peed, the Dlher fuuT
differing
in speed from the thme and among themxlV
Hart-Clive-1962-Structure-and-Motif-in-Finnegans-Wake
t all communication acroso it fTom bank to bank h.
u become ;m~ble.
The tWO washer.
women, forms of Shem and 1;haun, ,tand isolated .
u the mute Il"~ and 'tone; this is the 'Night!
' of the .
.
,ul, a total failure to OOnnect.
The two were already to distant in the previous chapter (1.
7) '" to bc reduced to the unsatisfactory procedure of hurling abuse from side to , ide; the communication i, still Mill no more than verbal during the children's ,inging-gam<:$ in the chapter folkM~ng T.
B.
Only in I1.
2 aT<: they dc.
.
.
: enough to COme to blows, while the really catru:I)'$TIIic conltict do,?
.
.
.
not arise until H.
g.
This, the longe,t dl"'pter in FiMtla1l5 W4kt, i, the moot important of all, the nodal point of the major Ihem"",
a clearing_house and foc. . . for motif,. Only Book IV and the opening pago, preparing Ihe way for a new cycle, can compare with iI. 3 in Ihi. ! ! =pc<:t. In many resp<:ct. thi, chapter for"", a parallel with the 'Circe' chapt. . of UIy. m. They bolh dC'ic1op a olrong situation which is phantasmagoric, horrific, and h<:stial in nature; each end< with a riotow exodllo ! ate at night ; each leaw to a wion of l(II! t youth. The crociru visions in Ciree', glass have their equivalent in the imagC5 On the EaTWieh:n' tel""il5ion"":Te<:n, and e\! Cn the ,ymbolic fuloing of two fae'" into
that ofShakr. . speare (U 536) is exactly paralldtxl by the fu,ion ofthe races of Bult and Taffinto that of HeE (349). But above all, each is ! he central cxpr=ionistic dC'ic1opm~nt of tl",~ , on to whi~b Joyce made his material convnge and toward whieh he hirnoelf worked during the pTOC= of comJ'<"'! ition. The la,t part of UIys,es W a. '! drafted before '('. . ir~-'" wa, eomplel<:d,
and, utepl fi>r Ihe ilion coda formed by Book IV, ehaptn Il'3 was the 1",1 paft of FillJUgans Wake to bc written. '
OUTing the finl hruf-cyde, until the central meeting, Shcm', . trand ;. in Ihe MCCndancy. nook I i. characteTi,ed by an exceSS of 'Shcmness' over 'Shaunn<:>s'. T he 'Cad' 0< 'A. . ai! ant'
get. the bclter of his vierirru; the I. . etter is written, di'<;l1ucd, , l~" 1'. 'i '; A W. Lib, 'The Makini[' ofFu. . . ,. ,u W";'" ). \. MIS"
Ian"",, (<d. ), A J- fl1<< Mjl<<~, """"' . . . . . . , C. . ,b. :ooohle, Ill. , '951, 1'. ~"'.
'3'
? Spatial C~ks: II- Tlu Crrus
and taloen ""ry oeriouaIy; Sl>em obviow! y wino a mocaI victory ill (. 7; Anna Livia, who favoun Sbcm, is m;"trca of all. I II 1I0oI< 111 the victories an: aU Shaun's. The two ha"" 0 ' ' d over and changul. plaeo, as tbey do in II. ~, which is the dureot single. . :haptcr epilome of this overall ItruClure and which contains most of the direcl allusions to 1M PlaIOO;C model.
The central p=agc of ll. ~_where the marginal nota are allowed to disaol"" in to the mAill body of tM text Ixfore their n:appearance with exchange of tollt:--<:OfTelPOIIW 10 the CCIltnl poillt ofcontact Oil the Iphere of de""lopmetlt; here, in a siosle six? . , . ocntcncc with neither initial capital nor final . IOp, Joyce bewilderingly f. . . ,. and confustS the j>UiOl>alities of the IUperior and inferior loOns who repn:lCnt in this ;lI$tancoe
Ihe superior and infcrioo- clementi of lpiritual and profane love: Patrick', 10"" for lrcland and for hi! God, and Trluram'l for himself and for "eult. Throughout tht book Patrick alld T ris- tram are made to COrTCSpond , M ce each comes twiu to Irtlalld and uch has a miss;o. , to fulfil on the OCU$ion of the II<<Ond vitil, bUI in the middle of II. ~ they h. a. ve become inclI:trioably mU:ro. ThaI in disposing his muaiah in this way Joyce had the r. ? . . ,. . . in mind is . . . . . . d( clear by the inclusion of 3 whole shOW(! " of all. . . iona to it. AI ~88. 03, ;0. particular, the cre~to. . . . arrisl is uld to be 'doublecreuing twofold thru~'- the epica! rorged c. hequc which he ro;'tI on th~ world;' rendtrt:d doubly 'Not Negotiable', a hermetically Jealcd entity, like Pluo's (lutline of 3 'laylori:! t:d world' of 'celatin~ ci. -des' (356. 10; 191. 1~). The doublc-a'Oll$ing thelm;' ubiquitout. At 60. 33 a Ra tontion Lord and his Lady CI'OIIII and tum rwiu in Oll( of 1I. 0se dances that Link Age 10 ~ in FilrattdIU w. . . u:' 'Oauran'l lord (''SnifJpoI'') and Moirpn'. lady ("I-1atterfun") took side! and CI'OI5Kd and bowed to ucb other. Yie\. . . and noc:sed themsd"",:
S h u n reminds us of the theme al 305. 1. 1; 'TJu TlVf}f"" r . . u, IlJId 1114 (A~jll1l&ti", APP<liks 6f O/lJlOlilioNl/ Or. ,,<s', and of course the World_Soul;' depicted geometrically in the two circle! of
, s. . belO'W, Chap<<<" ~ I.
'3'
? SptltiaJ Cyclu: II- 17u CrO$S
the figun: on p~ ~93. The circl. . , 'the wonderlOlt for world hips' (363. 23) :ore defined at 'W t most improving of round. ~', Anna? , 'W,,:. . . . . . . (29"1. 05). Tn ensu,. . , that his intention . hall be quite unambigunUl, J oy"" mako undinortcd we oftbe wminology of the TIItIJUMI at 300-20, wben: Sbcm and Shalln In: called the 'Olher' and 1M 'Same' rapecti. . . ,ly, whik the 'Other', ~ in PlaIn, is made to move to the left 'with his sinille" <::yclopt:I'. 1mM: ~ the 'twinnt l'1uOIlic yeariingt'
(29~. 30) whOle mutual roIation is described as '. pirab' . . "Obhkt pu",u;ting thcir rovinghamilton . . ,lvel'.
Plato'. dcso::ription continues: ? i\ndMg. vesu~macytoIbemoOn",<< thesameand\IJ"Iiform, for he left that . ingle and undivided; hut the inner eirel<: he cleft into ICW'D u~u. aI circles in the propottion of the double
and triple interval'leRIally, each bbng Ihr<< in number; and he appoinled lhallhe cird . . lhould nlOve in oppmitc di,. . ,cOom, thme al the pme .
peed, the Dlher fuuT differing in speed from the thme and among themxlV
(36 C, 0)
Traditionally 'right' llood in the C<lh. mn of IU! ",rior thingo, 'left' in the column of the inferior. ' Sb"m iii the iUegitimate underdog. His aaocialion with the left. turning part of Ihe cosmic if"'" is taken up again at 462. 3. : 'quinquise<:ular cycles ? ? ? &bowman'. siniltcr', while the whole theme of the SaTm and Other, the rational and the irntional, the spiritual and the corpo,. . ,al, it devdoped still further in Bool< IV, during the Bcruley-Pauid. ~ (6,1- . 2). The lC"eIl bands of t h e O t h e r ( S h e m _ B c r k e \ e y ) ; o n , ~prcse n ted b y l h o e t e v e n coloun or the spectrum, while the unity of the Same, Ihe 'undivided rcawlity' of 292. 3' relurns a. . the white light of 'Sam< Patholic' (6t J . 10). J ust ~ w Other, or differentiated band of the World-Soul, revolVe! within the Same, 00 Ihe cirde of coloul"I i. o contained within white light, whi le the rainbow'. 'inferiority' is compensated for by the fact thai it is the 'inside true inwardn~ of r""lily ' (6 ? ? . 21). But, in any case, witll a more pen. etnting view {he opposition ofwhitelight to rainbow
? f_ \t. Cororoni, ~ '. C. . -,I,,,, I"'""""", '~1, p. 14. . "
? Spatial C)"us: II- The Cross
d;,appears, and their puzzling identity gi\ti rise to the 'fa. . t wriggle fTOm lhe ubiven",", wherrom;, man, that old offender, [I. titer man, whcile he i. asumt' (3,,6,12; my italics),
II: DECUSSAVIT RUM IN UNIVERSO Uwlin Martyr)
Plato call. hit 'World-Soul' the 'Son of the Father' and tenth to t,. "at it ~nthr()pomorphica! ly; JO)'C", who can alwaY' be "'lied uI_>n to go much further than hit model! , i<ientifi", hi' all_too-human San of the Father, Shaun, with the World-Soul, th. . . allowing him to ,nboume even hi, opposite, Shem, with whom he ultimately com. ,. to be identified, just . . . . white light subourne. the spectrum, In a tremendouoly aeative hour-the
rich and extraordinary chapter HI. 3- Joy"" developlo the theme of Sltaun as the hitherto 'uncr. atw. comcien"" of the ra",,', If any chapter can be singled out for it> powerfully ""minal qualiti. ,. then ,nr. ly this i, it, It has too often bttn oupposed that J uyce champions only Shem, while he revil. ,. Shaun, but the text will nOt oupport ,ueh a reading_ The mature Joyce had come a long way since hit DedaIian Arti" ~. BoUI_ gwi' daY', and he saw much good in common, stupid, hand_ some, oo. . . . tful Shaun, When laid out on the orangemound- hi. 'corructive mond' (3ao'~4)- in the form of a cross (474- 5),' Shaun func! ioll$ a, Cltri,! at the ,arne time", he stand. in for the ,tupid ass whO$C = d hack i\ said 10 be a remind. . of the . acrifidal burden ;t b<;re to J emsalcm. Uustin Martyr held that Christ was $ymbolikd in the 'decuatation' itself- the me. . ting of the ,piritual and the wrporeal, of time and eternity. ) Shaun is himself the peel off the old Orangeman, Rarwieker, who, in
Part III of the opening prelude, had been 'laid to rust upon the g r e e n s i n c e d e " J . i J u f i , . . t l o v e d l i V V ) " (3 . ~3) . T h e f o u r n o o _ evangel. . " ,tandoneatea<:hextremityofthisvegetatinghuman quincunx and gradually approach itJ (cntre, the axis mundi, hi, '"cver:stop navel', from whiclt types and fOTlIl$ ofeveryone and
, cr. '""""knoll' (55','3).
,,.
? Spmial Cycles: II- 1M Crrm
~v~rything in Fimug61U Wak. are to spring. The multiplication . ign made by Shaun', orange-ped figure on the knoll is ulti. mately identical with the most fcrtik: of all r. mM<:S in FiMtldllS
Wake which gleams on Anna's gold_bronz~ belly:
'with antifouling buttcrscatch and turfentide and 'e'P"nthyme and with leafmould ,he mhert:d round prunella we. and . . . ta! > dun, quincecunct, allover her little mary. Ped d gold of wax? work her jellybelly and her grain< of inC<'rue anguille bronze. '
(206? 33 )
One of the moot obvious symbolic Cl"(lMC' in Fi. ntga. . . . Wake
B that whichJoyu "-"igns to the four Old l>t. n (119. oS). 1M, a quincunx, B ddined by five p:>inl. ! (as iU name impli",), the fifth of which- the central point-rep"""n! > the o. :. nkey on whom they all four ride ('>51. 00). The Donkey is the 'carryfour ? . . their happy"",, cloudious', or the (r_". adsOn wh. kh thcy converge (:,81. 00). He is aloo, among other fon". , the trump card placod at the centre of the bridge_table and thermrc more important than any of the fin,. . uits ({76. 11)' It ;. well known
that the o. :. nkey i. always dosdy usoo:iat. cd with Johnny (a form of Shaun) who, at tlu: beginning of III. S, is hinuelf identified as 'a croMroaw puz. ! er' ({75. oS). On page 6o~, as M. . . Gla. h""n p:>int, out,' tlu: Donkey amI Shaun are m~ed. It ;. therefore apparent that the figun': on whom the Four are converging in III. S is to be identified with the mysterious
Donkey as well a. \ ,,;th Shaun. '
Withill! constant Pmtcanshiftsoftoneand'cene,llI. 3i<prob-
ably th~ most complex and tortuOll> ehaptet of all, cvr,n more "" than the difficult 'Scene in the publie (I1. 3) which, unlike this chapter, revolv", around a . trong central dramatic ';tuation. 'The way to the midpoint of the croes i. a wearying one, for the path. -; are those of a maze: '. . , hour ga. ve wa. y to mazing hour' (47]. 27). The Old Artifu:er stoOOJoyce in g<>o<l'lead in more ways than One when the time Came t<> write Fi1! Jttlgans Wake.
While for many years th~ rabbl"",ent hi. sed and accuSC(\ him of having wrou&ht for material gam and notoriety the ohs<:ene
, c"o=. p. 4"
, a. tlu: <,ount<:. -point ofJohn ODd tlu: No in Td. 1a! II ond ! Tl. abo,. . .
135
? Spatial C,ldes: 11- ~ Cr(JJS
woodenrowofVlylJt. /,t JO)"CCwupati~nt1yputtingt"Setherthe all bUI impenetr. Lble labyrinth of Filllltg<IM W,,,b. The term 'Iabyrinlh' hu hoen applied to the boo/r;: with tirnome regular_ ity, but then: is rather more 10 the COITIparUo:m than Jqya:'. c. kbratedidentificationofhim. df. . . . ilhDa. dalwmightat fin! . ugg. . t, for Daedalw' maze, th~ archetype ofall woru ofr. rt fOT
Jqya: (u Fu. ug<UU Wdt . . . . .
a clearing_house and foc. . . for motif,. Only Book IV and the opening pago, preparing Ihe way for a new cycle, can compare with iI. 3 in Ihi. ! ! =pc<:t. In many resp<:ct. thi, chapter for"", a parallel with the 'Circe' chapt. . of UIy. m. They bolh dC'ic1op a olrong situation which is phantasmagoric, horrific, and h<:stial in nature; each end< with a riotow exodllo ! ate at night ; each leaw to a wion of l(II! t youth. The crociru visions in Ciree', glass have their equivalent in the imagC5 On the EaTWieh:n' tel""il5ion"":Te<:n, and e\! Cn the ,ymbolic fuloing of two fae'" into
that ofShakr. . speare (U 536) is exactly paralldtxl by the fu,ion ofthe races of Bult and Taffinto that of HeE (349). But above all, each is ! he central cxpr=ionistic dC'ic1opm~nt of tl",~ , on to whi~b Joyce made his material convnge and toward whieh he hirnoelf worked during the pTOC= of comJ'<"'! ition. The la,t part of UIys,es W a. '! drafted before '('. . ir~-'" wa, eomplel<:d,
and, utepl fi>r Ihe ilion coda formed by Book IV, ehaptn Il'3 was the 1",1 paft of FillJUgans Wake to bc written. '
OUTing the finl hruf-cyde, until the central meeting, Shcm', . trand ;. in Ihe MCCndancy. nook I i. characteTi,ed by an exceSS of 'Shcmness' over 'Shaunn<:>s'. T he 'Cad' 0< 'A. . ai! ant'
get. the bclter of his vierirru; the I. . etter is written, di'<;l1ucd, , l~" 1'. 'i '; A W. Lib, 'The Makini[' ofFu. . . ,. ,u W";'" ). \. MIS"
Ian"",, (<d. ), A J- fl1<< Mjl<<~, """"' . . . . . . , C. . ,b. :ooohle, Ill. , '951, 1'. ~"'.
'3'
? Spatial C~ks: II- Tlu Crrus
and taloen ""ry oeriouaIy; Sl>em obviow! y wino a mocaI victory ill (. 7; Anna Livia, who favoun Sbcm, is m;"trca of all. I II 1I0oI< 111 the victories an: aU Shaun's. The two ha"" 0 ' ' d over and changul. plaeo, as tbey do in II. ~, which is the dureot single. . :haptcr epilome of this overall ItruClure and which contains most of the direcl allusions to 1M PlaIOO;C model.
The central p=agc of ll. ~_where the marginal nota are allowed to disaol"" in to the mAill body of tM text Ixfore their n:appearance with exchange of tollt:--<:OfTelPOIIW 10 the CCIltnl poillt ofcontact Oil the Iphere of de""lopmetlt; here, in a siosle six? . , . ocntcncc with neither initial capital nor final . IOp, Joyce bewilderingly f. . . ,. and confustS the j>UiOl>alities of the IUperior and inferior loOns who repn:lCnt in this ;lI$tancoe
Ihe superior and infcrioo- clementi of lpiritual and profane love: Patrick', 10"" for lrcland and for hi! God, and Trluram'l for himself and for "eult. Throughout tht book Patrick alld T ris- tram are made to COrTCSpond , M ce each comes twiu to Irtlalld and uch has a miss;o. , to fulfil on the OCU$ion of the II<<Ond vitil, bUI in the middle of II. ~ they h. a. ve become inclI:trioably mU:ro. ThaI in disposing his muaiah in this way Joyce had the r. ? . . ,. . . in mind is . . . . . . d( clear by the inclusion of 3 whole shOW(! " of all. . . iona to it. AI ~88. 03, ;0. particular, the cre~to. . . . arrisl is uld to be 'doublecreuing twofold thru~'- the epica! rorged c. hequc which he ro;'tI on th~ world;' rendtrt:d doubly 'Not Negotiable', a hermetically Jealcd entity, like Pluo's (lutline of 3 'laylori:! t:d world' of 'celatin~ ci. -des' (356. 10; 191. 1~). The doublc-a'Oll$ing thelm;' ubiquitout. At 60. 33 a Ra tontion Lord and his Lady CI'OIIII and tum rwiu in Oll( of 1I. 0se dances that Link Age 10 ~ in FilrattdIU w. . . u:' 'Oauran'l lord (''SnifJpoI'') and Moirpn'. lady ("I-1atterfun") took side! and CI'OI5Kd and bowed to ucb other. Yie\. . . and noc:sed themsd"",:
S h u n reminds us of the theme al 305. 1. 1; 'TJu TlVf}f"" r . . u, IlJId 1114 (A~jll1l&ti", APP<liks 6f O/lJlOlilioNl/ Or. ,,<s', and of course the World_Soul;' depicted geometrically in the two circle! of
, s. . belO'W, Chap<<<" ~ I.
'3'
? SptltiaJ Cyclu: II- 17u CrO$S
the figun: on p~ ~93. The circl. . , 'the wonderlOlt for world hips' (363. 23) :ore defined at 'W t most improving of round. ~', Anna? , 'W,,:. . . . . . . (29"1. 05). Tn ensu,. . , that his intention . hall be quite unambigunUl, J oy"" mako undinortcd we oftbe wminology of the TIItIJUMI at 300-20, wben: Sbcm and Shalln In: called the 'Olher' and 1M 'Same' rapecti. . . ,ly, whik the 'Other', ~ in PlaIn, is made to move to the left 'with his sinille" <::yclopt:I'. 1mM: ~ the 'twinnt l'1uOIlic yeariingt'
(29~. 30) whOle mutual roIation is described as '. pirab' . . "Obhkt pu",u;ting thcir rovinghamilton . . ,lvel'.
Plato'. dcso::ription continues: ? i\ndMg. vesu~macytoIbemoOn",<< thesameand\IJ"Iiform, for he left that . ingle and undivided; hut the inner eirel<: he cleft into ICW'D u~u. aI circles in the propottion of the double
and triple interval'leRIally, each bbng Ihr<< in number; and he appoinled lhallhe cird . . lhould nlOve in oppmitc di,. . ,cOom, thme al the pme .
peed, the Dlher fuuT differing in speed from the thme and among themxlV
Traditionally 'right' llood in the C<lh. mn of IU! ",rior thingo, 'left' in the column of the inferior. ' Sb"m iii the iUegitimate underdog. His aaocialion with the left. turning part of Ihe cosmic if"'" is taken up again at 462. 3. : 'quinquise<:ular cycles ? ? ? &bowman'. siniltcr', while the whole theme of the SaTm and Other, the rational and the irntional, the spiritual and the corpo,. . ,al, it devdoped still further in Bool< IV, during the Bcruley-Pauid. ~ (6,1- . 2). The lC"eIl bands of t h e O t h e r ( S h e m _ B c r k e \ e y ) ; o n , ~prcse n ted b y l h o e t e v e n coloun or the spectrum, while the unity of the Same, Ihe 'undivided rcawlity' of 292. 3' relurns a. . the white light of 'Sam< Patholic' (6t J . 10). J ust ~ w Other, or differentiated band of the World-Soul, revolVe! within the Same, 00 Ihe cirde of coloul"I i. o contained within white light, whi le the rainbow'. 'inferiority' is compensated for by the fact thai it is the 'inside true inwardn~ of r""lily ' (6 ? ? . 21). But, in any case, witll a more pen. etnting view {he opposition ofwhitelight to rainbow
? f_ \t. Cororoni, ~ '. C. . -,I,,,, I"'""""", '~1, p. 14. . "
? Spatial C)"us: II- The Cross
d;,appears, and their puzzling identity gi\ti rise to the 'fa. . t wriggle fTOm lhe ubiven",", wherrom;, man, that old offender, [I. titer man, whcile he i. asumt' (3,,6,12; my italics),
II: DECUSSAVIT RUM IN UNIVERSO Uwlin Martyr)
Plato call. hit 'World-Soul' the 'Son of the Father' and tenth to t,. "at it ~nthr()pomorphica! ly; JO)'C", who can alwaY' be "'lied uI_>n to go much further than hit model! , i<ientifi", hi' all_too-human San of the Father, Shaun, with the World-Soul, th. . . allowing him to ,nboume even hi, opposite, Shem, with whom he ultimately com. ,. to be identified, just . . . . white light subourne. the spectrum, In a tremendouoly aeative hour-the
rich and extraordinary chapter HI. 3- Joy"" developlo the theme of Sltaun as the hitherto 'uncr. atw. comcien"" of the ra",,', If any chapter can be singled out for it> powerfully ""minal qualiti. ,. then ,nr. ly this i, it, It has too often bttn oupposed that J uyce champions only Shem, while he revil. ,. Shaun, but the text will nOt oupport ,ueh a reading_ The mature Joyce had come a long way since hit DedaIian Arti" ~. BoUI_ gwi' daY', and he saw much good in common, stupid, hand_ some, oo. . . . tful Shaun, When laid out on the orangemound- hi. 'corructive mond' (3ao'~4)- in the form of a cross (474- 5),' Shaun func! ioll$ a, Cltri,! at the ,arne time", he stand. in for the ,tupid ass whO$C = d hack i\ said 10 be a remind. . of the . acrifidal burden ;t b<;re to J emsalcm. Uustin Martyr held that Christ was $ymbolikd in the 'decuatation' itself- the me. . ting of the ,piritual and the wrporeal, of time and eternity. ) Shaun is himself the peel off the old Orangeman, Rarwieker, who, in
Part III of the opening prelude, had been 'laid to rust upon the g r e e n s i n c e d e " J . i J u f i , . . t l o v e d l i V V ) " (3 . ~3) . T h e f o u r n o o _ evangel. . " ,tandoneatea<:hextremityofthisvegetatinghuman quincunx and gradually approach itJ (cntre, the axis mundi, hi, '"cver:stop navel', from whiclt types and fOTlIl$ ofeveryone and
, cr. '""""knoll' (55','3).
,,.
? Spmial Cycles: II- 1M Crrm
~v~rything in Fimug61U Wak. are to spring. The multiplication . ign made by Shaun', orange-ped figure on the knoll is ulti. mately identical with the most fcrtik: of all r. mM<:S in FiMtldllS
Wake which gleams on Anna's gold_bronz~ belly:
'with antifouling buttcrscatch and turfentide and 'e'P"nthyme and with leafmould ,he mhert:d round prunella we. and . . . ta! > dun, quincecunct, allover her little mary. Ped d gold of wax? work her jellybelly and her grain< of inC<'rue anguille bronze. '
(206? 33 )
One of the moot obvious symbolic Cl"(lMC' in Fi. ntga. . . . Wake
B that whichJoyu "-"igns to the four Old l>t. n (119. oS). 1M, a quincunx, B ddined by five p:>inl. ! (as iU name impli",), the fifth of which- the central point-rep"""n! > the o. :. nkey on whom they all four ride ('>51. 00). The Donkey is the 'carryfour ? . . their happy"",, cloudious', or the (r_". adsOn wh. kh thcy converge (:,81. 00). He is aloo, among other fon". , the trump card placod at the centre of the bridge_table and thermrc more important than any of the fin,. . uits ({76. 11)' It ;. well known
that the o. :. nkey i. always dosdy usoo:iat. cd with Johnny (a form of Shaun) who, at tlu: beginning of III. S, is hinuelf identified as 'a croMroaw puz. ! er' ({75. oS). On page 6o~, as M. . . Gla. h""n p:>int, out,' tlu: Donkey amI Shaun are m~ed. It ;. therefore apparent that the figun': on whom the Four are converging in III. S is to be identified with the mysterious
Donkey as well a. \ ,,;th Shaun. '
Withill! constant Pmtcanshiftsoftoneand'cene,llI. 3i<prob-
ably th~ most complex and tortuOll> ehaptet of all, cvr,n more "" than the difficult 'Scene in the publie (I1. 3) which, unlike this chapter, revolv", around a . trong central dramatic ';tuation. 'The way to the midpoint of the croes i. a wearying one, for the path. -; are those of a maze: '. . , hour ga. ve wa. y to mazing hour' (47]. 27). The Old Artifu:er stoOOJoyce in g<>o<l'lead in more ways than One when the time Came t<> write Fi1! Jttlgans Wake.
While for many years th~ rabbl"",ent hi. sed and accuSC(\ him of having wrou&ht for material gam and notoriety the ohs<:ene
, c"o=. p. 4"
, a. tlu: <,ount<:. -point ofJohn ODd tlu: No in Td. 1a! II ond ! Tl. abo,. . .
135
? Spatial C,ldes: 11- ~ Cr(JJS
woodenrowofVlylJt. /,t JO)"CCwupati~nt1yputtingt"Setherthe all bUI impenetr. Lble labyrinth of Filllltg<IM W,,,b. The term 'Iabyrinlh' hu hoen applied to the boo/r;: with tirnome regular_ ity, but then: is rather more 10 the COITIparUo:m than Jqya:'. c. kbratedidentificationofhim. df. . . . ilhDa. dalwmightat fin! . ugg. . t, for Daedalw' maze, th~ archetype ofall woru ofr. rt fOT
Jqya: (u Fu. ug<UU Wdt . . . . .