Themes in Fifth Business Essay

he feeling of guilt can only be present in someone who has come to the realization that they, or someone around them, have done something wrong. In the Robertson Davies novel, Fifth Business, the concept of guilt, both for one's self and for others is a major recurring theme. The reader sees this theme grow and materialize through the eyes of Dunstable (Dunstan, Dunny) Ramsay, who is the major character in the novel. Dunny, as Davies implies with the title, fills the role of "fifth business". The definition of which being, "Those roles which, being neither those of Hero nor Heroine, Confidante nor villain, but which were none the less essential to bring about the Recognition or the dnouement were called Fifth Business in drama and opera companies organized according to the old style..." (Overskou, Den Danske Skueplads, taken from Davies, p.v). It is important for readers to understand that Dunny does journey through some of Carol Pearson's heroic archetypes. These include phases labeled: the innocent, the orphan, the martyr, the wanderer, the warrior and the magician (to be discussed later) (taken from http://www.firstuu.com/Sunday_Services/Sermon_Archive/2002/2-17-02.htm, and a collection of personal notes). Dunny never does complete this journey, and thus cannot be deemed a hero, again meeting the criteria of what it means to be "fifth business". It is through this role as "fifth business", that Dunny is able to fulfill his duty and facilitate an epiphany - a recognition of guilt in this instance - within himself, as well as others.

In order to understand how Dunny is able to feel guilt within himself, and also allow for others to feel it, one must first look at his character - that is, his actions, and specifically the growth phases he experiences as Fifth Business chronicles his life from early childhood into retirement. As a child Dunny was raised by strict, Scottish, Presbyterian parents who, early on, instilled what they felt to be good values in him. At this point in his life, Dunny can be considered nothing, if not a martyr, one of Pearson's heroic archetypes. A trait typical of this phase include the overwhelming desire to please others, much like Dunny continually does for his mother; running errands and abiding by her every word. Also, these martyr types are always providing help where they feel it is needed, "...I went [to the Dempsters' residence] two or three times a week, with a daily paper...and I read things to [Mary] that I knew would interest her, and keep her up on the gossip of the town." (Davies, p.46) The martyr also tends to believe that they cannot have the things in life that they want the most. In Dunny's case this is relevant to Leola Cruickshank, who is the "prize" he finds himself continuously battling Percy (Boy) Staunton over. Dunny, although later dabbling in some of Pearson's other archetypes, always hangs on to his feeling of desire for some particular thing, and thus never fully leaves his martyr phase. He literally and figuratively enters the warrior phase, which is characterized by a struggle to slay one's dragons and overcome adversity. As a teenager, the reader observes him going off to war, where he ends up risking his life and killing Germans for the greater good. I looked for some sort of cover, and suddenly, in a burst of light, there it was right in front of me...the German machine-gun nest, with three Germans ahead of me firing busily. I had a revolver, and I shot all three at point-blank range...[For this I got] the V.C. for, with the uttermost gallantry and disregard of all but duty, clearing out a machine gun nest, and thereby ensuring an advance of - I don't know how far but quite a bit. (Davies, pp. 71-77) This displays clear characteristics of a warrior, yet with a slight hint of martyr selflessness that as previously mentioned, remains with Dunny throughout his many transformations. The one archetype Dunny seems to struggle with actualizing is that of the magician, being the most coveted of the archetypes. Although he has his go at literal magicianship - playing with cards and coins - he never quite gets it. Similarly, within his life where his inability to let go of his martyrdom, and embrace magicianship, allows for Dunny to experience the hero cycle, without actually ever becoming a hero; negating his well-defined place as "fifth business".

If the person who is "fifth business" brings about the dnouement or point of realization, then it is generally fair to say that this epiphany must first occur within this person himself, before he can bring clarity to others. As such, Davies, almost from the commencement of the novel, gives Dunny the ability to feel guilt for doing seemingly wrong or immoral things. For example, close to the beginning of the novel, the reader sees young Dunny and Boy, having a snowball fight. A seemingly innocent childhood game goes horribly wrong when, after Dunny ducks a snowball, its hits Mrs. Mary Dempster in the head, causing her to have a very problematic, premature child; Paul. When this happens, Dunny automatically feels guilty about it, saying, "I was contrite and guilty, for I knew the snowball had been meant for me..." (Davies, p. 3). Through the course of his lifetime, Dunny never rids himself of this guilt, for right up to the end of the novel, he proclaims to Boy, "[This] is the stone you put in the snowball you threw at Mrs. Dempster... I've kept it because I couldn't part with it." (Davies, p. 270) It is not only the guilt of Paul Dempster's birth that haunts Dunny, but also the knowledge that the same event that brought along the untimely birth, also brought a death - the end of Mary as she was, and the beginning of the simple minded fool she became. Again, a literally lifelong responsibility, Dunny takes over as Mary's keeper when her aunt dies, putting her into an asylum. He goes on to admit, "...I left her standing beside [her bed]... I dared not look back, and I felt meaner than I have ever felt in my life." (Davies, p. 164) It is through events like those just mentioned that Dunny realizes his internal, and seemingly eternal, feelings of guilt. Along the same lines, as Dunny experiences his own guilt, it is also his job as "fifth business" to bring about the moment of heightened comprehension to those around him. In this particular instance it seems fitting to discuss Boy Staunton and the infamous snowball. After the birth of Paul Dempster, upon his first meeting with Boy, Dunny immediately brings up the birth, in hopes of finding someone with whom he can share his guilt. Though he does not get that directly per se, what he does get is an underhanded, denial filled admission of guilt: Boy: I threw that snowball at you, and I guess it gave you a good smack Dunny: I could tell by the frankness of his tone that he was lying. "You don't meant to say that's what you think? I said.

B: You bet it's what I think, and it's what you better think too, if you know what's good for you D: We looked into each other's eyes, and I knew that he was afraid... (Davies, p.16) In spite of the fact that for the duration of the novel, Boy only once again comes close to admitting his guilt, it is this moment in which Dunny is wholly able to claim his title as "fifth business". Plagued with the perpetual guilt of Paul's birth, readers see Dunny once more attempt a more direct admission from the mouth of Boy. This happens towards the end of the story, when for the first and only time Dunny, Boy and Paul (now using his professional name, Magnus Eisengrim) appear together in the same room. After revealing to Boy, in front of Eisengrim as if to compensate, that his paperweight is the stone from the snowball, Dunny goes on accusing, "The stone-in-the snowball has been characteristic of too much you've done to forget it forever!" (Davies, p.270) Although the reader by this time is already aware of Boy's guilt, he responds with, "What I've done...You're trying to get me. You want to humiliate me in front of this man here [,Magnus Eisengrim]..." (Davies, p.270) And with this, the reader along with Dunny and Eisengrim, see through the faade one last time, and the subject is never again rekindled. Dunny has reaffirmed his status as fifth business, just in time for the death of Boy Staunton the following day. As presented in the preceding arguments, Davies' prime character, Dunny not only reaches an epiphany himself, but pulls through and perfectly executes his role as "fifth business", bringing this point of recognition - specifically that of guilt - to other characters who he encounters. The novel's theme of guilt pairs up well with Dunny in order to help him carry this out, as the reader sees him borderline on becoming a hero, venturing through Carol Pearson's heroic archetypes, and just falling short of the point of defined heroism. "He was killed by the usual cabal: by himself, first of all; by the woman he knew; by the woman he did not know; by the man who granted his inmost wish; and by the inevitable fifth, who was the keeper of his conscience and the keeper of the stone." (Davies, p.272).