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<center>**~ [Finnegans Wake – A Prescriptive Guide](https://steemit.com/literature/@harlotscurse/finnegans-wake-a-prescriptive-guide-1) ~**</center>

<center>https://i.imgur.com/2rk6DKR.jpg</center><center>**(RFW 012.08–012.24)**</center>

This paragraph of James Joyce’s _Finnegans Wake_ contains one of the book’s most celebrated parodies, that of a passage taken from the works of [Edgar Quinet](https://en.wikipedia.org/wiki/Edgar_Quinet).

Edgar Quinet was a French historian, poet, philosopher and politician. In 1824, when he was just 21 years old, he wrote an essay on the philosophy of history, _Introduction à La Philosophie de l’Histoire de l’Humanité_, in which he discusses the philosophies of history of [Johann Gottfried Herder](https://en.wikipedia.org/wiki/Johann_Gottfried_Herder) and [Giambattista Vico](https://en.wikipedia.org/wiki/Giambattista_Vico). In the middle of this essay, Quinet contrasts the permanence and splendour of the natural world with the ephemeral and tumultuous nature of human civilizations:

>Aujourd’hui, comme aux jours de Pline et de Columelle, la jacinthe se plaît dans les Gaules, la pervenche en Illyrie, la marguerite sur les ruines de Numance ; et pendant qu’autour d’elles les villes ont changé de maîtres et de nom, que plusieurs sont rentrées dans le néant, que les civilisations se sont choquées et brisées, leurs paisibles générations ont traversé les âges, et se sont succédé l’une à l’autre jusqu’à nous, fraîches et riantes comme aux jours des batailles. (Quinet 367-368)
>
>Today, as in the days of Pliny and Columella, the hyacinth disports itself in Gaul, the periwinkle in Illyria, the ox-eye daisy on the ruins of Numantia; and while the surrounding cities have acquired new masters and new names, while many others have ceased to exist, and while civilizations have clashed with one another and been destroyed, their peaceful generations have endured throughout the ages in an unbroken succession, as fresh and cheerful as on the days of the battles.

<center>https://i.imgur.com/HYctAMs.jpg</center><center>**Edgar Quinet as a Young Man**</center>

Joyce could hardly have found a finer description of the Viconian cycle of human history, endlessly turning, endlessly repeating itself generation after generation. He liked this passage so much that he would often recite it from memory to his friends:

>He recited a page from Quinet, which satisfied him completely, a description on which he embroidered for several pages in _Work in Progress_: the whole atmosphere of the Mediterranean is in it, he said, its ports, its flowers, the azure sky, the sun on the sea. In that passage he felt at home. (Mercanton 103)

The passage is parodied five times in _Finnegans Wake_ (RFW 012, 093, 186-187, 274 and 481) and quoted verbatim once in II.2 (RFW 218):

>He now applied himself to the tenth chapter, the children’s homework lesson, which makes the history of Dublin a universal one. In July he asked [Paul Léon](https://de.wikipedia.org/wiki/Paul_L%C3%A9on) to find a passage in the notebooks left behind in Paris; it was Edgar Quinet’s beautiful sentence, which Joyce had once astounded John Sullivan by reciting as they walked by the cemetery on the Boulevard Edgar Quinet, and it recapitulated Joyce’s view of history without Vico’s apparatus. (Ellmann 664)

<center>https://i.imgur.com/wvRcbgY.jpg</center><center>**Boulevard Edgar-Quinet (Paris 1920s)**</center>

One of the parodies of this passage occurs in II.1, _Twilight Games_ (RFW 186.32-187.03), in which HCE and ALP’s three children are playing a game. In 1930, in a letter to his patron Harriet Shaw Weaver, Joyce explained the relevance of the famous sentence to this chapter:

>The page enclosed is still another version of a beautiful sentence from Edgar Quinet which I already refashioned in _transition_ part one beginning _since the days of Hebear and Hairyman etc._ E.Q. says that the wild flowers on the ruins of Carthage, Numancia etc have survived the political rises and falls of Empires. In this case the wild flowers are the lilts of children. (_Letters_ 22 November 1930)

As we have just seen, the verbatim quotation—in French—occurs in the following chapter, II.2, _School Nessans_. Actually, this quotation is slightly inaccurate, which suggests that when Joyce copied it into one of his _Finnegans Wake_ notebooks, he did not have Quinet’s original text to hand. It has, however, been noted that when the Russian geographer [Léon Metchnikoff](https://ru.wikipedia.org/wiki/%D0%9C%D0%B5%D1%87%D0%BD%D0%B8%D0%BA%D0%BE%D0%B2,_%D0%9B%D0%B5%D0%B2_%D0%98%D0%BB%D1%8C%D0%B8%D1%87) quoted the same passage in _La Civilisation et les grands fleuves historiques_, he too made a couple of mistakes, both of which Joyce would later make. Now, Joyce is known to have drawn upon Metchnikoff’s work while writing _Finnegans Wake_ (Crispi & Slote 19-20). The inescapable conclusion is that Joyce copied the Quinet passage from Metchnikoff, inadvertently reproducing the latter’s two mistakes in the process, while introducing several more of his own:

>There can be little doubt that Joyce found his Quinet sentence in Metchnikoff’s book: it is written down in the same notebook [FW VI.B.1] as the rest of the quotes from _La civilisation et les grands fleuves historiques_; the sentence occurs in Metchnikoff’s book as a quotation; Joyce identified his source (this is rare is the notebooks); and the quotation copies errors Metchnikoff had made: “au temps de Pline” instead of “aux jours de Pline” [and _entrées_ instead of _rentrées_] ... When Joyce copied it from Metchnikoff, he made a number of transcription errors; he omitted the comma after the first word and after “Columelle,” and before “pendant.” He also omitted the semicolon after “Numance” and he capitalized “pervenche.” Joyce also made “temps” singular and “nom” plural; and dropped the _circonflexe_ in “plaît,” “maîtres,” and “fraîches,” and the _accents aigus_ in “générations.” (Landuyt & Lernout 112 ... 113)

<center>https://i.imgur.com/GOcNIth.jpg</center><center>**Léon Metchnikoff**</center>

When Clive Hart first drew attention to these errors, he suggested that they were _almost certainly due to a faulty memory_ (Hart 183). Joyce’s memory did sometimes play him false—note how in his letter to Harriet Shaw Weaver, he introduces Carthage, which is not mentioned by Quinet—but in this case Hart’s certainty was misplaced. Nevertheless, his analysis of Joyce’s use and treatment of this quotation is well worth reading.

Incidentally, Danis Rose and John O’Hanlon have corrected all of Joyce’s and Metchnikoff’s errors. So when the passage is quoted verbatim on page 218 of _The Restored Finnegans Wake_, it is exactly as Quinet wrote it.

# _The Books at the Wake_ #
James Atherton was the first scholar to identify Quinet’s essay as the source of this passage, though he only recognized two parodies of it:

>It may have been the interest they shared in Vico that caused Joyce to be attracted to the work of Edgar Quinet. The sentence which is quoted in full [218.08-13] and twice parodied at full length [012.14-24 and 186.32-187.03] has not, to my knowledge, been previously traced in Quinet’s works. It comes from his _Introduction à la philosophie de l’histoire de l’humanité_. In this essay Quinet discusses history as it is presented by Vico and Herder.
>
>“Nous touchons aux premières limites de l’histoire ; nous quittons les phénomènes physiques pour entrer dans le dédale des révolutions qui marquent la vie de l’humanité ... Le moindre grain de sable battu des vents a en lui plus d’élements de durée que la fortune de Rome ou de Sparte.” [“We have reached the outer boundary of history; we have left physical phenomena behind and entered the labyrinth of the revolutions that punctuate the life of mankind ... The smallest grain of sand, buffeted by the winds, has within it more marks of longevity than all the wealth of Rome or Sparta.”]
>
>Joyce uses the same idea: “A hatch, a celt, an earshare .... When a part so ptee does duty for the holos we soon grow .to use of an allforabit” [RFW 015.09-16]. All history is to be deduced from any part of the created universe. Yet it is found most completely in the mind of any human being.
>
>“L’histoire,” writes Quinet, “telle qu’elle est réfléchie et écrite dans le fond de nos âmes, en sorte que celui qui se rendrait veritablement attentif à ses mouvements intérieurs, retrouverait la série entière des siècles comme ensevelie dans sa pensée ... J’aperçus, pour la première fois ... le nombre presque infini d’êtres semblables à moi, qui m’avaient précédé ... Chaque empire avait envoyé jusqu’à moi la loi, l’idée, l’essence des phénomènes dont s’est composée sa destinée. À mon insu, la vieille Chaldée, la Phénicie, Babylone ... s’etaient résumées dans l’éducation de ma pensée et se mouvaient en moi. Ce m’était un spectacle étrange d’y retrouver leurs ruines vivantes, et de sentir s’agiter dans mon sein ... l’âme que mon être a recueillie comme un son lointain apporté d’échos [en échos] jusqu’à lui.” [“History, as it is reflected and inscribed in the depths of our souls, in such a way that one who could be truly attentive to his inner movements could recover the entire series of ages as though buried in his mind ... I noticed, for the first time ... the almost infinite number of beings similar to me who had preceded me ... Every empire had transmitted to me the law, the idea, the essence of the phenomena comprising its destiny. Without my being aware of it, ancient Chaldaea, Phoenicia, Babylon ... had been summed up in the education of my mind and moved within me. To me, it was a strange sight to discover their ruins living within me, and to feel tossing within my breast ... the soul which my being heard like a distant sound echoing down through the ages.”]
>
>This is the way in which Joyce is writing his “ideal eternal history”, for _Finnegans Wake_ can be taken as being the story of one man, or one family, or of one city or country, or of all humanity and the entire course of history, since all these are progressive expansions of one story. (Atherton 34-35)

<center>https://i.imgur.com/Su5QFOk.jpg</center><center>**_Finnegans Wake_ in a Nutshell**</center>

# Glossary #
[Gaius Plinius Secundus](https://en.wikipedia.org/wiki/Pliny_the_Elder), or Pliny the Elder, and [Lucius Junius Moderatus Columella](https://en.wikipedia.org/wiki/Columella) were Roman encyclopaedists of the 1st century. Pliny’s _Naturalis Historia_ (_Natural History_) and Columella’s _De Re Rustica_ (_On Agriculture_) are both extant. Pliny’s work comprises thirty-seven books, Columella’s twelve. Pliny’s nephew, [Pliny the Younger](https://en.wikipedia.org/wiki/Pliny_the_Younger), is elsewhere associated in _Finnegans Wake_ with Columella, though Quinet was referring to the elder of the two, who mentions the hyacinth and the periwinkle in Book 21 of his _Natural History_.

[Gaul](https://en.wikipedia.org/wiki/Gaul) and [Illyria](https://en.wikipedia.org/wiki/Illyria) were territories that were incorporated into the Roman Republic. Gaul comprised most of modern France, Belgium, Luxembourg, Switzerland and Northern Italy. Illyria covered the western part of the Balkan Peninsula. [Numantia](https://en.wikipedia.org/wiki/Numantia) was a Celtiberian city in northern Spain. In 133 BCE, the inhabitants burned the city down rather than surrender it to the besieging Roman general Scipio Africanus. Many of the Numantians committed suicide rather than submit to servitude. When Quinet penned his famous sentence, the exact location of Numantia was still unknown. The ruins were only rediscovered in 1860 by the Spanish archaeologist Eduarda Saavedra. Curiously, he shared a surname with Miguel de Cervantes Saavedra, whose best known play, _La Numancia_, is a dramatization of the siege.

<center>https://i.imgur.com/j5s3iCE.jpg</center><center>**_The Ruins of Numantia_ (José Moreno Carbonero)**</center>

The [hyacinth](https://en.wikipedia.org/wiki/Hyacinth_(plant)) pops up regularly throughout the text of _Finnegans Wake_. As a given name, it was once quite popular in Ireland, though it is rarely found today. The feminine form, Jacintha, however, is still in common use. Hyacinth also describes the bluish violet colour of the petals of the blue hyacinth.

The [periwinkle](https://en.wikipedia.org/wiki/Vinca), not to be confused with the shellfish of the same name, is a flowering plant whose petals are of a similar colour to those of the blue hyacinth. Like _hyacinth_, the word _periwinkle_ also describes this colour.

The _marguerite_ is the [ox-eye daisy](https://en.wikipedia.org/wiki/Leucanthemum_vulgare), a common flowering plant. Like Hyacinth, Marguerite (or Margaret) is also used as a personal name, one that crops up quite a bit in _Finnegans Wake_ in the form _Maggy_ (or pluralized as _maggies_). The name comes from the Greek word for _pearl_.

<center>https://i.imgur.com/0nMoHYN.jpg</center><center>**The Hyacinth, the Periwinkle and the Ox-Eye Daisy**</center>

>Though Joyce’s reworkings of Quinet are called parodies, I prefer Clive Hart’s description of them as “free translations into various dialects of _Djoytsch_”. In rewriting Quinet here, Joyce changed the setting from classical antiquity to Dublin. Rush, Knockmaroon, Goatstown, Ballymun and Little Green Market are all places in and around Dublin.
>
>In Pliny and Columella, he saw his warring twins, Shem and Shaun. He also made Quinet’s flowers female temptresses—seizing on the contrast between masculine and feminine forces in Quinet’s sentence ... “masters” are masculine. The peaceful flowers are feminine in the French (“la jacinthe ... la pervenche ... la marguerite”). Girls are often flowers in Finnegans Wake. ([Peter Chrisp](http://peterchrisp.blogspot.com/2017/07/edgar-quinet-in-finnegans-wake.html))

# First-Draft Version #
In the first-draft of this paragraph, the parody of the passage from Quinet is introduced by a single short sentence, which Joyce later expanded to six-and-a-half lines:

>Peaceably eirinical in grayquiet, selfstretches this freedland’s plain. Since the times of Hebear and Hairyman the tulipair amass themselves at Rush, the cornflowers have been staying at Ballymun, the dogrose has chosen out Goatstown crossroads, the place for twilights, and whitethorn and redthorn have fairygayed the valleys of Knockmaroon and though, for rings round them during a hundred thousand yeargangs, the Formoreans have brittled the Tooath of the Danes and the Oxmen have been pestered by the Firebugs & the Joynts have given up wallmaking & Little on the Green is childsfather of the city, their paxsealing buttonholes have quadrilled across the centuries and here now whiff to us fresh & maid-of-all-smiles as on the day of combat. ([Hayman 54](http://digicoll.library.wisc.edu/cgi-bin/JoyceColl/JoyceColl-idx?type=turn&entity=JoyceColl.HaymanFirstDrft.p0066&id=JoyceColl.HaymanFirstDrft&isize=M))

<center>https://i.imgur.com/AOo4TCF.jpg</center><center>**Joyce’s First Draft**</center>

# History #
This paragraph begins with an allusion to the Four Masters, those four old men who preserved Irish history and transmitted it through the ages down to our time:

 * **farfatch’d** = [Fearfeasa Ó Maol Chonaire](https://en.wikipedia.org/wiki/Fearfeasa_%C3%93_Maol_Chonaire)
 * **peregrine** = [Peregrine O’Clery](https://en.wikipedia.org/wiki/C%C3%BA_Choigcr%C3%ADche_%C3%93_Cl%C3%A9irigh)
 * **duignant** = [Cú Choigríche Ó Duibhgeannáin](https://en.wikipedia.org/wiki/C%C3%BA_Choigr%C3%ADche_%C3%93_Duibhgeann%C3%A1in)
 * **clere** = [Michael O’Clery](https://en.wikipedia.org/wiki/M%C3%ADche%C3%A1l_%C3%93_Cl%C3%A9irigh)

The _Liber Lividus_ evokes the Roman historian [Titus Livius](https://en.wikipedia.org/wiki/Livy), or Livy. But the literal translation of this Latin phrase is _Blue Book_, which recalls the **bluest book in baile’s annals** from the preceding page. That, you may recall, was a loosely disguised allusion to Joyce’s own _Ulysses_, which was first published in a distinctive blue dust jacket.

The phrase **paisibly eirenical** anticipates the Quinet passage, which describes the flowery generations as _paisibles_ (_peaceful_). _Possibly_ is also present as an overtone. **eirenical** is actually a real word, an alternative spelling of _irenical_, which means the same thing as the French _paisible_. It comes from the Ancient Greek: **εἰρηνικός**, _peaceful_. Needless to remark, it also contains _ironical_ and the Irish: **Éire**, _Ireland_. Greek, Roman, French or Irish—all history is essentially the same and can be boiled down to the same thing.

The parenthetical interjection **toh!** is Italian for _look!_. It comes immediately after an allusion to an Italian historian, so there is, as usual, some method to Joyce’s madness.

# Pastoral #
>In a charming prelude to the first parody ... the basic materials of the sentence are presented in a pastoral setting. The polar principles underlying the scene of battles, death and regrowth, are to be found ‘neath stone pine’ where the ‘pastor lies with his crook’. [Footnote 1: The crook is Eve, made from Adam’s bent rib.] (Hart 192)

It is made clear at the outset that this universal history is the story of a family:

 * **the pastor** = HCE
 * **his crook** = ALP
 * **young pricket by pricket’s sister** = Issy, with her split personality
 * **the herb trinity** = Shem, Shaun and the Oedipal figure comprising both of them

But the opening allusion to the Four Masters reminds us that this history is also the history of Ireland. Hence, these four phrases and a subsequent one can be taken to refer to the five historical provinces of Ireland in the time of St Patrick:

 * **the pastor** = Ulster, burial place of Ireland’s pastor St Patrick

 * **his crook** = Connacht. I believe this is an allusion to Croagh Patrick, the famous pilgrimage mountain in Connacht, which is closely associated with St Patrick.

 * **young pricket by pricket’s sister** = Leinster, after Prickette’s Tower in Dublin’s old city walls. Continuing the St Patrick motif, _pricket_ reminds us of a passage on the opening page of _Finnegans Wake_, in which St Patrick is called **peatrick**. A [pricket](https://en.wiktionary.org/wiki/pricket) is also a young deer, which recalls the story of how St Patrick defies the High King by lighting the Paschal Fire before the royal fire at Tara has been lit. When the incensed king subsequently sends men to ambush and slay Patrick and eight of his companions, all they find are eight deer and a fawn (Stokes 47). This traditional story was also alluded on the open page with the word **venisoon**.

 * **the herb trinity** = Munster. This phrase describes the provincial flag, a green background (amid its rocking grasses) with three crowns (trinity). _Rocking grasses_ could also refer to the Rock of Cashel, the ancient seat of the Kings of Munster and, after 1101, an important ecclesiastical site. Of course, the main allusion here is to the shamrock, which St Patrick is alleged to have used to explain the Holy Trinity to the pagan Irish.

 * **donkey’s years** = Meath, the Royal Province. While the Four Old Men represent the four modern provinces of Ireland, Johnny MacDougal’s donkey always stands in for the lost fifth province. But I don’t see any connection to St Patrick.

<center>https://i.imgur.com/bk4c8A4.jpg</center><center>**Croagh Patrick**</center>

# Say It in Irish #
As Peter Chrisp pointed out above, the Quinet passage is “translated” into Irish, with references to figures from Irish history and mythology. I won’t list them all, as they are easily discerned. See [FinnegansWiki](http://www.finnegansweb.com/wiki/index.php/Page_14) for details.

The remark in parentheses—**Year! Year! And laughtears!**—echoes similar asides (_Hear! Hear! Laughter._) in [Hansard](https://en.wikipedia.org/wiki/Hansard), the official transcripts of British Parliamentary debates. It also anticipates the three cheers and rounds of applause at the conclusion of Book III:

>Tiers, tiers and tiers. Rounds (RFW 459.40)

A timely reminder that the opening chapter of _Finnegans Wake_ is preludial.

---
## References ##
 * [Lucius Junius Moderatus Columella](https://archive.org/details/L361ColumellaOnAgricultureI14/page/n6), _On Agriculture_, Volume 1, Harrison Boyd Ash (translator), Loeb Classical Library L361, Harvard University Press, Cambridge MA (1960)
 * [Luca Crispi & Sam Slote (editors)](https://uwpress.wisc.edu/books/2801.htm), _How Joyce Wrote **Finnegans Wake**: A Chapter-by-Chapter Genetic Guide_, The University of Wisconsin Press, Madison WI (2007)
 * [Richard Ellmann](https://global.oup.com/academic/product/james-joyce-9780195031034?lang=en&cc=md), _James Joyce_, Second Edition, Oxford University Press, Oxford (1982)
 * James Joyce _et al_, _The Letters of James Joyce_, [Volume I](https://archive.org/details/letters00joyc), Stuart Gilbert (editor), [Volumes II and III](https://archive.org/details/letterofjamesjoy03joyc), Richard Ellmann (editor), Viking Press, New York (1957, 1966)
 * [Clive Hart](http://digicoll.library.wisc.edu/cgi-bin/JoyceColl/JoyceColl-idx?type=turn&entity=JoyceColl.HartStructure.p0185&id=JoyceColl.HartStructure&isize=M), _Structure and Motif in **Finnegans Wake**_, Northwestern University Press, Evanston IL (1962)
 * [James Joyce](https://archive.org/stream/finneganswake00joycuoft#page/n7/mode/2up), _Finnegans Wake_, The Viking Press, New York (1958, 1966)
 * [Inge Landuyt, Geert Lernout](https://www.jstor.org/stable/26283595), _Joyce’s Sources: Les grands fleuves historiques_, **_Joyce Studies Annual_**, Volume 6, Summer 1995, The University of Texas Press, Austin TX (1995)
 * [Jacques Mercanton](https://www.jstor.org/stable/4334293), Lloyd C Parks (translator), _The Hours of James Joyce, Part 2_, _The Kenyon Review_, Volume 25, Number 1 (Winter 1963), pp 93-118, Kenyon College, Gambier OH (1962)
 * [Léon Metchnikoff](https://archive.org/details/lacivilisatione00metcgoog/page/n161), _La Civilisation et les Grands Fleuves Historiques_, Librairie Hachette et Compagnie, Paris (1889)
 * [Pliny the Elder](https://archive.org/details/L330PlinyNaturalHistoryI12/page/n8), _Natural History_ Volume 1, H Rackham (translator), Loeb Classical Library L330, Harvard University Press, Cambridge MA (1967)
 * [Edgar Quinet](https://archive.org/details/bub_gb_O6Q5G41RzZAC/page/n374), _Introduction à La Philosophie de l’Histoire de l’Humanité_, **_Œuvres Complètes de Edgar Quinet_**, Volume 2, Librairie Germer-Baillière et Compagnie, Paris (1876)
 * [Danis Rose, John O’Hanlon](https://www.penguin.co.uk/books/176988/the-restored-finnegans-wake/), _The Restored Finnegans Wake_, Penguin Classics, London (2012)
 * [Whitley Stokes (editor & translator)](https://archive.org/details/tripartitepatrick00stokuoft/page/47), _The Tripartite Life of Patrick: With Other Documents Relating to that Saint_, Part 1, Her Majesty’s Stationery Office, Rolls Series, London (1887)
 * [Giambattista Vico](https://archive.org/stream/newscienceofgiam030174mbp#page/n7), Goddard Bergin (translator), Max Harold Fisch (translator), _The New Science of Giambattista Vico_, Cornell University Press, Ithaca NY (1948)

## Image Credits ##
 * [Edgar Quinet](https://commons.wikimedia.org/wiki/File:Edgar_Quinet_-_S%C3%A9bastien_Melchior_Cornu.jpg): Sébastien-Melchior Cornu (artist), Musée Carnavalet P411, Paris, Public Domain
 * [Edgar Quinet as a Young Man](https://commons.wikimedia.org/wiki/File:Edgar_Quinet_jeune_2.jpg): Edgar Quinet, _Lettres à sa mère_, Volume 2, Librairie Honoré Champion, Paris (1998) Public Domain
 * [Boulevard Edgar-Quinet (Paris 1920s)](https://www.pinterest.ie/pin/355995545536669429/): Albert Harlingue (photographer), Roger-Viollet, Fair Use
 * [Léon Metchnikoff](https://journals.openedition.org/ebisu/4280): Public Domain
 * [_The Ruins of Numantia_ (José Moreno Carbonero)](https://commons.wikimedia.org/wiki/File:Ruinas_de_Numancia,_de_Jos%C3%A9_Moreno_Carbonero_(Museo_de_Bellas_Artes_de_C%C3%B3rdoba).jpg): _Ruinas de Numancia_, José Moreno Carbonero (artist), The Museum of Fine Arts of Córdoba, Public Domain
 * [Hyacinth](https://commons.wikimedia.org/wiki/File:Hyacinth_-_Anglesey_Abbey.jpg): © [The wub](https://commons.wikimedia.org/wiki/User:The_wub), Creative Commons License
 * [Periwinkle](https://commons.wikimedia.org/wiki/File:20140401Vinca_major5.jpg): © [AnRo0002](https://commons.wikimedia.org/wiki/User:AnRo0002), Creative Commons License
 * [Ox-Eye Daisy](https://commons.wikimedia.org/wiki/File:Ox-eye_daisy_01.jpg): © [Tony Wills](https://commons.wikimedia.org/wiki/User:Tony_Wills), Creative Commons License
 * [Joyce’s First Draft](http://peterchrisp.blogspot.com/2017/07/edgar-quinet-in-finnegans-wake.html): _The James Joyce Archive_, Volume 29, Garland Publishing, New York (1977-80), Fair Use
 * [Croagh Patrick](https://www.geograph.ie/photo/605872): © [Bart Horeman](https://www.geograph.ie/profile/18762), Creative Commons License

## Useful Resources ##
 * [From Swerve of Shore to Bend of Bay](http://peterchrisp.blogspot.com/2017/07/edgar-quinet-in-finnegans-wake.html)

 * [Joyce Tools](http://www.riverrun.org.uk/joycetools.html)
 * [FWEET](http://www.fweet.org/cgi-bin/fw_grep.cgi?r=1&f=100&b=1&i=1&o=1&s=%5E014)
 * [The James Joyce Scholars’ Collection](https://uwdc.library.wisc.edu/collections/JoyceColl/)
 * [FinnegansWiki](http://www.finnegansweb.com/wiki/index.php/Page_14)
 * [James Joyce Digital Archive](http://jjda.ie/main/JJDA/F/FWHome.htm)
 * [Annotated _Finnegans Wake_ (with Wakepedia)](http://fwannotated.blogspot.com/2014/09/p14e.html)

![Kopimi](https://i.imgur.com/7kq532u.png)
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vote details (315)
@c-squared ·
c-squared-comment
<div class="pull-left">https://cdn.steemitimages.com/DQmVHt1f2jqCViLk6dX2SZsajYRWBpmdQA7sQDEbuQBxFB3/c2100.png</div><br>This post was shared in the <a href="https://discord.gg/B8JFmJ4">Curation Collective Discord community</a> for curators, and upvoted and resteemed by the @c-squared community account after manual review.<br/>@c-squared runs a <a href="https://steemit.com/witness/@c-cubed/announcing-the-launch-of-the-new-c-squared-witness">community witness</a>. Please consider using one of your witness votes on us <a href ="https://steemconnect.com/sign/account-witness-vote?witness=c-squared&approve=true">here</a>
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