The elucidation of the separate contributions of the male and female in Finnegans Wake, in particular the function of the female as the material container of an uncertain and potentially diverse male genetic pattern and textual construction, has also entailed examining the function of sexual union in the text. Sexual creativity is paralleled by the non-biological creation of Finnegan's wall and Shem's letter, and both biological and non-biological modes of creativity can be identified in the Wake as versions of its original sin. Not only is writing identified as a symbolic form of sexual union which reproduces HCE, but so too is reading, an act which construes the masculine logos within the feminine textual signifier, and mirrors the perception of HCE's phallus within the feminine rainbow of the 'collideorscape'. The conclusion to this study stresses the addition of a sexual dimension in the Wake's reinterpretation of Christian mythology, and suggests that the familial relationships underpinning concepts such as the Wakean original sin also pervade in a broader sense the social institutions which have replaced the original tribal family structure. Given the centrality of sexual relations in the cycles of creation and fall in the Wake, the implications of Joyce's notion of free love is also examined, notably its role in undermining the reproductive cycle of the patriarchy. Moreover, in diffusing masculine conflict for sexual access to females, particularly in sub-conscious patterns of competitive behaviour relating to sexuality, the conclusion suggests that such a change in human relations would engender a longer lasting peace and free creativity in general.
Despite the model of the cyclic renewal of the masculine logos and ALP's own exhortations, Finnegans Wake does not specifically advocate the return of HCE. That HCE potentially may return in the future, however, is quite explicit. Joyce had at hand numerous pertinent examples of the 'fundamental' creator and of the later 'dominant' male who implements the creative ideology of the former, such as Nietzsche, whose theories are distorted by Hitler for manipulative purposes: 'One bully son growing the goff and his twinger read out by the Nazi Priers' (FW 375.17-18). The expected resurrection of the 'dominant' HCE would similarly entail dictatorship and war: 'Foyn MacHooligan. The leader, the leader!' (FW 593.12-13). The salient example of the 'fundamental' and 'dominant' in history for Joyce remains respectively Christ and the catholic Church. The remains of battles and the violence of religious confrontation enumerated at the outset of the Wake not only recount the fractured cultural legacy of a past HCE, but also the consequences of any future reincarnation of HCE. The autocratic omnipotence of the HCE deity is such that feminine textuality disappears following the conclusion of Finnegans Wake, and his picture only begins to be textually (and historically) reconstructed following the fall which precedes the renewed beginning. On the other hand, Finnegans Wake does not endorse a nihilist 'nothing' against the 'all' of the masculine logos, that is, an infinite continuation of the silence where the masculine creative force is hidden within 'Mum's mutyness' (FW 53.3). An abundance of the feminine signifier entirely without signified is an unsuitable model of existence, for HCE is 'The eversower of the seeds of light to the cowld owld sowls that are in the domnatory of Defmut' (FW 593.20-21). Nevertheless, each extreme of the Wakean cycle, the alternate being and nothingness of HCE as such, contains the trace of its opposite which allows its return, and elements of both positions are essential for change, self-questioning and cultural growth. Thus while the feminine negation in the Wake implies a termination of the masculine logos: it conversely preserves and renews it. Rather than a cyclic oscillation between such polarities, an alternative position in Finnegans Wake consists of the union of both as equals, where the letters of sexual union and artistic creation unite both male and female, signified and signifier, and, in valuing difference rather than unity, the return of the deity and his judgement day is resisted.