|aLet m us now draw nearer to it since it has after all met with misfortune & see all there is to be seen.a| One cannot help noticing that
|asome about halfa| of the lines run from E to W, others from N to S. |aThese ruled lines along which the traced words can run, march, walk, stumble in comparative safety seem to have
been first of all drawn in a pretty checker w by using lampblack & a blackthorn.a| Such crossing is antechristian though the explanation may be |ageographical
geodetica| quite as easily as domestic economic. Then, in addition to the original sand, pounce |apowdera| or soft rag, it has acquired accretions of terricious matter while loitering
in the past. The teastain is a study in itself and its importance in establishing the identity of the writer complex (for if the hand was one the minds were more than so) will be appreciated by remembering that after |ain the timea|
before & after the battle of the Boyne it was the custom not to sign letters always. For why sign when every word, letter, penstroke, space, is a perfect signature in its own way. A person is known more by his personality, habits of dress, movements, response to appeals for charity rather than by his or her boots.
|xWhile we may |adoubt have our irremovable doubtsa| as to the whole sense of the text, the meaning of any phrase in it, the meaning of every word deciphered and interpreted we c must not have any doubts as to its authorship and authoritativeness.x|
|xThough apparently & to a rough mind this document is a thing once for all done & there you are somewhere and finished in a certain time be it a day or a year or even supposing it should turn out to be a long stretch of goodness only knows how many days or years. But anyhow somebody |asome where some timea| wrote it, wrote it |adown alla|, wrote it all down and there it is, full stop. Ah yes but one who deeply thinks will always bear in his mind that this downright there you are & there it is is only all in his eye. |aAll Every single person place & thinga| was moving, changing |aevery part of the timea|: the travelling inkpot, the hare & turtle pen & paper, the continually more & less intermisunderstanding minds of the anticollaborators, the variously inflected, differently pronounced, otherwise spelled, changeably meaning words themselves vocable scriptsigns. |aNo it is not a riot of blots & blurs & bars & balls & hoops & wriggles, it only looks as like it as damn ita| We ought to be deeply thankful that we have even a |awritten on with now dried inka| piece of paper after it all & cling to it as with drowning hands.x|
Who that in scrutinising marvels at the indignant whiplashloops, the |aso prudentlya| bolted |aand ora| blocked rounds, the touching reminiscence of an incomplete trail or dropped final, the gossipy threadreels, the whirligig glorioles which ambiembellish the majuscule
of Earwicker, |athe monology of |bits theb| interiors,a| the pardonable confusion |aowing toa| which at times |athe swollena| pees |awith their caps awrya| are |aquitea| often |aas nota| kews |awith their tails in their mouths, the sudden petulance of a capitalised middle, the curt witty darts never quite at the truth lettera|. |aThen a sudden sinistrogyric return to some sore point in the past |ba word here so cunningly hidden a nest of |cmazec| like a fieldmouse in a nest of coloured ribbonsb|, the innocent exhibitionism of those capricious underlinings,a| |athose exotic serpentines |bsinceb| properly banished from our scriptures |bwhich ever longer and more headstrong seems to grow |c& swell before one's eyesc| under the writer's handb|, |bthe toomuchness and toomanyness of its fourlegged ems,b|a| |athe penelopean patience of the paraphe tailed by a leaping lassoa| — who thus |aat thisa| marvelling will not |ago pressa| on to see the |afemininea| vaulting |aambition |bsex libidob|a| of those interbranching |aupsweeps continually sex up & in sweeps sternlya| controlled and |aled easily repersuadeda| by the uniform |aundeviating course matter of factnessa| of a |acold meanderinga| male fist.
Duff-Moeggli called this |akind ofa| partnership the Odyssean or heterochiric complex |afrom aftera| the wellinformed observation
that in the case of the |alittleknowna| periplic poem popularly associated with that name a Punic admiralty report had been |acleverlya| capsized &
refloated by |athen saucilya| reissued as |aaa| dodecanesian baedeker of an
every-place-tale-a-treat-itself variety which |ashould amply could hope toa| satisfy the gander as well as the goose. The identity of the persons in the complex came to light in
a curious way. The original document was what is known as unbreakable |ascript tracerya|, that is to say, it had no signs of punctuation of any kind. On holding it to the light it was seen to be pierced or punctuated (in the university
sense of the word) by
numerous |adots cutsa| and gashes inflicted made by a pronged instrument. These paper wounds, four in type, were gradually understand to mean stop, please stop, do please stop and O do please stop respectively and investigation showed that they were provoked by the fork of a professor at the breakfast table |aprofessionally |btrying piquedb| to introduce tempo into |ba planeb| surface by making holes in spacea|. Deeply religious by nature it was correctly suspected that such anger could not openly have been directed against the ancestral spirit of |aher who onea| openly respected by him |aonce a weeka| as our |afirsta| boys' best friend and when it was at last |anoticed detecteda| that the fourth or heaviest gash was |amost morea| frequent |awhere wherevera| the script was clear and the term terse and that these were the exact places carefully selected for her perforations by Dame |aPartland Partleta| on the dunghill reluctantly the theory of the jabbering ape was |aabandoned hotly droppeda| and its place usurped by that odious & even |anow todaya| insufficiently despised |aperson notetakera|, Jim the Penman.