persecutors and hunters ( H . C . E . is throughout an old f o x ) he transforms himself into a British Broadcasting Company announcer, introducing a live broadcast of the nightingales' song from a secret place ("Secret H o o k u p " ) , as was often done in the early days of radio; and later into the nightingales themselves. T h e main technique in this chapter is that of the radio broadcast. W e have already been given a weather forecast, a television comic act, and a horse-racing commentary: here w e have the dance music which used to be relayed every night when J o y c e listened in, during which the song of the nightingales was sometimes put on the air, often induced b y the playing of a cello. Unfortunately for H . C . E . , the announcer and the nightingales merely repeat once more the painful old story of his encounter with the two temptresses in Phoenix Park, when he seems to have acted as a Peeping T o m ; and this encounter is in turn a symbol of the incest theme, introducing his daughter Isabel and her "double" in various disguises. On page 361, just after this passage, they appear as "his t w y Isas," the t w o girls associated b y J o y c e with Lewis Carroll, a favorite persona

of H . C . E . T h e

cus-

tomer-jurymen are not deceived by H.C.E.'s disguises, since they recognize his stammering voice:

" W c knows his ven-

truquulence" ( 3 6 0 . 2 1 ) . On another level of symbolism, the nightingale stands for immortality, as in Keats's Ode, and thus reinforces the resurrection myth that is a basic theme of Finnegans

Wake.

There are references to the Elysian Fields,

particularly at the end of the passage, which brings in the Egyptian Book

of the Dead,

itself usually associated with

Lewis Carroll in J o y c e ' s work. T h e quotation most relevant to the situation is one from A

Midsummer

Night's

Dream,

a play

used elsewhere

by

J o y c e . N i c k Bottom, before he is "translated," talks of disguising his voice, as H . C . E . does: "I will roar you as 'twere any nightingale."

A s is typical of J o y c e , this quotation is not

given, but strongly suggested by other references to the play:

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"Let everie sound of a pitch keep still" ("Come, sit down, every mother's son and rehearse your parts," M.N.D., Ill.i); "pick out and vowelize your name. . . . You pere Golazy" ("Read the names of the actors. . . . You, Nick Bottom," M.N.D., I.ii; and the stumbling over the names is similar). Since the passage is above all about music, Joyce introduces several songs, and puns on the names of many musicians. So much for the general situation; what follows is an attempt to explain as many of the details as possible: 31. "Diffusing": "Radio-Diffusion," and the diffusing of H.C.E.'s personality. The first draft reads " T o our wordless lovers," i.e. "wireless." "Sequence": pursuit of the girls. " T o you!": the nightingale's "tereu" and an owl. 32. "Dewfolded": the twofold Temptresses, naughty girls, whose names follow. One of them is Lewis Carroll's Alice; also Alice Delysia, a famous beauty (cf. "Elysian fields," alluded to below). 33. Rossini and Haydn. 34. "Waldalure" suggests Waterloo, Valhalla (immortality), and possibly the "Wald-weben" of "Forest Murmurs" from Wagner's Siegfried. 35. "Jinnyland": The two girls are "Jinnies" in Book I, chapter 1, which introduces the Waterloo theme and the three soldiers; also Jenny Lind, "the Swedish nightingale." "Allies": Alice, and the soldiers who discover H.C.E.'s misdemeanor in the park. "Duskfoil": fall, feuille, leaf. "Mooreparque . . . swift": Moor Park house, where Jonathan Swift met the first of his two girls. 36. "Sunsink": sunset and Dunsink observatory, the Irish Greenwich. "Gang": gun, go. "Oiboe!": oboe, Oh boy! and Evoe! the cry of the Bacchic women. At this point there is interference on the air, from the Morse code ("dotty . . . dash," 360.1), voices of the two girls. 360.2. "Floflo floreflorence": H.C.E.'s stammer, which al-

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ways gives him away, and Florence Nightingale. "Sweetishsad": Swedish (Jenny Lind), sweet and sad. "Lightandgayle": nightingale, light and gay, night and day: in a series of opposite pairs we have the theme of the conflicting twins ("twittwin"), Shem and Shaun. At this point an owl's "tu-wit tuwoo" interrupts the broadcast, as it often did, and the angry radio announcer tells the son of a bitch to keep quiet. 3. "Twosingwoolow": the owl (Love's Labour's Lost, V.ii) and titwillow (Gilbert and Sullivan, The Mikado, II). Other birds of the air join in counterpoint, singing Mass at the canonical hours of Prime and Terce. (Cf. As You Like It, V.iii, "For love is crowned with the prime/ In the spring time, the only pretty ring time,/ When birds do sing, hey ding a ding a ding.") 4. "Terce": tercel hawk, also the Three Soldiers. "Jemcrow, jackdaw": Shem and Shaun. 5. "Full the orb, now dulcet fair" (Moore's Fill the bumper fair); filthy and fair; theorbo and dulcimer. 6. Crows pick out eyes (vowel/ze); loud and soft pedal (cf. resonance, line 3); Peter Quince now calls the names of the actors, who are all musicians. 7. "Pere Golazy": Pergolesi, and also Balzac's Pere Goriot, who had two troublesome daughters. 7-9. Meyerbeer, a mere bear, Bellini, Mercadante, Beethoven, with the Irish phrase "more by token." "Wheckfoolthenairyans": cf. 42.1, "the trio of whackfolthediddlers," and probably Wagnerians. 9. "Badchthumpered peanas": Bach's Well-Tempered Clavichord, piano, paeans; also introducing the chthonic or Underworld theme, as well as several of the erotic double-entendres in which this passage abounds. "Gluckgluckv": lucky, the nightingale's "glug-glug," H.C.E.'s stammer, and Gluck's Elysian Fields in Orpheus. 10. "Bark and Bay": Bach and Beethoven, dark and day, the

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cry of the hounds pursuing the old fox H.C.E. Duol: duet, sorrow, duel. 11. "Man Goodfox": "Goodman Fox" is a frequent but obscure theme in the book, always as here associated with a bell; probably combined with the 1930s jazz of R o y Fox and Benny Goodman and possibly also with the film My Man Godfrey. 12. "Clinkars": Glinka, the birds' song, the rattling of tramway cars in the distance (cf. line 13, Carmen). "Nocturnefield": John Field, Irish composer of nocturnes, and Elysian Fields. "Sweetmoztheart": the dance tune Goodnight, Sweetheart, Mozart (there is perhaps a reference here to the Queen of the Night's aria in The Magic Flute). 13. "Carmen Sylvae": song of the wood; Bizet's Carmen; the pen name of Queen Elizabeth of Rumania; the air "Care selve" ("dear woods") in Handel's Atalanta. " M y quest, my queen": aria from Verdi's Rigoletto, "Questa o quella" ("this or that," a theme associated with the T w o Girls); and the Victorian song My Queen. 14. "Coil me curly," as the early worm said to the bird. 15. "Underwood": underworld, and a make of typewriter, associated throughout Finnegans Wake with Swift's Stella and with Barrie's play The Twelve Pound Look. The end of the passage is based on prayers from the Egyptian Book of the Dead. For example: 16. "Secret Hookup": Sekhet-Hetep, the Field of Peace, equivalent of the Elysian Fields, a part of which was the Field of Reeds. Hence "chorush, thorush": a chorus of thrushes, rushes, and the god Horus. "Nutsky": Nut is the sky goddess, who lays the cosmic egg; daughter of the god Atem, always linked by Joyce to Lewis Carroll by a secret hookup. The rhythm at the end is that of God Save the Queen, ending the radio program for the night. We cannot claim to have traced all the references or ex-

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plained all the deformations of words in the passage, and we may have missed puns that strike other readers as obvious. But the above should be enough to show that the paragraph is a shimmering web of associations, the main strands of which are young girls, bird-song, radio, opera, musicians, midsummer-night-dreamings, and immortality. All the major themes of the book are sounded in it, and most of the characters appear. It is at once a dramatic episode in the revelation of H.C.E.'s secret and a microcosm of the whole book, unified bv an exquisitely sustained lyrical phrasing that suggests bel

canto. IV. A detailed analysis, such as we have given, shows that it is possible to understand a large part of Joyce's meaning; that his allusions are not all highly learned or peculiarly Irish; and that one of the most useful aids to reading Finnegans Wake is a grasp of modern popular culture, such as the press, advertisements, radio, low jokes, and most of all songs. Here are several somewhat less full exegeses of other passages, which show how a knowledge of the song allusions can lead toward a deeper understanding of Joyce's meaning. 1j 15

20

25

Page 6.13-28 Shize? I should shee! Macool, Macool, orra whyi deed ye diie? of a trying thirstay mournin? Sobs they sighdid at Fillagain's chrissormiss wake, all the hoolivans of the nation, prostrated in their consternation and their duodisimally profusive plethora of ululation. There was plumbs and grumes and cheriffs and citherers and raiders and cinemen too. And the all gianed in with the shoutmost shoviality. Agog and magog and the round of them agrog. T o the continuation of that celebration until Hanandhunigan's extermination! Some in kinkin corass, more, kankan keening. Belling him up and filling him down. He's stiff but he's steady is Priam Olim! T w a s he was the dacent gaylabouring youth. Sharpen his pillowscone, tap up his bier! E'erawhere in this whorl would ye hear such a din again? With their deepbrow fundigs and the dusty fidelios. They laid him brawdawn alanglast bed. With a bockalips

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of finisky fore his feet. And a barrowload of guenesis hoer his head. T e e the tootal of the fluid hang the twoddle of the fuddled, O!

13. Sighs? I should say! "Shee" also suggests sidhe (a fairy, the "banshee," a fairy host, a whirlwind) and Kitty O'Shea, connected with the fall of Parnell. "Macool, Macool, orra whyi deed ye diie?" echoes the lament of Miss Biddy O'Brien in the Ballad of Finnegaris Wake: "Arrah! Tim Avourneen, an' why did ye die?" There is also an echo here of a line from Pretty Molly Brannigan, a song Joyce's daughter-in-law, Mrs. Helen Joyce, says he was very fond of. The mock-heroic song tells how Molly has left the singer "alone for to die." The final stanza goes: I'm hot and determined as a live salamander, ma'am, W o n ' t you come to my wake when I go the long meander, ma'am? Oh! I'll feel myself as valiant as the famous Alexander, ma'am, W h e n I hear you crying 'round me: "Arrah! why did you die?"

The line also identifies Finnegan with Finn MacCool, the Irish giant. 14. "Of a trying thirstay mournin" echoes the nursery song and game Here we go round the mulberry bush, with its stanzas describing the week's cycle of activity ("This is the way we wash our clothes," etc.). Thursday is the day of Thor the Thunderer (cf. the thunderclap). Also, in another nursery rhyme, Monday's child is fair of face, "Thursday's child has far to go" (the via crucis theme). The hero dies in a thirsty time, when the world is a wasteland. And of course Finnegan was fond of his drink and fell because his head was less clear than it might have been. We die of too much living. "Mournin" says that Finnegan's death was a cause for mourning, and "Sobs they sighdid" echoes Who killed Cock Robin?: "All the birds of the air/ Fell a-sighing and a-sobbing/ When they heard the bell toll/ For poor Cock Robin." "Fillagain" links Finnegans Wake with Phil the Fluter's Ball, and anticipates references to Percy French's song.

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16. "Duodisimally": duodecimal, the twelve (mourners, communicants). 17-18. "There was plumbs and grumes . . ." echoes Johnny, I Hardly Knew Ye, in which Johnny comes home from the wars—or that part of him that's left: " O c h , Johnny, I hardly knew ye! W i t h drums and guns, and guns and drums T h e enemy nearly slew ye; M y darling dear, you look so queer, Och, Johnny, I hardly knew y e ! "

"Plumbs and grumes" suggest the plumes and groans of the mourners. The passage also echoes a music-hall song entitled Hooligan's Christmas Cake: There were plums and prunes and cherries, Raisins and currants and cinnamon too; There were nuts and cloves and berries, But the crust of it was nailed on with glue; There were carroway seeds in abundance, T w o u l d give you a fine headache ' T w o u l d kill any man twice T o be eating a slice Of Hooligan's Christmas Cake. 9

The juxtaposition of the comic and the tragic is common in much Irish literature; it is inherent in the idea of the wake, that combination of solemnity and merrymaking described in the ballad that gave Joyce the title for his book. The whole passage is full of a wonderful hilarity. 18-19. "And the all gianed in with the shoutmost shoviality" paraphrases a line from Phil the Flutefs Ball: "And they all joined in with the utmost joviality." "Agog and magog" suggests the two brothers, and "agrog" explains itself. 20. "Hanandhunigan" suggests Lannigan's Ball, another song describing a rough-and-ready party given by a man " W e are indebted for this identification to Dominic Behan, whose father knew the song.

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whose father has died and left him "a farm and ten acres of ground"; also, Harrigan, the Irish-American music-hall singer. 22-23. "He's stiff but he's steady is Priam Olim!" The Irish song Brian O'Linn is adapted from an old nursery song Tom O'Lin. Brian has many foolish accidents, but always makes a comeback; his will to live is indestructible. He is identified here with the king of Troy; Priam died, but his sons lived and founded Rome. "Olim" is a word Joyce must have liked, since it means both "in times past" and "in times to come." The word may also be meant to remind the reader of Aeneas' words to his companions, "Forsan et haec olim meminisse juvabit," "Perhaps some day we may find pleasure in remembering even these things." The death of the old is cause for rejoicing as well as sorrow. Brian brings to mind Brian Boru, King of Ireland; Ireland was conquered by the British as Troy by the Greeks (cf. "Our so much loved Dublin, the Troy of towns," 448). In a later passage we read that "London Bridge is fallen down, but Grania's breed's abroad" (58). Grania is Ireland; presumably her children abroad (mainly in America) will carry on the fight and make America a new Rome. 23. "Gaylabouring youth" suggests The Bonny Labouring Boy and a line from Barneby Finnegan. 24. "Pillowscone": Stone of Scone; Stone of Destiny; Liam Fail. "Tap up his bier": tap the beer barrel, top up his glass ("put a head on it"). "E'rewhere": Butler's Erewhon. "Whorl": world and cycle. 25. "Deepbrow fundigs": De Profundis (Joyce's second draft read "For hold hangsigns and the thirsty fidelios"— "For auld lang syne . . ."). "Dusty fidelios": Adeste Fideles, Beethoven's Fidelio, "Golden lads and girls all must/ Like chimney sweepers come to dust" (Cymbeline). 26-27. Paraphrase of a line from the Ballad of Finnegan's Wake:

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T h e y rolled him up in a nice clcan sheet. A n d laid him out upon the bed, W i t h a gallon of whiskey at his feet, A n d a barrel of porter at his head. "Bockalips"

("Apocalypse")

and "Guenesis"

("Genesis"

as

well as Guinness's stout) suggest end and beginning; in V i c o , the end of one cycle is the beginning of another.

30

3j 36 1

5

io

15

20

Pages 57.30 to 58.22 Page 57 Y e t certes one is. E h e r the following winter had overed the pages of nature's book and till Ceadurbar-atta-Cleath became Dablena Tertia, the shadow of the huge outlander, maladik, multvult, magnoperous, had bulked at the bar of a rota of tribunals in manor hall as in thieves' kitchen, mid pillow talk and chithouse chat, on Marlborough Green as through Molesworth Fields, here sentenced pro tried with Jedburgh justice, there acquitted conPage 58 testimony with benefit of clergy. His T h i n g M o d have undone him: and his madthing has done him man. His beneficiaries are legion in the part he created: they number up his years. Greatwheel Dunlop was the name was on him: behung, all we are his bisaacles. A s hollyday in his house so was he priest and king to that: ulvy came, envy saw, ivy conquered. Lou! Lou! T h e y have waved his green boughs o'er him as they have torn him limb f r o m lamb. F o r his muertification and uxpiration and dumnation and annuhulation. W i t h schreis and grida, deprofound souspirs. Steady, sullivans! Mannequins pause! Longtong's breach is fallen down but Graunya's spreed's abroad. Ahdostay, feedailyones, and feel the Flucher's bawls f o r the total of y o u r flouts is not fit to fan his fettle, O! H a v e a ring and sing wohl! Chin, chin! Chin, chin! A n d of course all chimed din width the eatmost boviality. Swiping rums and beaunes and sherries and ciders and negus and citronnades too. T h e strongers. Oho, oho, Mester Begge, you're about to be bagged in the bog again. Bugge. But softies seufsighed: Eheu, f o r gassies! But lo! lo! by the threnning gods, human, erring, and condonable, what the statues of our kuo, w h o is the messchef be our kuang, ashu ashure there, the unforgettable treeshade looms up behind the jostling judgements of those, as all should owe, malrecapturable days.

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An early draft in the British Museum: Y e t certain one thing is that ere the following winter had turned the leaves of the book of nature the shadow of the huge outlander had bulked at the bar of thrice a hundred tribunals in manor hall as in thieves' kitchen, here sentenced ere trial with Jedburgh justice, there acquitted against evidence with benefit of clergy. Big, human, erring and forgiveable, the unforgettable shade looms up behind the varying judgments of those unrecapturable days.

This passage deals with the trial and death of one of the manifestations of the archetypal guilty man. The death is described in terms of primitive ritual. 57.36. "Pro": Pro-Cathedral, Dublin. "Jedburgh justice" means trial after execution. 58.1. "Thing": Danish Parliament. "Mod": Moot: AngloSaxon Parliament. 2-3. The death of the old king leaves the world to his sons, who will reenact the father's role; reference to Swift's madness and his benefaction, to found a lunatic asylum. 3. Swift wrote a poem, "The Legion," attacking the Irish Parliament. St. Mark V : 9 : " M y name is Legion, for we are many." Psalm 90: "Teach us to number our days." ("His number's up.") 4. "Dunlop" is a make of automobile and bicycle tires. "Bisaacles": Isaac, son of Abraham. 5-6. The Holly and the Ivy is a Christmas song, as well as a nursery song about a father's legacy to his son ( " M y father left me three acres of land") and the cycle of activity of the son ("I plowed it . . . and sowed it. . . . I harrowed it . . . and reaped it. . . ."). Cf. Frazer's Golden Bough: the ritually murdered priest-king. Caesar's "I came, I saw, I conquered." 6-7. "They have waved his green boughs o'er him" links the ritual death of the hero with the fall of the man who has died fighting for Irish freedom. The soldier in the Irish song Wrap the Green Flag Round Me says that though his body

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will moulder, his spirit will be on the battlefield with his comrades. 7. Reference to Christ the sacrificial lamb. 8-9. The words ending in -ation announce the presence of the Twelve (mourners, jury, communicants); the four ages. 9. De Profundis; the sighs and cries (in German, Italian, and French) suggest Who killed Cock Robin? (See above.) 1 0 - 1 1 . "London Bridge is falling down": London (the male principle, here) is finished, but Ireland's breed's abroad. Also the passage celebrates woman as the carrier on of life. She spreads the board at the Wake. (See page 7, "Grampupus is fallen down but grinny sprids the boord.") 11. Adeste Fideles continues this idea of the feast at the Wake and links the death of the god with the birth of Christ. 1 1 - 1 4 . These lines, parodying the title and lines ("With the toot of the flute and the twiddle of the fiddle, O ! " ) of Phil the Filter's Ball, seem to indicate the superiority of the old king over the incumbents. 13. The "Magazine Wall" theme. 14. Phil the Fluter's Ball: ("And they all joined in with the utmost joviality"). "Boviality" suggests the sacrifice of the bull and the greedy bestiality of the inheritors: a new stage begins with barbarians, as Joyce says later (373-80). 14-15. Suggestion of Johnny, / Hardly Knew Ye and Hooligan's Christmas Cake. 16-17. Cf. page 5, "Hohohoho, Mister Finn, you're going to be Mister Finnagain! Comeday morm and, O! you're vine! Sendday's eve and, ah, you're vinegar! Hahahaha, Mister Funn, you're going to be fined again!" The death and rebirth theme. 18. Horace's "Eheu, fugaces." Passing of time and inevitability of death theme. "Gassies": Ghezi Power (see Adaline Glasheen, Census). 21. References to Joshua, Judges.

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Pages 209.18 to 212.19 The passage describes Anna Livia as river, as mother, and as gift giver. There are at least sixty-six rivers referred to in this passage. The whole section is extremely rhythmical, the most pronounced pattern being the iambic tetrameter, varied by anapests and trochees, and often in two-line units. See, for example, pages 209.24-31; 210.20-33 (note internal rhymes also); 211.8—11; 211.36 to 212.5. Anna rushes about, fast as a train (209.22-23: reference to Chattanooga Choo Choo, a popular song of the early 1930s). She goes "arundgirond" and "aringarouma" (209.18), "aringarung" (210.3). The references are to Ring a-ring 0' Roses, one of A.L.P.'s theme songs. Her movements suggest the cycle and das Eivig-Weibliche, which goes on forever. Anna gives presents to all her children. One version of Ring a-ring 0' Roses concludes: "One for Jack, and one for Jim, and one for little Moses." Among those to whom she gives gifts are historical personages, like Shaw, Yeats, Peg Woffington, Sarah Curran, O'Donovan Rossa; fictional characters like Tom Sawyer and Tristan; characters from songs, like Eileen Aroon and Kitty of Coleraine; a number of people, probably of Joyce's Dublin, whom we cannot identify; and of course the Twins and Isabel. (See Adaline Glasheen, Census.) These people are types of humanity (Joyce loved to classify) as well as individuals, and the gifts fit the types. Anna gives her daughters "needles and pins," equipping them for marriage (210). The nursery rhyme runs "Needles and pins, needles and pins/ When a man marries his trouble begins." (See page 6.) The lines of the text echo another nursery rhyme, "What are little girls (boys) made of?" "Aim for Val" (210.18) was in an early draft "kick for Tim." "Val" is de Valera, "Tim" probably Tim Healey. (See Hugh Kenner, Dublin's Joyce.) In the song Old Skibbereen,

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a father explains to his son why he left Ireland: famine and taxes. Ireland changed little under de Valera, the idea seems to be: emigration for economic reasons continued, even increased. Larry Doolin gets, appropriately, a jaunting car (210.19). D o you want a car, your honour, oh, sure that's the one for you, It's an outside Irish jaunting car, just painted green and blue— It belongs to L a r r y Doolin, and you'll have to travel far T o find a better driver of an Irish jaunting car. (The Irish Jaunting Car)

Medical Dick and Medical Davy, old friends from Ulysses, turn up here (210.28-29) a n d get a "reiz" ("rise" in the early draft) and a "drop every minute." The next lines refer to Eve and the apple, and to changeable woman (La donna è mobile) who gets two stools to fall between. Sarah Curran (210.30), daughter of John Phillpot Curran and fiancée of Robert Emmet, Irish patriot executed in 1801, is celebrated in Moore's She is far from the land. She is far from the land where her young hero sleeps, A n d lovers are round her, sighing: But coldly she turns from their gaze, and weeps, F o r her heart in his grave is lying.

"Tearorne" in the early draft was "tear-jar." "Eileen Aroon" (210.31) is praised for beauty and constancy in the song by Gerald Griffin. Her "gift" is significant in light of the last stanza of the song. Youth must with time decay, Eileen Aroon! Beauty must fade away, Eileen Aroon!

Truth is a fixed star, Eileen Aroon! "Arhone" (210.32) is "Alannah" in the early draft. "Helen" is a variant of "Eileen." Eileen Alannah is another Irish song in which a man praises his sweetheart. "Kitty of Coleraine" (210.33-34), in the song, meets a young man, stumbles, breaks

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the pitcher in which she is carrying buttermilk; the man comforts her and "she vowed for such pleasure she'd break it again." "Butterman's" (big butter-and-egg man?) was "Buttermilk" in the early draft. There are associations of "penny wise, pound foolish" and the foolish virgins. Kitty is probably meant to be associated with other examples of the young girl archetype in Finnegans Wake—Peaches Browning and Swift's Stella; Drapiefs Letters is referred to a few lines later. The Irish hero Brian Boru, celebrated in Moore's Remember the glories of Brian the Brave, Tho' the days of the hero are o'er

receives his praise (211.6-7). Jack, the broth of a boy, gets Jill, the spoon of a girl who will scoop him up ( 2 1 1 . 1 5 ) . "Brennan on the Moor," in the ballad, is a highwayman, a sort of Robin Hood, betrayed by a woman and hanged, but still seen riding in the night. The song illustrates the Fall and also the death and rebirth theme. "Reuben Redbreast" refers to Robin Hood, Cock Robin, possibly "Call for the Robin Redbreast and the Wren," and perhaps the song Reuben, Reuben, I've been thinking What a fine world this would be If the men (girls) were all transported Far beyond the northern sea.

William (King Billy) won the Battle of the Boyne (211.34) celebrated in several ballads. "Ida sweet as apple cider," subject of a popular song, gets a "guilty goldenv bellows" and Sylvia gets a "hushabye rocker" (Rockabye, baby). Sweet young girls become wives and mothers. (Cf. the reference to Making Whoopee on 209.22; this was a popular song of the late 1920s which said that the results of "making whoopee" were dreary household chores.) Lots of other people get drinks, including Master McGrath (212.3), ^ famous Irish greyhound celebrated in a ballad named for him; he beat the

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English hound in a big race and so belongs among Irish heroes like O'Donovan Rossa, mentioned in the next line. Pages 235.9

10

15

20

25

jo

35 36 1

5

to

236.18

Page 235 —Xanthos! Xanthos! Xanthos! W e thank to thine, mighty innocent, that diddest bring it off fuitefuite. Should in ofter years it became about you will after desk jobduty becoming a bank midland mansioner we and I shall reside with our obeisant servants among Burke's mobility at La Roseraie, Ailesbury Road. R e d bricks are hellishly good values if you trust to the roster of ads but we'll save up ourselves and nab what's nicest and boskiest of timber trees in the nebohood. Oncaill's plot. Luccombe oaks, Turkish hazels, Greek firs, incense palm edcedras. T h e hypsometers of Mount Anville is held to be dying out of arthataxis but, praise send Larix U T h u l e , the w y c h elm of Manelagh is still flourishing in the open, because its native of our nature and the seeds was sent b y Fortune. W e ' l l have our private palypeachum pillarposterns f o r lovesick letterines fondly affianxed to our front railings and swings, hammocks, tighttaught balletlines, accomodationnooks and prismic bathboites, to make Envyeyes mouth water and wonder when they binocular us from their embrassured windows in our garden rare. Fyat-Fyat shall be our number on the autokinaton and Chubby in his Chuffs oursforownly chuffeur. T will be waiting f o r uns as I sold U at the first antries. O u r cousin gourmand, Percy, the pup, will denounce the sniffnomers of all callers where among our Seemyease Sister, Tabitha, the ninelived, will extend to the full her hearthy welcome. W h i l e the turf and twigs they tattle. Tintin tintin. L a d y Marmela Shortbred will walk in f o r supper with her marchpane switch on, her necklace of almonds and her poirette Sundae dress with bracelets of honey and her cochineal hose with the caramel dancings, the briskly best f r o m Bootiestown, and her suckingstaff of ivoryPage 236 mint. Y o u mustn't miss it or you'll be sorry. Charmeuses chloes, glycering juwells, lydialight fans and puffumed cynarettes. A n d the Prince L e Monade has been graciously pleased. His six chocolate pages will run bugling before him and Cococream toddle after with his sticksword in a pink cushion. W e think His Sparkling Headiness ought to know Lady Marmela. Luisome his for lissome hers. He's not going to Cork till Cantalamesse or may-

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hope till Rose Easter or Saint Tibbie's Day. So Niomon knows. The Fomor's in his Fin, the Momor's her and him. A paaralone! io A paaralone! And Dublin's all adin. Well sing a song of Singlemonth and you'll too and you'll. Here are notes. There's the key. One two three. Chours! So come on, ye wealthy gentrymen wibfrufrocksfull of fun! Thin thin! Thin thin! Thej oily and thel ivelv, thou billy with thee coo, for to jog a jig of a crispness nice 15 and sing a missal too. Hip champouree! Hiphip champouree! O you longtailed blackman, polk it up behind me! Hip champouree! Hiphip champouree! And, jessies, push the pumkik round. Anne18 liuia! A n early draft reads:

We thank to thine, mighty innocent, that diddest bring it off fuitefuite. Should in ofter years it became about you that you will becoming a bank midland mansioner we and I shall reside with our obeisant servants at La Roserie, Ailesbury Road. Fyat-Fyat shall be our number on the autokinaton and Chubby in his Chuffs oursforownly chuffeur. So come on, ye wealthy gentrymen, with ladyfulls of fun! The jolly and the lively, thou billy with the coo, for to jog a jig on a crispness night and sing a missal too. Hip champouree! Hiphip champouree! O you longtailed blackman, polk it up behind me! Anneliuia! In this passage the chorus of girls sing the praises of Shaun. T h e y hold out to the man who conforms, w h o asks the right questions and gives the right answers, the prospect of marriage, with its accompaniments of a home in the suburbs, social life, food and drink, and the license of sex. T h e paragraph is full of suggestions of food:

"Turkish

hazels" (Turkish Delight), "palypeachum," "mouth "T,"

"cousin

gourmand,"

"Marmela

Shortbred,"

pane," "almonds," "Sundae," "honey," "caramel,"

water," "march-

"sucking-

staff," "ivory-mint," " L e Monade," "chocolate pages," cocream," "Sparkling Headiness," "pumkik." Freud

"Co-

noticed

the connection between food and sex, and the girls throughout are using the most potent lure of their kind: sexual imagery abounds.

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235.9. Sanctus (Mass) and Greek "fair-haired." Shaun is the fair-haired boy. 10. "Fuitefuite": tout de suite, fuit-fiat, fiat lux (cf. I.26). io-ii. Echoes of Then you'll remember me and Oft in the stilly night. The Balfe song sees the loved one in a future life of dignity and luxury; the girls' idea of these is a Midland Bank manager's job and a home in a "respectable" neighborhood. 13, 16. Edmund Burke lived at Mount Nebo, Beaconsfield, near Aylesbury. 13. Burke's Peerage: "mobility" suggests social change. The Rosary is a song by Ethelbert Nevin: "The hours I spend from thee apart/ Are as a string of pearls to me/ I count each bead until the end. . . ." It is sometimes sung at weddings. 19. St. Lawrence O'Toole; Ranelagh, Dublin. The Wild Man from Borneo (?). 21, 22. Polly Peachum and Lucy Lockit, from Gay's The Beggar's Opera; Lucy Locket, nursery rhyme. Lucy was supposedly a courtesan of the time of Charles I. 22. From pillar to post; Shaun the Post. "Affianxed" was "attached" in an early draft. This passage is definitely sexual. 25. Neighbors spying with binoculars. 26. "Garden rare": "garden rear," privy. Fiat: make of car. 32. "Magazine Wall" theme. "Marmela" was "Jane" in an early draft. (Cf. D. H. Lawrence, Lady Chatterley's Lover.) 34. "Poirette": "peach" in the earlier draft. 36. "Bootiestown": "Booterstown" in the earlier draft. 236.1. Reference (?) to Chloe, one of the first torch songs, sung by Libby Holman in the 1920s. 2. "Glycering": glittering, glycerine. "Lvdialight": ladylike. "Puffumed cynarettes": perfumed cigarettes, Dowson's Cynara. (Cf. Ulysses, 409.) 3. French "Monade" or "Monad." 6-7. Handsome is as handsome does: "luisome": Fr. "lui." 7. "He's not going to Cork till Cantalamesse" echoes the

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nursery song Ho-w many miles to Babylon? In an earlier draft "Cantalamesse" was "Easter." Candlemas was Joyce's birthday. It has been suggested that "Babylon" is a corruption of "Babyland." (See Iona and Peter Opie, The Oxford Dictionary of Nursery Rhymes.) Joyce's father was a Cork man. Perhaps the passage deals with conception as a consequence of sex, and perhaps Shaun here is Joyce's father. 8. "Nioman": "No-man" in the Odyssey; Newman. 9-10. References to The Farmer in the Dell, and also a children's game, The Farmefs in his den. "Fomor": According to legend Ireland was once inhabited by a race of searobbers from Scandinavia (cf. "in his Fin") called Fomorians. T h e y were conquered eventually by the Tuatha de Danann. T h e Tuatha de Danann were skilled artisans and magicians; perhaps the name of Stephen Dedalus is meant to suggest these people as well as the "fabulous artificer." " A paaralone": Before the Fomorians, Dublin was inhabited by the Parthalonians, also from Greece. "Paaralone" also suggests "paragon." 1 0 - i i . Reference to Sing a song of sixpence (cf. "Psing a psalm of psexpeans," 242). "And you'll too and you'll" promises that life will be a perpetual holiday; every day will be Christmas. 1 2 - 1 3 . Echoes of God Rest Ye Merry, Gentlemen, and also of the chorus of a song called The Fireship, "Come, all you jolly sailormen that sail the wintry sea/ Come, all you jolly 'prentice boys, a warning take from me/ Beware of lofty fireships, for they'll be the ruin of you/ 'Twas there I had m y mainyard sprung, and my jewel box shoved through." 13. "Frufrocksfull": in the earlier draft, "ladysfull"; "froufrou" is certainly one association, and "Frau frocks" another, but it seems possible that Joyce had also Eliot's Prufrock in mind. 13-15. The Holly and the Ivy, Christmas song, and also a nursery song about a man coming into his inheritance. 14. Billing and cooing; billy-goat: devil.

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15. "Missal too": mistletoe, Black Mass. 15. "Champouree": jamboree. 16. "Longtailed blackman": devil. The last lines describe a sexual orgy and the witches' Sabbath. 15-16. Echoes song, O You New York Girls, Can't You Dance the Polka? and Fi Hi Hi, the Black Shakers Song and Polka. 17. "Jessie, pass the plumcake round" is a line from Polly, put the kettle on. The rhyme has sexual overtones wherever it appears (cf. the slang phrase, "having a party"). 17-18. Hallelujah for Anna Livia! Hurrah for women! The references to Easter and Christmas in the passage emphasize the birth, death, and resurrection theme, all in terms of the sexual act. V. Music is pervasive in Finnegans Wake, but to Joyce music meant above all song, and song meant above all the tenor voice. Joyce, like all Dubliners, took part in the cult of the tenor; and out of his worship and knowledge of tenor singing he built up one of the main characters of the Wake, who deserves some discussion. Of all the characters. Shaun is the one most closely associated with music, and the most vocal chapter is devoted to him, that is, Book III, chapter 1 (403-28), the first of what Joyce called "the four watches of Shaun." His name role is that of Shaun the Post in Dion Boucicault's play Arrah-na-Pogue,10 who sings in the course of the play The Wearing of the Green (FVV 406, 408, 4 1 1 , and elsewhere), Open the door softly (427, 442), and Vve a terrible lot to do today (67, 257, 381). In this chapter Shaun is also a glutton, a politician (specifically de Valera), a barrel floating down the Liffey, Osiris floating down to Byblos, Dionysos, and Christ; but above all 10

J. S. Atherton, "Arrah-na-Pogue and Finnegans Wake," Notes and Queries (Oct. 1, 1949), pp. 430-32.

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he is a tenor. He is formed partly out of Joyce's father, a notable singer, who as Simon Dedalus performs in the "Sirens" chapter of Ulysses; partly out of John McCormack, and partly out of Joyce himself, as he might have been if his voice had been a little stronger and he had not become a writer. These combine to make up one of what Hugh Kenner calls Joyce's "anti-selves." Joyce projects into Shaun personalities and forces that are hostile to his self-dramatization as Shem the Penman; but he always includes in Shaun parts of his own personality, the alter ego in his own breast. Shaun calls his brother "the mightif beam. . . . He looks rather thin, imitating me [Joyce's voice was rather thin]. . . . I'm very fond of that other of mine" (408). In assumed self-pity Joyce pictures himself as a secondrate "Joan MockComic" (222); a singer whom he quite unfairly despised, since whatever his lapses of taste McCormack's is still one of the finest voices of the gramophone era. "Count Shaun Mac Cormack sings here [in Paris] on Tuesday," wrote Joyce to Harriet Weaver in 1928, 11 and Shaun sports a "whatyoumacormack" (450). A glance at our list of songs appearing in this chapter is enough to see that it corresponds fairly closely with McCormack's recorded repertoire, sentimental and sacred. Panis Angelicus, set by Cesar Franck, and one of the Papal Count's favorites, is heard in the voices of the Irish: I heard a voice, the voce of Shaun, vote of the Irish, voise from afar (and cert no purer puer palestrine e'er chanted panangelical mid the clouds of T u es Petrus, not Michaeleen Kelly, not Mara O'Mario, and sure, what more numerose Italicuss ever rawsucked frish uov in urinal? (407)

Not only are the tenors Michael Kelly, O'Mara, and Mario (cf. "the principot of Candia," 408) mentioned in this sentence, describing a Palestrina Mass in St. Peter's, but Caruso u

British Museum Additional M S 47489, letter of May 20, 1928.

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("a carusal," 406.15) and another great tenor, Tamagno ("Tamagnum," a magnum of champagne, 404), appear elsewhere in this chapter. The Old Men's donkey, who is the " I " in the chapter, praises Shaun's bel canto in words that echo the Ode to a Nightingale: " H o w mielodorous is thy bel chant, O songbird, and how exqueezit thine after draught!" In the next chapter, which in the early drafts was part of the same episode, Shaun turns into Don Juan, or Don Giovanni. He still keeps his voice, to display it in a long musical passage (448-52) where among other things he practices a sol-fa scale and imitates bird-song (compare the passage on pages 359-60, analyzed above): while, O twined me abower in L'Alouette's Tower, all Adelaide's naughtingerls juckjucking benighth me, I'd gamut my twittynice Dorian blackbudds chthonic solphia off my singasongapiccolo to pipe musicall airs on numberous fairyaciodes. I give, a king, to me, she does, alone, up there, yes see, I double give, till the spinney all eclosed asong with them (450).

Shaun is also a Roman Catholic priest, another "anti-self" or Joyce as he might have been, as we know from the Portrait. In this chapter (429-73) there are many quotations from the Roman Catholic Missal and the Maronite Liturgy, as well as references to the Stations of the Cross; the structure of the chapter has been well explained by Mr. Kenner. 12 During his sermon to the twenty-nine girls Shaun celebrates Mass, and it is clearly a sung mass. He begins by looking up the correct service for the day: Where the lisieuse are we and what's the first sing to be sung? Is it rubrics, mandarimus [Maundy Thursday, from the antiphon for the day, "Mandatum novum do vobis"], pasqualines or verdidads. . . . Several sindays after whatsintime. I'll sack that sick server the minute I bless him. . . . I've a hopesome's choice 11

Hugh Kenner, Dublin's Joyce 53, quoting a letter of Joyce.

(Bloomington, Ind., 1956), pp. 351—

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57

if I chouse of all the sinkts in the colander. From the common for ignitious Purpalume to the proper of Francisco Ultramare . . .

(43*-33)He then goes through the various stages of the Mass, though not in the right order: "Doremon's" (433.4, "oremus," and do-re-mi), "Never miss your lostsomewhere mass" (433.10), "gloria's . . . doxologers" (454.29-30), "Potanasty" (Paternoster, 444.29), "Haggis good, haggis strong, haggis never say die!" ("Agios o theos, agios o ischyros, agios athanatos," from the Good Friday Mass, 456.9), "Eat a missal lest" (456.18, "Ite missa est"), "eucherised" (462.1), "fraction of a crust" (462.19), concluding with "Bennydick hotfoots onimpudent stayers!" (469.23-24, "Benedicat vos omnipotens Deus," at the end of Mass). Throughout the book, as in this chapter, the music of the liturgy keeps sounding: behind the nursery rhymes, music-hall songs, and tenor arias we hear the Gregorian plainsong of psalm, hymn, and sequence. For example: "Auxilium "Ad

Meunt Solo A Domino"

(496.13,

Regias Agni Dapes" (497.J, Easter

Adjutorium)

Hymn)

"Habes aures et num videbis? Habes oculos ac ( 1 1 3 , after Psalm 114, Vulgate 1 1 3 )

mamiepalpabuat?"

"psalmum qui incipit: Lingua mea calamus scribentis" (185, Psalm 45, Vulgate 44)

scribae

velociter

and, as the donkey praises Shaun for blowing his own trumpet: "Buccinate in Emenia tuba insigni volumnitatis tuae''' (412, Psalm 81, Vulgate 80, "Buccinate in neomenia tuba, in insigni die solemnitatis vestrae")

A discussion of Joyce's use of the liturgy and of sacred music would take us too far away from our present purpose. W e must leave our survey with the figure of Shaun, the incarnation of all the song in the book and the chief singer at the wake. "O foibler, O flip, you've that wandervogl wail

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w i t h y i n ! It falls easily upon the earopen and goes d o w n the f r i s k l y shortiest like treacling tumtim w i t h its tingtingtaggle. T h e blarneyest blather in all C o r n e y w a l l ! " ( 4 1 9 ) . Shaun m a y be as glib as F a t h e r O ' F l y n n , as scurrilous as the ballad-singers F r i s k y S h o r t y and T r e a c l e T o m ( 3 9 ) , as sugary and c o r n y as a second-rate T r i s t a n , but " H o w mielodorous is t h y bel chant, O s o n g b i r d ! " Shaun's Ireland, and J o y c e ' s , is full of noises and sometimes voices, That, if I then had wak'd after a long sleep. W i l l make me sleep again; and then, in dreaming, T h e clouds methought would open and show riches Ready to drop upon me that, when I wak'd I cried to sleep again.

III. SONG

REFERENCES

WF. H A V E INCLUDED among songs: 1. nursery rhymes, because they are often sung or chanted; 2. parts of operas that are sung, and titles of operas, but not names of characters in operas, to which there are a great many references (see Adaline Glasheen's Census f o r these); 3. some pieces of music that have words associated with them (e.g., Mendelssohn's Wedding March)-, 4. some parts of the Roman Catholic ritual (but there are so many references to the Mass that w e could include only the most direct ones); 5. Jewish chant; 6. poems set to music, although w e cannot know certainly whether J o y c e had poem alone or poem and music in mind at the time he wrote any given passage. Many poems of Byron and Tennyson, for example, appear in song collections with which J o y c e seems to have been familiar.

POEMS (Page reference to the Viking Press edition) 51. (Tutto e Sciolto, from La

Sonnambula)

EXILES (Page references to the Viking Press edition, 1951) 24. (Carmen) 57. (Tannhauser)

6o

SONG

REFERENCES

DUBLINERS (All page references to the Modern Library edition) "Araby," title. (I'll Sing Thee Songs of Araby) "Eveline," 45. (The Bohemian Girl) (The Lass That Loves a Sailor) "After the Race," 56. (Cadet Rousselle) " T w o Gallants," 65. (Silent, O Moyle) "The Boarding House," 76. (I'm a naughty girl) "Clay," 132. (I dreamt that I dwelt in marble halls) "A Mother," 179. (Maritana) 185. (Killarney) "The Dead," 247. (Arrayed for the Bridal) 255. (Mignon) (Yes! let me like a soldier fall) 256. (Dinorah) (Lucrezia Borgia) 264. (For He's a Jolly Good Fellow) 270, 272, 273, 281, 282. (The Lass of Aughrim) 286. (Arrayed for the Bridal) STEPHEN HERO (Page references are to the New Directions edition, 1955. We give references only to specific songs throughout this work, but it is interesting to note that Stephen Hero mentions several of the kinds of songs that Joyce uses in his later works: old country songs and songs of the Elizabethans, pp. 43, 79, 155; songs in Irish, pp. 56, 61; music-hall songs, p. 125; street ballads, p. 146.) 28-29. (Clown's Songs in Twelfth 33. (Bonny Dundee) 51. (God Save the Queen) 61. (The Rallying Song) 66. (The Holy City) 116. (Tenebrae)

Night)

P O R T R A I T OF T H E

155. 160. 184. 189. 190. 215.

ARTIST

61

(My love she was born in the North Country wide) (Winds That Blow from the South) (Come unto these yellow sands) (Good Friday chant) (Washed in the Blood of the Lamb) (Bonny Dundee) A PORTRAIT OF THE ARTIST AS A YOUNG (Page references to the Modern Library edition)

MAN

1. O the wild rose blossoms/ On the little green place. . . . O, the green wothe botheth (Lilly Dale) 8. the song about the wild rose blossoms on the little green place (Lilly Dale) 22. (Dingdong! the castle bell) 35. (O come all you Roman Catholics) 38. (God Save the Queen) 6j. (O Twine Me a Bower) (Blue Eyes and Golden Hair) (The Groves of Blarney) 90. (Kafoozalem) 94. (The Lily of Killarney) 98-99. T i s youth and folly, etc. (variant of Waly Waly) 109. (As I roved out one fine May morning) 119. (My Excellent Friend Bombados) 190. (Oft in the stilly night) 20j. (I was not wearier where I lay) 224. On a cloth untrue, etc. (My object all sublime) 246. (Pange lingua) (Vexilla Regis) 252. (Turpin Hero) 257. (The Ballad of Agincourt) (Greensleeves) 259. By Killarney's Lakes and Fells (Killarney) 274, 275. (Brightness falls from the air) 280. (Siegfried) 288. (Sweet Rosie O'Grady) 295. (O, Willie, We Have Missed You)

62

SONG

REFERENCES

ULYSSES (Words of the text are quoted when the reference is not obvious. Page references are to the Modern Library edition.) I I.

TELEMACHUS

9.15. Break the news to her gently (Break the News to Mother) 1 1 . 1 2 - 1 4 ff. passim. (Who Goes with Fergus?) j 1-35. (I am the Boy, from Turko the Terrible) 12.39-13.3. (On Coronation Day; De Golden Wedding) 14.42. (McGilligan's Daughter Mary Ann) 15.8-10. (McGilligan's Daughter Mary Ann) 17.6, 13-14. (Ask Nothing More of Me, Sweet) 19.17-18. when the French were on the sea (The Shan Van Vocht) 20-21. (The Ballad of Joking Jesus) 23.6, 8. (Full fathom five thy father lies) 2 . NESTOR

27-29 passim. [Riddle me, riddle me (The Cock C r e w ) ] 28.7. [Riddle me, riddle me (The Cock Crew)] 32.22. Croppies lie down (The Old Orange Flute) 31-32, 35-36. (The Rocky Road to Dublin) 3 . PROTEUS

39.35. (The Gondoliers) 40.27-28. All'erta! . . . Ferrando's aria di sortita (All'erta, from 11 Trovatore) 42.16. (The Ballad of Joking Jesus) 43.16-19. (Matthew Hannigan's Aunt) 44.24-25. (The Bridal of Malahide) 41-42. (The Boys of Kilkenny) 45.1, 2, 4-5. (The Boys of Kilkenny) 2-3. He takes me, Napper Tandy, by the hand (The Wearing of the Green) 46.5. Peekaboo. I see you. (Peekaboo)

ULYSSES

63

9-10. W h e n Malachi wore the collar of gold (Let Erin remember the days of old) 17. I spoke to no-one: none to me. (The Miller of the Dee) 47 passim. [Riddle me, riddle me (The Cock C r e w ) ] 48.6. the ruffian and his strolling mort. (The Rogue's Delight in Praise of His Stroling Mort) 9. bing awast, to Romeville. (The Rogue's Delight in Praise of His Stroling Mort) 12-13. Buss her, wap in rogue's rum lingo, for, O, my dimber wapping dell. ( T h e Rogue's Delight in Praise of His Stroling Mort) 16-19. White thy fambles, etc. (The Rogue's Delight in Praise of His Stroling Mort) 26. Hamlet hat. (Ophelia's song) 34 ff. he comes, pale vampire, through storm his eyes, his bat sails bloodying the sea, mouth to her mouth's kiss. . . . Mouth to her kiss. . . . Mouth to her mouth's kiss ( M y Grief on the Sea) 49.10. his augur's rod of ash, in borrowed sandals (Ophelia's song) 50.2. (You're as Welcome as the Flowers in M a y ) 7. ( W h o Goes with Fergus?) 26. hising up their petticoats (McGilligan's Daughter Mary Ann) 36 ff. (Full fathom five thy father lies) 51.8. A seachange this (Full fathom five thy father lies) 14-15. M y cockle hat and staff and his my sandal shoon (Ophelia's song) 20-21. of all the glad new year, mother, the rum turn tiddlety turn (Call Me Early, Mother Dear) II 4 . CALYPSO

57.20. (Turko the Terrible) 59.41-42. ( O Please, Mr. Policeman, I'm Lost in the W o o d ) 62.30. (Those Lovely Seaside Girls) 36-39. ( O Thady Brady, you are my darlin') 63.24, 38, 39. (La ci darem la mano) 24-25. (Love's Old Sweet Song)

6

SONG

4

REFERENCES

66-4 _ 5i 35—36, 37. (Those Lovely Seaside Girls) 67.1-2. (Those Lovely Seaside Girls) 37-38. (Sing a song of sixpence) 68.24. (Sing a song of sixpence) 5. THE LOTUS

EATERS

7 4 . 1 2 - 1 3 . (Sing a song of sixpence) 16-20, 22. (Love's Old Sweet Song) 76.11, 1 3 - 1 4 . ( L a ci darem la mano) 77.37-40. ( O M a r y lost the pin of her drawers) 78.3, 7. ( O M a r y lost the pin of her drawers) 79.30-31. (Close your eyes and open your mouth) 80.3-4. ( H o k e y P o k e y ) 10. (Safe in the A r m s of Jesus) 1 4 - 1 5 . ( O M a r y lost the pin of her drawers) 81.3. (Stabat Mater) 8. (Quis est homo?) 9. ( T h e Seven Last W o r d s of Christ) 12. ( " T w e l f t h Mass" of Mozart) 85.7. cyclist doubled up like a cod in a pot. (Johnny, I Hardly Knew Ye) 18-19. A n d the skulls we were acracking when M'Carthy took the floor. ( W h e n McCarthy took the flute at Inniscorthy) 6.

HADES

86.18. (Old Mother Slipperslapper) 34. T h e wheels rattled rolling over the cobbled causeway ( T h e Pauper's Drive) 89.40-41. ( T h e Croppy B o y ) 9 1 . 1 . ( T h e Lily of Killarney) 92.15-16. hat. . . . Relics of old decencv. ( T h e Hat Me Father Wore) 19-21. ( L a ci darem la mano) 25-26. ( A Smile W i l l G o a Long Long W a y ) 94.12. decent . . . hat ( T h e Hat Me Father W o r e ) 95.2, 34, 42. Rattle his bones. Over the stones. Only a pauper. N o b o d y owns. . . . Rattle his bones. . . . Nobody owns. ( T h e Pauper's Drive) 29-31 ( T h e Jewel of Asia, from The Geisha)

ULYSSES

65

96.1-2. rattled. . . . Over the stones. (The Pauper's Drive) 11—13. Has anybody here seen Kelly? Kay ee double ell wy. . . . He's as bad as old Antonio. He left me on my ownio. (Has Anybody Here Seen Kelly?; Kelly from the Isle of Man) 12. (Dead March, from Saul) 33. (The Roast Beef of Old England) 98.2. (Aboard the Bugaboo) 22. (Though Lost to Sight, to Memory Dear) 100.40-41. (Three Women to Every Man) 101.12. (Cork's Own Town) 102.11-12. Who'll read the book? I, said the rook. (Who killed Cock Robin?) 106.24-25. (Silver Threads among the Gold) 107.27-28. (Those Lovely Seaside Girls) 108.19-20. (Poor Old Robinson Crusoe) 26-27. Lay me in my native earth. (The Jug of Punch; When I am laid in earth) 109.14. (Fear no more the heat o' the sun) 24-25. (Shall I never more behold thee?) 110.23 (Charley Is My Darling) 37. (Has Anybody Here Seen Kelly?) 111.28. (Old Ireland's Hearts and Hands) 7 . AEOLUS

116.34-35. (M'appari) 119.33. voglio. (La ci darem la mano) 121.22. (Shema Israel Adonai Elohenu Adonai Echad) 23-26. (The House That Jack Built) 122.17. Erin, Green Gem of the Silver Sea (Let Erin remember the days of old) 123.13-14. (Tommy, Make Room for Your Uncle) 128.5-6. (The Boys of Wexford) 129.18-19. ( T w a s rank and fame that tempted thee) 131.1-4. (My Grief on the Sea) 133.4. (The Rose of Castille) 136.35-36. Mouth, south . . . south a mouth? (My Grief on the Sea) 137-1—3. (Dalla sua pace) 8. mouth south (My Grief on the Sea)

66

SONG

REFERENCES

15. Cork legs are running awav with vou. (The Runaway Cork Leg) 147.26-27. (Old Man Mose)

8. THE LESTRYGONIANS 149.4. (God Save the King) 11, 13. (Washed in the Blood of the Lamb) 154.3. (Winds That Blow from the South) 1 1 - 1 2 . May be for months and may be for never. (Kathleen Mavourneen) 155.3. (His Funeral Is Tomorrow) 4. (Comin' through the R y e ) 159.17-18. (There was an old woman who lived in a shoe) 160.9. (A. policeman's lot is not a happy one) 17, 19. meeting of the waters. . . . There is not in this wide world a vallee. (The Meeting of the Waters) 41. [We'll Hang Jeff Davis on a Sour Apple Tree (air, The Battle Hymn of the Republic)] 160.42-161.1. Vinegar Hill (The Boys of Wexford) 161.3. whether on the scaffold high. (God Save Ireland) 19-20. (There's a Good Time Coming) 30. Gammon and spinach. (A frog he would a-wooing go) 162.10-11. (Washed in the Blood of the Lamb) 163.17. Coming events cast their shadows before. (Lochiel's Warning) 28. (For All Eternity) 165.2-6, 7. The young May moon she's beaming, love. . . . Glowworm's la-amp is gleaming, love. (The Young May Moon) 21. (Three Little Maids from School) 26. (The harp that once through Tara's halls) 166.2-4. The huguenots. . . . La causa e santa! (La causa e santa) 4. (Ta Ra Ra Boom De A y ; At Trinity Church I Met My Doom; Bom, Bom, Bom! Zim, Zim, Zim!) 168.12-13, 19-20. don't talk of your provosts and provost of Trinity. . . . Father O'Flynn would make hares of them all. (Father O'Flynn) 177.11-12, 23-27. (Commendatore's aria, Don Giovanni) 38. (Those Lovely Seaside Girls) 180.22. (The Messiah)

67

ULYSSES 9. SCYLLA AND CHARY BDIS

Monsieur de la Palisse . . . was alive fifteen minutes before his death. (Le Maréchal de la Palisse) 2 4 - 2 8 . (Medical Dick and Medical Davy) 184.33. An emerald set in the ring of the sea. (Let Erin remember the days of old)

182.18-19.

185.19. ( T h e A b s e n t - m i n d e d

Beggar)

187.29. [The Battle of the Boyne (Boyne Water)] 188.11. glowworm of his lamp. (The Young May Moon) 34-25. he trudged to Romeville (The Rogue's Delight in Praise of His Stroling M o n ) 35. (The Girl I Left Behind Mc) 189.5, 9- ®y cock, she was to blame. . . . tumbles (Ophelia's song) 5-6. She put the comether on him, sweet and twenty-six. [O Mistress Mine (Clown's song. Twelfth Night)] 15-16. (It was a lover and his lass) 25. (Peter Piper picked a peck of pickled peppers) 32. ringroundabout (Ring a-ring o' Roses) 3 5 - 3 6 . (She sells sea shells by the sea shore) 190.28. Lir's loneliest daughter. (Silent, O Moyle) 191.11-12. walking lonely in the chase. (Forty-second Psalm) 1 5 - 1 6 . once as sweet, as fresh as cinnamon, now her leaves falling, all, bare (Fair Maidens' Beauty Will Soon Fade Away) 193.11-13. (How many miles to Babylon?) 194.15. laugh and lie down. (The Art of Loving) 15. Don Giovanni 198.31. (Life of life! Thy lips enkindle) 201.15. Pretty countryfolk (It was a lover and his lass) 203.8. ( A c u s h l a M a c h r e e ) 204.17. ( T h e U n c o ' G u i d ) 2 0 6 . 3 6 - 3 7 . (Medical Dick and Medical Davy) 207.28, 3 1 . and from her arms. . . . And from

her arms. (The

moon hath raised her lamp above) 210.6. ( C a r m e n ) 2 1 - 2 2 . And, what

though murdered and betrayed, bewept by all frail tender hearts for (Where is the slave so lowly?) 27. the place where the bad niggers go. (Old Uncle Ned)

68

SONG

REFERENCES

212.41-42. (John Anderson, M y J o ) 213.2. (Chin Chin Chinaman) 21 j . 17. Cease to strive. ( W h o Goes with Fergus?) 1 0 . T H E WANDERING

ROCKS

217.3. l he forget. ( T h e Recessional) 220.11. T h e joybells were ringing in gay Malahide. ( T h e Bridal of Malahide) 24> 3°- Eor England. . . . home and beauty. . . . F o r 222.13, England. . . . home and beauty. ( T h e Death of Nelson) 230.16. the Bloom is on the Rye ( W h e n the Bloom Is on the Rye) 231.1 j . ( L o , the early beam of morning) 237.35. T h e y rose in dark and evil days. ( T h e Memory of the Dead) 38. At the siege of Ross did my father fall. ( T h e Croppy B o y ) 245.16. England expects ( T h e Death of Nelson) 250.14, 24-30. ( M y Girl's a Yorkshire Girl) est

II.

THE

SIRENS

252.6. ( W h e n the Bloom Is on the R y e ) 8. ( T h e Rose of Castille) 9. [ O my Dolores, Queen of the Eastern Seas ( T h e Shade of the Palm)] 1 3 - 1 4 . T h e bright stars fade. . . . T h e morn is breaking. (Good-bye, Sweetheart, Good-bye) 1 3 - 1 4 . O rose! . . . Castille. ( T h e Rose of Castille) 17, 18-19. I could. . . . Not leave thee. . . . Sweetheart, goodbye! (Good-bye, Sweetheart, Good-bye) 20. Bloo. ( W h e n the Bloom Is on the Rye) 21. W h e n love absorbs. W a r ! W a r ! (Love and W a r ) 24. Lost. . . . All is lost now. ( T u t t o e Sciolto) 26. W h e n first he saw. (M'appari) 29. Martha! Come! (M'appari) 33. A moonlit nightcall: far: far. (Good-bye, Sweetheart, Good-bye) 34. So lonely blooming. ('Tis the last rose of summer) 253.1. W a i t while you wait. . . . Wait while you hee. ( T h e Croppy Boy) 4. Naminedamine. All gone. All fallen. ( T h e Croppy B o y )

ULYSSES

69

6. Amen! He gnashed in fury. (The Croppy Boy) 12. Pray for him! Pray, good people! (The Croppy Boy) 15. Last rose Castille of summer left bloom . . . alone. (The Rose of Castille; T i s the last rose of summer) 17. True men. . . . Like you men. Will lift your tschink with tschunk. (The Memory of the Dead) 18. tschink with tschunk. (The Thirty-two Counties) 257.28 (The Mountains of Mourne) 35. [O my Dolores, Queen of the Eastern Seas (The Shade of the Palm)] 40. (When the Bloom Is on the Rye) 258.40. (The Minstrel Boy; The Men of the West) 259.2. (The Mountains of Mourne) 260.12, 14, 19, 37. The bright stars fade. . . . the morn is breaking. . . . The dewdrops pearl. . . . And I from thee . . . (Good-bye, Sweetheart, Good-bye) 21, 23. (The Rose of Castille) 32. (See, the Conquering Hero Comes) 261.30. [O my Dolores, Queen of the Eastern Seas (The Shade of the Palm)] 36-37. Look to the west. (The Men of the West) 42. (When the Bloom Is on the Rye) 262.7, '3> 4 1 - T o Flora's lips did hie. . . . I could not leave thee. . . . Sweetheart, goodbye! (Good-bye, Sweetheart, Goodbye) 263.36. (Love and War) 264.17. (The Lost Chord) 265.14. (My Irish Molly, O) 19. [O my Dolores, Queen of the Eastern Seas (The Shade of the Palm)] 35 ff. passim. When love absorbs my ardent soul . . . (Love and War) 266.19-20. my ardent soul/ I care not foror the morrow. (Love and War) 21-22. (Love and War) 267.10. The harp that once or twice. (The harp that once through Tara's halls) 15. (M'appari) 18. (A Last Farewell) 23-24. (M'appari)

7°

SONG

REFERENCES

41-42. ( L a Sonnambula) 268.6-7. [ D o w n among the Dead Men (Here's a Health unto His Majesty)] 21, 24, 27, 28, 35, 39. A l l is lost now. . . . Is lost. . . . All most too new call is lost in all. . . . A l l lost now. . . . Yes: all is lost. . . . all is lost. ( T u t t o e Sciolto) 27. Echo. H o w sweet the answer. ( H o w sweet the answer echo makes) 269.13. ( T h e heart bowed down) 19, 28, 33-34, 42. W h e n first I saw that form endearing. . . . Sorrow from me seemed to depart. . . . sorrow from them each seemed to from both depart when first they heard. W h e n first they saw. . . . Full of hope and all delighted (M'appari) 37, 38. (Love's Old Sweet Song) 270.2, 3-4. M y head it simply. . . . Y o u r head it simply swurls. ( T h o s e Lovely Seaside Girls) 3, 1 1 , 29, 32, 38-39. all delighted. . . . But alas, 'twas idle dreaming. . . . ray of hope. . . . Martha it is. . . . Lionel's song. . . . H o w first he saw that form endearing, how sorrow seemed to part, how look, form, word charmed him (M'appari) 24-25. Tipping her tepping her tapping her topping her. (Tripping hither, tripping thither) 271.3, 4, 9, 12, 16, 17, 19, 22-23, 2(>, 34, 38-39. Each graceful look. . . . when first I saw her. . . . Charmed my eye. . . . First I saw. . . . Martha! A h , Martha! . . . Quitting all languor. . . . In cry of lionel loneliness. . . . Co-ome, thou lost one!/ Co-ome thou dear one! . . . Come! . . . T o me! . . . Come. . . . T o me (M'appari) 10. (Waiting) 14. [In Old Madrid; O my Dolores, Queen of the Eastern Seas ( T h e Shade of the P a l m ) ] 272.26, 27-28, 28-29, 31—32, 35. ' T w a s rank and fame. . . . then false one we had better part. . . . since love lives not. . . . ' T w a s rank and fame. . . . ' T w a s rank and fame ( ' T w a s rank and fame that tempted thee) 36. ( W e N e v e r Speak as W e Pass B y ) 36-37. ( T h e R i f t within the Lute) 273.8. T h o u lost one (M'appari)

ULYSSES

71

274.16. (Blumenlied) 28. a moonlight nightcall (Good-bye, Sweetheart, Good-bye) 275.4-5, 6, 7. ( O Mary lost the pin of her drawers) 277.2, 4. Lovely seaside girls. . . . Your head it simply. (Those Lovely Seaside Girls) 13. ( W h a t A r e the W i l d W a v e s Saying?) 31-32. (Minuet, from Don Giovanni) 278.2. (Quis est homo?) 4. Dandy tan shoe of dandy. (Handy Spandy) 17. (Qui sdegno) 18. ( T h e Croppy Boy) 20. Good men and true. ( T h e Croppy Boy) 38-39. good men and true. T h e priest he sought, with him would he speak a word. ( T h e Croppy B o y ) 279.5-6. T h e priest's at home. A false priest's servant bade him welcome. Step in. T h e holy father. ( T h e Croppy B o y ) 9-12. T h e voice of warning. . . . sitting to shrive. ( T h e Croppy B o y ) 22-25. T h e voice of penance. . . . mea culpa. ( T h e Croppy Boy) 33-36. Since easter. . . . A croppy boy. ( T h e Croppy B o y ) 280.4-5. (Home, Sweet Home) 19-21. A l l gone . . . his name and race. ( T h e Croppy B o y ) 20. we are the boys of W e x f o r d ( T h e Boys of W e x f o r d ) 24. He bore no hate. ( T h e Croppy B o y ) 29. M y country above the king. ( T h e Croppy B o y ) 30. W h o fears to speak of nineteen four? ( T h e Memory of the Dead) 32-33. Bless me, father. . . . Bless me and let me go. ( T h e Croppy B o y ) 37-38. (Those Lovely Seaside Girls; By the sad sea waves I listen) 280.41-281.2. T h e false priest rustling soldier from his cassock. A yeoman captain. . . . Yeoman cap. ( T h e Croppy Boy) 281.11-12. (Songs without W o r d s ) 17-19. W i t h hoarse rude fury. . . . to live, your last. ( T h e Croppy B o y ) 26. On yonder river. ( T h e Croppy B o y ) 30. T h e bright stars fade. . . . T h e morn. (Good-bye, Sweetheart, Good-bye)

SONG

72

REFERENCES

30. ( T h e Rose of Castille) 42. I hold this house. Amen. H e gnashed in fun,'. Traitors swing. ( T h e Croppy B o y ) 282.6-7. ( W h e n the Bloom Is on the R y e ) 11—12. A t Geneva barrack. . . . body laid. ( T h e Croppy B o y ) 12. [O my Dolores, Queen of the Eastern Seas ( T h e Shade of the P a l m ) ] 19-21. Pray f o r him. . . . the croppy boy. ( T h e Croppy B o y ) 283.18. ( T i s the last rose of summer) 21. ('Tis the last rose of summer) 284.1. Seated all day at the organ. ( T h e Lost Chord) 13. Simonlionel (Martha) 24-25. one last, one lonely, last sardine of summer. Bloom alone. ('Tis the last rose of summer) 285.7. All is lost now. ( T u t t o e Sciolto) 8. Long John. W a k e n the dead. ( D o Y e Ken John Peel?) 9. Poor little nominedomine. ( T h e Croppy B o y ) 14-16. Breathe a prayer. . . . Muffled up. ( T h e Croppv B o y ) 19-20. W h e n first he saw that form endearing. (M'appari) 25. we'd never, well hardly ever. (I am the captain of the Pinafore) 26. (Home, Sweet H o m e ) 38-39. they chinked their clinking glasses ( T h e T h i r t y - t w o Counties) 40. ('Tis the last rose of summer; T h e Rose of Castille) 286.1. A youth entered a lonely Ormond hall. ( T h e Croppy B o y ) 3-4. ( T h e Seven Last W o r d s of Christ) 5, 7. T r u e men like you men. . . . W i l l lift your glass with us. ( T h e Memory of the Dead) 9. Tschink. Tschunk. ( T h e T h i r t y - t w o Counties) 10. A n unseeing stripling stood in the door. ( T h e Croppy B o y ) 14. last words ( T h e Seven Last W o r d s of Christ) 1 2 . THE CYCLOPS

287.21. A bit off the top. ( A l l I Want Is a Little Bit off the T o p ) 290.11 ff. passim. ( G a r r y o w e n ) 13. ( T h e Cruiskeen L a w n ) 25. Doing the rapparee ( T h e Irish Rapparee) 25. R o r y of the hill ( R o r y O'More; On the Green Hills of Ulster)

ULYSSES

73

291.15. The eyes in which a tear and a smile (Erin, the tear and the smile in thine eyes) 42. (The Rose of Castille) 42. (The Man for Galway) 291.42-292.1. (The Man That Broke the Bank at Monte Carlo) 292.3. (Savourneen Deelish) 5. (Lucia di Lammermoor) 6. (My Dark Rosaleen) 8. (Tristan und Isolde) 9. (The Bowld Sojer Boy) 9. (Arrah-na-Pogue) 10. (The Colleen Bawn) 14. (The Lily of Killarney) 39. The pledgebound party on the floor (Parody of God Save Ireland) 293.19-20. Thanks be to God they had the start of us. (One More Drink for the Four of Us) 300.3-4. who fears to speak of ninety-eight (The Memory of the Dead) 25-26. Robert Emmet . . . far from the land. (She is far from the land) 301.6. (The Memory of the Dead) 10. (Sinn Fein, Sinn Fein Amhain) 10-11. The friends we love . . . before us. (Where is the slave so lowly?) 32-33. (The Night before Larry Was Stretched) 304.19. (Mona, My Own Love) 305.34-35. she could get up on a truss of hay (The Lowbacked Car) 36, 37. Ballyhooly blue ribbon badge . . . temperance beverages (The Ballyhooly Blue Ribbon Army) 37. (The Colleen Bawn) 41-42. (The Tune the Old Cow Died On) 311.12. (A Nation Once Again) 311.42-312.1. (A Nation Once Again) 314.6. (Said I to myself, said 1) 8. the tootle on the flute. (Phil the Fluter's Ball) 318.39. There's hair (There's Hair Like Wire Coming out of the Empire) 320.13-14. (Old Mother Hubbard) 321.10. (The Fair Hills of Eire, O)

SONG

74

REFERENCES

21. Miss Bee Honeysuckle ( Y o u A r e the Honeysuckle, I A m the Bee) 22. Miss O Mimosa San ( T h e Geisha) 40. (Woodman, Spare T h a t T r e e ) 322.2. ivytod, hollyberries, mistletoe sprigs ( T h e Holly and the Ivy) 323.24. T h e fellows that never will be slaves (Rule, Britannia) 3 2 4 . 1 1 - 1 2 . the land of the free ( T h e Star-spangled Banner) 1 7 - 1 8 . Since the poor old woman told us that the French were on the sea and landed at Killala. ( T h e Shan Van V o c h t ) 18. landed at Killala. ( T h e Men of the W e s t ) 41. (Ehren on the Rhine) 41-42. come where the boose is cheaper (Come where the booze is cheaper, parody of " C o m e where mv love lies dreaming") 326.22. the vale of Ovoca ( T h e Meeting of the Waters) 24. (In the G l e n of A h e r l o w ) 330.3. ( G o d Save Ireland) 334.9. (Father O ' F l y n n ) 336.13. (If the Man in the Moon W e r e a Coon) 337.4. (Come Back to Erin) 4-5, 19. (Rakoczy's March) 7-8. ( T h e Mountains of Mourne) 20. G o n e but not forgotten. (Dixie) 13.

NAUSICAA

345.28-29. But waiting, always waiting (Waiting) 347.5-7. here's the lord mayor . . . chinchopper chin. (Here's the Lord Mayor) 348.30. ( T e l l Me, Mary, H o w to W o o T h e e ) 30-31. ( M y love and cottage near Rochelle) 32-33. ( T h e moon hath raised her lamp above) 353.36 ff. (Tantum ergo) 355.14. (Tantum ergo) 357.3. Puddeny pie! (Georgie Porgie) 1 6 - 1 7 . ( T h o u g h the last glimpse of E r i n ) 17. ( T h o s e Evening Bells) 358.8-9. ( L o v e Laughs at Locksmiths) 25. f r o m the days beyond recall. (Love's Old Sweet Song) 36. (Laudate Dominum omnes gentes)

ULYSSES

75

362.8. alive, O. (Cockles and Mussels) 18-19. H e wore a pair of gaiters the night that first w e met. (She W o r e a Wreath of Roses the N i g h t T h a t First W e Met) 19. His lovely shirt was shining beneath his what? ( H e r Golden Hair W a s Hanging Down H e r Back) 21. ( O M a r y lost the pin of her drawers) 364.j. Lacaus esant taratara. (La cause e santa) 5. taratara. ( T a Ra R a Boom De A y ) 365.13-14. (Those Lovely Seaside Girls) 366.12. Y o u r head it simply swirls. (Those L o v e l y Seaside Girls) 18-19. ( H e r maiden name was Jemima B r o w n ) 22. ( E v e r y Bullet Has Its Billet) 25-26. and papa's pants will soon fit W i l l y (Looking through the Knothole) 372.2. (Faugh a Ballagh) 4-5. when the stormy winds do blow. ( T h e Mermaid) 8. ( W h e n Johnny Comes Marching H o m e ) 10. ( T h e Anchor's Weighed) 27, 28. glowworm's lamp . . . gleaming ( T h e Y o u n g M a y Moon) 373.9. (Babes in the W o o d ) 35. ( T h e Lily of Killarney) 374.5-6. T h e sister of the w i f e of the wild man of Borneo has just come to town. ( T h e W i l d Man f r o m Borneo Has Just Come to T o w n ) 1 4 . THE OXEN OF THE SUN

384.39. ( T h e V i c a r of B r a y ) 385.22. ( T h e House That Jack Built) 33, 35. (Staboo, Stabella) 386.32. ( T o bed, to bed) 387.9-10. Remember, Erin, thy generations and thy days of old (Let Erin remember the days of old) 394.17. his royal pelt (Moses) 395.6-7. ( A Man's a Man f o r A ' T h a t ) 403.38. (Chin Chin Chinaman) 407.31. Martha, thou lost one (M'appari) 37-38. simply swirling (Those Lovely Seaside Girls) 408.25. All was lost now. ( T u t t o e Sciolto)

76

SONG

REFERENCES

409.12-13. ( A sweet disorder in the dress) 417.18. (Slattery's Mounted Foot) 27-28. ( T r a m p , T r a m p , T r a m p , the Boys A r e Marching) 29. 30, 32. Whether on the scaffold high. . . . When for Irelandear. . . . W e fall. ( G o d Save Ireland) 40. Stopped short never to go again when the old. ( M y Grandfather's Clock) 418.5, 6. L o v e y lovekin. . . . Pull down the blind, love. ( O M y Love, W o n ' t Y o u Please Pull Down the Curtain?) 15, 17. There's hair. . . . Mummer's wire. (There's Hair Like W i r e Coming out of the Empire) 21. Here, J o c k braw Hielentman's your barleybree. (Willie brewed a peck o' maut) 25-26. E v e r y cove to his gentry mort. ( T h e Rogue's Delight in Praise of His Stroling M o r t ) 28. ( T h e Bridal of Malahide; On the Road to Mandalay) 28-29. ^ she who . . . the name. ( W h e n he who adores thee) 30. Machree, Macruiskeen. ( T h e Cruiskeen L a w n ) 31. A n d a pull together. (Eton Boat Song) 39-40. W e are nae fou. W e ' r e nae tha fou. (Willie brewed a peck o' maut) 42. Bowsing nowt but claretwine. ( T h e Rakes of Mallow) 419.3. ( T h e Rose of Castille) 5. ( T h e Colleen B a w n ) 7-8, 1 2 - 1 3 . T h e ruffin cly the nab of Stephen. . . . Land him in chokeechokee if the harman beck copped the game. ( T h e Ruffin cly the nab of Harmanbeck) 27-28. Landlord, landlord . . . staboo? (Staboo, Stabella) 29. Hoots, mon, wee drap to pree. (Willie brewed a peck o' maut) 34. Bonsoir la campagnie. (Bonsoir la Compagnie) 420.1. W h o wander through the world. ( G a r r y o w e n ) 5. D ' y e ken ( D o Y e Ken John Peel?) 8-9. ( T h e House That Jack Built) 24. W e ' r e nae the fou. (Willie brewed a peck o' maut) 26-27. Mona, m y thrue love. . . . Mona, my own love. (Mona, M y O w n L o v e ) 38-39. (Medical Dick and Medical D a v y ) 40. (Washed in the Blood of the Lamb)

ULYSSES

77 I J.

CIRCE

423.15-19, 28-31. (The Leg of the Duck) 424.7-9. ( T h e Leg of the Duck) 11, 15, 22. (The Introit) 425.10. ( T h e Introit) 427.23-24. London's burning, London's burning! O n fire, on fire! (Scotland's Burning) 434.1, 3, 5. T i trema un poco il cuore? . . . duet from Don Giovanni. . . . Voglio? (La ci darem la mano) 436.17-20. (Someone's in the House with Dinah) 437.2 the dear gazelle. (I never nursed a dear gazelle) 22. Ireland, home and beauty. (The Death of Nelson) 24. T h e dear dead days beyond recall. Love's old sweet song. (Love's Old Sweet Song) 438.8, 15. La ci darem la mano. . . . Voglio e non. (La ci darem la mano) 443.26. W e are the boys. Of Wexford. (The Boys of Wexford) 444.5-6. T h e galling chain/ And free our native land. (The Boys of Wexford) 447.25. (The Rose of Castille) 448.10. Lionel, thou lost one! (M'appari) 451.16-17. (Moses, Moses, king of the Jews) 453.21. the memory of the past (There is a flower that bloometh; Memories of the Past) 455.19-21. (Pov' Lil Lolo, or Pov' Piti Lolotte) 457.15. (La Cigale et la Fourmi) 465.6, 7. Namine. . . . Amen. (The Croppy Boy) 24-25. Dignam's dead and gone below. (Old Roger is dead and gone to his grave) 31. (Follow Me Up to Carlow) 466.24. (Old Mother Slipperslapper) 468.2. I never loved a dear gazelle but it was sure to (I never nursed a dear gazelle) 14. Schorach ani wenowwach, benoith Hierushaloim. (Song of Songs) 470.13. (The Flying Dutchman) 21-22. But their reign is rover for rever and ever and ev (Hallelujah Chorus) 34. (Kol Nidre)

SONG

78

REFERENCES

472.2-5. (The Wren, the Wren, the king of all birds) 473.18, 19. Joybells ring in . . . gay Malahide. (The Bridal of Malahide) 474.20. All is lost now! (Tutto e Sciolto) 475.8, 9. the golden city . . . Bloomusalem (The Holy City; Jerusalem the Golden; Kafoozalem) 476.28-29. (Clap Hands) 477.3. (Little Bo Peep) 481.10. One of the old sweet songs. (Love's Old Sweet Song) 22-23. (The Rose of Castille) 486.14. A Hollybush [Riddle me, riddle me ( T h e Cock C r e w ) ] 15. And in the devil's glen? (Pretty Molly Brannigan) 23-24. Don Giovanni, a cenar teco (Commendatore's aria.

Don Giovanni)

488.24. (Songs without Words) 30. (Hallelujah Chorus) 489.28. (Little Tommy Tittlemouse) 494.12. (The Holy City) 496.15-17. (The Holy City) 26-27. (Weel May the Keel R o w ) 497.3. Tell mother you'll be there. (Tell Mother I'll Be There) 23, 26. Jeru. . . . Whorusalaminyourhighhohhhh ( T h e Holy City) 501.33. Lily of the alley. (Sally of the Alley; Lily of the Valley) 502.1-2. Tumble her. Columble her. (Ophelia's song) 5. (What Ho, She Bumps!) 1 1 - 1 2 . ( H o w happy I could be with either) 30. (Slap Bang! Here W e A r e Again!) 503.3-4, 16. (La causa e santa) 16-17. ( T a R a Ra Boom De A y ) 505.9-10. With my eyeglass in my ocular. (Piccadilly Johnny with the Little Glass E y e ) 506.3-9. (I'm a tiny tiny thing) 23-24. (There is a flower that bloometh) 507.6. (Love's Old Sweet Song) 25. Zoe mou sas agapo. (Maid of Athens) 510.26. When love absorbs my ardent soul. (Love and W a r ) 511.7-8. When first I saw (M'appari) 16. his wild harp slung behind him. (The Minstrel B o y ) 23. All is lost now. (Tutto e Sciolto) 513.1—6. (Nell Flaherty's Drake)

ULYSSES

79

19-22. (Winds That Blow from the South) 515.15. (Carmen) 517.28. (Love's Young Dream) 522.24-25, 27-28. (Ride a cock horse) 28-30. (This is the way the ladies ride) 524.27. Laci Daremo (La ci darem la mano) 525.17. By the ass of the Dorans (Doran's Ass) 530.11. simply swirling (Those Lovely Seaside Girls) 532.13. Shema Israel Adonai Elohenu Adonai Echad. (Jewish chant) 536.24. (The flowers that bloom in the spring) 539.28-31. ( O Mary lost the pin of her drawers) 541.22-23. (Dead March, from Saul) 542.8-11. (Give a thing and take it back) 544.14-18. [Riddle me, riddle me (The Cock Crew)] 545.4. (The Absent-minded Beggar) 20-22. Thirsty fox. Burying his grandmother. [Riddle me, riddle me (The Cock C r e w ) ] 547.8-11. (Die Götterdämmerung) 549.23-24. Sixteen years ago I twenty-two tumbled (Ophelia's song) 551.20-21. I'm in my pelt. (Parody of Moses) 552.24. (Ride a cock horse) 554.24. And they call me the jewel of Asia. (The Jewel of Asia, from The Geisha) 557.29-31. A stout fox . . . under the leaves. [Riddle me, riddle me ( T h e Cock Crew)] 558.31. along the rocky road. (The Rocky Road to Dublin) 559.16-17. ( M y Girl's a Yorkshire Girl) 560.15 ( M y Girl's a Yorkshire Girl) 561.6-7. T w o young fellows . . . they'd left behind. (My Girl's a Yorkshire Girl) 29. M y little . . . waist. ( M y Girl's a Yorkshire Girl) 562.18. simply swirling (Those Lovely Seaside Girls) 563.2-3, 12, 14, 29-30, 32. ( M y Girl's a Yorkshire Girl) 564.8. lame crutch and leg sailor (Johnny, I Hardly Knew Ye) 10. through and through, Baraabum! ( M y Girl's a Yorkshire Girl) 15. no fancy clothes ( M y Girl's a Yorkshire Girl) 17-18. sort of . . . relish for . . . bumpshire rose. Baraabum! (My Girl's a Yorkshire Girl)

8o

SONG

REFERENCES

565.21-22. (Three Women to Every Man) 29. Love's bitter mystery. (Who Goes with Fergus?) 571.7-8. (Old Mother Slipperslapper) 573.19. (The Bowld Sojer Boy) 574.1, 4. Dolly Gray . . . to Dolly. (Good-bye, Dolly Gray) 3. Cook's son (The Absent-minded Beggar) 4. the girl you left behind (The Girl I Left Behind Me) 576.9-10. (The Ballad of Joking Jesus) 577.21. (The Green above the Red) 578.9-13. (The Croppy Boy) 23, 25-26. (The Croppy Boy) 579.7-10. (On Coronation Day; De Golden Wedding) 24 ff. Old Gummy Granny, etc. (Parody of The Shan Van Vocht) 579.31-580.1. (I had a little nut tree; The Shan Van Vocht) 580.3-4, 6. You met with poor old Ireland and how does she stand? . . . . How do I stand you? (The Wearing of the Green) 7. (Soggarth Aroon) 581.7-8. (Turko the Terrible) 20. (Garryowen; God Save the King) 24. The brave and the fair. (Alexander's Feast) 582.21. Dublin's burning! Dublin's burning! On fire, on fire! (Scotland's Burning) 583.8-9. Factory lasses with fancy clothes toss redhot Yorkshire baraabombs. (My Girl's a Yorkshire Girl) 26, 32, 36. (Father O'Flynn) 584.16. [Kick the Pope ("We'll kick the Pope before us")] 16-17. (Daily, daily, sing to Mary) 22. (The Shan Van Vocht) 24. and Ireland will be free. (The Shan Van Vocht) 592.22-23. (Who Goes with Fergus?) 33-34. (Who Goes with Fergus?) 593.6-7. (Who Goes with Fergus?) Ill 16.

EUMAEUS

598.27. (Tell me where is fancy bred?) 606.19. voglio (La ci darem la mano)

ULYSSES

8l

608.25. For England, home and beauty. (The Death of Nelson) 32. Alice Ben Bolt (Ben Bolt) 609.1-2. (Rocked in the Cradle of the Deep) 610.27. (William Tell) 28. (Maritana) 614.20. to rule the waves. (Rule, Britannia) 615.22. (Old Skibbereen) 616.21-22. As bad as old Antonio/ For he left me on my ownio. (Kelly from the Isle of Man; Has Anybody Here Seen Kelly?) 620.16. Antonio (Kelly from the Isle of Man; Has Anybody Here Seen Kelly?) 23-24. sailed the ocean seas . . . schooner Hesperus (The Wreck of the Hesperus) 42. (The Flying Dutchman) 621.33-34. (Washed in the Blood of the Lamb) 624.13-16. (Leave Her, Johnny, Leave Her) 625.37. sister island (Harp or Lion) 626.38. or on the scaffold high. (God Save Ireland) 627.1. (Leave Her, Johnny, Leave Her) 3. (Come Back to Erin) 25, 26. country . . . our own distressful (The Wearing of the Green) 630.9. a blind horse (Old Dolly Dinkins) 15. Antonio (Kelly from the Isle of Man; Has Anybody Here Seen Kelly?) 631.9. T o improve the shining hour (How Doth the Little Busy Bee) 633.35. (Alice, Where Art Thou?) 635.32. (Farewell, my gallant captain) 636.17. The king of Spain's daughter (I had a little nut tree) 18-20. farewell and adieu. . . . to Scilly was so and so many (Spanish Ladies) 36-37. (In Old Madrid) 639.20, 21. after the burial . . . left him alone in his glory (The Burial of Sir John Moore) 640.31. (Humpty Dumpty) 642.11. that merry old soul (Old King Cole) 645.14. (Les Huguenots) 14-15. (The Seven Last Words of Christ)

82

SONG

REFERENCES

i j - 1 6 . ( " T w e l f t h Mass" of Mozart) 20-21. (Bid me to live and I will live) 22. (Stabat Mater) 32. (Don Giovanni) 33, 37. (Martha) 37. (M'appari) 647.16-17. (Youth Here Has End) 19, 22-23. (Johannes Jeep) 649.20. (Johannes Jeep) 22, 24, 32. as he sat on his lowbacked car . . . to be married by Father Maher. . . . and looked after their lowbacked car. (The Lowbacked Car)

17. ITHACA 662.31-32. (If Brian Boru) 36. (Sinbad the Sailor) 672.11-13. suil, suil, suil arun, suil go siocair agus, suil go cuin (walk, walk, walk your way, walk in safety, walk with care). (Shule Aroon) 14-15. Kifeloch harimon rakatejch m'baad l'zamatejch (thy temple amid thy hair is as a slice of pomegranate). (HaTikvah) 673.15-16. Kolod balejwaw pnimah/ Nefesch, jehudi, homijah. (Ha-Tikvah) 674.28-676.7. (Little Harry Hughes) 685.19. the new moon with the old moon in her arms (The Ballad of Sir Patrick Spens) 691.11. (Love's Old Sweet Song) 707.3-4, 5. (The Absent-minded Beggar) 713.32. Shira Shirim (The Song of Songs)

l8. PENELOPE 725.11. the young May moon she's beaming love (The Young May Moon) 729.20. (Sweetheart May) 730.31. (Ave Maria) 731.13. standing on the corner of the Harolds cross road (Standing on the Corner of the Street) 732.32-33. for England home and beauty ( T h e Death of Nelson) 33-34. (It is a charming girl I love)

ULYSSES

83

733.12. theyd have taken us on to Cork ( O Mister Porter, Whatever Shall I Do?) 26-27. (The Absent-minded Beggar) 30. (Stabat Mater) 31. (Lead, Kindly Light) 33. lead Thou me on (Lead, Kindly Light) 736.42. after the ball was over (After the Ball) 739.36-37. (Love's Old Sweet Song) 740.11. faded all that lovely ( T i s the last rose of summer) 17. (In Old Madrid) 18. (Waiting) 742.3-4. waiting always waiting . . . flying feet (Waiting) 743.30, 31. in Old Madrid . . . love is sighing I am dying (In Old Madrid) 744.26-27. shall I wear a white rose (Shall I Wear a White Rose or ShaU I Wear a Red?) 29. ( M y Sweetheart When a Boy) 35—36. (There is a flower that bloometh) 746.1-2. (Molly Darling; Fare Thee Well, Molly Darling) 747.12. (Molly Darling; Fare Thee Well, Molly Darling) 25-28. once in the dear deaead days beyond recall . . . ere oer the world the mists began . . . istsbeg comes loves sweet ssooooooong (Love's Old Sweet Song) 748.10,12,23,24. comes loooves old . . . at twilight . . . sweeeee . . . eeeeeeee one more song (Love's Old Sweet Song) 11, 12. My Ladys Bower. . . . about the moated grange at twilight and vaulted rooms ( M y Lady's Bower) 13. (Winds That Blow from the South) 749.35. (McGilligan's Daughter Mary Ann) 756.22-23. the Huguenots . . . O beau pays de la Touraine ( O beau pays de la Touraine) 757.15. (Les Huguenots) 759.8. (Bill Bailey, Won't You Please Come Home?) 18. the old love is the new (Don't Give up the Old Love for the N e w ; The Old Love and the N e w ) 19. (So Sweetly Sang the Maiden on the Hawthorn Bough) 20. (Maritana) 22. (Phoebe Dearest) 22, 23. goodbye sweetheart . . . sweet tart goodbye (Goodbye, Sweetheart, Good-bye)

84

SONG

REFERENCES

25. (O Maritarla, Wildwood Flower) 760.27, 31-32, 33, 34. where softly sighs of love the light guitar . . . two glancing eyes a lattice hid . . . two eyes as darkly bright as loves own star . . . as loves young star (In Old Madrid) 763.10-11. (The winds that waft my sighs to thee) 765.23. mi fa pietà Masetto (Zerlina's aria from Don Giovanni) 766.35-36. (Shall I Wear a White Rose or Shall I Wear a Red?) 768.2. glancing eyes a lattice hid (In Old Madrid) 12. (Shall I Wear a White Rose or Shall I Wear a Red?)

FINNEGANS

FINNEGANS

WAKE

85

WAKE

(Page references to the Viking Press edition) I. 1. 3.9. mishe mishe (Mush Mush) 12-13. R Q t a peck of pa's malt . . . brewed (Willie brewed a peck o' maut) 18-21 passim. (Humpty Dumpty) 4.4 mathmaster Malachus Micgranes (Master McGrath) 5, 7-8. Whoyteboyce. . . . Killykillkilly (The Boys of Kilkenny) 9. bidimetoloves (Bid me to live) 10. their's hayair (There's Hair Like Wire Coming out of the Empire) 18-36 passim. (Finnegan's Wake) 29-30. tuck up your part inher. (Finnegan's Wake) 5.1-26 passim. (Finnegan's W a k e ) 9. Hootch is for husbandman handling his hoe. ( A was an Archer) 34. the peeler in the coat (The Peeler and the Goat) 6.1-36 passim. (Finnegan's Wake) 6-7. a roof for may . . . suits tony (Ring a-ring o' Roses) 7-9. wan warning Phill. . . . shake (Finnegan's Wake) 8. Phill (Phil the Fluter's Ball) 1 0 - 1 1 . Mastabatoom . . . all long. (Needles and Pins) 11—12. For whole the world to see. (Pretty Molly Brannigan) 13. Macool . . . diie? (Finnegan's Wake; Pretty Molly Brannigan) 14. of a trying thirstay mournin? (Here we go round the mulberry bush) 14. Sobs they sighdid ( W h o killed Cock Robin?) 17. plumbs and grumes (Johnny, I Hardly Knew Ye) 17-18. There was plumbs . . . cinemen too. [Hooligan's Christmas Cake (Miss Fogarty's Christmas Cake)] 18-19. A n d the all . . . shoviality. (Phil the Fluter's Ball) 20. celebration . . . Hanandhunigan's (Lannigan's Ball) 22-23. He's stiff . . . Priam Olim! (Brian O'Linn)

86

SONG

REFERENCES

23. T w a s he was the dacent gaylabouring youth. ( T h e Bonny Labouring Boy; Barnaby Finnegan) 25. deepbrow fundigs ( D e Profundis) 25-26. dusty fidelios. (Adeste Fideles; Fidelio) 26-27. T h e y laid. . . . hoer his head. (Finnegan's W a k e ) 28. T e e the tootal . . . fuddled, O ! (Phil the Fluter's Ball) 7.3. O carina! O carina! ( D o n Giovanni, II.3; O Katharina) 8. Grampupus is fallen down (London Bridge is falling down) 9-12. Whase on. . . . olde Dobbelin ayle. ( W h o killed Cock Robin?) 12, 14. foamous olde Dobbelin ayle. . . . flowerwhite (Dobbin's Flowery Vale) 25. 26. little A n n y Ruiny . . . lovelittle Anna Rayiny (Little Annie R o o n e y ) 26. lovelittle (Love Me Little, L o v e Me Long) 27. she ninnygoes . . . by. (This is the w a y the ladies ride) 31-32. ( H u m p t y D u m p t y ) 34. bom, tarabom, tarabom ( T a Ra Ra Boom De A y ; A t Trinity Church I Met M y D o o m ) 36. when the clouds roll by ( W a i t 'til the Clouds Roll B y ; T h e Missouri W a l t z ) 8.10-10.25. ( T h e House T h a t Jack Built) 9.14. fairy ann (McGilligan's Daughter Mary A n n ) 17. Drink a sip, drankasup (Crosspatch, draw the latch) 29-30. W i t h a nip. . . . T i p . (It's a Long W a y to Tipperary) 33. the jinnies they left behind them. ( T h e Girl I L e f t Behind M e ) 10.1. Toffeethief ( T a f f y was a Welshman) 28. Downadown, High Downadown. ( T h e Three Ravens) 30. awalt'zaround ( W a l t z Me Around Again, Willie) 32-34. runalittle . . . pelfalittle [ T e n Little Injuns ( T e n Little Niggers)] 34. A verytableland of bleakbardfields! (Sing a song of sixpence) 10.18-11.28 passim. ( T h e T h r e e Ravens) 11.1. T h e three of crows (Sing a song of sixpence; T h e Three Ravens) 18. w h o goes cute goes siocur and shoos aroun (Shule A r o o n ) 25-26. the last sigh that come fro the hart ( A h ! T h e svghes that come fro' the heart)

FINNEGANS

WAKE

87

12.6. marriedann . . . mercenary. (Mercenary Mary; McGilligan's Daughter Mary Ann) 1 1 - 1 2 . to piff. . . . Poffpoff. (Push the business on) 12-15. (Humpty Dumpty) 29-31. every crowd . . . of its own (As I was going to St. Ives) 34-35. hopping round . . . griddle, O (Phil the Fluter's Ball) 13.14-15. (Humpty Dumpty) 24. (Humpty Dumpty) 25. A shoe on a puir old wobban. (There was an old woman who lived in a shoe) 14.13. Primas . . . decent people. (Saint Patrick Was a Gentleman) 13-14. Caddy . . . a farce. ( T a f f y was a Welshman) 14-15. Blotty words for Dublin. ( T h e Rocky Road to Dublin) 33-34. amaid her rocking grasses (Sean a Dhuir a Ghleanna) 15.24-26. (isn't it the truath I'm tallin ye?) . . . . T i m T i m m y can (Finnegan's Wake) 17.4. (Humpty Dumpty) 10-12. him of the spumy horn . . . Brian d' of Linn. (Brian O'Linn) 15. rutterdamrotter. (Die Götterdämmerung) 23. Let erehim ruhmuhrmuhr. (Let Erin remember the days of old) 24-25. Morthering rue. (Moddereen Rue) 32-33. Llarge by the smal. . . . babylone ( H o w many miles to Babylon?) 34. tit tit tittlehouse (Little T o m m y Tittlemouse) 36. leebez luv. (Liebestod) 18.2. Meldundleize! (Liebestod) 2-3. By the fearse. . . . sung. [By the Feal's wave benighted (Desmond's Song)] 6-7. O'c'stle. . . . Humblin! (See saw, sacradown) 24-28. In the ignorance . . . existentiality. (The House That Jack Built) 19.4-5. Right rank . . . rightgorong. (Around the rugged rocks; A right down regular royal Queen) 6-7. Thik is . . . vengeance. ( A was an Archer) 20.10-11. For that . . . in prints. (What are little girls made o f ? ) 19. Cry not yet! [Fly not yet, 'tis just the hour (Planxty Kelly)]

88

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REFERENCES

19-20. There's many . . . kindlelight. (How many miles to Babylon?) 19-20. sytty maids (Mary, Mary, quite contrary) 30. golden youths (Fear no more the heat o' the sun) 21.1-2. So weenybeenyveenyteeny. (Eeny, meeny, miny, mo) 6. when Adam . . . spinning (When Adam delved) 23-24. come back to my earin (Come Back to Erin) 22.10. come back with my earring (Come Back to Erin) 27. the valleys lay twinkling. [The valley lay smiling before me (The pretty girl milking her cow)] 31. the Campbells acoming (The Campbells Are Coming) 22.34-23.1-2. broadginger hat . . . allabufF . . . bandolair . . . rudd yellan gruebleen orangeman (All Around M y Hat I Wear a Tricolored Ribbon) 23.5, 7. And the duppy shot the shutter clup . . . And they all drank free. (Polly, put the kettle on; Ophelia's song) 24.11. and may again . . . disembers. (Will You Love Me in December as You Did in May?) 15. Anam. . . . doornail? (Finnegan's Wake) 2i. foggy dew's (The Foggy Dew) 25.13-14. every hollow holds a hallow (Comin' through the Rye; Every Bullet Has Its Billet) 21. you showed our labourlasses (Sean a Dhuir a Ghleanna) 21-22. T h e game old Gunne ( M y Old Howth Gun) 26.14. And that's . . . born. (You're in Kentucky) 1 j-16. T h e loamsome roam (Look Down, Look Down That Lonesome Road) 27.7. postman's knock (Postman's Knock) 7-8. if the seep . . . by his ide [Lay his sword by his side (If all the seas were ink)] 14-15, 17. You remember Essie. . . . Were I a clerk [You remember Ellen, our hamlet's pride (Were I a clerk)] 21. T w o u l d dilate your heart to go. (Good-bye, Dolly Gray) 28.13, ! J• • • ribbons . . . blue ( O dear, what can the matter be?) 15-16. She was flirtsome then and she's fluttersome yet. (Pelican Chorus) 29.5, 7. (Humpty Dumpty) 22. The Bey for Dybbling ( O Bay of Dublin) 26-27. his shebi by his shide (The Leprechaun)

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30.13-14. under his redwoodtree (Under the Greenwood Tree) 14. Chivychas (The Ballad of Chevy Chase) 31.24. where the paddish preties grow (The Garden Where the Praties G r o w ) 28-29. For he kinned . . . in the mourning. (Do Ye Ken John Peel?) 32.23-24. Stop his Grog . . . Log (A-Hunting W e Will G o ) 3j. The Bo' Girl (The Bohemian Girl) 35. The Lily (The Lily of Killarney) 33.27-28. Hay, hay, hay! . . . joq. (Little Brown Jug) 34.30-31. Ofman will toman (The Memory of the Dead; Finnegan's Wake) 33. lilyth, pull early! Pauline, allow! (Lilliburlero) 35.32. Couhounin's call! (Cuchulain's Call) 37.32. Lukanpukan pilzenpie (Georgie Porgie) 38.6-7. though humble the bounquet 'tis a leaman's farewell [Though humble the banquet (Farewell, Eamon)] 9. Maxwelton (Annie Laurie) 21. annie lawrie promises (Annie Laurie) 30. Havvah-ban-Annah (Let's A l l G o Down the Strand and Have a Banana) 34. (The Secret of Her Birth) 39.23. the colleenbawl (The Colleen Bawn) 34. creeping jenny (Creeping Jane) 40-47 passim. (The Ballad of Persse O'Reilly) 40.1-2. the Cup and the Stirrup (The Stirrup Cup) 3. Abide With Oneanother (Abide with Me) 6. I come, my horse delayed (The moon hath raised her lamp above; Come, O come, my life's delight) 6. nom num (This is the way the ladies ride) 10. martas (Martha) 13. fight niggers with whilde roarses (Ride a cock horse) 13. oft in the chilly night (Oft in the stilly night) 17. Mildew Lisa (Liebestod) 41.2. by his cocklehat (Ophelia's song) 10. meed of anthems here we pant! (Maid of Athens) 17-18. The Barrel . . . hamlet (Cockles and Mussels) 28. Messiagh of roaratorios (The Messiah)

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REFERENCES

42.1. whackfolthediddlers ( W h a c k Fol the Diddle) 11-12. seinn fion, seinn fion's araun (Sinn Fein, Sinn Fein Amhain) 20. Spare, woodmann, spare! ( W o o d m a n , Spare T h a t T r e e ) 27. halted cockney car ( T h e Irish Jaunting Car) 43.17-18. a jolly postoboy thinking off three flagons and one ( T h e Jolly Y o u n g Waterman) 21-22. a nation wants a gaze ( A Nation Once Again) 31-32. T o the added strains . . . flute (Phil the Fluter's Ball) 44-47 passim. ( H u m p t y D u m p t y ) 44-47. ( T h e Ballad of Persse O'Reilly. T h e opening phrase resembles that of La bruna gondoletta in Benedict's Carnevale di Venezia) 44.1. s n o w y crested curl ( T h e S n o w y Breasted Pearl) 1. wild and moulting hair ( A W i l d Mountain A i r ) 7, 16-17. A n d around the lawn the rann it rann and this is the rann. . . . the rann, the king of all ranns. ( T h e W r e n , the W r e n , the king of all birds) 45.27. R h y m e the rann, the king of all ranns! ( T h e W r e n , the W r e n , the king of all birds) 46.12-16. Sweet bad luck . . . bar [ T h e Blackbird ( O Blarney Castle, M y Darling)] 25. the rann, the rhyming rann! ( T h e W r e n , the W r e n , the king of all birds) 1.3. 48.3. Shanvocht! ( T h e Shan V a n V o c h t ) 49.6. alohned in crowds to warnder on like Shuley Luney [Alone in crowds to wander on (Shule A r o o n ) ] 9. marble halls (I dreamt that I dwelt in marble halls) j i . 1 - 2 , 8. whereas sallow has long daze faded . . . Slypatrick [Has sorrow thy young days shaded? (Sly Patrick)] 8. the Had in the llane (Baa, baa, black sheep) 24-25. a native of the sisterisle—Meathman or Meccan? ( H a r p or Lion?) 33, 34. dannyboy! . . . Apple by her blossom [Danny Boy ( W o u l d that I were a tender apple blossom)] 53.7. jauntyjogging, on an Irish visavis ( T h e Irish Jaunting Car) 7-8. insteadily with shoulder to shoulder ( T h e Boys of the O l d Brigade)

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12-13. belttry your tyrs and close your noes (Close your eyes and open your mouth; O Dry Those Tears) 13. Follow we up (Follow Me Up to Carlow) 19-20. as midnight was striking the hours (When Mid-night Is Striking the Hour; The Bridge) 22-23. a topping swank cheroot (On the Road to Mandalay) 54.1. Downaboo! (O'Donnell Abu) 4-5. Poolaulwoman . . . Ann van Vogt (The Shan Van Vocht) 31. tricoloured boater (All Around My Hat I Wear a Tricolored Ribbon) 55.4. averging on blight [Avenging and Bright (Crooghan a Venee)] j . deeds bounds going arise again (These Bones Gwine to Rise Again) 24. their airish chaunting car (The Irish Jaunting Car) 28. phoenix in our woodlessness (Here we sit like birds in the wilderness) 29-30. whose roots they be asches with lustres of peins. (When W e T w o Parted) 56.17—18. as a young man's drown o'er the fate of his waters may gloat [The Young Man's Dream (As a beam o'er the face of the waters may glow)] 27. wine width woman wordth warbling (Wine, Women, and Song) 32-33. O'Breen's not his name nor the brown one his maid. [O breathe not his name (The Brown Maid)] 57.3. plicyman, plansiman, plousiman, plab. (Rich man, poor man, beggar man, thief) 3-4. Tsin tsin tsin tsin! (Chin Chin Chinaman) 7-8. Hear the four of them! Hark torroar of them! (One More Drink for the Four of Us) 27. mild dewed (Liebestod) 58.5-6. As hollyday . . . ivy conquered. (The Holly and the Ivy) 6-7. They have waved his green boughs o'er him (Wrap the Green Flag Round Me, Boys) 9. deprofound (De Profundis) i o - n . Longtong's breach is fallen down (London Bridge is falling down)

92

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n . Ahdostay, feedailyones (Adeste Fideles) 11—13. and feel the Flucher's bawls. . . . his fettle, O! (Phil the Fluter's Ball) 13. Chin, chin! Chin, chin! (Chin Chin Chinaman) 14. A n d of course . . . boviality. (Phil the Fluter's Ball) 14. Swiping rums and beaunes (Johnny, I Hardly K n e w Y e ) 14-16. swiping rums . . . citronnades too. [Hooligan's Christmas Cake (Miss Fogarty's Christmas Cake)] 23, 24. T a p and pat and tapatagain. . . ! Peingpeong! (Patapan) 24-28. three tommix. . . . je vous en prie, eh ( W e be soldiers three) 59.8. orange and lemonsized orchids. (Oranges and Lemons) 9. hollegs and ether. ( T h e Holly and the Ivy) 25. jauntingly hosing his runabout ( T h e Irish Jaunting Car) 60.9, 10. Kitty Tyrrel . . . ( O blame gnot the board!) [ O blame not the bard (Kitty T y r r e l l ) ] 11. Brian Lynsky (Brian O'Linn) 19-20. under the mysttetry (Under the Bamboo Tree) 26. Mr. Danl Magrath (Master McGrath) 31. meet too ourly, matadear! (Call Me Early, Mother Dear) 61.11. Jarley Jilke began to silke (Jack and Jill) 11-12. for he couldn't get home to Jelsey [ W e W o n ' t G o Home until Morning (Malbrouk s'en va)] 16. Questa and Puella (Questa o quella) 29. Is now all seenheard then forgotten? (Dixie) 63.16. One Life One Suit ( O n e Life, One Love) 22, 23. o'gloriously a'lot . . . to drink (One More Drink for the Four of Us) 27. fillthefluthered (Phil the Fluter's Ball) 64.1. the wastes a'sleep ( T h e West's A w a k e ) 3. on the raglar rock to Dulyn ( T h e R o c k y Road to Dublin; Around the rugged rocks) 4-5. he dreamed that he'd wealthes in mormon halls (I dreamt that I dwelt in marble halls) 6, 7, 25. while hickstrey's maws . . . pandywhank . . . puddywhackback [While History's muse (Paddy W h a c k ) ] 6, 8. while . . . grazing in the moonlight . . . (oonagh! oonagh!) [While grazing on the moon's light ( O o n a g h ) ] 12. rouse him out o' slumber deep ( T h e West's A w a k e )

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13. martiallawsey marses (La Marseillaise) 25. puddywhackback to Pamintul (Mademoiselle from A r mentieres) 25-26. A n d roll away . . . the reel world! ( W e e l M a y the Keel R o w ) 28-29. Filons. . . . Fammfamm! (La Marseillaise) 34. N o w her fat's falling fast (Excelsior) 36. blossomtime's (Blossom T i m e ) 65.7. vows her to be his own honeylamb (Alexander's Ragtime Band) 8-9. w a y down west in a guaranteed happy lovenest (Let the Rest of the W o r l d G o B y ) 9. when May moon she shines ( W h e n the Moon Shines Brightly; T h e Young May M o o n ) 30-31. two by t w o . . . missymissy for me ( T e a for T w o ) 31-32. a tofftoff for thee . . . f o r Färber (Ring a-ring o' Roses) 32. in his tippy . . . canoodle ( M y Little Canoe) 66.21-23. W i l l it bright. . . . so it light ( A r e Y e Right There, Michael, A r e Y e Right?) 28, 29. handharp . . . jubabe from jabule ( O Had I Jubal's Lyre) 36. lily boleros (Lilliburlero) 67.2. and by jingo when they do! ( W e Don't W a n t to Fight but, by Jingo, if W e D o ) 32-33. Because it is . . . to day (I've a terrible lot to do today) 68.14. dotter of a dearmud (Die Götterdämmerung) 15. valkirry (Die Walküre) 69.3. wilde erthe blothoms (Lilly Dale) 5. N o w by memory inspired ( B y Memory Inspired) 30-31. lets w e brag of praties, it ought to be always remembered ( T h e Recessional) 70.2-3. in the first deal of Yuly ( T h e T w e l v e Days of Christmas) 7. the Lynn O'Brien, a meltoned lammswolle (Brian O'Linn) 71.11-12. Yass W e ' v e Had His Badannas (Yes, W e Have N o Bananas) 12. York's Porker (Hokey Pokey) 12-13. A t Baggotty's Bend H e Bumped ( A t Trinity Church I Met M y Doom)

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94

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19. Gibbering Bayamouth of Dublin ( O Bay of Dublin) 20. His Farther . . . in a Growler (Saint Patrick Was a Gentleman) 25-26. Delights to Kiss the Man behind the Borrel (The Man That Broke the Bank at Monte Carlo) jo. Barebarean (Barbara Allen) 32-33. Flunky Beadle . . . Loney (Yankee Doodle) 72.2. Twitchbratschballs [One Meat Ball (The Lone Fish Ball)] 9. Plowp Goes His Whastle (Pop! Goes the Weasel) 10. Vee W a s a Vindner ( A was an Archer) 73.13. Malbruk [Malbrouk s'en va ( W e Won't G o Home until Morning)] 16. goodbyte to their thumb (Good-bye, Summer) 16-18. his bandol eer . . . in the morning (Off to Philadelphia in the Morning) 23, 24. rochelly . . . siegings ( M y love and cottage near Rochelle) 74.1. some Finn, some Finn avant!) (Sinn Fein, Sinn Fein Amhain!) 2-3. Greenman's Rise O (Dead Man's Rise—O) 3-5. and o'er dun and dale . . . his mighty horn skall roll (Blow, Bugle, Blow) 5. roll, orland, roll. (Roll, Jordan, Roll) 8. Animadiabolum, mene credidisti mortuum? (Finnegan's Wake) 9. Silence was in thy faustive halls, O Truiga, when thy green woods [Silence is in our festal halls (The Green Woods of T r u i g a ) ] 10-12. there will be sounds . . . on his boots. [There are sounds of mirth in the night air ringing (The priest in his boots)] I.4. 75.2. Ariuz . . . Arioun (The Coster's Serenade) 3. Marmarazalles from Marmeniere (Mademoiselle from A r mentieres) 8. Zijnzijn Zijnzijn! (Chin Chin Chinaman; Bom, Bom, Bom! Zim, Zim, Zim!) 17. a peer saft eyballds! (Take a pair of sparkling eyes) 76.28. to the tickle of his rod (Phil the Fluter's Ball)

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32. treubleu Donawhu (The Blue Danube) 77.14. Ryan vogt (The Shan Van Vocht; Molly Bawn and Brian Oge) 16. wouldmanspare! (Woodman, Spare That Tree!) 78.12-13. pots and pans and pokers and puns (The King of the Cannibal Isles; Hokey Pokey Whiskey Thum) 21-22. ramp, ramp, ramp, the boys are parching. (Tramp, Tramp, Tramp, the Boys Are Marching) 31-32. (Black Bottom) 32. once Woolwhite's Waltz (Waltz Me Around Again, Willie) 79.17. where indeeth we shall calm decline, our legacy unknown. [When in death I shall calmly recline (The Bard's Legacy) (unknown)] 23-25. Wells she'd woo. . . . where she'd marry! (I Know Where I'm Going) 25-26. Arbour, bucketroom. . . . dungcart? (Rich man, poor man, beggar man, thief) 33-34. as her weaker had turned him to the wall (Old Uncle Ned) 35. from good King Hamlaugh's gulden dayne (When good King Arthur ruled this land; The Vicar of Bray) 80.9. ah for archer (A was an Archer) 18. hume sweet hume. (Home, Sweet Home) 18. And no more of it! (One More Drink for the Four of Us) 27-28. the ward of the wind . . . that Jove bolt (The House That Jack Built) 34-35. with their sashes . . . pirlypettes! (Little Bo Peep) 81.11. scallop your hat (Ophelia's song) 82.9. I hardly knew ye (Johnny, I Hardly Knew Ye) 12. chew-chin-grin (Chin Chin Chinaman) 17. our old friend Ned (Old Uncle Ned) 20. light young charm (Believe me, if all those endearing young charms) 83.34. hillelulia, killelulia, allenalaw (Lilliburlero) 84.31. so many miles from bank and Dublin stone (See saw, sacradown; How many miles to Babylon?) 85.1-2. in the bottol of the river . . . locked in the burral of seas! (Rocked in the Cradle of the Deep; Down Went McGinty)

96

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1 1 - 1 2 . his alpenstuck in his redhand (Ophelia's song) 86.17. paddlewicking (Paddy W h a c k ) 87.1-2. a onebumper at parting f r o m Mrs Molroe in the morning [One bumper at parting (Moll Roe in the morning)] 4. remember the filth of November ( G u y Fawkes) 6. dates of ould lanxiety (Auld Lang Syne) 26. kings of mud and tory (Land of Hope and G l o r y ) 32. O'Donner. A y ! . . . . Bu! (OT)onnell A b u ) 33-34. [Deadman's Dark Scenery (or C o a t ) ] 88.8. living, loving, breathing and sleeping ( T h e Rakes of Mallow) 1 4 - 1 5 . Szerday's Son? (Monday's Child) 28. Cumbilum (Cummilium) 30. founts of bounty playing ( T h e n you'll remember me) 30-31, 32-33. there—is—a—pain—aleland in Long's gourgling barral? . . . . gargling bubbles (Gougane Barra) 89.10 Crosscann L o m e ( T h e Cruiskeen L a w n ) 11. It was corso in cursu on coarser again. (Father O ' F l y n n ) 12, 13. w e not doubt . . . on the forx. . . . O ' D o w d me not! [O! doubt me not (Yellow W a t and the F o x ) ] 30-31. up Finn, threehatted ladder? (Finnegan's W a k e ) 90.17. Saturn's mountain fort? (Slattery's Mounted F o o t ) 24. Like the crack that bruck the bank in Multifarnham. ( T h e Man T h a t Broke the Bank at Monte Carlo) 91.13. they might talk about Markarthy ( T h e British Grenadiers) 22. coddling doom (Croodlin D o o ) 23-24. T o parish b y the market steak before the dorming of the mawn [ T h e Dawning of the Morn ( T h e Market Stake)] 92.15-16. the captivating youth [Sweet Innisfallen, fare thee well ( T h e captivating youth)] 18. Oirisher Rose ( M y W i l d Irish Rose) 20. w o o l y w a g s (Waltzing Matilda) 20. dindy dandy sugar de candy ( H a n d y Spandy; I shall say to a young man g a y ) 20. mechree (Mother Machree; W i d o w Machree) 21. postheen flowns (Paustheen Fionn) 21-22. belive them of all his untiring young dames (Believe me, if all those endearing young charms) 25. all all alonely ( A l l Alone)

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29-30, 32. youthsy, beautsy, hee's her chap and shey'll tell memmas when she gays whom. . . . shayshaun (Youth's the Season) 30. shey'll tell memmas when she gays whom ( G o Home and Tell Your Mother) 93.18. true venuson Esau (Poor Old Robinson Crusoe) 27. From Dark Rosa Lane a sigh and a weep ( M y Dark Rosaleen) 27-28. from Lesbia Looshe the beam in her eye [Lesbia hath a beaming eye (Nora Creina)] 28. Coogan Barry (Gougane Barra; Kevin Barry) 28-29. his arrow of song (The Arrow and the Song) 29. Sean Kelly's (Kelly, the Boy from Killann) 29. Sean . . . anagrim (Sean a Dhuir a Ghleanna) 29. a blush at the name (The Memory of the Dead) 30. I am the Sullivan (Are You the O'Reilly That Keeps This Hotel?) 30. trumpeting tramp (Tramp, Tramp, Tramp, the Boys Are Marching) 30-31. from Suffering Dufferin the Sit of her Style [The Lament of the Irish Emigrant (I'm sitting on the stile, M a r y ) ] 31-32. from Kathleen May Vernon her Mebbe fair efforts (Kathleen Mavourneen) 32-33. from Fillthepot Curran his scotchlove machreether (Acushla Machree) 33-34. Phil Adolphos the weary O, the leery, O (Off to Philadelphia in the Morning; The Weary Pund o' T o w ) 3j. that bored saunter by (The Bowld Sojer B o y ) 35-36. Timm Finn again's weak (Finnegan's W a k e ) 93.36-94.1. the wedding on the greene (The Wearing of the Green) 93.36-94.1. wedding on the greene, agirlies, the gretnass of joyboys (The Bridal of Malahide) 94.1-2. from Pat Mullen. . . . Maldon [Uncle T o m Cobleigh and All (Widdicombe Fair)] 5-7. Wind broke it. . . . plight pledged peace. ( A was an Apple Pie) 14-16. Ena milo . . . woe is we! (Eeny, meeny, miny, mo) 23, 24, 31-32. So there you are now there they were . . . the four with them. . . . The four of them and thank court

9

8

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REFERENCES

now there were no more of them. (One More Drink for the Four of U s ) 32. Be it soon. (If Anyone Here Wants to Treat Me to Beer) 95.6. G o n e over the bays! (Old Black J o e ) 6. over the bays! (Over the W a v e s ) 7. ginabawdy meadabawdy! (Comin' through the R y e ) 10. jonnies to be her jo? (John Anderson, M y J o ) 10. to be her jo? (Little Annie Roonev) 1 3 - 1 4 . heaving up the K a y W a l l ( W e e l M a y the Keel R o w ) 1 7 - 1 8 . pawsdeen fiunn! (Paustheen Fionn) 25. pure mountain dew ( T h e Mountain D e w ) 27-28. unguam and nunguam and lunguam again (Father O'Flynn) 35-36. living and lying and rating and riding ( T h e Rakes of Mallow) 36. A n d all the buds in the bush. ( W h o killed Cock R o b i n ? ) 96.1-3. Harik! . . . . in the parik! (Cock a Doodle D o o ) 13. a drahereen o machree! (Draherin O Machree) 13, 14. (peep!). . . . (peepette!) (Little Bo Peep) 14. meeting waters ( T h e Meeting of the Waters) 19-20. Pool loll Lolly! (Pov' Lil Lolo) 22-23. her kindness pet and the shape of O O O O O O O O Ourang's time. (Auld Lang Syne) 97.36. with houx and epheus and measured with missiles too ( T h e Hollv and the I v y ) 98.3. T h e noase or the loal had dreven him blem ( D o Y e K e n John Peel?) 1 1 . first house all flatty: the king, eleven sharps ( G o d Save the King) 22. buoyant waters (Boyne W a t e r ) 99.1. glowworm gleam ( T h e Young M a y Moon) 20. Mumpty! Mike room for Rumpty! ( H u m p t y D u m p t y ) 100.2-3. Shall their hope then be silent or Macfarlane lack of lamentation? [Shall the harp then be silent? (Macfarlane's Lamentation)] 6, 7. Paisdinernes . . . Fiounnisgehaven (Paustheen Fionn) 7. Ballyhooly ( T h e Ballyhooly Blue Ribbon A r m y ) 21. swinglowswaying (Swing L o w , Sweet Chariot) 101.9. Toemaas, mark 00m f o r yor ounckel! ( T o m m y , Make Room for Y o u r Uncle)

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17. colleen bawl (The Colleen Bawn) 34-35. till one one and one ten and one hundred again (Father O'Flynn) 102.11. little bolero boa (Lilliburlero) 12-13. specks on her eyeux . . . Parisienne's cockneze (Ride a cock horse; I've Got Rings on My Fingers) 13-14. a vaunt her straddle from Equerry Egon (This is the way the ladies ride) 22-23. But there's a little lady waiting (There's a Mother Always Waiting) 24. For her holden . . . back. (Her Golden Hair Was Hanging Down Her Back) 26-27. And ilk a those dames had her rainbow huemoures (As I was going to St. Ives) 102.32-103.7. (Parody of At Trinity Church I Met My Doom) 103.1. At Island Bridge she met her tide (The Croppy Boy) 10. we have hanged our hearts in her trees (There Is a Tavern in the T o w n ) I. j .

104.6-7. Rockabill Booby in the Wave Trough (Rockabye, baby) 7. Here's to the Relicts of All Decencies (The Hat Me Father Wore) 13-14. Arcs . . . on the Flur (Ride a cock horse; I've Got Rings on M y Fingers) 15. Peter Peopler . . . Poppolin (Peter Piper) 18-19. My Hoonsbood . . . Has the Hour [Ne'er ask the hour, what it is to us ( M y husband's a journey to Portugal gone)] 21. the Coombing of the Cammmels (The Campbells Are Coming) 24. Gettle Nettie (Gentle Annie) 24. Thrust him not (The Gipsy's Warning) 104.24-105.1. When the Myrtles . . . Bloccus's Line (Anacreon in Heaven) 105.6. O'Jerusalem (The Holy City) 6-7. He's my O'Jerusalem and I'm his Po (Little Annie Rooney; John Anderson, M y J o ) 11. Orel Orel the King of Orlbrdsz (The Wren, the Wren, the king of all birds)

IOO

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12. Drink to Him, My Juckey [Drink to her who long (Heigh ho! M y Jackey!)] 12-1 j. Dhoult Bemine T h y Winnowing Sheet [If thou'lt be mine, the treasures of air (The winnowing sheet)] 15. Da's a Daisy so Guimea your Handsel too [A Bicycle Built for T w o (Daisy Bell)] 18. M y Old Dansh ( M y Old Dutch) 20. He Calls Me his Dual of Ayessha (The Jewel of Asia) 21. Lapps for Finns This Funnycoon's Week (Finnegan's Wake) 27. Lift in the Lude (The Rift within the Lute) 29-30. Inn the Gleam of Waherlow (In the Glen of Aherlow) 106.1. Of all the Wide Torsos in all the Wild Glen (Humpty Dumpty) 1-2. Of all the Wide Torsos in all the Wild Glen, O'Donogh, White Donogh [Of all the fair months that round the sun (Song of O'Donohue's Mistress) (The great and little mountain)] 2-3. I'm the Stitch . . . Without Mom (You're the Cream in M y Coffee) 6. A Boob . . . was Reaping (The Angel's Whisper) 14. A s Lo Our Sleep [As slow our ship (The Girl I Left Behind M e ) ] 16-17. W e t W e e k Welikin's Douchka Marianne (McGilligan's Daughter Mary Ann; Villikins and His Dinah) 19. Chee Chee Cheels on their China Miction (Chin Chin Chinaman) 20. Lumptytumtumpty had a Big Fall (Humpty Dumpty) 26. Exat Delvin Renter Life (The Rakes of Mallow) 26-27. The Flash . . . Hair on Fire (The time I've lost in wooing; There's Hair Like W i r e ) 27. His is the House that Malt Made (The House That Jack Built) 107.17. with guns like drums (Johnny, I Hardly Knew Ye) 108.5-6. by a rightdown regular racer (A right down regular royal Queen) 110.24. life's old sahatsong (Love's Old Sweet Song) 111.2-3. a dual a duel t o die to day (I've a terrible lot to do today) 33. lookmelittle likemelong (Love Me Little, Love Me Long) U2.8. pick a peck (Peter Piper)

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8. pick a peck of kindlings yet from the sack of auld hensyne. (Auld Lang Syne) 9. Lead, kindly fowl! (Lead, Kindly Light) 32. jotty young watermark ( T h e Jolly Young Waterman) 113.35. when Christmas comes his once ayear. (Christmas Comes but Once a Year) 114.36. (Boyne Water; T h e Battle of the Boyne) 115.6. your lark in clear air. ( T h e Lark in the Clear A i r ) 116.11. W e are not corknered yet, dead hand! ( T h o u A r t not Conquered Yet, Dear Land) 12. the froggy jew ( T h e Foggy D e w ) 13. in DumbU's fair city (Cockles and Mussels) 15. the oldowth guns ( M y Old H o w t h G u n ) 16. the bold O ' D w y e r (Sean a Dhuir a Ghleanna; Bold O'Dwyer) 117.1-2. Thief us the night . . . mine! (Still wie die N a c h t ) 5. menday's daughter (Monday's Child) 6-8. lose and win again . . . grown in again. ( O l d Michael Finnegan) 10—11. T h e olold stoliolum! (Tell Me the Old Old Story) 16. nozzy Nanette ( N o , N o , Nanette) 17-18. the souffsouff blows her peaties up and a claypot wet for thee (Polly, put the kettle on) 23. three jeers for the grape, vine and brew [Columbia, the G e m of the Ocean (Three Cheers for the Red, W h i t e , and Blue)] 119.30-31. a tea anyway for a tryst someday (Tea for T w o ) 120.20. back to Athens (Come Back to Erin) 121.14-16. here keen again . . . sensesound kin again (Old Michael Finnegan) 22-23. to see . . . a corkhorse (Ride a cock horse) 123.2. w h y , O w h y , O why? ( W h y Did I Kiss T h a t Girl?) 124.32-33. sailor . . . to the fill. (Requiem) 125.11. T o t t y Askinses ( T o m m y Atkins) 16-17. he could have . . . as Essex Bridge. ( T h e Memory of the Dead) 1.6. 127.6. she hung him out billbailey (Bill Bailey, W o n ' t Y o u Please Come Home?)

I02

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26. oxhide on Iren ( T h e Exile of Erin) 128.25. c a n dance the O'Bruin's polerpasse ( Y o u Should See Me Dance the Polka) 129.1. drinkthedregs kink ( T h e T h i r t y - t w o Counties) 7-8. sing a song a sylble (Sing a song of sixpence) 1 1 . Roderick, Roderick, Roderick, O (Roderick O ' D w y e r ) 1 4 - 1 5 . sollyeye airly blew ye (Johnny, I Hardly K n e w Y e ) 18. dump your hump ( H u m p t v Dumpty) 26. w e saw thy farm at Useful Prine, Domhnall, Domhnall [I saw thy form in youthful prime (Domnhall)] 30. Giroflee Giroflaa (Girofle, Girofla) 130.2. browbenders ( B r o w Bender) 3. youlasses and yeladst (Come, lasses and lads) 3. yeladst glimse of Even [Though the last glimpse of Erin ( T h e Coolin)] 10. G o n e W h e r e G l o r y Waits Him [Gone where glory waits thee ( T h e Maid of the V a l l e y ) ] 13. the buttle of the bawn ( T h e Battle of the Bovne) 23-24. the viled ville of Barnehulme has dust turned to brown ( T h e W i l d Man f r o m Borneo) 26. long gunn but not f o r cotton (Dixie) 33, 34. last trade overseas . . . Glintylook . . . F.lin's flee [Though the last glimpse of Erin ( T h e Coolin)] 131.5. topperairy (It's a L o n g W a y to T i p p e r a r y ) 14, 1 5 - 1 6 . married . . . till he was buried howhappy was he ( W h e n W e A r e Married; Needles and Pins) 20. a lover of arbuties ( M y Love's an Arbutus) 34. chinchin (Chin Chin Chinaman) 132.17. harrier, marrier, terrier, tav (Rich man, poor man, beggar man, thief) 133.7-8. Roseoogreedy (mite's) little hose (Sweet Rosie O ' G r a d y ) 8-9. Liebsterpet (Liebestod) 25. (Baa, baa, black sheep) 26. M a c Milligan's daughter (McGilligan's Daughter M a r y Ann) 29. the boys of wetford ( T h e Boys of W e x f o r d ) 134.4. hush the buckers up (Push the business on) 134.36-135.4. the king. . . . gun they goes (Sing a song of sixpence)

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135.6-7. washes his feet in annacrwatter . . . missed a porter (The Sun Shines Bright on Mrs. Porter) 6-8. whou missed a porter . . . stand for Sue? (O Mister Porter, Whatever Shall I Do?) 8-9. Dutchlord, Dutchlord, overawes us (Deutschland iiber Alles) 12. trinity left (At Trinity Church I Met M y Doom; Waiting at the Church) 12-13. while he has trinity left behind him (The Girl I Left Behind Me) 24. are plenty here today (The Memory of the Dead) 32-33. when older links . . . resemble she (Then you'll remember me) 136.20. the light of other days (Oft in the stilly night) 26. (Caller Herring) 36. moontaen view (The Mountain Dew) 137.1. boinyn water (Boyne Water) 9. sadurn's mounted foot (Slattery's Mounted Foot) 31. his stacks a'rye (Stack o' Barley) 138.30. whome sweetwhome (Home, Sweet Home) 139.16 ff. (Parody of The Bells of Shandon) 19 ff. (Parody of Pretty Molly Brannigan) 140.18-19. we'll go riding acope-acurly (This is the way the ladies ride) 140-141 passim. (Parody of The Bells of Shandon) 141.4-7. (The Bells of Shandon) 9. jackinjills (Jack and Jill) 27. (Poor Ole Joe) 28-29. Summon In The Housesweep Dinah? (Someone's in the House with Dinah) 32-33. if me ask and can could speak (If Those Lips Could Only Speak) 33-34. I am your honey honeysugger . . . tha Bay (You Are the Honeysuckle, I Am the Bee) 143.1-2. coach and four, Sweet Peck (The Lowbacked Car) 2. Peck-at-my-Heart (Peg o' M y Heart) j-6. having plenxty . . . sleepish feet (Finnegan's Wake) 16. comeliewithhers (Come live with me and be my love) 21. wrestless . . . O (Green G r o w the Rashes, O)

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REFERENCES

29. W h a t bitter's love but yurning ( W h o Goes with Fergus?) 31. (Little B o Peep) 144.17. (Little B o Peep) 18. Come big to Iran. (Come Back to Erin) 25-26. look what the fool bought cabbage head (Coming Home the Other N i g h t ) 30. the rubberend M r Polkingtone ( T h e Reverend Mr. Pilkington) 31. 32. Mother B r o w n e . . . her mug of October (a pots on it!) (Brown October A l e ) 33-34. Airman, waterwag, terrier, blazer! (Rich man, poor man, beggar man, thief) 145.5. T a y f o r thee? ( T e a f o r T w o ) 19-20. spell me stark and spill me swooning (Tell Me One T h i n g , Tell M e T r u l y ) 22. Magrath (Master M c G r a t h ) 34. I'll beat any sonnamonk to love ( T h e Sheik of A r a b y ) 35-36. your halve a bannan (Yes, W e Have N o Bananas; Let's All G o D o w n the Strand and Have a Banana) 146.7. m y trysting of the tulipies (Tiptoe through the Tulips) 33. Buybuy! I'm fly! (Baby bye, see the f l y ) 147.7-8. A n d my waiting twenty classbirds, sitting on their stiles! (Sing a song of sixpence) 7-8. sitting on their stiles! [ T h e Lament of the Irish Emigrant (I'm sitting on the stile, M a r y ) ] 10—11. A n d all the holly. A n d some the mistle and it Saint Yves. ( T h e Holly and the I v y ) 1 0 - 1 1 . Saint Yves. ( A s I was going to St. Ives) 15. A n d Mee! [ T h e Queen's Maries (Mary Hamilton)] 18. W h e n their bride . . . ti ting (Sing a song of sixpence; It was a lover and his lass) 19. a ring a ring a rosaring! (Ring a-ring o' Roses) 24. chasta dieva. (Casta Diva) 25. In th'amourlight, O my darling! (In the Gloaming) 29 ff. (Little B o Peep) 3 1 - 3 2 , 33-34. with the proof of love . . . when you learned me the linguo to melt ( T h e Sheik of A r a b y ) 148.1. divinely deluscious (It's De-Lovely) 10. W h y , the boy in sheeps' lane (Baa, baa, black sheep)

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32-33. Till always, thou lovest! . . . . Laughs! (Love Laughs at Locksmiths) 33. If you met on the binge (I saw from the beach, when the morning was shining) 33. If you met on the binge a poor acheseyeld from Ailing [and long parody to 149.10] (The Exile of Erin) 36. Lyon O'Lynn (Brian O'Linn) 150.3. a la sourdine (En sourdine) 1 j 1.24. W h e n Mullocky won the couple of colds (Let Erin remember the days of old) 152.3. there's holly in his ives (The Holly and the Ivy) 20-21, 22. a Mookse he would . . . Romeo . . . gammon and spittish (A Frog he would a-wooing go) 31, 32. his father's sword . . . he was girded on (The Minstrel Boy) 153.5, 7-8- little . . . brown. . . . My, my, my! Me and me! Little down dream don't I love thee! (Little Brown Jug) 157.13. She was alone (I'm alone) 13-14. alone. All her nubied companions were asleeping [ T i s the last rose of summer (The Groves of Blarney)] 158.1. sweet madonine (Sweet Adeline; Madoline) 7. the ver grose O arundo (The green grass grew all around) 7-8. and shades began to glidder along the banks (Excelsior) 9. it was as glooming as gloaming (In the Gloaming; Roamin' in the Gloamin') 159.12-13. her muddied name was Missisliffi (Mississippi Mud) 17-18. W h y , why, why! . . . . no canna stay! (Little Brown

Jug) 32. charge of the night brigade (The Charge of the Light Brigade) 34. the meeting of mahoganies, be the waves (The Meeting of the Waters) 160.8. where the deodarty (Under the Deodar) 161.13. selldear to soldthere (The Boys of the Old Brigade) 13-14. once in the dairy days (Love's Old Sweet Song) 14. buy and buy (In the Sweet Bye and Bye) 23-24. Duddy shut the shopper op (Polly, put the kettle on) 24-25. Mutti, poor Mutti! brought us our poor suppy (Old Mother Hubbard) 28. (Sprig of T h y m e )

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REFERENCES

30. (Greensleeves) 162.2-3. the farce of dustiny ( L a Forza del Destino) 35-36. cheery ripe (Cherry R i p e ) 163.2. Eat y e up, heat ye up! (Crosspatch, draw the latch) 5-7. Der Haensli. . . . Ja! (Appenzellerlied. Also Johnny is a , Yah! yah! yah!, children's game with analogues in other languages) 27. eggs will fall cheapened all over the walled (Humpty Dumpty) 164.14, 18-19, 19-20. Margareen. . . . I cream for thee, Sweet Margareen. . . . O Margareena! O Margareena! (Margie; Sweet Genevieve; Madoline; O Katharina; O Margarita) 165.4-5. cluse her eyes and aiopen her oath (Close your eyes and open your mouth) 167.6-7. Tantum ergons . . . quantum urge (Tantum ergo) 16. psing his psalmen (Sing a song of sixpence) 168.2-3. his hope's in his highlows from whisking his woe ( M y heart's in the highlands) 3. if he came to m y preach (I saw f r o m the beach, where the morning was shining) 3-4. if he came to m y preach, a proud pursebroken ranger ( T h e Exile of E r i n ) 4. the heavens were welling ( T h e Messiah) 11—12. though it broke my heart to pray it, still I'd fear I'd hate to say! (Good-bye, Dolly G r a y ) I. 7.

169.4. Hairwire (There's Hair Like W i r e Coming out of the E m pire) 170.5. W h e n is a man not a man? (When Is a Man Less than a Man?) 10. when Bohemeand lips (Then you'll remember me) 15. when pappa papared the harbour (When Papa Papered the Parlour) 20. yea, he hath no mananas (Yes, W e Have N o Bananas) 1 7 1 . 1 - 2 . Rosbif of Old Zealand! ( T h e Roast Beef of Old E n g land) 172.23. leporello? (Don Giovanni) 173.21. tarabooming ( T a R a R a Boom De A y ; A t Trinity Church I Met M y D o o m )

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29. how howmely howme could be (Home, Sweet Home) 175.17-19. (Humpty Dumpty) 27-28. (Ballad of Persse O'Reilly) 33. piccaninnies play all day (The Old Kentucky Home) 35-36. we used to play with Dina and old Joe . . . old Joe (Someone's in the House with Dinah; Dinah; Old Joe; Dine and Joe) 176.1. Thom Thom the Thonderman (Tom, Tom, the Piper's Son) 4 f f . Adam and Ell, Humble Bumble, Moggie's on the Wall, Twos and Threes, American Jump, Fox come out of your Den, Broken Bottles, Writing a Letter to Punch, Tiptop is a Sweetstore, . . . Postman's Knock, . . . Solomon Silent reading, Appletree Bearstone [Apple tree, Pear tree], I know a Washerwoman, Hospitals, As I was Walking, . . . Battle of Waterloo, Colours, Eggs in the Bush, Haberdasherisher, Telling your Dreams, What's the Time, Nap, Ducking Mammy [Ducking Mummy], Last Man Standing (Names of street games as in text, except those in brackets. All in Norman Douglas, London Street Games) 14. Zip Cooney Candy (Old Zip Coon) 15. (Turkey in the Straw) 15-16. This is the W a y we sow the Seed of a long and lusty Morning (Here we go round the mulberry bush; Here we go gathering nuts in May) 16. Hops of Fun at Miliken's Make (Finnegan's Wake) 17. Here's the Fat to graze the Priest's Boots (The Priest in His Boots) 22. and Irish eyes of welcome were smiling (When Irish Eyes Are Smiling) 36. lullobaw's (Lilliburlero) 177.27. Bully, his Ballade (Bill Bailey, Won't You Please Come Home?) 28-29. Wine, Woman, and Waterclocks (Wine, Women, and Song) 29. How a Guy Finks and Fawkes When He Is Going Batty (Guy Fawkes) 178.2. ruvidubb (Rub-a-dub-dub) 17. O pura e pia bella! (Morir! Si pura e bella!) 179.25. amid the inspissated grime (Lead, Kindly Light)

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32. a roseschelle cottage by the sea ( M y love and cottage near Rochelle) 34. brancomongepadenopie (Geòrgie Porgie) 180.5-6. Deal Lil Shemlockup Yellin ( T h e Dear Little Shamrock) 6. soap ewer! (M'appari; Morir! Si pura e bella!) 10. amarellous (Amaryllis) 25. suil (Shule A r o o n ) 1 8 1 . 1 7 - 1 8 . Sluttery's Mowlted Futt (Slattery's Mounted Foot) 183.5-6. Niggs, niggs and niggs again. (Father O'Flynn) 7-8. Angles aftanon browsing there thought not Edam reeked more rare. (Killarney) 2 0 - 1 1 . twisted quills (Questa o quella) 184.13-14. ( H u m p t y D u m p t y ) 15. moromelodious jigsmith ( T h e Harmonious Blacksmith) 16. lallaryrook (Lalla Rookh, a cantata) 20. Amarilla (Amaryllis) 23. Pinkingtone's ( T h e Reverend Mr. Pilkington) 23. (Stardust) 25. the legs he left behind ( T h e Girl I L e f t Behind Me; Johnny, I Hardly K n e w Y e ; Mrs. M c G r a t h ) 185.8. Sam Hill (Sam Hall) 186.19. Kruis-Kroon-Kraal ( T h e Cruiskeen L a w n ) 187.24-27. (Bad Sir Brian Botany) 27. I'm the boy to bruise and braise. ( W e are the boys who make no noise) 190.28. your bullet and y o u r billet ( E v e r y Bullet Has Its Billet) 29-30. but he combed the grass against his stride ( W h e r e is the slave so l o w l y ? ) 30. sing us a song of alibi (Sing a song of sixpence; I'll Sing T h e e Songs of A r a b y ) 30. the cuthone call ( A Clarion Call; Cuchulain's Call) 190.36-191.1. an Irish emigrant the wrong w a y out, sitting on your crooked sixpenny stile [Lament of the Irish Emigrant (I'm sitting on the stile, M a r y ) ; There was a crooked man] 191.29-30. one fine M a y morning in the Meddle of your Might (One Fine D a y in the Middle of the Night; One M a y Morning in the Middle of J u l y )

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109

192.23-24. O f t in the smelly night ( O f t in the stilly night) 24-25. they wallow for a clutch of the famished hand (Break, Break, Break) 193.25-26. rock anchor through the ages ( R o c k of Ages) 194.15-16, 1 7 - 1 9 . clothed upon with the metuor and shimmering like the horescens . . . to me unseen blusher in an obscene coalhole, the cubilibum of your secret sigh [Fairest, put on awhile these pinions of light I bring thee (air, Cummilium)] 22. turfbrown mummy (Coal Black Mammie) 1.8. 197.11. W h o blocksmitt her saft anvil or yelled lep to her pail? (Love Laughs at Locksmiths) 1 5 - 1 7 . She can show. . . . eye may. (I had a little hobby horse) 21. Sabrine asthore (Eileen Alannah) 26. the quaggy waag f o r stumbling. ( T h e R o c k y Road to Dublin) 36. And the whale's away with the grayling! ( T h e Deil's awa' w i ' the excise man.) 198.34-35. drammen and drommen (Drimmen D o w n Deelish) 199.14. dubber Dan. (Dapper Dan) 27-28. ( T h e heart bowed d o w n ) 28. ( T h e Rakes of Mallow) 28-29. La Calumnia e un Vermicelli ( L a Calunnia e un venticello) 200.3-4. smother MacCabe. (Mother Machree) 10. Phoebe, dearest, tell, O tell me (Phoebe Dearest) 201.10. my mavmoon's honey, my fool to the last Decemberer ( T h e Young M a y Moon; By the Light of the Silvery Moon; W i l l Y o u Love Me in December as Y o u Did in May?) 20. troublin bay ( O Bay of Dublin) 33-34. the cane f o r Kund and abbles f o r Eyolf and ayther nayther f o r Yakov Yea. (Ring a-ring o' Roses) 35. O loreley! (Die Lorelei) 202.6-7. s o aimai moe, that's agapo! (Maid of Athens) 8. diveline? Casting (Casta Diva)

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REFERENCES

14-1 j . Tinker, tilar, souldrer, salor, Pieman Peace or Polistaman. (Rich man, poor man, beggar man, thief; Simple Simon) 22. T e z thelon langlo, walking weary! (It's a L o n g W a y to Tipperary) 22-23. waybashwards ( O n the Banks of the Wabash) 28. silvamoonlake ( B y the Light of the Silvery M o o n ) 203.15. Ovoca? ( T h e Meeting of the Waters) 16, 17. Dell me where, the fairy ferse time! . . . Luggelaw? [ N o , not more welcome, the fairy numbers (air, Luggelaw)] 20. oso sweet and so cool and so limber she looked (Have you seen but a white lily g r o w ? ) 26. B y that Vale Vowclose's lucydlac (By that lake, whose gloomy shore) 29. W h y a w h y ? ( W h y Did I Kiss T h a t Girl?) 204.10. leada, laida, all unraidy (Mary, Mary, quite contrary) 11. the fairiest rider (Ferryboat Serenade) 13-14. the hill . . . in birdsong and shearingtime (Bird Song at Eventide; D o w n by the hillside I was shearing) i j . the Devil's glen (Pretty Molly Brannigan) 34. (Mrs. M c G r a t h ) 205.6-7. W h a t hoo, they band! A n d what hoa, they buck! ( W h a t H o ! She Bumps!) 34-36. T h i s is the Hausman . . . hennad his Egg. ( T h e House T h a t Jack Built) 206.4. Lilt a bolero, bulling a law! (Lilliburlero) 207.6-7. richmond and rehr . . . shellmarble bangles. (Rich and rare were the gems she wore; Richard of Taunton Dene) 15-16. T h e cock striking mine, the stalls bridely sign, there's Zambosy waiting for Me! (Somebody's W a i t i n g for Y o u ) 29. Moppa (Mopsa) 208.1-2. the bicker she lives the slicker she grows. (Little N a n c y Etticoat) 5. Liviam Liddle did Loveme Long. (Love M e Little, L o v e Me L o n g ) 33-34. A n d they crowned her their chariton queen, all the maids. O f the may? (Call Me Early, Mother Dear) 209.10-12. But what was the game. . . . Saas and taas and specis bizaas. ( W h a t are little girls made of?)

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WAKE

13. Fore the battle or efter the ball? (Just before the Battle, Mother; After the Ball) 18. Well, arundgirond . . . aringarouma (Ring a-ring o' Roses) 20-21. the diliskydrear on our drier side and the vilde vetchvine agin us (Where is the slave so lowly?) 22. making chattahoochee (Chattanooga Choo Choo; Making Whoopee) 210.1. wabbash (On the Banks of the Wabash) j. aringarung (Ring a-ring o' Roses) 11. needles and pins and blankets and shins (Needles and Pins) 19. Skibereen (Old Skibereen) 19. a jauntingcar for Larry Doolin (The Irish Jaunting Car) 28. a reiz every morning for Standfast Dick and a drop every minute for Stumblestone Davy (Medical Dick and Medical Davy; Ring a-ring o' Roses) j 1. Eileen Aruna (Eileen Aroon) 33-34. for Kitty Coleraine of Butterman's Lane a penny wise for her foolish pitcher (Kitty of Coleraine) 211.6-7. Brian the Bravo [Remember the glories of Brian the Brave (Molly MacAlpin)] ij. Jill, the spoon of a girl, for Jack, the broth of a boy (Jack and Jill) 19-20. a hole in the ballad (Your Laughter I'll T r y to Provoke) 19-20. the ballad for Hosty (The Ballad of Persse O'Reilly) 27. Reuben Redbreast (Who killed Cock Robin?; Reuben, Reuben) 27-28. (Brennan on the Moor) 35. Ida Ida (Ida, Sweet as Apple Cider; Ida Lee) 35. a hushaby rocker (Rockabye, baby) 35-36. Who-is-silvier—Where-is-he? (Who Is Sylvia?) 212.3. (Master McGrath) 213.19-20. Wring out the clothes! Wring in the dew! (Ring out, Wild Bells) 214.35. thank all, the four of them (One More Drink for the Four of Us) 215.2, 3. glow . . . Garry come (Garryowen) 4. Die eve (Good-bye-ee)

SONG

I I2

REFERENCES

4-5. W e see that wonder in your eye. (I'll Sing Thee Songs of Araby) 5. W e ' l l meet again, we'll part once more. (Black-eyed Susan) 7. Forgivemequick (Pop! Goes the Weasel) 7. Bubye (Good-bye-ee) 8-9. So save to jurna's end. ( O Mistress Mine) 1 j - 1 7 . Hadn't he seven dams. . . . had a differing cry. (As I was going to St. Ives) 1 7 - 1 8 . Sudds f o r me and supper f o r you and the doctor's bill f o r J o e John. (Ring a-ring o' Roses; John Anderson, M y

Jo) II. 1. 219.15-16. (Humpty Dumpty) 19-20. Ballymooney Bloodriddon Murther by Bluechin ( T h e Ballyhooly Blue Ribbon A r m y ) 220.5-6. valkyrienne (Die Walkiire) 221.8. G l e n of the Downs ( N e d of the Hill) 26-27. J est < jokes, jigs . . . Finnegan (Finnegan's W a k e ) 222.8-9. Oh, Mester Sogermon, ef thes es whot ye deux ( O , Mister Porter, Whatever Shall I D o ? ) 22-23. C h u f f y was a nangel then and his soard fleshed light like likening. ( T a f f y was a Welshman; Saint Patrick W a s a Gentleman) 223.5. Mutther Masons (Old Mother Mason) 1 0 - 1 1 . a pop from her whistle. (Pop! Goes the Weasel) 17. Smiling Thrushes (Smiling Through) 23-24. W h o are you? T h e cat's mother. . . . W h a t do you lack? T h e look of a queen. (Pussy cat, pussy cat, where have you been?) 28. lore, the poor lie (Die Lorelei) 31-32. H e luked upon the bloomingrund. . . . he listed back to beckline how she pranked along so johntily. ( T h e L o w backed Car) 224.11. colline born ( T h e Colleen B a w n ) 16. Sing, sweetharp, thing to me anone! [Sing, sweet Harp, oh sing to me (air, unknown)] 28. Quanty purty bellas (Quant' e bella; Quanto e bello il mio diletto; Morir! si pura e bella)

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WAKE

22J.8. Warewolff! Olff! T o b o o ! ( T h e W o l f and the L a m b ) i o - i i . and he ankered. . . . for these times (Soldier, Soldier) 14. And Shim shallave shome. (I had a little hobby horse) 30. Ring we round (Ring a-ring o' Roses) 32-34. Yet, ah tears, who can her mater be? She's promised. . . . so forth. ( O dear, what can the matter be?) 226.2-3. F o r always down in Carolinas lovely Dinahs vaunt their view. (Dinah; Carolina in the Morning) 4. Poor Isa sits a glooming so gleaming in the gloaming (Poor Jenny is a-washing; Roamin' in the Gloamin'; In the Gloaming) 9. But if he'll go to be a son to France's (Shule Aroon) 19-20. Hip it and trip it and chirrub and sing. Lord Chuffy's sky sheraph and Glugg's got to swing. (Lavender's blue) 22. scattering nods as girls who may (Here we go gathering nuts in May) 24. Catchmire stockings, libertyed garters, shoddyshoes, quicked out with selver. (Stockings red and garters blue) 26-29. And they leap. . . . round in rout. (Lubin L o o ) 30-33. R is Rubretta. . . . while W ( A was an Archer) 33-34. these way went they. ( W h e n I was a young girl) 34. I' th' view o' th' avignue (Sur le pont d'Avignon) 226.35-227.1. Miss Oodles. . . . doeslike. So. ( W h e n I was a young girl) 226.36-227.1. Dies of Eirae (Dies Irae) 227.11-13. All runaway sheep . . . behind them. (Little Bo Peep) 13. And these ways wend they. And those ways went they. ( W h e n I was a young girl) 228.12. cumman to the nowter. (Come to the B o w e r ) 12. Byebye, Brassolis (Bye, Bye, Blackbird) 12-13. Byebye, Brassolis, I'm breaving! Our war, Dully Gray! (Good-bye, Dolly Gray; It's a Long W a y to Tipperary) 14. Gelchasser no more! (Lochaber N o More) 1 5 - 1 6 . Mum's for's maxim, ban's for's book ( A was an Archer) 24. Right for Rovy the Roder. (Roddy More, the R o v e r ) 29, 30. H e would, with the greatest of ease . . . midhook ( T h e Daring Young Man on the Flying Trapeze) 31. for othersites of Jorden (Jonah and the W h a l e ) 31. heave a hevy, waterboy! ( W a t e r b o y )

14

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29.12. Croppy ( T h e Croppy B o y ) 14. A Wondering W r e c k . (Son of a Gombolier) 24-26. So they fished in the kettle . . . for thea. (Polly, put the kettle on) 30.4. ( H u m p t y Dumpty) 15. (Mademoiselle from Armentieres) 21. foil the fluter (Phil the Fluter's Ball) 25. W a s lifie worth leaving? (Is L i f e W o r t h Living?; Leaving Y e t Loving) 35. Remember thee, castle throwen? [Remember thee? yes, while there's life in this heart (Castle T i r o w e n ) ] 31.3. gin a paddy? got a petty? (Comin' through the R y e ) 15. dense floppens mugurdy ( D o w n Went M c G i n t y ) 29. A n oldsteinsong. (Love's Old Sweet Song; T h e Stein Song) 32. ladle broom jig (Little Brown J u g ) 33. old Roastin the Bowl (Old Roisin the Beau) 34. W h y was that man f o r he's doin her wrong! (Frankie and Johnnie) 31.34-232.1. L o o k e r y looks. . . . it's his spurt of coal. (Casey Jones) 32.2-3. F o r the mauwe that blinks you blank is mostly Carbo. ( T h e Man That Broke the Bank at Monte Carlo) 6-7. In the lost of the gleamens. (In the Gloaming) 10, 1 1 . pet! . . . (call her venicey names! . . .) (Call Me Pet Names) 14. A n d around its scorched cap . . . she's marrid. ( A l l Around M y Hat I W e a r a Tricolored Ribbon; Still Growing) 15. A n d pim it goes blackballed. (Sing a song of sixpence) 16. A claribel cumbeck to errind. (Come Back to E r i n ) 19-20. I have soreunder from to him now, dearmate ashore (I Surrender, Dear; Dermot Asthore) 21-23. I s you zealous of mes, brother? . . . . Satanly, lade! (Certainly, L o r d ! ) 36. lucky f o r the Rio Grande. ( W e r e Y o u E v e r in R i o Grande? ) 33.1-3. he'd a telltale tall . . . and his tail cooked up. ( H o r s e y , Keep Y o u r Tail U p ; M y mother had a turkey and she thought it was a duck)

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7. he maun't know ledgings here. (Ain't N o Hidin' Place Down There) 8-10. For a haunting way will go. . . . show and show. (A-Hunting W e Will G o ) 12. playfair, lady! (London Bridge is falling down) 234.1. Hovobovo hafogate (Hokey Pokey, Five a Plate) 7-8. the kerl he left behind him? (The Girl I Left Behind Me) iy, 16, 18. oily . . . tractive . . . host of spritties [O! think not my spirits are always as light (John O'Reilly the Active)] 26. t'rigolect (Rigoletto) 33. tumtum argan (Tantum ergo) 36. goholden! (Jerusalem the Golden) 235.1. the madiens' prayer (A Maiden's Prayer) 10-11. Should in ofter years it became about you (Oft in the stilly night; Then you'll remember me) 13. La Roseraie (The Rosary) 2i. private palypeachum (Pretty Little Polly Perkins from Paddington Green) 236.1. (Chloe) 7. He's not going to Cork till Cantalamesse (How many miles to Babylon? ) 9-10. The Fomor's in his Fin. . . . all adin. (The Farmer in the Dell; The Grand Old Duke of York) 10-11. We'll sing a song of Singlemonth (Sing a song of sixpence) 12. So come on, ye wealthy gentrymen (God Rest Ye Merry, Gentlemen; A Christmas Carol; The Fireship) 13-15. Thej oily and thel ively . . . sing a missal too. (The Holly and the Ivy) 15-16. O you longtailed blackman, polk it up behind me! (O You New York Girls, Can't You Dance the Polka?; Fi Hi Hi, the Black Shakers Song and Polka) 17. And, jessies, push the pumkik round. (Polly, put the kettle on) 31-32. when momie mummed at ma. (Song of Momus to Mars) 33. sty lied with the nattes (Stille wie die Nacht) 237.5. Mullabury mesh (Here we go round the mulberry bush)

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18. tenderumstouchings in all Daneygaul (Father O ' F l y n n ) 238.7. coming offence can send our shudders before. (Lochiel's Warning) 12-13. for sold long syne ( A u l d Lang Syne) 18. Y o u don't want to peach but bejimboed if ye do! ( W e Don't W a n t to Fight but, b y Jingo, if W e D o ) 239.26-27. W h y f o r w e go ringing hands in hands in g y r o g y r o rondo. (Ring a-ring o' Roses) 28-29. waltzing up their willside (Sean a Dhuir a Ghleanna; W a l t z Me Around Again, W i l l i e ) 32. oaths and screams and bawley groans (Oats, peas, beans and barley g r o w ) 33. belchybubhub (Rub-a-dub-dub) 34-35. Lonedom's breach lay foulend up (London Bridge is falling down) 36. Y e t the ring gayed rund rorosily (Ring a-ring o' Roses) 240.3-4. For poor G l u g g e r . . . laid in his grave. (Old Roger is dead and gone to his grave) j . But low, boys low, he rises ( W h a t Shall W e D o with a Drunken Sailor?) 5-6. (Finnegan's W a k e ) 9. N o more singing all the dags (Polly W o l l y Doodle; T h e Old K e n t u c k y H o m e ) 10-11. Trinitatis kink . . . fore, pree. ( A t Trinity Church I Met M y D o o m ) 17. G o o d savours queen ( G o d Save the Queen) 23. Flinn the Flintcr (Phil the Fluter's Ball) 34-35. haircut people . . . his tile togged. (Brian O ' L i n n ) 241.2. coaxyorum (Little Cockalorum) 5. pruriest pollygameous inatentions (Pretty Little Polly Perkins from Paddington Green) 25. tammy ratkins ( T o m m y Atkins) 32. alse false liarnels (Martha) 242.14. trial b y julias (Trial by Jury) 14, 15. sunhat . . . wokklebout shake (Ophelia's song) 20-21. It's his last lap, Gigantic, fare him weal! (It's Y o u r Last V o y a g e , Titanic, Fare Y o u W e l l ) 22. H u m p for humbleness, dump for dirts. ( A was an A r c h e r ) 30-31. Psing a psalm of psexpeans, apocryphul of rhyme! (Sing a song of sixpence)

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243.3. magrathmagreeth (Master McGrath) 7, 8. pialabellars . . . pur war (Morir! si pura e bella) 24-25. massa dinars (Massa Dear) 25. savuneer dealinsh (Savourneen Deelish) 25, 26. nutbrown . . . Mayde (The Nut Brown Maid) 26. glory cloack (The Glory Road) 28-29. shookerloft hat from Alpoleary (Ophelia's song) 244.7. Syngagyng a sangasongue (Sing a song of sixpence) 12. chez where the log foyer's burning! (Keep the Home Fires Burning) 24. a craggy road for rambling (The Rocky Road to Dublin) 25-26. Say long, scielo! Sillume, see lo! Selene, sail O! Amune! Ark!? Noh?! [Sail on, sail on, thou fearless bark (The humming of the Ban)] 33. cockeedoodle (Cock a Doodle Doo) 245.5-6. When otter leaps in outer parts then Yul remembers Mei. (Then you'll remember me) 6-7, 8. Her hung maid mohns are bluming, look . . . ; arcglow's seafire siemens lure (The Young May Moon) 12. Junoh and the whalk (Jonah and the Whale) 16. Witchman, watch of your night? (Watchman, What of the Night?) 20-21. With the width of the way for jogjoy. (Ring a-ring o' Roses) 25-26. here lurks, bar hellpelhullpulthebell. . . . Bing. Bong. Bangbong. (Who killed Cock Robin?) 35. Chavvyout Chacer (Ballad of Chevy Chase) 36. cup . . . astirrup. (The Stirrup Cup) 246.14-15. A palashe for hirs . . . for the wonner. (Ring a-ring o' Roses) 18. the lily of Bohemey (The Lily of Killarney; The Bohemian Girl) 22-23. And vamp, vamp, vamp, the girls are merchand (Tramp, Tramp, Tramp, the Boys Are Marching) 26. Dolly Brae. (Good-bye, Dolly G r a y ) 34-35. Teaseforhim. Toesforhim. Tossforhim. T w o . (Tea for Two) 247.17-18. With such a tooth he seemed to love his wee tart when abuy. ( M y Sweetheart When a Boy)

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18. Highly momourning he see the before him. (Eily Mavourneen, I see thee before me; T h e Mountains of Mourne) 28. Tarara boom decay ( T a R a Ra Boom De A y ) 34 ff. (Mary, Mary, quite contrary) 248.18-19. Pull the boughpee to see how we sleep. Bee Peep! Peepette! (Rockabye, baby; Little Bo Peep) 23. Sweet swanwater! (Afton Water) 26. I've a seeklet to sell thee [I've a secret to tell thee (Oh Southern Breeze)] 26-27. Deanns won't be threaspanning. [Nay, tell me not, dear, that the goblet drowns (Dennis, don't be threatening)] 249.1-2. When here who adolls me infuxes sleep. [When he who adores thee (The Fox's Sleep)] 30-31. It was her, boy the boy that was loft in the larch. (Waiting at the Church) 250.5. that's hit on a shorn stile? [The Lament of the Irish Emigrant (I'm sitting on the stile, M a r y ) ] 12-13. F ° r you've jollywelly dawdled all the day. (Polly Wolly Doodle) 19. Lei lols for libelman libling his lore. ( A was an Archer) 25-26. Behind, me, frees from evil smells! Perdition stinks before us. (Where is the slave so lowly?) 31. Voolykins' diamondinah's vestin. (Villikins and His Dinah) 32-33. While all the fauns' flares widens wild to see a floral's school. (Mary had a little lamb) 250.36-251.1. W e haul minymony on that piebold nig. Will any dubble dabble on the bay? (The Camptown Races) 251.35. But listen to the mocking birde to micking barde making bared! (Listen to the Mocking Bird) 251.36-252.3. As he was queering. . . . Souwouyou. (As I was going up one pair of stairs; As I was going to St. Ives) 252.28. Charley, you're my darwing! (Charley Is M y Darling) 253.4-5. (Look at Me N o w ) 13-14. in case of the event coming off beforehand (Lochiel's Warning) 17. come into the garner mauve (Come into the Garden, Maud) 21. hole in the ballet (Your Laughter I'll T r y to Provoke)

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254.20. Hocus Crocus, Esquilocus (Hokey Pokey; The King of the Cannibal Isles) 256.2. hokey or mehokeypoo (Hokey Pokey) 5-6. every blessed brigid came aclucking and aclacking (Who killed Cock Robin?) 6-7. a rum a rum, the ram of all harns (The Wren, the Wren, the king of all birds) 11. Blare no more (Fear no more the heat o' the sun) 12. and cease your fumings (Cease your funning) 23. why is limbo where is he (Who Is Sylvia?) 23-24. what are the sound waves saying ceased ere they all wayed wrong (What Are the Wild Waves Saying?) 257.1. What is a maid today todo? (O Mister Porter, Whatever Shall I Do?; I've a terrible lot to do today) 4, 8, 9-10. trippiza trappaza . . . nin nin nin nin . . . ninned nin nin nin nin (This is the way the ladies ride) 10, 17-18, 24. old Father Barley how he got up of a morning arley . . . bold Fanner Burleigh who wuck up in a hurlywurly . . . Wold Forrester Farley (O My Aged Uncle Arley) 25-26. in deesperation . . . lound (The Bells of Shandon) 31. The play thou schouwburgst, Game, here endeth. (The Day Thou Gavest, Lord, Is Ended) 33. Uplouderamain! (Father O'Flynn) 258.2. gttrdmmrng. (Die Götterdämmerung) 5. buncskleydoodle! (Yankee Doodle) 8-9. T o Mezouzalem with the Dephilim, didits dinkun's dud? (Kafoozalem; Finnegan's Wake) II. 2. 260.2-3. Tea tea too 00. (Tea for T w o ) 261.16-17. denary, danery, donnery, domm (Denary, danery; Eeny, meeny, miny, mo; Hickory Dickory Dock) 262.27-29. The babbers ply the pen. . . . tin for ten. (The Farmer in the Dell; The Grand Old Duke of York) N . i . ye mermon. . . . below (The Mermaid) 264.11. Between a stare and a sough. (Between a Kiss and a Sigh) 15. Eblinn water (Afton Water) N.2. When you dreamt that you'd wealth in marble arch (I dreamt that I dwelt in marble halls)

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N.3. rose marines (Rose Marie) 265.6. Skole! Agus skole igen! (Father O'Flynn) 17. ivy and hollywood and bower of mistletoe ( T h e Holly and the Ivy) 266.1. bedelias (Bedelia) 6. D'Oblong's b y his by. ( O Bay of Dublin) 13—14. Here we'll dwell on homiest powers (Here we dwell, in holiest bowers) 27. O june of eves the jenniest (Sweet Genevieve) N.3. can dove deelish. (Cean Dubh Deelish) 267.3. the maymeaminning of maimoomeining! ( T h e Young May Moon) 7. Singalingalying. (Sing a song of sixpence) 8. followeup (Follow Me U p to Carlow) 268.3 margin, annaryllies. (Amaryllis) 14-15. Stew of the evening, booksyful stew. (Soup of the Evening) 269.26-27. O love it is the commonknounest thing how it pashes the plutous and the paupe. ( T h e Barley Corn; T h e Sprig of T h y m e ) N . i . Is love worse living? (Is Life W o r t h Living?; Leaving Yet Loving) 270.20-21. Alis, alas, she broke the glass! ( A m o , Amas, I Love a Lass) 25. volve the virgil page ( T u r n back the virgin page) 26. burly ( T h e Barley Corn) 271.17-19. Gruff Gunne may blow. . . . jennings aye. (Willie brewed a peck o' maut) 25-29. This is the glider . . . Gough gave. ( T h e House T h a t Jack Built) N.2. Skip one, flop fore, jennies in the cabbage store. (One, two, three, four, Mary's at the kitchen door) N.5. deadleaf brown with quicksilver appliques (John Brown's Body) 272.1-2. W h y hidest . . . name? [ O breathe not his name ( T h e Brown Maid); T h e N u t Brown Maid] 1-2. W h y hidest thou hinder thy husband his name? ( W h e n W e T w o Parted) 2-3. Leda, Lada, aflutter-afraida, so does vour girdle grow! (Mary, Mary, quite contrary)

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7. titties for totties (Come, lasses and lads) 10. sally of the allies (Sally of the Alley) 29-30. Bull igien bear and then bearagain bulligan. (Old Michael Finnegan; Chin Chin Chinaman) N.i. What's that, ma'am? says I. (The Goat) N.4. (Little Bo Peep) 273.1-2 margin. Curragh machree (Curragh Machree) 1-2. (Ballad of Persse O'Reilly) 3 margin, bosthoon fiend. (Paustheen Fionn) 8-9. So wrap up your worries in your woe (Pack up Your Troubles in Your Old Kit Bag) 9-12. your woe (wumpumtum!) and shake down the shuffle for the throw. For there's one mere ope for downfall ned. (Old Uncle Ned) 19-20. O what a loovely freespeech 'twas (O What a Lovely Bunch of Cocoanuts) 20 margin, nappotondus. (The Wearing of the Green) N.7. My six is no secret, sir, she said. (Where are you going, my pretty maid?) 274.1-2. For the man that broke the ranks on Monte Sinjon. (The Man That Broke the Bank at Monte Carlo) 22. jackhouse that jerry built (The House That Jack Built) 275.1-2. Bryan Awlining! Erin's hircohaired culoteer. (Brian O'Linn) 25-26. where's may tomorrow be. (O, dear, what can the matter be?) 276.8-9. Yet sung of love and the monster man. [She sung of love (The Munster Mare)] 16-17. The daindy dish, the lecking out! (Sing a song of sixpence; The rantin' dog, the daddy o't) 20. peepee (Little Bo Peep) 21. At Brannan's on the moor. (Brennan on the Moor) 21-22. At Tarn Fanagan's weak (Finnegan's Wake) 22. yat his still's going Strang. (John Brown's Body) N.2. jollycomes smashing Holmes. (When Johnny Comes Marching Home) N.4. Parley vows (Mademoiselle from Armentieres) I do, Ida. (Ida, Sweet as Apple Cider; Ida Lee) And how to call the cattle black. (Mary, Come and Call the Cattle Home)

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N.6. Pipette (Little Bo Peep) lisplips ( T h e n you'll remember me) 277.7. the mountain mourning his duggedy dew. (The Mountains of Mourne; T h e Mountain D e w ; T h e F o g g y Dew; Dig-adig-a-do) 1 1 . Mishy Mushy (Mush Mush) 16. (Little Black Rose) 1 6 - 1 7 . a truant in a thorntree. ( T h e T w e l v e Days of Christmas) 23. the pipers done. ( T o m , T o m , the Piper's Son) N.7. Oh, could we do with this waddled of ours . . . bakset of yosters. [O, could we do with this world of ours (Basket of Oysters)] 278.18-21. W h e n men want. . . . raze a leader. (One Man W e n t to M o w a Meadow) 20 margin. Rockaby, babel, flatten a wall. (Rockabye, baby) N . i . greeze a jarry grim felon! [For He's a Jolly G o o d Fellow (Malbrouk s'en v a ) ] 279.7. A h ah athclete (Baa, baa, black sheep) N . i . 17. spring has sprung ( M y love is like a red red rose) prigs beg in to pry (Georgie Porgie; Sing a song of sixpence) N . 1 . 3 1 . andy mandy ( H a n d y Spandy) N . i . 3 2 . So sing loud, sweet cheeriot (Swing L o w , Sweet Chariot) N . 1 . 3 2 . anegreon in heaven! (Anacreon in Heaven) N . i . 3 2 , 34. T h e good fother . . . Amum. Amum. And A m u m again. (Father O'Flynn; Sinn Fein, Sinn Fein Amhain) 281.5—6 margin. T o t t y Askins ( T o m m y Atkins) 282.N.3. But where, O where, is me lickle dig done? (Where, O W h e r e Has M y Little Dog G o n e ? ) 284.N.3. (Come all y e ) 285.3. knuts in maze (Here we go gathering nuts in M a y ) 1 5 - 1 7 margin. Arthurgink's hussies and Everguin's men. (Humpty Dumpty) N.2. Barneycorrall ( O Blarney Castle, M y Darling) 286.15-16. Dear hearts of my counting (Dear harp of mv country) 287.2-3. goosey's ganswer (Goosey, Goosey Gander) 5. royol road to Puddlin ( T h e R o c k y Road to Dublin)

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25. totum tute . . . mundo ( T u t t o il mondo) N . i . W i l l you walk into m y wavetrap? said the spiter to the shy. ( W i l l you walk into my parlor?) N . j . Dope in Canorian words we've made. [Ireland, Boys, Hurrah! (Deep in Canadian W o o d s W e ' v e M e t ) ] 288.1. a dillon a dollar ( A Dillar, a Dollar) j - 6 . he, to don't say nothing (Old Man River) 10. thirds the charmhim girlalove (It is a charming girl I love) N . j . T h e y were plumped . . . and cinnamondhued. [Johnny, I Hardly K n e w Y e ; Hooligan's Christmas Cake (Miss Fogarty's Christmas C a k e ) ] N.6. erring under R y a n . (Ehrcn on the Rhine) 289.1-2. weights downupon the Swanny (Old Folks at H o m e ) j . queen's pottage post (Pease porridge hot) 9-10. Derzherr, live wire . . . outa th'Empyre (There's Hair Like W i r e Coming out of the Empire) 17. puddywhack (Paddy W h a c k ) 27-28. Liv's lonely daughter [Silent, O Moyle (Song of Fionnuala)] N . j . Patatapadatback (Paddy W h a c k ) 290.J. (Peg o' M y Heart) 16-17. doubling back ( O Bay of Dublin) 21. tubatubtub (Rub-a-dub-dub) 22. to pure where they where hornest girls (She W a s Poor but She W a s Honest) 2j. come messes, come mams (Come, lasses and lads) N.2. Joke and Jilt will have their tilt. (Jack and Jill) N . j . Rawrogerum (Old R o g e r is dead and gone to his grave) 291.1, 9. Saint Yves. . . . ives (As I was going to St. Ives) j , 6. given the bird . . . peartree ( T h e T w e l v e Days of Christmas) 9, i i . ives . . . hollyboys ( T h e H o l l y and the I v y ) 1 0 - 1 1 . burryripe who'll buy? (Cherry Ripe) 28. a wrigular writher neonovene babe! ( A right down regular royal Queen) N . j . It's all around me hat I'll wear a drooping dido. ( A l l Around M y Hat I W e a r a Tricolored Ribbon; Round Her N e c k She W e a r s a Yellow Ribbon)

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292.2-3. it's life that's all chokered by that batch of grim rushers [ T h i s life is all chequered ( T h e bunch of green rushes that grew at the brim)] 12. piu la gonna e mobile (La donna e mobile) 25. hark back to lark (Hark, hark, the lark) 293.12-13. 'twas one of dozedeams a darkies ding in dewood [ ' T w a s one of those dreams that by music are brought ( T h e song of the w o o d s ) ] 18-19. A- is for Anna like L is for liv ( A was an A r c h e r ) N . i . where the betterlies blow. ( H a v e you seen but a white lily g r o w ? ) 294.25-26. B y his magmasine fall. Lumps, lavas and all. ( H u m p t y D u m p t y ; Rockabye, baby) 28-29. o u r callback mother (Coal Black Mammie) N . i . Makeacakeache (Pat-a-Cake) 295.3. night of thoughtsendyures and a day. ( T h e N i g h t Has a Thousand Eyes) 5-6. lil murrerof myhind (Little Mother of Mine; Mother of Mine) 12. comeallyoum (Cummilium; Come all y e ) 12. comeallyoum saunds. (Come unto these yellow sands) 13. I dromed I was in Dairy (I dreamt I was in D e r r y ) 32. in their suite poi and poi (In the Sweet Bye and B y e ) N.2. twinkletinkle ( T w i n k l e , twinkle, little star) 296.13-19. A r e you right there, Michael. . . . it suits me mikey fine. ( A r e Y e Right There, Michael, A r e Y e Right?) 21. ( H u m p t y D u m p t y ) 297.4. Fin f o r fun! (Finnegan's W a k e ) 16. and this is what you'll say. (So go to him and say to him) 18-19. f ° r addn't we to gayatsee with Puhl the Punkah's bell? (Phil the Fluter's Ball) 21-22. your sow to the duble (Finnegan's W a k e ) 24. fiho miho ( D i Provenza il mar) 28-29. the lass that lured a tailor? ( T h e Lass T h a t Loves a Sailor) 300.9-10 margin. S I C K U S A S O C K (Sing a song of sixpence) 11-12. sweet me ah err eye ear marie (Sweet Marie) N.3. Bag bag blockcheap, have you any will? (Baa, baa, black sheep) 301.6. blaablaablack sheep. (Baa, baa, black sheep)

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16. trieste, ah txieste ate I my liver! (Triste, triste, était mon âme) 16-17. Se non é vero son trovatore. (Il Trovatore) 19. purate out of pensionee (The Pirates of Penzance) 302.13-14. Skibbering's (Old Skibbereen) 21-22. Ohr for oral (A was an Archer) 303.7. Doubbllinnbbayyates. (O Bay of Dublin) 12. (Danny Boy) 304.3. Formalisa. Loves deathhow simple! (Liebestod) 12. bugaboo (Aboard the Bugaboo) 30-31. singing glory allaloserem (John Brown's Body) N.2. Chinchin Childaman! Chapchopchap! (Chin Chin Chinaman) N.4. If I'd more in the cups that peeves thee you could cracksmith your rows tureens. [I'd mourn the hopes that leave me (The Rose Tree)] 305.8-11 margin. T H I G H - T H I G H T - T I C K E L L Y - T H I G H (Hitiddley-hi-ti) 15-16 margin. L U G I N A L A W [No, not more welcome the fairy numbers (Luggelaw)] 28-29. Vale. Ovocation of maiding waters. (The Meeting of the Waters) 29. For auld lang salvy steyne. (Auld Lang Syne) 306.10-11. Steady . . . steady (Hearts of Oak) N.2. Strike the day off, the nightcap's on nigh. [Strike the gay harp (The Night Cap)] II. 3. 309.19, 20. Bellini-Tosti . . . skybuddies (Good-bye, Summer) 21. woman formed mobile (La donna è mobile) 22. bawling the whowle hamshack (Ballin' the Jack) 309.24-310.1. allirish earths and ohmes. (Old Ireland's Hearts and Hands) 310.19-20. buckling, hummer, enville and cstorrap (A Frog he would a-wooing go) 23-24. the mummery of whose deed (The Memory of the Dead) 311.2. a sink her sailer (Rich man, poor man, beggar man, thief) 6. lives thor a toyler in the tawn (There Is a Tavern in the Town)

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17. Our svalves are svalves aroon! (Sinn Fein, Sinn Fein Amhain) 3 1 2 . 1 . come bag to M o y Eireann! (Come Back to Erin) 11—12. holey bucket (Bucket G o t a Hole in It) 12. dinned he raign! ( O , Didn't It Rain!) 1 3 - 1 4 . quick piddysnip that wee halfbit a second [Quick! wc have but a second (Paddy Snap)] 30. in his shaunty irish. ( T h e Irish Jaunting Car) 313.5. G o d e o w n moseys ( G o D o w n , Moses) 30-31. fight great finnence! brayvoh, little bratton! (Fight the G o o d Fight) 3 13-314.30 ff. ( Finnegan's W a k e ) 3 1 4 . 1 - 1 0 . (Finnegan's W a k e ) 8-9. ( H u m p t y D u m p t y ) 12. Rutsch is f o r rutterman ramping his roe ( A was an Archer) 16. ( H u m p t y Dumpty) 17. (Finnegan's W a k e ) 18-19. Hillary rillary gibbous grist to our millery! (One, two, buckle my shoe; Hickory, Dickorv, Dock; Hilary, dilary) 24. ringround (Ring a-ring o' Roses) 3 1 - 3 2 . when the youthel of his vorn shook the bouchal in his bed ( D o Y e Ken John Peel?) 315.2. Diddled he daddle a drop of the cradler (Diddle me doddle, I'm fond of me bottle) 2-3. delight mebold laddy was stetched? ( T h e Night before L a r r y W a s Stretched) 3-4. or ere the c r v of their tongues would be uptied dead ( D o Y e K e n John Peel?) 12. back to Moyle herring (Come Back to Erin) 14. skibber . . . in (Old Skibbereen) 15. at tickle to tackle (A-tisket, a-tasket) 22. nogeysokey ( H o k e y Pokey; T h e King of the Cannibal Isles) 23-24. the snarsty weg f o r Publin ( T h e R o c k v Road to Dublin) 26. wagger with its tag tucked. Up. (Horsey, Keep Y o u r Tail U p ; M y mother had a turkey and she thought it was a duck) 34. Skibbereen (Old Skibbereen)

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34. Skibbereen has common inn (Sumer is icumen in) 316.2. That with some our prowed in visors (Let Erin remember the days of old) 16-17, 18. he had gone dump in the doomering this tide. . . . down to the button of his seat (Down Went McGinty) 21-23. H o w o f t had the ballshee tried! . . . eeriebleak mead [ H o w oft has the Banshee cried (The dear black maid)] 23-24. turkeys . . . his bum end. ( M y mother had a turkey and she thought it was a duck) 32-33. one old faulker from the hame folk (Old Folks at Home) 3 j. shoots ogos shootsle him or where's that slob? [Where is the slave so lowly? (Sios agus Sios Liom)] 317.3. (Finnegan's Wake) 7. sealer's solder into tankar's tolder (Rich man, poor man, beggar man, thief) 13-14. One fishball with fixings! [One Meat Ball ( T h e Lone Fish Ball)] 14-15. For a dan of a ven of a fin of a son of a gun of a gombolier. [Son of a Gombolier (I'm a Rambling W r e c k ) ] 24. (Humpty Dumpty) 30. big bailey bill (Bill Bailey, Won't You Please Come Home?) 35-36. do you kend yon peak with its coast so green? (Do Y e Ken John Peel?) 3 1 8 . 1 0 - 1 1 . jilt the spin of a curl and jolt the broadth of a buoy. (Jack and Jill) 13-14. While this glowworld's lump is gloaming off ( T h e Young May Moon; In the Gloaming) 16-17. Tham the Thatcher's palm. (Phil the Fluter's Ball) 17. O wanderness be wondernest and now! (Das Wandern ist des Miillers Lust) 28. Join Andersoon and Co. (John Anderson, M y J o ) 319.1-2. Hillyhollow, valleylow! With the sounds and the scents in the morning. (Do Y e Ken John Peel?) 8-9. Time is f o r talerman tasting his tap. ( A was an Archer) 13-14. to the tickle of his tube and the twobble of his fable, O (Phil the Fluter's Ball) 16-17. (Humpty Dumpty) 29. murhersson goat (McPherson's Goat)

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36. ( H u m p t y D u m p t y ) 320.1-2. ( H u m p t y D u m p t y ) 19-20. H o w he hised his bungle oar his shourter and cut the pinter off his pourer and lay off for Fellagulphia in the faming. ( O f f to Philadelphia in the Morning) 21. dhruimadhreamdhrue (Drimmen D o w n Deelish) 24. Come back to M a y Aileen. ( C o m e Back to Erin) 30-31. didn't he drain ( O , Didn't It Rain!) 321.14-15. Noeman's W o e . [ T h e W r e c k of the Hesperus ( T h e Reef of Norman's W o e ) ] 15-16. W i t h winkles whelks and cocklesent jelks. ( M a r y , Mary, quite contrary) 17. A n d old lotts have funn at Flammagen's ball. (Finnegan's W a k e ; Lannigan's Ball) 17-18. T i l l Irinwakes from Slumber Deep. ( T h e West's Awake) 25-26. pattedyr but digit here ( T h e W e a r i n g of the G r e e n ) 29. Y o u r sows tin the topple, dodgers, trink me dregs! (Finnegan's W a k e ) 322.14-15. W i t h his coate so graye. A n d his pounds that he pawned from the burning. ( D o Y e Ken John Peel?) 323.7. belly jonah hunting the polly joans (Jonah and the W h a l e ) 9. Donnerbruch fire (Donnybrook Fair) 10. Reefer was a wenchman ( T a f f y was a Welshman) 23. that hell of a hull of a hill of a camelump bakk. (Son of a Gombolier) 25. that horn of lunghalloon ( D o Y e Ken John Peel?) 30-31. that bunch of palers on their round, timemarching and petrolling how ( T h e Peeler and the G o a t ) 30, 31. palers . . . time marching (If Y o u W a n t to K n o w the T i m e , Ask a Policeman) 33-34. O , the wolf he's on the walk, sees his sham cram bokk! ( T h e Shan V a n V o c h t ) 35. the steerage way for stabling ( T h e R o c k y Road to Dublin) 324.1-2. the fillibustered, the fully bellied. W i t h the old sit in his shoulders ( O f f to Philadelphia in the Morning) 9. ye seal that lubs you lassers ( T h e Lass T h a t Loves a Sailor) 15-16. O u r set, our set's allohn. (Sinn Fein, Sinn Fein A m hain) 18. wodhalooing. ( D o Y e Ken John Peel?)

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19. good and truesirs. ( T h e Croppy Boy; T h e Memory of the Dead) 20-21. one love, one fear. ( O n e Life, One Love) 22. Finucane-Lee, Finucane-Law. (Funiculi, Funicula) 25. W i n d f r o m the nordth. ( W i n d s T h a t Blow from the South) 325.7-8. O n drums of bliss. ( O n W i n g s of Song) 23. ( H u m p t y D u m p t y ) 326.4. A Trinity judge will crux your boom. ( A t Trinity Church I Met M y D o o m ) 14-15. f r o m which our this pledge is given, T e r a truly ternatrine [From this hour the pledge is given (Renardine)] 28, 29-30. comesend round that wine . . . we brought your summer with us [Come, send round the wine ( W e brought the summer with us)] 327.5-6. surge seas sombren (Black-eyed Susan) 12. little A n n y Roners (Little Annie Rooney) 17-18. making every Dinny dingle after her down the Dargul dale ( T h e Dargle R u n D r y ) 23. the flyend of a touchman ( T h e Flying Dutchman) 27. and he took her to be a rover, O ( T h e Peeler and the Goat) 29-30. bleakeyed seusan (Black-eyed Susan) 30. Norgeyborgey (Geòrgie Porgie) 328.2. Bruin O'Luinn (Brian O'Linn) 3. wattling way for cubblin ( T h e Rocky Road to Dublin) 3. be me fairy f a y (Polly W o l l y Doodle) 5. wiry eyes and winky hair (There's Hair Like W i r e Coming out of the Empire) 11. the clonk in his stumble strikes warn (Father, Dear Father, Come H o m e with Me N o w ) 16-17. Elding, m y elding! and Lif, my lif! (Come into the Garden, Maud) 18, 20-21. at that meet hour of night . . . mallymedears' [ A t the mid hour of night (Molly, my dear)] 21. sweetheart emmas (Sweetheart May) 22-24. w h i l e taylight is yet slipping under their pillow (ill omens on Kitty Cole if she's spilling laddy's measure!) [ W h e n daylight was yet sleeping under the billow (111 Omens) (Kitty of Coleraine or Paddy's Resource)]

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23-24. Kitty Cole . . . measure! (Kitty of Coleraine) 2j. Heri the Concorant Erho (See, the Conquering Hero Comes) 26. I'll Bell the Welled ( W h o killed Cock Robin?) 29. tha lassy! tha lassy! (Green G r o w the Rashes, O ) 29-30, 31. buoy the hoop within us springing . . . our fiery quean [ B y the hope within us springing ( T h e Fairy Queen)] 329.1. Yinko Jinko Randy (Yankee Doodle) 21. W h a t battle of bragues on Sandgate ( W e e l M a y the Keel Row) 21-22. where met the bobby mobbed his bibby mabbing through the ryce. (Comin' through the R y e ) 27-28. with a leaf of bronze on his cloak so grey ( D o Y e Ken John Peel?) 330.1-4. Hadn't we heaven's lamps. . . . trick of her trade (As I was going to St. Ives) 4-5. a tease for N e d , nook's nestle for Fred and a peep at me m o w f o r Peer Pol. (Ring a-ring o' Roses) 8. to cannons' roar and rifles' peal vill shantey soloweys sang! ( T h e Soldier's Song) 8. soloweys sang! (Solvcig's Song) 18-19. when the Cap and Miss Coolie were roped. ( T h e Night before L a r r y W a s Stretched) 21-25. W i t h her banbax hoist from holder. . . . Norening. (Off to Philadelphia in the Morning) 25-26. W h e r e they pulled down the kuddle and they made f r a y (Polly, put the kettle on) 28-29. H e goat a berth. A n d she cot a manege. A n d wohl's gorse mundom ganna wedst. (All G o d ' s Chillun G o t Wings) 30-32. Knock knock. . . . Knock knock. ( K n o c k K n o c k ) 331.5. windtreetop (Rockabye, baby) 35-36. the wild main from Borneholm has jest come to crown. ( T h e W i l d Man from Borneo) 332.2-3. he put off the ketyl and they made three ( f o r fie!) (Polly, put the kettle on; T e a f o r T w o ) 5. where Pappappappar ( W h e n Papa Papered the Parlor) 6. whackfalltherdebblen (Finnegan's W a k e ; W h a c k Fol the Diddle)

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18. O gué, O gué! ( O gai, O gai, O gai) 35. booths, booths, booths, booths. (Boots) 333.9. way boy wally ( M y Boy Willie; W a l y W a l y ) 28-29. now the sowns of his loins were awinking and waking ( W h o killed Cock Robin?; Do Ye Ken John Peel?) 30. hush lillabilla lullaby ( M y Curly-headed Babby) 334.2-3. 'twas her hour . . . Panny Kostello [Fly not yet, 'tis just the hour (Planxty K e l l y ) ] 20-21. O rum it is the chomicalest thing how it pickles up the punchey and the jude. (The Barley Corn; T h e Sprig of Thyme) 22-24. He banged the scoop and she bagged the sugar while the whole pub's pobbel done a stare. (All God's Chillun Got Wings) 24, 25-26. On the mizzatint wall. . . . Showing holdmenag's asses sat by Allmeneck's men (Humpty Dumpty) 32-34. Yes, we've conned thon print in its gloss so gay . . . at a turning. (Do Y e Ken John Peel?) 335.10. chivvychace (Ballad of Chevy Chase) 31. fill the flatter (Phil the Fluter's Ball) 34-35. O Mr Mathurin (O, Mister Porter, Whatever Shall I Do?) 336.4. bould shoulderedboy's (The Bowld Sojer B o y ) 9-10. Maltomeetim, alltomatetam, when a tale tarries shome shunter shove on. (Needles and Pins) 10. Fore auld they wauld to pree. (Pretty Molly Brannigan) 16-17. babes awondering in a wold (Babes in the W o o d ) 20. Shinshin. Shinshin. (Chin Chin Chinaman) 22-23. his place is his poster, sure, they said, and we're going to mark it, sore, they said (Where are you going, my pretty maid?) 337.8-9. annapal livibel prettily prattle a lude all her own. (Pretty Little Polly Perkins from Paddington Green) 27. (Finnegan's W a k e ) 34-35. the bettlle of the bawll. (Battle of the Boyne) 338.1-2, 3. W e ' v e heard it sinse sung thousandtimes. . . . For Ehren, boys, gobrawl! [Ireland, Boys, Hurrah! (Deep in Canadian Woods We've M e t ) ] 3. Germanon . . . Ehren, boys (Ehren on the Rhine) 16-17. Humme to our mounthings (Home to Our Mountains)

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18-19. W i t h his soilday site out on his moulday side in. (Brian O'Linn) 21-22. Shelltoss and welltass and telltuss aghom! (Father OTlynn) 28-29. Rassamble the glowrings of Bruyant the Bref when the Mollies Makehalpence [Remember the glories of Brian the Brave (Molly MacAlpin)] 30-31. the morn hath razed out limpalove ( T h e moon hath raised her lamp above) 31. and the bleakfrost chilled our ravery! (Let Erin remember the days of old) 32-33. Lets hear in remember the braise of. Hold! (Let Erin remember the days of old) 36. the grain oils of Aerin ( T h e Fair Hills of Eire, O ) 339.3-4. Like old Dolldy Icon . . . in bicon. ( O M y A g e d Uncle A r l e y ; Old Dolly Dinkins) 4-5. H e gatovit and me gotafit and Oalgoak's Cheloven gut a a fudden. ( A l l God's Chillun G o t W i n g s ) 7-9. W h i l e the bucks bite his dos his hart bides the ros till the bounds of his bays bell the warning. ( D o Y e K e n John Peel?) 25. the florahs of the follest (Flowers of the Forest) 26. Come alleyou jupes of W y m m i n g t o w n that graze the calves of Man! (Come all ye) 340.2-3. W i t h his walshbrushup ( M y mother had a turkey and she thought it was a duck) 3. A n d his boney bogey braggs. ( T h e Braes of Y a r r o w ) 3, 7, 9. A n d his boney bogey braggs. . . . where he and his trulock may ever make a game. . . . lomondations (Loch Lomond) 8-9. Forget not the felled! For the lomondations of Oghrem! [Forget not the field (Lamentations of A u g h r i m ) ] 9-10. furry glunn. Nye? Their feery pass. ( T h e Fairy Glen) 1 j. to the relix of old decency ( T h e Hat Me Father W o r e ) 16. O h day of rath! (Die Irae) 16. murther of mines! (Mother of Mine) 16. Eh, selo moy! ( O Sole Mio) 23. samp, tramp and marchint (Tramp, Tramp, Tramp, the Boys Are Marching)

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14. Guards, serf Finnland, serve we all! (God Save Ireland) 31. Hyededye, kittyls, and howdeddoh, pan! (Minnie the Moocher) 35. the Riss, the Ross, the sur of all Russers (The Wren, the Wren, the king of all birds) 341.1. W e should say you dones the polecad. (You Should See Me Dance the Polka) 4. the little brown jog (Little Brown Jug) 5. whang goes the millner. (Pop! Goes the Weasel) 5. Buckily buckily, blodestained boyne! (Merrily, merrily, greet the morn; The Braes of Yarrow; Boyne Water) 7. W h y the gigls he lubbed beeyed him. (The Girl I Left Behind Me) 9. Trovatarovitch! (II Trovatore) 10. with the sickle of a scygthe but the humour of a hummer, O (Phil the Fluter's Ball) 16. my pife for his cgar! (A Life for the Tsar) 17. The mlachy way for gambling. (The Rocky Road to Dublin) 17. mlachy (Let Erin remember the days of old) 21-22. with the paddocks dare and ditches tare while the mews was combing ground. (The Wearing of the Green) 33. (Humpty Dumpty) 33. A lot of lasses and lads (Come, lasses and lads) 342.16-17. ridcsiddle titelittle Pitsy Riley! Gurragrunch, gurragrunch! [Right Little, Tight Little Island; O, had we some bright little isle of our own (Sheela na Guira)] 16-17. Pitsy Riley! (Come Back, Paddy Reilly, to Ballyjamesduff) 343.4-6. camp camp camp to Saint Sepulchre's march through the armeemonds retreat with the boys all marshalled (Tramp, Tramp, Tramp, the Boys Are Marching) 8. commeylad! (Tommy, Lad!) 9. Think some ingain think (The Thirty-two Counties) 21. Me fol the rawlawdy (There was a young girl from Nantucket) 22. (Humpty Dumpty) 344.4. as did jolly well harm lean o'er him. (Johnny, I Hardly Knew Ye)

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5, 7. Weepon, weeponder, song of sorrowmon! . . . Y o u r partridge's last! [ W e e p on, weep on, your hour is past ( T h e song of s o r r o w ) ] 12. bleyes bcome broon ( B r o w n Eyes, W h y Are Y o u Blue?; E y e s of Blue, E y e s of B r o w n ) 345.2. achaura moucreas (Acushla Machree) 4 - j . waldmanns f r o m Burnias seduccd country clowns ( T h e W i l d Man f r o m Borneo) 10. sudly (Planxty Sudley) 14. Fearwealing of the groan! ( T h e Wearing of the G r e e n ) 22-23. guidness, m y good, to see (Nearer, M y God, to T h e e ) 24. nipper dandy! ( T h e Wearing of the Green) 24-25. T r i n k off this scup and be bladdy orafferteed! [Drink of this cup (Paddy O ' R a f f e r t y ) ] 30-31. Theres scares knud in this gnarld warld a fully so svend. . . . boesen ( T h e Meeting of the Waters) 346.8-9. never elding, still begidding (Alexander's Feast) 14-15. Peadhar Piper (Peter Piper) 1 5 - 1 6 . bealting pots to dubrin din f o r old daddam dombstom to tomb (Clap Hands) 17. rise up road and hive up hill ( T h e r e were two blackbirds) 18. pollyvoulley foncey (Polly W o l l y Doodle) 22. piddyawhick! (Paddy W h a c k ) 22-23. A t h yetheredayth noth endeth, hay? ( T h e D a y T h o u Gavest, Lord, Is Ended) 29. Shinfine deed in the myrtle of the bog tway fainmain stod op to slog (One Fine D a y in the Middle of the N i g h t ) 347.1. a white horsday where the midril met the bulg (One Fine D a y in the Middle of the N i g h t ) 14. winn again (Finnegan's W a k e ) 15. plays goat, the banshee pcaler ( T h e Peeler and the G o a t ) 348.26-27. F o r lispias harth a burm in eye but whem it bames fire norone screeneth. [Lesbia hath a beaming eye ( N o r a Creina)] 32. passing the uninational truthbosh in smoothing irony (Dashing A w a y with a Smoothing Iron) 33-36. T h e rib, the rib. . . . world! ( T h e W r e n , the W r e n , the king of all birds) 348.35, 36-349.1. Rhoda Cockardes. . . . Till they've kinks in their

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tringers and boils on their taws. ( R i d e a cock horse; I've G o t Rings on M y Fingers) 349.4. F o r zahur and zimmerminnes! (Zar und Zimmermann) 349.36-350.1. hereis cant came back . . . he caudant stail awake (Casey Jones) 350.21. W i t h askormiles' eskermillas. (Carmen) 26. tomiatskyns ( T o m m y Atkins) 3 1 - 3 2 . sand us and saint us and sound as agun! (Father O'Flynn) 350.36-351.1. send us victorias ( G o d Save the Queen) 351.2. (Finnegan's W a k e ) 9. durck rosolun ( M y Dark Rosaleen) 1 1 . when our woos with the wenches went wined f o r a song ( W i n e , W o m e n , and Song) 14-16. A n d w e all tuned in . . . almistips all round! (Phil the Fluter's Ball) 17. Togatogtug. (Rub-a-dub-dub) 1 7 - 1 8 . M y droomodose days Y loved you abover all the strest. [ T h e dream of those days (I love you above all the rest)] 352.15. ( H u m p t y D u m p t y ) 17. the volkar boastsung ( T h e Volga Boat Song) 21-22. lolly his liking . . . lilly (Lullay, M y Liking) 353.14-15. Olefoh, the sourd of foemoe times! Unknun! [Oh f o r the sword of former times (air u n k n o w n ) ] 17. puddywhuck. (Paddy W h a c k ) 20-21. W i t h m y how on armer. . . . Sparro! ( W h o killed Cock Robin?) 354.15, 17, 18. brawl . . . Lanigan . . . Hall (Lannigan's Ball) 15. barney brawl (Willie brewed a peck o' maut; T h e Soldier's Song) 3 5 5 . 1 0 - 1 1 . Abdul Abulbul A m i r or Ivan Slavansky Slavar. ( A b d u l the Bulbul Ameer) 1 1 . In alldconfusalem. ( T h e H o l y C i t v ; Kafoozalem) 16-18. them rollicking rogues. . . . Rambling. ( T h e R o c k y Road to Dublin; O Didn't H e R a m b l e ! ) 19. arooned (Eileen A r o o n ) 19-20. Nightclothesed . . . thy fair bosom. [Night closed around the conqueror's sway ( A f t e r the battle thy fair bosom)] 25-26, 27. sats and suns, the sat of all the suns . . . sats of his

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sun (Son of a Gombolier; T h e Wren, the Wren, the king of all birds) 357.20. I doot my sliding panel and I hear cawcaw (I L i f t Up M y Finger and I Say Tweet Tweet) 23. misface for misfortune (Where are you going, my pretty maid?) 35. (Finnegan's W a k e ) 358.1. when I ope my shylight window and I see coocoo (I Lift Up M y Finger and I Say Tweet T w e e t ) 8-9. homesweetstown (Home, Sweet Home) 19. how that win a gain was in again. (Old Michael Finnegan) 22. Qith the tou loulous and the g r y f f y g r y f f y g r y f f s (British Grenadiers) 23. (Finnegan's Wake) 23. the Wildemanns (The Wild Man from Borneo) 359.19. singaloo sweecheeriode (Swing L o w , Sweet Chariot) 19-20. sock him up, the oldcant rogue. (Knocked 'em in the Old Kent Road) 28. Lhirondella, jaunty lhirondella! (Alouette) 360.2-3. twittwin twosingwoolow. (Titwillow) 5. full theorbe, now dulcifair (Fill the bumper fair) 8-9. wheckfoolthenairyans (Whack Fol the Diddle) 12. night's sweetmoztheart (Goodnight, Sweetheart) 12-13. nocturnefield, night's sweetmoztheart, their Carmen Sylvae, my quest, my queen. (Queen of the Night's aria in Mozart's The Magic Flute) 13. (Carmen) 13. Carmen Sylvae (Care selve) 13. my quest, my queen. (Questa o quella; M y Queen) 13-14. my queen. Lou must wail to cool me airly! Coil me curly, warbler dear! (Call Me Early, Mother Dear) 23. Bulbul, bulbulone! (Abdul the Bulbul Ameer) 24. youd remesmer. (Then you'll remember me) 26-27. O gui< O gui! ( O gai, O gai, O gai) 28-29. I soared from the peach and Missmollv showed her pear [I saw from the beach (Miss M o l l y ) ] 29-30. Whet the bee as to deflowret greendv grassies yellowhorse. [What the bee is to the flow'ret (The Yellow Horse)] 33. Dingoldell! (Ding Dong Bell) 361.10. Naytellmeknot tennis! Taunt me treattening! [Nay, tell me

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not, dear, that the goblet drowns (Dennis, don't be threatening)] 11. Ingean mingen has to hear. (Engine, Engine, Number Nine) 1 4 - i j . Wingwong welly. . . . pullet out? (Ding Dong Bell) 15-16. Call Kitty Kelly! Kissykitty Killykelly! (Pretty Kitty Kelly) 18. Here all the leaves . . . alaughing (Who killed Cock Robin?) 25. bester of the boyne! (Battle of the Boyne) 362.18-19. mould the bould she sould to hould the wine that wakes the barley (Who killed Cock Robin?; The Wind That Shakes the Barley; Elsie Marley) 21. Like the bright lamps, Thamamahalla [Like the bright lamp, that shone in Kildare's holy fane (Thamma Halla)] 363.2-5. hitch a cock eye (Ride a cock horse) 5. the rann, the rann, that keen of old bards (The Wren, the Wren, the king of all birds) 8, 10-11. Almayne Rogers. . . . Heat waves rasing. . . . Howlong! (Old Man River) 12-13. You know that torn?. . . . Soothinly low. (Certainly, Lord!) 14-15. Does they ought . . . foil the flouter (Phil the Fluter's Ball ) 364.8. The green approve the raid! (The Green above the Red) 8-10. Shaum Baum's bode he is amustering in the groves while his shool comes merging along! (The Shan Van Vocht; John Brown's Body; Old Man River) 1 1 - 1 2 . lest I forget (The Recessional) 13-14. so wingtywish to flit beflore their kin! (Sing a song of sixpence) 26. Tunpother, prison and plotch! (Guy Fawkes) 34-35. my old chuck! . . . gay at ninety! (My Old Dutch) 365.16. Don Amir (Abdul the Bulbul Ameer; Sean a Dhuir a Ghleanna) 23-24. rovely lanes. (My Dark Rosaleen) 29. marly lowease (Elsie Marley) 366.10-11. when on with the balls did disserve the fain (Alexander's Feast) 23-24. trovatellas (II Trovatore)

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32-33. A n d dong wonged Magongty . . . soort of cloose. (Down Went McGinty) 367.23. the f o g g y doze ( T h e Foggy D e w ) 34. vode's dodos (Vo-do-do-de-o Blues) 368.10. okey boney ( H o k e y Pokey) 1 0 - 1 1 . this little figgy . . . into porker (This little piggy went to market) 27-29. K . C. jowls . . . if their ruse won't rise. (Casey Jones) 29. W h o o l e y the W h o o p e r (Willie the W e e p e r ) 369.13-15. the tout that pumped . . . that Joax pilled. ( T h e House T h a t Jack Built) 370.4-5. thoughy onced at a throughlove, true grievingfrue danger, as a nirshe persent to his minstress [Through grief and through danger, or T h e Irish peasant to his mistress (I once had a true love); All Around M y Hat I W e a r a Tricolored Ribbon] 371.6-9. Dear douchy. . . . from the say. ( T o m , T o m , the Piper's Son) 6-9, 18-20, 30-32. ( W a t e r Parted from the Sea) 11—13, 22-25. ( T h e Ballad of Persse O'Reilly) 15-16. the last dropes of summour . . . blarneying. ['Tis the last rose of summer ( T h e Groves of Blarney)] 372.5-6. While the dumb. . . . pour forth. (Polly, put the kettle on) 7. a barttler of the beauyne (Battle of the Boyne) 19. ( H u m p t y D u m p t y ) 25-27. ( W a t e r Parted from the Sea) 26. A n d roll in clover on his clay (Roll Me Over, in the Clover) 28. Mountone . . . D e w ( T h e Mountain D e w ) 28-29. corry awen and glowry! ( G a r r y o w e n ) 30. burgherbooh (Aboard the Bugaboo) 30-31. T h e Shanavan Wacht. ( T h e Shan V a n V o c h t ) 31. Rantinroarin (Rantin' Roarin' Robin) 31. that whistling thief ( T h e Whistlin' T h i e f ) 32. O ' R y n e O'Rann. (Brian O'Linn) 373.6. ( H u m p t y D u m p t y ) 9. T h e gangstairs strain and anger's up (The Anchor's Weighed) 9 - 1 1 . ( W a t e r Parted from the Sea) 16-17. Bruni Lanno's woollies on Brani Lonni's hairypa.-ts. (Brian O'Linn)

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374.1. T o tell how your mead of, mard, is made of. ( W h a t are little girls made of? ) 16, 18-19. T h e B o y of Biskop. . . . A s we'll lay till break of day in the bunk of basky, O! ( T h e Bay of Biscay) 19. Our island, Rome and duty! ( T h e Death of Nelson) 26. peeler after cooks ( T h e Peeler and the Goat) 34-36. ( Humpty Dumpty) 375.2. finger a fudding in pudding and pie. (Geòrgie Porgie) 4. the house that juke built! ( T h e House That Jack Built) 5-6. ( H u m p t y Dumpty) 16-17. (Finnegan's W a k e ) 1 1 . Richmond Rover! ( R o d d y More, the R o v e r ) 376.24. bunkledoodle (Yankee Doodle) 31. R o w l e y the Barrel. (Roll Out the Barrel) 32-33. T h e Fenn, the Fenn, the kinn of all Fenns! ( T h e W r e n , the W r e n , the king of all birds) 34. Croonacreena. [ N o r a Creina (Lesbia hath a beaming e y e ) ] 377.4. Mawgraw! (Master M c G r a t h ) 5-6. T h e groom . . . G u n ! (Sing a song of sixpence) 6. (Lannigan's Ball) 12. in the garb of nine. (In the G a r b of Old Gaul) 15. Mumblesome Wadding Murch (Wedding March) 19-20. brideen Alannah (Eileen Alannah) 25. brake the news to morhor. (Break the N e w s to Mother) 27. Shonny Bhoy (Sonny B o y ) 29-30. Laying the cloth . . . core of them. (One More Drink f o r the Four of U s ) 378.6, 9-10. Arrorsure, he's the mannork of Arrahland. . . . T h e lewdningbluebolteredallucktruckalltraumconductor! [O, Arranmore (Killdroughalt F a i r ) ] 16. Diggerydiggerydock ( H i c k o r y , Dickory, D o c k ) 17. He's alight there still, by Mike! ( A r e Y e Right T h e r e , Michael, A r e Y e Right?) 20. Tiemore moretis tisturb badday! (Lament f o r the Makaris) 32-33, 36. speech obstruct hosiery. . . . Paddybarke's echo! [While History's muse the memorial was keeping (Paddy Whack)] 36. aped to foul a delphian in the Mahnung. (Off to Philadelphia in the Morning) 379.10. Fellow him up too, Carlow! (Follow Me U p to C a r l o w )

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12. volleyholleydoodlem! (Polly W o l l y Doodle) 3 1 - 3 2 . It's our last fight, Megantic, fear you will! (It's Y o u r Last V o y a g e , Titanic, Fare Y o u W e l l ) 34-35. Right toe, Armitage! . . . W e ' v e been carried away. ( T h e Devil and the Farmer's W i f e ) 34. T e m f o r T a m at Timmotty Hall! (Finnegan's W a k e ) 380.15-16. the hundred bottles ( A Hundred Bottles) 26. until he went under the grass quilt on us ( T h e Night before L a r r y W a s Stretched) 28. a bald surging buoy ( T h e Bowld Sojer B o y ) 29. three cows ( T h e W o m a n of T h r e e Cows) 380.36-381.1. their castles of mud (Barnaby Finnegan) 381.2. (McCarthy's Mare) 6. ( T h e Rambler from Clare) 1 0 - 1 1 . right royal round rollicking toper's table ( A right down regular royal Queen) 12. (Lanty L e a r y ) 21. ould plaised drawl ( T h e Ould Plaid Shawl) 22-23. blurney Cashelmagh crooner . . . blackberd's ballad [ O Blarney Castle, M y Darling ( T h e Blackbird)] 22-23. that lerking Clare air ( T h e Lark in the Clear A i r ) 23-24. I've a terrible errible lot todue todie todue tootorribleday (I've a terrible lot to do today) 29. ( W h a t Irish Boys Can D o ) 30. (Smiggy Maglorral) 382.10. till the rising of the morn ( T h e Rising of the Moon) 21-22. (Larry's on the Force) 22. Faugh MacHugh O'Bawlar (Faugh a Ballagh; Follow Me U p to Carlow) 25-26. our wineman from Barleyhome he just slumped to throne. ( T h e W i l d Man from Borneo) 30. N o w follow we out b y Starloe! (Follow Me U p to C a r l o w ) II. 4. 383.17-18. All the birds of the sea they trolled out rightbold ( W h o killed Cock Robin?) 19-20. whilest the wildcaps was circling [ T h e wine-cup is circling (Michael H o y ) ] 20. as slow their ship ( A s slow our ship) 20. the winds aslight ( T h e West's A w a k e )

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384.3-5. and all the birds . . . sighing and sobbing (Who killed Cock Robin?) 5. Moykle ahoykling! [The wine-cup is circling (Michael Hoy)] 10-12 and ff. passim, here now we are the four of us . . . and sure, thank God, there are no more of us (One More Drink for the Four of Us) 17. (Auld Lang Syne) 21. (The Colleen Bawn) 32-33. how one was whips . . . was three (Tea for T w o ) 385.1. Cullen's barn (The Colleen Bawn) 10. piping torn (Tom, Tom, the Piper's Son) 27. the four of them (One More Drink for the Four of Us) 27-28. in the fair fine night, whilst the stars shine bright (Keep Your Head Down, Fritzi Boy) 28-29. by she light of he moon, we longed to be spoon, before her honeyoldloom (By the Light of the Silvery Moon) 31. and now, thank God there were no more of them (One More Drink for the Four of Us) 32-33. poghuing and poghuing . . . bowed his crusted hoed (When Our Heads Are Bowed with Woe) 386.8. (Humpty Dumpty) 8-9. for a cup of kindness yet (Auld Lang Syne) 387.15-16, 31-32 passim. (One More Drink for the Four of Us) 17. (Long Long Ago) 18-19. throw darker hour sorrows, the princest day [Though dark are our sorrows (The Prince's Day) (St. Patrick's Day)] 19. when Fair Margrate waited Swede Villem (Fair Margaret and Sweet William) 20-21. after the wreak of Worman's Noe [The Wreck of the Hesperus (The Reef of Norman's Woe)] 21-22. when my heart knew no care (Old Black Joe) 32-33. The arzurian deeps o'er his humbodumbones sweeps. (Ye Mariners of England; Stars of the Summer Night) 388.4. And mild aunt Liza (Liebestod) 29. howldmoutherhibbert (Old Mother Hubbard) 389.11. for auld acquaintance sake (Auld Lang Syne) 20. O weep for the hower when eve aleaves bower! [O! weep for the hour (Eveleen's Bower)]

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26-27. in his Roman Catholic arms, while his deepscepeepcrs gazed and sazed and dazecrazemazed ( T h e F o g g y , Foggv Dew) 33. four of us (One M o r e Drink f o r the Four of U s ) 390.7. Skelly, with the lether belly (Kelly with the Leather Belly) 10. ( O l d Folks at H o m e ) 13. T o m T i m T a r p e y , the Welshman ( T a f f y was a Welshman) 21, 23. and never brought to mind . . . and be forgot (Auld Lang Syne) 24-25. their old pilgrim cocklesong or they were singing through the wettest indies As I was going to Burrymecarott [Sing, sing, music was given (air, T h e Humors of Ballaniaguiry)] 24. their old pilgrim cocklesong (Ophelia's song) 2j. A s I was going to Burrymecarott (As I was going to St. Ives; Ballynure Ballad) 391.15—16. ally croaker . . . through Herrinsilde [Through Erin's Isle (Oh! the Shamrock) ( A l l y C r o k e r ) ] 392.27. in the oxsight of Iren ( T h e Exile of Erin; T h o u g h the last glimpse of E r i n ) 393.9-10. where first I met thee oldpoetryck flied from may [When first I met her, warm and young (air, Patrick, fly from m e ) ] 16. ( A u l d Lang S y n e ) 27-28. Shandon bellbox ( T h e Bells of Shandon) 394.22. coolun dare ( T h e Coolin; Coolin Das) 34. Caller Errin! (Caller Herring) 395.3-4. hacking away at a parchment pied (Dashing A w a y with a Smoothing Iron) 1 2 - 1 3 , ! 4- oben the dure. . . . sheets far from the lad [She is far from the land (Open the d o o r ) ] 28-29. poot of porage (Pease porridge hot) 396.11. a firstclass pair of bedroom eyes (Take a pair of sparkling eyes) 397.5. girleen bawn asthore ( T h e Colleen Bawn) 5-6. planxty. . . . O bunket not Orwin! [ O banquet not in these shining bowers (Planxty Irwine)] 12. murther magrees (Mother Machree) 19. f o r a cup of kindest yet (Auld Lang Syne) 398.10. death and the love embrace (Liebestod) 12. homeysweet homely (Home, Sweet Home)

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14. f o r auld acquaintance (Auld Lang Syne) 18. to Ladyseyes [ T o ladies' eyes a round (Clear the w a y ) ] 21-22. thoh the dayses gone (O! the days are gone; T h e Day Is Done; W h e n D a y Is Done) 21-22. thoh the dayses gone still they loves young dreams (Love's Old Sweet Song) 22. loves young dreams [Love's Y o u n g Dream ( T h e Old Woman)] 26-28. auld luke syne . . . shanghai. ( A u l d Lang Syne) 399.5. silverymonnblue ( B y the Light of the Silvery M o o n ) 13. window machree ( W i d o w Machree) III. 1. 404.3-4. as I was . . . dawdling (Ballynure Ballad) 26. boheem ( T h e Bohemian G i r l ) 27. a starspangled zephyr ( T h e Star-spangled Banner) 28. crinklydoodle (Yankee Doodle) 30. O r f o r royal, A m f o r Mail ( A was an Archer) 405.19-20. fourale to the lees of Traroe. ( T h e Rose of T r a l e e ) 20. T h e heart of the rool! ( T h e Heart of the Roll Is Dicey Riley) 29. knives of hearts ( T h e King of Hearts) 30. spadefuls of mounded food (Slattery's Mounted F o o t ) 36. the batblack night o'erflown (Come into the Garden, Maud) 406.5-6. the roastery who lives on the hill ( T h e O w l and the Pussy Cat) 21. Drily thankful. ( T h e Heart of the Roll Is Dicey R i l e y ) 27. E v e r of thee, Anne Lynch, he's deeply draiming! ( E v e r of Thee I'm Fondly Dreaming) 28. Houseanna! T e a is the Highest! ( T h e H o l y City) 28. F o r auld lang Ayternitay! ( A u l d Lang Syne; For All Eternity) 407.15. panangelical (Panis Angelicus) 18-19. from Inchigeela call the w a y ( F r o m Inchigela all the way) 27. Alo, alass, aladdin, amobus! ( A m o , Amas, I Love a Lass) 29. pigeons-in-a-pie (Sing a song of sixpence) 3 1 - 3 2 . with the memories of the past ( T h e r e is a flower that bloometh) 33. Miccheruni's band (MacNamara's Band)

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407.36-408.1. to dye his paddycoats to morn his hcsternmost earning (Shule Aroon) 408.20. Those sembal simon pumpkel pieman yers! (Simple Simon) 23. Tune in, tune on, old Tighe (Turn on, old time) 23. Tighe, high, high, high (Hi-tiddley-hi-ti) 25. that other of mine. (Mother of Mine) 25. Fish hands Macsorley! (MacSorley's Twins) 30-31. H o w is your napper, Handy, and hownow docs she stand? ( T h e Wearing of the Green) 33-34. Shaunti and shaunti and shaunti again! (Father O'Flynn) 34. shaun . . . moons (The Rising of the Moon) 34. And twelve coolinder moons! (The Coolin) 409.1-2. I heard the man Shee shinging in the pantry bay. (Mary of A r g y l e ) 2. the man Shee shinging (The Banshee) 2. pantry bay. (Bantry Bay) 2-3. Down among the dustbins let him lie! [Here's a Health unto His Majesty (Down among the Dead Men)] 12. echo rightdainty (Ecco ridente in cielo) 410.13. coolcellar (In Cellar Cool) 30. Whimper and we shall. (Whisper and I Shall Hear; Whistle, and I'll come to ye, my lad) 411.5. (Excelsior) 24-25. a wearing greenridinghued. —O murder mere, how did you hear? (The Wearing of the Green) 27-28. T h e gloom hath rays, her lump is love. (The moon hath raised her lamp above) 31. striding on the vampire (Stride la vampa) 412.9. O phausdheen phewn (Paustheen Fionn) 23-24. gay receiver ever ( O Miss Bailey!) 413.1. force of destiny (La Forza del Destino) 3. T h e Memory of Disgrace (The Memory of the Dead) 14. standing in a corner of sweet (Standing on the Corner of the Street) 14. sweet Standerson my ski. (John Anderson, M y J o ) 19. what squaton a toffette (Little Miss Muffet) 24. (Little Bo Peep) 414.1. rhino, rhine, O joyoust rhine (Die Wacht am Rhein) 3. she woor her wraith of ruins the night she lost I left. (She W o r e a Wreath of Roses the Night That First W e Met)

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415.8. the Boubou from Bourneum has thus come to taon! (The Wild Man from Borneo) 14-15. (Humpty Dumpty; Finnegan's Wake) zi-22. O'Cronione lags acrumbling in his sands but his sunsunsuns still tumble on. (John Brown's Body) 416.4-5. sair sair sullemn (Sir, Sir Solomon) 36. ragnowrock rignewreck (Around the rugged rocks) 417.19. cosy fond tutties (Cosi Fan Tutti) 418.2-3. Flunkey Footle furloughed foul, writing off his phoney (Yankee Doodle) 32. Bruneyes come blue. (Brown Eyes, W h y Are You Blue?; Eyes of Blue, Eyes of Brown) 419.13-16. O foibler, O flip. . . . in old Corneywall! (Father O'Flynn) 21. quistoquill (Questa o quella) 420.4. O breed not his same! [O breathe not his name (The Brown Maid)] 7. (Little Bo Peep) 10, 11. Betty Famm . . . Pike. (Sweet Betsy from Pike) 12. With balsinbal bimbies swarming tiltop. (Rockabye, baby) 421.6-7. All reddy berried. Hollow and eavy. (The Holly and the Ivy) 14. Came Baked to Auld Aireen. (Come Back to Erin) 422.5. (Humpty Dumpty) 423.28. middayevil down to his vegetable soul. ( A m I alone and unobserved?) 424.11. G o o'er the sea, haythen, from me (Come o'er the sea, maiden, with me) 28. Mildbut likesome! (Liebestod) 29-30. the rests asleep. (The West's Awake) 35-36. rightdown lowbrown schisthematic robblemint! (A right down regular royal Queen) 424.36-425.2. As he was rising. . . . Like yup. (As I was going up one pair of stairs) 426.3-4. annyma roner (Little Annie Rooney) 4. moother of mine (Mother of Mine; That Old Irish Mother of Mine) 9-10. love of the tearsilver that he twined through her hair (Mother Machree)

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26. the mansions of the blest turning on old times (Alas, those chimes so sweetly stealing; T u r n on, old time) 427.1-2. b y Killesther's lapes and falls (Killarney) 3. keelrow ( W e e l May the Keel R o w ) 5. (Open the door softly; D o w n in the Valley) 10. A n d the stellas were shinings. ( E lucevan le stelle) 15-16. A n d the lamp went out . . . for it couldn't stay alight. (Casey Jones) 17, 19. how dire do we thee hours when thylike fades! . . . a twhisking of the robe [ H o w dear to me the hours ( T h e twisting of the rope)] 19-20. ere the morning of light calms our hardest throes [In the morning of life ( T h e little harvest Rose)] 21. undfamiliar faces (Old Familiar Faces) 22. the inds of Tuskland (Blow, Bugle, Blow) 28. tootoo too ( T o o t T o o t Tootsie, Good-bye) 34. poor twelve o'clock scholars ( A dillar, a dollar) 35-36. becoming back to us. . . . we miss your smile. (Come Back to Erin) 428.8. Slyly mamourneen's (Eily Mavourneen, I see thee before me; Come Back to Erin) 10, 14. yougander. . . . 'Tis well we know you were loth to leave us ['Tis sweet to think that, where'er we rove ( T h a d y , you gander)] 1 1 . (Rolling Home) 11. f o g g y dews ( T h e Foggv D e w ) 13. the barley wind . . . glow ( T h e Wind That Shakes the Barley) III. 2. 430.6-8. the bear, the boer . . . the moors! (The Wren, the W r e n , the king of all birds) 28, 29. angelic . . . breadcrumbs (Panis Angelicus) 33. Jaun . . . hillo (Johnny Come Down from Hilo) 431.11—12. all up and down the whole creation (Old Folks at Home) 13. the King of all Wrenns ( T h e Wren, the Wren, the king of all birds) 1 5 - 1 7 . he knowed his love . . . of blabushing (I K n o w M y Love by His W a y of Walking)

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19-20. sweet heart could buy (Good-bye, Sweetheart, Goodbye) 24. with deep affection (The Bells of Shandon) 32. daddyho (The rantin' dog, the daddy o't) 432.16. old buckling time as flying (Gather ye rosebuds while ye may) 21. Comeallyedimseldamsels (Come all ye) 433.6. Gloamy Gwenn du Lake [By that lake, whose gloomy shore ( T h e Brown Irish G i r l ) ] 10, 1 1 . lostsomewhere . . . butrose ('Tis the last rose of summer) 13. linen of Killiney. (The Lily of Killarney) 14. Never lose your heart away (When Irish Eyes Are Smiling) 18-19. White limbs they never stop teasing (White Wings, T h e y Never G r o w W e a r y ) 19-20. Minxy was a Manxmaid when Murry wor a man. ( T a f f y Was a Welshman) 434.5. Give back those stolen kisses (Give back those stolen kisses; Stolen Kisses) 1 1 . (Humpty Dumpty) 14. Remember the biter's bitters I shed ( T h e y told me, Heraclitus) 21. limenick's disgrace. (Limerick's Pride) 23. Lola's lingery longer? (Linger Longer, Loo) 27. Jonas in the Dolphin's Barncar (Jonah and the Whale) 435.3-5. in a very low bearded voice . . . little tony way (Riding down from Bangor) 15. Blue Danuboyes! (The Blue Danube) 25. See little poupeep she's firsht ashleep. (Little Bo Beep) 29. T h e Sully van vultures (The Shan Van Vocht) 436.6 Ragazza ladra! (La Gazza Ladra) 1 1 . T o m , atkings (Tommy Atkins) 27-28. When the night is in May and the moon shines might. (When the Moon Shines Brightly; The Young May Moon; T h e Old Kentucky Home; Keep Your Head Down, Fritzi Bov) 29. (The Goby, O ! ) 32-33. Mades of ashens . . . his shirt! (Maid of Athens) 436.33-437.1. Lay your lilylike. . . . till its borning. (Off to Philadelphia in the Morning)

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437.1. L e t the love ladleliked at the eye [ T h e Lament of the Irish Emigrant (I'm sitting on the stile, M a r y ) ] 438.33-34. collion boys to colleen bawns ( T h e Colleen B a w n ) 439.7 ff. ( T h e House T h a t Jack Built) 15—16. all abound me breadth! ( A l l Around M y Hat I W e a r a Tricolored Ribbon) 18. If m y jaws must brass away like the due drops on my lay ( W h e n the Sunset Turns the Ocean Blue to G o l d ) 20. D a d d y O'Dowd. (Father O'Flynn; O! doubt me not) 34, 35. I'd burn the books that grieve you. . . . Perousse [I'd mourn the hopes that leave me ( T h e Rose T r e e ) ] 440.18. M a r y Liddlelambe's flitsy tales ( M a r y had a little lamb) 24. F o r f e t not the palsied. (Forget not the field, where they perished) 30. the lass that toffs a tailor. ( T h e Lass T h a t Loves a Sailor) 441.3-4. F o r the race is to the rashest o f , the romping, jomping rushes of. (Green G r o w the Rashes, O; Green G r o w the Rushes) 1 6 - 1 7 . f ° r the wish is on her rose marine and the lunchlight in her eye [ T h e Lament of the Irish Emigrant (I'm sitting on the stile, M a r y ) ] 16. rose marine (Rose Marie) 18. G u a r d that gem, Sissy, rich and rare, ses he. [Rich and rare were the gems she wore ( T h e summer is coming)] 32-33. w h o talks to you . . . goattanned saxopeeler ( T h e Peeler and the G o a t ) 442.24. bringthee balm of Gaylad (There Is a Balm in Gilead) 25. singthee songs of Arupee (I'll Sing T h e e Songs of A r a b y ) 27-28. Ohibow, if I was Blonderboss I'd gooandfrighthisdualman! (Pretty Molly Brannigan) 31. (Open the door softly) 3 1 - 3 2 . You'll hear him calling you (I Hear Y o u Calling M e ) 443.18. Charley you're my darling (Charley Is M y Darling) 19. H o m e Surgeon Hume (Home, Sweet H o m e ) 444.2-3. dash of railwaybrain ( T h e Shawl of G a l w a y G r a y ) 8-10. Phil fluther's. . . . the swaddled, O. (Phil the Fluter's Ball) 24-25. T h e pleasures of love . . . a lieftime. (Plaisir d'Amour) 32. You'll ging naemaer w i ' W o l f the Ganger. ( W e ' l l go no more a-roving; In Amsterdam there lived a maid)

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44j.2. walk upon the railway (Wukkin' on de Railroad) 9. my rodeo gell. (Sweet Rosie O'Grady) 18. calorrubordolor (Rubber Dolly) 24. bullin heifer, for 'tis I that have the peer of arrams (Ballynure Ballad) 27-29. How . . . times out of oft . . . shall we think with deepest of love and recollection by rintrospection of thee (The Bells of Shandon) 30. all through the empties (All Through the Night) 33-34. You're sitting on me style, maybe, whereoft I helped your ore. [The Lament of the Irish Emigrant (I'm sitting on the stile, M a r y ) ] 446.8. U. M. I. hearts (You Are M y Heart's Delight) 13. rantandog and daddyoak (The rantin' dog, the daddy o't) 14. the mingling of our meeting waters (The Meeting of the Waters) 21. come back to Ealing (Come Back to Erin) 21. when cherries next come back to Ealing as come they must (Wenn die Schwalben heimwärts ziehn) 25. suirland and noreland (Your Land and M y Land) 25-26. with my ropes of pearls for gamey girls the way ye'll hardly. Knowme. (Johnny, I Hardly Knew Y e ) 27. come slum with me (Come live with me and be my love) 34-35. Come into the garden guild and be free of the gape athome! (Come into the Garden, Maud) 447.11. jolly young watermen. (The Jolly Young Waterman) 16-17. tiM the first glimpse of Wales (Though the last glimpse of Erin) 448.12. (Carmen) 18-19. bait the Bull Bailey (Bill Bailey, Won't You Please Come Home?) 21-22. Oil for meed . . . Job Loos. (Ring a-ring o'Roses) 25. sport of oak. (Hearts of Oak) 449.17-18. I'll dreamt . . . my sigh hiehied (I dreamt that I dwelt in marble halls) 21. maurdering row, the fox! [Moddereen Rue (The Little Red F o x ) ] 28. laughing lazy at the sheep's (On the Road to Mandalay) 31. (Little Bo Peep)

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35. westasleep (The West's Awake) 450.12. their heart's deelight (You Are My Heart's Delight; T h e moon hath raised her lamp above) 16. O twined me abower (O Twine Me a Bower) 16. L'Alouette's (Alouette) 17. Adelaide's (Adelaide) 18. 19. my twittynice Dorian blackbudds . . . singasongapiccolo (Sing a song of sixpence) 24. I've a voicical lilt too true. (A Bicycle Built for T w o ) 28. I'm athlone (I'm alone) 29. lillabilling of killarnies. (The Lilv of Killarney) 451.1. dolly farting (Dolly Varden) 8. magic fluke (The Magic Flute) 16. How's that for scats, mine shatz, for a lovebird? (Schatz, mein Schatz) 20, 21. rolling you over . . . in my tons of red clover (Roll Me Over, in the Clover) 22, 24. fiehigh and fiehigher and fiehighest of all . . . shake (Fi Hi Hi, T h e Black Shakers Song and Polka) 24-25. shake a pale of sparkling ice (Take a pair of sparkling eyes) 25-26. Not a spot . . . scanagain! (Pretty Mollv Brannigan) 452.15. and my brow that's all forehead (Mother Machree) 16, 20. the tune the old plow tied off. . . . of the dead [The Tune the Old Cow Died On; O! ye Dead! O! ye Dead! (Plough T u n e ) ] 453.3. (Finnegan's Wake) 6. impudent barney, braggart of blarney (Impudent Barney O'Hea) 9-10. areekeransy round (Ring a-ring o'Roses) 15. O l e C l o . . . Shep (Chloe; Old Shep) 16. Goodboy Sommers (Goodbye, Summer) 454.1. sole and myopper (O Sole Mio) 3-4. This dime doth . . . goodbye! (Good-bye, Sweetheart, Good-bye) 16. O, (Thou pure! (M'appari) 16-18. Thou pure! . . . . thou well! (Thou Swell) 23-25. Till first he sighed. . . . and finally he replied ( T h e Foggy, Foggy D e w ) 26. A word apparting (A Bumper at Parting)

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26-27. shall the heart's tone be silent. [Shall the harp then be silent? (Macfarlane's Lamentation)] 27-28. Fare thee well, fairy well! (Polly W o l l y Doodle; Goodbye, Little G i r l , G o o d - b y e ) 33. Shunt us! shunt us! shunt us! (Father O'Flynn) 455.9. the whole flock's at home. (Old Folks at H o m e ) 14. howdiedow (Minnie the Moocher) 15. his stinkers stank behind him ( T h e Minstrel B o y ) 18. Here we moult in M o y Kain and flop on the seemy side ( H e r e we sit like birds in the wilderness) 22. to aye forever (Good-bye, Summer) 24. ( H u m p t y D u m p t y ) 25. Hereweareagain (Here W e A r e Again) 4 5 6 . 1 1 - 1 2 . But if you'll buy me . . . awn mee. (Soldier, soldier, won't you marry me? ) 35. window machree! ( W i d o w Machree) 457.5-6. leave you biddies till my stave is a bar (Beat Me, Daddy, Eight to the Bar) 7. M e hunger's weighed. . . . M e anger's suaged! ( T h e A n chor's W e i g h e d ) 1 7 - 1 8 . Bruise your bulge below the belt till I blewblack beside you. ( W h e r e is the slave so l o w l y ? ) 19-20. Someday duly, oneday truly, twosday newly, till whensday. ( T h e Man I L o v e ) 20-21. Look f o r me always at my west and I will think to dine. (Drink to me only with thine eyes) 21. A tear or t w o in time ( T e a f o r T w o ) 25. Meesh, meesh (Mush, Mush) 34, 35. memento . . . allathome I with grief can call my own ( T h e heart bowed down) 458.16. on the face of the waters [ T h e Y o u n g Man's Dream ( A s a beam o'er the face of the waters may g l o w ) ] 459.2. ringarosary (Ring a-ring o' Roses) 5. poor old dutch ( M y Old Dutch) 25. (Little B o Peep) 460.15. T h e Dargle shall run dry ( T h e Dargle R u n D r y ) 28-29. T w i c k twick, twinkle twings ( T w i n k l e , twinkle, little star) 34. till you'll resemble me ( T h e n you'll remember me) 461.17, 18. golden . . . wetting (De Golden W e d d i n g )

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22-23. ^ y gape to my gazing I'll bind and makeleash ( M y Grief on the Sea) 2 j, 26. your name of Shane . . . shamefaced (Harrigan, That's Me) 26. whesen with other lipth (Then you'll remember me) 27-28. when just woken by his toccatootletoo m y first morning. ( D o Y e Ken John Peel?) 27. toccatootletoo (Cock a Doodle D o o ) 28-29. theated with Mag at the oilthan ( T h e Lost Chord) 462.5-7. A stiff one for Staffetta mullified with creams of hourmony, the coupe that's chill for jackless j ill and a filiform dhouche on Doris! (Ring a-ring o' Roses) 6. jackless jill (Jack and Jill) 8,9. stir up . . . cup ( T h e Stirrup Cup) 8-9. love's young fizz (Love's Young Dream) 9-10, 11. I tilt with this bridle's cup champagne, dimming douce from her peepair of hideseeks. . . . sparkling (Take a pair of sparkling eyes) 10, 11. snowybrusted . . . pearlies ( T h e S n o w y Breasted Pearl) 18. and a dear old pal of mine (Dear Old Pal of Mine; Dear Old Pals) 22. me O treasauro (II mio tesoro) 32. coming home to mourn mountains (Home to Our Mountains; T h e Mountains of Mourne) 463.31-32. Jonas wrocked in the belly of the whaves (Jonah and the Whale; Rocked in the Cradle of the Deep) 464.7. a Brazel aboo! (O'Donnell A b u ) 21-22. yunker doodler . . . phoney. (Yankee Doodle) 24-25. I met with dapper dandy . . . hamd. ( T h e Wearing of the Green) 24. dapper dandy (Dapper Dan) 32. (Mona, M y O w n Love) 465.4. Jackot the Horner w h o boxed in his corner (Little Jack Horner) 8. the shamewaugh! ( T h e Shan V a n V o c h t ) 13-14, 27. Let us be holy and evil and let her be peace on the bough. . . . mistletouch ( T h e Holly and the I v y ) 22-23. Take her out of poor tuppeny luck (Pop! Goes the Weasel) 28. Chink chink. (Chin Chin Chinaman)

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34. N o martyr where . . . like rome. (Home, Sweet Home) 466.2. All folly me yap to Curlew! (Follow Me Up to Carlow) 12-13. mishmash mastufractured on europe you can read off the tail of his. (Mush Mush) 18. jubalharp (Oh Had I Jubal's Lyre) 19. 21. Rota rota ran the pagoda. . . . priesty pagoda Rota ran. (Rhoda and Her Pagoda) 20. Dauber Dan (Dapper Dan) 23-24. (The Death of Nelson) 24, 27. fra! . . . . Diavoloh! (Fra Diavolo) 25-26. My loaf and pottage neaheaheahear Rochelle. (My Love and Cottage Near Rochelle) 25. (Humpty Dumpty) 28. Bitrial bay (Bantry Bay) 29. betrayal buy jury. (Trial by Jury) 35. Sweet fellow ovocal (The Meeting of the Waters) 467.22. down on the river airy (Ain't Gwine Study War No Mo') 468.10-11. Hammisandivis (The Holly and the Ivy) 11-12. So pick your stops with fondnes snow. (Auld Lang Syne) 20. Echo, read ending! (Ecco ridente in cielo) 27. a bulper at parting [A bumper at parting (Moll Roe in the morning)] 28. Farewell but whenever (Farewell, but whenever you welcome the hour) 34. I'm dreaming of ye, azores. (Ben Bolt; Ever of Thee I'm Fondly Dreaming) 36. 'Bansheeba peeling (How oft has the Banshee cried; Mary of Argyle) 469.3-4. The earth's atrot! . . . The water's great (The West's Awake) 10-11. I'll travel the void world over. (Turn on, old time) 21. Solo, solone, solong! (So Long, Oolong) 21. Lood Erynnana, ware thee wail! (Sweet Innisfallen, fare thee well) 22. With me singame soarem o'erem! (The Soldier's Song) 26-27. After wage-of-battle bother I am thinking most. Fik yew! (Just before the battle, Mother) 470.9. prettly prattly pollylogue (Pretty Little Polly Perkins from Paddington Green) 35. handacross the sea (Hands across the Sea)

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471.28-29. lost to sight . . . though without a doubt he was all the more on that same head to memory dear (Though Lost to Sight, to Memory Dear) 471.36-472.1. sweet wail of evoker ( T h e Meeting of the Waters) 472.2. suckabolly (Stack o' Barley) 2. rockabeddy (Rockabye, baby) 6-7. Come to disdoon blarmey and walk our groves so charming ( T h e Groves of Blarney) 473.3, j . Janyouare . . . comes marching ahome ( W h e n Johnny Comes Marching H o m e ) 7-8. ere Molochy wars (Let Erin remember the days of old) 19. stride the rampante flambe. (Stride la vampa) 22-23. T h e west shall shake the east awake. ( T h e West's Awake) III. 3. 474.16-17. keeping the home fires burning (Keep the H o m e Fires Burning) 17. the churring call ( A Clarion Call) 475.9. Daffydowndillies ( D a f f y downdillv) 36. the harp in the air ('Tis the harp in the air) 47j.36-476.1. the bugle dianablowing. . . . wild as wild (Blow, Bugle, B l o w ) 476.1. dianablowing ( W u k k i n ' on de Railroad) 1. the mockingbird (Listen to the Mocking Bird) 2. the bulbul (Abdul the Bulbul Ameer) 2. so 'tis said ( W h e r e are you going, my pretty maid?) 26-27. ( T h e House T h a t Jack Built) 27. the ass that lurked behind him ( T h e Girl I L e f t Behind M e ) 28. Hossaleen ( M y Dark Rosaleen) 477.6. ( N e d of the Hill) 33. Ecko! H o w sweet thee answer makes! ( H o w sweet the answer echo makes) 478.3, 27. (Little Bo Peep) 13. rheda rhoda (Rhoda and Her Pagoda) 479.1. overthere ( O v e r T h e r e ) 2. ( M y Little G r e y Home in the W e s t ) 5-6. Follow me up Tucurlugh! (Follow Me Up to C a r l o w ) 28, 29. knowest thout the kind? . . . . Weissduwasland. (Know'st thou the land?)

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30-31. T h e frenchman, I say, was an orangeboat. (The Shan Van Vocht) 479.36-480.1. Conning two lay payees. (Connais-tu le pays) 480.3-4. Say, call that girl with the tan tress awn! (Johnny Come Down from Hilo) 8. far away from those green hills (There Is a Green Hill Far Away) 8. far away from those green hills . . . Ireton (The Fair Hills of Eire, O ) io-ii. From Daneland sailed the oxeyed man, now mark well what I say. (In Amsterdam there lived a maid) 18. Bill of old Bailey! (Bill Bailey, Won't You Please Come Home?) 20-21. It's his lost chance, Emania. Ware him well. (It's Your Last Voyage, Titanic, Fare You Well) 481.5. DiesEirae (Dies Irae) 33-35. the brodar of . . . the furst man in Ranelagh (The Wild Man from Borneo Has Just Come to T o w n ) 482.10-11. I would go near identifying . . . weslarias . . . yokohahat. (Ophelia's song) 12-13. l h e worst curst of Ireland (The Wild Man from Borneo Has Just Come to T o w n ) 27. (Cock of the North) 483.6-7. T i s the bells of scandal that gave tune to grumble over him and someone between me and thee. (The Bells of Shandon) 484.19-20. ap rince, ap rowler, ap rancer, ap rowdey! (A frog he he would a-wooing go; The Night before Christmas) 485.15-16. Come back, baddy wrily . . . with me! (Come Back, Paddy Reilly, to Ballyjamesduff) 22. and the hohallo to his dullaphone (Do Ye Ken John Peel?) 26-28. with his drums and bones and hums in drones your innereer'd heerdly heer he. (Johnny, I Hardly Knew Y e ) 28. Ho ha hi he hung! Tsing tsing! (Chin Chin Chinaman) 28. Tsing tsing! (Sing, sing, music was given) 36. chinchin (Chin Chin Chinaman) 486.6-7. Too the toone your owldfrow lied of. (The Tune the Old Cow Died On) 30-31. I ahear of a hopper behidin the door slappin his feet in a pool of bran. (Polly Wolly Doodle)

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487.18. (I'm N o t Meself at A l l ) 34. Freeday's child in loving and thieving. (Monday's Child) 488.36. T h e heart that wast our Graw McGree! [The Harp that once through Tara's Halls (Gramachree)] 489.2-3. His fuches up the staires and the ladgers in his haires (For there's nae luck about the house) 490.27. This is the way we. O f a redtettetterday morning. (Here we go round the mulberry bush; Here we go gathering nuts in May; This is the way the ladies ride) 491.16-20. (Ballad of Persse O'Reilly) 23-24. sallies to the allies (Sally of the A l l e y ) 28-30. W h o you know the musselman. . . . He loves a drary lane. ( D o you know the Muffin Man?) 36. the bold bhuoys of Iran ( T h e Bold Boys of Erin) 493.3. vallad of Erill Pearcey O (Ballad of Persse O'Reilly) 8. with the so light's hope on his ruddycheeks [The Lament of the Irish Emigrant (I'm sitting on the stile, M a r y ) ] 27-28. Let Eivin bemember for Gates of G o l d for their fadeless suns berayed her. (Let Erin remember the days of old) 35. T h e y know not my heart, O coolun dearast! [ T h e y know not my heart (Coolin Das)] 36. dear Mr Preacher ( O Mister Porter, Whatever Shall I Do?) 494.2. chrome sweet home (Home, Sweet Home) 22-23. Her sheik to Slave . . . to Guygas. (Ring a-ring o' Roses) 496.6-7. (Humpty Dumpty) iy. A l l ears did wag, old Eire wake ( T h e West's A w a k e ) 18-20. This liggy piggy. . . . lucky puckers (This little piggy went to market) 496.36-497.1. (Finnegan's W a k e ) 498.6. Horsibus, keep your tailyup (Horsey, Keep Your Tail U p ) 19. pani's annagolorum (Panis Angelicus) 19-20. at Kennedy's kiln . . . for me, buns! ( A t Trinity Church I Met M y Doom) 30. cummulium [Fairest! put on awhile (Cummilium)] 34-35. with his buttend up ( M y mother had a turkey and she thought it was a duck) 36. bulgy and blowrious, bunged to ignorious ( G o d Save the King)

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499.13, 16-18. (Finnegan's Wake) 14-16. Lung lift the keying! —God save you king! . . . . —God serf yous kingly (God Save the King) 33. Donnerbruck Fire? (Donnybrook Fair) 500.5, 9, 20, 26, 29, 31, 34; 501.1, 4. [Sing, sing, music was given (The Humours of Ballamaguiry, or The Old Langolee); Bom, Bom, Bom! Zim, Zim, Zim!] 500.23, 25, 32. (Little Bo Peep) 501.32. lady of the valley? (Lily of the Valley) 502.2, 3, 7-8. littlewinter. . . . jesse? . . . jusse as they rose and sprungen? (Els ist ein Ros entsprungen) 2, 4. holy-as-ivory. . . . hilly-and-even (The Holly and the Ivy) 9, 36. Pipep! . . . lambskip. (Little Bo Peep) 10. Lieto galumphantes! (Adeste Fideles) 12. highlucky nackt (Stille Nacht, Heilige Nacht) 26-27. And the firmness of the formous of the famous of the fumous of the first fog in Maidanvale? (The Wild Man from Borneo) 503.10-11. (Finnegan's Wake) 24. A tricolour ribbon (All Around My Hat I Wear a Tricolored Ribbon) 504.1-2. The cran, the cran the king of all crans. (The Wren, the Wren, the king of all birds) 22. woody babies (Babes in the Wood) 24. (Humpty Dumpty) 28. charlotte darlings (Charley Is My Darling) 505.3. hollow mid ivy (The Holly and the Ivy) 17-18. But rocked of agues, cliffed for aye! (Rock of Ages) 20. Mushe, mushe (Mush Mush) 30. the weeping of the daughters? (The Meeting of the Waters) 506.2-6. (Finnegan's Wake) 11—14. Were you there. . . . ramble, ramble. (Were You There When They Crucified My Lord?; O Didn't He Ramble!) 21. a lidging house far far astray (There Is a Boarding House) 26. hates to leaven this socried isle. Now, thornyborn [O! haste and leave this sacred isle (The Brown Thorn)] 507.6. with his coat on him skinside out (Brian O'Linn)

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508.5. Yule Remember ( T h e n you'll remember me) 19. pollywollies (Polly W o l l y Doodle; Pretty Little Polly Perkins from Paddington G r e e n ) 23. cherierapest (Cherry Ripe) 27. (Little Bo Peep) 27. (See saw, sacradown; See saw, Margery D a w ) 27. seesaw shallshee (She sells sea shells) 509.1. W h e r e did you get that wash? (Where Did Y o u G e t T h a t Hat?) 26. T h a t tare and this mole, your tear and our smile. (Erin, the tear and the smile in thine eyes) 26-27. T ' s life that lies if woman's eyes have been our old undoing. ( T h e time I've lost in wooing) 34. downadowns ( T h e Three Ravens) 510.9-10. W i t h a hoh frohim and heh fraher. (Ring a-ring o' Roses) 14. Come to the ballay at the Tailors' Hall. (The Night of the Ragman's Ball) 27. comeback f o r e'er a one (Come Back to Erin) 32—33, 35. T h e y came from all lands beyond the wave f o r songs of Inishfeel. . . . Hopsinbond [ T h e y came from a land beyond the sea (Song of Innisfail) (Peggy B a w n ) ; T h e Soldier's Song] 35. bride eleft ( T h e Girl I L e f t Behind Me) 511.2, 7. (Master M c G r a t h ) 1 4 - 1 5 . While she laylylaw was all their rage. (Finnegan's Wake) 18. resting on a pigs of cheesus (Safe in the Arms of Jesus) 23. ' T w a s womans' too woman with mans' throw man. (Finnegan's W a k e ) 32-34. So this was the dope . . . joke bilked. ( T h e House That Jack Built) 5 1 2 . 1 - 2 . All upsydown her whole creation? (Old Folks at H o m e ) 9. the beam in her eye? [Lesbia hath a beaming eye ( N o r a Creina)] 9-10. T h a t musked bell of this masked ball! ( T h e Masked Ball) 26. like a Dublin bar in the moarning. (Christmas D a y in the Morning; Crossing the Bar) 28. 31. shekleton's. . . . Flatter O'Ford ( G o o d morning, Father Francis, G o o d morning, Mrs. Sheckleton) 29. m y fortune? ( W h e r e are you going, my pretty maid?)

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30-31. You've soft a say with ye, Flatter O'Ford (Father O'Flynn) 31. honey, I hurdley chew you. (Johnny, I Hardly Knew Ye) 513.7. crazy headed Jorn (Crazy-headed John) 12. Taranta boontoday! (Ta Ra Ra Boom De A y ) 12-15. You should pree him . . . skirp a (You Should See Me Dance the Polka) 20. Poppagenua (The Magic Flute) 23-24. They may reel at his likes but it's Noeh Bonum's shin do. [They may rail at this life (Noch bonin shin doe)] 25-26. And whit what was Lillibil . . . trinies and traines. (What are little girls made of? ) 27. A take back to the virgin page, darm it! [Turn back the virgin page (Dermott)] 514.5-6. All our stakes . . . at Annie's courting. (When McCarthy took the flute at Inniscorthy; The Man That Broke the Bank at Monte Carlo) 5-6. ranky roars assumbling (The Rocky Road to Dublin) 22-23. (A. Little Bit of Heaven) 515.30-31. T i s all around me bebattersbid hat. (All Around M y Hat I Wear a Tricolored Ribbon) 516.7. ragamufflers (The Night of the Ragman's Ball) 8. the Wearing of the Blue (The Wearing of the Green; The Croppy Boy, version in Colum's Broadside Ballads) 14-15. bear's hairs like fire bursting out of the Ump pyre (There's Hair Like Wire Coming out of the Empire) 27-28. standing there nonplush to the corner of Turbot Street (Standing on the Corner of the Street) 31. Nap O'Farrell Patter Tandy (The Wearing of the Green; T h e Rising of the Moon) 517.8, 9, 10. jokes . . . black. . . . —Sublime was the warning! [Sublime was the warning (The Black Joke)] 31. Tick up on time. (Turn on, old time) 34, 35. At mart in mass. —A triduum before Our Larry's own day. (The Night before Larry Was Stretched) 518.33. O bella! O pia! O pura! (Morir! Si pura e bella!) 519.4-5. your night after larry's night (The Night before Larry Was Stretched) 18. (Finnegan's Wake) 20. believe you, for all you're enduring long terms (Believe me, if all those endearing young charms)

ióo

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JJ-J6. at the split hour of blight when bars are keeping so sly [ A t the mid hour of night (Molly, my dear)] 520.23. Should brothers be f o r awe then? ( A man's a Man f o r A ' That; F o r A y e , T h e n ) 24-26. wheel whang till wabblin . . . bobby burns of. ( L o c h Lomond) 5 2 1 . 3 j , 35-36. moll me roon? . . . Farewell, but whenever! [Farewell, but whenever you welcome the hour (Moll R o o n e ) ] 522.16-17. orangepeelers or greengoaters ( T h e Peeler and the Goat) 523.8. the man from Saint Y v e s ( A s I was going to St. Ives) 22-23. P a ^ s smile but me (Comin' through the R y e ) 526.8. T o my lead, T o o m e y lout, T o m m y lad. ( T o m m y , L a d ! ) 20-21. W o m a n will water the wild world over. (It's the same the whole world over; Old Roisin the Beau; G a r r y o w e n ) 21-22. A n d the maid of the folley will go where glory. [ G o n e where glory waits thee (Maid of the V a l l e y ) ] 526.33, 527.4. Lough Shieling's. . . . Come, rest in this bosom! [Come, rest in this bosom (Lough Sheeling)] 528.8-9. Kyrielle elation! Crystal elation! Kyrielle elation! Elation immanse! ( K y r i e Eleison) 1 2 - 1 3 . pray Magda, Marthe with Luz and Joan, while I lie with warm (Matthew, Mark, Luke, and John) 30-31. T h e leinstrel boy to the wall is gone and there's moreen [ T h e Minstrel B o y ( T h e Moreen)] 529.33. bibby buntings (Bye, baby bunting) 530.3. deffydowndummies ( D a f f y d o w n d i l l y ) 15. lagenloves ( M y Lagan L o v e ) 26-27. W i t h her shoes . . . our warning. (Off to Philadelphia in the Morning) 531.7. do dodo doughdy dough (Vo-do-do-de-o Blues) 22. Shusies-with-her-Soles-Up (Horsey, Keep Your T a i l U p ) 25-26. (Finnegan's W a k e ) 28-29. fiddling with his faddles (Phil the Fluter's Ball) 532.6-7. (Here W e A r e Again) 533.17. whapping oldsteirs (Wapping Old Stairs) 19, 22-23. homesweetened. . . . there's gnome sweepplaces like theresweep Nowhergs. (Home, Sweet H o m e ) 23-24. ye litel chuch rond y e coner ( T h e Little Church around the Corner)

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534.6. It's the damp damp damp. (Tramp, Tramp, Tramp, the Boys Are Marching) 36. Flap, my Larrybird! Dangle, my highflyer! (The Night before Larry Was Stretched) . jackadandyline! (Handy Spandy) 535 3. Whosaw the jackery dares (See saw, Margery Daw) 7. (The Goby, O ! ) 536. 2-33. Jonah Whalley (Jonah and the Whale) 537- 4. (Finnegan's Wake) 5. Donkeybrook Fair. (Donnybrook Fair) 538. 1. boyne alive O. (Boyne Water; Cockles and Mussels) 8-29. The man what shocked his shanks at contey Carlow's. (The Man That Broke the Bank at Monte Carlo; Follow Me Up to Car low) 540. 4. (Little Bo Peep) 4-15. Ubipop jay piped, ibipep goes the whistle. (Pop! Goes the Weasel) 5-16. where the bus stops there shop I (Where the bee sucks) 1. Thuggeries are reere as glovars' metins (O Mistress Mine) 5 4 ' 8. 19. Fugabollags! . . . eyeball [ T o ladies' eyes a round (Faugh a Ballagh)] 9. With three hunkered peepers and twa and twas! (Wi' a Hundred Pipers and A ' ) 1. tummed the thief air. (Come to the Fair) 3. tunes like water parted fluted up (Water Parted from the Sea) 54 2 - 0-21. maugher machrees (Mother Machree) 2. soakye pokeys (Hokey Pokey) 8. parciful (Parsifal) 5456. (Hearts of Oak) 546.2. Sigh lento, Morgh! [Silent, O Moyle (Song of Fionnuala)] 23. Till daybowbreak and showshadows flee. (Rockabye, baby; Abide with Me) 547.20-21. where she began to bump a little bit (What Ho, She Bumps!) 548.9-10. I was her hochsized, her cleavunto, her everest, she was my annie, my lauralad (Annie Laurie; Little Annie Rooney; Die Lorelei) 12-13. trinity huts . . . for me (At Trinity Church I Met M y Doom)

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102

REFERENCES

33-34. shells of moyles marine . . . silents (Silent, O M o y l e ) 549.15. marble halles (I dreamt that I dwelt in marble halls) 550.5. But his members handlv food him. (Johnnv, I Hardly K n e w Ye) 21. (Mopsa) 36. ( H u m p t y Dumpty) 551.6-7. on Rideau R o w Duanna dwells, you merk well what you see (In Amsterdam there dwells a maid) 9. bibs under hoods (Babes in the W o o d ) 552.16-18. M y seven wynds . . . with the gust (As I was going to St. Ives) 18-19. hoops f o r her . . . Neeblow's garding (Ring a-ring o' Roses) 29. chillybombom (Bom, Bom, Bom! Zim, Zim, Z i m ! ) 553.13. F r a Teobaldo (Fra Diavolo) 20. rigs of barlow ( T h e Rakes of Mallow) 22. hallaw vail (In diesen heil'gen Hallen) 22, 23. a feyrieglenn . . . lickybudmonth [No, not more welcome the fairy numbers (air, Luggelaw); T h e Fairy Glen] 32-33. of truemen like yahoomen ( T h e Memory of the Dead) 554.2-9. nod nod noddies. . . . Kick! Playup! (This is the w a y the ladies ride) III. 4. 555.5-6. in those good old lousy davs gone bv ( T h e V i c a r of Bray) 8. the four of them (One More Drink for the Four of U s ) 10. ballyhooric blowreaper ( T h e Bally hoolv Blue Ribbon Army) 1 3 - 1 5 . esker, newcsle, saggard, crumlin. . . . saggard, crumlin. (See saw, sacradown) 14. w a y to wumblin. ( T h e R o c k y Road to Dublin) 16. K e v i n M a r y (Kevin B a r r y ) 18. irishsmiled ( W h e n Irish Eyes A r e Smiling) 556.1. night by silentsailing night [Silent Night (Stille N a c h t ) ] 3, 5. Saint H o l y and Saint Ivory . . . Mistlemas ( T h e Holly and the I v y ) 8, 13. she wore a wreath . . . the night that first we met (She W o r e a Wreath of Roses the Night That First W e Met)

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10. boyblue's (Little Boy Blue) 1 1 - 1 2 . for she was the only girl they loved (If You W e r e the Only Girl in the World; It is a charming girl I love) 13-14. ( N o t in Vain) 14. the darling of my heart (Sally of the Alley) 23. nowth upon nacht . . . Wachtman (Watchman, What of the Night?) 31. wan fine night and the next fine night and last find night (One Fine Day in the Middle of the Night; Keep Your Head Down, Fritzi B o y ) 557.6. the wrake of the hapspurus [The Wreck of the Hesperus ( T h e Reef of Norman's W o e ) ] 557.21-558.14. (Echoes of The Bells of Shandon) 558.23-24. what is nice toppingshaun made of made for (What are little girls made of?) 29-30. moddereen ru arue rue (Moddereen Rue) 30. hodypoker (Hokey Pokey) 560.22 ff. ( O Mister Porter, Whatever Shall I Do?; T h e Sun Shines Bright on Mrs. Porter) 562.14. Polly Flinders (Little Polly Flinders) 16. crazedledaze (Pal of M y Cradle Days) 27-28. Whene'er I see those smiles in eyes 'tis Father Quinn again. [Whene'er I see those smiling eyes (Father Quinn); Father O'Flynn] 563.5, 7, 8, 27. (Little Bo Peep) 1 1 . the bride of pride leased to the stranger! (Let Erin remember the days of old) 13-14. while through life's unblest he rodes backs of bannars. [When through life unblest we rove ( T h e Banks of Banna)] 25. (Donnybrook Fair) 27. Formio and Cigalette! (La Cigale et la Fourmi) 564.22-23. H o w tannoboom held tonobloom. (Tannenbaum, O Tannenbaum) 26-27. I*1 yonder valley, too, stays mountain sprite. [In yonder valley there dwelt alone (The Mountain Sprite)] 565.8, 9. mark well what I say? . . . In Amsterdam there lived a . . . (In Amsterdam there lived a maid) 20-21. muy malinchily malchick! ( M y Melancholy Baby)

164

SONG

REFERENCES

22. l u c k y load to Lublin ( T h e R o c k y R o a d t o D u b l i n ) 35-36. it's snugger to b u r r o w abed (It's N i c e t o G e t up in the M o r n i n g ) 566.16, 18. T h e maidbrides all . . . joybells to ring sadly ringless hands. ( T h e Bridal of Malahide) 17. to strew sleety cinders ( O strew those ashes) 28-29. O , p l u x t y suddly, the sight entrancing! [ O the sight entrancing (Planxty S u d l e y ) ] 567.4. one yeoman's yard. ( Y e o m e n of the G u a r d ) 8. f o r a true glover's greetings ( O Mistress M i n e ) 12, 17. ( H u m p t y D u m p t y ) 15. N a n N a n Nanetta ( N o , N o , N a n e t t e ) 568.13. Its ist not the tear on this movent sped. T i x sixponce! [It is not the tear at this moment shed ( T h e S i x p e n c e ) ] 14-15. H o o l poll the bull? . . . Peal, pull the bell! ( W h o killed C o c k R o b i n ? ) 25-26. ( H u m p t y D u m p t y ) 569.2-3. here's a help u n d o their modest stays [Here's a Health unto H i s Majesty ( D o w n among the Dead M e n ) ] 23-24. O l d Finncoole . . . fuddlers free! ( O l d K i n g C o l e ) 25-26. F o r we're all jollygame fellhellows w h i c h nobottle can deny! [For He's a Jolly G o o d Fellow ( M a l b r o u k s'en v a ) ] 570.3-4. M i g h t gentle harp addurge! [ M y gentle harp once more I waken ( T h e Dirge)] 7-8. Some wholetime in hot t o w n tonight! ( T h e r e ' l l Be a H o t T i m e in the O l d T o w n T o n i g h t ) 22, 27-28. our oily the active. . . . Forthink not me spill it's at always so g u e y . [ O ! think not my spirits are always as light (John O ' R e i l l y the A c t i v e ) ] 571.12. O ma ma! ( O M a m a ! ) 12, 18-19. Yes, sad one of Ziod? . . . I w o u l d rather than Ireland! [Yes, sad one of Zion (I w o u l d rather than Ireland)] 15, zi. W h e r e cold in dearth. . . . limmenings lemantitions [ W h e n cold in earth lies the friend thou hast loved ( L i m erick's Lamentation)] 17. (Little B o Peep) 20-21. O , M r Prince of Pouringtoher, whatever shall I pppease to do? ( O Mister Porter, W h a t e v e r Shall I D o ? ) 576.7-8. W i l l y o u , w o n ' t y o u , pango with Pepigi? (Lobster Chorus)

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12. Lest he forewaken. (The Recessional) 28. (Finnegan's Wake) 36. jinnyjones (We've come to see Miss Jenny Jones) 577.16. peg of his claim and pride of her heart (Peg o' M y Heart) 22. Hearths of Oak (Hearts of Oak) 24. mandelays (On the Road to Mandalay) 29-30. unterlinnen (Unter den Linden) 578.10-11. Can thus be Misthra Norkmann that keeps our hotel? ( A r e Y o u the O'Reilly That Keeps This Hotel?) 19-20. Donauwatter! (The Blue Danube) 23. rhaincold (Das Rheingold) 32. They're coming terug their dia- (Comin' through the Rye) 580.19. (Finnegan's Wake) 19-20. Finnegan, to sin again and to make grim grandma grunt and grin again (Old Michael Finnegan) 26-36. the slave of the ring . . . Hosty made. ( T h e House That Jack Built) 31-32. that butted O'Hara (The Man That Struck O'Hara) 581.4. sullivan's mounted beards (Slattery's Mounted Foot) 6. swanee (Swannee; Old Folks at Home) 28-29. all up and down the whole concreation (Old Folks at Home) 35-36. so early in the morning (What Shall W e Do with a Drunken Sailor?; Here we go round the mulberry bush) 582.22. With his soddering iron, spadeaway (Dashing A w a y with a Smoothing Iron) 24. rockaby (Rockabye, baby) 583.10-12, 25. T h e datter, io, io. . . . a gallop, a gallop. . . . Quick, pay up! (This is the way the ladies ride) 14, 15. Casting such shadows . . . coming event. (Lochiel's Warning) 19. Phoebe's nearest (Phoebe Dearest) 21. malahide (The Bridal of Malahide) 21. who'll buy her rosebuds (Who'll buy my rosebuds?) 22. jettyblack rosebuds (Little Black Rose) 584.5. Magrath (Master McGrath) 6. bricking up all my old kent road. (Knocked 'em in the Old Kent Road) 7. tom's bowling (Tom Bowling)

SONG

REFERENCES

8. barrackybuller (Barnacle Bill the Sailor) 9. till the empsyseas run googlie. (Auld Lang Syne) 1 0 - 1 1 . T h r e e f o r t w o will do for me and he for thee and she f o r you. ( T e a f o r T w o ) 21, 22-23, 25. shantyqueer . . . doodledoo. . . . cock (Cock a Doodle D o o ) 585.14, 15. (Come all y e ) 30-31. Humbo, lock y o u r kekkle up! . . . Y o u never wet the tea! (Polly, put the kettle on) 586.7. Omama ( O M a m a ! ) 10-12. have you heard of one humbledown jungleman . . . and pom? (Ballad of Persse O'Reilly) 13. din a ding or do (Dig-a-dig-a-do) 27. mean fawthery eastend appullcelery (Appenzellerlied) 587.2. Loab at cod then herrin (Lobet Gott, den Herrn) 13-14. tomorow comrades, we. . . . cuirscrween loan [ T o morrow, comrades, we ( T h e Cruiskeen L a w n ) ] 14-15. T h e pitchur that he's turned to weld the wall ( T h e Picture with Its Face Turned towards the W a l l ) 25-26. meeting of the waitresses ( T h e Meeting of the W a t e r s ) 26. Elsies from Chelsies (Elsie from Chelsea) 26-27. f w o l e g g ' e g e ' s >n blooms ( T w o Little Girls in Blue) 588.2. don't you be an emugee! ( A t Trinity Church I Met M y Doom) 2-3. Carryone, he says, though we marooned through this woylde. [ W e may roam through this world ( G a r r y o w e n ) ] 5. wappin stillstand (Wapping Old Stairs) 6. (Little B o Peep) 10. 18. fiefighs . . . Black (Fi H i Hi, the Black Shakers Song and Polka) 13. my old brown freer? ( T h e Old G r e y Mare) 17. Hollymerry, ivysad ( T h e Holly and the I v y ) 18. M r Black Atkins ( T o m m y Atkins) 19. were you there? ( W e r e You There When T h e y Crucified M y Lord?) 23-24. Timgle T o m , pall the bell! Izzy's busy down the dell! (Ding Dong Bell) 28-29. Since Allan R o g u e loved Arrah Pogue it's all Killdoughall fair. [O! Arranmore (Killdroughalt F a i r ) ] 32-34. All the trees. . . . domday's erewold. ( W h o killed Cock Robin?)

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WAKE

35-36. T w o pretty mistletots. . . . Four witty missywives [ T w o little dickey birds; Ten Little Injuns (Ten Little Niggers)] 589.12-13. the whaler in the punt, a guinea by a groat (The Peeler and the Goat) 15. jackill (Jack and Jill) 19. (The Band Played On) 20. Ofter the fall. (After the Ball) 36. barleystraw (The Barley Corn) 590.4. (Little Bo Peep) IV 593.3-5. O rally, O rally . . . bird can be. [What life like that of the bard can be (Planxty O'Reilly)] 8-9. Sonne feine, somme feehn avaunt! (Sinn Fein, Sinn Fein Amhain) 20. T h e eversower of the seeds of light (I sowed the seeds of love) 594.3-4. Kilt by kelt shell kithagain with kinagain. (Finnegan's Wake) 6. light kindling light has led (Lead, Kindly Light) 25-26. Gaunt grey ghostly gossips growing grubber in the glow. [John Brown's Body (Christy version)] 595.9, 28-29. It's a long long ray to. . . . Deepereras. Buried hearts. Rest here. (It's a Long W a y to Tipperary) 18. Come lead, crom lech! (Lead, Kindly Light) 30. Conk a dook he'll doo. (Cock a Doodle Doo) 31-32. Till they take down his shatter from his shap. (Old Uncle Ned) 596.2. (Humpty Dumpty) 2-3, 14. hundering blundering dunderfunder of plundersundered manhood. . . . salamermauderman (Pretty Molly Brannigan) 31. paddypatched (PaddyWhack) 597.3. rolywholyover (Roll Me Over, in the Clover) 19. Shavarsanjivana (Don Giovanni; Abdul the Bulbul Ameer) 598.9. Endee he sendee. Diu! (The Day Thou Gavest, Lord, Is Ended) 22-23. Mildew, murk, leak and yarn now want the bad that they lied on. (Matthew, Mark, Luke, and John) 599.4 ff. (The Star-spangled Banner)

SONG

REFERENCES

7-8. hoof, hoof, hoof, hoof, padapodopudupedding on fattafottafutt. (Boots) 21-22. There's a tavarn in the tarn. ( T h e r e Is a T a v e r n in the Town) 34-35. the old man . . . they don't say nothings. ( O l d Man River) 599.29, 600.2. all the goings up and the whole of the comings down. . . . drury world of ours ( O l d Folks at H o m e ) 600.1. cannibal king ( T h e K i n g of the Cannibal Isles) 15. 'tis believed that his harpened before Gage's Fane [*Tis believed that this harp ( G a g e Fane)] 32-33. perty Molly Vardant ( D o l l y V a r d e n ) 600.36-601.1. b y that look whose glaum is sure . . . bisnisgels [By that lake, whose gloomy shore ( T h e Brown Irish G i r l ) ] 601.8. dairmaidens? Asthoreths (Dermot Asthore) 17. Botany Bay. ( B a n t r y B a y ) 17-18. A dweam of dose innocent dirly dirls ( T h e dream of those days) 18-19. Keavn! . . . was Keavn! (Heaven, Heaven; Kevin Barry) 28. (Little Bo Peep) 602.12-13, 13-14. Be thine the silent hall. . . . Roga's stream is solence. [Silence is in our festal halls ( T h e Green W o o d s of T r u i g a ) ] 13. A virgin, the one, shall mourn thee ( T h e Minstrel B o y ) 14. the ass of the O ' D w y e r (Doran's Ass) 14-15. O ' D w y e r of Greyglens (Sean a Dhuir a Ghleanna) 16. the reeks around the burleyhearthed (Willie brewed a peck o' maut) 36. peeas and oars (Oats, peas, beans and barley g r o w ) 602.36-603.1. peeas and oats upon a trencher and the toyms he'd lust in W o o m i n g [ T h e time I've lost in w o o i n g (Pease upon a T r e n c h e r ) ] 603.4. fat as a fuddle! (Fit as a Fiddle and Ready for L o v e ) 4-5. Shoen! Shoan! Shoon the Puzt! (Shule A r o o n ) 6-7. Batch is for Baker w h o baxters our bread. ( A was an Archer) 12-13. shay for shee and sloo for slee ( T e a for T w o ) 16. senny boy? (Sonny B o y ) 604.7-8. H o w swathed thereanswer alcove makes theirinn! [ H o w sweet the answer echo makes ( T h e W r e n ) ]

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12. Glendalough . . . amiddle of meeting waters (The Meeting of the Waters) 606.15. askan your blixom on dimmen and blastun (The Night before Christmas) 34. (Humpty Dumpty) 34-35. there is always something racey about, say, a sailor on a horse. (There's Something about a Soldier) 607.13. every bob and joan to fill the bumper fair. [Fill the bumper fair (Bob and Joan)] 15-16. (Finnegan's Wake) 17. And it's high tigh tigh. Titley hi ti ti. (Hi-tiddley-hi-ti) 608.8-9. Billyhealy, Ballyhooly, Bullyhowley (The Ballyhooly Blue Ribbon Army) 19-20. ching chang (Chin Chin Chinaman) 609.2. no placelike no timelike (Home, Sweet Home) 5. duffyeyed dolores [O my Dolores, Queen of the Eastern Seas (The Shade of the Palm)] 12. (Amaryllis) 610.21. Ad Piabelle et Purabelle? (Morir! Si pura e bella!) 22. At Winne, Woermann og Sengs. (Wine, Women, and Song) 611.5. chinchinjoss (Chin Chin Chinaman) 612.33. shatton on the lamp of Jeeshees. (Safe in the Arms of Jesus) 613.1-3. Good safe firelamp! hailed the heliots. . . . trampatrampatramp. Adie. [God Save Ireland (air, Tramp, Tramp, Tramp)] 8. 'Tis gone infarover. So fore now, dayleash. [ T i s gone, and forever, the light we saw breaking (Savourneen Deelish)] 24-25. wreathe the bowl to rid the bowel [Wreathe the bowl (Nora Kista)] 614.1. (Mopsa) 4-5. every article . . . with a dapperent rolle (As I was going to St. Ives) 6-7. cuffs for meek and chokers for sheek and a kink in the pacts for namby. (Ring a-ring o' Roses) 14. Fennsense, finnsonse, aworn! (Sinn Fein, Sinn Fein Amhain) 15. (Little Bo Peep) 17-18. Innition wons agame. (A Nation Once Again) 32-33. (Humpty Dumpty)

SONG

REFERENCES

615.8-9. Cockalooralooraloomenos (Little Cockalorum; T o o r a Loora Loora) 21. as merrily we rolled along (Good-night, Ladies) 26. on the brinks of the wobblish (On the Banks of the W a bash) 28. that gave me the keys to dreamland. (Meet Me Tonight in Dreamland; I W i l l G i v e Y o u the K e y s to Heaven) 3 1 - 3 2 . Thinthin thinthin. (Chin Chin Chinaman) 34. W h a t those slimes up the cavern door around you, keenin ( T h e Old Kentucky H o m e ) 616.9. Peeter the Picker (Peter Piper) 32-33. haily, icy and missilethroes. ( T h e Holly and the I v y ) 6 1 7 . 1 1 . (Finnegan's W a k e ) i j - 1 6 . Music, me ouldstrow, please! (Music, Maestro, Please) 3 1 - 3 2 . I wisht I wast be that dumb tyke and he'd wish it was me yonther heel [I wish I was by that dim lake (I wish I was on yonder hill)] 32-33. T h e sweetest song in the world! ( T h e Sweetest Song in All the W o r l d ) 618.16, 17. L i l y . . . pulling a low (Lilliburlero) 17. then he'd begin to jump a little bit ( W h a t Ho, She Bumps!) 18. love walks in ( L o v e Walked In) 619.8-9. ( H u m p t y Dumpty ) 23. woods. . . . babes (Babes in the W o o d ) 24. A n d robins in crews so. (Poor Old Robinson Crusoe) 24. me goolden wending. (De Golden Wedding) 27-28. W i t h pipe on bowl. T e r c e f o r a fiddler, sixt for makmerriers, none f o r a Cole. (Old King Cole) 620.5-6. pooraroon Eireen (Eileen A r o o n ) 10. Come and let us. . . . A n d go abroad. (I Will Give Y o u the K e y s to Heaven) 33. He's f o r thee what she's f o r me. ( T e a for T w o ) 6 2 1 . 1 0 - 1 1 . T h e sons of bursters won in the games. (Sean a Dhuir a Ghleanna) 18. buy me a fine new girdle too, nolly. ( O dear, what can the matter be?) 20. F y a r t h o u ! (Alice, W h e r e A r t T h o u ? ) 28-29. (Finnegan's W a k e ) 33. W e will take our walk (I W i l l Give Y o u the Keys to Heaven)

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622.4. MacGarath (Master McGrath) 5. sookadoodling (Yankee Doodle) 22. Till Gilligan and Halligan call again to hooligan. (Harrigan, That's Me) 24. the moskors . . . ball (The Masked Ball) 32-33. Beauties . . . never pays. (Fair Maidens' Beauty Will Soon Fade A w a y ) 623.3. horner corner! (Little Jack Horner) 24. T h e rollcky road adondering. (The Rocky Road to Dublin) 27-28. When the moon of mourning is set and gone. (The Mountains of Mourne) 28-29. Ourselves, oursouls alone. (Sinn Fein, Sinn Fein Amhain) 624.9. pippup and gopeep . . . sterres (Little Bo Peep; I have a little sister) 13. (Humpty Dumpty) i j - 1 6 . On limpidy marge I've made me hoom. Park and a pub for me. ( A t Trinity Church I Met M y Doom) 19-20. One of these fine days (One fine day; One Fine Day in the Middle of the Night) 28-29. When that hark from the air . . . cumhulments [The Lark in the Clear Air; T i s the harp in the air (Cummilium)] 625.31-32. The brave that gave their. T h e fair that wore. (Alexander's Feast) 626.9. a tiler's dot. ( T h e Wake of Teddy the Tiler) 30-31. How you said how you'd give me the keys of me heart. And we'd be married till delth to uspart. (I Will Give You the Keys to Heaven) 627.26-27. (Humpty Dumpty) 31-32. And the clash of our cries till we spring to be free. (I Will Give You the Keys to Heaven) 628.6-7. M y leaves. . . . clings still. (Fair Maidens' Beauty Will Soon Fade A w a y ) 11. ( Humpty Dumpty) 14. (Finnegan's Wake) 14, 15. Bussoftlhee, mememormee! . . . Lps. (Then you'll remember me) 15-16. The keys to. Given! (I Will Give You the Keys to Heaven)

IV. ALPHABETICAL

INDEX TO THE

SONGS

Names of authors and composers have been given where we have been able to find them. When we haven't, we have identified the song by type or nationality—or, in the case of the music-hall songs, by the performers who made them famous. T h e authorship of many of these latter songs is obscure. T h e performer would buy a song from a composer for a few pounds and make it his own; the composer's name would either never be known or soon forgotten. Authorship of many of the minstrel and early jazz songs of the United States is similarly difficult or impossible to track down, as are, of course, the origins of ballads, street songs, etc. ABBREVIATIONS

The Works of Joyce: SH: Stephen Hero P: A Portrait of the Artist as a Young Man E: Exiles U: Ulysses F W : Finnegans Wake L: Letters of James Joyce, ed. Stuart Gilbert The stories in Dublmers are referred to by title. The one reference to Poems is labeled Poems. Kinds of Songs: A. By nationality A: American E : English El: Elizabethan Fr: French Fr-Can: French Canadian Ger: German

I: Irish It: Italian S: Scottish Span: Spanish Sw: Swiss

INDEX

T O SONGS

!73

These abbreviations are used when it is felt that they will be helpful in locating the songs, especially when the songs are anonymous, as are so many folk songs and street ballads. The labels are in some cases rather arbitrary, since, for example, most American folk songs were originally English, some English originally Scottish or Irish, etc. B. By type B: Ballad P: Popular song Cum: Cumulative song RC: Roman Catholic song F: Folk song SC: Sea chantey M: Minstrel song SG: Singing game MH: Music-hall song Sp: Spiritual NR: Nursery rhyme Trad: Traditional song Again, some of the designations are arbitrary. When does a popular song become a folk song? Are not sea chanteys folk songs? Etc. The labeling has been done with an eye to the reader's convenience in locating the songs. C. By author G & S: Gilbert and Sullivan song PF: Percy French song

Sh: Shakespeare song T M : Thomas Moore song

Abdul the Bulbul Ameer (PF): FW 355, 360, 365, 476, J97 Abide with Me (Lyte; Monk): F W 40, 546 Aboard the Bugaboo (On Board the Bugaboo) (The Cruise of the Bugaboo) (Rooney. I): U 98; FW 304,372 Absent-minded Beggar, The (Kipling; Sullivan. L 106): U 185, $45, 574, 707.733

Acushla Machree (Curran): U 203; F W 93, 345 Adam and Ell (SG): F W 176 Adelaide (Oxenford; Beethoven): FW 450 Adeste Fideles (Reading; Portogallo): F W 6, 58, 502 After the Ball (Harris): U 736; FW 209, J89 Afton Water (Burns; Spillman): F W 248, 264 Ah! The syghes that come fro' the hart (El): F W 11 A-Hunting We Will Go (Fielding; Ame?): F W 32, 233 Ain't Gwine Study War No Mo' (Sp): F W 467 Ain't No Hidin' Place Down There (Sp): F W 233 Alas, those chimes so sweetly stealing (Wallace, Maritana): F W 426 Alexander's Feast (Dryden; Handel): U 581; F W 346, 366, 625 Alexander's Ragtime Band (Berlin): F W 65 Alice, Where Art Thou? (Gurnsey; Ascher): U 633; F W 621 All Alone (Berlin? or Von Tilzer?): F W 92 All Around My Hat I Wear a Tricolored Ribbon (Kearney. I): F W 22-23, 54. 232, 2 9'> 37°. 439. 503. 5 ' 5

174

INDEX

TO

SONGS

All'erta (Verdi, II Trovatore): U 40 All God's Chillun Got Wings (Sp): F W 330, 334, 339 All I Want Is a Little Bit off the Top (Bedford; Murray; Leigh. M H ) : U 287 All Through the Night (Welsh): F W 445 Ally Croker (I): F W 391 Alone in crowds to wander on. See Shule Aroon Alouette (Fr-Can F ) : F W 359, 450 Amaryllis (Ghys; Seredy. Or perhaps the Elizabethan Adieu, Sweet Amarillis, by Wilbye): F W 180, 184, 268, 609 American Jump ( S G ) : F W 176 Am I alone and unobserved? (G & S, Patience): F W 423 Amo, Amas, I Love a Lass (O'Keefe; Arnold. E ) : F W 270, 407 Anacreon in Heaven (Tomlinson; Smith): F W 104-5, 2 79 Anchor's Weighed, The (Arnold; Braham. E) (See also Goodbye, Alike; Goodbye, Pat): U 372; F W 373, 457 ? And the skulls we were a-cracking when McCarthy took the floor (Constantine Curran, in a BBC broadcast on Jovcc, spoke of Joyce singing "When McCarthy took the flute at Inniscorthv." The transcription of the broadcast contains many errors, and it is likely that Curran and Ulysses have reference to the same song, which remains unidentified): U 85; F W 514 Angel's Whisper, The (A Babe Was Sleeping) (Lover): F W 106 Annie Laurie (Douglas; Scott): F W 38, 548 Appenzellerlied (Min Vatter ist en Appezeller) (Swiss-German children's song): F W 163, 586 Apple tree, Pear tree ( S G ) : F W 176 Are W e Fairly Represented? (Vousden. I.) (L 393, 394): F W 176 Are Ye Right There, Michael, Are Ye Right? (PF): F W 66, 296, 378 Are You the O'Reilly That Keeps This Hotel? ( I ) : F W 93, 578 Around the rugged rocks ( N R ) : F W 19, 64, 416 Arrah-na-Pogue (Boucicault. Play with songs adapted from Irish songs): U 292 ? Arrayed for the Bridal: "The Dead" 247, 286 Arrow and the Song, The (Longfellow; Balfe): F W 93 Art of Loving, The (17th cent, canting song. See Wm. M. Schuttc, Joyce and Shakespeare [New Haven, 19571,61): U 194 As I roved out one fine May morning in the merry month of sweet July (nonsense song): P 109 As I was going to St. Ives ( N R ) : F W 12, 102, 147, 215, 252, 291, 330, 390,523,552,614 As I was going up one pair of stairs ( N R ) : F W 251-52, 424-25 As I Was Walking ( S G ) : F W 176 Ask Nothing More of Me, Sweet (Swinburne; Marzials): U 17

INDEX

TO

SONGS

175

As slow our ship (The Girl I Left Behind Me) ( T M ) : F W 106, 383 A-tísket, a-tasket ( N R ) : F W 315 A t the mid hour of night (Molly, My Dear) ( T M ) : F W 328, 519 A t Trinity Church I Met My Doom (Gilbert. M H ) : U 166; F W 7, 71, 1 0 2 - 3 , 135, 173, 240, 326, 498, 548, 588, 624

Auld Lang Syne (Burns): F W 87, 96, 112, 238, 30J, 384, 386, 389, 390, 393- 397. 398. 4 o6 - 4 08 * 584 Ave Maria (Gounod): U 730 Avenging and Bright (Crooghan a Venee) ( T M ) : F W 55 A was an Apple Pie ( N R ) : F W 94 A was an Archer ( N R ) : F W 5, 19, 72, 80, 226, 228, 242, 250, 293, 302, 314,319,404,603

Baa, baa, black sheep ( N R ) : F W 51, 133, 148,279,300,301 Babes in the Wood ( N R ; E B ) : U 3 7 3 ; F W 3 36, 504,551,619 Baby bye, see the fly (NR. Also song by Tilton): F W 146 Bad Sir Brian Botany (Milne): F W 187 Ballad of Agincourt, The (E B): P 257 Ballad of Chevy Chase, The ( E B): F W 30, 245, 335 Ballad of Joking Jesus, The: U 20-21, 42, 576 Ballad of Persse O'Reilly The (James Joyce): F W 40-47, 175, 211, 273, 3 7 1 , 4 9 1 , 4 9 3 , 586

Ballad of Sir Patrick Spens, The (E B): U 685 Ballin' the Jack (Burns; Smith): F W 309 Ballyhooly Blue Ribbon Army, The (I): U 305; F W 100, 219, 555, 608 Ballynure Ballad (As I was going to Ballynure) (I. Mrs. Helen Joyce recalls that both Joyce and his daughter Lucia sang this song frequently) : F W 390, 404, 445 Band Played On, The (Ward; Palmer. A P): F W 589 Banshee, The (Stuart. M H ) : F W 409 Bantry Bay (Molloy): F W 409, 466, 601 Barbara Allen (E B): F W 71 Barley Corn, The (John Barleycorn) (I F; Burns; in Flotow's Martha): F W 269, 270, 334, 589 Barnabv Finnegan (I A ) : F W 6, 380 Barnacíe Bill the Sailor (SC): F W 584 Battle of the Bovne (Boyne Water) (Orange ballad with various versions) : U 187; F W 98, 114, 130, 137, 337, 341, 361, 372, 538 Battle of Waterloo (SG): F W 176 Bay of Biscay, The (Cherry; Davy): F W 374 Beat Me, Daddy, Eight to the Bar (Raye, Prince, and Sheehy): F W 457 Bedelia (Jerome; Schwartz. A P): F W 266 Believe me, if all those endearing young charms (My lodging's in the cold, cold ground) (TM. L 379): F W 82, 92, 519

I

7

6

INDEX

TO

SONGS

Bells of Shandon, The (Prout; Hatton): F W 139, 140-41, 257, 393, 431, 445. 483. JJ7-58 Ben Bolt (English; Kneass. E P ) : U 608; F W 468 Between a Kiss and a Sigh (Burke; Johnston. A P): F W 264 Bicycle Built for T w o , A (Daisy Bell) (Dacre): F W 105, 450 Bid me to live and I will live (Herrick; Lawes? Hatton?): U 645; F W 4 Bill Bailey, Won't You Please Come Home? (Cannon. A P ) : U 759; F W 127, 177,317,448,480 Bird Song at Eventide (Barrie; Coates): F W 204 Blackbird, The (Weatherley; air, O Blarney Castle, My Darling): F W 46, 285, 381 Black Bottom (De Sylva; Brown; Henderson. A P): F W 78 Black-eyed Susan (Leveridge; in Gay, The Beggar's Opera): F W 215, 327 Blossom Time (I F. Also Dodge; Romberg): F W 64 Blow, Bugle, Blow (Tennyson; Hatton? Stanford? Blockley?): F W 74, 4^7. 475-7 58°, 594, 607, 617, 621, 628 Fireship, The (I): F W 236 Fit as a Fiddle and Ready for Love (Freed; Hoffmann & Goodhart): F W 603

INDEX

TO

SONGS

183

Flowers of the Forest (Cockburn; Elliott. S ) : F W 339 Flowers that bloom in the spring, The ( G & S, The Mikado) : U 536 Flying Dutchman, The (Wagner. Also song by Ryan; Parry): U 470, 620; FVV 327 Fly not yet, 'tis just the hour (Planxty Kelly) ( T M ) : F W 20, 334 Foggy Dew, The (I): F W 24, 116, 277, 367, 428 Foggy, Foggy Dew, The ( E F ) : F W 389, 454 Follow Me Up to Carlow (McCall. I): U 465; F W 53, 267, 379, 382, 466, 479. 538 For All Eternity (Eternamente) (Eng. words Herbert, Ital. words Mazzoni; Mascherini): U 163; F W 406 For aye, then (Aidé): F W 520 For England, Home, and Beauty. See The Death of Nelson Forget not the field, where they perished (Lamentations of Aughrim) ( T M ) : F W 340, 440 For He's a Jolly Good Fellow (drinking song) (See Malbrouk s'en va and W e Won't G o Home until Morning) : "The Dead" 264; F W 278, 569 For there's nae luck about the house (Mickle): F W 489 Forty-second Psalm (version of N . Tate and N. Brady, 1696) : U 191 Forza del Destino, La (Verdi. L 358): F W 162, 413 Fox, come out of your den ( S G ) : F W 176 Fra Diavolo (Scribe; Auber): F W 466, 553 Frankie and Johnnie (A B ) : F W 231 Frog he would a-wooing go, A (NR.): U 161; F W ij2, 310, 484 From Inchigela all the way (Benedict, The Lily of Killarney): F W 407 From this hour the pledge is given (Renardine) ( T M ) : F W 326 Full fathom five thy father lies (Sh, The Tempest; Purcell): U 23, 50, 51 Funiculi, Funicula (A Merry Life) (Denza): F W 324 Garden Where the Praties Grow, The (Patterson? ) : F W 31 Garryowen (We may roam through this world) (I) : U 290 ff. passim, 420, j 8 i ; F W 215, 372, 526, 588 Gather ye rosebuds while ye may (To the Virgins) (Herrick; Lawes): F W 432 Gazza Ladra, La (Rossini) : F W 436 Geisha, The (Hall; Greenbank; Jones. Sec The Jewel of Asia): U 95, 321, JJ4; F W 105 Gentle Annie (Foster) : F W 104 Géorgie Porgie ( N R ) : U 357; F W 37, 179, 279, 327, 375 Gipsy's Warning, The (Coard): F W 104 Girl I Left Behind Me, The (Lover) (See also As slow our ship): U 188, 574; F W 9, 106, 135, 184, 234, 341, 476, 510 Girofle, Girofla (SG and opera by Vanloo, Aterrier, Lecocq): F W 129

184

INDEX

TO

SONGS

? Give a thing and take it back: U 542 Give back those stolen kisses (M): F W 434 Glorious. See One More Drink for the Four of Us Glory Road, The (Sp) : F W 243 Goat, The (I. See Stanislaus Joyce, My Brother's Keeper [New York, 1958], 14): F W 272 Goby, O!, The (I F ) : F W 436, 535 G o Down, Moses (Sp): F W 313 God Rest Ye Merry, Gentlemen (carol): F W 236 God Save Ireland (T. D. Sullivan, tune of Tramp, Tramp, Tramp) : U 161, 292, 330, 417, 626; F W 340, 613 God Save the King (or Queen) (Carey): S H 51; P 38; U 149, 581; F W 98, 240, 350-51, 498, 499 G o Home and Tell Your Mother (Fields; McHugh. A P ): F W 92 Gondoliers, The (G & S) : U 39; F W 108 Gone where glory waits thee (The Maid of the Valley) ( T M ) : F W 130, 526 Good-bye, Dolly Gray (Cobb; Barnes. L 353) : U 574; F W 27, 168, 228, 246 Good-bye-ee (Weston; Lee; Tate): F W 215 Good-bye, Little Girl, Good-bye (Cobb; Edwards) : F W 454 Goodbye, Mike; Goodbye, Pat (I) (See also The Anchor's Weighed) : U 372; F W 373, 457 Good-bye, Summer (Whyte-Neville; Tosti): F W 73, 309, 453, 455 Good-bye, Sweetheart, Good-bye (Williams; Hatton): U 252, 260, 262, 274, 281, 759; F W 431, 454 Good Friday chant: SH 189 Good morning, Father Francis. Good morning, Mrs. Shecldeton ( N R ) : F W 512 Good-night, Ladies (E): F W 615 Goodnight, Sweetheart (Campbell; Connelly; Noble; Vallee. A P) : F W 360 Goosey, Goosey Gander ( N R ) : F W 287 Götterdämmerung, Die (Wagner): U 547; F W 17, 68, 258 Gougane Barra (Callanan) : F W 88, 93 Grand Old Duke of York, The ( N R ) : F W 236, 262 Green above the Red, The (Davis) : U 577; F W 364 Green grass grew all around, The (Cum.): F W 158 Green Grow the Rashes, O (Burns): F W 143, 328, 441 Green Grow the Rushes (Two, T w o , the Rivals!) (Cum.): F W 441 Greensleeves (E): P 257; F W 161 Groves of Blarney, The (Millikin): P 65; F W 371, 472 Guy Fawkes (Remember, remember the fifth of November) (NR) : F W 87. '77> 364

INDEX

TO S O N G S

185

Haberdasher Isher (SG): F W 176 Hallelujah Chorus (Handel, The Messiah): U 470, 488 Hands across the Sea (Sousa. A. March): F W 470 Handy Spandy (Tabrar. M H ) : U 278; F W 92, 279, 53$ Hark, hark, the lark (Sh, Cymbeline; Schubert): F W 292 Harmonious Blacksmith, The (Handel): F W 184 Harp or Lion (Sullivan. I): U 625; F W 51 Harp that once through Tara's halls, The (Gramachree) (TM. Giorgio Joyce sang this, Mrs. Helen Joyce recalls): U I6J, 267; F W 488 Harrigan, That's Me (Cohan. A P): F W 461, 622 Has Anybody Here Seen Kelly? (Kelly from the Isle of Man) (Murphy; Letters. MH): U 96, 110, 616, 620, 630 Has sorrow thy young days shaded? (Sly Patrick) (TM): F W 51 Ha-Tikvah (Zionist song by Naphthali Herz Imber): U 672, 673 Hat Me Father Wore, The (Ferguson; McCarthy): U 92, 94; F W 104, 340 Have you seen but a white lily grow? (Jonson): F W 203, 293 Heart bowed down, The (Bunn; Balfe, The Bohemian Girl): U 269; FW '99. 4S7 Heart of the Roll Is Dicey Riley, The (I street song): F W 405, 406 Hearts of Oak (Garrick; Boyce): F W 306, 448, 545, 577 Heaven, Heaven (All God's Chillun Got Wings) (Sp): F W 601 Here's a Health unto His Majesty. See Down among the Dead Men Here's the Lord Mayor (Eye Winker) (NR): U 347 Here We Are Again (Knight; Lyle): F W 455, 532 Here we dwell, in holiest bowers (Love and the Novice) (Cean Dubh Deelish) (TM): F W 266 Here we go gathering nuts in May (NR): F W 176, 226, 285, 490 Here we go round the mulberry bush (This is the way we wash our clothes, etc.) (NR): F W 6, 176, 237, 490, 581 Here we sit like birds in the wilderness (version of Down in Alabarn1, by Warner, 1848): F W

5j,

455

Her Golden Hair Was Hanging Down Her Back (McGlennon; Rosenfeld? Hicks? MH): U 362; F W 102 ? Her maiden name was Jemima Brown: U 366 Hickory, Dickory, Dock (NR): F W 261, 314, 378 Hilary, dilary (Eeny, meeny) (One-ery two-ery) (NR): F W 314 His Funeral Is Tomorrow (MH. Sung by Dan Collyer): U 155 Hi-tiddley-hi-ti (Rogers. MH): F W 305, 408, 607 Hokey Pokey (NR and street song, with variants: Hokey Pokey Five a Plate, Hokey Pokey Penny a Lump, Hokey Pokey Whiskey Thum, etc.): U 80; FW 71, 78, 234, 254, 256, 315, 368, 542, 558 Holly and the Ivy, The (NR. Also carol) U 322; F W $8, 59, 97, 147, 152, 236, 265, 291, 421, 465, 468, J02, JOJ, 556, 588,

616

INDEX

TO

SONGS

Holy City, The (Weatherly; Adams): SH 66; U 475, 494, 496, 497; FVV ">S. 355. 4«5 Home, Sweet Home (Payne; Bishop. L 327): U 280, 285; F W 80, 138, 173, 358, 398, 443, 465, 494, 533, 609 Home to Our Mountains (Verdi, 11 Trovatore; English words by C. J e f freys): F W 338, 462 Hooligan's Christmas Cake (Miss Fogarty's Christmas Cake) ( M H ) : F W j8, 288 Horsey, Keep Your Tail Up (Novak; or Hirsch and Kaplan; or Daly and Van Ness): F W 233, 315, 498, 531 Hospitals ( S G ) : F W 176 House That Jack Built, The (NR. L 301): U 121, 385, 420; F W 8-10, 18, 80, 106, 205, 271, 274, 369, 37j, 439, 476, j 11, 580 How dear to me the hours when daylight dies (The twisting of the rope) ( T M ) : F W 427 How Doth the Little Busy Bee (Watts; Guylott): U 631 How happy I could be with either (Gay, The Beggar's Opera): U 502 How many miles to Babylon? ( N R ) : U 193; F W . 1 7 , 20, 84, 236 How oft has the Banshee cried (The dear black maid) ( T M ) : F W 316, 468 How sweet the answer echo makes (The Wren) (TM): U 268; F W 477, 604 Huguenots, Les (Meyerbeer): U 166, 645, 756, 757 Humble Fumble ( S G ) : F W 176 Humpty Dumpty (NR. Carroll. L 260): U 640; F W 3, 7, 12, 13, 17, 29, 44-47. 99. Io6 > I29< l63> '75. i 8 4. 2 ' 9 . 230, 285, 294, 296, 314, 317, 319, 320, 325, 334, 341, 343, 352, 372, 373, 374, 375, 386, 415, 422, 434, 455, 466, 496, 504, 550, 567, 568, 596, 606, 614, 619, 624, 627, 628 Hundred Bottles, A (Cum.): F W 380 I am the Boy (from Turko the Terrible, q.v.): U 11 I am the Captain of the Pinafore ( G & S, Pinafore): U 285 Ida, Sweet as Apple Cider (Leonard. A P. Or perhaps Ida Lee, Thompson, E P ) : F W 211, 276 I'd mourn the hopes that leave me (The Rose Tree) ( T M ) : F W 304, 439 ? I dreamt I was in D e n y (O'Neill of Deny, written by Sayre and Ball for Chauncey Olcott?): F W 295 I dreamt that I dwelt in marble halls (Bunn; Balfe, The Bohemian Girl): "Clay" 132; F W 49, 64, 264, 449, 549 If Anyone Here Wants to Treat Me to Beer (drinking song): F W 94 If Brian Boru Could but Come Back (Bloom): U 662 If the Man in the Moon Were a Coon (Fisher. A P): U 336 If Those Lips Could Only Speak, If Those Eyes Could Only See (Ridgewell; Godwin): F W 141

INDEX

TO

SONGS

187

If thou'lt be mine, the treasures of air (The Winnowing Sheet) ( I'M): F W 105 If You Want to Know the Time, Ask a Policeman (Rogers; Durandeau. MH): F W 323 If You Were the Only Girl in the World (Grey; Ayer. A P): F W 556 I had a little hobby horse (NR): F W 197, 225 I had a little nut tree (NR): U 579-80, 636 I have a little sister. See Little Bo Peep I Hear You Calling Me (Harford; Marshall): FW 442 I Know a Washerwoman (SG): FW 176 I Know My Love by His Way of Walking (I. Mrs. Helen Joyce recalls Lucia Joyce's singing of this ballad): F W 431 I Know Where I'm Going (I): FW 79 I Lift up My Finger and I Say Tweet-tweet (MH): F W 357, 358 I'll Sing Thee Songs of Araby (Wills; Clay, Lalla Rookh, based on T M poem): "Araby" (title); F W 190, 215, 442 II mio tesoro (Mozart, Don Giovanni): F W 462 I'm alone (Benedict, The Lily of Killarney): FW 157, 4J0 ? I'm a naughty girl (I'm Mama's Little Girl, by Lamb; Petrie, 1894?): "The Boarding House" 76 I'm a rambling wreck. See Son of a Gombolier I'm a tiny tiny thing (NR): U jo6 I'm Not Meself at All (Lover): F W 487 Impudent Barney O'Hea (Barney O'Hea) (Lover): F W 453 I'm sitting on the stile, Mary. See The Lament of the Irish Emigrant In Amsterdam there lived a maid (El. In Haywood's The Rape of Lucrece. Also SC): F W 444, 480, 551, 565 In Cellar Cool (Der Rhein Wein Zecher) (Miichler; Fischer): F W 410 In diesen heiligen Hallen (Mozart, The Magic Flute) -. U 278; F W 553 I never nursed a dear gazelle but it was sure to leave me (TM, Lalla Rookh, q.v.): U 437, 468 In good King Charles' golden days. See The Vicar of Bray In Old Madrid (Bingham; Trotere. L 171): U 271, 636, 740, 743, 760, 768 In the Garb of Old Gaul (Erskine; Reid): FW 377 In the Glen of Aherlow (Kickham): U 326; FW 105 In the Gloaming (Orred; Hill): FW 147, 158, 226, 232, 318 In the morning of life (The little harvest Rose) (TM): F W 427 In the Sweet Bye and Bye (Bennett; Webster. Also parody, Pie in the Sky, I W W song. Also Bryan; Von Tilzer, A P): F W 161, 29J Introit (The Mass): U 424, 425 In yonder valley there dwelt alone (The Mountain Sprite) (TM): F W 564

Ireland, Boys, Hurrah! (Deep in Canadian Woods We've Met) (I): F W 287, 338

INDEX

TO

SONGS

Irish Jaunting Car, T h e (Vousden): FVV 42, 53, 55, 59, 210, 312 Irish Rapparee, T h e (Gavan D u f f y ) : U 290 I saw from the beach, when the morning was shining (Miss Molly) ( T M ) : F W 148, 168, 360 I saw thy form in youthful prime (Domnhall) ( T M ) : FVV 129 ? I shall say to a young man gay: F W 92 Is Life W o r t h Living? (Harris. A P ) : FVV 230, 269 I sowed the seeds of love (E F ) : F W 593 I Surrender, Dear (Clifford; Barris. A P): F W 232 It is a charming girl I love (Benedict, The Lily of Killarney): U 732; F W 288, 556 It is not the tear at this moment shed (The Sixpence) ( T M ) : FVV 568 It's a Long W a y to Tipperary (Williams; Judge. L 257): F W 9, 131, 202, 228, 595 It's De-Lovely (Porter. A P): F W 148 It's Nice to Get up in the Morning (Harry Lauder): FVV 565 It's the same the whole world over (She W a s Poor but She Was Honest) (Cockney song): F W 526 It's Your Last Voyage, Titanic, Fare You W e l l ( M H ) : F W 242, 379, 480 It was a lover and his lass (Sh, As You Like It; Morley): U 189, 201; F W 147 I've a secret to tell thee (Oh Southern Breeze) (Nay, tell me not) ( T M ) : F W 248 I've a terrible lot to do today (Boucicault, Arrah-na-Pogue): F W 67, i n , 257, 381 I've G o t Rings on M y Fingers (Weston; Barnes; Scott): F W 102, 104, 348-49 I was not wearier where I lay (not in Jonson. In Egerton MS, 1669, British Museum. Anon.): P 205 I W i l l Give You the Keys to Heaven (The Keys of Heaven) (E F with many variations, some American. See Cecil Sharp, Folk Songs from Somerset [London, 1904-9]): F W 615, 620, 621, 626, 627, 628 I wish I was by that dim lake (I wish I was on yonder hill) ( T M ) : F W 617 Jack and Jill ( N R ) : F W 61, 141, 211, 290, 318, 462, 589 Jerusalem the Golden (Bernard of Cluny, tr. Neale; Ewing): U 475; F W 2

34

Jewel of Asia, T h e (in The Geisha, q.v.): U 95, 554; F W 105 ? Johannes Jeep ( V o n der Sirenen Lustigkeit): U 647, 649 John Anderson, M y Jo (Burns): U 212; F W 95, 105, 215, 318, 413 John Barleycorn. See T h e Barley Corn John Brown's Body (Hall): F W 271, 276, 304, 364, 415, 594 Johnny Come Down from Hilo (SC): F W 430, 480 Johnny, I Hardly Knew Ye (I): U 85, 564; FVV 6, 58, 82, 107, 129, 184, 288, 344, 446, 485, 512, 550

INDEX

TO

SONGS

Johnny is a , yah! yah! yah! (children's song): F W 163 Jolly Young Waterman, The (C. Dibdin): F W 43, 112, 447 Jonah and the Whale (Jordan Am a Hard Road to Trabbel) (Briggs) (Sp): F W 228, 245, 323, 434, 463, 536 Jug of Punch, The (I): U 108 Just before the Battle, Mother (Root. A P. Also I): F W 209, 469 Kafoozalem (Oxen; Blume. A P): P 90; U 475; F W 258, 355 Kathleen Mavourneen (Crawford; Crouch. L 371): U 154; F W 93 Keep the Home Fires Burning (Ford; Novello): F W 244, 474 Keep Your Head Down, Fritzi Boy (Rice. A P): F W 385, 436, 556 Kelly from the Isle of Man. See Has Anybody Here Seen Kelly? Kelly, the Boy from Killann (I): F W 93 Kelly with the Leather Belly (E vulgar): F W 390 Kevin Barry (I): F W 93, 555, 601 Kick the Pope ("We'll kick the Pope before us") (Orange song, referred to in The Ould Orange Flute. Probably sung to old piper's tune, Trip the world before him): U 584 Killarney (Falconer; Balfe): " A Mother" 185; P 259; F W 183, 427 King of Hearts, The ( N R ) : F W 405 King of the Cannibal Isles, The ( N R ) : F W 78, 254, 315, 600 Kitty of Coleraine (Lysaght; also Moore): F W 210, 328 Kitty Tyrrell ( T M ; Glover): F W 60 Knocked 'em in the Old Kent Road (Chevalier; Ingle. M H ) : F W 359, 584 Knock Knock (NR. Also Tyson, Davies, Morris, and Lopez, A P): F W 33°

Know'st thou the land? (Carlyle tr. of Goethe, Kermst du das Land; Thomas, Mignon, Connais-tu le pays?): F W 479, 479-80 Kol Nidre (Jewish): U 470 Kyrie Eleison (The Mass): F W 528 La ci darem la mano (Mozart, Don Giovanni)-. U 63, 76, 92, 119, 434, 438, 524, 606 Lady goes apace, apace, The. See This is the way the ladies ride Lalla Rookh (Cantata based on T M poem. Wills; Clay): U 437, 468; F W 184 Lament for the Makaris (Timor mortis conturbat me) (Dunbar): F W 378 Lament of the Irish Emigrant, The (I'm sitting on the stile, Mary) (Dufferin; Barker): F W 93, 147, 190-91, 250, 437, 441, 445, 493 Land of Hope and Glory (Benson; Elgar): F W 87 Lannigan's Ball (Gavan): F W 6, 321, 354, 377 Lanty Leary (Lover): F W 381 Lark in the Clear Air, The (Ferguson): F W 115, 381, 624 Larry's on the Force (I A ) : F W 382

INDEX

TO

SONGS

Lass of Aughrim, The (Irish variant of The Lass of Roch Royal, Child Ballad N o . 76. Prof. Paul A. Brown identified this) : "The Dead" 270, 272, 273, 281, 282 Lass That Loves a Sailor, The (C. Dibdin, The Round Robin. Also subtitle of H. M. S. Pinafore): "Eveline" 45; FVV 297, 324, 440 Last Farewell, A (Epilog) (Grieg) : U 267 Last Man Standing ( S G ) : F W 176 Laudate Dominum omnis gentes (RC Easter service) : U 358 Lavender's blue ( N R ) : F W 226 Lay his sword by his side (If all the seas were ink) (TM): F W 27 Lead, Kindly Light (Newman; Dykes or Blockley. L 305): U 733; F W 112, 179, j94, 595 Leave Her, Johnny, Leave Her (SC): U 624, 627 Leaving Yet Loving (Marzials): F W 230, 269 ? Leg of the Duck, The: U 423, 424 Leprechaun, The (R. D. Joyce): F W 29 Lesbia hath a beaming eye. See Nora Creina Let Erin remember the days of old (The Red Fox) ( T M ) : U 46, 122, 184, 387; F W 17, 151, 316, 338, 341, 473, 493, 563 Let's All G o Down the Strand and Have a Banana (Castling; Murphy. M H ) : F W 38, 145 Let the Rest of the World G o By (Brennan; Ball) : F W 65 Liebestod (Mild und leise) (Wagner, Tristan und Isolde): F W 17, 18, 4°. 57. '33. 304. 388. 398, 4M Life for the Tsar, A (Glinka): F W 318 Life of life! T h y lips enkindle (Shelley, Prottietheus Unbound; Parry): U 198 Like the bright lamp, that shone in Kildare's holy fane (Erin, oh! Erin) (Thamma Halla) ( T M ) : F W 362 Lilliburlero (Thomas, Lord Wharton. Orange ballad) : F W 34, 66, 83, 102, 176, 206, 618 Lilly Dale (Thompson; Work): P 1, 8; F W 69 Lily of Killarney, The (Boucicault and Oxenford; Benedict): P 94; U 91, 292, 373; F W 32, 246, 433, 450 Lily of the Valley (Gilbert; Friedland. Also M): U JOI; F W 501 Limerick's Pride (I) : F W 434 Linger Longer, Loo (Younge; Jones. Or perhaps Linger Longer Lucy, an Yvette Guilbert song) : F W 434 Listen to the Mocking Bird (Hawthorne): F W 251, 476 Little Annie Rooney (Nolan): F W 7, 95, 105, 327, 426, 548 Little Bit of Heaven, A (Brennan; Ball. L 366) : F W 514 Little Black Rose (Roisin Dhu) (I): F W 277, 583 Little Bo Peep ( N R ) . Also I have a little sister (NR) : U 477; F W 80, 96, •43> '44. '47. 2 2 7. 248. 2 7 2 . 2 7 6 . 4>3. 4 2 °. 435, 449. 459. 47», 500. 5 0 2 . 5°8, 540, 563, 571, 588, 590, 601, 614, 624

INDEX

TO

191

SONGS

Little Boy Blue (NR) : F W 556 Little Brown Jug (Eastburn; Winner): F W 33, 153, 159, 231, 341 Little Church around the Corner, The (Cooper; Wambold. A P) : F W 533

Little Cockalorum ( N R ) : F W 241, 615 Little Harry Hughes (The Jew's Daughter; Little Sir Hugh, variant of Ballad of Hugh of Lincoln) : U 674-76 Little Jack Horner ( N R ) : F W 465, 623 Little Miss Muffet ( N R ) : F W 413 Little Mother of Mine (Brown; Burleigh): F W 295 Little Nancy Etticoat ( N R ) : F W 208 Little Polly Flinders (NR) : F W 562 Little Tommy Tittlemouse ( N R ) : U 489; F W 17 Lobet Gott, den Herrn (Many German hymns begin thus, and perhaps Joyce refers to German hymns in general and not any particular one) : F W 587 Lobster Chorus (Carroll) : F W 576 Lochaber N o More (Limerick's Lamentation) (Ramsay): F W 228 Lochiel's Warning (Campbell): U 163; F W 238, 253, 583 Loch Lomond (attributed to Lady John Scott) : F W 340, 520 London Bridge is falling down ( N R ) : F W 7, 58, 233, 239 Long Long Ago (Musgrave; Bayley) : F W 387 Look at Me Now (Tucker & Schuster) : F W 253 Look Down, Look Down That Lonesome Road (Sp): F W 26 Looking through the Knothole ("Papa's pants will soon fit Willie") (American nonsense song): U 366 Lorelei, Die (Heine; Liszt): F W 201, 223, 548 Lost Chord, The (Proctor; Sullivan): U 264, 284; F W 461 Lo, the early beam of morning (Fitzball; Balfe, The Siege of Rochelle) : U 231 Love and War (When Love absorbs my ardent soul) (Cooke): U 252, 263,

265,

266,

510

Love Laughs at Locksmiths (play with music, by Coiman) : U 358; 148,

FW

197

Love Me Little, Love Me Long (air, Mad Robin) (Ell. In Marlowe's The lew of Malta. Also adaptation by Linley): F W 7, i n , 208 Love's Old Sweet Song (Bingham; Molloy. L 171): U 63, 74, 269, 358, 437, 481, 507, 691, 739, 747, 748; F W 1 1 0 , 161, 231, 398 Love's Young Dream (The Old Woman) ( T M ) : U 517; F W 398, 462

Love Walked In (Gershwin): F W 618 Lowbacked Car, The (Lover): U 30J, 649; F W 143, Lubin (or Looby) Loo (SG) : F W 226 Lucia di Lammermoor (Donizetti) : U 109, 292 Lucrezia Borgia (Donizetti): "The Dead" 256

223

IÇ2

INDEX

TO

SONGS

Lullay, Lullay (Coventry carol): FVV 333 Lullay, M y Liking (carol): FVV 352 McCarthy's Mare (I): FVV 381 McGilligan's Daughter Mary Ann (I): U 14, 15, jo, 749; FVV 9, 12, 106, '33 MacNamara's Band (I A ) : FVV 407 McPherson's Goat (I): FVV 319 MacSorley's Twins (Phillips) : FVV 408 Mademoiselle from Armentières ("Red Rowley"? VValden, pseud. Wincott?): FVV 64, 75, 230, 276 Madoline (I dream of thee, sweet Madoline) (Gill; Nelson) : FVV 158, 164 Magic Flute, The (Mozart): FVV 360, 451, 513, 553 Maiden's Prayer, A (Baderzewska) : FVV 235 Maid of Athens (Byron; many settings): U 507; FVV 41, 202, 436 Making Whoopee (Kahn; Donaldson): FVV 209 Malbrouk s'en va (Fr P) (See W e Won't G o Home until Morning and For He's a Jolly Good Fellow) : F W 73 Man for Gal way, T h e (I. L 127): U 291 Man I Love, The (Gershwin): FVV 457 Man's a Man for A ' That, A (Burns): U 395; F W 520 Man That Broke the Bank at Monte Carlo, The (Gilbert. M H ) : U 29192; F W 71,90,232, 274, 514, 538 Man That Struck O'Hara, T h e (I A ) : FVV 580 M'appari (Ah, so pure) (Flotow, Martha) : U 116, 267, 269, 270, 271, 273, 285, 407, 448, 645; F W 180 Marechal de la Palisse, Le (Fr. P ) : U 182 Margie (Davis, Conrad, Robinson. A P ) : F W 164 Maritana (Fitzball; Wallace): " A Mother" 179; U 610, 759 Marseillaise, La (Rouget de Lisle) : FVV 64 Martha (Flotow): U 116, 267, 270, 271, 283, 284, 448, 645; F W 40, 180, 241 Mary, Come and Call the Cattle Home (The Sands of Dee) (Kingsley; Boott) : F W 276 Mary had a little lamb ( N R ) : F W 250, 440 Mary Hamilton (The Queen's Maries) ( E B) : F W 147 Man,', Mary, quite contrary ( N R ) : FVV 20, 204, 247, 272, 321 Mary of Argvle (Jefferys; Nelson) : FVV 409, 468 Masked Ball, The (Verdi): F W 512, 622 Massa Dear (Sp) : FVV 243 Master McGrath (I): FVV 4, 60, 145, 212, 243, 377, 5 1 1 , 584, 622 Matthew Hannigan's Aunt (PF) : U 43 Matthew, Mark, Luke, and John ( N R ) : F W 528, 598 ? Medical Dick and Medical Davy: U 182, 206, 420; F W 210

INDEX

TO

SONGS

!93

Meeting of the Waters, The (The Old Head of Dennis) (TM): U 160, 326; F W 96, 1J9, 203, 305, 345, 446, 466, 471-72, 505, 587, 605 Meet Me Tonight in Dreamland (Wilson; Friedman. A P): F W 615 Memories of the Past (Nones; Colman. E): U 453 Memory of the Dead, The (Ingram): U 237, 253, 280, 286, 300, 301; F W 34» 93» " 5 . 135» 3">. 3*4» 4'3. 553 Men of the West, The (I): U 258, 261, 324 Mercenary Mary (Conrad. A P): FW 12 Mermaid, The (Parker; air, The Jovial Cobbler. SC): U 372; F W 262 Merrily, merrily, greet the morn (round): FW 341 Messiah, The (Handel): U 180; FW 41, 168 Mignon (Thomas): "The Dead" 255 Mikado, The (G & S): P 192; U 536 Mild und leise. See Liebestod Miller of the Dee, The (E F): U 46 Minnie the Moocher (Willie the Weeper) (A F): F W 340, 455 Minstrel Boy, The (The Moreen) (TM. Mrs. Helen Joyce recalls that Giorgio Joyce sang this song): U 258, 511; F W 152, 455, 528, 602 Minuet (Mozart, Don Giovanni)-. U 277 Miss Fogarty's Christmas Cake (Hooligan's Christmas Cake): F W 6, 58, 288 Mississippi Mud (Barris. A P): FW 159 Missouri Waltz, The (Shannon; Logan? Eppell? A P): FW 7 Moddereen Rue (The Little Red Fox) (I): F W 17, 449, 558 Moggies on the Wall (SG): F W 176 Molly Bawn and Brian Oge (I): FW 77 Molly Darling (Will S. Hays): U 746, 747 Molly, My Dear (At the mid hour of night) (TM): FW 328, 519 Mona, My Own Love (Weatherly; Adams): U 304, 420; FW 464 Monday's Child (NR): F W 88, 117, 487 Moon hath raised her lamp above, The (Benedict, The Lily of Killamey): U 207, 348; F W 40, 338, 411, 450 Mopsa (Moore; Stanford): F W 207, 550, 614 Morir! Si pura e bella! (Verdi, Aida): FW 178, 180, 224, 243, 518, 610 Moses (parody, Michael Moran): U 394, 551 ? Moses, Moses, king of the Jews: U 451 Mother Machree (Young; Ball. L 366): F W 92, 200, 397, 426, 452, 542 Mother of Mine (Tours): F W 295, 340, 408, 426 Mountain Dew, The (I; also A F): FW 95, 136, 277, 372 Mountains of Mourne, The (PF; Collison): U 257, 259, 337; F W 247, 277, 462, 623 Mrs. McGrath (I): F W 184, 204 Mush, Mush (I): F W 3, 277, 457, 466, 505 Music, Maestro, Please (Magidson; Wrubel. A P): F W 617

194

INDEX

TO

SONGS

M y Boy Willie (E B ) : F W 333 M y Bucket's Got a Hole in It (Williams): F W 312 M y Curly-headed Babby (Clutsam, Plantation song. Prof. David Stone identified this): F W 333 M y Dark Rosaleen (Mangan. L 338, 392-93): U 292; F W 93, 351, 365, 476 ? My Excellent Friend Bombados (L 86): P 119 M y gentle harp once more I waken (The Coina or Dirge) ( T M ) : F W 570 M y Girl's a Yorkshire Girl (words & music Murphy; Lipton. L 1 5 1 ) : U 559. 5 47 2 ' 54 6 . 5 8 2 Rocked in the Cradle of the Deep (Willard; Knight): U 609; F W 85, 463 Rock of Ages (Toplady): F W 193, 505 Rocky Road to Dublin, The (I): U 32, 558; F W 14, 64, 197, 244, 287, 315, 323, 328, 341, 355, 514, 555, 565, 623 Roddy More, the Rover (The Brisk Young Barber) (Graves; Stanford): F W 228, 375 Roderick O'Dwyer (Harrigan & Hart): F W 129 Rogue's Delight in Praise of His Stroling Mort, The (17th cent, canting song. See Wm. M. Schutte, Joyce and Shakespeare [New Haven, 1957], 60): U 48, 188, 418 Rolling Home (SC): F W 428 Roll, Jordan, Roll (Sp): F W 74 Roll Me Over, in the Clover (Navy song. E ) : F W 372, 451, 597 Roll out the Barrel (Brown; Vejvoda. A P): F W 376 Rory O'More (Lover): U 290 Rosary, The (Nevin): F W 235 Rose Marie (Weatherly; Molloy. Also American operetta by Harbach, Hammerstein, Friml): F W 264, 441 Rose of Castille, The (Harris & Falconer; Balfe): U 133, 252, 253, 260, 281, 285, 291, 419, 447, 481 Rose of Tralee, The (Spencer; Glover): F W 405 Round Her Neck She Wears a Yellow Ribbon (Norton. But based on older song, probably All Around My Hat I Wear a Tricolored Ribbon, 19th cent, version): F W 291

INDEX

TO

SONGS

20I

Rub-a-dub-dub ( N R ) : F W 178, 239, 290, 351 Rubber Dolly (My mother told me, if I'd be good) (Lind; Mills: parody of Whistling Rufus. A ) : F W 445 Ruffin cly the nab of Harmanbeck, The (17th cent, canting song. See Wm. M. Schutte, Joyce and Shakespeare [New Haven, 1957], 61): U 419 Rule, Britannia (Thomson; Arne): U 313, 614 Runaway Cork Leg, The (Cowell, M H . Also Ulster ballad): U 137 Safe in the Arms of Jesus (revival hymn): U 80; F W JII, 612 Said I to myself, said I (G & S, lolanthe): U 314 Sail on, sail on, thou fearless bark (The humming of the Ban) ( T M ) : F W 244 Saint Patrick Was a Gentleman (I): F W 14, 71, 222 Sally of the Alley (Carey): U 501; F W 272, 491, 556 Sam Hall (E and A B; various versions): F W 185 Savourneen Deelish (Colman): U 292; F W 243, 613 Schatz, mein Schatz, reise nicht so weit von hier (Soldatenlicd, Sw-Ger): F W 451 Scotland's Burning (round): U 427, 582 Sean a Dhuir a Ghleanna (Sheehan): F W 14, 25, 93, 116, 239, 365, 602, 621 Secret of Her Birth, The (Bunn; Balfe, The Bohemian Girl) : F W 38 See saw, Margery Daw ( N R ) : F W yo8, 535 See saw, sacradown ( N R ) : F W 18, 84, 508, 555 See, the Conquering Hero Comes (Morell, Joshua): U 260; F W 328 Seven Last Words of Christ, The (Haydn): U 81, 286, 645 ? Shall carry my heart to thee (? Winds That Blow from the South) : S H 160; U 513 Shall I never more behold thee? (Donizetti, Lucia di Lammermoor): U 109 Shall I Wear a White Rose or Shall I wear a Red? (Clark; Farmer. E ) : U 744, 766, 768 Shall the harp then be silent? (Macfarlane's Lamentation) ( T M ) : F W 100, 454 Shan Van Vocht, The (I): U 19, 324, 579, 580, 584; F W 48, 54, 77, 323, 364, 372, 435, 465, 479 Shawl of Galway Gray, The (I): F W 444 Sheik of Araby, The (Smith, Wheeler, Snyder. A P): F W 145, 147 She is far from the land (Open the door) ( T M ) : U 300; F W 395 Shema Israel Adonai Elohenu Adonai Echad (Jewish Chant): U 121, 532 She sells sea shells by the sea shore (NR. Also song by Sullivan; Gifford): U 189; F W 508 She sung of love, while o'er her lyre (The Munster Mare) ( T M ) : F W 276

202

INDEX

TO

SONGS

She W a s Poor but She W a s Honest (It's the same the whole world over) (Cockney song): F W 290 She W o r e a Wreath of Roses the Night That First W e Met (Baylcv; Knight): U 362; F W 414, 556 Shoulder to Shoulder. See T h e Boys of the Old Brigade Shule A r o o n (Alone in crowds to wander on) (Shule Agra) ( T M ; adapted from Gaelic song. Mrs. Helen Joyce remembers Joyce singing this): U 672; F W 11, 49, 180, 226, 407-8, 605 Siegfried ( W a g n e r ) : P 280 Silence is in our festal halls (The Green W o o d s of Truiga) ( T M ) : F W 74. &>2 Silent Night (Mohr; Gruber). See Stille Nacht Silent, O M o y l e (Song of Fionnuala) (Arrah my dear F.v'leen) ( T M ) : " T w o Gallants" 65; U 190; F W 289, 546, 548 Silver Threads among the Gold (Rexford; Danks): U 106 Simple Simon ( N R ) : F W 202, 408 Sinbad the Sailor (pantomime, with music): U 662 Sing a song of sixpence ( N R . L 399): U 67, 68, 74; F W 10, 11, 129, 134-35, 147, 167, 190, 232, 236, 242, 244, 267, 276, 279, 300, 364, 377, 407, 450 Sing, sing, music was given (The humors of Ballamaguiry or T h e Old Langolee) ( T M ) : F W 390, 485, 500-501 Sing, sweet Harp, oh sing to me (air unknown) ( T M ) : F W 224 Sinn Fein, Sinn Fein Amhain (O'Higgins): U 301; F W 42, 74, 279, 311, 324, 593, 614, 623 Sir, Sir Solomon ( N R ) : F W 416 Slap Bang! Here W e Are Again! (Sheridan. M H ) : U 502 Slattery's Mounted Foot ( P F ) : U 417; F W 90, 137, 181, 405, 581 Smiggy Maglorral (I): F W 381 Smile W i l l G o a Long Long W a y , A (Davis; Akst. A P): U 92 Smiling Through (Penn): F W 223 S n o w y Breasted Pearl, T h e (tr. from Irish by Petrie; De V c r c ) : F W 44, 462 Snug Little Island, T h e ( T . J. Dibdin): F W 342 Soggarth Aroon (Bann. L 361): U 580 So go to him and say to him ( G & S, Patience): F W 297 Soldier, soldier, won't you marry me? ( S G ; E F ) : F W 225, 456 Soldier's Song, T h e (Irish national anthem) (O'Cearnaigh): F W 330, 350, 354. 469. J ' ° Solomon Silent reading ( S G ) : F W 176 So Long, Oolong (Kalmer; Ruby. A P ) : F W 469 Solveig's Song (Ibsen; Grieg, Peer Gynt): F W 330 Somebody's Waiting for Y o u (Bryan; Gumble. A P): F W 207 Someone's in the House with Dinah ( M ) : U 436; F W 141, 175 Song of Momus to Mars (Dryden; Boyce): F W 236

INDEX

TO

SONGS

203

Song of Songs, The (Bible): U 468, 713 Songs without Words (Mendelssohn): U 281, 488 Sonnambula, La (Bellini): Poems 51; U 252, 267, 268, 285, 408, 474, j i i Sonny Boy (De Sylva, Brown, Henderson. A P) : F W 377, 603 Son of a Gombolier (I'm a Rambling Wreck) (I): F W 229, 317, 323, 355 ? So sweetly sang the maiden on the hawthorn bough: U 7J9 Soup of the Evening (Carroll) : F W 268 Spanish Ladies (SC) : U 636 Splendour Falls, The. See Blow, Bugle, Blow Sprig of Thyme, The (E B) : F W 161, 269, 334 Stabat Mater (Rossini): U 81, 645, 733 Staboo, Stabella (a "bawdy catch" with many variants) : U 385, 419 Stack o' Barley (I): F W 137, 472 Standing on the Comer of the Street (Formby père. M H ) : U 731; F W 413. i'