part0037

To review a bit: we have seen that Joyce's function,

, based on Dodgson/Carroll's symbol for mathematical existence, is strikingly similar to the Tao or no-mind of Chinese philosophy, or may be the class of all minds (which is not a mind for the same reason that the class of all kangaroos is not a kangaroo), and is isomorphic to the DNA in that it expresses itself in two sub-functions,

and

which may be considered similar to the two coils of the DNA helix (or the male and female members of the Mediterranean-Celtic-Norse-British gene pool swarming around Dublin Bay for the past 5000 years approximately.)

More simply,

can be considered that which the Nobel laureate in quantum mechanics, Erwin Schrödinger, attempted to define in his What Is Life? when he argues that "mind does not exist in the plural" and that the sum total of all individual minds is still one. This is what another quantum physicist, Dr. David Bohm, calls the "mind-like" aspect of the Hidden Variable which, Bohm assumes, underlies the hologrammic structure which allows the information of any part of the universe to be equally present in any other part of the universe. (Bohm's ideas are presented at length in his Wholeness and the Implicate Order. I comment further on these notions of both Schrödinger and Bohm in my recent work, The New Inquisition , Falcon Press, 1987.)

Dr. Bohm is not the only physicist who thinks the Hidden Variables have "mind-like" characteristics. Dr. E.H. Walker in his "The Complete Quantum Anthropologist " (Proceedings of the American Anthropological Association, 1974), Dr. Nick Herbert in Quantum Reality, and Dr. Fritjof Capra in The Tao of Physics , have all expressed similar views about the mind-like implications of the non-local correlation demanded by the basic quantum equations; and, of course, when these equations were still new, Sir James Jeans said they made the universe look "more like a great thought than a great machine."

Returning to Finnegans Wake , we have seen that the fourfold structure of "mind" (or the levels of organization in the brain, going down to the cellular and, finally, atomic and sub-atomic levels?) is indicated in a general way by Joyce's functions of

or conscious ego,

or personal unconscious,

or collective unconscious and

the non-local function which, we have just summarized, may be "no mind" (as the Chinese say) but may be the class of all minds or at least have Bohmian "mind-like" aspects. With more specificity, Joyce uses a more complex symbology in which nonlocal

manifests as "male"

and "female"

, subdivided into an active male force,

a passive male force,

, an active female force,

, a passive female force,

, and two variables,

and

, which alter these active and passive forces into their opposites.

We have seen that this is isomorphic with the cosmology of I Ching, in which the nonlocal Tao functions as "male" yang (

) and "female" yin (

), subdivided into active yang (

), passive yang (

), active yin (

) and passive yin (

), with the moving lines (

and

) serving, like Joyce's

and

, to convert active and passive into their opposites. The DNA script is also isomorphic to this, as can be seen in this summarizing diagram:

A, C, G and T are the four amino acids bonding the DNA; and

are active yang, passive yang, active yin and passive yin. When the first set is replaced by A, C, G, U in making an RNA messenger, these four are permutated into all possible combinations of three, and we get the 64 "words" of the genetic code; permutating the 4 elements of active and passive yin and yang, we get the 64 hexagrams of I Ching. Substituting Leibniz's 1 and 0—"that upright one and that naughty besighed him in zeroine" as Joyce calls them—we can use the same system to generate the 64 numbers from 0 to 63 in the binary notation that our computers use to "think" (in about the same sense that evolution or I Ching may be said to "think.")

Of course, binary lacks the dynamic (or evolutionary) element contained in the moving lines (

) which give an I Ching hexagram two meanings. This process element is present in Joyce, as we have seen, as the dynamic functions,

, which unifies

and

, and I which unifies

and

In genetics, the dynamic factor is a combination of mutation and natural selection (Joyce's "hatch-as-hatch can"). The absence of these evolutionary functions in binary may explain the fact that those computer scientists working on AI (Artificial Intelligence) continually promise mountains and deliver molehills. Perhaps they need to break out of a static binary into a moving binary as dynamic as I Ching?

It is passing strange to note that Joyce's general functions also seem to be isomorphic, in a sense, with quantum mechanics, and especially with the Hidden Variable and hologram models. To present Joyce's "family tree again:

In terms of the Hidden Variable theory, this can be decoded or translated as

Joyce’s

stands in well for the particle aspect, since it means “mountain” (in Chinese) among other things. Similarly,

is a good wave function, since it is associated with the river, and is coincidentally used in many mathematical wave equations. The impossibility of separating particle and wave aspects (Bohr’s Principle of Complimentarity) is entirely isomorphic to Joyce’s mingling of the male

and female

, which we have already noted. The isomorphism of this quantum principle with I Ching was recognized by Bohr when he took the Taoist yin-yang symbol for his Coat of Arms when knighted by the Danish Court.

Similarly, if Joyce’s

and

(active and passive yang) are the Archangle Michael and Satan on the cosmic level, and two feuding brothers, Shem and Shaun, on the local Dublin level, it makes sense for them to be positive and negative particles on the quantum level. It is almost too neat that quantum mechanics includes the Aristotelian excluded middle, Joyce’s

, as a neutral particle.

The wave aspect of matter (

) is a bit more complicated. According to the Schrödinger equations, the state vector of a quantum wave always has a minimum of two values, rather like Joyce’s

and

. These only “collapse” (that is the word used) to one value, like Joyce's I , after a measurement has been taken—which is why most quantum physicists say the universe is "in every possible state" before we measure it. The Hidden Variable theory says that what determines the resultant I is the non-local hidden variable which they write c, and which seems to be totally isomorphic to Joyce's

Those who deny the Hidden Variable must conclude, as Erwin Schrödinger demonstrated with mathematical precision, that both values of the state vector co-exist and thus that a cat may be dead and alive at the same time. Since I have explained this Schrödinger 's Cat paradox at length in other works—including my three volume science-fiction comedy, Schrödinger 's Cat —I will only mention here that FW is isomorphic to that model also, since Finnegan is both dead and alive all through the book.

(In a deeper sense, every word in FW is like Schrödinger's Cat in that the state vector of the whole system gives it a minimum of two values. Joyce's "chaosmos," for instance has the two values, "chaos" and "cosmos"; his "washup" on the book's last page—I sink I'd die down over his feet, humbly dumbly, only to washup —has the two minimum values of housework and worship, with a hidden value, in context, which contains Mary Magdalene washing the feet of Jesus as a form of worship; etc.)

As Dr. John S. Bell has pointed out, if there is a nonlocal hidden variable, or a set of nonlocal hidden variables, they will function the same in any cross-section of space-time that we examine. This is what inspired Dr. Bohm's hologram model of the universe, in which any bit contains the information of the whole. Joyce seems to be prescientifically anticipating this hologram model by writing FW in what I have called hologrammic prose, in which any dozen words, analyzed in full, turn out to include the whole structure of the book in miniature.

Joyce was paying close attention to modern physics while writing FW . On page 51 he alludes to Heisenberg's Uncertainty Principle:

On pages 149-168, there is lengthy dissertation on "the dime-cash problem" or why Earwicker did not give any money to the Cad in the park, which is simultaneously a discourse on "the time-space problem'' or the time and space theories of Einstein, amusingly called "Winestain." Within this long oration, the Mookse and the Gripes debate Catholicism versus its derivative heresies at length, but the Papal Mookse is not only a

or Abel figure but is clearly identified as space (he lives "eins within a space" instead of "once upon a time" and being the Pope lives in Room and/or Rum which play Rome against German Raum , space). The Gripes, meanwhile, is Cain, the Gnostics, a

figure, and a defender of both Einstein and Joyce. On one level the debate is about space-oriented arts like painting (

) in opposition to time-oriented arts like music (

), with the eventual synthesis of both into Joyce space-time prose (

) being gently hinted.

In the "Tavern" chapter, pages 309-382, the story of Buckley and the Russian General is told at length; but Joyce intercuts this with hundreds of other battles from other epochs of history, with special attention (of course) to Clontarf and Waterloo. Curiously, there is a strong quantum mechanical theme running through this catalog of war and violence, and some of it seems very eerily prescient for a book published in 1939:

On page 313,

is "blown to Adams," dragging us back to Genesis again but foreshadowing nuclear war. On page 333, this comes back in the phrase "split an atam" (which again evoked Atum creating the universe by masturbating). On page 339, somebody speaks in "lipponene longuedge" which can only be Nipponese language, to say "Sehyoh narar, pokehole sann." If this is Japanese, it says "Sayanara, Pookah-sann" (Farewell, honorable Pookah) the Pookah being an ancient Celtic rabbit-god which, oddly, became Puck in Shakespeare. If one looks at the mixed Yiddish and Norse roots, of course, this sentence is also saying, "See the hunchbacked fool," which is also appropriate to the context in which a hunch backed sailor is in conflict with a greedy tailor, and I think the s-t transformation of sailor to tailor suggests Einstein's s-t (space-time) equations. On page 349 we have "the charge of the light barricade" combining Buckley's adventures in the Crimean War (the charge of the light brigade, which involved Brown and Nolan, remember?) with Einstein's e = mc2 and the acceleration of particles in a cyclotron. The sentence just before this on page 349 contains "guranium" which is a flower, the geranium, with a heavy dose of uranium, the trigger of the atomic bomb. All of this is explicable on the basis of Joyce's study of what physicists were talking about before he finished his book in 1939, although the Japanese reference is distinctly spooky. What the Rationalist will find most annoying, however, is the reference, within this long atomic chapter, on page 315, to "nogeysokey." I don't know what that can mean except Nagasaki. . . .

Joyce's second fourfold function, X, which signifies water, fire, earth and air or Matt, Mark, Luke and John or the compass points, etc. is also an interesting isomorph with modern physics which recognizes four forces constraining all quantum systems:

is a symbol that has so many meanings most Joyce scholars have been totally baffled by it. It is, among other things, Finnegan's coffin and the bed in which Earwicker lies dreaming all through the book. It is also Phoenix Park, and the Garden of Eden, and Noah's Ark and the battlefield of Waterloo and any place and every place. The best description of

, I think, is to call it a localization within space-time wherein the nonlocal functions are temporarily manifest. That is, systems or archetypes like

and

etc. function everywhere and everywhen (that's what nonlocal means, after all) but □ is an Einsteinian (space-time) cross-section of these atemporal aspatial patterns or archetypes. Joyce may have used the symbol

, because it has four sides, to represent the four dimensions of space-time.

To say it otherwise,

and

and all the other nonlocal functions we have been considering appear in the

cross-section called Genesis as Adam and Eve and Cain and Abel. They appear in the

cross section of I Ching as yang and yin and active yang and passive yang. They appear in Dublin as Earwicker and his wife and their two twin sons. They appear in genetics as the two coils of DNA and the first two bonds, , A and C. Wherever one takes a cross-section of any sort (

) these nonlocal functions must appear, if they really are nonlocal.

One reason the Dublin, Ireland / Dublin, Georgia parallel appears conspicuously on the first page of FW is that Joyce is intent on making the reader see that

is a variable in FW. The normal waking mind, that is, perceives one

cross-section (or reality-tunnel) at a time; the dreaming mind can be in several

s simultaneously. This is partly why Yositani Roshi said we all achieve Enlightenment in our sleep and Zen is just a trick for doing it while awake.

Unless I am very much mistaken, Joyce has taken great care that

never has a single value in any of its appearances; it is always at least two-valued (like the Schrödinger state vector). Thus, in the opening words, which we know well by now, "riverrun, past Eve and Adam's . . ."

is simultaneously Merchant's Quay in Dublin where the river Anna Liffey passes the Church of Adam and Eve and also the Garden of Eden where four rivers flowed past the original Adam and Eve. In the tavern chapter, analyzed above,

is the Crimea, where Buckley shot the Russian General, but it is also every other battle in history, and, evidently, Nagasaki. Even at Finnegan's Wake in chapter one,

is only Finnegan's coffin part of the time; the mourners speak in the tones of the jurors in the later trial scenes, so

is also the Four Courts in Dublin where Earwicker's sexual offenses are minutely examined. If at any point, the reader thinks that

is one specific space-time cross-section, a little analysis will show, in the multi-linguistic puns, that another space-time locale,

, is also present. The events of FW all take place, as Joyce tells us once, "at no spatial time."

FW also includes a sevenfold function for which Joyce provided no symbol in his notebooks—unless it is some aspect of the mysterious S which seems to combine the serpent in Genesis, the Cad in the park, all servants and slaves, and the Norse-Danish invaders of Ireland (at least). The seven appear often as the colors of Newton's prism:

They also become, at times, the seven souls of Egyptian theology, the seven chakras of kundalini yoga, the seven days of the week, etc. In Chapter 9, based on children's games, they are seven girls named R ubyretta, A rancia, Y illa, greeneriN , B oyblue, O dalesque and W aters. (The emphasis is mine but the capitalization is Joyce's, to ensure that we do not miss the delightful R A Y N B O W, which appears to be an unconscious elaboration of the conscious mnemonic Roy G. Biv which all first-year physics students memorize.) The rainbow, of course, brings us back to the Noah's flood theme, because Jehovah put a rainbow in the sky, after killing most of humanity off, as a promise that He would not be so rash in the future. But, as Glasheen points out in her various Censuses to FW , there are also strong suggestions of Mr. Willie Hughes, "the man of all hues," who was Oscar Wilde's candidate for the mysterious homosexual lover, Mr. W.H., in Shakespeare's sonnets.

It is curious but many of Joyce's variations on these seven RAYNBOW girls or Newton's spectrum exfoliate into eight and conclude with the initials LSD:

If nonlocal

appears as seven colors to human perception in space-time, then the seven/eight are a lovely isomorph of Timothy Leary's neurological model of consciousness in which there are seven circuits in the nervous system, akin to the Hindu chakras, and one nonlocal circuit, akin to Joyce's

The curious reader may pursue this isomorphism further in my book Prometheus Rising , (Hilaritas Press, 2016) or simply by meditating on the fable of Snow White and the Seven Dwarfs. For now, it is sufficient to note that Leary's circuits are also isomorphic, like Joyce's Seven, with the days of the week:

Monday = the day of the moon goddess = bonding to the Mother = Leary's oral bio-survival circuit. Joyce's Rubyretta refers to the infantile bonding of this circuit by a reference back to the first page of the Portrait of the Artist : "When you wet the bed first it is warm then it gets cold."

Tuesday = the day of the war god, Tuew = anal territorial dispute = Leary's anal-emotional circuit. Joyce's Arancia refers to this circuit by combining William of Orange, as symbol of all Ireland's invaders, with Ares, the Greek god of war.

Wednesday = the day of the god of communication, Wotan = speech = Leary's semantic circuit. Joyce's Yilla refers to the gold of Mercury, god of communication.

Thursday = the day of the father god, Thor = parenthood = Leary's social-sexual circuit. Joyce's greeneriN refers to the "four green fields of Erin," an Irish symbol of social harmony.

Friday = the day of the sex goddess, Freya = Tantric rapture = Leary's neurosomatic circuit. Joyce's Boyblue refers to the psychological androgyny of this circuit.

Saturday = the day of the god of the past, Saturn = genetic memory = Leary's neurogenetic circuit (Joyce's

) Joyce's Odalesque refers to this circuit in its familiar mythic form as a nude female symbolizing Earth.

Sunday = the day of the sun god = illumination = Leary's metaprogramming circuit. Joyce's Waters refers to this circuit in its oceanic and floating aspect.

The same correlates appear in all the Northern nations of Europe. In the southern Latin nations, one finds the same isomorphism after replacing Tuew with Mars, another war god, Thor with Jove, another father god, and Freye with Venus, another sex goddess.

Of course, these seven rainbow colors (or RAYNBOW girls when they appear as Rubyretta, Arancia, Yilla, greeneriN, Boyblue, Odalesque and Waters) are linked by Joycean puns to Isa Bowman, who first played Alice in Wonderland on the stage and aroused in Carroll/Dodgson the same ambiguous affection as the original Alice Pleasance Liddell. From a RAYNBOW to a Bowman (whose first name, Isa, suggests the two Isoldes) easily leads to Strongbow. Who was he? The leader of the "Anglo-Norman" (British) invasion of Ireland, which began on 23 August 1170. Oddly it was on another 23 August, in 1921, that Joyce had his celebrated experience of discussing synchronicities when a large black rat suddenly ran across the floor, scaring the blue Jesus out of him, by Christ. (It was also on an August 23, in 1985, that I gave a seminar on these isomorphisms at Esalen Institute.) Strongbow was Earl of Pembroke, and another Earl of Pembroke, nearly 500 years later, became associated with Shakespeare and is considered the possibly homosexual companion in the sonnets, Mr. W.H. That Earl of Pembroke was named William Herbert, not Willie Hughes, as in Wilde's more extravagant theory. It is odd, though, that the seven colors bring us to two different theories about the identity of Mr. W.H., isn't it?

The next of Joyce's major system functions, abbreviated O , first appears on FW page 6 as "workingstacks at twelvepins a dozen." Workingstacks seems to combine smokestacks with working stiffs (Irish slang for workingmen); but "twelvepins a dozen" sounds like twelve pence a dozen— a typical price for cheap vegetables or eggs in Joyce's day. However, the Twelve Pins is also a mountain range in the part of Connacht called The Joyce Country, where Our Man's ancestral tribe long held power. (Hebrew ben means son and these twelve often appear as Freud's hypothetical band of brothers killing the primal father.)

But when the O appear the second time, they are neither mountains nor coins (nor sons) but twelve mourners at Finnegan's wake further down on page 6

That is, they are dour and dismal but also duodecimal, like the traditional coinage system from Babylon until fairly recently in history (until a few years ago in Ireland and England). Later the O become the 12 signs of the Zodiac, the 12 apostles of Jesus, the 12 months of the year, and every other 12-fold function Joyce can think of, but most often they are the 12 jurors who continually pry into Earwicker's sexual offenses, always with the -ation clangs (already beginning in the passage cited above from page 6) growing longer and more suggestive. Here they are on page 142:

those component partners of our societate, the doorboy, the cleaner, the sojer, the crook, the squeezer, the lounger, the curman, the tourabout, the mussroomsniffer, the bleakablue tramp, the funpowtherplother, the christymanboxer . . . latecomers all the year's round by anticipation . . . the porters of the passions in virtue of retroratiocination . . . contributting their confligent controversies of differentiation . . . crunch the crusts of comfort due to depredation, drain the mead of misery to incur intoxication, condone every evil by practical justification and condam any good to its own gratification

Guy Fawkes is pronounced Guy Fox and links to the Parnell and Wilde fox-hunt themes. How a Guy Finks and Fawkes When He is Going Batth is one of the alternative titles for FW in the text itself, but Joyce, an anarchist, probably knew the favorite English anarchist joke, which was to urge people to vote for Guy Fawkes, “the only man to ever enter Parliament with honest intentions.”

and then the -ation chant gradually merges the O with everything that is legal or theological or in some way threatening to the ordinary citizen. "The State is concentric, but the individual is eccentric," was Joyce's anarchistic view; the -ation chant appears almost every time the O appears and reverberates to the original ululation, which identifies them with the owl-goddess Athene, patron of juries (remember?) but -ation also hints at copulation and fornication and masturbation and other things the Irish super-ego does not want the dream to admit fully.

Of course, it is only another coincidence, but the DNA, so isomorphic to Joyce's system functions in so many ways, also happens to have 12 bonds in every complete turn of the double helix. (See diagram.) However, on page 107 we find

We have already encountered that damned LSD in two places where the seven rainbow colors are expanded to eight (to include the While Light) but it is almost as awkward for rationalists as the Nagasaki/uranium conjunction. For what it's worth, LSD to any Irish or English reader of Joyce's generation meant "pounds, shillings and pence"—the duodecimal system of coinage from Babylon onward that Joyce identifies with the Zodiac or O function. Strange that all this exfoliates from the initial reference to the duodismal ululation or owlowlation of the neolithic Athene cult.

One other function that appears occasionally in FW is

, usually identified as a set of 28 girls from St. Bride's Academy. On the Freudian

level, these are, like the 7 rainbow girls, a distortion of the 2 girls in the bushes of Phoenix Park; on the Jungian

level, I suspect that they go back to the Stone Age calendar mentioned in the essay on "Mammary Metaphysics," with a female figure marking every 28th day. In an Irish context, St. Bride is the ancient Celtic moon goddess, Bride, adopted into the Roman Catholic pantheon. The 28 girls, then, are the 28 days of a moon cycle or a menstrual cycle or both. As an egg,

of course is a human egg and thus brings us back to Humpty Dumpty again . . .

The reader will gain a deeper understanding of the hologrammic prose of FW by looking, now, at the opening of the Anna Livia Plurabelle chapter (Chapter 8):

The

shape of these words is, as we have seen, an ancient Greek symbol of the feminine principle, or the vagina itself, and Joyce's symbol for ALP or aleph or Anna Livia Plurabelle. The O at the top is a familiar modern symbol of the same feminine energy, and the link between Leibniz's binary notation and the yin of I Ching . More amazing packages of information within information appear if we start counting.

The first line has 1 word, and 1 represents yang which Joyce, like the Taoists, always includes within yin, as he also includes yin within yang. But the one word, symbolizing yang because it is one in numeration, also symbolizes yin because it is 0 in shape.

The second line has four words and invokes the X function or the four bonds of DNA or the four elements of King Wen's arrangement of I Ching or the 4 forces in physics etc. Joyce's Matt Gregory, Marcus Lyons, Luke Tarpey and Johnny McDougal.

The third line has seven words for the seven chakras, the seven Egyptian souls, Leary's seven circuits of neurology, the seven gods of the seven weekdays etc. Joyce's RAYNBOW girls.

Adding, 1 + 4 + 7 = 12, and we are back to the O function again, the 12 pins in the Joyce Country, the 12 bonds of a turn of DNA, the Zodiac which haunts the human mind no matter how often rationalists try to banish it, the duodecimal system that controlled currency for 6000 years and still controls the number on a jury or in a box of eggs.

Multiplying, 1 x 4 x 7 = 28, and we are back to the 28 days of the Moon Goddess again, the human egg, the Orphic egg of creation and Humpty Dumpty.

There are two speakers in this Anna Livia chapter, an old washwoman who represents

as old yin, and a young washwoman who represents

as young yin. (Amusingly, these two are literally washing Earwicker's dirty linen in public.) If we multiply these two functions by the 28 factor of the

(1 x 4 x 7 = 28), we get 56, a number that often appears in FW. In Roman numerals, of course, 56 is LVI and we are back to Livvy again, Mark Twain's wife, and Anna Liffey, and Livia Augusta the Empress who shared part of her name with James Augusta Joyce.

More curious, is the text of Liber AL , which Aleister Crowley alleged that he received from his "Holy Guardian Angel" in 1904. Since Crowley flatly told one disciple that the Holy Guardian Angel is a being of superhuman intelligence and flatly told another that it is metaphor for the deepest part of the unconscious, we are at liberty to consider it beyond either/or categories and isomorphic to Joyce's

. According to Liber AL .

As Crowley pointed out in his commentary on this text, when we add 6 + 50 = 56, which is the number by Cabala of NU, the earliest Egyptian form of the moon goddess or sky goddess. We have already seen that this NU is a cognate of the great mother goddess Danu worshipped by the early Irish and hence of Joyce's Anna Livia Plurabelle.

Multiplying, 6 x 50 = 300, which is the Cabalistic value of the letter

pronounced shin , which Cabalists identify with the "de

nt of spirit into matter," which we may consider an archaic way of referring to the mind-like aspect of the nonlocal hidden variable or variables. This shin, Joyce wrote to Harriet Weaver, was one meaning of his

function, which we have found isomorphic to Jung's collective unconscious and Sheldrake's morphogenetic field.

Dividing, 6/50 = .012, which Crowley identifies with a backwards alchemical formulae for sex magick, in which 2 reduce to 1 in erotic union and then enter the void together. The Joycean is satisfied to find here both the symbol, O , and the number, 12, of Joyce's Zodiac function or jurors, the spinning wheel which keeps the universe of FW turning forever on its own axis.

It is another amusing coincidence that Stonehenge, which some think is a giant astrological/astronomical isomorph, has 56 postholes making a circle around it. Since 56 is, as we saw a moment ago, 28 x 2, this has something to do with the moon goddess again, I suppose, but it is even stranger that the American Declaration of Independence has 56 signers, most of them Freemasons.

Since Crowley claimed his Book of Lies contained the central secret of Freemasonry, coded so that only the Illuminated could understand it, and his Liber AL , which contains 56 symbolism similar to that of FW is also replete with Freemasonic references, it is important to note that Joyce was not a Freemason and that his search of Freemasonic literature, which is documented, was that of an outsider. The fact that we have come around to what some will recognize as the essence of Speculative Freemasonry (others will think it is Buddhism) can only be explained, it seems to me, by assuming that there is in nature a nonlocal function similar to what Joyce denotes by

and that this co-exists in minds as far apart in space-time as those of Leibniz, Bruno, the authors of I Ching , the builders of Stonehenge, Joyce, Freud, Crowley, whoever designed the 56 minor cards of the Tarot, and various others of diverse and disparate traditions.

And we have come back to the lines from Carl Jung with which we began, lines in which we he described his gradual discovery of the quasi- mathematical structure of the collective unconscious, in which there is "chaotic multiplicity" combined with "order," a system of opposites including light and dark, upper and lower, right and left, all of which are aspects at different times of Joyce's

and

; "the union of opposites in a third" (Joyce's

), a "quarternity" system of squares and crosses like Joyce's

and O , rotation like Joyce's recirculations in FW , the symbol of the circle or sphere (O ) and a centering process which I hope the reader has by now grasped intuitively since it cannot be expressed symbolically.