One of the most difficult factors of translating the Wake is what we call "the Wakean dream language," whose common phenomenon of compression and displacement are apparent everywhere in the entire text. Here, multilingual languages are together with the extensive use of puns and portmanteaus, which are, for the most part, homonymous. The manipulation of these linguistic features may be the common denominator of all the translation, and finding their exegesis is the continual and incessant effort for his translation. First of all, what the transreader urgently needs is the exegetical analysis to unravel a fundamental meaning, the matrix of its polysemantic, polyphonic and polyligual mixture. To carry out this work, the transreader should first disentangle the language properly and strike a main narrative line, along with its contiguous associations. Oftentimes, in translating the Wake into Korean, the use of Chinese characters Hanza (漢字) can prove to be helpful because of their spontaneous compact of ideogramic or phonogramic effect. The prosaic expressions present in the Korean Hangul become paraphrastically lengthy and naturally defective, not finding their equivalents in his neologism. In order to make up for this defect the transreader uses the Korean phonogramic alphabet in corporation with the ideogramic Chinese characters. The paraphrasing of Wakean words in the course of translation is in fact the death of the Joyce text as well as his artistic tenor. Therefore, the transreader must avoid paraphrasing at all costs. There are at least no nonsense syllables in the Wake, which claim their paraphrasing. The next step for the transreader is how to overload the matrix with unpacked elements. He should contrive to superimpose and combine all the analysed lateral parts into a single Wakean phraseology. Most Wakean words are the combination of auditory and visible isomorphism of homonyms and they contain the ultrastate of multilayers of images and the condensation of verbal sounds. The transreader`s creative act is, in a way, risky. But this is Joyce`s own precarious style, writing of modernistic sensation: what one needs is not the content but the form. Form and content in the Wake are an interinvolved entity, and Joyce`s meaning engenders a type of language concomitant with poetic form in a way. The major principle of Korean translation is based upon this premise that the Wake is poetic rather than novelistic. One way of translating the poetic Wake into Korean is to see it as a text of Imagistic poetry. Here, the metaphrastic literalism of the translation of the Wake, as a form, seems much more ideal and applicable than its liberalism. So many new Wakean coinages of the Korean Wake, a new kind of communication－unique, original, and difficult－may be strange to the public eye and ear at their very inception. As time goes by, they may be gradually familiar to them and be listed in existing vocabularies. This is one of the common phenomenology in the history of linguistic development. The text may be rendered readable, paradoxically, as embodiment of unreadability.