2.6 The Third 'SILENCE'
The 'SILENCE' at 501.06 is appropriately triggered by the question: 'What is the ti ..?' incorporating the Cad's query regarding HCE's fall. It occurs in a chapter which separates the ascendancy of Shaun and Shem, and consists for the most part of the Four Historians' interrogation of Yawn. The present study suggests that a reading can be supported where Shaun is the dominant male at the outset of Book III, but following his departure into the afterlife at the conclusion of Book III.2, by Book III.4 Shem has inherited his brother's mantle. The silence of Book III.3 presages this change in power, but occurs in a chapter which is itself an exploration of silent legacy of a deposed HCE as a 'ghostly' hiatus between the brothers. In Book III, power shifts from one brother to the other in an evolving process over time rather than direct confrontation, with the twins alternating in their possession of Issy/ALP, and Book III.3 forms a spiritual interlude where the Four Historians interrogate characters from the Wake's historical past. This hiatus is prefigured in the Nightlessons chapter where Shaun and Shem's comments swap sides of the page, with the shift similarly separated by an interlude associated with the combined HCE character, a spiritual revenant: '— husk, hisk, a spirit spires —' (FW 287.18). In Book III.3, the Four Historians interpret the uncertain picture, 'the four of Masterers who had been all those yarns yearning for that good one about why he left Dublin' (FW 91.20-22), and as themselves storytellers (or gospellers) the information they glean from Yawn reverses the silence associated with the picture. As champion of HCE, Shaun himself is both an artifact and mouthpiece of HCE to be examined by the Four Historians, just as ALP is fathomed by Shem.
The exchange of power between brothers is not a case of one autocrat replacing another. It should be stressed that neither brother dominates to the complete exclusion of the other. Rather there appears an increase in one then the other's influence. In the post-HCE deluge of humanity, power is a cooperative affair. Thus Butt and Taff become 'one and the same person' (FW 354.8) following the explosion of Russian General. The combined HCE character is also a version of the picture, and as a living chiaroscuro, he is described as 'the shadow of Old Erssia's magisquammythical mulattomilitiaman' (FW 354.9-10). Harking back to the theme of 'chocolate with a soul' of the hinndoo and combining the historical Black Prince with the notion of a blank photograph, the third person is also described as the 'blank prints' (FW 387.20). The trinity also forms the basis of the taunt of the Mamalujo chapter, 'Three quarks for Muster Mark!' (FW 383.1). The reader is informed that the Tristan and Isolde romance is 'but an old story, the tale of a Treestone with one Ysold' (FW 113.18-19) and its reference to the tree and stone motifs (see below,*) similarly indicates the merged identity of Shaun and Shem. The Mamalujo chapter can be read as a Viconian age of heroes and marriage, a celebration of love following the overthrow of the patriarchal harem owner. It is in the Mamalujo chapter that the HCE of Book II.3 becomes 'more mob than man' (FW 261.21-22). HCE is replaced in the arms of Issy/ALP with a combination of his sons, the 'twone nathandjoe' (FW 3.12) character alluded to at the very outset of the Wake. Tristan is the 'twooned togethered' (FW 396.24) and in an intimate embrace with Isolde is 'her knight of the truths thong plipping out of her chapelledeosy, after where he had gone and polped the questioned. Plop' (FW 396.31-33). As well as a wedding proposal, this quotation recalls both the shooting of the Russian General, and the Cad's questioning. While Isolde declares her desire for Tristan, yet she is confused over who he is: 'By the cross of Cong, says she, rising up Saturday in the twilight from under me, Mick, Nick the Maggot or whatever your name is, you're the mose likable lad that's come my ways yet' (FW 399.25-27). Not only is physical and visual evidence of HCE fragmented by difference, but so too is his genetic legacy.
Following the demise of HCE, Shaun and Shem become complementary characters, each dominating society, or having access to Issy/ALP, in turn. Together, after Jarl van Hoother's 'first peace of illiterative porthery' they were to 'keep the peacewave' (FW 23.9-13). Each twin makes up half of the whole HCE, and their combined existence in turn forms the composite third character. Each son represents a facet of their progenitor, and together they comprise a social structure made up of classes with differing political persuasions, as is suggested in the Mookse and Gripes parable: 'The Mookse had a sound eyes right but he could not all hear. The Gripes had light ears left yet he could but ill see' (FW 158.12-13). Similarly, in the Burrus and Caseous story, the two contrary brothers are described as part of one system, philosophical and political: 'unless Burrus and Caseous have not or not have seemaultaneously sysentangled themselves, selldear to soldthere, once in the dairy days of buy and buy' (FW 161.12-14). Rather than a tripartite HCE, the unity of the twins and formation of the third persona in the Mamalujo chapter is symbolic, representing a living picture of HCE as the mass-man gheist, or Wakean trinity. Where HCE functioned largely, although not ultimately, in isolation, the social profile of the age of heroes and age of humanity require the participation of both twins, with each dominating their respective cooperative structures in turn.
At the outset of Book III, 'Stainusless, [...] Deliverer of softmissives' (FW 237.11-14) is dominant, and his ascendancy is prefigured by his victory over Shem in the game of colours (in a process described as the latter's 'naturel rejection' (FW 252.28)) and defeat of the Russian General. It is clear at this point that Shaun is fully in control of all socio-economic resources, particularly food, and he comments upon the contrary condition of his effeminate brother: 'Gemini, he's looking frightfully thin! I heard the man Shee shinging in the pantry bay. Down among the dustbins let him lie!' (FW 409.1-3). In the same chapter, as the Ondt with a monopoly of wealth and food, Shaun is again surrounded by the Flora girls, 'with Floh biting his leg thigh and Luse lugging his luff leg and Bieni bussing him under his bonnet and Vespatilla blowing cosy fond tutties up the allabroad length of the large of his smalls' (FW 417.17-20) in an 'allallahbath of houris' (FW 417.27-28). On the other hand Shem, as the Gracehoper, 'had eaten all the whilepaper' (FW 416.21) and with all the 'grillies in his head' thought he had 'the Tossmania' (FW 417.29-30). Prior to his creative sin, HCE is likewise portrayed as engaged in masturbation, as for instance is Jarl van Hoother of the Prankquean episode, who was 'laying cold hands on himself' (FW 21.11), and at the outset of Book III.4, Shem/HCE is similarly described as having 'the clookey in his fisstball' (FW 557.10). This isolation of the powerful, male deity contrasts sharply with the impossibility of reproduction in life without females, as stated by the sceptical Stephen Dedalus in Ulysses concerning both Shakespeare and the Judeo-Christian deity: 'glorified man, an androgynous angel, being a wife unto himself' (U 9.1052). The notion of 'being a wife unto himself' similarly finds expression in Jarl van Hoother's masturbatory creation ex nihilo and Shem's art (see also,* and *).
Shaun's response to Issy's confession in Book III.2, and the fear of being cuckolded that underlies his litany of threats to both Shem and Issy, indicate that Shem inherits Issy's affections with the passing of time. Moreover, Shaun's successor in Issy's arms appears to be a Shem very like Joyce himself:
He's the spatton spit, so he is, scaly skin and all, with his blackguarded eye and the goatsbeard in his buttinghole of Shemuel Tulliver, me grandsourd, the old cruxader, when he off with his paudeen! [...] Ah, he's very thoughtful and sympatrico that way is Brother Intelligentius, when he's not absintheminded, with his Paris addresse! [...] and yunker doodler wanked to wall awriting off his phoney. (FW 464.11-22)
Shuck her! Let him! What he's good for. Shuck her more! Let him again! All she wants! Could you wheedle a starveling encore out of your imitationer's jubalharp, hey, Mr Jinglejoys? (FW 466.15-18)
The Shem that Shaun describes also resembles Stephen Dedalus, whose 'intellectual imagination' (U 15.4227) conjures an absinthe-inspired apparition of his dead mother who smells of 'rosewood' (U 1.104) and 'wetted ashes' (U 15.4182), which are features ascribed to Shem: 'he'd soon arise mother's roses mid bedewing tears under those wild wet lashes onto anny living girl's laftercheeks' (FW 463.9-11). Shem's weapon is time, and after Shaun/HCE departs, Shem/HCE becomes the resident of the 'Winehouse' (FW 14.14) in Book III.4. That Shem would inherit the Winehouse in an age of peace is foretold at the very outset of the Wake: 'Jhem or Shen brewed by arclight and rory end to the regginbrow was to be seen ringsome on the aquaface' (FW 3.13-14). While there is an element of Shaun in the latter quotation, the Wake's schematic similarly foretells Shem's cyclic future and past as: 'Caddy went to Winehouse and wrote o peace a farce' (FW 14.13-14). As 'Porter' in the age of humanity that follows the departure of the soldier-postman Shaun, the civilian Shem/HCE owns the Winehouse. Porter is described as having a 'black patch' (FW 559.25) recalling the eye patch Joyce wore during treatment for glaucoma. That both Shem and Joyce in Finnegans Wake are equivalents of the Russian General is indicated in the following: 'And daunt you logh if his vineshanky's schwemmy! For he is the general, make no mistake in he. He is General Jinglesome' (FW 229.4-6). In Book IV, Matthew accordingly describes the Porter's pub as 'the latterman's Restarant' (FW 229.4-6). In Book I.5, the Professor/Shaun foretells the explicit fornication of Book III.4 when discussing ALP's destiny to dominate: 'Yes, before all this has time to end [...] the manewanting human lioness with her dishorned discipular manram will lie down together publicly flank upon fleece' (FW 112.18-23); in his preoccupation with the deity, mirroring ALP's, Shem is also described as her disciple: 'Formelly confounded with amother' (FW 125.11-12).
The narrator of Book IV confirms Shem's incarnation as Porter by stating that the sun-god HCE was to rise 'after the night of the carrying of the word of Nuahs [Shaun] and the night of making Mehs [Shem] to cuddle up in a coddlepot' (FW 593.21-23). The 'coddlepot' is both the kettle of fish of ALP's womb and the sexual cuddle/tea-making of the Norwegian Captain and Kersse's daughter following their marriage: 'they pulled down the kuddle and they made fray' (FW 330.25-26). The 'coddlepot' also alludes to Bloom's phrase describing a racing cyclist in Ulysses: 'cyclist doubled up like a cod in a pot' (U 5.551-52). The 'coddlepot' or 'cod in the pot' in Book III.4 alludes to the bent-over position of ALP 'riding' upon HCE, and is an ironic perception of the contemporary controversy over women bicyclists. The use of a condom in the sexual act is inconsistent with Shaun's characterisation as a devout catholic; thus it is Shem/HCE who is observed in sexual union with ALP from four angles in Book III.4. Nonetheless, for not 'wetting the tea' when in Finnegans Wake 'Houseanna! Tea is the highest!' (FW 406.28) he falls, both as a consequence of natural disasters and persecution:
ultimatehim, fell the crowning barleystraw, when an explosium of his distilleries deafadumped all his dry goods to his most favoured sinflute and dropped him, what remains of a heptark, learyeyed and letterish, weeping worrybound on his bankrump. (FW 589.35-590.3)
As a manifestation of Shem, the description of HCE's fall in the above quotation accordingly suggests he is 'letterish' rather than 'liverish' from drinking. The identification of Shem with the brewer Porter in the present study is not inconsistent with a reading of the events in the Porter bedroom as a continuation of the narrative from Book II.3, where HCE is summoned upstairs by Kate. Rather, the meta-historical time frame of the Wake allows the narrative of the pub scene to occur over several Viconian ages. The deity hotelier of Book II.1 falls as the Russian General and he is given his farewell at the conclusion of Book II.3. Similarly, Shaun, as dominant male at the outset of Book III.1, is farewelled at the conclusion of Book III.2. The third and final departure of the dominant male is that of Shem subsequent to his incarnation as an HCE figure at the conclusion of Book III.4. Following Shem/HCE's fall, his access to the rainbow girls is also curtailed, and the use of the French letter (or condom) eliminates the possibility of his genetic reincarnation: 'That's his last tryon to march though the grand tryomphal arch. His reignbolt's shot' (FW 590.9-10).
The Third Watch of Shaun, where the third silence occurs, separates the ascendancy of Shaun and Shem, and the ages of heroes and humanity respectively. The third silence occurs in this hiatus soon after a litany of 29 phrases meaning or associated with death: one for each of the Flora girls. The litany is also suggestive of the cries of lovemaking, ironically associated with the fall of HCE, and appear to be uttered by Issy:
— Bappy-go-gully and gaff for us all! And all his morties calisenic, tripping a trepas, neniatwantyng: Mulo Mulelo! Homo Humilo! Dauncy a deady O! Dood dood dood! O Bawse! O Boese! O Muerther! O Mord! Mahmato! Moutmaro! O Smirtsch! O Smertz! Woh Hillill! Woe Hallall! Thou Thuoni! Thou Thaunaton! Umartir! Udamnor! Tschitt! Mergue! Eulumu! Huam Khuam! Malawinga! Malawunga! Ser Oh Ser! See ah See! Hamovs Hemoves! Mamor! (FW 499.4-10)
The quotation begins with a statement which could be read as 'Father goes to the gully and gave for us all, and all his 29 calisthenic naughties, dancing, dirged: Death!, Man in earth!, Death! etc.'. There is also an echo of the Christian theme of Jesus sacrificing himself for mankind, in this instance not only through his death, but as Adam in the Wakean original sin and 'happy fall' of fornication. Although impotent and not physically able to interfere with his usurpers, through Yawn he denies his descendants any unified perception of himself, and instead inflicts upon them the difference and confusion of a Babel: 'with all that's buried ofsins insinced insidesofme' he 'can sit up zounds of sounds upon him' (FW 499.25-27). The Four Historians are astonished at the emergence of HCE via Yawn, and at the onset of the sounds sourced from the past or afterlife, one narrator urges the others to view an aural picture: 'He may be an earthpresence. Was that a groan or did I hear the Dingle bagpipes Wasting war and? Watch!' (FW 499.28-29). In the midst of the various noises and responses from the 'otherworld' the hunting scene, as part of the Wakean original sin of sexuality, is alluded to:
— The cry of the roedeer it is! The white hind. Their slots, linklink, the hound hunthorning! Send us and peace! Title! Title! (FW 500.12-13)
Also prior to the silence come a series of invocations to Issy for a chance to re-enter life through genetic reproduction, a second coming in effect, and the phrase 'zinzin' is similarly repeated until the critical question is posed:
— Tit! What is the ti . . ?
Act drop. Stand by! (FW 501.5-7)
What is portrayed as visible following the silence is a stage backdrop, and one of the Four Historians warns, 'Moisten your lips for a lightning strike and begin again. Mind the flickers and dimmers!' (FW 501.17-18).