I have been brought back into the dreamworld of Finnegans Wake. These from Bernard Benstock's Joyce-Again's Wake:
It logically then follows that the sons in the Wake are at various instnaces unified into a single figure, are themselves as a pair, and are multiplied by Joyce's "inflationary" process into a trio. In the last group they are most often the Three Soldiers, therefore Tim, Dick, and Harry (an obvious threesome in "thump, kick and hurry" [285.6], but disguised as two in "tomthick and tarry" — 291.7); Shem, Ham, and Japhet ("shame, humbug and profit" — 582.10); the Roman triumverate ("Oxthevious, Lapidous and Malthouse Anthemy" — 271.5-6); the three "musketeers" (64.22); the brothers in Swift's Tale of a Tub ("padderjagmartin" — 86.2); perhaps Pegger Festy, Festy Kind, and the Wet Pinter; or just A.B.C. ("Arty, Bert or possibly Charley Chance" — 65.16). As two they are the well-defined pair of hostile opposites, too long considered to be always in opposition, whereas there are many instances in which they are not in conflict necessarily, nor even distinguishable from each other. Horsa and Hengest have already been mentioned in this context, and so might be: Time and Tom; Olaf and Ivor ("an Ivor the Boneless or an Olaf the Hide" — 100.25-26; with Sitric they form a threesome: "Olaf's on the rise and Ivor's on the lift and Sitric's place's between them" — 12.31-32); Romulus and Remus ("rebulous rebus" — 12.34); and Saints Peter and Paul ("Sinner Pitre and Sinner Poule" — 192.13). On the individual level, they unify harmoniously for a jount purpose (usually the same one that creates three out of two: to plague the father) as Buckley, Tristram, St. Patrick, St. Kevin, Hosty, and the Cad. A single-minded view of Shem and Shaun exclusively as antagonists, therefore, dismisses various important ,ayters of significance in Joyce's scheme in the Wake, two of which are probably as significant as the Bruno theme: the overthrow of the father figure and the cyclical evolution of historical patterns.
In all, the problem of identifying a Wake character by his associated historical or mythical prototype is often oversimplified and can be rather misleading. (19-21)