Shaun has gradually grown more lethar_ gic h, hi< progr= from vigotoU$ fable_tclling and
self_jmti_
flealion (IlI.
Hart-Clive-1962-Structure-and-Motif-in-Finnegans-Wake
It is well known that Joy.
:.
: used ,uch schema!
:l in developing the itruetur" of hi.
boob.
An int.
,.
atillg di.
gram fur the 'lliro of the Sun' episode of Ulyms i.
extant and h~ been .
.
.
,produced photo- graphica.
l.
ly in ?
disserutiOIl by A.
W.
UIZ' and of nou.
.
.
: the .
1u:lcton pl.
n ror Ihe O/lllnisation of all cigh""''' cbapten is commouly printed iII exege5ts of Ulyms.
' The following analyses of the dream-structure of PU.
flillUU W.
.
u, together with my
conjectural ICCOIIStrucUon ofa d~am-diagnom (ICC below), a~ offered not. . . , a final ""lution to the problem, but me~ly"" One
interpretation which seems to accord with mo. . . , of the facts than any other thaI h. . . , been suggested to date. It is moTe t. b. aa likely that Ihe~ ar<: sevef&l other dream-llructuces, both hori- zontal and vertkal, counterpointed against the simple outline below, rOT, . . . , I I\av" &aid, no ODC way oflooking at anything in P;""'lIIM Waf, can evcr be a mmpletc explanation.
The~ se<:m, in fact, to be three princip:u drum [ayc,. . . in the book. We drop from ooe 10 another, penetnoting ~r <keptr
? ? y",~_ w. . . . . . . ? , n , c-. I",,,l! n',
? The Drtam-S/ruclure
into lhe uncomcio;>lIS in a progr= =a1ling the des<<:nl through the levels of the InftrnO; ~rhe", . . '" sordidly taks within tales, you dearly understand thaI', Joy"" warrul lIS at 5~~. 05. 'lbe first of Ihese dru. m-te~els U $imply the D",amCl"'s dream about everything that occurs in the book from 'riven:un' to 'Ihe'. He ne~er wakes and we arc never o utJide his dreaming mind. Apart from the inevitable epicycles (0<< bdow) the narrative remaim On this simple levd throughout the fint twO Books, which a",
written from an objoxtive view_point and treal the Earwic. ker family =ntiaUy fr(lm without. During these Boob a consecu-
tive tale of a day'. activities fro m l"u: morning to;> midnight iI counterpointed against huge mythic palterns. Earwicker goes about his customary rounds as ho;>U:l_kecper ; the drinkers at the Wake, having like good Dubliners begun their carou. ing before noon on the day of mourning, tdl stories first of malter1 do. e1y connoxu:d with the Jate Tim and then, as the round. of drink . piral on, they givc frett ",in to their imagination. , a\towing lIS 10;> o;>verhear the stone. and legends which fill in the vast U:m_ poral and . patial bru:kgrounw of Fimugl/lU Walt. T he d",am drifta on the tide of stories further and further froIo the titernl
Wake situalion to lake in all the o;>ther members of the family and the . urrounding countryside as well, and condudes with a gradual ",turn to the reality of the pub on the evening of Ihe First Day. We have participated fuUy and at elM( quarters in the libation. of the fir":! ! hour (1. 1) bUI it is not until the last
licensed hour of the day (lI. S) that we arc permitted ano;>ther visit ofany kngth 10 the bar_room, which this time we approacb ,,;,. the child",n's playground jlISt oul3ide (11. 1) and Ihe nu,"",ry immediately abovc (H. o). Having . tarted from lhe public- home in 1. 1 we have now returned to ;t at the end of a lingle alcoholic dream-cycle which includes the fint two Boob of Fimugam Wa. . . . and is rounterpoinU:d against the ""vcral oth. . major cycles contained within them. Yet howe~er rar we are
allowed 10 roam in imagination, we a", quietly reminded by ocCll. 1ional phrases, d ropped here and there in the text, that the tippling never "". . . . "': 'Everything'. going on the same or "" it app. . ah to all o;>f UI, in the old holrosU:d here' (06. 0$1; 'Bul tilt
85
? 'flu Drtam-Structure
M",,~Is'illftoWItt 011 tkt Millst,,,,m whil. rMr MadslJllS luJp ! Us Bid (I75. ~,); 'At Tam Fanagall'. weal< yat his ,lill'. going . Irang' (27fi. ~1 ).
By Ih~ elld of the 'St:cne in the Local' (Il. 3), Earwich:r, auing oul the prelude 10 Vico'. Age ofO<:ath, Cau. . intoxicated
011 the floor and, in an a\cQholic delirium, """" his tap-room:u the . hip <>f Trulan and Isolde (H. 4). <Ibe ship ! . aia 'From Lifhway. For Namnland~r'. This hallucination bring. Book Il to an end and ""rv"", as a lransition 10 Ihe next Book, where for a momenl (I"" scene having shiftw. ) ~ ' << Earwlcker lying in bed (403 ) ; he lis",,,,, to t"" chimes of midnight rung out by the belb of Ihe nearby church_tow~r which ""und to him like a divided chorus of twelve? voices and give him a laAt unpieaJant rtminder of the tweI"" custome. . . who caused so much trouble WOrt dosing_time. Soon he falls . . . . l<<'p ('Switch out! ', 403. I 7), after the light of ronsciouma . hall faded from while to black through a . . ries ofsptttral oolou. . . . He at oncc begins to dream about the tal~ told ofShaun by the Donkey. That the Shaun of Book III is Earwicker'. drtam. . :reat;on is eSlablished by the concluding words of Book II: 'to john for a john, j<lhnajeanu, led it be'. We hav~ dropped to the second dream_level and begun the ""cond drtam. cyde: the Dream~r'. drtam about Earwicker'. dream. J oyce h. . . . projected '" into the old man', mind, causing w to lea"" a comparatively objecti"" world for a wholly . ubject;"" one. The docent to this drtam_Ievei is reflected physically in Earwick~r', ascent of {h~ stairs to the mort rarified atmosphert of the bedroom- a typically joy. :ean mirror? irna! " corrt,pondencc. (I shall have mort to say about the mirror-image ide. . in this counexWn. ) Following his bent for complexities of supentructurt, Joyce oboeures the issue a little by allowing the Donkey'. narrative to be the rtport of a dream he ha. d Once had, but although this may imply, on the widest stJ"Uctur~1 plane, an interlocking 'yskm of yet more dr(am-"Ycle$, it d"", not rcp. . . . ent, for the purpo,e of this anal)"is. , a descen t to a Jtilllowcr Ie",,] uf drcaming, ,incc the Donkey;' consciously rtporting his experience.
Barwicker'1 dream of Shaun proceed. uninteITupted at the 86
? Th Dr~am. slructure
seoond level until tru, ~nd of III. 3, when Shaun himsdf appar. endy falh 3. ! le<:p. Earwicl<er'. u-wtry nn the sune in II. 3 for the lint time since his appearance in the early chapt~rs of Book 1 indicated that a cycle wa. drawing It"> a dCd<'. Whenever a
major character ",appe,. . . . after a long awnee in Finlltgans Wah we mmt look for the end of a eydc and the beginning of the proceu ofn:romtitution which ushers in the next. Earwicker, at whom we we. . . , allowed It"> ga. efor an instant at the beginning of this serood drcam-cyde (403), i. conjured up in hi> own person one<: mOre al lUI end (53~-5-l), mirmred in lite mind of the yawoing medium.
Shaun has gradually grown more lethar_ gic h, hi< progr= from vigotoU$ fable_tclling and self_jmti_ flealion (IlI. I) through long_winded sennoni>;ng (TII. ~) to a state ohupine hypnO$;" (11l . 3). Ear. . . . . icker'. d. . . ,am_worl< then oce"", to send hi> d",am_. 'lOIl to . leep ('Down with them! . ? . Letslccplh',554-. ';) because theintimate rev. :latioll1about the Father have finally grown altogether too embarrassing and psy<:bologically dangerous (53~-5-l)'Joyce ;. perha"" parodying
Morton Prince'. The DiJJocidtiM if~ r<J'mlb. lil. 1 in which Prince dcscribe1 how the variow pen! OIlalities occupying the mind of Miss Beauchamp we", 'put to ,leep' when Ihey became too troublesome. ' Shaun ruIll1Clf now drcanu, and Ihe ",v. :btioru about lhe father start once again, becoming, indeed, CV<:n franker. AI this new remove, &0 tottuowly reached, which plaC<:1 tru, narralive at a considerable pi! ychological distance from the mind of Ihe sleeping Earwici<er, the 'Censor' can ,"-fely allow the d",aming to continue. In r"'peel of the evasioru nf gUill, at lea't, Joyce se<:ms to have followed the general out?
line of p! ychoanalytic theory. Thi, was, nf course, just what he wanted h,,,,.
We a", now in Ihe third, doubly ,ubje<:tive, dream-cyde, and al the third and IoW,,"1 d",am-lev. :l : the D",amer's d",am about Earwicker'. d",am about Shaun', dream. The evidence on
"
? 1M Dream-Structurt
which tllil interpn:b. tion oClIl. ? " hUed it mucll more tmoou, than thai which I oJI~red lbr the firal IWO dream+1evds, but the "",re oRen I have read the duop'et the more convioC<:<! I have
become that , " eh it the baUc ';Iuation. A nllmber olkey faclOrt m",1 be consid ered together. T o Ixgin with. J oyce alwayo Ip)ke of III. ? as 'ShaUD d'-a title for ""hieb more justification is n~eded than the trivial facl lhal Shaun appear:; ;n a few plaCQ ;n it al an infant in a GOI. 1nc explanatinn nf Ih. titl~ "". nu, in f a c t , t o l i e i n t h e jd~ntily o f t h e n a r r a t o r . W e " " ' c e h a p t e n I t t ! and 111. 2 (and poaiWy "bo 111. 3) ttr Johnny'lloquaciou. Au, hut the ,\" is dearly not rapomibl~ for 111. 4- In this cut: ! he
narnUN' is almolt certainly Shaun himaelf. Occasionally he COn~withShem,ason~Iand~r-8,when:hereo
pe. awlly addresses him by his English n~, 'Jimmy'. At ~60. 35 he indentifies himoclf through the commenl 'I 110M UI I'm hable', for S! t. aun is the SttrM and the Sttrnu ofSt. Stephen? . . . he i, abo Abel. F"Tth~r identification i. provided by hi. refuring \0 ! ::. arwieller lUId hil wife as 'Mr of our fathen' and 'Ollr modderecn ro' (:'58. ~9). and by hil implied association ,,~th 11Obe1:
'hca. """ ofthe . . . . y the night lhat firal . . ~ met ,be is bound 10 be. ntethinu. ""d not in vain, lhe darling ofmy hean'. ($56. 12) He at. o I1tentions hit drinking of " obd '. urinc:, which is Shaun', characteristic form of GOmmllnlon with the BVM':
'How very IWC<:I of her and what an excessively Iovttharming milJY7l. ame to fo. . . . . ke. now Ihat J COme \0 drink nf it filtn:d, a
gracecup foiled nfbilt~rncu'. (5{i1. (2)
This, then, i, Shaun'. ChapteT bee,,,,,, he is n:spoNible for
n. . . . . ting it. Thu m. , Dal'Tattrr is aiJ,o ""leep seemo 10 be esublishcd by the opening. . . . . . . . . . u of IIIe ebapter:
'Whu was tha. . . ? ~'og WIll whaas? Too mult . lccpth. Let . Ioepth'. (555. 01 )
Af'er thae alctpy mumblinJ! ! l of a misty h. ilbide fi. gur~ who is fast diMolving away, Ihe tone and pace of Ihe writing change Tapldly,indicatingjus{,ucha. hiftoffocwa, w~,houldexpect when making a {raruilion from One "ate of cnruc'on. \ncu to
, s. . below, p. 207.
88
? The Drwm-Slruclure
"",other_Until ",meone can produce convillCing evidence to the m no-ary, therefore, I ,hall {r<:a{ liLt. '" Shaull" dream,
Al III. 3 co","" to all end with Earwicw'. confe"ioWl in the magni6cent 'Haveth Childen Everywhere' episode, the body of {he slumbering Shaun, O<p'lKd on the mound, finally melts into a pictllU ofw Irish landscape with the Porter', bedroom at its centre of gravity. By di! appearing into the earth Shaun achieveo on. neu with both Father "nd Mother. ' The Four, who had b<<n continually approaching the cetltreofthe human cross on the mound in the pr<:viou. chapter,' are now rigid and 'tationary '" the four po:! ts of the bed. In the middle of the bed-located at ShaUll" navel- Me Y,arwicker and his wife. In this itutanee the Son i. seen to be father not only of the Man but ofhi. con,. . ,rt:lS well, Like St~ph~n, who rinll' up Adam by mean, of a daisy_chain of umbilical mrd. (the 'Hullo Eve Cenograph', {8! \. 23), we make direct contact with the older generation owShann', "ni_ Here;" a bedded axle_tree ind""". Although Sh'LllTl;" travt:lIing away to the weol in Book ut, we fu! low him in hisjournry and learn to knnw him more intimately a. < the Book devt:lop? . At the beginning of the Book we had alr<:ady plunged below the . nna<:e of One mind to enter Ear_ wicker's unconsciou" and here onCe again in 1l1. 4 we pau through the 'mind_harrier' to emerge in the world ofShaun', dream,jwt as Alice palSC(\ through her gl<IM to enter a neW and . trikingly different dream_world. As:lO often in Jij""'laJU Wakt, the t""hnique iJ e. ssentially cin emat<>graphic : we move vi$ually
clo. er 10 the rer,umbent figure, there i1 a fade-out, and we ar~ transported to the context of his thoughts. The oecond dream c y c l e ; " c l o o e d . . . w e c o m e f u l l d r d o h a c k t o o u r . I a r t i n g _p o i n t : the old couple;n their grave_like bed. Thj. ;" yet another $erue in which Shun moves backward< through the night. If, in Viconian terms, Book III in general;$ the Age of the Futur<:, then 1I1. 4, in which we oee tile p<trt:nl$ finally $upplantecl, m. . . t surely be the Future I'en""t: Shaun will be; the Earwickell
will have been.
This profound sleep of the heir during 1ll. 4 iJ alluded to in
, . 0;. , Ch. a~ Fi",.
? The lffeam-Structure
Book IV: 'a ,ucc. e"ive gen"""tion h. . . be<:n in the d~p deep d~ps of o. ,epe<<:ru' (S95. ~7). A. alwaY", Shaun'. mind is ccntuci primarily on the Father, who dominates this chapter. Despite the fact that we are her<: at the d<:<:pest levd of the dream, the chapter is characterised by its corWderabk $C"ual franknes, and ",alistic darity. Dawn is about to ],. . ,ak afier these crucial ! . cenes and "" it may be that Joyce is C(lnforming not only to the proverb about the darkest hour, but also to Ihe Freudian principle tbat a d",am is both m""t fundamental and mo.
conjectural ICCOIIStrucUon ofa d~am-diagnom (ICC below), a~ offered not. . . , a final ""lution to the problem, but me~ly"" One
interpretation which seems to accord with mo. . . , of the facts than any other thaI h. . . , been suggested to date. It is moTe t. b. aa likely that Ihe~ ar<: sevef&l other dream-llructuces, both hori- zontal and vertkal, counterpointed against the simple outline below, rOT, . . . , I I\av" &aid, no ODC way oflooking at anything in P;""'lIIM Waf, can evcr be a mmpletc explanation.
The~ se<:m, in fact, to be three princip:u drum [ayc,. . . in the book. We drop from ooe 10 another, penetnoting ~r <keptr
? ? y",~_ w. . . . . . . ? , n , c-. I",,,l! n',
? The Drtam-S/ruclure
into lhe uncomcio;>lIS in a progr= =a1ling the des<<:nl through the levels of the InftrnO; ~rhe", . . '" sordidly taks within tales, you dearly understand thaI', Joy"" warrul lIS at 5~~. 05. 'lbe first of Ihese dru. m-te~els U $imply the D",amCl"'s dream about everything that occurs in the book from 'riven:un' to 'Ihe'. He ne~er wakes and we arc never o utJide his dreaming mind. Apart from the inevitable epicycles (0<< bdow) the narrative remaim On this simple levd throughout the fint twO Books, which a",
written from an objoxtive view_point and treal the Earwic. ker family =ntiaUy fr(lm without. During these Boob a consecu-
tive tale of a day'. activities fro m l"u: morning to;> midnight iI counterpointed against huge mythic palterns. Earwicker goes about his customary rounds as ho;>U:l_kecper ; the drinkers at the Wake, having like good Dubliners begun their carou. ing before noon on the day of mourning, tdl stories first of malter1 do. e1y connoxu:d with the Jate Tim and then, as the round. of drink . piral on, they givc frett ",in to their imagination. , a\towing lIS 10;> o;>verhear the stone. and legends which fill in the vast U:m_ poral and . patial bru:kgrounw of Fimugl/lU Walt. T he d",am drifta on the tide of stories further and further froIo the titernl
Wake situalion to lake in all the o;>ther members of the family and the . urrounding countryside as well, and condudes with a gradual ",turn to the reality of the pub on the evening of Ihe First Day. We have participated fuUy and at elM( quarters in the libation. of the fir":! ! hour (1. 1) bUI it is not until the last
licensed hour of the day (lI. S) that we arc permitted ano;>ther visit ofany kngth 10 the bar_room, which this time we approacb ,,;,. the child",n's playground jlISt oul3ide (11. 1) and Ihe nu,"",ry immediately abovc (H. o). Having . tarted from lhe public- home in 1. 1 we have now returned to ;t at the end of a lingle alcoholic dream-cycle which includes the fint two Boob of Fimugam Wa. . . . and is rounterpoinU:d against the ""vcral oth. . major cycles contained within them. Yet howe~er rar we are
allowed 10 roam in imagination, we a", quietly reminded by ocCll. 1ional phrases, d ropped here and there in the text, that the tippling never "". . . . "': 'Everything'. going on the same or "" it app. . ah to all o;>f UI, in the old holrosU:d here' (06. 0$1; 'Bul tilt
85
? 'flu Drtam-Structure
M",,~Is'illftoWItt 011 tkt Millst,,,,m whil. rMr MadslJllS luJp ! Us Bid (I75. ~,); 'At Tam Fanagall'. weal< yat his ,lill'. going . Irang' (27fi. ~1 ).
By Ih~ elld of the 'St:cne in the Local' (Il. 3), Earwich:r, auing oul the prelude 10 Vico'. Age ofO<:ath, Cau. . intoxicated
011 the floor and, in an a\cQholic delirium, """" his tap-room:u the . hip <>f Trulan and Isolde (H. 4). <Ibe ship ! . aia 'From Lifhway. For Namnland~r'. This hallucination bring. Book Il to an end and ""rv"", as a lransition 10 Ihe next Book, where for a momenl (I"" scene having shiftw. ) ~ ' << Earwlcker lying in bed (403 ) ; he lis",,,,, to t"" chimes of midnight rung out by the belb of Ihe nearby church_tow~r which ""und to him like a divided chorus of twelve? voices and give him a laAt unpieaJant rtminder of the tweI"" custome. . . who caused so much trouble WOrt dosing_time. Soon he falls . . . . l<<'p ('Switch out! ', 403. I 7), after the light of ronsciouma . hall faded from while to black through a . . ries ofsptttral oolou. . . . He at oncc begins to dream about the tal~ told ofShaun by the Donkey. That the Shaun of Book III is Earwicker'. drtam. . :reat;on is eSlablished by the concluding words of Book II: 'to john for a john, j<lhnajeanu, led it be'. We hav~ dropped to the second dream_level and begun the ""cond drtam. cyde: the Dream~r'. drtam about Earwicker'. dream. J oyce h. . . . projected '" into the old man', mind, causing w to lea"" a comparatively objecti"" world for a wholly . ubject;"" one. The docent to this drtam_Ievei is reflected physically in Earwick~r', ascent of {h~ stairs to the mort rarified atmosphert of the bedroom- a typically joy. :ean mirror? irna! " corrt,pondencc. (I shall have mort to say about the mirror-image ide. . in this counexWn. ) Following his bent for complexities of supentructurt, Joyce oboeures the issue a little by allowing the Donkey'. narrative to be the rtport of a dream he ha. d Once had, but although this may imply, on the widest stJ"Uctur~1 plane, an interlocking 'yskm of yet more dr(am-"Ycle$, it d"", not rcp. . . . ent, for the purpo,e of this anal)"is. , a descen t to a Jtilllowcr Ie",,] uf drcaming, ,incc the Donkey;' consciously rtporting his experience.
Barwicker'1 dream of Shaun proceed. uninteITupted at the 86
? Th Dr~am. slructure
seoond level until tru, ~nd of III. 3, when Shaun himsdf appar. endy falh 3. ! le<:p. Earwicl<er'. u-wtry nn the sune in II. 3 for the lint time since his appearance in the early chapt~rs of Book 1 indicated that a cycle wa. drawing It"> a dCd<'. Whenever a
major character ",appe,. . . . after a long awnee in Finlltgans Wah we mmt look for the end of a eydc and the beginning of the proceu ofn:romtitution which ushers in the next. Earwicker, at whom we we. . . , allowed It"> ga. efor an instant at the beginning of this serood drcam-cyde (403), i. conjured up in hi> own person one<: mOre al lUI end (53~-5-l), mirmred in lite mind of the yawoing medium.
Shaun has gradually grown more lethar_ gic h, hi< progr= from vigotoU$ fable_tclling and self_jmti_ flealion (IlI. I) through long_winded sennoni>;ng (TII. ~) to a state ohupine hypnO$;" (11l . 3). Ear. . . . . icker'. d. . . ,am_worl< then oce"", to send hi> d",am_. 'lOIl to . leep ('Down with them! . ? . Letslccplh',554-. ';) because theintimate rev. :latioll1about the Father have finally grown altogether too embarrassing and psy<:bologically dangerous (53~-5-l)'Joyce ;. perha"" parodying
Morton Prince'. The DiJJocidtiM if~ r<J'mlb. lil. 1 in which Prince dcscribe1 how the variow pen! OIlalities occupying the mind of Miss Beauchamp we", 'put to ,leep' when Ihey became too troublesome. ' Shaun ruIll1Clf now drcanu, and Ihe ",v. :btioru about lhe father start once again, becoming, indeed, CV<:n franker. AI this new remove, &0 tottuowly reached, which plaC<:1 tru, narralive at a considerable pi! ychological distance from the mind of Ihe sleeping Earwici<er, the 'Censor' can ,"-fely allow the d",aming to continue. In r"'peel of the evasioru nf gUill, at lea't, Joyce se<:ms to have followed the general out?
line of p! ychoanalytic theory. Thi, was, nf course, just what he wanted h,,,,.
We a", now in Ihe third, doubly ,ubje<:tive, dream-cyde, and al the third and IoW,,"1 d",am-lev. :l : the D",amer's d",am about Earwicker'. d",am about Shaun', dream. The evidence on
"
? 1M Dream-Structurt
which tllil interpn:b. tion oClIl. ? " hUed it mucll more tmoou, than thai which I oJI~red lbr the firal IWO dream+1evds, but the "",re oRen I have read the duop'et the more convioC<:<! I have
become that , " eh it the baUc ';Iuation. A nllmber olkey faclOrt m",1 be consid ered together. T o Ixgin with. J oyce alwayo Ip)ke of III. ? as 'ShaUD d'-a title for ""hieb more justification is n~eded than the trivial facl lhal Shaun appear:; ;n a few plaCQ ;n it al an infant in a GOI. 1nc explanatinn nf Ih. titl~ "". nu, in f a c t , t o l i e i n t h e jd~ntily o f t h e n a r r a t o r . W e " " ' c e h a p t e n I t t ! and 111. 2 (and poaiWy "bo 111. 3) ttr Johnny'lloquaciou. Au, hut the ,\" is dearly not rapomibl~ for 111. 4- In this cut: ! he
narnUN' is almolt certainly Shaun himaelf. Occasionally he COn~withShem,ason~Iand~r-8,when:hereo
pe. awlly addresses him by his English n~, 'Jimmy'. At ~60. 35 he indentifies himoclf through the commenl 'I 110M UI I'm hable', for S! t. aun is the SttrM and the Sttrnu ofSt. Stephen? . . . he i, abo Abel. F"Tth~r identification i. provided by hi. refuring \0 ! ::. arwieller lUId hil wife as 'Mr of our fathen' and 'Ollr modderecn ro' (:'58. ~9). and by hil implied association ,,~th 11Obe1:
'hca. """ ofthe . . . . y the night lhat firal . . ~ met ,be is bound 10 be. ntethinu. ""d not in vain, lhe darling ofmy hean'. ($56. 12) He at. o I1tentions hit drinking of " obd '. urinc:, which is Shaun', characteristic form of GOmmllnlon with the BVM':
'How very IWC<:I of her and what an excessively Iovttharming milJY7l. ame to fo. . . . . ke. now Ihat J COme \0 drink nf it filtn:d, a
gracecup foiled nfbilt~rncu'. (5{i1. (2)
This, then, i, Shaun'. ChapteT bee,,,,,, he is n:spoNible for
n. . . . . ting it. Thu m. , Dal'Tattrr is aiJ,o ""leep seemo 10 be esublishcd by the opening. . . . . . . . . . u of IIIe ebapter:
'Whu was tha. . . ? ~'og WIll whaas? Too mult . lccpth. Let . Ioepth'. (555. 01 )
Af'er thae alctpy mumblinJ! ! l of a misty h. ilbide fi. gur~ who is fast diMolving away, Ihe tone and pace of Ihe writing change Tapldly,indicatingjus{,ucha. hiftoffocwa, w~,houldexpect when making a {raruilion from One "ate of cnruc'on. \ncu to
, s. . below, p. 207.
88
? The Drwm-Slruclure
"",other_Until ",meone can produce convillCing evidence to the m no-ary, therefore, I ,hall {r<:a{ liLt. '" Shaull" dream,
Al III. 3 co","" to all end with Earwicw'. confe"ioWl in the magni6cent 'Haveth Childen Everywhere' episode, the body of {he slumbering Shaun, O<p'lKd on the mound, finally melts into a pictllU ofw Irish landscape with the Porter', bedroom at its centre of gravity. By di! appearing into the earth Shaun achieveo on. neu with both Father "nd Mother. ' The Four, who had b<<n continually approaching the cetltreofthe human cross on the mound in the pr<:viou. chapter,' are now rigid and 'tationary '" the four po:! ts of the bed. In the middle of the bed-located at ShaUll" navel- Me Y,arwicker and his wife. In this itutanee the Son i. seen to be father not only of the Man but ofhi. con,. . ,rt:lS well, Like St~ph~n, who rinll' up Adam by mean, of a daisy_chain of umbilical mrd. (the 'Hullo Eve Cenograph', {8! \. 23), we make direct contact with the older generation owShann', "ni_ Here;" a bedded axle_tree ind""". Although Sh'LllTl;" travt:lIing away to the weol in Book ut, we fu! low him in hisjournry and learn to knnw him more intimately a. < the Book devt:lop? . At the beginning of the Book we had alr<:ady plunged below the . nna<:e of One mind to enter Ear_ wicker's unconsciou" and here onCe again in 1l1. 4 we pau through the 'mind_harrier' to emerge in the world ofShaun', dream,jwt as Alice palSC(\ through her gl<IM to enter a neW and . trikingly different dream_world. As:lO often in Jij""'laJU Wakt, the t""hnique iJ e. ssentially cin emat<>graphic : we move vi$ually
clo. er 10 the rer,umbent figure, there i1 a fade-out, and we ar~ transported to the context of his thoughts. The oecond dream c y c l e ; " c l o o e d . . . w e c o m e f u l l d r d o h a c k t o o u r . I a r t i n g _p o i n t : the old couple;n their grave_like bed. Thj. ;" yet another $erue in which Shun moves backward< through the night. If, in Viconian terms, Book III in general;$ the Age of the Futur<:, then 1I1. 4, in which we oee tile p<trt:nl$ finally $upplantecl, m. . . t surely be the Future I'en""t: Shaun will be; the Earwickell
will have been.
This profound sleep of the heir during 1ll. 4 iJ alluded to in
, . 0;. , Ch. a~ Fi",.
? The lffeam-Structure
Book IV: 'a ,ucc. e"ive gen"""tion h. . . be<:n in the d~p deep d~ps of o. ,epe<<:ru' (S95. ~7). A. alwaY", Shaun'. mind is ccntuci primarily on the Father, who dominates this chapter. Despite the fact that we are her<: at the d<:<:pest levd of the dream, the chapter is characterised by its corWderabk $C"ual franknes, and ",alistic darity. Dawn is about to ],. . ,ak afier these crucial ! . cenes and "" it may be that Joyce is C(lnforming not only to the proverb about the darkest hour, but also to Ihe Freudian principle tbat a d",am is both m""t fundamental and mo.
