"Awake! Come, a wake!"

(510.13-512.6)   Today's reading begins with the old man pursuing a slightly different line of inquiry.  "Come to the ballay at the Tailors' Hall," the old man tells Shaun, directing his attention back to the ballet or ball that occurred on the evening in question.  "Every old skin in the leather world" was "thomistically drunk" that evening, he notes.  The rowdy attendees wielded "nasty blunt clubs" as plates were thrown and tumblers containing the remnants of porter rolled around.  Following the ball was a wedding breakfast, during which the radio broadcast predicted the comeback of "the grandsire Orther," HCE.  Shaun agrees with the old man's description of the ball and adds that the guests "came from all lands beyond the wave for songs of Inishfeel."  There were two people whom he thinks were sober, though:  "the right reverend priest, Mr Hopsinbond" and "the reverent bride eleft, Frizzy Fraufrau."

The old man says that the "wedding beastman" was a man named Magraw, and asks Shaun whether he saw him.  "I horridly did," Shaun says.  He saw "the irreverend Mr Magraw" at midnight kicking the church sexton, "red-Fox Good-man."  As this row was happening, Shaun and some other men were tickling Magraw's wife in the hall.  The old man asks Shaun whether he established personal contact with Magraw.  Shaun says that he didn't, but he believes the fight was about a pint of porter.

The old man soon asks Shaun what ALP was wearing.  Campbell and Robinson note how the description he gives in reply references cutting-edge visual artists active during the time the Wake was written, such as Klee and Dalí:  "Just a floating panel, secretairslidingdraws, a budge of klees on her schalter, a siderbrass sehdass on her anulas findring and forty crocelips in her curlingthongues."  And how was HCE -- "father of Izod" -- doing during all this?  Fantastic, Shaun says.  He was the "the Megalomagellan of our winevatswaterway, squeezing the life out of the liffey."