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6.6 Documents Number One and Two

That there are two types or two different perceptions of the letter in the Wake is confirmed by the recurring references to 'document number one' and 'document number two'. These apparently separate documents describe versions of the letter in terms of the stone and the tree motif; the first is handed down as a fragmented relic, whether archaeological, literary or genetic, whereas document number two concerns new creation. Document number one, the voice or evidence of authority from the past, is accordingly a picture of the deified HCE. It is investigated, much like the original letter discovered by the hen, by an archaeological dig:

in the matters off ducomans nonbar one [...] disassembling and taking him apart, the slammocks, with discrimination for his maypole and a rub in passing over his hump, drogueries inaddendance, frons, fesces and frithstool. (FW 358.29-36)

Various deductive assumptions concerning it are made which focus upon a past sin of creativity, fall and subsequent reconstruction of an HCE figure, such as '1) he hade to die it, the beetle, 2) he didhithim self, hod's fush, 3) all ever the pelican huntered' (FW 358.36-359.1). Moreover, document number one corresponds with the picture motif of Finnegans Wake, for rather than read, it is seen. References to it throughout the Wake emphasise its unreadability and its composition of cultural or biological artifacts relating to HCE:

The original document was in what is known as Hanno O'Nonhanno's unbrookable script. (FW 123.31-33)

to shellalit on the darkumen (scene as signed, Slobabogue). (FW 350.29-30)

the auctioneer there dormont, in front of the place near O'Clery's, at the darkumound numbur wan, beside that ancient Dame street. (FW 386.19-21)

dogumen number one [...] an illegible downfumbed by an unelgible? (FW 482.20-21)

With the tyke's named moke. Doggymens' nimmer win! You last led the first when we last but we'll first trump your last with a lasting. (FW 528.32-34)

Consistent with the discussion of the picture and wall motifs above, document number one also corresponds to the various references to an initial creation of poetry/pottery overtly associated with the male excreta motif:

And he clopped his rude hand to his eacy hitch and he ordurd [...]. And that was the first peace of illiterative porthery in all the flamend floody flatuous world. (FW 23.3-10)

The stain, and that a teastain (the overcautelousness of the masterbilker here, as usual, signing the page away), marked it off on the spout of the moment as a genuine relique of ancient Irish pleasant pottery. (FW 111.20-23)

More poestries from Chickspeer's with gleechoreal music or a jaculation from the garden of the soul. (FW 145.24-26)

he downadowns his pantoloogions and made a piece of first perpersonal puetry that staystale remains to be. Cleaned. (FW 509.34-36)

I have been reciping om omominous letters and widelysigned petitions full of pieces of pottery about my monumentalness as a thingabolls. (FW 543.6-8)

While document number one focuses upon a material, often specifically excreta-related, creativity, document number two is oriented toward new productions, incorporating both literary creation and the biological reproduction of HCE facilitated by his descendants. Document number two is differentiated from the former in that it is centred upon the female and her importance to new life and creativity, and thus ALP describes Issy as her 'deckhuman amber too' (FW 619.19) in the postscript to the final letter of Book IV. Further, document number two includes reference to all the members of the Wakean family romance:

decumans numbered too, (a) well, that the secretary bird, better known as Pandoria Paullabucca, [...] indiscriminatingly made belief mid authorsagastions from Schelm the Pelman to write somewords to Senders about her chilikin puck, laughing that Poulebec would be the death of her, (b) that, well, that Madges Tighe, the postulate auditressee, [...] hoping to Michal for the latter to turn up with a cupital tea [...] so that the loiter end of that leader may twaddle out after a cubital lull with a hopes soon to ear, comprong? (FW 369.24-370.1)

In the above, Shem provides the authorial pen and inspiration for ALP's 'belief', and Shaun as 'Michal' provides the sperm or 'tea' of the biological letter. While central to document number two, the Wake's women are portrayed as the means of production in the reincarnation of HCE. A duality of male and female subject matter associated with the respective documents is also evident in the following where the first letter described emphasises female sexuality, 'apurr a puss' and 'brid', while the 'others' describe the trade and warfare of the 'antediluvious' period of the Wake:

One's apurr apuss a story about brid and breakfedes and parricombating and coushcouch but others is of tholes and oubworn buyings, dolings and chafferings in heat, contest and enmity. (FW 597.16-19)

The dichotomy between documents one and two also relates to the duality of the Old and New Testaments. When Shem prompts ALP to resurrect the deity/letter from her womb/tip he is referring to himself, paralleling the birth of Christ by Mary at the instigation of the deity and Christ's subsequent identity as the deity reborn. Shem's literature imitates the biological creativity of the original sin, but he is Christ-like in that he does not participate in sexual reproduction. Excluded from sexual access to females, and as such an outcast, Shem, similar to Stephen's depiction of Shakespeare and the deity as 'a wife unto himself' (U 9.1052), and must instead seek his escape through time via a textual reproduction of life. It is Father Michael, the Shaun/HCE figure, who 'wets the tea', and allows the ancient HCE to biologically reassert himself in an identity defined by the textual letter. Shaun progresses the cyclic history of HCE, whereas Shem conversely seeks understanding of HCE through comprehension of the cycles of the past: 'Hams, circuitise! Shemites, retrace' (FW 552.8-9). Both letters however may be identical, with time causing them to be perceived as separate documents; one is a blurred remnant of the past, the other promises a new religion in the future, but the cyclic time scheme of the Wake allows them to be one and the same phenomenon. In effect, the fragmentation imposed by time, and the barrier to knowledge posed by the silence may make the picture/letter of the previous Wakean cycle appear different to the letter composed in the new cycle. Thus the biological letter produced by Issy for Father Michael also forms part of the picture when she asks Shaun to 'scene' or sign it:

It was heavily bulledicted for young Fr Ml, my pettest parriage priest, and you know who between us by your friend the pope, forty ways in forty nights, that's the beauty of it, look, scene it, ratty. Too perfectly priceless for words. (FW 458.3-7)

Signing with a signature containing the genetic picture of HCE, Shaun's signature is a 'scene' which Issy considers too 'priceless for words'. This connection between the picture and letter, the scene as genetic/textual signature, suggests that all new creativity represented by document number two is reduced with time to an archaeological relic forming part of the picture of HCE encapsulated in document number one.