o I1tentions hit
drinking
of " obd '.
Hart-Clive-1962-Structure-and-Motif-in-Finnegans-Wake
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. l lucid toward, its end. The most memorable revelation vouch. . . . fed us here is Ihal of . ? arwicker'. fleshy hindquarteT1! _ Shaun on his mouod is lookiog up to a M QSe1I'. eye view of the Father. Creator, aod or CO"n . llW chapler furms part four of the general cycle orBook III, rcpr=nled by the direction wat, which I'arac. ebll' associatc<\ with th<: human buttoch. ' These re. . . . . ru are perhaps 3ufficient to explain Ihe dominance in
IIl. 4 ofth"t particular part of the human anatomy, hut it mUIt be remembered that Shann'. dream is abo Earwieker's, and it is p<>SSihk that there is a further and rather more . <<hrtc/tJ reawn for the old man', broad view of hinudf fmm the real' through his son', eyes. Book III is a circular excursion thr<lugh 'pace-lime, and it had become <;ommon knowledgt: during Joyce'. lifetime that a long ,traight view in front, circling the four4meruional hypeT1! phe", or a ,. . ,. entrant univ"","" might
theomically give a man a 'ight of himself from behind. Thh idea """ill to be implied in two p. . . . . . gt:, from lIL4 :
'the only w;. . , in a muck', world 10 look on iudf from before_ hand; mirrormlnded curiosite. . . e' (S76. ~~)
'down the gullies of the era. we may catch ourselves looking forward to what will in no lime be 'taring you larriuru on the pmtface in that multimirror megaron of returningtieo, whirled without end to end'. (580. 18)
A! J I have al"'ady indicated, Joyce dabbled in mod. . n physics, where he found this liule scientific joke from which to construct another of the book'. many epicycles.
PlWing into Earwicker', mind on page 403 w. . . equivalent , 0 . . " " l ' . ~,.
? I'M Dream-Stru(lurt
to p? ? i", into an inv<<ted mirror-world,' and I<> ellter ShaUll" mind . . -e have bd I<> p;III t. ItrouSh a IIeCOnd mirror. Thil doIIble-rninor UnaI""Y il present in ! he quotatio~ a""""; tw\> minon are n. ormally II~ for a man to see hit bulroeb in practice. The idea of p. . . . ing through a mirror into the new environment ofa past or future cpoch was not new IOlJOlyce iri F'iMl$= WQkt fOlr he had already made ""t. ,nlive use of il in UbJ,ru ill as,ocialKIII with the motif 'looking bad in a retroape<:t;vc alTall("mcnl', d~. ? In Ihe 'Oxen of I"'" Sun' Bloom IftI h;rrucl( aa if in a double_inverud rdlttti<m, aa a
ocboolboy:
'No longer it Leopold, as he oits t~ , ruminating, chewing the cudofreminitc. ,. . "" that. Iaidagentofpublicityandholderof a modctt JUbolance in the fundi. He is youn, Lt:opold, as in a r<:troopect;ve alTangement, a mirror within a mirroc (hey prestoI), he bc:bolde\h hitmelf. That young figure Olf then is seen, precociou,ly manly, willing on a nipping morning from ! he old home in QambraWl llm:I IOl the high school . _ . (al. . . , a thing now of the past! ) _ . .
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. l lucid toward, its end. The most memorable revelation vouch. . . . fed us here is Ihal of . ? arwicker'. fleshy hindquarteT1! _ Shaun on his mouod is lookiog up to a M QSe1I'. eye view of the Father. Creator, aod or CO"n . llW chapler furms part four of the general cycle orBook III, rcpr=nled by the direction wat, which I'arac. ebll' associatc<\ with th<: human buttoch. ' These re. . . . . ru are perhaps 3ufficient to explain Ihe dominance in
IIl. 4 ofth"t particular part of the human anatomy, hut it mUIt be remembered that Shann'. dream is abo Earwieker's, and it is p<>SSihk that there is a further and rather more . <<hrtc/tJ reawn for the old man', broad view of hinudf fmm the real' through his son', eyes. Book III is a circular excursion thr<lugh 'pace-lime, and it had become <;ommon knowledgt: during Joyce'. lifetime that a long ,traight view in front, circling the four4meruional hypeT1! phe", or a ,. . ,. entrant univ"","" might
theomically give a man a 'ight of himself from behind. Thh idea """ill to be implied in two p. . . . . . gt:, from lIL4 :
'the only w;. . , in a muck', world 10 look on iudf from before_ hand; mirrormlnded curiosite. . . e' (S76. ~~)
'down the gullies of the era. we may catch ourselves looking forward to what will in no lime be 'taring you larriuru on the pmtface in that multimirror megaron of returningtieo, whirled without end to end'. (580. 18)
A! J I have al"'ady indicated, Joyce dabbled in mod. . n physics, where he found this liule scientific joke from which to construct another of the book'. many epicycles.
PlWing into Earwicker', mind on page 403 w. . . equivalent , 0 . . " " l ' . ~,.
? I'M Dream-Stru(lurt
to p? ? i", into an inv<<ted mirror-world,' and I<> ellter ShaUll" mind . . -e have bd I<> p;III t. ItrouSh a IIeCOnd mirror. Thil doIIble-rninor UnaI""Y il present in ! he quotatio~ a""""; tw\> minon are n. ormally II~ for a man to see hit bulroeb in practice. The idea of p. . . . ing through a mirror into the new environment ofa past or future cpoch was not new IOlJOlyce iri F'iMl$= WQkt fOlr he had already made ""t. ,nlive use of il in UbJ,ru ill as,ocialKIII with the motif 'looking bad in a retroape<:t;vc alTall("mcnl', d~. ? In Ihe 'Oxen of I"'" Sun' Bloom IftI h;rrucl( aa if in a double_inverud rdlttti<m, aa a
ocboolboy:
'No longer it Leopold, as he oits t~ , ruminating, chewing the cudofreminitc. ,. . "" that. Iaidagentofpublicityandholderof a modctt JUbolance in the fundi. He is youn, Lt:opold, as in a r<:troopect;ve alTangement, a mirror within a mirroc (hey prestoI), he bc:bolde\h hitmelf. That young figure Olf then is seen, precociou,ly manly, willing on a nipping morning from ! he old home in QambraWl llm:I IOl the high school . _ . (al. . . , a thing now of the past! ) _ . .
