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2.5 The Second '(Silents)'

A living version of HCE first enters the 'dramatic' action of Finnegans Wake in Book II, where he is the thundering hotelier/deity. The second '(Silents)' at 334.31 occurs at the end of a diversion which completes the tale of the marriage of the Norwegian Captain, and introduces the story of How Buckley Shot the Russian General, both narrated to the customers in HCE's pub. As such it comes between a story of HCE's sexual union with ALP, and another which describes his demise at the hands of Shaun. The diversion consists of Kate opening a door and delivering a message to HCE from the younger ALP who is upstairs, desiring his presence in bed. The silence again can be associated with sexual union, and similarly foreshadows the fall of HCE. However, while it marks a transition to an age of heroes beginning with the Mamalujo chapter, it also re-enacts Freud's family romance: albeit in the context of an urban nuclear family.

Prior to the diversion, the story of the Norwegian Captain's marriage ends in sexual consummation, and the narrator links this event with the picture, the sin, and the Magazine Wall: 'was it the twylyd or the mounth of the yare or the feint of her smell made the seoman assalt of her (in imageascene all: whimwhim whimwhim)' (FW 331.28-30). ALP's union with the Norwegian Captain is described in terms of a young girl marrying the 'picture' of an ancient HCE, for she 'a mouse, a mere tittle, trots off with the whole panoromacron picture' (FW 318.8-9). The narration of the tale of the Norwegian Captain is concluded by the 'Enterruption' of an opening of a door when ALP/Kate informs HCE that

if he was whishtful to licture her caudal [...], 'twas her hour for the chamber's ensallycopodium [...] and she was a wanton for De Marera to take her genial glow to bed. (FW 333.34-334.5)

A tripartite reply to ALP/Kate follows, indicating that the HCE addressed is a post-deluge manifestation of the singularity, a Wakean trinity (see below, *). The marriage of the 'omnipresent' Norwegian Captain to a young girl corresponds with the model of the second coming where the deity returns to a material form via his sexual desire for a young female (see below, *) following which cultural perception transforms the singularity into a trinity. The response of the trinity configuration not only highlights a father-son conflict, but also identifies the twin sons and a third HCE-conglomerate figure. A 'Mr ''Gladstone Browne''' answers Kate by stating that 'This is time for my tubble' (FW 334.6-7), followed by the response of a 'Mr ''Bonaparte Nolan''' that 'This is me vulcanite smoking' (FW 334.9-10). The reference to a pipe identifies him as a Cad figure, and he is associated with HCE by the further comment that 'one may heerby reekignites the ''ground old mahonagyan''' (FW 334.10-11). Finally there is a third response from the 'defender of defeater of defaulter of deformer of the funst man in Danelagh'; the third character is a 'born appalled noodlum' and the pair's 'cummal delimitator' who provides the overtly sexual comment upon his own departure: 'Oliver White, he's as tiff as she's tight' (FW 334.12-16). The diversion also parallels in its style the journey through the Museyroom and likewise the conclusion to the description of each of the trinity persona is 'Dip'. As HCE goes out through the door of life he must bow his head 'In reverence to her midgetsy', who begs a 'krk n yr nck!' (FW 334.17-19), recalling Kate's request to 'Mind your hats goan in!' (FW 8.9) on entering the Willingdone Museyroom, and the four Historians' query to HCE whether he 'tied yourself up that wrynecky fix?' (FW 480.23).15 The language of the pub's inhabitants indicates that the family romance acted out is a version of the archaeological picture, with the characters unwittingly participating in the recurring formula of Wakean history.

The events upstairs between HCE and ALP consist of 'He banged the scoop and she bagged the sugar' (FW 334.22-23), indicative on one level of their sexual congress. Meanwhile, the customers in the pub view a picture of a hunting scene, for they

done a stare. On the mizzatint wall. With its chromo for all, crimm crimms. Showing holdmenag's asses sat by Allmeneck's men, canins to ride with em, canins that lept at em, woollied and flundered.

So the katey's game. As so gangs sludgenose. And that henchwench what hopped it dunneth there duft the. Duras.

(Silents). (FW 334.24-31)

The door which introduced the diversion is closed by ALP/Kate and it is the above closing of the door of life which precipitates the second silence. The picture, a mezzotint, shows a shadow of the sexual union, akin to the photographic shadow upon the blind in Book III.4: 'O, O, her fairy setalite! Casting such shadows to Persia's blind! The man in the street can see the coming event. Photoflashing it far too wide' (FW 583.14-16). Its representational references to dogs and horses additionally echo the hunting scene of Book I.2, where HCE first receives his 'occupational agnomen' (FW 30.3). It is also a battle, alluding to Tennyson's Charge of the Light Brigade, and the closing of the door foreshadows the religious wars of his descendants, in a similar fashion to the conflict underpinning the sexual union of Book III.4:

Humperfeldt and Anunska, wedded now evermore in annastomoses by a ground plan of the placehunter, whiskered beau and donahbella. Totumvir and esquimeena, who so shall separate fetters to new desire, repeals an act of union to unite in bonds of schismacy. O yes! O yes! Withdraw your member! Closure. This chamber stands abjourned. (FW 585.22-27)

A more detailed description of the picture on the Magazine Wall in Book II.3 follows the shutting of the door and consequent '(Silents)'. The theme of the hunt is developed by the incorporation of the hunting song John Peel and the narrator suggests that the picture tells the story of a Christ-like 'madjestky' who has since been overwhelmed by the deluge of his descendants:

Yes, we've conned thon print in its gloss so gay how it came from Finndlader's Yule to the day and it's Hey Tallaght Hoe on the king's highway with his hounds on the home at a turning. To Donnicoombe Fairing. Millikin's Pass. When visiting at Izd-la-Chapelle taste the lipe of the waters from Carlowman's Cup.

It tellyhows its story to their six of hearts, a twelve-eyed man; for whom has madjestky who since is dyed drown reign before the izba. (FW 334.32-335.3)

The hunting song John Peel is also alluded to in a passage from the Norwegian Captain episode, where Howth rises before him as a chiaroscuro picture:

the headth of hosth that rosed before him, from Sheeroskouro, under its zembliance of mardal mansk, like a dun darting dullemitter, with his moultain haares stuck in plostures upon it, (do you kend yon peak with its coast so green?). (FW 317.32-36)

The lovemaking and hunt, however, is halted with the peal of thunder announcing HCE's fall: 'the hundt called a halt on the chivvychace of the ground sloper at that ligtning lovemaker's thender apeal' (FW 335.10-11). Following this act of explosive creativity, his demise at the hands of his offspring is signalled when the narrator introduces the story of how 'Bullyclubber burgherly shut the rush in general' (FW 335.13-14) and that a 'Wullingthund sturm is breaking' (FW 335.17). The Story of How Buckley Shot the Russian General begins soon after, and as an allegorical conclusion to HCE and ALP's sexual union, Butt explains how he shot the Russian General at precisely twelve noon: 'For when meseemim, and tolfoklokken rolland allover ourloud's lande, [...] I ups with my crozzier' (FW 353.15-20). That it is twelve noon is further confirmed several lines later where the stage directions to the Story of How Buckley Shot the Russian General state that 'They were precisely the twelves of clocks, noon minutes, none seconds' (FW 353.29-30) when with a similar 'thender apeal' the Russian General explodes with an 'ivanmorinthorrorumble' (FW 353.24).

The hunt in Book I.2 occurs on 'Hag Chivychas Eve' (FW 30.14) and also contains an allusion to the song John Peel. Typically, this hunting scene is also associated with the silence:

For he kinned Jom Pill with his court so gray and his haunts in his house in the mourning. (One still hears that pebble crusted laughta, japijap cheerycherrily, among the roadside tree the Lady Holmpatrick planted and still one feels the amossive silence of the cladstone allegibelling: Ive mies outs ide Bourn.) (FW 31.28-33)

A further manifestation of the picture as a hunting scene is found in Book I.4 in a passage which suggests that HCE saved his fox's brush, and his name for posterity, by playing possum. The narrator suggests that we 'View!' the scene of the chase:

by such playing possum our hagious curious encestor bestly saved his brush with his posterity, you, charming coparcenors, us, heirs of his tailsie. Gundogs of all breeds were beagling with renounced urbiandorbic bugles, hot to run him, given law, on a scent breasthigh, keen for the worry. View! (FW 96.33-97.2)

Consistent with the predictions of the Wake schematic, the narrator goes on in Book I.4 to explain that a subsequent 'Fugger's Newsletter' was produced, claiming 'He had laid violent hands on himself' (recalling the Prankquean episode) and that he had 'lain down, all in, fagged out, with equally melancholic death' (FW 97.31-33). In the four part cycle of Wakean history, the view or picture which follows the fall is correlated to the silence, and the human need for an explanation generates the ensuing letter, a textual second coming, which similarly precedes a second silence: 'Big went the bang: then wildewide was quiet: a report: silence' (FW 98.1-2). The inaccurate nature of such reports, however, is summarised in a later phase, 'real detonation but false report' (FW 129.15). The hunting picture is also alluded to in Book III.4, with George IV's visit to Dublin in 1821, where HCE is described as arriving tomorrow (that is, at dawn following Book IV) with 'his golden beagles and his white elkox terriers for a hunting on our littlego illcome faxes. In blue and buff of Beaufort the hunt shall make' (FW 567.23-25); the cycle of hunt, capture and resurrection entails that 'hounded become haunter, hunter become fox' (FW 132.16-17).

15 The phrase 'a crick in their necks' (U 7.1023) occurs in Stephen's 'A Pisgah Sight of Palestine or The Parable of The Plums', and similarly afflicts Bello's late husband, 'the sodomite with a crick in his neck' (U 15.3209-10).