It is known that translating Wakean words of a revolutionary narrative style into any other language may be asserted to be almost an impossibility. None the less, some translations of the words are in progress in the world and it remains eminently transmutable. The general objctive in this paper is to point out that the Wakean literary words to be translated demonstrate a variety of brandnew technical elements such as Joyce`s particular use of, say, neologism, linguistic punning, verbal usages, mosaic design, intellectual contents, etc. The first thing the trans/writer should do is to have the exegetical analysis of each Wakean word, to try to read its layers of underlying meaning and to apply them to his translation. In other words, it shows how he solves these peculiarities of this technicality in the course of his translation and how he requires the skill and sensibility almost equal to the writer`s. The Wakean words, "source language," is of the nature of what Stephen calls "the unelectable modality of the visible and the audible," therefore, the translation should be based upon the principle of these double modalities. The paper also classifies the category of Wakean words into several sorts of them, such as the polysemantic, polyphonic, polylingual nature, and demonstrates how the methodology of the poetic craftsmanship might be applicable to his translation, since the poetic qualities of these peculiar words are highly evaluative in the original work. Aristotle in his Poetics writes that though literature is fiction, it is not randomness, but probability; when we read literature we feel a pity, a catharsis. Consequently, the Korean translation of Joyce`s Wakean words makes it clear that translation per se is not an impossibility which many have so far asserted; it does not require an exactitude, but a probability. It is an art of creation, "a movement, an actuality of the possible as possible, and an exploration of potential actualities" (to use Stephen`s terms again).