0se dances that Link Age 10 ~ in
FilrattdIU
w.
Hart-Clive-1962-Structure-and-Motif-in-Finnegans-Wake
.
.
,,"""?
Hi/>d, l.
.
ond<aI.
,888,pp.
" ,_.
,.
]
?
'",
? Spatial Cycles: l l - T h Cross
bying the two "" a. . to m""t in the C~ntr~ in the . hap<: of the leller X, he bent them into a "irek and joined them, causing them to mut ulOml<:lv,," and uch other at a p<>int <>pposite to that of th~ir original contact: and he comprehend~d them in
the motion ,hat revolve> unifonnly on the same axis, and on~ of the circles he made uterior and one int. . ior. The ext. o::rior motion he namw. th~ motion of the Same, the interior that 01
the Other. And the circle of the Same he mAde revolve to the right by way of the ,ide, that of the Other to the left by way of the diagonal'. (36 D, C)
It is dear tbatFiMt. <<M< W,,*, is woven outoftwO . uch . nand,of
World. Soul, represented by the Shem-Shaun polarity. The", are two extremt:S to the function of th;' polarity, between which the line of development ,wingo to and fro : when their orbit. are in clost: proximity they war with u c h o ther and- at a moment of exact O1uillbrium---. ,vcn manage to amalgamate, while at the olher extreme th. ", is total incompr~heru;ion and a failure to oommunieate, . ymbolised by tM point of farthest "'paration of the orbits. The two ,tructural meeting? point. are at the coincident beginning and end, 1. 1 and IV, and at the <<nlre, Il. 3--that i" diametrically opposed on the . phue of development. The <{rand. 'pread out from the initial point of contact-the OOnVCIUtion of Mutt and Jeff, who have juot = ,- widen throughout nook I and converge until they mIX! once more during the Butt and T aff episode, at the cnd uf which they momentarily fmc , only to ( r o M avec and sepa1"ll. tc again during Book III before the 6nal meeting (identical with the 6rst) when MUla andJ uva COnve=. 'Mutt andJ cff' and 'Muta and J uva' are the "'m~ event looked at from opposite . ide. ; the book begin. and ends at one of the twO nodal points, while, when J oyce has cut the circle! and . tretch~d them out flat, the other nodal point fait. ""acdy in the Centre of th~ fabric. Repr=nted in thi. '! way, the bas. ic . tructlll"C of FiMtgd11l IVdkt th"" looks rather like a figul"C B on its , ide, which ronnl the 'zeroie couplet' (,(4. ,, ) a:o, or the lymb<>1 fur 'infinity'.
The divergence ofthe orbits in the fml halfofthe book (which, it will be noted, coincide. with the first dream_cycle) reaches
'3"
? Spatial CY'lu : II-The Cross
its um:me at the end of the 'Anna Livia' chapter (L8), where the river h. u grown 50 broad lha. 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<S, )~ moving in a due ratin'. (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.
]
?
'",
? Spatial Cycles: l l - T h Cross
bying the two "" a. . to m""t in the C~ntr~ in the . hap<: of the leller X, he bent them into a "irek and joined them, causing them to mut ulOml<:lv,," and uch other at a p<>int <>pposite to that of th~ir original contact: and he comprehend~d them in
the motion ,hat revolve> unifonnly on the same axis, and on~ of the circles he made uterior and one int. . ior. The ext. o::rior motion he namw. th~ motion of the Same, the interior that 01
the Other. And the circle of the Same he mAde revolve to the right by way of the ,ide, that of the Other to the left by way of the diagonal'. (36 D, C)
It is dear tbatFiMt. <<M< W,,*, is woven outoftwO . uch . nand,of
World. Soul, represented by the Shem-Shaun polarity. The", are two extremt:S to the function of th;' polarity, between which the line of development ,wingo to and fro : when their orbit. are in clost: proximity they war with u c h o ther and- at a moment of exact O1uillbrium---. ,vcn manage to amalgamate, while at the olher extreme th. ", is total incompr~heru;ion and a failure to oommunieate, . ymbolised by tM point of farthest "'paration of the orbits. The two ,tructural meeting? point. are at the coincident beginning and end, 1. 1 and IV, and at the <<nlre, Il. 3--that i" diametrically opposed on the . phue of development. The <{rand. 'pread out from the initial point of contact-the OOnVCIUtion of Mutt and Jeff, who have juot = ,- widen throughout nook I and converge until they mIX! once more during the Butt and T aff episode, at the cnd uf which they momentarily fmc , only to ( r o M avec and sepa1"ll. tc again during Book III before the 6nal meeting (identical with the 6rst) when MUla andJ uva COnve=. 'Mutt andJ cff' and 'Muta and J uva' are the "'m~ event looked at from opposite . ide. ; the book begin. and ends at one of the twO nodal points, while, when J oyce has cut the circle! and . tretch~d them out flat, the other nodal point fait. ""acdy in the Centre of th~ fabric. Repr=nted in thi. '! way, the bas. ic . tructlll"C of FiMtgd11l IVdkt th"" looks rather like a figul"C B on its , ide, which ronnl the 'zeroie couplet' (,(4. ,, ) a:o, or the lymb<>1 fur 'infinity'.
The divergence ofthe orbits in the fml halfofthe book (which, it will be noted, coincide. with the first dream_cycle) reaches
'3"
? Spatial CY'lu : II-The Cross
its um:me at the end of the 'Anna Livia' chapter (L8), where the river h. u grown 50 broad lha. 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<S, )~ moving in a due ratin'. (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.
