A Terrible Beauty is Born by Ulick O’Connor (1975)

I grew up in a free country which was decolonised seven years before my birth. The reflexes of colonialism linger on for a time after the rulers have departed.
(page 14)

‘I defy anyone to study Irish history without getting a dislike and distrust of England.’
(Lady Gregory)

This is, in the old and best sense of the word, an amateur book. It is a highly personal perspective on the series of very famous events in Irish history. Ulick O’Connor had a long and successful life as a sportsman, lawyer, writer, poet, playwright, historian and biographer, summarised in his obituary:

As a sportsman he certainly excelled. As a lawyer I’ve no idea of his status. As a writer, apparently his biographies of Oliver St John Gogarty and Brendan Behan are still important. But he was definitely not a professional historian and it shows. This slim 180-page account of the leadup to and aftermath of the 1916 Easter Rising in Dublin is anecdotal and empassioned rather than detached and scholarly. It’s a handy enough introduction to the events, although there must be many far more rigorous and scholarly accounts.

And it seems to skip or gloss over complex details. Every time I looked up an aspect of the leadup to the rising on Wikipedia, I found it to be more complex and byzantine than O’Connor’s account. This appears to be a simplified and romanticised account.

What makes it stand out is O’Connor’s flashes of real anger against British imperial rule in Ireland and, in the later stages, the number of participants and eye-witnesses who O’Connor seems to have met and interviewed for this book and so quotes verbatim.

Introduction

Setting the personal tone of the book, it opens with O’Connor visiting the Public Records Office at Dublin Castle to see the file on his great-grandfather. This was Matthew Harris who fought in the Irish risings of 1848 and 1867 and became one of three members of the Supreme Council of the Fenians, who, even though he went on to be elected as an MP to Westminster, was in later life followed everywhere by detectives. O’Connor discovers his file is huge and could be compared to the Czarist authorities’ files on Lenin. So O’Connor is using his great-grandfather as an example of the huge amount of time and energy the British colonial system spent keeping tabs on anyone who spoke against it.

But the anecdote is also typical of O’Connor’s romanticising tendency: he is quick to say of his forebears, or of any notable Irishman he’s writing about, that tales were told of him round fireplaces and ballads sung in pubs. The heroes of his story are constantly being turned into tales and ballads sung wherever patriots assemble.

His name had passed into tradition so that as I grew up I heard him talked about with reverence. (p.8)

And it’s typical of O’Connor’s approach in a third way, in that he underpins it, not with scholarly documentary information or research, but with an anecdote told him by an eminent person. In this case it’s the novelist Liam O’Flaherty, who tells O’Connor that he remembered his father recalling Harris’s fiery speeches. And in another anecdote, a visitor to the West of Ireland tells O’Connor that the peasants still remembered his great-grandfather. This is how the book proceeds: by anecdotes about heroes.

And a fourth way in which the introduction sets the tone and approach is when O’Connor broadens out his theme to explain how the Irish patriots’ struggle for independence went on to inspire like-minded revolutionaries in Egypt, India and many other colonies of the British Empire, a point he repeats a number of times in the rest of the book.

Back to great-grandfather Harris: O’Connor tells us that in 1880 he was persuaded to moderate his beliefs enough to stand for Parliament. He was persuaded to do this by Charles Stewart Parnell whose strategy was to unite the three elements in Irish political life: the physical forcers, the Land league and the Parliamentary Party. It was Parnell’s great achievement to do this and make his parliamentary party into the deciding force in British politics.

1. Rise and fall of Charles Stewart Parnell

O’Connor steps back to give us the deep background: he says it was the Flight of the Earls in 1607 after defeat in battle which handed Ireland over to British control. His great-great-grandfather was alive at the time of the 1798 rebellion. His great-grandfather lived through the potato famine when up to a million died of starvation due to the incompetence of the British administration, and some 2 million emigrated, mostly to America.

In the four years after the famine, 58,000 families amounting to 316,000 people were evicted from their homes for non-payment of rent, saw their houses destroyed and were left destitute, living in caves or wooden huts or dying by the roadside.

In 1886, leader of the Liberal Party and Prime Minister William Ewart Gladstone introduced the first Home Rule Bill with a horrified description of the abject poverty found throughout rural Ireland.

At the turn of the century the British Empire was at its height. O’Connor quotes Louis Fischer, the biographer of Gandhi, as saying that imperialism is a sort of perpetual insult to the colonised and governed.

Charles Stewart Parnell was a Protestant, a member of the ‘Protestant ascendency’ born into a wealthy Anglo-Irish Protestant landowning family in County Wicklow in 1846. He was leader of the Home Rule League from 1880 to 1882, and then of the Irish Parliamentary Party from 1882 to 1891, by which time his party held the balance of power in the House of Commons.

In a typically family anecdote, O’Connor remembers his grandmother telling him how, as a small girl, she used to greet Parnell when he came to stay with her father in the west of Ireland. ‘She treasured the table on which he wrote his speeches as if it were the relic of one of her favourite saints’ (p.16).

She also taught O’Connor that it was incorrect to refer to the married woman Parnell had a ten-year affair with as ‘Kitty’ O’Shea, it should always be Mrs O’Shea. It is typical of the book that we see the whole Parnell tragedy through the eyes of an O’Connor family member.

What happened was when it looked likely the Liberals under Gladstone were going to win the 1892 general election and pass his Home Rule bill, some Tory leaders persuaded Captain O’Shea (who knew about his wife’s long-standing affair with Parnell) to divorce her, citing Parnell as the third party. As soon as this happened Gladstone, leading a party whose core was nonconformist, was forced to repudiate Parnell and withdraw his support for the Irish Party till it replaced its leader. Parnell refused to stand down and the furore split his party with the majority of its MPs, and all his senior colleagues, abandoning him to form a new party.

The following, much more recent, account suggests the train of events had more to do with Captain O’Shea’s greed than with scheming Tories. In this as everywhere else you can feel O’Connor’s 1) tendency to simplify the story and 2) burning animus against English rule.

The party split and Parnell went into exile in… England, dying the next year, 1891, of pneumonia, aged just 45. His body was brought back to Dublin. A crowd of some 200,000 watched the procession to Glasnevin Cemetery. Many people say a meteor (or shooting star as O’Connor puts it with characteristic romance) fall from the sky.

O’Connor quotes James Joyce’s famous quip about the Parnell ‘betrayal’ although, characteristically, he slightly misquotes him. Here’s the Joyce quote from his 1912 essay ‘The Shade of Parnell’:

In his final desperate appeal to his countrymen, he begged them not to throw him as a sop to the English wolves howling around them. It redounds to their honour that they did not fail this appeal. They did not throw him to the English wolves; they tore him to pieces themselves.

Joyce’s essay was written 21 years after Parnell’s fall and indicates how long-lasting the sense of failure and loss was, as described in vivid fictional form in 1) his short story ‘Ivy Day in the Committee Room’ and 2) the famous Christmas dinner argument scene in ‘A Portrait of the Artist as a Young Man’.

Rather than attempt a full historical perspective, O’Connor characteristically quotes the opinions of famous writers: Joyce, Dennis Ireland, W.B. Yeats, Sean O’Faolain, P.S. O’Hegarty, an old Sinn Fein writer who spoke to him. All the way through it’s these personal perspectives which O’Connor likes to give. And seeing as these writers or old-timers tend to romanticise and glamorise events, this contributes to the romanticising tendency of the whole book.

2. Celtic Revival

1884: foundation of the Gaelic Athletic Association: hurling, Gaelic football.

1893: Douglas Hyde, another son of the Protestant Ascendency, decided to set up the Gaelic League, an organisation to promote the Gaelic language, fast dying out in the cities but preserved among the peasantry. By 1906, over 3,000 branches.

An early convert was Lady Augusta Gregory, Anglo-Irish daughter of landed gentry (1852 to 1932). She was home schooled then married off to Sir William Henry Gregory, a widower with an estate at Coole Park, near Gort, in 1880. Sir William was 36 years older than her and had just retired from his position as Governor of Ceylon. He had a large house and estate at Coole Park which she, in the coming decades, turned into a major venue for nationalist writers. He also had a town house in London where she held literary soirées for leading figures of the time.

Throughout, O’Connor refers to the military element of the occupying power by the general term ‘the Garrison’.

Novelists George Moore and Edward Martyn were attracted to the Celtic Revival but it was the conversion of young William Butler Yeats which transformed things. Up till then he’d been writing fey pre-Raphaelite poetry under the influence of William Morris.

O’Connor fast forwards to the founding of the Abbey Theatre in 1904 and the renaissance of literary talent which constellated round it including J.M. Synge, James Stephens, George Russell A.E., Padraig Column, Katherine Tynan and more. O’Connor was to deal with the Celtic Revival separately in his 1984 group biography Celtic Dawn.

This all allows him to proceed by his favourite method which isn’t via documents or data, but by cherry-picking quotes from Famous Authors. On the upside, these are always chatty and anecdotal; on the downside, it’s the absence of any real historical context which gives the book its thin texture.

3. Portrait of turn-of-the-century Dublin

Parks, grand squares, the Season at the Castle, debutante balls. Population 400,000 with a small centre where it was easy to bump into people you knew (compare with London’s monstrous 6.5 million).

This leads him to Maud Gonne (1866 to 1953) ‘the most beautiful woman in Europe’ according to Wickham Stead, editor of the Times. Despite her claims she was of English descent on both sides but became a firebrand Irish revolutionary. Willie Yeats fell madly in love with her but she refused to become his lover.

In 1900, Gonne helped found Inghinidhe na hÉireann (Daughters of Ireland). Twenty-nine women attended the first meeting. They decided to ‘combat in every way English influence doing so much injury to the artistic taste and refinement of the Irish people’.

Lady Constance Gore-Booth (1868 to 1927) was an Irish revolutionary, nationalist, suffragist, and socialist, famous as the first woman elected to the UK Parliament (1918), though she did not take her seat. Born into Anglo-Irish aristocracy at Lissadell, she rejected her privileged background to fight for Irish independence, becoming a key figure in the 1916 Easter Rising. In 1900 she married Polish artist and playwright Casimir Dunin-Markievicz, and they styled themselves the Count and Countess = Constance Markievicz.

4. Arthur Griffith and Sinn Fein

Ireland was ruled by England from 1170. There was a short period of home rule from 1782 to 1800 which was put to an end by the 1800 Act of Union. Since 1800 nationalists had wanted to replace this foreign rule with home rule, some by constitutional means, some by violent uprising, as in 1848 and 1867.

In the early 1900s a journalist called Arthur Griffith came to prominence with a new strategy, passive resistance. In 1900 he founded the United Irishman which attracted top writers and became very influential.

Characteristically, O’Connor paints Griffith’s portrait by quoting other writers (Oliver St John Gogarty, James Joyce). Just as characteristically, he dwells on the way the short unprepossessing Griffith was madly in love with Gonne.

1903: Griffith starts publishing articles about how Hungary secured home rule within the Austro-Hungarian Empire under the Hungarian People’s Party led by Francis Deak. The next year he launched a political party to copy Deak’s strategy (the historical figure’s proper name appears to have been Ferenc Deák) – Sinn Fein, ‘Ourselves alone’.

Clause 14 of the Sinn Fein constitution: Non-recognition of the British Parliament. The plan was not just to abstain, but to set up a parallel Irish administration at all levels. However (in the book’s first mention of the Ulster problem) Griffith allowed for there to be a King of Ireland and a King of Britain.

Constance Markievicz joined Sinn Fein as did Maud Gonne.

Chapter 5. Roger Casement

Sir Roger Casement (1864 to 1916) worked for the British Foreign Office as a diplomat. He was honoured in 1905 for the Casement Report on the Congo Free State and knighted in 1911 for his investigations of human rights abuses in the rubber industry in Peru, sometimes credited as the ‘father of twentieth-century human rights investigations’.

Typically O’Connor conveys his importance by quoting writers – Joseph Conrad, who knew him in the Congo, and E.D. Morel who campaigned with Casement to end Belgium’s disgusting slave regime in the Belgian Congo (characteristically, the book incorrectly gives his initials as A.D.). See:

Resting in his native County Antrim, Casement heard about Griffith’s party and joined. He set out to learn Gaelic. He had seen imperialism at its most disgusting and had a shrewd feeling that Griffith’s strategy for freeing Ireland could work. He donated money to a school being run by a young Gaelic Leaguer called Eamon de Valera.

Chapter 6. The 1912 home rule bill

In 1910, though, the lead party was not Sinn Fein but the Irish Party led by Parnellite John Redmond. The Liberal Party returned to power in 1906 and, in order to pass its social legislation, needed the support of the Irish Party to pass its legislation neutering the House of Lords. In exchange its leader, Herbert Asquith, promised to sponsor another Irish Home Rule bill.

In March 1912, at a mass meeting in Dublin, Irish nationalists greeted the launch of an Irish Home Rule bill in Parliament but warned that if their hopes were dashed, Ireland would take arms.

 Chapter 7. Ulster

A quarter of the population of Ireland was Protestant, over a million living in the counties of Ulster. Two weeks after the Dublin nationalist meeting, a mass meeting was held in Ulster, with 100,000 men marching past Sir Edward Carson.

O’Connor analyses the Ulster Protestant as a typical colon in that his link to the imperial power gave him superiority. Even the poorest Protestant was, in a sense, superior to the richest Catholic. He compares them to the poor whites in the American South, persuaded of their racial superiority by their exploiters who thus kept the working class divided.

Carson had been Solicitor General in the Conservative government which fell in 1906 election. Next to him on the stand was Andrew Bonar Law, the Canadian-born new leader of the Conservative Party. In subsequent speeches Carson made it quite clear he was prepared to break the law and disobey officers of the Crown if home rule were passed.

In 1912 he and others set up the Solemn League and Covenant which was signed by hundreds of thousands (echoing the Covenants signed in Scotland during the civil wars).

Echoing Griffith, the Ulstermen set up their own provisional government. The Ulster Volunteer Force (UVF) was set up under a British Army general. F.E. Smith was a leading figure, who later became Attorney General of Britain.

In Britain, a British League for Ulster was set up and 120 MPs and 100 Lords joined it.

It became obvious that these Ulster refuseniks were the key issue in the Irish Question. Carson and the rest were openly declaring treason. Warrants were made out for their arrest, in Dublin but not issued. Prime Minister Asquith hoped Ulster resistance would die down.

Chapter 8. The Irish Volunteers

Mirroring the foundation of the Ulster Volunteers, in the south the Irish Volunteers were founded. It was founded by professor of Irish history Eoin MacNeill. Characteristically, O’Connor’s grandfather knew him. His mother told stories of going with her parents and MacNeill to the Aran Isles for the summer to learn Gaelic and come back with Gaelic-speaking nannies.

It was following an article about the Ulster volunteers, that MacNeill was approached to spearhead its southern equivalent. A committee of 30 was set up, including men from Redmond’s party. Roger Casement (returned from Peru) was made secretary.

By January 1914 there were 10,000 volunteers, by September 180,000.

Chapter 9. The Irish Republican Brotherhood (IRB)

Clann na Gael based in New York, run by old Feinian John Devoy. In 1907 he sent Thomas Clarke to Dublin to recruit for the IRB. Willie Yeats joined. And working class Catholic Sean O’Casey. They looked up to intellect and culture.

The (underground) IRB carefully infiltrated its members into the (aboveground) Irish Volunteers.

Chapter 10. The Citizen Army

In chapter 3 O’Connor gave us a very brief sense of upper class life in Dublin. This chapter emphasises the poverty. Dublin had the highest death rate of any city in Europe. The Irish Times compared living conditions of the poor to Dante’s Inferno.

August to Christmas 1913 Dublin saw a massive general strike, led by Jim Larkin (orator and journalist) and James Connolly (brilliant analyst who applied Marxist theory to Ireland, founder of the Irish Socialist Republican Party). He left for the States, then returned to become General Secretary of Larkin’s Transport Union.

The outcome of the long bitter violent general strike wasn’t concessions from the employers, but the creation of a Citizen Army which proceeded to arm itself. It came into being in November 1913 with a constitution drawn up by Sean O’Casey, who became its secretary and later wrote its history.

The Army Commander was Captain Jack White who had distinguished himself in the Boer War. He received a telegram of praise from Roger Casement.

Chapter 11. Guns for the Ulster Volunteers

In March 1914 a huge consignment of arms and ammunition arrived at Ulster to be distributed to the Ulster Volunteers. O’Connor describes how hundreds of cars owned by the landed gentry were parked along the route at night to light the lorries away from the port. Reading this, I was impressed by the commitment and organisation of these people, always painted as the baddies. I went looking for books about the Ulster Volunteers and only found two. History is written by the winners.

Its arrival triggered similar thoughts in the Irish Volunteers who arranged for Roger Casement. In July a yacht left Hamburg carrying 10,000 rifles. They docked at Howth, were met by Irish Volunteers, who marched with them back into Dublin.

Chapter 12. The Curragh Mutiny, then war

In March 1914 General Sir Arthur Paget, commander of British forces in Ireland, ordering to send detachments to protect depots in the north from raids by the Ulster Volunteers, firing on them if necessary. 60 officers and the leader of the 3rd cavalry brigade refused. This was regarded as a mutiny and rocked the British Army.

What it seemed to show everyone was that the British government would back down when faced with the threat of force. This triggers amusingly emotional rhetoric in O’Connor: ‘sordid intrigue… devious charade… ‘

O’Connor is quick to say in this rebellion of part of the Establishment against another, this splinter was the crack that foreshadowed the end of empire in violent independence movements around the world.

The Home Rule bill passed through the Commons in May 1914 and was scheduled to become law in September 1914. But in August the Great War broke out and all domestic legislation was suspended.

When war broke out, John Redmond, leader of the Irish Party which held the balance of power in the Commons, and with a force of some 180,000 trained men at his disposal, could have bargained with the Liberal government and witheld his support until the government absolutely promised to enact the bill. If an Irish government had been set up in Dublin, albeit with limited powers and still under ultimate British control, it is unlikely there would have been any Easter Rising.

But he didn’t. Without consulting his party he stood in the House of Commons and pledged the support of the entire nation of Ireland to the British in their time of need. This made the Irish immensely popular, even with the Conservative right, but at a stroke he handed over his trump card and had nothing left to bargain with.

The bill was placed on the statute book but only to come into force after the war. That was the rub. That was the cause.

Recruits flocked to volunteer. Some 300,000 Irish fought for the Empire, 40,000 of them were killed. But after the first flush of enthusiasm, many Irish found it difficult to win commissions in Irish regiments. The British Army establishment preferred Irish regiments to be officered by loyal British Protestant officers.

Chapter 13. Padraig Pearse and the military council

September 1914 the leadership of the Irish Republican Brotherhood decided that a nationalist uprising would take place before the war ended and began making plans.

James Connolly opposed the war from a Marxist point of view, as empires fighting over resources and markets.

Snapshots of: Padraig Pearse, at this point teaching at St Enda’s school; Thomas MacDonagh, English lecturer at the National University; Joseph Plunkett, poet and editor of the Irish Review. All three are members of the military council of the IRB. They didn’t expect a rising to defeat the British. They expected it to create an independent republic long enough for its case to be made at the conferences which would end the war. More poetically, the felt that they would revive the soul of their nation.

In March 1916 Clann na Gael contacted him to say they would be sending 20,000 rifles and 10 million rounds.

Meanwhile James Connolly, the socialist trade unionist, independent of the IRB, had concluded that an armed uprising was necessary, using his citizen army. Fearful lest the plans clash, the military council invited Connolly to a meeting in January 1916. He was delighted to hear the news from Joseph Plunkett and both sides agreed the uprising would happen at Easter 1916.

Chapter 14. The Easter Rising

Eoin MacNeill interferes MacNeill was the commander-in-chief of the Irish Volunteers but he was deliberately kept out of the loop by the IRB military council. Only on Good Friday did he learn about plans for an uprising on Monday. He strongly disapproved and went to St Enda’s to see Pearse. Pearse persuaded him plans were too far advanced and also a shipment of arms was arriving from Germany so MacNeill acquiesced.

But late on Saturday morning, he learned the arms shipment had been intercepted. Feeling he’d been fooled, MacNeill took out an advert in the Sunday papers telling his volunteers their traditional Easter weekend training manoeuvres were cancelled. Many read this and stayed at home. When the news of the uprising spread on Monday they weren’t ready. Pearse’s response was to send out envoys to Volunteer groups around the country and tell them to carry on, but the damage was done. On the Monday, most Volunteer groups did not rise along with Dublin. If they had the British Army would have been spread very thin. Instead they were able to concentrate their firepower in Dublin and end the uprising after a week (p.84).

O’Connor tells us that his grandfather knew MacNeill and once told him he wasn’t a bad man. Hard to see how he doesn’t come out of this as the fall guy.

The uprising began at 12 noon on Monday 24 April 1916 and continued for 6 days. At 11 Pearse and Connolly marched their men from Liberty Hall over to the poorly defended Post Office and seized it. Pearse stood between the huge Greek columns and read out a declaration of independence. O’Connor gives a good enough account but I’m not sure it’s worth my summarising his summary. Instead here’s the Wikipedia article:

Chapter 15. The uprising continues

The British put Brigadier Lowe in charge of suppressing the uprising. He brought a gunboat up the river which bombarded Liberty Hall then the GPO. Houses on both sides were set on fire. Eight or so other buildings had been seized so sporadic sniping and shelling took place round those, too.

The weirdest thing about it was the way most Dubliners strolled around watching it take place. O’Connor quotes the usual suspects, Gogarty, James Stephens, George Moore, Sean O’Casey, strolling round the city, listening to the shellfire, observing other citizens going about their business.

Chapter 16. The uprising ends; the executions

On Friday 28 April 1916 General Maxwell arrived and began investing the key sites in a rigorous way. At 2.30pm the next day, Saturday 29 April, Pearse surrendered to General Lowe.

Four days later the executions began. Sixteen rebel leaders were shot:

Signatories of the Proclamation of Independence: Patrick Pearse, Tom Clarke, Thomas MacDonagh, Joseph Plunkett, Sean Mac Diarmada, Éamonn Ceannt, and James Connolly.

Other leaders: Willie Pearse (brother of Patrick), Edward Daly, Michael O’Hanrahan, John MacBride, Seán Heuston, Con Colbert, and Michael Mallin.

MacBride was husband to Maud Gonne, the dazzling beauty who bewitched Willie Yeats.

Remember dashing Lady Constance Markievicz? She had been deputy of the troop which held Stephen’s Green then pulled back to the College of Surgeons. She was sentenced to death, too, which was commuted to life imprisonment as she was a woman. In fact she was released after less than a year when the British government offered a general amnesty.

About 1,350 people were killed or wounded, mostly civilians. The centre of Dublin had been gutted. The general population was furious with the rebels. Elsewhere life went on as normal with business carried out while the middle classes played golf and tennis.

Chapter 17. Poetic reactions

Characteristically, O’Connor summarises the aftermath by quoting the usual suspects: W.B. Yeats, George Russell, James Stephens, Lady Gregory, Tom Kettle.

He has a romantic notion of poets, that they are the first to notice the changes in a nation’s soul, that these poets grasped the rising’s significance way before the silly politicians.

Chapter 18. Roger Casement

In the last few years before the war Casement developed a pathological hatred of Britain’s rule in Ireland. Just before the Great War broke out he went to New York to work with Clann na Gael. In December 1914 he persuaded its leader, John Devoy, to Germany, as an envoy from independent Ireland and to secure arms. In fact Casement spent two weary years getting nowhere, and eventually asked to be returned to Ireland (with no guns). The Germans laid on a submarine which took him to the south coast but due to a SNAFU in the arrangements he was put into a canvas boat with two others, while the U-boat departed. The canvas boat overturned in high seas and Casement barely made it ashore. he staggered to the nearest house where he was resting when he was arrested by the local bobby, sent to Dublin and then to the Tower of London.

Chapter 19. The trial of Roger Casement

O’Connor was a practicing lawyer and so gives a brief but vivid account of Casement’s trial. As usual, a trial had nothing to do with ‘justice’ but entirely practical wrangles and politicking. Casement’s defence lawyer, Serjeant Sullivan, had himself recruited in Ireland for the British Army i.e was on the opposite side of the political cause. (O’Connor remembers seeing the 90-something old lawyer still beetling around the Dublin Inns of Court when your man was just a young barrister.)

Not just that, but the prosecuting counsel was F.E. Smith who had been active in the setting up of the Ulster Volunteers back in 1912 i.e. was extremely anti-Casement’s independence position and also, as O’Connor emphasises, arguably more guilty of treason than Casement.

The case revolved round the accusation that casement tried to recruit Irish prisoners of war held in Germany to join the German Army and fight against Britain. The defence argued that the treason act only applied to activities here in England, and Casement’s activities had taken place abroad.

Throughout the trial the authorities made available to the police, lawyers and senior figures in the Establishment the so-called black diaries in which Casement appeared to describe his personal homosexual activities in great detail. For a long time these were thought to be fakes but in the 1990s were apparently confirmed as true.

Poor Casement, a hero of international human rights, a principled nationalist and patriot, he was found guilty and hanged on 3 August 1916. He made a condemned man’s speech from the dock. O’Connor points out that so many Irish patriots did this that it is virtually a literary genre in itself. He made the point that the creation of the Ulster Volunteers created the atmosphere of violence, and the Curragh Mutiny in effect condoned disobedience to the Crown (although all that was fine if you were on the Protestant side).

(True to his recurring attempts to portray the rising as the having international impacts on other freedom struggles of other imperial colonies, O’Connor claims that Casement’s speech had a profound impact on the young Pandit Nehru.)

High Treason, Court of Criminal Appeal: the Trial of Sir Roger Casement 1916 - Government Art Collection

The Trial of Sir Roger Casement by Sir John Lavery (1916)

With the end of the Casement trial we reach the en of the build-up to and events of, the Easter Rising, on page 114 of this 180-page book. The rest of O’Connor’s book describes events over the next 4 years, the rise of Sinn Fein, the success of Arthur Griffith’s abstentionist policy, the granting of home rule and then the bitter civil war of 1921 to ’22.

Chapter 20. Sinn Fein

Some 3,000 people were interned after the rising. Over the next 12 months they were released in batches. By June 1917 the public mood had changed to become more sympathetic to the rising leaders who were coming to be seen as martyrs. In by-elections that year, Sinn Fein candidates won but refused to take their seats in the London Parliament, a tradition which continues to this day.

Eamon de Valera was the only commander who wasn’t executed. Upon release he contested a by-election and defeated the Irish Party candidate. Sinn Fein was replacing Redmond’s party.

Thomas Ashe, president of the IRB, went on hunger strike in prison. When he died, Michael Collins, who’d been released from internment at Christmas 1916, decided to organise a vast funeral for him. Characteristically, O’Connor tells us Sean O’Casey wrote a ballad requiem for Ashe, and quotes a hymn by Ashe himself.

Chapter 21. Conscription and the Dail

Most Irish still favoured the constitutional party of John Redmond and expected the home rule bill, which was on the statute books, to be implemented as soon as the war ended.

Then in spring 1918 the British made the latest in a long line of blunders when the Army Chiefs of Staff prevailed on Lloyd George to pass an act compelling the conscription of all able-bodied men in Ireland into the British Army. Not only Sinn Fein and the Irish Party but the Catholic party opposed it, though O’Connor skips completely over its implementation. He quotes A.J.P. Taylor as saying it was the decisive moment in Ireland’s seceding from the Union.

In the December 1918 general election the Irish Party was obliterated by Sinn Fein, winning just 6 seats to the nationalists’ 73. John Redmond had died in March.

The Sinn Fein MPs promptly set up their own government in the Mansion House in Dublin and called it the Dail. No fewer than 36 of the 73 MPs were in British prisons. A Declaration of Independence was read out.

Three delegates were chosen to attend the Peace Conference in Versailles. In April 1919 a President was elected and a Cabinet chosen. Griffith stood down in favour of de Valera who was beginning to acquire charisma and status, although the latter was in prison in England. Republican courts of justice were set up in the counties of Ireland and slowly these began to replace the British institutions.

When physical force was used later, it was important that the Volunteers and others derived genuine legitimacy by acting as the Army of an elected government rather than a paramilitary force.

Michael Collins, who was becoming chief fixer, organised the escape of de Valera from Lincoln prison.

Chapter 22.

The British banned the Dail and set about arresting nationalists. The cabinet ministers went into hiding. Collins had been made Director of Intelligence. Now he turned out to be a spymaster and guerrilla organiser of genius. O’Connor makes his recurring point that the strategy Collins developed went on to be copied by independence movements around the globe.

Collins knew they couldn’t fight the British soldier for soldier. But imperial rule rested on a network of spies and he could kill these spies. He got his own men on the inside of Dublin Castle and access to government files. He drew up lists of informers, and then he created a cadre of cold-hearted killers who began a campaign of targets assassinations starting in July 1919.

I noted that O’Connor mentioned when he had personal connections with various figures in the story. Now these become more frequent. He appears to have interviewed quite a few of these informers and assassins (Bill Stapleton, Joe Dolan) who give him vivid descriptions of actual assassinations they took part in.

The squad operated out of a decorators’ shop in Abbey Street. It’s difficult to credit, hard to believe, that this gang of assassins operated just a few minutes’ walk from Dublin Castle, the centre of the British police effort. How?

Chapter 23. The IRA in the countryside

At some point the Irish Volunteers morphed into the Irish Republican Army although, apparently, it’s difficult to pinpoint exactly when. O’Connor describes the spread of volunteers through towns around Ireland. Often these were dominated by Big Houses and/or British Army barracks, along with schools, Protestant churches and so on.

As so often, the authorities found it difficult to deal with an enemy which was part of the local population, appeared suddenly to assassinate someone or blow something up, then melted back into the general population. Also they knew the country better than the occupier, and where to hide out.

The strategy of ambushing British Army troops, convoys and so on, sometimes throwing grenades, sometimes mining roads, followed by rifle fusillades. The Brits called it ‘ditch murder’, but in his internationalist mode. O’ Connor points out how it went on to be copied by Mao Tse Tung, Tito, General Guap, Che Guevara and many others (p.140).

These attacks continued through 1920, with sometimes large-scaled engagements leaving 10 to 20 British soldiers dead. It was a real guerrilla war On Easter Sunday 1920 these flying squads set fire to 100 Inland Revenue buildings and 350 empty police stations.

Inevitably the British retaliated with a heavy hand. If a police station was attacked, neighbouring houses were to be burned down. Hunger strikers were to be helped to die. This not only embittered local populations but led to widespread resignations by Irishmen from the Royal Irish Constabulary.

Chapter 24. The Black and Tans

Many servicemen demobilised after the Great War were still unemployed. The British government launched a recruitment drive and many signed up to go and serve in Ireland. There was a shortage of uniforms so they were given dark green tunics and khaki trousers. So the locals nicknamed the Black and Tans. The first arrived in Ireland in March 1920. A few months later they were joined by Auxiliaries, ex-Army officers paid £7 a week. They were given licence to embark on savage, undisciplined reprisals .

Every media outlet was soon condemning their activities which came to be described as a terror campaign. They arrived in force in a town, made all the inhabitants assemble in the street, humiliated and beat them, set some houses on fire, occasionally bayoneted or shot anyone who resisted, then drove off leaving generations of bitterness behind them. Stupid stupid stupid.

The worst burning was in Cork where the Black and Tans went berserk, burning down key buildings including the City Hall. For weeks after they suspended burned corks from their hats. Who authorised this? Whose bright idea was this?

O’Connor gives a particular anecdote. On 15 December 1920 Canon Magnar of Dunmanway County Cork was in the street talking to a man. A lorryload of Auxies drew up, some jumped out, and shot the man dead. When the Canon protested, he was shot dead too.

O’Connor notes how they often destroyed local dairies and creameries in an effort to destroy local economies, prompting a letter of protest from AE who had spent many years setting up dairy co-operatives precisely to support locals. O’Connor quotes Yeats’ poem Nineteen nineteen:

Now days are dragon-ridden, the nightmare
Rides upon sleep: a drunken soldiery
Can leave the mother, murdered at her door,
To crawl in her own blood, and go scot-free;
The night can sweat with terror as before
We pieced our thoughts into philosophy,
And planned to bring the world under a rule,
Who are but weasels fighting in a hole.

Chapter 25. de Valera

Back in June 1919 de Valera was smuggled onto a ship to New York. Here he held press conferences as the spokesman of the new (not yet existent) republic. New York, Boston, Chicago, San Francisco, he spread the word in a calm and dignified manner, boosting his own profile in the process. He took a financier with him and together they raised over a million dollars by the time he returned in January 1921.

Meanwhile the Dail continued to set up an alternative governance infrastructure with land courts, district courts etc, complete with lawyers and judges. People stopped using the British courts and used the nationalist ones. O’Connor quotes landowners and senior figures praising the new regime for its fairness and efficiency.

As usual, O’Connor internationalises it to say that just these tactics would be used in other colonies under the phrase ‘civil disobedience’ (p.152).

Chapter 26. Michael Collins

By the autumn of 1920 Dublin was under curfew. Lorries of soldiers patrolled the streets, with wire netting so grenades thrown at them bounced off. Houses were subject to random searches and maybe burning by the Black and Tans and citizens hauled off to prison. A police state. Officials and Auxies were assassinated in the streets. The press had uniformly turned against the government.

Meanwhile Michael Collins held four portfolios within the unofficial government and maintained an intricate network of spies, informers and assassination squads. He kept scrupulous records and accounts which O’Connor has perused.

The government put a bounty of £10,000 on his head but, incredibly, he remained not only at liberty but calmly cycled around central Dublin between his various offices. One of Collins’s key spies in Dublin Castle, Eamonn Broy, personally told O’Connor of some of his escapades with Collins.

O’Connor gives a brief impressionistic pen portrait, admiring Collins’s meticulous way with figures and accounting, his head rammed with facts and details which helped him make intelligence connections, his absolute cold-bloodedness when it came to assassinations, his courage in facing out numerous dicey situations and, alongside, what O’Connor sees as a typically Irish strain of romantic patriotism (he spends a page attributing the same thing to Casement, earlier).

Chapter 27. Martyrs

25 October 1920 Terence MacSwiney, Lord Mayor of Cork, died after a prolonged hunger strike in Brixton Prison. His lingering death was given international coverage, along with his claims for Irish freedom. He had actually written a play about a nationalist hunger striker but here, as elsewhere, O’Connor says the British authorities didn’t pay enough attention to Irish poetry, plays and literature. Here’s just one example of O’Connor’s personal and ripe prose style.

As with the death of Thomas Ashe, a shudder ran through the Nation’s being. (p.160)

If you wanted objective history, O’Connor is not your man. Facts yes, but also plenty of melodrama, passion, bitterness and romanticisation, along with quite a few personal confidences from eye witnesses, that’s what this brief book provides.

MacSweeney was afforded a magnificent funeral at Southwark cathedral in London. Sir John Lavery made this preparatory sketch for a large-scale painting.

Sketch for the Funeral of Terence MacSwiney, Lord Mayor of Cork, at Southwark cathedral by Sir John Lavery (1920)

On 1 November good looking, 18-year-old medical student Keven Barry was hanged for his involvement in an ambush in which a British soldier was killed. According to O’Connor his name became a symbol around the world, and:

There are few places in the English-speaking world where ‘Keven Barry’ is not sung. (p.162)

I’d never heard of it till I read this book. 1) Times change 2) it’s a typical example of O’Connor’s chauvinism, which I use to mean ‘excessive or prejudiced support for one’s own cause or group’, which crops up throughout the book. I don’t really mean that in a bad sense – just to mean that he is very strongly biased indeed.

Yeats had been booked to debate at the Oxford Union and apparently walked up and down the central aisle railing against the British government’s stupidity and mismanagement. A.E. lobbied Lord Northcliffe to get his American newspapers to print opinion pieces decrying British atrocities in Ireland. What with this and de Valera and their own anti-British history, American opinion swung behind the nationalists. It played an important part in negotiations between Britain and Ireland as it was to do for the rest of the century.

O’Connor quotes a very effective letter from Yeats to the Times saying the British spent the entire Great War railing against Germany’s atrocities against civilians in Belgium and philistine burning of cultural centres and now they were doing exactly the same in Ireland.

Chapter 28. The Cairo gang

Set up by Sir Henry Wilson in autumn 1920 to identify and assassinate all key Sinn Fein and IRA personnel. In one night one of these death squads murdered the current and former Lord Mayor of Limerick. The latter was Alderman George Clancy who had been a close friend of James Joyce and appears in ‘A Portrait of the Artist as a Young Man’ as Davin, the peasant nationalist.

Collins used his intelligence network to identify members of the Cairo gang. O’Connor spoke with General Richard Mulcahy, Chief of Staff of the IRA, who is forthright about the need to destroy the death squads. So after much planning, Collins launched Black Sunday, when his death squads assassinated their death squads. 9am on the morning of 21 November 1920. A total of 14 British spies were executed.

O’Connor gives several pages detailed descriptions of men kicking in doors, shooting unarmed men in the back, as they nipped out of windows, taking them to a cellar and shooting them in the side of the head, the British torturing captives.

Lieutenant Aimes and Bennet were pulled out of bed by a group of armed men, placed standing together, both were then shot.

Some of the men refused to come out and were shot in bed. Others came to the door and were shot as they opened it. Two agents were shot on the landing, the stairs were covered in blood.

Flanagan took four Englishmen down to the cellar and after asking their names, shot them in the side of the head.

[Ordered to track down an Irishman identified as a snitch, Bill Stapleton tells O’Connor] We found him in a pub, a big burly man. He blustered at first: then we took him out and shot him.

O’Connor and other nationalists see this as the price of freedom. I see it as the inevitable outcome of the ethnic nationalist way of thinking. Compare the similar accounts I’ve summarised of the civil wars in Yugoslavia or the chaos in Iraq: perfectly decent educated men convinced that in order to make a better world they have to torture and execute other unarmed men, sometimes women, and burn their houses down.

In retaliation for the Bloody Sunday assassinations, later the same day a detachment of Black and Tans drove to Croke Park Sports ground where a Gaelic football match was in progress. They set up a machine gun and started firing into the panic-stricken crowd. A drunk Black and Tan lined up both teams and was going to execute them all until a sober regular British Army officer intervened.

And there are people who still insist that humanity is a rational creature.

O’Connor suggests Bloody Sunday was the day British rule broke in Ireland, although I thought he said the same about the introduction of conscription in 1917. Maybe it broke repeatedly. As I’ve said, O’Connor links Ireland to the independence struggles of other British colonies.

Not only was Bloody Sunday to mark the end of Britain’s rule in the greater part of Ireland, it was to be the beginning of the break-up of British rule throughout the Empire.

In Kenya, in Cyprus, in Egypt, Palestine and Burma, for the next forty years, guerrilla leaders were to claim Collins as their prototype and adapt the strategy he had designed for evacuating the colonial power. (p.175)

What beggars belief is that Collins organised the funeral of his friend Dick McKee who the British had tortured to death to get information about Collins’s operation, and attended the funeral in person, even though the entire British operation in Ireland was obsessed with finding and arresting him. How was that possible?

Epilogue

The last four pages of O’Connor’s book give a very brisk account of the peace talks which led to the Treaty and then the intense civil war between pro and anti-treaty Irish forces which followed, in which Collins himself (pro-treaty) was killed by anti-treaty forces.

He jumps to January 1922 when the British flag was taken down over Dublin Castle and the last troops marched down to the quay to take ship back to England. Negotiations had taken place from September to December 1921 and a treaty signed with the Dail in January 1922. The 6 northern counties were excluded although everyone expected them to join the Irish Free State within a few years. Civil war broke out between pro and anti treaty nationalists and lasted till May 1922. Griffith died of a stroke. W.T. Cosgrave became the independent nation’s first president.

A Senate was formed which at Griffith’s suggestion reached out to specifically invite the Protestant landed gentry. The new nation had to include everyone. W.B. Yeats was nominated and given the job of designing the states new coinage.

1927: De Valera had been anti the treaty but in 1927 was persuaded to attend the Dail.

1932: Five years later the party he created, known as Fianna Fail, won the 1932 general election.

1937: De Valera set about removing the last vestiges of British rule, in 1937 passing a new constitution.

1938: De Valera persuaded the British government to evacuate its three treaty ports.

1939-45: Thus cleansed of British presence it was easy for the Irish Free State to maintain independence in the war against Nazi Germany. So many Irishmen had died defending the Empire which treated them so poorly in 1914-18.

1948: Fianna Fail lost the general election but the new coalition government promptly removed Ireland from the Commonwealth. Non serviam.

In a throwaway last page, he says the tragic legacy of Northern Ireland was a result of Carson and his ilk refusing to accept the home rule movement and being prepared to go to war to preserve their economic and social status. If only they had thrown in their lot with the nationalists, together they could have forced the British government to give independence 1) much earlier and 2) on more inclusive terms to include the Ulster Protestants. Instead they insisted on holing up in their ghetto which, at the time of O’Connor’s writing (1975) was in chaos.

Thoughts

England’s crimes

It goes without saying that it makes me ashamed to be English to read (yet again) the litany of exploitation, repression, spying, corruption and naked violence with which the English mismanaged Ireland for centuries. But a few other thoughts as well:

History is written by the winners

They say history is written by the victors. The irony here is that the victors were the Irish nationalists who won their free state, with the result that thousands of books, papers, presentations, school syllabuses, TV series and movies have been made about Ireland’s heroic struggle for independence, and not least the dramatic events surrounding the Easter Rising. Supported by latterday English progressives, in the same way that we English now retrospectively (and safely) root for the independence movements in India, Kenya and scores of other places, taking a masochistic pleasure in seeing our own men shot and blown up and our own government covered in ignominy.

What about the losers? With no motive except idle curiosity I went looking to see if there are any books about the Ulster Volunteers and discovered there appear to be just three in print: Carson’s Army, a boringly specialised one about the precise configuration, training etc of the UVF; Friends in High Places; and Ulster will Fight, a series of three books which are prohibitively expensive and aren’t stocked by my London library. Of accounts of the Easter Rising and the long centuries of struggle behind it, there will be no end, as a proud nation promotes itself and mythologisers line up to retell the romantic story. Of the much less glamorous but in its way just as important obstinacy of the Ulster Protestants, very little. They’ll always be the ugly sisters in the fairy tale.

(An impression confirmed by contemporary historian Charles Townshend in his recent book ‘The Partition’ (2021) where he mentions ‘the dearth of significant historical studies of Ulster, certainly in comparison with the plethora of nationalist histories of Ireland (p.265).)

Nationalism

As I’ve read my way across the history of the nineteenth century I’ve come to think of nationalism as a mental virus, like something out of a zombie movie. It spreads across entire nations converting everyone to the belief that they must be ‘free’, no matter how much pain is caused and blood is shed in the process. The problem is that forging a nationalist identity almost instantly requires identifying the enemies within, the protestants or Jews or Roma or Muslims who are tainting ‘the purity of the Nation’.

Nationalism gave birth to the utter catastrophes of the 20th century, to the Great War and the collapse of empires which followed it, and led to the rise of fascism and its turbo-charged mission to liquidate the enemies of the People, all of which led up to the catastrophic Second World War.

The fever of nationalism spread far and wide as scores of imperial colonies fought for their freedom and independence: Israel, the partition of India, the long struggles in Algeria or Malaya or Kenya or Vietnam to name obvious ones.

In the 1970s the struggle of self-defined communities to be free led to ruinous civil wars in Cyprus and Lebanon and countless African nations.

And then after the long freeze of the Cold War, ethnic nationalism led to disasters in Rwanda and the Yugoslav civil wars. Then in this century the rise of ISIS in post-war Iraq, the Arab Spring which led to the ruinous Syrian civil war, and now here we are in 2026 with bloody rebellion in Iran, Israel’s brutal suppression of Palestine, the triumph of the Taliban in Afghanistan and the resurgence of ISIS in Syria. My barbers in south London are all Iraqi Kurds. For as long as I’ve been getting my hair cut there I’ve listened to them giving me the latest on their small nation’s struggle to be free.

Everywhere peoples conceiving of themselves as a nation which needs to be free, or needs to expel the enemy within (as in contemporary Myanmar needs to eliminate its Muslim Rohynga minority). There has been no end of young nationalist zealots who are prepared to die for the Fatherland and take quite a few people along with them.

Irish independence was no doubt a righteous cause, the repressive and incompetent rule of the pompous British needed to be overthrown, and the Irish patriots’ struggle for freedom is no doubt inspiring when viewed from the patriotic angle.

But read now, in 2026, after a century of any-level-of-violence-is-justified-to-free-my-people nationalism, and the hecatombs of atrocities it has inspired, a big part of my response to all of these stories is a shiver of horror at humanity’s utter inability to manage itself.

Now more than ever, Stephen Dedalus’s cry, ‘History is a nightmare from which I am trying to awake’, rings true.


Credit

‘A Terrible Beauty is Born’ by Ulick O’Connor was published by Hamish Hamilton in 1975.

Related reviews

Ulysses on the Liffey by Richard Ellmann (1972)

The book as image demands these glosses as registers of their meaning.
(Richard Ellmann justifying his high-level, abstract, structural analysis, page 60)

Almost everything is coupled.
(Ellmann’s habit of defining binaries and dichotomies on every page, p.72)

Joyce liked to work his prose into patterns as intricate and individualised as the initial letters in the Book of Kells.
(Pretty analogy if not, ultimately, very useful, p.73)

A quick reminder of the chapter numbers and names in James Joyce’s epic modernist novel, ‘Ulysses’. Pretty much all discussions of the book refer to them but note that none of the Greek chapter titles are indicated in the actual text of ‘Ulysses’; they were given by Joyce to early commentators who published them in books and articles about the novel, and have been used by critics and commentators, including me, ever since – but none of them actually appear in hard copies or online versions of the text, which only indicate the chapters with numbers.

Part 1. The Telemachiad or the odyssey of Telemachus

  1. Telemachus
  2. Nestor
  3. Proteus

Part 2. The Odyssey

  1. Calypso
  2. Lotus Eaters
  3. Hades
  4. Aeolus
  5. Lestrygonians
  6. Scylla and Charybdis
  7. Wandering Rocks
  8. Sirens
  9. Cyclops
  10. Nausicaa
  11. Oxen of the Sun
  12. Circe

Part 3. The Nostos or Return

  1. Eumaeus
  2. Ithaca
  3. Penelope

Ulysses on the Liffey

This is an old book, written in the late 1960s and early ’70s, before the deluge of modern critical theory transformed the discipline of literary criticism. Back then American scholar and academic Richard Ellman (1918 to 1987) was famous as the man who wrote the huge and definitive biography of James Joyce (published in 1959) which single-handedly transformed Joyce studies. And yet this book, published just 13 years later, is deeply disappointing. I wouldn’t recommend it. Read the Hugh Kenner primer about ‘Ulysses’, but don’t bother with this one.

This is because Ellmann goes very heavy indeed on the schemata, on the high-level diagrams of organs, and colours, and symbols and tones that Joyce drew up for the book – and to which Ellmann adds further levels and frameworks of his own. On every page he adds structural analyses, building platforms upon platforms – for example his suggestion in the first chapter that ‘Ulysses’ needs to be interpreted on four levels: literal, ethical aesthetic and anagogic.

The trouble with his relentless focus on the (pretty simple-minded) structures he finds everywhere in the book is that they continually take us away from the actual text and make us dwell in the bloodless world of tables and blueprints. This book not only reproduces the detailed schema which Joyce sent to the Italian critic Linati, it is punctuated by three schemas of Ellman’s own creation summarising the first, middle and final six chapters.

And they’re not one-page wonders, they’re very detailed, each one extending over six pages. Possibly they’re considered the USP and backbone of this volume, maybe this book exists not to help the reader read ‘Ulysses’ better but as a scholarly presentation of Ellmann’s structural and thematic theories but I found them unreadable. Like reading a PowerPoint presentation about ‘Midsummer Night’s Dream’. Buzzkill. Way to drain all the joy out of a subject.

His chapter on Molly Bloom is disappointing

But not only is Ellmann’s approach boring, it’s often disappointingly banal.

I read his chapter ‘Why Molly Bloom menstruates’ immediately after reading the Molly Bloom chapter of ‘Ulysses’ and was immensely disappointed. First he wastes time summarising the theories of William Empson and Edmund Wilson (from the 1930s) and then disappears off into more schemas. He tells us that, according to Joyce’s notes, in the previous chapter Leopold Bloom had headed off into Deep Night while Stephen headed for Alba, the dawn. Is this useful? Sort of, kind of, mildly interesting – but it doesn’t really illuminate your reading of the actual words.

He says that after the dry officialese of ‘Ithaca’, Molly’s soliloquy offers ‘a joyful efflorescence’. Except it doesn’t, does it? It’s a long rambling repetitive tissue of memories about neighbours and soldiers and relatives and boyfriends and shopping and childhood games and biscuits and lots of graphic sexual descriptions. Until the last page which, for sure, leads us up to the famous great lyrical climax. But it’s not an ‘efflorescence’ before that. It’s a rambling character sketch. Ellmann’s characterisation is, in my opinion, flat wrong.

Ellmann compares Molly to the Wife of Bath (p.163) and Moll Flanders (p.165), which struck me as bleeding obvious, but missed what to me is the even more obvious point that all three of these famous fictional women were created by men. What does that tell us? But Ellmann doesn’t notice.

He asserts that if Stephen represents genuine philosophy, and Bloom represents half-educated magazine philosophising, then Molly represents all flesh. But isn’t that a very patronising and (as usual) over-schematic way of thinking about her? Instead of considering what she actually says, Ellmann is more concerned to fit her into his high-level patterns and plans.

I couldn’t believe it when he writes:

Molly’s nature [is] so much more earthy, trivial, sexualised and lyrical than Aristotle’s or Hume’s… (p.163)

Er, yes. This isn’t in doubt, the question is what makes you want to compare Molly Bloom to Aristotle in the first place? I well understand that Stephen expounds Aristotelian ideas in ‘Proteus’ and ‘Scylla and Charybdis’ and that Molly, in her semi-literate physicality, could be said to embody anti-philosophy. This would make her having Stephen to stay and her fantasies of having sex with him a real meeting of opposites. But directly comparing Molly the character with Aristotle or Hume seems to me ludicrous.

Ellman’s endless thirst for binaries and dichotomies is typified when he says:

Basically she is earth to Bloom’s sun, modifying his light by her own movements. (p.166)

This may or may not be ‘true’ but I think it misses the point by being so abstract. It feels like any moment he’s going to tell us that men are from Mars and women are from Venus. Or, in Ellmannese:

The ‘Ithaca’ episode had offered a heliocentric view of Bloom, Molly offers a geocentric one, the two together forming the angle of parallax… (p.167)

I know that one of the guiding principles of ‘Ulysses’ is the notion of parallax which the dictionary defines as ‘the displacement or difference in the apparent position of an object viewed along two different lines of sight’ (basically seeing the same thing from two points of view) and I certainly know that Molly’s character can be described as ‘earthy’ – but I don’t really see why Bloom should be considered as especially ‘heliocentric’ and I don’t see that it helps my close reading of specific passages, or of the text as a whole.

I just don’t like thinking about ‘Ulysses’ like this. It seems pointless and boring to me. It takes us light years away from the actual text in all its wonderful detail and difficulty and comedy and makes the thing sound like a lecture in comparative religion or structuralist anthropology. But this dry colourless theoretical level is the only level Ellmann operates at.

Despite disliking it more and more as I read on, I persisted and here’s the best summary I can manage. I try to give credit where credit’s due for Ellmann’s insights and ideas.

Learnings, sort of

Threes Joyce liked threes, so Ellmann suggests that the chapters proceed in triads: three in the opening section, four sets of three in the middle, three in the final section. Each trio contains internal contrasts and Ellmann has his own schema to impose:

I shall propose that in every group of three chapters the first defers to space, the second has time in the ascendant, and the third blends (or expunges) the two. (p.19)

Thus:

  • chapter one (space) opens in the extremely solid tower, with plump Buck Mulligan, the serving of food, and looking out over the big sea
  • chapter two (time) opens with a history lesson and contains Stephen’s famous outburst about history being a nightmare from which he’s trying to awake. Within this chapter Ellmann divides time into two types, secular and spiritual time, Caesar’s and Christ’s
  • chapter three synthesises the first two as Stephen crackles his way through the bladderwrack testing Aristotelian reality by closing then reopening his eyes, to see if the world is still there. (Oddly enough, it is)

Layers As a freethinker Bloom is post-Christian. As a Christian convert, he is post-Judaic. As a Judeo-Christian he is post-Homeric. So his character represents historical layer upon layer.

Dedalus If you think about it, Dedalus is a bad name for the young male protagonist in this novel. Stephen Dedalus perfectly suits the character in ‘Portrait of the Artist as a Young Man’ because he is (like Saint Stephen) the ‘martyr’ of the new religion (in Joyce’s case, of the new literature) which, like the legendary Greek Daedelus, he has fathered, a labyrinth of artistic artifice. But in ‘Ulysses‘ Stephen is no longer a father (as Daedelus was father to Icarus), he is a son. If you think about it, there’s a real confusion here, which Joyce just outfaces and all his critics accept.

Loose fits Similarly, none of the many literary correspondences the text invokes – namely to the ‘Odyssey’ and ‘Hamlet’, with occasional nods to Dante’s ‘Divine Comedy’ and Goethe’s ‘Faust’ – fully fit.

  • In ‘The Odyssey’ Telemachus goes looking for his actual father but in the novel, Bloom is not Stephen’s father and Stephen isn’t consciously looking for him.
  • Hamlet is in mourning but for a dead father whose wife has quickly had sex with/married his uncle, whereas Stephen is in mourning for a dead mother, and there’s not a shred of unfaithfulness about either Simon or May Dedalus.
  • In chapter 4 Molly stands for Calypso, the sensual enchantress, and yet in chapter 18 the same Molly stands for the devoted wife Penelope. Not only that, but Penelope is famously chaste while Molly is famously promiscuous.

In other words, the classic literary texts hover in the background like ghostly amplifiers or underpinnings of the narrative, but they only loosely inform the main characters. To put it another way, Joyce plays fast and loose with all the correspondences, making them close when they can be, but quietly ignoring them altogether when they don’t fit.

Antisemitism Ellmann tells us that antisemitism is Joyce’s touchstone for ‘cravenheartedness’. I’ll second that. Both the Englishman Haines, the Unionist Deasy, and the Irish nationalist citizen are guilty of it. For me antisemitism is not only bigoted racism but, just as bad, it’s stupid. It indicates someone who can’t cope with the complexity of the modern world and so resorts to medieval simplifications.

Two types Haines represents a British empire reduced to having nightmares and shooting in the dark, combined with embarrassing sentimentalism about the locals i.e. the milkwoman, while Mulligan is flashily hollow, ‘Ireland’s gay betrayer’, betrayer of his own culture. They represent antitheses with Stephen in the middle.

Refuser At the Forty Foot bathing hole Stephen refuses to bathe with the other two. This is because he is the great refuser; he refused to kneel at his mother’s bedside, he has refused Roman Catholicism, he refused the suggestion of becoming a priest in ‘A Portrait’, he refuses the Italian music teacher’s kindly suggestion to become a professional singer, he refuses the Irish nationalism of the peasant student Davin and the drunken bigot the citizen. All leading up to the climactic moment in the brothel where he smashes the chandelier as he declares he will not serve. He is Mr No.

Just regarding the refusal to bathe, it’s noteworthy that Stephen is a hydrophobe. We are told he hasn’t had a bath for months. He must have stunk. It’s typical of Ellmann that he instantly spots the structural element of the Forty Foot rejection scene, neatly pointing out how Stephen’s refusing to pray and refusing to swim amount symbolise his rejecting spiritual and physical purification, but isn’t interested in its practical consequences (p.11).

Chapter 3. Proteus

Aristotle Joyce worshipped Aristotle. He thought him the greatest thinker who ever lived. What he chiefly liked was he was against Plato’s idealism.

What he liked about Aristotle was he had demoted Plato’s Ideas, had denied that universals could be detached from particulars, and in short had set himself against mysticism. (p.13)

Just as Joyce set himself against the Celtic Revival, the fairies and twilight and legends of Olde Irelande, against aestheticism and the yellow nineties, occultism and spiritualism. As dramatised in the confrontation with A.E. in the National Library in ‘Scylla and Charybdis’.

(I agree, which is why I try to stick as closely as possible to the actual text and narrative of the books I review. The further away you get, the more it becomes something else. So it’s ironic that Ellmann fully understands Joyce’s liking for Aristotle while himself demonstrating precisely the flight from the (messy, confusing) details of the text into (overneat and tidy) literary archetypes and symbols, which sound more like Plato and his timeless Forms.)

The now, the here This is the point of Stephen’s dismissal of William Blake’s followers (although he himself liked Blake and lectured on him) for wittering on about the void and eternity, whereas Stephen wants to concentrate on the exact present. Stephen thinks:

Through spaces smaller than red globules of man’s blood they creepycrawl after Blake’s buttocks into eternity of which this vegetable world is but a shadow. [Whereas we should] Hold to the now, the here, through which all future plunges to the past.

Crunching Hence Joyce is so careful to describe the sound of Stephen’s boots crunching through the bladderwrack on the beach and then tries to depict the sound of the waves with made-up words. ‘Ulysses’ is about these vivid sensual details. Almost all of which are overlooked in Ellmann’s quest for structures and schemas.

The Holy Office In his poem The Holy Office, Joyce mocks female coyness as much as male idealism because they are both denials of the mucky reality of love and sex – they are part of what Ellmann summarises in a powerful phrase as ‘the general self-deception’ and refusal to face reality. Joyce is about facing reality. People are not what you want them to be. The world is not what you want it to be. You are not what you want to be. Face it.

Ellmann says Joyce’s message is ‘Accept the universe’. It is what it is and ‘Ulysses’ is an encyclopedic transcription of its itness. This, of course, is highly debatable, because the book presents a polemically dirty, messy, squalid often very sordid view of human nature. Now wonder Virginia Woolf loathed it. For her it missed vast realms of beauty and art. My point is that Ellmann’s description of the book is not really adequate. Like many fans and commentators he takes Joyce’s own opinion of it at face value.

Caesuras Ellmann points out something I hadn’t noticed which is that most if not all the chapters have a break or caesura in the middle. I can see that in the ‘Nausicaa’ chapter (first half ladies’ romance, second half reverting to the initial style) but less so the others. In the first half of chapter 3 Ellmann says Stephen is thinking about creation, fathers, mothers, fertilisation and giving birth; but half-way through he changes the direction of his walk and this triggers a change in his thoughts, which become about death and decomposition, starting with the carcass of a dog he sees on the beach. So two parts: birth and death, growth and corruption. Maybe. But I’m suspicious of this because Ellmann quickly turns everything into binaries and opposites. And it feels so easy just throwing out these grand pairs of synonyms and antonyms: Expansion and collapse. Addition and subtraction. Creation and destruction. I could go on all night.

Pee Meanwhile, in the actual text, Stephen has a pee (‘Better get this job over quick’) then picks his nose: ‘He laid the dry snot picked from his nostril on a ledge of rock, carefully’. You can see how very aggressively non-spiritual, how aggressively, vulgarly materialistic this deliberately is.

More antitheses Ellmann spots that the chapter opens with Stephen reading (the signature of all things) and ends with him writing (a poem). The poem he wrote in ‘Portrait’ is a portrait of attraction (‘Lure of the fallen seraphim’), here it is a poem about death, and so of repulsion.

Rosevean Stephen looks over his ship and sees a ship, the Rosevean, but for Ellmann, this ship also:

seals the marriage of form and matter, of body and soul, of space and time, at which Aristotle officiated. (p.26)

Yes I know Joyce packed the book full of structures and correspondences, so no doubt the ship is part of his elaborate symbology because everything is, I’m not denying that. I’m just suggesting that Ellmann’s focus exclusively on these structures a) excludes the riot and fun of the language and b) often feels stretched and contrived.

Chapter 4. Calypso

Ellmann prioritises abstract over concrete Language is diffusive, fissiparous, uncontainable, whereas Ellmann continually locks everything down to really boring binaries. This chapter covers the introduction of Leopold Bloom in chapter 4 of ‘Ulysses’ and embarks on another set of binaries comparing him and Stephen. Father versus son. Married versus single. Intellectual versus middle-brow. Solipsist versus realist. Inbound versus outbound. I could go on for hours trotting out the same slightly interesting but ultimately tedious dichotomies. Stephen is edgy, Bloom is placid. Stephen is a loner while Bloom is convivial. Stephen gets drunk while Bloom stays sober. Bloom has a job while Stephen is unemployed. Stephen thinks about the soul, Bloom about the body (specially sex). Stephen ponders the nature of the Trinity; to Bloom, such questions are pointless. Stephen is haunted, Bloom is not. Stephen’s lost a mother, Bloom’s lost a father. I could go on…

These facts are not untrue, and they are sort of interesting, and it’s probably as well to know them but, in my opinion, they are just the starting point for engaging with the difficult and cornucopian text itself, whereas for Ellmann, stating these very obvious binaries and dichotomies is where he ends, is the end result.

Disembodied/embodied If Stephen in chapter 3 is a disembodied intellect, Bloom in chapter 4 is an aggressively embodied material man, what with buying and cooking and eating the pork kidney, admiring his wife’s plumpness, feeding the cat, going for a poo and so on.

Both In something like a joke, discussing the not perfect fit of Molly with either Calypso or Penelope, Ellmann cracks that:

Whenever confronted by a choice between two possible things to include, Joyce chose both. (p.34)

Bloomism Ellmann coins the term ‘bloomism’ which he defines as an effort to recall an important fact and getting it wrong. Like when Bloom thinks the elegy in a country churchyard was written by Wordsworth (rather than the correct author, Thomas Gray).

Reject/accept Stephen opens the novel with a series of rejections; Molly closes it with her famous acceptance, Yes.

Zionism versus beddism But Bloom is a rejecter too. In the butcher Moses Dlugacz’s he picks up a leaflet for Zionist settlement in Palestine and has a strangely negative image of it, triggered by vague ideas about the Dead Sea, of a barren volcanic ash land, ‘a barren land, bare waste’. Out in the street a wizened old hag crosses his path. All this dried-up deathness makes him want to hurry back to plump warm Molly in bed, ‘Warm beds; warm fullblooded life’ (p.51). Bed, warmth, life.

Chapter 6. Hades

Life and death The same fundamental (and pretty obvious) dichotomy between life and death underpins chapter 6, ‘Hades’, set in the funeral carriage going to Glasnevin Cemetery. Ellmann’s entry-level binaries make it all sound very boring, which it isn’t to actually read, not least because like most of the rest of the book, it’s full of gags and gossip and character studies. But Ellmann isn’t interested in any of that, misses out everything that makes ‘Ulysses’ fun to read, just cherrypicks the details which help his structural analyses and comparisons with Homer.

Chapter 7. Aeolus

Sufficient for the day is the newspaper thereof.

Three types of diffusion Ellmann usefully points out the schematic nature of the opening of chapter 7, ‘Aeolus’, describing three modes of diffusion: in quick succession we see 1) a fleet of trams setting out from their base in the heart of Dublin; 2) His Majesty’s mail cars setting out from the post office; 3) and draymen rolling barrels of stout to be loaded onto carts and distributed to the city’s pubs. Ellmann neatly summarises these as exemplars of 1) physical, 2) written and (insofar as booze loosens tongues) 3) oral communication – appropriate for a chapter referencing the Greek god of wind’s far-reaching influence, and its modern incarnation in the power of the press.

Keys… Ellmann embarks on the idea that Bloom and Stephen (who both appear in this chapter, separately visiting the newspaper office of the Evening Telegraph) are in some sense seeking the keys which will unlock the city. I’ve no idea what he means and it only becomes more obscure when he goes on to suggest that they themselves are the keys which unlock the gates to Dante’s purgatory, with the claim that these central, post-hell chapters, are purgatorial.

and Keyes The keys theme is more obvious in Bloom’s mission to get an ad into the newspaper for The House of Keyes, owned by Alexander Keyes (‘tea, wine and spirit merchant’) who’s devised his own logo. Ellmann acutely points out that both Bloom and Stephen are keyless, Stephen having had the key to the Martello tower taken off him by Mulligan, and Bloom (though he doesn’t know it yet) will find out in penultimate chapter, ‘Ithaca’, that he’s left his front door keys in his other pair of trousers. And in the closing portion of the chapter the newspaper editor Crawford turns out to have mislaid the keys to his office. OK. We have to be key-sensitive.

Three speeches Ellmann points out that, in line with the theme of windy communication, the ‘Aeolus’ chapter contains three speeches which can be compared and contrasted. Less understandable is his claim that the speeches represent ‘three sorties’ ‘sent out’ by the city of Dublin ‘against’ Bloom and Stephen. Ellmann claims that in these central chapters the two men are ‘in league against the powers of this world and the next’, albeit ‘unconsciously’. This high-level interpretation may or may not ring your bell. I found his focus on the specific speeches more useful.

1. Bloom enters the office as Ned Lambert is reading out an amazingly flowery speech given by Dawson, a baker, to the city council about the importance of Ireland’s forests, as reported in the paper and mockingly read out by Lambert. This speech is deliberative.

2. The speech of the barrister Seymour Bush in the Childs murder case, which is praised in the newspaper office by the lawyer J.J. O’Molloy. This speech is forensic.

3. A speech given in 1903 by John F. Taylor in defence of the Irish language revival and published as a pamphlet, declaimed by Professor MacHugh in the newspaper office (not without interruptions). This speech is a public oration.

This is all true, but it’s also important and funny that Simon Dedalus comments on the first speech:

—Agonising Christ, wouldn’t it give you a heartburn on your arse?

And begs Ned to stop reading it:

Shite and onions! That’ll do, Ned. Life is too short.

The structures are no doubt there, and noticing them is part of the pleasure. But so is the texture of the prose.

Wind Types of wind are referenced throughout, as when Bloom thinks about how newspapermen change jobs.

Funny the way those newspaper men veer about when they get wind of a new opening. Weathercocks. Hot and cold in the same breath. Wouldn’t know which to believe. One story good till you hear the next. Go for one another baldheaded in the papers and then all blows over.

Or Professor MacHugh calls Dawson an ‘inflated windbag’.

The tissues rustled up in the draught, floated softly in the air blue scrawls and under the table came to earth.
—It wasn’t me, sir. It was the big fellow shoved me, sir.
—Throw him out and shut the door, the editor said. There’s a hurricane blowing.

The highfalutin proverbial description for poetic inspiration, ‘the divine afflatus’, simply means breath, wind. And one of Homer’s stock descriptions for Troy is ‘windy Troy’. In other words, as with so much Joyce, once you’re tipped off to start looking for a particular theme, you find more and more of it hidden in plain sight.

Lungs One interesting thing Ellmann says is that the organ Joyce himself assigned to ‘Aeolus’ in his schema was the lungs and this explains why so many phrases are paired and follow the rhythm of breathing, in and out, in a process of ‘pulmonary give and take’. Doors open and close, people enter and leave (although you could say the same of every play ever written).

The door of Ruttledge’s office whispered: ee: cree. They always build one door opposite another for the wind to. Way in. Way out.

Caesura Ellmann identifies the caesura in this chapter as coming when the three speeches have been discussed, and Stephen proposes that everyone shifts location to the nearest pub, Mooney’s – so they severally exit the office and make their way confusedly down the stairs and into the street.

Nelson On this walk to the pub Stephen tells the Professor his rather stupid story about two old ladies who buy some fruit and go on a holiday excursion to the top of Nelson’s column where, puffed out, they eat fresh plums, spit the pips out through the railings, and look up at ‘the one-handled adulterer’.

Mockery There are two ideas at work here. 1) The characters have just heard detailed descriptions of three types of grand Irish speech; Stephen’s story is intended to deflate all three and mock all grand rhetoric. 2) More specifically, the Taylor speech contained a description of Moses climbing to the top of Mount Sinai. Stephen’s story is a parody and a mockery in that, instead of Moses, it’s two old biddies who are granted a ‘vision’ out over ‘the unpromised land’ of Ireland.

Clever, very, but no matter how many times I’ve had this story explained, I’ve never found it funny.

Pretentious It sometimes feels as if Ellmann’s writing becomes steadily more pretentious as he has steadily less to say:

Here in ‘Aeolus’ Joyce is less threnodic though equally clamant. (p.65)

The episode proceeds by magnification and parvification. (p.71)

By the latter he means that certain figures (Taylor, Moses) are bigged up in the first half of the chapter and then satirised in the second. Ellmann finds the same pattern in the famous newspaper headlines which litter the chapter, which start out genuinely impressive but become steadily diminished. Here’s on from the start of the chapter:

IN THE HEART OF THE HIBERNIAN METROPOLIS

Whereas see how an example from towards the end of the chapter has become longer but cruder:

SOPHIST WALLOPS HAUGHTY HELEN SQUARE ON PROBOSCIS. SPARTANS GNASH MOLARS. ITHACANS VOW PEN IS CHAMP.

Chapter 8. Lestrygonians

This is the very worst hour of the day. Vitality. Dull, gloomy: hate this hour. Feel as if I had been eaten and spewed.
(Bloom’s internal monologue)

‘Lestrygonians’ is all about food and is packed to the hilt with food references, similes and metaphors. Bloom feeling hungry, seeing people eating in the street, fantasising about food, looking into Burton’s restaurant which is so packed with diners he backs out and instead drops into Davy Byrne’s pub for a cheese sandwich.

Church versus state Ellmann spots one of the book’s recurring binaries at the start, between State and Church. If you recall, this is encoded in the very first sentence of the book which starts with the word state and ends with a cross.

Stately, plump Buck Mulligan came from the stairhead, bearing a bowl of lather on which a mirror and a razor lay crossed.

Similarly, here at the start of ‘Lestrygonians’ Bloom 1) sees ‘A sugarsticky girl shovelling scoopfuls of creams for a christian brother’ and then 2) notices a lozenge and comfit manufacturer to His Majesty the King, and imagines King Edward VII sitting on his throne sucking boiled sweets. Christian / king. Church / state.

Up and down Quickly Ellmann is quick to find in this chapter the kinds of binary opposition he loves. Bloom’s thoughts always start on the ground, Stephen’s in the air. Stephen is racked with guilt, which is a sort of intellectual bad feeling; Bloom’s more earthy equivalent is disgust.

Comparisons Meaning is generated by a whole series of binary contrasts:

  • Molly versus Josie Bloom bumps into Mrs (Josie) Breen. She was at one point Bloom’s girlfriend but Molly won him off her. She has aged badly compared to Molly.
  • Josie versus Denis Breen This is because she married a man with severe mental problems, Breen, who she tells Bloom received an obscure insulting postcard reading U.P. up this morning.
  • Two madmen: Breen cf Cashel Boyle O’Connor Fitzmaurice Tisdall Farrell.
  • Mina Purefoy versus Molly Josie tells Bloom Mina Purefoy is having a terrible time giving birth at the maternity hospital; Bloom compares this with Molly’s easy deliveries.
  • Large versus small families Bloom sees poverty-stricken Dilly Dedalus and marvels that May Dedalus bore 15 children, Mina is bearing her ninth, while Molly only had two.
  • Sandwich men versus blind Bloom sees the five men wearing sandwich boards spelling HELYS pass by, but has to help the blind stripling across the road.
  • A.E. and Lizzy Up behind walk the noted Dublin poet and mystic A.E. accompanied by a lady poet. Bloom can’t help despising their airy-fairy artiness, the opposite of his own earthiness.
  • Meat versus vegetarian A.E. and lady friend have just exited a vegetarian restaurant while Bloom’s thoughts are stuck on all types of meat, butchery and cooking.
  • Molly versus Martha Molly is obviously a real woman of flesh and blood, versus Martha Clifford who only exists in her rather pathetic letters.
  • Fertility versus disease For a bad moment Bloom panics that Blazes Boylan may give Molly a venereal disease – their diseased and infertile sexual act contrasts strongly with the ‘healthy’ philoprogenitive sex of May Dedalus and Mina Purefoy.
  • Love versus sex Contrasted with the implied animality of Boylan tupping Molly, Bloom has a lyrical memory of their tender first kissing and touching on Howth Hill (the scene which Molly will vividly remember at the end of her soliloquy in chapter 18).

In the same spirit, Ellmann neatly points out that Boylan is as thoughtlessly sensual as the men stuffing their faces in Burton’s restaurant, because womanising is like gourmandising, both are about objectifying and consuming inanimate objects. Whereas love, which is what Bloom has for Molly, animates its object, brings it to life.

Chapter 9. Scylla and Charybdis

The aesthetic debate In this chapter Stephen Dedalus tries and fails to make an impression on representatives of Dublin’s literary elite by making an informal presentation of his theory about Shakespeare’s Hamlet to the (real-life) author and mystic A.E., and author, editor and librarian John Eglinton. From his materialist Aristotelian point of view, Stephen seeks to refute the kind of gassy aesthetic idealism which places Shakespeare among the gods or says he’s great because he embodies spiritual ideals. A.E. expresses this high-minded aesthetic thus:

—Art has to reveal to us ideas, formless spiritual essences. The supreme question about a work of art is out of how deep a life does it spring… The deepest poetry of Shelley, the words of Hamlet bring our minds into contact with the eternal wisdom, Plato’s world of ideas.

Stephen refutes this with a thumping return to earth, insisting that what powers the great plays is Shakespeare’s life, his biography. Thus he thinks ‘Hamlet’ is so much more than another Jacobean tragedy because it is powered by Shakespeare’s rage and humiliation at being cuckolded, that one of his brothers had an affair with his older wife, Anne Hathaway, who he abandoned back in Stratford for twenty long years while he made his career in London (the length of time that Odysseus was absent from Ithaca).

Ellmann the biographer Now Ellmann was, of course, himself a famous biographer, having written monumental biographies of Joyce and Oscar Wilde. In a chapter about biographies, then, Ellmann can be forgiven for letting down his schematic guard for a moment and sharing some biographical facts about Joyce. These are that Joyce himself delivered a set of no fewer than 13 public lectures, in 1912 to ’13, solely on the subject of Shakespeare’s ‘Hamlet’. In addition, we know he had read the recent biographies of Shakespeare by Dowden, Lee, Harris and Wilde, as well as following the latest scholarship about newly discovered manuscripts. Sort of interesting to know, but then what…? If anything, the fact that Joyce did so much reading about Shakespeare makes the thinness of his presentation in the Library scene all the more disappointing.

Caesura Remember how Ellmann thinks every chapter is divided in two by a caesura? In this chapter he neatly suggests the caesura is marked by the arrival of Buck Mulligan halfway through Stephen’s presentation.

Mulligan mocks Up to this point in the narrative, there’d been an easy binary, between the young materialist Stephen set against the high-minded idealist, old A.E. Mulligan’s arrival introduces a third element because he is as irreverent as Stephen, he is as much a materialist as Stephen, but unlike Stephen he doesn’t care about the subject. Mulligan immediately jumps to the sexual interpretation of everyone, including Bloom who he later implies is gay – but done in a frivolous, superficial crowd-pleasing way.

Stephen’s theory is serious and hard-won, but Mulligan merely exaggerates and mocks it for effect, producing with a flourish a parody he’s written named ‘Everyman His Own Wife or A Honeymoon in the Hand (a national immorality in three orgasms)’ in which the artistic productivity of Stephen’s theory is reduced to a crude farce about masturbation.

Envy So Stephen is furious when it is Mulligan who is invited to a literary soirée at the author George Moore’s house that evening.

As Ellmann puts it, for A.E. the things of this world are illusory; for Mulligan they are inconsequential; only for Stephen are they real, as he repeatedly tells himself throughout the book.

Vico I’m translating this into my own phraseology, which I continually try to make comprehensible and practical. Not so Ellmann, who is ever-ready to rope in not only Homer and Shakespeare, Aristotle and Hume, Dante and Goethe but, in this instance, the Italian philosopher, rhetorician, historian and jurist, Giambattista Vico (1668 to 1744).

Stephen is propounding here not subjectivism, but Vico’s notion that the human world is made by man, and that we can only encounter it in what is already implicit in ourselves. Put another way, Shakespeare’s plays are a record of what was possible for him, and so are his experiences. Life coexists with art as a representation of self. (p.84)

Is that helpful to you? We know that Joyce read and admired Vico for his huge vision of the eternal recurrence of human history but:

  1. it’s not true
  2. Ellmann’s summary of it isn’t very useful (‘the human world is made by man’, duh, who did you think the human world was made by, dolphins?)
  3. it’s a foolishly simplified summary of Shakespeare’s plays to say they were ‘a record of what was possible for him’ – what does that even mean? but mostly it’s hugely misleading and grossly simplistic, they were based on all kinds of sources and written for a complex and fast-changing market

Ellmann’s discussion leads up to a pithy and meaningless summary: ‘Life coexists with art as a representation of self.’ What does that mean? It might just about mean something, but it’s barely worth knowing, is it?

Ellmann then goes on to a series of grand statements about Art which are so witless they made me really cross. Like most literary critics he is obsessed with sex, and suggests that Joyce solves the Scylla and Charybdis problem (what problem?) by having the two monsters have sex with each other. This is because:

The sexual act is the essential act of artistic as of natural creation.

Is it?

This act has to occur within the artist’s brain so that he is mother as well as father of the issuing word. Shakespeare, has, therefore, like all artists, a double nature, is like Bloom, a womanly man, is victim as well as victimiser… God himself must be both father and mother to Christ in the same way. In short, the artist, combining both parents in himself, is an androgyne. (p.86)

Does God have to be both mother and father to Christ? Does the artist have to combine both parents and become an androgyne? Why am I reading this pretentious guff? Was Bach an androgyne? Constable? Van Gogh? It leads into a small orgy of Ellmann’s favourite trope, the dichotomy.

In this two-backed beast are united the various symbols of maleness and femaleness in this episode – ashplant and hat, flag and pit, Prospero’s buried staff and drowned book, and also the categories of space and time… the present and the possible, the now-here and the there-then, Stratford and London, Dublin and Paris, land and sea. (p.87)

Remember how I summarised Ellmann’s claim that it is A.E. and Mulligan who are the real opposites here, well Ellmann takes this to extremes:

Mulligan mocks his ‘conception’ by saying that he is himself his own father, and by offering to parturiate. He also offers his own play, an anti-Hamlet, in which he says his hero is his own wife. Instead of being androgynous, like the true artist, he is only masturbatory, like the false artist…

‘Masturbatory, like the false artist…’ Is there such an easily knowable thing as ‘the false artist’? But there’s more:

Mulligan is all penis while A.E. is all vagina. (p.87)

If you think it helps you understand ‘Ulysses’ to know that ‘Mulligan is all penis while A.E. is all vagina’, then this is the book for you, as it overflows with such high-level and often preposterous generalisations. But I’m more tempted to say, with Simon Dedalus:

—Shite and onions! That’ll do, Dick. Life is too short.

Chapter 10. Wandering rocks

Ellmann is on fire now. At the end of the previous chapter, Stephen emerged into the open air and saw two plumes of smoke mounting heavenward which Ellmann thinks represent Stephen and Bloom. Remember how The Artist (apparently) has to combine both parents in himself? Well, Ellmann now tells us that The Artist also has to fuse with God:

God the creator has fused with man the creator, both androgynous, ostlers and butchers, Iagos and Othellos, both producing, by intercourse of contraries, life from death, generation from corruption, art from dialectic. (p.89)

Of course it has to be an intercourse of contraries as this is more or less the only mental structure Ellmann seems to know. Anyway, all that came at the end of the preceding chapter; at the start of this chapter Ellmann continues in the same high mystical vein, summarising Stephen’s aesthetic thus:

The true parents of the artist are less his real father and mother, who engender his body, than a ghostly pair who, in the spiritual womb of mankind, husband and wive to form the soul.

Put another way [a favourite phrase of Ellmann’s] male and female elements – world without world and world within, agent and reagent – copulate to form by spirit from what once was flesh the word which is fleshed spirit. (p.90)

‘The spiritual womb of mankind’ eh? If, like me, you don’t believe there is a God or a spirit or a soul let alone a ‘spiritual womb of mankind’, then although you have to concede that these words have a kind of gestural, ghostly or psychological meaning (because words always have some meaning) you can be fairly certain they bear no relation to anything in the real world.

Compare and contrast Ellmann’s high diction with just one random sentence from the concrete reality of the text itself.

Blazes Boylan walked here and there in new tan shoes about the fruitsmelling shop, lifting fruits, young juicy crinkled and plump red tomatoes, sniffing smells.

That is more immediate and compelling, more inventive and interesting, more revealing of ‘Ulysses” concerns and processes, than anything in Ellmann’s entire book.

The labyrinth of doubt

But Ellmann soldiers on. In chapter 10, he suggests that in order to be tested, his theory of copulating androgynes must enter ‘the labyrinth of doubt’.

Now I have to concede that Joyce himself very much did deal with this level of abstraction. He was the first to create complex schemas for the novel, in which he attributed to each chapter a presiding subject, tone, organ, colour and so on. In the Linati scheme he actually states that the meaning of chapter 10 is ‘the hostile environment’, so Ellmann is not wrong to pick up on these themes and ideas and to address them systematically.

What I object to is I think he develops them in a particularly fruitless way, travelling further and further from the complexity (and the humour and Irishness) of the text, and deeper into an academic fantasyland, into a mode of discourse where he increasingly relies on big names (Blake, Milton, Goethe, Shakespeare, Homer) in formulations which sound more like they’re devised to impress American college students doing Great Works of Western Literature 101 courses. A lot of the time Ellmann’s theories feel only vestigially attached to the actual text of ‘Ulysses’ the book.

In my opinion, Joyce needed his elaborate schemas in order to create his text; they are quite literally foundations and scaffolds and frameworks upon which he built the multistorey palace of the final text; they were the matrix within which to create evermore complex systems of images, comparisons, metaphors and so on which he packed into every chapter. You only have to notice the scores of words describing different types of wind in ‘Aeolus’ or of food in ‘Lestrygonians’ to see this. But in my reading, these elaborate schemas were an aid to composition not necessarily to understanding.

It is necessary to understanding the book to know that each chapter is based on an episode from Homer, and that each chapter focuses on a particular theme, often accompanied by keywords and images and, in the later chapters, all cast in an appropriate mode or format. And it is fairly important to understand Stephen’s commitment to Aristotelian materialism against Plato’s forms, so that you understand the debate taking place in chapters 3 and 9. But you don’t need to know much more than that. No-one needs to know that:

male and female elements – world without world and world within, agent and reagent – copulate to form by spirit from what once was flesh the word which is fleshed spirit.

That is just Ellmann taking elements from the text and taking them to rarefied and esoteric heights – quite impressive as a virtuoso performance in literary criticism of a certain flashy type, but pretty much irrelevant to an actual reading of the actual novel.

Joyce is far more vivid, immediate, evocative and funny and textually interesting than Ellmann’s colourless abstractions ever suggest. Most of ‘Ulysses’ sounds like this:

He crossed Westmoreland street when apostrophe S had plodded by. Rover cycleshop. Those races are on today. How long ago is that? Year Phil Gilligan died. We were in Lombard street west. Wait: was in Thom’s. Got the job in Wisdom Hely’s year we married. Six years. Ten years ago: ninetyfour he died yes that’s right the big fire at Arnott’s. Val Dillon was lord mayor. The Glencree dinner. Alderman Robert O’Reilly emptying the port into his soup before the flag fell. Bobbob lapping it for the inner alderman. Couldn’t hear what the band played. For what we have already received may the Lord make us. Milly was a kiddy then. Molly had that elephantgrey dress with the braided frogs. Mantailored with selfcovered buttons. She didn’t like it because I sprained my ankle first day she wore choir picnic at the Sugarloaf. As if that. Old Goodwin’s tall hat done up with some sticky stuff. Flies’ picnic too. Never put a dress on her back like it. Fitted her like a glove, shoulders and hips. Just beginning to plump it out well. Rabbitpie we had that day. People looking after her.

It is rich with felt life and textual tricksiness. Ellmann’s discussion of Aristotle and Hume, Vico and Blake are obviously not completely irrelevant, as we know from letters and lectures that Joyce thought deeply about those specific authors, and also their names are mentioned in the text itself. I just think that the way Ellmann discusses them is showy but superficial, and always takes us away from the specificity of the text.

David Hume

He does this big time when he embarks on the claim that the presiding spirit of chapter 10 is no longer Aristotle but the Scottish sceptical philosopher David Hume (1711 to 1776). If Aristotle presided over the first nine books, Ellmann suggests that Hume presides over the final nine.

Now Hume is a hero of mine and I have read several of his books very closely, notably the ‘Dialogues Concerning Natural Religion’, and I think Ellmann’s discussion of him is problematic. Number one, Joyce himself seems to have thought, erroneously, that Hume was in part an idealist, which I understand to be completely wrong. Hume was the sceptic’s sceptic, pushing philosophical scepticism to the limit.

Second objection is I think Ellmann’s discussion of Hume is short and superficial. Here’s an adapted AI summary of Hume’s thought:

Empiricism Hume divided all knowledge into 1) ‘relations of ideas’ (logic/mathematics) which have an internal logic and 2) ‘everything else’, which can be categorised as ‘matters of fact’ i.e. based on experience. Hume argued that we cannot prove anything outside these two categories. Hence all theology, metaphysics and a good deal of what passed for philosophy is literally non-sense and should be rejected.

The Problem of Causation Hume argued that we cannot directly perceive causation. Instead of knowing that A causes B we only observe that A and B appear together, leading us to feel a causal connection based on habit, not reason. None of us can know, for sure, that the sun will rise tomorrow, or that there will even be a tomorrow. Most of our knowledge of the world we live in is based on habit not reason.

Moral sentimentalism Ditto morality. Morality is rooted in feelings, sentiments, and emotions (what the eighteenth century called ‘passions’) not reason. Virtue arises from sympathy, and our reactions to events around us are mostly based on sentiment and emotion not reason or logic.

Scepticism and religion Hume fiercely attacked religion, the belief in God, miracles and so on, advocating for a purely naturalistic understanding of the world.

The self Hume argued that the ‘self’ is just a bundle of perceptions, not a stable, persisting entity.

In a nutshell, Hume dismissed all talk about subjects which aren’t based on either 1) pure maths / logic or 2) on observed phenomena, as rubbish. That’s to say, Hume dismissed all theology and most philosophy, certainly all idealist philosophy which supposes Ideals stored in some high Otherplace, all this he considered ‘sophistry and illusion’. In fact in his ‘Enquiry Concerning Human Understanding’ Hume famously argued that any book containing neither “abstract reasoning concerning quantity or number” nor “experimental reasoning concerning matter of fact and existence” should be “committed to the flames”.

This is not quite my position, I have a more open, tolerant position which is closer to William Blake’s saying that ‘Everything possible to be believed is an image of truth’. Put another way (as Ellmann so often says), theology and metaphysics are interesting 1) as intellectual games to play, like chess and 2) were and are valid creative activities of the human mind. But it doesn’t make them ‘true’ in the sense Hume uses.

When I read ‘Game of Thrones’ I lend Westeros credence in my imagination for as long as I read the books, so why can’t I lend the theology of St Augustine or Don Cupitt just as much credence, and of the same sort, getting thoroughly involved in them as I read them – but pretty obviously separating them from my lived experience of life?

It’s intellectually rewarding to study and follow the lines of thought of the major theologians and philosophers; and it’s also part of the intellectual legacy of humankind. But it’s not ‘true’. There is no God, there is no heaven, there is no soul, there are no angels, there is no Devil, there was no Fall, there is no redemption, there is no salvation, and so on. Just as there is no Hamlet or Jon Snow or Stephen Dedalus.

The way these made-up entities effect our mental lives may be very powerful indeed and in that way – in terms of psychological effects – they can have an awesome reality, as they determine the thoughts and actions of real people in the real world, in fact they can affect entire cultures, they can determine the course of history. But that doesn’t make them ‘true’ in the way this laptop I’m typing these words on is a verifiable fact. They don’t objectively exist outside the human imagination.

So I know these metaphysical imaginings are non-real (like Hume did) but I don’t commit them to the flames as hastily as he did because they are part of the vast imaginarium which we are all heirs to and it would be pointless to deny their enormous influence over people’s lives in former times, and their legacies which live on and underpin a surprising amount of what people still think and believe today. Imaginative truth (Hamlet is a powerful imaginative creation) is different from objective truth (Hamlet does not now and never has existed).

As Wittgenstein put it (and in my mind, Hume and Wittgenstein are closely allied, in their outcomes if not in their methods), ‘The world is all that is the case’. My take on this is that ‘the world’ also includes everything that has ever been believed by everyone.

This is where I differ from liberals and the high-minded who limit their view of human achievement to a handful of Great Achievements of Civilisation by a handful of Great Men, constantly citing Michelangelo or Rembrandt or Shakespeare, narrowly cherrypicking humanity’s positive achievements.

In my version of human history, everything that humans have done is our legacy, and this includes not just all the philosophy and theology, all the literature, poetry, tales and legends — but also the innumerable atrocities, slaughters and genocides. In my view, we have to face the totality of the facts, no matter how disgusting.

Anything less is sentimentalism, denial, self deception. We are what we are and we have done what we have done, no sweeping it under the carpet. I know many people who are so upset by a true understanding of the horror of history that they reject it, deny it, don’t want to know. My view is that, the more unshrinking a view you have of the abattoir that is human history, the more rare and precious become the urges to create and beautify, the more wonderful and beautiful become the relics of culture, from whichever culture, from all cultures.

This face-the-facts-and-accept-everything view is very close to Joyce’s, which is why I not only enjoy but relate to the ‘Ulysses’ so much, with all its farting, belching, masturbating, snot and semen, menses and afterbirths. It embraces the entire human organism and all of human experience as it actually is. And this is why Virginia Woolf – with her high-minded Bloomsbury view that Literature should be about Art and Beauty, so utterly loathed it. I can understand her point of view. But I’m in Joyce’s camp.

Two objections Ellmann suddenly reveals that Hume might be as much of a source for Stephen’s thinking as Aristotle was in chapter 3. This is an unusual and largely unevidenced thing to say and there are two problems with it: 1) why does Joyce only reveal it now half-way through the book? Why was Hume not present from the start? The answer might be that if Joyce had invoked Hume alongside Aristotle his explication would have gotten too complicated. But I think there’s a simpler explanation, which is that Hume isn’t as important to Joyce as Ellmann claims he is.

Ellmann cites some passages from Hume’s masterwork the ‘Treatise of Human Nature’ in which Hume describes closing and opening his eyes to test the concept of space and extension before going on to say that the concept of time is indicated by the succession of our thoughts or perceptions. Ellmann finds places in ‘Ulysses’ where Stephen has similar thoughts about space and time and quotes them to prove that Joyce is here basing Stephen on Hume.

The trouble with this is, which major philosophers have not at some point meditated on the nature of time and space? Not to mention the astronomers and cosmologists? And all the theologians? Thousands of them have. If you put a little effort into it I bet you could compare Stephen’s doodling about space and time with the writings of any number of philosophers and theologians since those are just the kinds of subjects most of them spent a lot of their lives writing about…

The main problem with Ellmann’s presentation is not so much that it might be untrue but that it is only a fraction of the possible sources. They’re just snippets which he has cherry-picked. A full and complete discussion of the concept of time in James Joyce’s ‘Ulysses’ would take an entire book and call on countless philosophers and theologians for detailed comparisons.

But none of these alternative sources are mentioned here and why not? Because Ellmann’s book isn’t a serious presentation of the issues. It’s a snapshot. It’s a summary. It’s a brief overview of some of the philosophical issues raised by the book. It’s not really serious. It’s a brief presentation of snippets and fragments, for students-in-a-hurry to finish their Great Books of Modern Literature modules. It’s a TikTok version, a Twitter treatment of the themes.

So Ellmann’s assertion that if the spirit of Aristotle presided over the first half of ‘Ulysses’, then the spirit of Hume presides over the second half is an example of fun intellectual games critics can play with an epic text like this (if you like these kinds of games). But I don’t think anyone should be fooled into thinking it’s either 1) ‘true’ (whatever that means) but more importantly 2) that it’s necessary for reading and understanding the novel. There are other, faaaar more relevant and practical things to pay attention to first.

Back to ‘Ulysses’ Ellmann is more modest and therefore more useful, when he points out the simple fact that in the ‘Wandering Rocks’ chapter, Joyce begins to play with space and time. All he means by this is that fragments from one of the 18 vignettes are likely to pop up in another vignette, and he usefully refers to them as ‘interpolations’.

Church and State (again) More useful to my practical text-based way of thinking is when Ellmann points out that chapter 10 is, once again, foundationed on the binary of church and state. By this all he means is that the chapter opens with the friendly priest Father Conmee walking through the streets of Dublin and bumping into various acquaintances, popping up in the background of other people’s vignettes; while in the second half of the chapter, we catch steadily more glimpses of the progress of the Viceroy of Dublin riding in his carriage to open a bazaar, glimpses which lead up to its full presentation in the 19th and final vignette.

Thus it’s easy to claim that a representative of Church and a representative of the State establish the physical and conceptual framework of the chapter by topping and tailing it, and it is then fleshed out with appearances from 40 or more other characters in between.

Mocked And the key point here, is that both representatives are mocked, gently but steadily. With Father Conmee, Joyce does it with the butter-wouldn’t-melt-in-his-mouth squeaky cleanness of Conmee’s supposed thoughts. With the Viceroy the mockery is implicit in the generally indifferent reaction to his passing by of the various Dubliners.

Material rebukes The final response to the Viceroy in the chapter is the Italian music teacher Almidano Artifoni going into his house and, in effect, turning the bum of his trousers to the august carriage as it trots by. Father Conmee receives a more obvious rebuke to his values and worldview when he is suddenly confronted by a couple stumbling out of some bushes, flushed because they’ve just had sex. Sex, in comedies, especially farces, is the great puncturer of human pompousness and pretension.

Binaries Both Stephen and Bloom are given one of the 18 vignettes. Both find our protagonists looking at books, according to their intellectual levels: Bloom is buying a popular romance, Sweets of Sin, for Molly; Stephen is looking through Abbot Peter Salanka’s book of charms and spells, specifically ones designed to attract a woman’s love. Love and sex. Highbrow and middlebrow versions.

Heart If you visualise Dublin as a heart (as the first headline in ‘Aeolus’ suggests):

IN THE HEART OF THE HIBERNIAN METROPOLIS

Then the 40 or so characters we meet in chapter 10 can be thought of as blood corpuscles circulating round it and bumping into each other.

Chapter 11. Sirens

Bulging According to Ellmann, in chapter 11 ‘Sirens’, the ear is female, concave and a receptacle whereas in chapter 12 ‘Cyclops’, the eye is male, bulging, invasive.

Music ‘Sirens’ is about sounds and music, it contains countless references to music, sounds and noise, to different instruments up to full orchestra, and also related defects, as in the comic figure of Pat the (almost) deaf waiter and the blind piano tuner.

Singer Joyce had a fine tenor voice and briefly considered a career in singing before rejecting it. Late nineteenth century aestheticism took it for granted that music was the highest art form but Joyce rejected this and claimed literature was.

Fugue ‘Sirens’ is Joyce’s extended attempt at converting musical form into language. It is based on the classical music form of the fugue.

A fugue is a contrapuntal compositional technique based on a main theme (subject) introduced alone, then imitated in succession by other voices. It traditionally follows a three-part structure: Exposition (subject/answer entries), Development (alternating episodes and subject entries in new keys), and Final Entry (return to the tonic).

Key components of fugue structure

  • Subject: The principal, recognizable musical theme that drives the entire piece.
  • Answer: The subject repeated by a second voice, typically transposed to the dominant key.
  • Countersubject: A distinctive contrapuntal melody that accompanies the subject/answer, often returning throughout the piece.
  • Exposition: The opening section where every voice has stated the subject at least once.
  • Episode: Transitional, developmental sections that do not contain the full subject, often using sequences and modulations to create contrast.
  • Middle Entries: Subsequent appearances of the subject after the exposition, often in related keys.
  • Stretto: A device where subject entries overlap, with a voice starting the theme before the previous voice finishes it, increasing tension.
  • Coda/Final Entry: The conclusion, often featuring a strong, final statement of the subject in the original key.

Developmental techniques

Fugues often manipulate the subject through various techniques:

  • Inversion: Playing the melody upside down (intervals reversed).
  • Augmentation: Doubling the note values (making it twice as slow).
  • Diminution: Halving the note values (making it twice as fast).
  • Retrograde: Playing the subject backward.

Once you know all this, the game becomes to apply these rules to the elements in the ‘Sirens’ chapter. Can you find examples of every rule somewhere in the prose? You can be some academic somewhere has written a book about it.

A tale of two barmaids The chapter is set in the Ormond Hotel and the obvious binary at the centre of the chapter is the contrast between the two young attractive barmaids, Miss Kennedy and Miss Douce, the one a redhead, the other dark.

Chapter 12. Cyclops

All the chapters are packed with ingenious references to their leading theme, wind in ‘Aeolus’, food in ‘Lestrygonians’, music in ‘Sirens’, and so it’s eyes in the chapter about the one-eyed cyclops. Which is why its opening sentence is:

I was just passing the time of day with old Troy of the D. M. P. at the corner of Arbour hill there and be damned but a bloody sweep came along and he near drove his gear into my eye.

Exactly as Odysseus and his men drove their stake into the single eye of the cyclops who had imprisoned them (Stuart Gilbert pointed all this out, apparently).

Having sketched out the ubiquity of eye imagery, Ellmann goes beyond it to suggest that the waspishly cynical narrator of ‘Cyclops’ is a modern avatar of mean-minded cynical Thersites, the meanest hero in the original Odyssey, who has a larger part in Shakespeare’s play of the Tale of Troy, ‘Troilus and Cressida’. Ellmann suggests cynicism is a more subtle form of bigotry, the nationalist Citizen’s crime of being one-eyed. In this respect, when Bloom stands up for himself and his ‘race’, the Jews, rejects violence and calls for love, he is showing himself to be two-eyed. Full stereoscopic vision.

Continuing the idea, Ellmann suggests that if the previous chapters had leaned on the influence of (generous) David Hume, this one invokes the spirit of the dry, satirical Voltaire. Maybe. Hardly helps you either read or understand the text, though.

For reasons I couldn’t follow, Ellmann suggests that at the climax of this chapter Bloom is apotheosised i.e. turned into a god, but many of his assertions seem so wilful and contrived as to feel a little demented.

Chapter 13. Nausicaa

In Homer’s Odyssey, Odysseus’s shipwreck is caused because he has offended two gods, Hyperion the sun god for killing his cattle and Poseidon for blinding his son, Cyclops. As is his way, Ellmann immediately sees a binary at work, declaring Hyperion represents idealism and Poseidon materialism, or height and depth (he could have carried on with light and darkness, or dry and wet).

As he stated at the start, Ellmann thinks the 18 chapters are arranged in triads; here he adds the thought they all these triads enact the dialectic i.e. thesis, antithesis, synthesis. And so Ellmann suggests chapters 13, 14 and 15 enact:

  • Nausicaa – sentimentalised idealism
  • Oxen of the Sun- materialistic callousness
  • Circe – both

More practically useful, Ellmann confirms a really basic fact about ‘Ulysses’ which is that, for all its obsessive detail in many places, in others it contains great yawning gaps. For example, we never learn how Bloom made it from running out of Barney Kiernan’s pub as the Citizen threw his biscuit tin at him, to being comfortably leaning against a rock on Sandymount Strand about an hour later. We are never told how he got there or what happened during that hour.

High on Hegelian dialectic, Ellmann claims that, in this setting, Joyce makes Howth promontory male, the bay itself as female, and the voice of the priests praying to the Virgin a combination of both = androgynous.

Back with his more obvious binaries, he tells us that the chapter is a tale of two fantasies or the projecting of imagined mirages: Gerty projects her sentimental romantic fantasies onto Bloom; Bloom projects his narrow sexual fantasies onto Gerty; and both are accompanied by two priests projecting their fantasy of the Mother of God onto the world.

‘Cyclops’ is notable for featuring a narrator who isn’t the omniscient third-person narrator of the ‘initial style’. ‘Nausicaa’ furthers the text’s uncoupling from the novel’s early style in being written in a comic pastiche of sentimental romantic fiction, which is attributed to Gerty. The nauseatingly sentimental style is, it is implied, the tone of Gerty’s half-educated thoughts.

Gerty MacDowell who was seated near her companions, lost in thought, gazing far away into the distance was, in very truth, as fair a specimen of winsome Irish girlhood as one could wish to see.

(Ellmann notes that some critics have thought the entire thing is also a sly dig at the Edwardian author Samuel Butler, who claimed the Odyssey was written by Princess Nausicaa not Homer. That’s entertaining gossip about the aim but doesn’t help much with appreciating the actual text. )

It’s also, of course, a chapter contrasting not only idealism and realism, female fantasy and male earthiness, exhibitionism and voyeurism, but also youth and age. In amid her naive thoughts, Gerty thinks of herself as unique and special, and this is the classic delusion of youth (‘I’m special. I’m different. No-one has ever felt like this before.’) By contrast, after he’s climaxed and slowly come back down to earth, Bloom rather gloomily thinks it’s the just same old thing again, repetition, nothing new under the sun. Youth = the delusion of uniqueness. Age = the disillusion of familiarity.

So it returns. Think you’re escaping and run into yourself. Longest way round is the shortest way home. And just when he and she. Circus horse walking in a ring.

Chapter 14. Oxen of the Sun

Having described sexual ejaculation in chapter 13, the next chapter moves on to its consequences, fertilisation and pregnancy.

Here, in the common room of the National Maternity Hospital, the drunk medical students offend the god by mocking true fertility, by telling all kinds of jokes, bawdy humour, climaxing in Buck Mulligan’s jokey setting up a company whereby he promises to fertilise any woman who asks, for a fee.

There is a tension between the students’ cynical stripping of the act of love down to its heartless physical basics and the way Joyce chose to convey it, in a series of elaborate pastiches of historical English prose styles. If the subject is infertility, the parade of prose styles demonstrates exactly the opposite, humanity’s endless fertility in coming up with new and intricate ways to describe things and tell stories.

Ellmann notes something I hadn’t heard before which is the way the prose goes all to hell after the students leave the hospital and go round to the nearest pub. I’d read that the chaos of voices reflected closing time in a busy city centre pub. Ellmann makes the clever suggestion that it also represents the messy afterbirth, slopping everywhere after Mina Purefoy’s baby has been born.

’Tis, sure. What say? In the speakeasy. Tight. I shee you, shir. Bantam, two days teetee. Bowsing nowt but claretwine. Garn! Have a glint, do. Gum, I’m jiggered.

Chapter 15. Circe

In the morning light at the start of the novel Stephen had descanted on the ineluctable modality i.e. continuity, of the visible. In ‘Circe’ it is far after dark and all such certainties have disappeared, leaving the characters in a place which has no rules of extension or time or logic, but inhabits the inner self of anxieties, lusts, fantasies and hallucinations.

As you might expect, Ellmann finds in this longest and most delirious chapter a cornucopia of his favourite pattern, dichotomies – inside and outside, mind and body, dream and reality, male and female, body and soul, ego and id, England and Ireland (in the form of the soldiers and the Watch), you name it, it’s here. This is what I disliked about this book: it reduces the teeming fecundity of the weirdest, most diverse novel in the Western tradition to a handful of threadbare clichés.

Ellmann equates Bloom’s sudden vision, at the end of the chapter, of his dead son Rudy but now 11 years old, as he would now be, with the visions in Dante. Well, OK, but there are plenty of other works of literature featuring visions. And Dante doesn’t have a son.

He also claims that with the visions of this chapter, Bloom has harrowed hell, as did Odysseus, Jesus and Dante before him. But did he? Metaphorically maybe. Maybe this is a valid, even obvious, suggestion but, as I’m always saying, it takes you away from the wonderful (and often gross) specificity of the text and into a Western Literature 101 seminar room where everyone’s talking about Dante, Vico and Blake, and nobody’s talking about the obscenity of the Croppy Boy scene, because that’s difficult, embarrassing and vulgar. As it’s meant to be. Ellmann’s schematic approach sanitises Joyce, who went out of his way to be as scabrous as he could be (where scabrous means ‘indecent, salacious or scandalous material that is shocking or offensive’).

Chapter 16. Eumaeus

Although Stephen announced the annihilation of space and time in ‘Circe’ when he smashed the chandelier in the brothel, the next chapter reveals the return of time and space, solider than ever.

Addicted to his philosophers, Ellmann says that if (big ‘if’) Hume’s scepticism has guided the chapters of the second half of the novel, then space and time return in the spirit of Immanuel Kant, not as the properties of things, but as the conditions of perception built into the human condition. Maybe. It’s a thought, if you know enough about Kant to really apply it…

Trinities are nearly as addictive to the conspiracy theorist as simple dichotomies, and Ellmann reads into the final three chapters an earthly trinity of Bloom the father, Stephen the son and… well, there is no equivalent of the Holy Ghost, instead the best he can offer is Molly as a blasphemous avatar of the Virgin Mary (just as she is a mocking avatar of the chaste Penelope) (remember what I said at the start about Joyce using all kinds of literary, theological and philosophical patterns when it suited him and when it didn’t… just walking away).

In the Linati schema Joyce described the style of ‘Eumaeus’ as ‘relaxed’, which seems signally inadequate – it’s a ‘tired’ and threadbare in the style of provincial newspapers, made up of journalistic clichés but without any of the vim and vigour of ‘Aeolus’. It’s ‘Aeolus’ with a hangover.

Nowhere in his book does Ellmann address the fact that large chunks of ‘Ulysses’ are so cryptic and chopped-up as to be almost unreadable. His book gives the impression it’s all clear and readable figures of allegory and philosophy which you can understand with a little guidance, as in Dante or Spenser. Nowhere does he engage with the actual text which is often impenetrable.

Hark! Shut your obstropolos. Pflaap! Pflaap! Blaze on. There she goes. Brigade! Bout ship. Mount street way. Cut up! Pflaap! Tally ho. You not come? Run, skelter, race. Pflaaaap!

In the same way, both he (and Hugh Kenner) treat the later chapters as if they’re the same as the earlier ones but they aren’t at all: ‘Nausicaa’, ‘Oxen of the Sun’, ‘Circe’, ‘Eumaeus’ and ‘Ithaca’ are all much, much easier to read and process than the earlier chapters. I once read someone saying ‘Ulysses’ starts out very English and clear and comprehensible but then gets steadily more Irish and radical and impenetrable, whereas in my reading I’ve always found it the other way round. Here’s Stephen’s stream of consciousness from chapter 2:

Proudly walking. Whom were you trying to walk like? Forget: a dispossessed. With mother’s money order, eight shillings, the banging door of the post office slammed in your face by the usher. Hunger toothache. Encore deux minutes. Look clock. Must get. Fermé. Hired dog! Shoot him to bloody bits with a bang shotgun…

It requires quite a lot of effort to tease out the meaning and point of every one of these cryptic references. Whereas:

Nausicaa – pastiche but immediately understandable:

The summer evening had begun to fold the world in its mysterious embrace. Far away in the west the sun was setting and the last glow of all too fleeting day lingered lovingly on sea and strand, on the proud promontory of dear old Howth guarding as ever the waters of the bay, on the weedgrown rocks along Sandymount shore and, last but not least, on the quiet church whence there streamed forth at times upon the stillness the voice of prayer to her who is in her pure radiance a beacon ever to the stormtossed heart of man, Mary, star of the sea.

Oxen of the Sun – the style of some of the parodies might be a little difficult but a) not if you’re used to older English prose, and b) there’s none of the clipped, truncated, cryptic quality which makes the first half so challenging:

And whiles they spake the door of the castle was opened and there nighed them a mickle noise as of many that sat there at meat. And there came against the place as they stood a young learning knight yclept Dixon.

Circe – is delirious and occasionally cryptic but nowhere near as impenetrable as Stephen’s thoughts:

The Mabbot street entrance of nighttown, before which stretches an uncobbled tramsiding set with skeleton tracks, red and green will-o’-the-wisps and danger signals. Rows of grimy houses with gaping doors. Rare lamps with faint rainbow fans. Round Rabaiotti’s halted ice gondola stunted men and women squabble.

Eumaeus – stylised, maybe, but very, very easy to read.

Preparatory to anything else Mr Bloom brushed off the greater bulk of the shavings and handed Stephen the hat and ashplant and bucked him up generally in orthodox Samaritan fashion which he very badly needed. His (Stephen’s) mind was not exactly what you would call wandering but a bit unsteady and on his expressed desire for some beverage to drink Mr Bloom in view of the hour it was and there being no pump of Vartry water available for their ablutions let alone drinking purposes hit upon an expedient by suggesting, off the reel, the propriety of the cabman’s shelter, as it was called, hardly a stonesthrow away near Butt bridge where they might hit upon some drinkables in the shape of a milk and soda or a mineral.

Ithaca – once you’ve got the hang of the question and answer format this, again, is mostly a breeze to read:

What parallel courses did Bloom and Stephen follow returning?

Starting united both at normal walking pace from Beresford place they followed in the order named Lower and Middle Gardiner streets and Mountjoy square, west: then, at reduced pace, each bearing left, Gardiner’s place by an inadvertence as far as the farther corner of Temple street: then, at reduced pace with interruptions of halt, bearing right, Temple street, north, as far as Hardwicke place.

Penelope – and even Molly Bloom’s famous soliloquy, the critics and commentators all make it sound difficult, and in some places the stream of thoughts does jump about a bit, but the thoughts themselves, once you get a handle on her biography and the telegraphic style, are not that hard to understand:

Yes because he never did a thing like that before as ask to get his breakfast in bed with a couple of eggs since the City Arms hotel when he used to be pretending to be laid up with a sick voice doing his highness to make himself interesting for that old faggot Mrs Riordan that he thought he had a great leg of and she never left us a farthing all for masses for herself and her soul greatest miser ever was

Back to ‘Eumaeus’, addicted to binaries, Ellmann decides it is all about duplicity, lies and truth. He bases this on the relevant episode in the Odyssey, where Odysseus wakes up on the shore of his kingdom and cautiously adopts a disguise before making his way to the hut of his old swineherd, Eumaeus. Here he makes up a cock and bull story about who he is while Eumaeus greets him with open-hearted candour and hospitality. Secrets versus honesty. And so Ellmann finds numerous instances of secrets and deceptions in this chapter:

  • the chapter opens with Bloom cautioning Stephen against Mulligan’s deceitfulness
  • although Lynch accompanied him into Nighttown, Stephen calls him Judas for abandoning him
  • the pair get lost and have to double back through the streets
  • Bloom delights in the Italian being spoken by some loiterers round the shelter but Stephen points out they’re arguing over money
  • all the characters they meet are deceitful e.g:
    • Lord John Corley who isn’t a lord
    • the shelter owner may or may not be Skin-the-Goat itself (obviously) a pseudonym
    • the sailor D.B. Murphy tells tall tales which Bloom thinks are probably a pack of lies, purveyor of what Bloom calls ‘genuine forgeries’
  • the conversation takes in all kinds of secrets and lies:
    • Skin’s claim that Parnell isn’t dead, his coffin is full of stones, he’s alive and well in Paris from whence he will return
    • someone claims Francis Bacon wrote Shakespeare’s plays
    • reference to the fraudulent Protocols of Zion
    • cases of forged identity such as the Tichborne Claimant
    • the Evening Telegraph gets details of Paddy Dignam’s funeral wrong, notably Bloom’s name (spelled as Boom)

It’s an impressive list of deceits and errors, in the same way as ‘Lestrygonians’ is packed with references to food and ‘Sirens’ with references to music etc. This kind of specificity, which takes you back to the detail of the text, I like.

Chapter 17. Ithaca

This is the chapter cast in the form of a catechism, questions and answers. (Ellmann likens it to the cold information retrieval systems of a computer, reminding us that this book was published in 1972, over half a century ago – computers have come on a bit since then.)

Ellmann, like Kenner, reacts negatively to this chapter, saying it strips human activity to the skeleton, that ‘the imagination is impoverished’ (p.157) but I’ve always liked this chapter for the same reasons: it is clear and lucid, it tells us exactly what is happening but also, far from being unimaginative, many of the answers depart on wild fantasias of factuality, for example the ones about water or about the stars.

Ellmann zeroes in on the sections which supposedly compare Stephen and Bloom’s contrasting views about the purpose of literature: well, he would say that, being a professor of literature. Personally I find writers writing about writing the most boring subject in the world, whereas the descriptions of the lost key, the evocative objects in Bloom’s drawers, the pondering on the mystery of the stars, the magic qualities of water and so on, I find these fresh and vivifying, enlivening, expanding my understanding of the world. And often very funny.

Ellmann is still banging on about finding the influence of Aristotle wherever he looks. Thus, in the answer about human nature:

He affirmed his significance as a conscious rational animal proceeding syllogistically from the known to the unknown and a conscious rational reagent between a micro and a macrocosm ineluctably constructed upon the incertitude of the void.

Whereas fooey to Aristotle, I love the image of these two so different men sharing an amiable pee in Bloom’s back garden under the twinkling stars.

At Stephen’s suggestion, at Bloom’s instigation both, first Stephen, then Bloom, in penumbra urinated, their sides contiguous, their organs of micturition reciprocally rendered invisible by manual circumposition, their gazes, first Bloom’s, then Stephen’s, elevated to the projected luminous and semiluminous shadow.

Treating an outdoor piss in this pseudo-scientific way is funny. Well, I find it funny. But comedy is difficult if not impossible to convey in literary analysis, whereas detecting binaries and dichotomies everywhere is like falling off a log.

Bloom’s pottering round his house after Stephen leaves, as he intersperses getting undressed with poking around in drawers, finding objects and photos which trigger memories of his family, before climbing into bed next to the slumbering Molly – all this I find warm and homely and moving, all the more so because it is conveyed not with conventional sentimentality, but in the brilliantly hard and clear FAQ format Joyce had invented for this chapter.

Chapter 18. Penelope

Ellmann tells us the conclusion of the book has been much debated. He cites two critics who were still active forces when he wrote, William Empson and Edmund Wilson, who were both concerned about what happened next, after the end of the book. Empson speculates that Stephen did indeed come back the next day, 17 June, to give the first of his Italian lessons to Molly and receive singing lessons in return. Wilson speculated that Bloom’s request to have breakfast served to him in bed symbolised his return to mastery in the marriage with Molly, which would be cemented by them having sex for the first time in 11 years.

Both now seem wildly out of date and irrelevant. What might happen to the characters after the end of the book is a completely different type of conversation, academics at the dinner table conversation, pub conversation, next to nothing to do with the chapter under discussion which, of course, is entirely concerned with Molly’s late-night thoughts.

It is in this chapter that Ellmann compares Molly’s character to Aristotle, Hume and Darwin, which I found ridiculous.

He quotes Joyce writing to his friend Frank Budgen that ‘Penelope’ is ‘more obscene than any preceding episode, which is debatable, seeing as the entire chapter ‘Nausicaa’ is about a middle-aged married man masturbating in public at the sight of a young woman’s knickers, and that ‘Circe’ has some scenes of unparalleled obscenity. But I take the point that Molly’s soliloquy contains more sustained and explicit descriptions of sex than any previous chapter.

Ellmann briskly runs through some of the details in the chapter but without really capturing its spirit and power. He tells us Molly at moments mixes up her various men, calling them all ‘he’. But at other moments she makes a very clear distinction between her lover, Blazes Boylan who is exciting but doesn’t respect her, and her husband Bloom, who is a little odd, a little boring but who does genuinely care for her.

But on the whole Ellmann isn’t happy down among the details. He’s happier when he can find an abstract binary, and so hastens to tell us that Molly is the earth to Bloom’s sun, which is fine and dandy but doesn’t really get us anywhere (p.166). He thinks Molly’s soliloquy:

resolves the questions of belief and incertitude which have dogged Stephen and western philosophy (p.168)

Which is ludicrous because a) she doesn’t – if she had what are all the philosophers in all the Philosophy departments of the universities of the world wasting their time doing? And b) can you see how wildly adrift of the actual content of her soliloquy this is?

Ellmann’s bloodless approach can’t do justice to sex, real mucky flirty dirty sex, any more than it can do justice to Joyce’s many types of comedy and humour, both crucial elements in the book, both overlooked as he struggles to make out Molly Bloom as a thinker on a par with Aristotle or David Hume.

Maybe those elements are there; maybe Joyce himself described them as being there: but they’re not the main part of the book. The book is the text itself and not the neatly cut and dried concepts which Joyce attributed to it and generations of academics have enthusiastically added to.

Obsessed with academic notions of art and artists, Ellmann whips himself up into absurdities:

Joyce said that his episode had no art but his book is consummated by the principle that art is nature’s self. (p.173)

What does this mean and why should I care? Meanwhile, of Molly’s desires and schemes and fantasies and seductions and flirtations and consummations, her friendships, her love of flowers, her fondness of displaying herself in the bedroom window to attract the attention of the handsome young medical student in the house across the road, of everything which makes her such a storming presence in modern literature, nothing, nothing at all.

Dwelling on abstract structures to the bitter end, Ellmann claims that:

The first nine episodes of the book ended with a vision of the act of love as the basic act of nature. The last nine episodes end with a vision of love as the basic act of nature. (p.174)

What Ellmann doesn’t bring out, on his own ground, on his own terms, is that Molly (and, by implication Joyce) in her soliloquy, says it all comes down to sex; that sex is the ultimate truth of human nature, of human life. This I would agree with, and is one way of summarising Darwin: we breed, we rear young, for all sorts of reasons to do with the environment, competition from other families and species, and huge slices of dumb luck, some survive to create the next generation; all organisms do this; the result over billions of years is the beautifully intricate web of natural ecosystems which form the world around us and which humanity is busily destroying and degrading as I write.

But the urge to reproduce is central and this is, of course, contrary to Christian ideology and so completely contrary to Dante (and Plato) who Ellmann is roping in here at the end of his book. In their different ways both Plato and Dante thought sexual love must be rejected, in Plato to achieve the highest form of rational thought, in Dante in order to achieve full love of God.

Molly denies all of that and locates the highest reality in her big breasts and hungry fanny. Oh how she is longing for Monday to come when she will see Boylan again, and he will plook her senseless again with his big willy.

But that’s not how Ellmann sees it. He ends this short but gruellingly wrong-headed book with a slab of characteristically high-minded rhetoric. If you like this kind of thing, you’ll love this book:

On the ethical level Bloom and Stephen have succeeded in taking the city of Dublin by exposing enthusiasm and superstition there, and by disclosing a truer way of goodwill and freedom. Molly’s hardwon approbation confirms their enterprise. On this historical level, the characters have awakened from the Circean nightmare of history by drawing the past into the present (a timeless present) and making it an expression of love instead of hatred, of fondness rather than remorse. Art has been shown to be a part of nature, and in all its processes an imitation of natural ones. These processes have their summit in love, of which the highest form is sexual love. (p.175)

Well, we agree about that much. But what a mealy-mouthed, detail-denying way of getting there.


Credit

‘Ulysses on the Liffey’ by Richard Ellmann was published by Faber and Faber in 1972.

Related links

Joyce reviews

Ulysses by James Joyce: Cast list

One obvious way of thinking about a book is not the plot, narrative or style, but slicing it up by characters and actions. This is especially handy for ‘Ulysses’ in which a cast of over 200 named characters weave in and out of the narrative as they weave their way around Dublin. You could get cute and say that many phrases and individual key words recur like characters, weaving in and out of the text to create complicated resonances and motifs, which is true, but listing them would take a book. Just creating this cast list deepened my own understanding of the characters and their significance.

The list is in order of first appearance – I wasn’t sure whether to put it into alphabetical order but Wikipedia already has an alphabetical list, if you want one:

I omitted chapter 15, ‘Circe’, because it is a beast unto itself, with over 100 characters with some of them of questionable nature (for example the various inanimate objects who have active or speaking parts) and would make this list unmanageably long. You can read my Circe review with its cast list, separately.

Chapter numbers and names

Here’s a reminder of the 18 chapters and their Homeric titles i.e. the episodes from Homer’s Odyssey which they are based on or reference. (Always worth emphasising that these titles don’t actually appear in any edition of ‘Ulysses’ where the chapters are just given as plain numbers; they are the names given by Joyce to early promoters of his book and which have been used by scholars and fans ever since they became known in the 1930s.)

Part 1. Telemachiad

  1. Telemachus
  2. Nestor
  3. Proteus

Part 2. Odyssey

  1. Calypso
  2. Lotus Eaters
  3. Hades
  4. Aeolus
  5. Lestrygonians
  6. Scylla and Charybdis
  7. Wandering Rocks
  8. Sirens
  9. Cyclops
  10. Nausicaa
  11. Oxen of the Sun
  12. Circe

Part 3. Nostos

  1. Eumaeus
  2. Ithaca
  3. Penelope

Cast

Numbers in brackets refer to chapters the characters appear in. They’re as complete as I could make them but probably not definitive.

1. Telemachus: at the Martello Tower

Stephen Dedalus (1, 2, 3, 9, 14, 15, 16, 17) aged 22, hyper-intelligent, extremely well-read, bookish young man with literary ambitions – described as ‘a lithe young man, clad in mourning, a wide hat’, mourning his recently dead mother. Called back from a brief sojourn in Paris by his father’s telegram telling him his mother is dying, Stephen caused scandal by refusing to kneel and pray at her bedside. Earns a bit teaching at Deasy’s school. In the National Library propounds his Shakespeare theory to sceptical traditionalists who aren’t impressed (10). Depressed, he appears to spend the rest of the day drinking, reappearing in the ‘Oxen of the Sun’ episode, making drunken smart remarks in the gang of drunk medical students when sober Bloom arrives. He is mortified that it is superficial Buck Mulligan who gets invited to the important literary soiree of George Moore and not the much more clever him. When the party in the maternity hospital breaks up, Stephen staggers off to the red light district where he encounters Bloom again, who rescues him from a confrontation with a British soldier and takes him home for cocoa and a chat.

On this reading of ‘Ulysses’ I realised that Stephen, for all his smarts, is a frustrated loser, stymied at every turn. By the time we get to the later chapters, his highfalutin quoting of Aquinas or whoever which felt impressive in the opening chapters, has come to seem a pathetic compensation for his failure.

I don’t feel sorry for Stephen, he’s had plenty of advantages to his start in life; I feel sorry for his impoverished younger brothers and sisters. He encounters one in chapter 10, Wandering Rocks, Dilly (Delia) Dedalus, at a bookseller’s cart, where Dilly has bought a French primer. He feels pity for her pathetic attempts to educate herself and he has his wages in his pocket to help her… but he doesn’t; he prefers to spend all his wages on alcohol and then on prostitutes. So no sympathy for Stephen.

Mary Dedalus – Stephen’s mother, recently dead. Mulligan castigates him for refusing to kneel and pray by her bedside as she was dying, a refusal that leaves him plagued by guilt throughout the novel, climaxing in the Circe chapter where he hallucinates her reproaching him. Her recent death explains why for the whole of Bloomsday Stephen is dressed in mourning. For me the often-overlooked fact is that his poor mother had 13 pregnancies, from which there are nine surviving children.

Malachi ‘Buck’ Mulligan (1, 10, 13) – plump, witty young medical student who has rented a Martello tower to live in and is letting Stephen rent a room. Mockingly dismissive of Stephen’s literary pretensions, he crops up again in the Scylla and Charybdis in the National Library taking the mickey out of Stephen’s Shakespeare theory. Stephen is repelled by his flashy cynicism. Hugh Kenner points out he is given no interior monologue i.e. he has no insides. Yet again he appears mid-way through an episode in the maternity hospital in Oxen of the Sun, yet again upstaging Stephen, before disappearing off to catch the last train out to the tower at Sandymount.

Haines (1) – Englishman temporarily staying at the Martello tower. Prone to nightmares which have kept Stephen up all night and put him in a grumpy mood. Well-meaning but imperceptive upper-class Englishman who typifies the colonial attitudes Stephen resents.

The old milk woman (1) – appears in ‘Telemachus’ when Haines tries to speak Irish to her which she can’t understand, asking if he’s speaking French: so, the comedy of a British Gaelic revivalist trying to use a half-dead language that the genuine locals don’t speak any more. For context, see:

2. Nestor: at Clifton Boys’ School, Dalkey

Cyril Sargent (2) – at Clifton Boys School, Stephen gives a history lesson then keeps this boy, Sargent, back after class to help him with sums, prompting the simple comment ‘Futility’. Stephen reflects that nonetheless his mother loves him, that a mother’s love is the one consistency in life, and then feels racked with guilt at hurting his dying mother.

Garrett Deasy (2) – pompous antisemitic Unionist headmaster of the (unnamed) school in Dalkey where Stephen is teaching in ‘Nestor’. As a ‘West Briton’ (remember, this was the insult levelled at Gabriel Conroy in ‘The Dead’) he represents unionist, Protestant and capitalist views, and so is a foil to Stephen’s nationalist, Catholic, artistic temperament. We see him a) paying Stephen his wages (£3 12s 0d) and b) finishing writing and then handing to Stephen a letter regarding foot-and-mouth disease which he wants him to take to the offices of the Evening Telegraph (and which we see Stephen deliver in chapter 7, Aeolus, and facetiously discussed by the drunken crew in chapter 14, Oxen of the Sun).

4. Calypso: at the home of Leopold and Molly Bloom, 7 Eccles Road

Leopold Bloom (4 and onwards) – aged 38. Used to work for Wisdom Hely’s, where he was a traveller for blottingpaper, now he is a freelancer canvasser for adverts i.e. advises clients about design and then tries to place them in newspapers. In Nosy Flynn’s view ‘He’s not too bad, Nosey Flynn said, snuffling it up. He’s been known to put his hand down too to help a fellow. Give the devil his due. O, Bloom has his good points.’

Crucial to understanding the entire book is that Bloom knows his wife, Molly, is going to have sex with her concert impresario Hugh ‘Blazes’ Boyle, who’s popping round to her house around 4pm. All day long Bloom is haunted by this knowledge and from time to time sees Boyle in the street (signalled in the text by Boyle’s trademark straw hat).

Bloom himself is fleetingly seen in passing by other characters as ‘A darkbacked figure’. According to Lenehan ‘He’s a cultured allroundman, Bloom is, he said seriously. He’s not one of your common or garden… you know… There’s a touch of the artist about old Bloom’. According to the narrator of Cyclops who sees him hesitate about taking a cigar, ‘he’s a prudent member and no mistake’ and, later, as he gets impatient with Bloom’s endless talk, describes him ‘with his dunducketymudcoloured mug on him and his old plumeyes rolling about’. He is similarly cautious in Oxen of the Sun where he accepts a drink from the other roisterers but then quietly pours it into his neighbour’s glass, thus proving the only respectful man among them.

As the book proceeds we come to realise Bloom is quite highly sexed and has numerous sexual fantasies. In the ‘Nausicaa’ chapter he apparently masturbates to the sight of a young childminder displaying her stockinged legs and knickers (although there is apparently scholarly debate about whether this actually happens or is just Bloom’s fantasy). And then in the extended ‘Circe’ chapter, among other transformations, Bloom is humiliated and turned into a woman for the sadistic pleasure of hallucinated prostitutes. This confirms the sense that he is actively conspiring in his own cuckolding (why doesn’t he confront Molly about it? turn up at the house at the appointed time, to prevent it?) because he gets a kick from sexual humiliation (see his correspondence with Martha, below).

Molly Bloom (4 and onwards) – née Marion Tweedy, daughter of Major Brian Tweedy and an unnamed mother from Gibraltar. She is a soprano singer, ‘Dublin’s prime favourite’ and going on a concert tour arranged by the producer Hugh ‘Blazes’ Boylan who has a date to come round her house that afternoon and have sex with her. Molly is plump. Leopold ‘looked calmly down on her bulk and between her large soft bubs, sloping within her nightdress like a shegoat’s udder’. John Henry Menton says ‘a good armful she was’. Lenehan describes sharing a taxi ride with her and says ‘She has a fine pair, God bless her.’ The lowlife narrator of chapter 12 calls her a ‘fat heap’. In the spoof Celtic Revival style she is described as ‘The chaste spouse of Leopold is she: Marion of the bountiful bosoms.’ Molly reads popular romances and Bloom spends some time at a second-hand stall looking for new ones to buy her. Her first appearance is lazing while Leopold beings her breakfast in bed. The novel famously ends with a long chapter devoted entirely to her freeflowing stream-of-consciousness thoughts as she falls asleep.

Milly Bloom (4) – Leopold and Molly’s 15-year-old daughter, recently left home to work as a photographer’s assistant in Mullingar, where she is seeing a young man named Alec Bannon. This Bannon turns up in Oxen of the Sun.

Rudy Bloom (4 and thereafter) – the infant son of Leopold and Molly Bloom who died at just 11 days old, about a decade before the events of Ulysses. As the couple’s only son, his death haunts Leopold, triggering recurring feelings of loss, guilt and regret at the lack of an heir.

Martha (4) – married woman who Bloom is having an ‘affair’ with via post, under the assumed name of Henry Flower. He’s never actually met her, he just enjoys exchanging risqué correspondence in which she calls him her naughty boy and threatens to spank him, more evidence of Bloom’s wish to be sexually humiliated.

Rudolph Virág (4) – Leopold’s father, a Hungarian Jewish immigrant who converted to Protestantism, which explains why despite being nominally Jewish Bloom has very few thoughts about Jewish history, theology, traditions or practices. What he does ruminate on is the fact that Rudolph committed suicide by taking poison. Rudolph appears as a hallucination in Circe to criticise his son.

Athos (4) – Rudolph’s dog, pined away and died after his owner killed himself.

Dlugacz (4) – Bloom’s local butcher (referred to as the ‘ferreteyed porkbutcher’). He is a Hungarian Jewish immigrant, similar to Bloom’s own background, yet he sells pork. He wraps Bloom’s kidney in a sheet of newspaper that advertises a Zionist land-settlement project named Agendath Netaim (Hebrew for ‘Union of Planters’) which Bloom reads and whose name recurs.

Sweny’s (4) – specifically, F.W. Sweny & Co. Ltd, the chemist’s shop where Bloom goes to order a lotion for his wife, Molly, and buys a bar of lemon-scented soap, promising to come back later and pay, which he doesn’t, despite nagging thoughts.

Hugh ‘Blazes’ Boylan (mentioned in 4, 10, 11) – flashy, popular concert promoter who’s arranging a concert tour for Bloom’s wife, Molly. In chapter 4, ‘Calypso’, Bloom picks up a letter from his doormat from him to Molly and hands it to her in bed. Somehow he knows that they’ve made a date for today, 4pm, when Boylan is going to come round and have sex with her, and is haunted by the knowledge all day and keeps catching glimpses of him in the street. Boylan is a ‘spruce figure’ wearing ‘a skyblue tie, a widebrimmed straw hat at a rakish angle and a suit of indigo serge’. In ‘Wandering Rocks’ we see him buying fruit as a present for Molly and, characteristically, flirting with the salesgirl. In ‘Sirens’ he flirts with the barmaids and buys drinks for himself and Lenehan.

5. Lotus Eaters: Bloom wanders round central Dublin, from Sir John Rogerson’s Quay through Lime Street toward Westland Row, Lincoln Place (near Sweny’s pharmacy) and ending near Merrion Square

Charlie M’Coy (5, 10, 15) – small-time local conman, swindler and acquaintance of Bloom’s; asks Bloom to add his name to the list of Dignam’s mourners, despite not attending the funeral. Crops up in ‘Wandering Rocks’ accompanying Lenehan.

Bantam Lyons (5, 8) – a shabby gambler. In ‘Lotus Eaters’ (5) while looking for racing tips, Lyons asks to borrow Bloom’s newspaper, Bloom tells him to keep it because he was ‘going to throw it away’ which Lyons interprets as ‘Throwaway’ being the name of a horse to bet on. When Lyons mentions this to others, Bloom acquires a spurious reputation for having ‘inside information’. The joke outcome of this little storyline is that the horse ‘Throwaway’ actually wins the race, much to the vexation of Lenehan and other characters.

6. Hades: Paddy Dignam’s funeral at Glasnevin Cemetery

Paddy Dignam (6) – dead, died a few days before the novel starts, dropped dead of ‘apoplexy’ probably meaning heart attack. We learn that Dignam had mortgaged his life insurance policy to pay off debts, leaving his wife and five orphans penniless. His funeral is a central event in the first half of the narrative, attended by Bloom, Simon Dedalus and others. ‘As decent a little man as ever wore a hat, Mr Dedalus said.’ His young son, Patsy, pops up briefly in Wandering Rocks. He may be an avatar of the Homeric figure of Elpenor in The Odyssey, who dies after he drunkenly falls overboard. After the funeral ‘Wandering Rocks’ shows Bloom visiting the Dignam home on Newbridge Avenue to offer assistance, but he also seems to visit her again. The reason Bloom looks into Barney Kiernan’s pub is he’s looking for Martin Cunningham to jointly pay her another visit; they are going to fiddle Paddy’s insurance policy to get her some of the money Paddy had mortgaged away.

Patrick Aloysius ‘Patsy’ Dignam (6, 10) – young son of Paddy Dignam, appears in ‘Hades’ and again in ‘Wandering rocks’. Represents the pitiful next generation, impoverished by this generation’s fecklessness.

Simon Dedalus (6, 7, 10, 11) – Stephen’s father. According to ‘Portrait’ was affluent enough in his early married years to send Stephen to a fee-paying school, but then went steadily downhill, unable to keep a steady job and continuing to impregnate his wife (who endures 13 pregnancies!). In ‘A Portrait’ Stephen gives a comic resumé of his father’s career:

Stephen began to enumerate glibly his father’s attributes. —A medical student, an oarsman, a tenor, an amateur actor, a shouting politician, a small landlord, a small investor, a drinker, a good fellow, a storyteller, somebody’s secretary, something in a distillery, a taxgatherer, a bankrupt and at present a praiser of his own past.

Now he mostly makes money by pawning family possessions. He’s one of the three others with Leopold in the carriage to Paddy Dignam’s funeral. Bloom thinks: ‘Noisy selfwilled man. Full of his son’ but also: ‘Most amusing expressions that man finds’. Wears glasses. Pops up in the newspaper office in Aeolus, in the National Library in Scylla and Charybdis, briefly in Wandering Rocks, and at the Ormond Hotel in Sirens, eating, drinking and then singing along with other characters who play the piano and perform. He sings the aria ‘M’appari tutt’amor’ from Friedrich von Flotow’s opera Martha, a song about lost love that moves Bloom thinking about his own marital situation.

Martin Cunningham (6, 12) – one of the three others with Leopold in the funeral carriage, a kindly sympathetic friend to Leopold Bloom. He organises help for the Dignam family and defends Bloom against antisemitic slurs in ‘Hades’ and ‘Cyclops’. He has a beard and looks a bit like Shakespeare. He has to cope with an alcoholic wife.

Mr Power (6) – one of the three others with Leopold in the funeral carriage – a Dublin official associated with the Royal Irish Constabulary at Dublin Castle – good looking – keeps a mistress – commits a faux pas when (in the funeral carriage with Bloom and two others) he opines that suicide is ‘the greatest disgrace to have in the family’ unaware that Bloom’s father, Rudolph, committed suicide.

Corny Kelleher (6, 10, 15) – an undertaker’s assistant working for H.J. O’Neill’s funeral parlour, a shadowy figure connected to both death and the police, maybe an avatar of Charon the ferryman. He appears in ‘Hades’ (6) and ‘Wandering Rocks’ (10). In ‘Circe’ (15) he helps handle the police but doesn’t offer to take drunken Stephen home, that’s left to Bloom.

Ned Lambert (6, 7) – at the cemetery, a cheerful, well-connected Dubliner, a friend of Simon Dedalus. He is a seed and grain merchant who manages a grain store in St. Mary’s Abbey. He appears at Paddy Dignam’s funeral (6) then the Evening Telegraph offices (7) then showing the reverend Hugh Love around the Abbey in ‘Wandering Rocks’. Known for his wit and boasts about his influential relatives like his uncle, the Vice-Chancellor.

Father Coffey (6) – officiates at Paddy Dignam’s funeral, muscular, and ‘jowly’. Bloom thinks he ‘barks’ the funeral mass. Insofar as he mediates between the world of the living and the dead, maybe an avatar of Cerberus the dog at the entrance to Hades in Greek mythology.

John O’Connell (6) – real-life Superintendent of Dublin’s Glasnevin Cemetery, a respected local figure known for telling humorous stories e.g the one about the two drunks and Mulcahy’s statue. Insofar as he presides over the cemetery, an avatar of the Greek god of the underworld (Hades in Greek, Pluto in Latin).

Tom Kernan (6, 10) – tea salesman, agent for Pulbrook Robertson & Co. tea merchants. He was the central figure, the heavy drinking alcoholic who his friends set out to reform in the Dubliners short story ‘Grace’. Here we learn that Kernan is a Protestant, a detail that surfaces when he is part of the funeral party in ‘Hades’ and critically comments on the ‘rushed Catholic services’. In ‘Wandering Rocks’ he discusses a recent shipping disaster with Bloom and then in ‘Sirens’, encourages the baritone Ben Dollard to sing ‘The Croppy Boy’. His friends mock him for his use of pretentious phrases.

Joe Hynes (6, 7, 12) – unreliable, small-time reporter for the Freeman’s Journal who covers Paddy Dignam’s funeral; in his subsequent report he misspells Bloom as ‘Boom’, an error which rings through the rest of the story. Similarly, he asks for the name of a mystery man at the funeral and mishears the reply that he’s wearing a mackintosh for the man’s name, which he reports incorrectly as ‘M’intosh’, another joke error which recurs. Known for his financial unreliability, he borrows three shillings from Leopold and doesn’t repay it. Previously appeared in the Dubliners story ‘Ivy Day in the Committee Room’.

John Henry Menton (6, 15) – a petty, arrogant solicitor and commissioner of affidavits who we meet in the ‘Hades’ chapter. He holds a long-standing grudge against Bloom who beat him in a game of bowls and so coldly rebuffs Bloom’s attempt to fix his dented hat after the funeral. Insofar as he spurns the hero (Bloom/Ulysses) he is maybe an avatar of Ajax, a Greek hero spurned by Odysseus, who ignores him when Odysseus visits the underworld. He appears in the hallucinated jury of the ‘Circe’ chapter.

Reuben J. Dodd (6) – a real-life Dublin solicitor and moneylender, portrayed by other characters as an avaricious Jew. At the cemetery other characters discuss rumours of his son’s suicide attempt in the River Liffey.

7. Aeolus: in the newspaper offices of the Freeman’s Journal on Prince’s Street

Red Murray (7) – a minor character in ‘Aeolus’, an employee at the Freeman’s Journal office who helps Bloom arrange for a newspaper paragraph to appear about his client, Alexander Keyes.

Joseph Nannetti (7) – a real-life historical figure, a rising Dublin politician and printer who was working as the foreman at the Freeman’s Journal where Bloom encounters him. The real Nannetti went on to be Mayor of Dublin (1906 to 1908).

Professor McHugh (7) – brilliant but lazy, haphazard academic. Encountered hanging out in the Freeman’s Journal office bantering with other time wasters like Ned Lambert, Simon Dedalus and J.J. O’Molloy. ‘Professor MacHugh’s unshaven blackspectacled face’. His most significant moment is reciting a (real) speech by barrister John F. Taylor which compared the Irish language revival movement to Moses leading the Israelites to the Promised Land.

For an interesting article about all the characters found in the newspaper office, see:

J. J. O’Molloy (7, 10) – a once-promising but now struggling Dublin lawyer, portrayed as down on his luck and in debt, haunting newspaper offices like the Freeman’s Journal, for loans while maintaining a veneer of respectability and knowledge of oratory. Crops up in ‘Wandering Rocks’.

Myles Crawford (7) – pompous, alcoholic editor of the Evening Telegraph and Freeman’s Journal, dismisses Bloom’s polite approaches but fawns over Stephen when he later appears.

Matthew Lenehan (7) – a parasite, hanger-on, freelance journalist and horse-racing tipster. One of the two characters in the Dubliners story, ‘Two Gallants’ where he leaches on a fancy man who screws money out of his girlfriend. Desperate scrounger. He appears in ‘Aeolus’, ‘Wandering Rocks’, Sirens’ and among the medical students in ‘Oxen of the Sun’. He is obsessed with the Ascot Gold Cup, backs a horse called Sceptre and is infuriated when Bloom’s tip, Throwaway, wins instead.

Mr O’Madden Burke (7) – a smooth, sophisticated music critic and reviewer who we first meet in the Dubliners story ‘A Mother’ and who here appears in the newspaper office in ‘Aeolus’). He reappears in ‘Cyclops’, ‘Ithaca’ and is mentioned in ‘Penelope’. Pretentious and self-interested.

8. Lestrygonians

Bloom wanders central Dublin, walks past the Irish House of Parliament and Trinity College, moving from O’Connell Street toward Grafton Street and Kildare Street, deciding not to have lunch at Burton restaurant but grabbing a gorgonzola sandwich and glass of Burgundy at Davy Byrne’s pub on Duke Street, before walking on and ducking into the National Library to avoid Blazes Boylan.

Mrs Josie Breen (née Powell) (8) – former flame of Leopold Bloom and friend of Molly Bloom, long-suffering wife of the mentally unstable Denis Breen, ‘beauty and the beast’. When Bloom encounters her in ‘Lestrygonians’, he is sad that she looks shabby and haggard-looking.

Denis Breen (8) – Josie’s mentally ill husband – ‘Denis Breen in skimpy frockcoat and blue canvas shoes shuffled out of Harrison’s hugging two heavy tomes to his ribs. Blown in from the bay. Like old times. He suffered her to overtake him without surprise and thrust his dull grey beard towards her, his loose jaw wagging as he spoke earnestly.’ He has recently received an anonymous postcard with ‘U.P.: up’ on it which has made him panic. Scholars interpret it to mean ‘Your time is up’ or ‘You are all washed up’ and more broadly, in the context of the novel, to symbolise failure, paranoia, mockery and modern confusion – recurring themes in the novel.

Little Alf Bergan (8, 12, 15) – a Dublin character and assistant to sub-sheriff Long John Fanning. In ‘Lestrygonians’ he spots Denis Breen and explains the story about the ‘U.P.: up’ postcard. He plays a role in ‘Cyclops’ by bringing to Barney Kiernan’s pub a cache of applications for the job of state hangman which triggers a tipsy discussion about hangings. Crops up (like everyone else) in Circe.

Nosey Flynn (8) – a greasy, gossipy Dublin pub regular, often found at Davy Byrne’s, known for his intrusive questions and snuffling manner. First appeared in the Dubliners story ‘Counterparts’.

Davy Byrne (8) – owner of the eponymous bar where Bloom drops in for a ‘gorgonzola cheese sandwich with mustard and a glass of burgundy’. A careful, moral man who doesn’t gamble. The sandwich and wine give Bloom wind which he passes under cover of a passing tram at the end of ‘Sirens’.

Paddy Leonard (8, 15) – minor character seen around the pubs who crops up in ‘Lestrygonians’ and ‘Circe’.

Tom Rochford (8) – struggling inventor who in ‘Wandering Rocks’ shows off his device, designed for music halls to show which act is on stage, which he hopes to promote to Blazes Boylan.

Sir Frederick Falkiner (8) – a real Dublin magistrate (Recorder of Dublin) known for his antisemitic judgments, appears as a symbol of legal hypocrisy and judicial bias, particularly towards Jews like Bloom. Bloom encounters him in ‘Lestrygonians’ and later hallucinates him sentencing him to prison in ‘Circe’.

Cashel Boyle O’Connor Fitzmaurice Tisdall Farrell (8, 10) – a real-life Dublin eccentric known as ‘Endymion’, appears in ‘Lestrygonians and ‘Wandering Rocks’, recognized by his long name, tight hat, and dangling stick-umbrella-dustcoat.

9. Scylla and Charybdis: in the director’s office of the Irish National Library on Kildare Street

The quaker librarian (9) – unnamed Head Librarian of the National Library, tiptoeing in and out of Stephen’s lecture about Shakespeare in ‘Scylla and Charybdis’.

John Eglinton (9) – fictional name for real-life essayist William Kirkpatrick Magee, a literary figure and librarian, who listens sympathetically to Stephen’s Shakespeare lecture.

Mr Best (9) – another of the auditors of Stephen’s Shakespeare lecture, based on the real-life Irish Celtic scholar and librarian Richard Irvine Best, he is depicted as a refined but shallow young man, signalled by his frequent use of the phrase ‘don’t you know’.

A.E. (9) – pseudonym of the real-life Irish poet, writer and mystic George Russell, who used the pseudonym Æ, a central figure in literary circles and a spiritual advisor. He is the main audience for Stephen’s Shakespeare lecture where he represents the old, spiritual, platonic view of art and so is unsympathetic to Stephen’s aggressively realist and autobiographical reading of Shakespeare.

10. Wandering Rocks: 19 vignettes depicting numerous Dubliners, many of them real-life figures

John Conmee S.J. (10) – ‘The superior, the very reverend John Conmee S. J.’ first figure we meeting in ‘Wandering Rocks’ having a series of encounters with passersby in which he is blandly polite. Real-life figure, rector at Clongowes Wood College who was kind to a young James Joyce and instrumental in securing scholarships for Joyce and his brothers to Belvedere College.

Master Brunny Lynam (10) – boy who Father Conmee gets to post a letter for him at a postbox across the road.

Mr Denis J. Maginni (10) – a real-life Dublin dancing professor – ‘professor of dancing &c, in a silk hat, slate frockcoat with silk facings, white kerchief tie, tight lavender trousers, canary gloves and pointed patent boots’. In ‘Circe’ when Stephen dances with prostitutes in Bella Cohen’s brothel, he imagines Maginni is there coaching him.

Mrs M’Guinness (10) real-life figure who owned a pawn shop, M’Guinness’s, where Stephen’s sisters (Katey and Boody) attempt to pawn some of Stephen’s books to buy food. Mrs M, ‘stately, silverhaired’, is greeted and bows to nice Father Conmee.

Katey, Boody and Maggy Dedalus (10) – boiling clothes, making yellow peasoup, living in poverty, shaming clever Stephen who had all the advantages in life.

Almidano Artifoni (10) – a music teacher and singer who appears briefly in ‘Wandering Rocks’, bumping into Stephen and suggesting he pursue a lucrative professional singing career, which Stephen rejects.

Miss Dunne (10) – typist, secretary to Blazes Boylan, sits in her office daydreaming or reading a romance novel. Types the date ’16 June 1904′, the only confirmation of the date on which Ulysses takes place (Bloomsday). She speaks with Blazes Boylan via telephone, relaying that Lenehan will be at the Ormond Hotel at four o’clock.

The reverend Hugh C. Love (10) – amateur historian being shown round St Mary’s Abbey by Ned Lambert, who’s in charge of the grain store in the abbey’s cellar.

Dilly Dedalus (10) – one of Stephen’s impoverished siblings. He bumps into her in ‘Wandering Rocks’, where she asks if he’s seen their father, then shows him a tatty French primer she’s bought at a second-hand stall, prompting Stephen’s feelings of pity and guilt.

Ben Dollard (10, 11) – large, good-natured and formerly successful Dublin bass singer with a big beard, often called ‘Big Ben’. Friend of Simon Dedalus, appears in ‘Wandering Rocks’, plays the piano and sings the sentimental ballad ‘The Croppy Boy’ in ‘Sirens’.

John Wyse Nolan (10, 12) – a minor nationalist character in ‘Cyclops’ who shares anti-British nationalistic views with the but is more moderate and briefly sympathetic to Bloom.

Long John Fanning (10) – fictional subsheriff of Dublin, first referenced in the Dubliners story ‘Grace’, appears here being discussed in ‘Aeolus’, appears briefly in ‘Wandering Rocks’ then appears in his role as sub-sheriff in Bloom’s masochistic court fantasy in ‘Circe’.

John Howard Parnell (10) – real-life figure, the brother of the superfamous Irish nationalist leader Charles Stewart Parnell who, at the peak of his power, was ruined by being cited as the co-respondent in a divorce case and died soon after, in disgrace, in 1891. John was a city marshal in Dublin and the registrar of pawnbrokers but his role in the novel is to be a ghostly figure symbolising the haunting memory of Irish political failure. He is spotted by Bloom in ‘Lestrygonians’. In ‘Wandering Rocks’ he is seen in a bar playing chess against himself.  Inward-turning, failed, paralysis, all Joyce’s themes. In the phantasmagoria of ‘Circe’ Bloom imagines him offering a blessing, linking the ordinary, fading John Howard with the immense, mythic status of his dead brother.

11. Sirens: the bar and dining room of the Ormond Hotel on Ormond Quay on the north bank of the River Liffey

Richie Goulding (11) – Stephen’s uncle, brother of Stephen’s dead mother, May, married to Sara hence Aunt Sara. A struggling solicitor’s clerk, depicted as a slightly pathetic figure, with a bad back, often weighed down by a legal bag but enthusiastic about music. In ‘Sirens’ Bloom has dinner with him at the Ormond Hotel.

Miss Mina Kennedy (11) – one of the two barmaids in the Ormond Hotel in the Sirens episode who align with the sirens of the Odyssey. Golden-haired in contrast to Lydia Douce, who is bronze-haired. The pair are like ‘malicious mermaids’ coolly observing the (useless) men in the bar. She is more reserved than the flirtatious Miss Douce.

Miss Lydia Douce (11) – the other of the two barmaids in the Ormond Hotel in the Sirens episode who align with the sirens of the Odyssey. Bronze-haired barmaid in contrast to golden-haired Mina Kennedy. She is the more outgoing, flirtatious of the two: acting in a suggestive behaviour such as reaching up to emphasise her bosom, snapping her garter for Lenehan, suggestively stroking the phallic-shaped beer pull, and flirting with Blazes Boylan who pops in for a drink and who she has a crush on.

Pat (11) – waiter at the Ormond, old, bald and hard of hearing, moving between the dining room (where Bloom has dinner) and the bar. ‘Pat is a waiter who waits while you wait.’

The piano tuner (11) – young, unnamed character known as the ‘blind stripling’. Kindly helped across the road by Bloom in ‘Lestrygonians’; rudely bumped into by Cashel ‘lamppost’ Farrell in ‘Wandering Rocks’; arrives at the Ormond Hotel to retrieve the tuning fork he’d left behind, and where he plays the piano, among others.

George Lidwell (11) – real-life Dublin solicitor and acquaintance of Joyce’s father. Offices nearby on Upper Ormond Quay, Lidwell is a ‘suave solicitor’ flirts with the barmaids. (Joyce consulted Lidwell in 1912 regarding legal issues with the publisher of ‘Dubliners’.)

12. Cyclops: Barney Kiernan’s pub

Narrator (12) – drops into Barney Kiernan’s pub to see the Citizen.

Geraghty (12) – doesn’t appear but is described as a ‘foxy’ (red-haired) plumber and a debtor who has stolen goods from a merchant named Moses Herzog.

The Citizen (12) – dominant figure in chapter 12, Cyclops. Supposedly based on Michael Cusack, the real-life founder of the Gaelic Athletic Association though scholars argue he’s more of a composite of radical nationalists of the era. The Homeric parallel is with the Cyclops Polyphemus because, like the one-eyed giant, the Citizen is depicted as narrow-minded, aggressive and blinded by his own prejudices.

Garryowen (12) – the Citizen’s mangy dog whose constant rumbling and occasional barking put everyone on edge. At the end of the chapter the Citizen sets him on Bloom who only just manages to jump onto a cab and make his escape. Comedically, Garryowen is mentioned by Gerty MacDowell in the ‘Nausicaa’ chapter (13) as actually belonging to her grandpapa Giltrap, and she calls him ‘a lovely dog’, really bringing out her rose-tinted view of everything.

Bob Doran (12) – first appeared a respectable, anxious employee in a wine-merchant’s office in the Dubliners short story ‘The Boarding House’. Since then he’s gone downhill and is now encountered as a drunk, weeping, rambling figure in Barney Kiernan’s pub, getting maudlin about the death of Paddy Dignam, adding to the general atmosphere of degraded chaos.

Terry O’Ryan (12) – bartender in Barney Kiernan’s pub – ‘Same again, Terry’.

Pisser Burke (12) – nickname of Andrew Burke, minor character and associate of the Cyclops narrator, known for spreading gossip around Dublin, tells stories from when he knew the Blooms when they lived at the City Arms Hotel.

13. Nausicaa: Sandymount Strand

Cissy Caffrey (13) – one of the three young women on the beach, looking after her young twin brothers, Jacky and Tommy. A non-nonsense straight-talking contrast with Gerty (see below) for example the way she goes straight over to loitering Bloom to ask him the time. In ‘Circe’ she returns in degraded form, apparently working as a prostitute while interacting with British soldiers.

Edy Boardman (13) – one of the three young women on the beach, the only mother so pushing a pram, she represents reality and maturity in contrast with Gerty’s self-deceiving romanticism. Makes cutting remarks which irritate Gerty. She and Cissy equate to the retinue of fine ladies who accompanied Princess Nausicaa in Homer’s Odyssey.

Tommy and Jacky Caffrey (13) – boisterous twin brothers looked after by their much older sister, Cissy.

Gerty MacDowell (13) – the young woman on the beach who Bloom watches from a distance, provocatively posing for him as he masturbates and while her head overflows with romantic, reality-denying fantasies.

14. Oxen of the Sun: National Maternity Hospital, Holles Street

Dr Horne (14) – a real-life figure, Sir Andrew J. Horne, a prominent Dublin obstetrician and the Joint Master of the National Maternity Hospital.

Nurse Quigley (14) – continually telling the drunken gang off for keeping the pregnant women in the ward above awake with their racket, inn the Homeric parallel, for disrespecting the sacredness of fertility – ‘an ancient and a sad matron of a sedate look and christian walking, in habit dun beseeming her megrims and wrinkled visage’.

Dr Dixon (14) – junior doctor at the hospital. Recognises Bloom and invites him to join the party in the common room. Later goes to attend Mrs Purefoy who’s finally had her baby.

Crotthers (14) – ‘the Scotch student, a little fume of a fellow, blond as tow’ – ‘Crotthers was there at the foot of the table in his striking Highland garb, his face glowing from the briny airs of the Mull of Galloway’.

Madden (14) – ‘the squat form of Madden’ – another drunk medical student.

Frank ‘Punch’ Costello (14) – medical student, the drunkest member of the party, frequently interrupting the quiet of the hospital with ribald drinking songs. Nicknamed ‘Punch’ from his habit of ‘dinging’ any table he’s sitting at with his fist.

Alec Bannon (14) – brought along by Mulligan to the hospital. Boyfriend of Bloom’s 15-year-old daughter, Milly.

Nurse Callan (14) – nurse working at the National Maternity Hospital on Holles Street, half-way through the chapter announces the birth of a son to Mina Purefoy.

Bridie Kelly (14, 15, 16) – young working-class woman Bloom lost his virginity to and reminisces about in ‘Oxen of the Sun’ (she also appears in ‘Circe’ and ‘Eumaeus’). One of the chapter’s Gothic paragraphs describes her as ‘the bride of darkness, a daughter of night’.

15. Circe

Too many to be listed. See my standalone review of Circe.

16. Eumaeus

Gumley (16) – nightwatchmen asleep in his ‘sentrybox’ by the docks.

Corley (16) – unemployed, scrounging son of a Dublin police inspector who asks Stephen for money – first appeared in the Dubliners story ‘Two Gallants’, extracting money from a naive girlfriend – nicknamed Lord John Corley because his mother was a servant in the house of an aristocrat

D.B. Murphy (16) – a sailor, teller of tale tales, possessor of impressive tattoos.

Skin-the-Goat (Fitzharris) (16) – owner of the shelter.

Streetwalker (16) – ‘glazed and haggard under a black straw hat’, briefly looks through the door of the shelter and makes Bloom duck behind the newspaper in embarrassment so is she Bridie Kelly who he tells us he lost his virginity to.

17. Ithaca

Stephen and Bloom.

18. Penelope

They don’t actually physically appear, but present in Molly’s thoughts are quite a few final characters:

Mrs Riordan (18) – who we met as Dante, nanny to young Stephen Dedalus in ‘Portrait’.

Mary Driscoll (18) – the Blooms’ scullerymaid.

Bartell DArcy (18) – tenor singer who kissed her in church.

Mrs Hester Stanhope (18) – adult friend when Molly was a girl.

Lieutenant Mulvey (18) – ‘beau’ of the 15-year-old Marion, they kissed.

Mrs Rubio (18) – elderly Spanish housekeeper of the Tweedy family in Gibraltar, Mrs Rubio.

Lunita Laredo (18) – Molly’s mother, a Gibraltarian of Spanish/Jewish descent.

Mrs Fleming (18) – useless cleaner they had, sneezing and farting everywhere and you had to follow her round fixing her work.

Dr Collins (18) – Molly’s gynaecologist, impressed her with his long learnèd words.


Credit

‘Ulysses’ by James Joyce was published by Shakespeare and Company in 1922.

Related links

Joyce reviews

Ulysses by James Joyce: Wandering Rocks

—Curse your bloody blatant soul, Mr Dedalus cried,
(Stephen Dedalus’s father Simon is given many vivid curses throughout the book, this one is addressed to the man ringing his handbell outside Dillons auction house while Simon’s having an argument with his small daughter, Dilly)

Here’s a quick reminder of the chapter numbers and names in James Joyce’s epic modernist novel, ‘Ulysses’. Pretty much all discussion of the book needs to reference them. But note: none of the Greek chapter titles are indicated in the actual text of ‘Ulysses’; they were given by Joyce to early commentators who published them in books and articles about the novel and they have been used by critics and commentators, including me, ever since, but none of them actually appear in hard copies or online versions of the text.

Part 1. Telemachiad or the odyssey of Telemachus

  1. Telemachus
  2. Nestor
  3. Proteus

Part 2. Odyssey

  1. Calypso
  2. Lotus Eaters
  3. Hades
  4. Aeolus
  5. Lestrygonians
  6. Scylla and Charybdis
  7. Wandering Rocks
  8. Sirens
  9. Cyclops
  10. Nausicaa
  11. Oxen of the Sun
  12. Circe

Part 3. Nostos or Return

  1. Eumaeus
  2. Ithaca
  3. Penelope

Homeric parallel

Most of the other chapters in ‘Ulysses’ have a central figure and a central narrative but ‘Wandering rocks’ is an exception to this rule.

Chapter ten marks the mid-point of this 18-chapter novel and so is a sort of interlude or resting point. Joyce had the bright idea of basing it on the wandering rocks episode in Homer’s epic poem the Odyssey. In the poem the Planctae (Greek for ‘wanderers’) were a group of rocks which constantly moved about, stirring up the sea and smashing any ship which tried to navigate between them, leaving only floating timber and flames. They are sometimes confused with the Symplegades or clashing rocks.

As Odysseus prepares to depart from the witch Circe, she warns him that the wandering rocks have only once been successfully navigated, by Jason and his argonauts. The rocks are one of only two routes onwards to Ithaca, the other route going by Scylla and Charybdis. Jason chooses to sail through the rocks, Odysseus avoids them and goes the Scylla and Charybdis route.

Joyce’s adaptation

Joyce’s adaptation of the episode is very characteristic in that he takes what he needs and simply abandons whatever doesn’t fit. Thus he uses the idea of wandering as the basis of 18 short vignettes, each about a different Dublin character, as they potter about central Dublin bumping into each other, seeing each other, thinking about each other, including three of the main protagonists, Hugh ‘Blazes’ Boylan (section 5), Stephen Dedalus (section 6) and Leopold Bloom (section 10). So ‘wandering’ yes, but as to the danger part of the Greek legend Joyce just ignores it. There’s no clashing involved, there’s no danger anywhere. Bloom/Odysseus is never threatened. No-one is getting crushed.

Instead the chapter is like the novel in miniature. It even contains 18 episodes to match the novel’s 18 chapters (plus a coda, 19 sections in all).

The narrative’s clever interlocking of characters and incidents is widely admired. This is increased by the way each vignette contains references or entire paragraphs referring to incidents taking place in other vignettes, in other parts of the city, at the same moment. Critics call these sudden eruptions of another stories into each vignette, often in the form of one unexplained sentence, ‘interpolations’.

Many readers and critics have thought of this as a cinematic technique which builds up to give a sort of panoramic overview of an entire city at the time it is set, the hour from just before 3pm till a little after 4pm.

I have a major reservation about this, and ‘Ulysses’ as a whole, which I’ll explain at the end of this review.

Church and state

The chapter, like many before it, takes as a key foundation the binary of church and state. Thus it opens with a friendly priest walking through the streets of Dublin and bumping into various acquaintances, before popping up in the background of subsequent vignettes; while in the second half we catch steadily more glimpses of the progress of the Viceroy of Dublin riding in his carriage to open a bazaar, glimpses which lead up to its full presentation in the 18th and final vignette.

So the narrative is topped and tailed by a representative each of Church and of State, types which lay down a kind of conceptual frame of the chapter, which is then fleshed out by the appearances of the 20 or 30 other characters.

Mocked

And they are both mocked, gently but steadily. With Father Conmee Joyce does it with the butter-wouldn’t-melt-in-his-mouth squeaky cleanness of Conmee’s conversation:

Father Conmee was wonderfully well indeed. He would go to Buxton probably for the waters. And her boys, were they getting on well at Belvedere? Was that so? Father Conmee was very glad indeed to hear that. And Mr Sheehy himself? Still in London. The house was still sitting, to be sure it was. Beautiful weather it was, delightful indeed.

With the Viceroy, the mockery is implicit in the generally indifferent reaction to his passing-by of the various Dubliners. The job is largely done without resorting to large-scale parody (unlike the chapters which follow).

Material rebukes

The final response to the Viceroy in the chapter is the Italian music teacher Almidano Artifoni going into his house and, in effect, turning the bum of his trousers to the august carriage as it trots by.

Father Conmee receives a more obvious rebuke to his values and worldview when he is suddenly confronted by a couple stumbling out of some bushes, flushed because they’ve just had sex. Sex, in comedies, especially farces – or more precisely all the fussing and fretting surrounding it – is the great puncturer of pompousness and pretension.

Heart

If you visualise Dublin as a heart, as the first headline in ‘Aeolus’ suggests:

IN THE HEART OF THE HIBERNIAN METROPOLIS

Then the 30 or so characters we meet in this chapter can be thought of as blood corpuscles circulating round it and bumping into each other.

Binaries

Both our protagonists are looking at books, according to their intellectual levels: Bloom is buying a popular romance, Sweets of Sin, for Molly; Stephen is looking through Abbot Peter Salanka’s book of charms and spells, specifically ones designed to attract a woman’s love. Love and sex.

Bloom’s anxiety

You can’t understand this chapter or ‘Ulysses’ as a whole, unless you realise that for the whole long day which it describes its central character, Leopold Bloom, is traumatised by the fact that he knows that his voluptuous wife, Molly, is preparing herself to have sex with the flash man-about-town and concert promoter Hugh ‘Blazes’ Boylan. Somehow (it’s really not made clear) he knows Blazes’ visit to his house is timed for 4pm, so for all the chapters leading up to then, he is in agony of anticipation, at around that time he is crushed by humiliation, and for the hours afterward, he is haunted by the fact the deed has been done.

We see Boylan at his flashy flirtatious best, in section 5. We see Bloom feeling sorry for himself in section 10.

Summary

Section 1: Father Conmee heads north

We first met Father John Conmee as the symapathetic rector of Clongowes Wood College who young Stephen appealed to after he was unjustly pandybatted by sadistic Father Dolan. Here we find him strolling through Dublin, mild and kind. He thinks about Martin Cunningham’s letter requesting help in securing a school place for the late Paddy Dignam’s son, ‘oblige him if possible’; he see a one-legged sailor begging, he stops and talks to the wife of Mr David Sheehy MP who is away in Westminster; thinks of fellow Jesuit Father Bernard Vaughan’s cockney accent; he bumps into three schoolboys from Belvedere school and asks one to post a letter in the letterbox across the road; he sees the flamboyantly dressed dancing master Denis Maginni; he is bowed to by stately Mrs M’Guinness whose posh appearance belies the fact that she runs a pawn shop (mentioned again in section 4).

He passes a closed-up free church and laments the ignorance of protestants; a bunch of Christian brother schoolboys raise their caps to him; he walks past a grocer’s and a tobacconist’s, noting the newsboard about a disaster in New York (a real life disaster: the General Slocum steamship fire, 15 June 1904, the day before the events of the novel, in which over 1,000 people, mostly women and children, died); past Daniel Bergin’s publichouse, past H. J. O’Neill’s funeral establishment where Corny Kelleher totted figures in the daybook (Corny who will play an important role at the end of ‘Circe’ 10 hours later).

He salutes a policeman then passes a butcher’s shop. In the canal he sees a turfbarge and the bargee resting and smoking. He catches an outward bound tram because he doesn’t like walking through the dingy neighbourhood of Mud Island. He regards the other passengers. An older woman who forgets to get off at her stop reminds him of the poor of his parish, worn down by cares, always worrying.

A poster of a blackface minstrel triggers thoughts about Christian missions to Africa. He thinks of the millions of men and women who die without ever hearing the Word of God, and mildly and superficially thinks it a ‘waste’; he thinks about a book on the subject by the Belgian Jesuit Auguste Castelein SJ, ‘The Number of the Elect’.

He alights at Malahide Road whose name triggers thoughts of aristocratic families and glorious old days when priests like himself held real power. He’s written a book about it, Old Times in the Barony. He thinks about Mary Rochfort, daughter of lord Molesworth, first countess of Belvedere, who was accused of adultery with her husband’s brother (adultery is a central theme of the novel, as of so many novels: compare Stephen’s joke about Admiral Nelson being the one-handled adulterer, or the fate of Charles Stewart Parnell, on one level the political tragedy of a nation, on another yet another of the book’s examples of adultery).

Which leads into reminiscences about his time as rector of Clongowes Wood College, reading his holy books and looking up at the calm clouds, listening to the boys playing. He realises he has forgotten to read one of the holy offices at the correct time, and so he pulls out his breviary and is reading the psalm of the day as he walks when, out of bushes beside the road, emerge a young man and woman, flushed after a roll in the hay. Later in the novel they are revealed to be Stephen’s friend Vincent Lynch and a girl called Kitty. Father Conmee blesses them then returns to his reading about sin. It’s important to note the sentence:

The young woman abruptly bent and with slow care detached from her light skirt a clinging twig.

Note this phrase, which will recur later, in section 8.

Section 2: Corny Kelleher in the funeral directors’

Father Conmee ‘passed H. J. O’Neill’s funeral establishment where Corny Kelleher totted figures in the daybook while he chewed a blade of hay’. Now we join Corny Kelleher a few minutes later as he examines a new coffin, before strolling over to the streetdoor and looking out (just as Father Conmee is getting into the tram).

A policeman ambles up and they pass a cryptic exchange. This tends to confirm gossip in earlier chapters that Corny has an ‘in’ with the police i.e. is some kind of informant to the force which are unpopular enforcers of British colonial rule.

Short though it is, this vignette contains an ‘interpolation’, the intrusion of a sentence which seems to come from another section, thus:

Corny Kelleher sped a silent jet of hayjuice arching from his mouth while a generous white arm from a window in Eccles street flung forth a coin.

Only in the next section will we discover that the white arm belongs to Molly Bloom throwing a penny to a passing beggar.

Section 3: The one-legged sailor begs

A handicapped veteran of the British Navy (seen and blessed by Father Conmee in section 1) stumps the streets, grunting snippets of a patriotic song. He grunts towards Larry O’Rourke, in shirtsleeves in his doorway, swings past Katey and Boody Dedalus, a stout lady drops a coin in his cap, two barefoot urchins chewing ‘long liquorice laces’ stare at his stump, ‘a plump bare generous arm’ throws a coin from a window in Eccles Street onto the pavement and an urchin picks it up and puts it in the beggar’s cap.

The text doesn’t specifically tell us it’s number 7 Eccles Street, so it’s left to us to work out that it’s Molly Bloom’s arm. We are told that in a window is a card advertising ‘Unfurnished Apartments’ for rent in their home, as the Blooms try to make money now their daughter Milly has left home.

Section 4: The Dedalus sisters are destitute

Stephen’s sisters, Katey and Boody Dedalus return home from school, entering the kitchen where sister Maggy who is cleaning shirts in a pot of boiling. They are really destitute and have just tried to pawn Stephen’s books at M’Guinness’s shop (the same stately Mrs M’Guinness that bowed to Father Conmee in the opening section).

They only have anything to eat (pea soup) thanks to the charity of Sister Mary Patrick. When Maggy tells them another sistr, Dilly, has gone to meet their father, Boody blasphemously says ‘our father who art not in heaven’ and Maggy chastises her.

The section ends with another interpolation as we cut away to a shot of the handed-out sheet of paper given to Bloom in ‘Lestrygonians’ which he crumpled up and threw in the river, continuing its passage under Loopline bridge.

Probably the crumpling and wrecking of the sheet of paper is a diminished, mock heroic parody of the action of the crushing rocks.

Section 5: Blazes Boylan flirts with a shopgirl

Considering that Hugh ‘Blazes’ Boylan’s having sex with Bloom’s wife, Molly, is the central event in the novel, it’s striking that we see and hear so little of him throughout. Surprisingly, this brief vignette is our longest moment in his presence.

He is shopping in Thornton’s fruit and flower shop on Grafton Street, where he buys a bottle and a jar to be placed in a basket, topped with fruit (plump pears and peaches), to be sent in advance to Molly. He smells other ripe fruit and veg while outside the window the five sandwichboard men advertising HELYS that Bloom first saw in ‘Lestrygonians’ file past.

The shopgirl asks for the address the basket is to be sent to then tots up the bill while Boylan looks ‘into the cut of her blouse’ and thinks ‘a young pullet’.

As with most of the sections, there is a brief ‘interpolation’, an out-of-context sentence describing ‘A darkbacked figure under Merchants’ arch scanned books on the hawker’s cart.’ You’d never know without the commentators to help you that this is Bloom scanning second-hand books to find some romance novel for Molly to read.

Inserting a sentence about Bloom searching for second-hand fictional descriptions of seduction, while his rival, Boylan, is going about the practical mechanics of real-life seduction, is full of ironies.

The section ends with Boylan asking if he can make a phone call (see section 7).

Section 6: Stephen and Artifoni the music teacher

Stephen encounters his Italian voice instructor, Almidano Artifoni. While two tramcars full of tourists trundle past, Artifoni tells Stephen his voice would be a good source of income for him. True to his character as The Refuser, Stephen demurs. Another tram unloads soldiers who are members of a Highland regimental band who are heading through the gates of Trinity College. The pair shake hands but then Artifoni realises the conversation has caused him to miss his tram which he forlornly trots after.

Section 7: Miss Dunne

Miss Dunne is Blazes Boylan’s secretary. We find her sitting in her office where (like Molly) she has been reading a library copy of Wilkie Collins’s classic, ‘The Woman in White’ while the boss is away. It’s a bit too mysterious for her and she thinks she’ll swap it for something easier by Mary Cecil Haye.

She inserts a piece of paper into the typewriter and types out the date. This is the only direct reference to the famous date of the novel, 16 June 1904.

The five Hely’s sandwichboard men spelling HELY’S, seen by Boylan from the fruit shop, pass by, turn round and return again.

She stares at a poster of Marie Kendall. This was a real-life English music hall singer and comedian and the poster was for a real-life performance at Dan Lowry’s music hall in Dublin on June 16, 1904.

Miss Dunne thinks about her evening plans, a man who has caught her attention, and a skirt she wishes she could buy, thinking how attractive it made her friend Susy Nagle to ‘Shannon and all the boatclub swells’.

Boylan calls (the phone call we saw him asking the shopgirl if he could make in section 5). We hear her end of the conversation as she instructs her to book travel for two to Belfast and Liverpool (for Molly and himself during the upcoming concert tour), and he gives her permission to leave work at 6:15.

Then she tells Boylan that Lenehan has been looking for him and will be at the Ormond Hotel Bar at 4. (We will see Boylan meet Lenehan there, among other notable characters convene, in the next episode, ‘Sirens’).

Section 8: Ned Lambert, Reverend Love and J. J. O’Molloy

I was hopelessly at sea with this section until I read the commentaries. It takes place in the last remaining room of a 10th century abbey which now serves as a seed and grain warehouse where Ned Lambert works. (We met Lambert earlier at Dignam’s funeral in ‘Hades’ and reading out the overblown patriotic speech by Dan Dawson in the newspaper offices in ‘Aeolus’).

Ned is showing the building to a vicar named Hugh C. Love who is writing a book about the Fitzgeralds. St. Mary’s Abbey is relevant to Love’s research because it was here that Lord Thomas Fitzgerald (nicknamed ‘Silken Thomas’) proclaimed himself a rebel in 1534.

What makes it confusing is that Ned is in the middle of showing Love this when his pal, the lawyer J. J. O’Molloy, enters the dark room, lighting a match to find his way. Ned suggests to the reverend a couple of places where he can get good angles for a photograph.

It’s further complicated because the scene contains not one but two one-sentence interpolations. Suddenly:

From a long face a beard and gaze hung on a chessboard.

We don’t know it yet but this is John Howard Parnell, brother to the late politician Charles Stuart Parnell, who we will meet playing chess in section 16.

The reverend thanks Ned and departs, and New and J. J. exit the warehouse into the bustling forecourt:

With J. J. O’Molloy he came forth slowly into Mary’s abbey where draymen were loading floats with sacks of carob and palmnut meal, O’Connor, Wexford.

Then, with just as little warning, the second interposition:

The young woman with slow care detached from her light skirt a clinging twig.

If you recall, this phrase applies to the young woman emerging from the bushes after a roll in the hay with Vincent Lynch, as the come face to face with Father Conmee. The implication being that that is happening at this exact moment in another part of Dublin.

Back to Ned who realises he forgot to tell the clergyman a good joke:

—I forgot to tell him that one about the earl of Kildare after he set fire to Cashel cathedral. You know that one? I’m bloody sorry I did it, says he, but I declare to God I thought the archbishop was inside.

Ned confidently slaps a passing horse on the haunches then turns to J. J. who has come to scrounge money off him, but makes him wait a second while he loudly sneezes.

—Well, Jack. What is it? What’s the trouble? Wait awhile. Hold hard.
With gaping mouth and head far back he stood still and, after an instant, sneezed loudly.
Chow! he said. Blast you!
—The dust from those sacks, J. J. O’Molloy said politely.

But Ned says it’s that he caught a cold last night and it didn’t help hanging round at Paddy Dignam’s funeral this morning, holding up his hankie ready to sneeze again.

Once all this is explained to you, it’s easy, really easy. But it’s devilish hard to make sense of if you try to read and puzzle it out by yourself.

Section 9: Tom Rochford’s Invention, then Lenehan and M’Coy

Tom Rochford is explaining his invention for indicating which act is currently on stage in a vaudeville act to his mates, Nosey Flynn, Lenehan and M’Coy. Lenehan is impressed a promises to pitch it to Blazes Boylan who we know, from section 7 is meeting in the Ormond Hotel at 4pm, because Boylan is, it’s sometimes easy to forget, a successful music concert producer.

M’Coy and Lenehan leave together, passing Dan Lowry’s music hall displaying a poster for Marie Kendall the singer, the same poster we saw Miss Dunne staring at.

As they walk on Lenehan tells the story of how Rochford rescued a man stuck in a drainage hole. M’Coy waits outside Lynam’s while Lenehan nips in to get the final odds on Sceptre, the horse he backed in the Ascot Gold Cup. While waiting in the street, M’Coy nudges a banana peel into the gutter lest someone slip on it.

This simple narrative is then interrupted by not one, or two but three distinct ‘interpolations’. First a sentence showing the cavalcade of the Viceroy commencing its journey across the city.

Lenehan emerges and announces his horse was evens. They walk on through Merchants arch and spy ‘a darkbacked figure scanning books on the hawker’s cart’ which they both identify as Bloom. M’Coy describes a fine book Bloom bought for 2 bob whose fancy plates alone were worth more than that. Then, suddenly, the second interpolation:

Master Patrick Aloysius Dignam came out of Mangan’s, late Fehrenbach’s, carrying a pound and a half of porksteaks.

This refers to the eldest of recently deceased paddy Dignam’s five children. Lenehan launches in on a long story about something that happened at the annual dinner at Glencree reformatory but he’s barely got going before there’s another interpolation:

A card Unfurnished Apartments reappeared on the windowsash of number 7 Eccles street.

This is Bloom’s house and, since he’s out and about, it must be Molly who replaces the card in the window, the card we’d seen in place when she threw a coin to the beggar in section 3.

Lenehan continues with his story about how everyone got hammered at this reformatory dinner and came home in the early hours in a horse-drawn taxi cab. Bloom and Chris Callinan were on one seat and on the seat opposite Lenehan sitting next to Molly. She’s had a skinful and at every jolt of the cab he was pressed up against her ample bosom.

Every jolt the bloody car gave I had her bumping up against me. Hell’s delights! She has a fine pair, God bless her. Like that.
He held his caved hands a cubit from him, frowning:
—I was tucking the rug under her and settling her boa all the time. Know what I mean?
His hands moulded ample curves of air. He shut his eyes tight in delight, his body shrinking, and blew a sweet chirp from his lips.
—The lad stood to attention anyhow, he said with a sigh. She’s a gamey mare and no mistake. Bloom was pointing out all the stars and the comets in the heavens to Chris Callinan and the jarvey: the great bear and Hercules and the dragon, and the whole jingbang lot. But, by God, I was lost, so to speak, in the milky way. He knows them all, faith. At last she spotted a weeny weeshy one miles away. And what star is that, Poldy? says she. By God, she had Bloom cornered. That one, is it? says Chris Callinan, sure that’s only what you might call a pinprick. By God, he wasn’t far wide of the mark.
Lenehan stopped and leaned on the riverwall, panting with soft laughter.

Lenehan can’t know it but much, much later Molly will give her side of this event in the long monologue which makes up chapter 18 in which she describes Lenehan as a creep.

To some extent, whether you really like ‘Ulysses’ or not depends on whether you find this kind of blatant crudity and vulgarity funny or not. I do, and I do. But it’s more subtle than that because M’Coy, a married man himself, recoils a bit at the tale and Lenehan notices it. He backtracks and in an attempt to save face changes tack to praise Bloom.

—He’s a cultured allroundman, Bloom is, he said seriously. He’s not one of your common or garden… you know… There’s a touch of the artist about old Bloom.

Is that not how human interactions often are? Complex, error-strewn, embarrassing, miscalculating, self-correcting?

Section 10: Mr. Bloom

Having caught two glimpses of him through the eyes of other characters, we finally come to Leopold Bloom browsing a second-hand book stall. In chapter 4 Molly asked him to get her a new book to read. He looks at some saucy ones but the one which triggers his thoughts is Aristotle’s Masterpiece with its anatomical images of foetuses curled up in the womb:

Plates: infants cuddled in a ball in bloodred wombs like livers of slaughtered cows. Lots of them like that at this moment all over the world. All butting with their skulls to get out of it. Child born every minute somewhere. Mrs Purefoy.

The last name referring to Mina Purefoy who Josie Breen told him is in maternity hospital having a prolonged and difficult delivery of her baby (more of that in chapter 14, ‘Oxen of the Sun’, which is set in the same maternity hospital and during which Mina finally has her baby.) This also has its ‘interpolations’. In among Bloom’s book browsing, suddenly the sentence:

On O’Connell bridge many persons observed the grave deportment and gay apparel of Mr Denis J Maginni, professor of dancing &c.

which is clearly written in the affected style in which Mr Maginni regards himself.

Back to Bloom at the bookstall, assessing whether books are suitable for Molly’s erotic tastes. He opens ‘Sweets of Sin’ and reads a few extracts at random, which describe a married woman dolling herself up for her exotic lover, Raoul. Sounds like the right kind of thing. And repeats the theme of adultery which, as we know, is central to ‘Ulysses’.

Bloom starts to get a little worked up, in a heady mix of the text’s soft porn cliches mixed with his own earthier knowledge of the stinks and mess of sex, all of which is interrupted by another interpolation:

An elderly female, no more young, left the building of the courts of chancery, king’s bench, exchequer and common pleas, having heard in the lord chancellor’s court the case in lunacy of Potterton, in the admiralty division the summons, exparte motion, of the owners of the Lady Cairns versus the owners of the barque Mona, in the court of appeal reservation of judgment in the case of Harvey versus the Ocean Accident and Guarantee Corporation.

It would be overdoing it to say that everything is connected to everything else, but this is clearly Joyce giving the impression of an overview of the city, a gesture towards all the things taking place at the same time in different locations.

Back in the shop the phlegmy old owner hawks and gobs on the floor, then wipes it with his boot. This is Joyce rubbing into his reader’s middle-class faces the unforgiving materiality of human existence. This is what it is.

It ends on a mildly comic note as the bookseller approves Bloom’s choice:

The shopman lifted eyes bleared with old rheum.
—Sweets of Sin, he said, tapping on it. That’s a good one.

We need to take note of this title, Sweets of Sin, as it will recur again and again through the rest of the book, as a mocking title for Boylan’s tupping of Molly, but all other instances of adultery as well.

Section 11: Dilly and Simon Dedalus

The lacquey outside Dillon’s auction rooms shakes his handbell.

The lacquey lifted his handbell and shook it:
—Barang!

Not the first and not the last time Joyce transcribes the sound of an inanimate object. Also, this had appeared as an unexplained interpolation back in section 4.

Young Dilly Dedalus, one of Stephen’s 9 or so younger siblings, is waiting outside the auction rooms for her dad to arrive. Bloom saw here there back at the start of ‘Lestrygonians’. Simon has been drinking with the newspapermen in The Oval, just up O’Connell Street and around the corner from Dillon’s. Ashamed of keeping her waiting, like many a parent he goes on the offensive telling her off for her bad posture. When he imitates bad posture, Dilly is embarrassed and tells him everyone is looking.

He gives her a shilling but, hardened, she demands more and he sheepishly hands over a few pennies, telling her to buy a milk or a bun. The family really is destitute as Simon asks his daughter what she wants him to do, go along Connor Street scouring the gutter for stray coins.

Ignored by everyone the Viceregal procession passes by.

There are the following interpolations:

Bang of the lastlap bell spurred the halfmile wheelmen to their sprint. J. A. Jackson, W. E. Wylie, A. Munro and H. T. Gahan, their stretched necks wagging, negotiated the curve by the College library.

This is based on a report of a real-life half-mile bicycle handicap race that took place in Dublin on this day and at this time, as reported in the Evening Telegraph for 16 June 1904. The next one is:

Mr Kernan, pleased with the order he had booked, walked boldly along James’s street.

This is explained or followed up in the very next section.

Section 12: Tom Kernan

We met Tom Kernan in the funeral scene in chapter 6. In fact we met him way back in Dubliners, in the short story Grace where his friends were trying to cure his alcoholism.

Here we see him emerging from a business meeting, running over the conversation he’s just had in a pub with the publican Mr Crimmins about the shocking tragedy at New York, the explosion of the Slocombe steamship with over 1,000 killed.

Kernan stops to admire himself in the sloping mirror of Peter Kennedy, hairdresser, thinking his secondhand coat was well worth half a sovereign. He admires his grizzled moustache, he looks like an officer back from India. He notes the impressed looks he’s drawn from a few important people.

In the kind of stylistic innovation which so many people copied, Kernan is dazzled by the reflection of sunlight off a passing car:

Is that Ned Lambert’s brother over the way, Sam? What? Yes. He’s as like it as damn it. No. The windscreen of that motorcar in the sun there. Just a flash like that. Damn like him.

He passes the site where the Irish nationalist Robert Emmet (1778–1803) was executed by the British after failing to overthrow British rule in the failed 1803 Dublin rising, which triggers pondering whether or not Emmet was buried at Glasnevin.

He see a carriage without a horse tied up outside the Dublin Distillers Company’s stores at the same moment, the text tells us, as poor mad Denis Breen with his legal books, tired of waiting at the offices of lawyer John Henry Menton’s office, is leading his wife over O’Connell bridge, heading towards another lawyer’s office in his obsessive quest to get justice for being sent the anonymous postcard reading U.P. up.

We are given unusually intimate access to Kernan’s stream of consciousness which is a mashup of nationalist heroes and poems and risings and gambling and so on, very reminiscent of the half-educated ramblings of Bloom.

Interpolations:

  • Simon Dedalus greets Father Cowley
  • next stage of the downriver journey of the crumpled-up flyer Bloom threw into the Liffey in ‘Lestrygonians’ which is, as I suggested, a mocking reference to the clashing rocks
  • the Dennis Breen scene

Kernan is pro-Britain as we learn when the Viceregal Cavalcade jingles past the end of the road and he is just a fraction too late to see it, damn!

Section 13: Stephen and Dilly Dedalus

Stephen’s section is, predictably, the most impenetrable one, opening with seven paragraphs so cryptic and oblique as to be impenetrable without commentary and annotation.

This tells us that they are the thoughts of an over-educated man peering through a series of shops windows at various wares. The prose emerges into something like lucidity when he stops at a second-hand book cart (four for sixpence) wondering whether he’ll find his schoolbooks which his family have pawned to buy food. They really are abjectly poor.

Stephen pauses over ‘Charms and invocations of the most blessed abbot Peter Salanka’. Unexpectedly he is spoken to by one of his sisters, Dilly, suddenly appearing by his side. He remembers her face as she crouched over the fire they’d made from useless boots. She shows him a French primer she’s just bought (with one of the pennies their dad gave her back in section 11) and he recognises his own urge to learn in her, but without the advantages of a private education which he enjoyed.

Stephen sees her utter poverty, of life and hope and is fraught with misery. But, as usual, he rejects and fights off any feeling, any temptation to become involved. His inner cry of Misery! Misery! is, on one level, for me, the truest thing in the entire book.

There’s an interpolation. In the middle of Stephen’s thoughts, suddenly a sentence describing:

Father Conmee, having read his little hours, walked through the hamlet of Donnycarney, murmuring vespers.

Section 14: Simon Dedalus, Father Bob Cowley and Ben Dollard

We saw Simon Dedalus greet Father Cowley as in interpolation in section 12. Father Cowley says he’s barricaded into his house by two men because he owes money to the shark Reuben J. Dodd (seen and cursed by the men in the funeral carriage back in chapter 6, ‘Hades’) who has set two men outside Cowley’s house to collect the debt.

Cowley has asked a friend, Ben Dollard, to ask ‘long John’ Fanning, a subsheriff, to intervene. Just then Simon spots the very same Ben crossing a bridge towards them.

—There he is, by God, he said, arse and pockets.

Ben Dollard ambles over to them scratching his bum, they all hello each other, while Simon is critical of Ben’s outfit, while Ben defends it. By now the reader is getting used to the one-sentence interpolations. In the middle of these three’s conversation, the text cuts away for a moment to the madman Bloom pointed out to Josie Breen in chapter 8:

Cashel Boyle O’Connor Fitzmaurice Tisdall Farrell, murmuring, glassyeyed, strode past the Kildare street club.

He will reappear in section 17. Meanwhile, Cowley asks after Ben’s famous bass voice and Ben emits a low note for them to admire. There’s another interpolation (another character walking somewhere else):

The reverend Hugh C. Love walked from the old chapterhouse of saint Mary’s abbey past James and Charles Kennedy’s, rectifiers, attended by Geraldines tall and personable, towards the Tholsel beyond the ford of hurdles.

Ben announces he’s been to see the lawyer John Henry Menton about helping Father Cowley. Cowley explains that he owes rent to his landlord (who happens to be the Reverend Love we have just seen in the interpolation) and Ben says this changes things, because Love’s claim takes priority over Dodd’s. Or as Ben colourfully puts it:

—You can tell Barabbas from me, Ben Dollard said, that he can put that writ where Jacko put the nuts.

Section 15: Martin Cunningham, Mr Power and John Wyse Nolan

Cunningham, Power and Nolan are walking. Cunningham has been working to make financial and other arrangements on behalf of the Dignam family. He tells the others he’s asked Father Conmee for help placing one of the Dignam boys in school, and we know from section 1 that Conmee intends to help.

John Wyse Nolan, looking at the ledger, notes that Bloom has put his name down for 5 shillings and Cunningham says he’s actually paid up.

—I’ll say there is much kindness in the jew, he [John Wyse Nolan] quoted, elegantly.

They see Jimmy Henry, the assistant town clerk, who Cunningham promptly buttonholes to join the cause. They arrive at the office of ‘long John’ Fanning, Dublin’s sub-sheriff. Henry’s corns are hurting and he passes Fanning and up the stairs. Fanning didn’t know Dignam, so Nolan describes him as ‘a decent little soul’ as they walk up the stairs.

They’re half way up the stairs when they hear harnesses and hooves and turn to see. Nolan goes downstairs back to the door and watches the Viceregal procession pass by, shouting up to the others to tell them what it is.

Interpolations of other scenes:

  • Bronze by gold, Miss Kennedy’s head by Miss Douce’s head, appeared above the crossblind of the Ormond hotel.
  • On the steps of the City hall Councillor Nannetti, descending, hailed Alderman Cowley and Councillor Abraham Lyon ascending.
  • Outside la Maison Claire Blazes Boylan waylaid Jack Mooney’s brother-in-law [Bob Doran], humpy, tight, making for the liberties.

Section 16: Buck Mulligan and Haines

At the end of the preceding chapter, chapter 9 ‘Scylla and Charybdis’, Buck Mulligan left the National Library with Stephen. Now he has met up with the Englishman Haines, who we met in chapters 1 and 2, for a snack at the Dublin Bread Company (D.B.C.).

As they enter the restaurant, Mulligan points out John Howard Parnell, Dublin’s city marshall, playing chess at another table. We saw the chess-playing Parnell as an interpolation back in section 8.

Buck and Haines each order a melange (a drink like a cappuccino), scones and cakes and Mulligan jokes they call it the DBC because it makes damn bad cakes.

Mulligan tells Haines he missed Stephen’s presentation about Shakespeare, to which Haines quips:

—I’m sorry, he said. Shakespeare is the happy huntingground of all minds that have lost their balance.

Mulligan laughs that when he gets drunk, Stephen becomes unsteady on his feet.

—You should see him, he said, when his body loses its balance. Wandering Ængus I call him.

Mulligan analyses Stephen’s mind, saying the Jesuits planted a permanent fear of hell in him, which will prevent him ever capturing the pure Attic note, the note of Swinburne et al.

Haines replies to all this with prissy Englishness, quick with references to authorities, in this case saying Stephen’s idee fixe reminds him of the theories of professor Pokorny of Vienna (is this a reference to Freud?).

The cakes arrive, Mulligan slices and butters his and laughs that Stephen claims he’ll write something in ten years! (In fact ten years after 1904 is 1914 and that’s the year Joyce published ‘Dubliners’ and began work on this novel, ‘Ulysses’.) Haines is unexpectedly sympathetic and says he wouldn’t be surprised if Stephen does write something.

Interpolations:

  • we see the one one-legged sailor at his latest location, singing his shanty and begging
  • our last sighting of the religious leaflet Bloom scrunched up and threw in the Liffey, as it arrives at Dublin Bay and passes the Rosevean, the three-masted ship Stephen saw over his shoulder back in chapter 3

Section 17: Cashel Boyle O’Connor Fitzmaurice Tisdall Farrell

We briefly glimpse the Italian music master on his way, but this short section follows the lunatic Cashel Boyle O’Connor Fitzmaurice Tisdall Farrell as he walks along Merrion Square, gets as far as Mr Lewis Werner’s cheerful windows, turns and comes back the way he came.

As he passes a dentist’s surgery belonging to a Mr Bloom (no relation to our Bloom) his flying coattails bang the stick of the blind man we saw Bloom help across the road in chapter 8 ‘Lestrygonians’ but he walks heedlessly on. The blind young man curses Farrell.

—God’s curse on you, he said sourly, whoever you are! You’re blinder nor I am, you bitch’s bastard!

Section 18: Patrick Dignam

Deceased Paddy Dignam’s son, also Patrick – ironically but also tenderly referred to as Master Patrick Aloysius Dignam – has escaped the stifling atmosphere of the house of the dead, full of sniffling old women eating cake, sipping sherry and endlessly jawing, to come out and buy a pound and a half of porksteaks. En route home he sees sights and sounds, including a poster advertising a boxing match, but then realises it took place on 22 May so he’s missed it. He’s a fan of boxing and ponders which current fighter is best.

In two mirrors in the shop window of Madame Doyle the milliner, he catches sight of himself dressed in mourning, and smartens himself up (as Tom Kernan did in the sloping mirror of Peter Kennedy, hairdresser in section 12).

Master Patrick spots the poster advertising Marie Kendall, as Miss Dunne did in section 7, and M’Coy and Lenehan in section 9.

(Note the persistent presence of posters, advertising hoardings, newspaper hoardings and so on in the modern city, plus the memorable moment when sunlight off a car windscreen dazzling Tom Kernan – it is this sense of the city as a sensorium of random, fragmentary sights and sounds which would influence so many other authors of the 1920s and ’30s, including John dos Passos and Alfred Döblin.)

He sees a toff with a red flower in his mouth. He doesn’t know it but this is Blazes Boylan who we saw put the stem of the flower between his teeth in section 5. Boylan is apparently listening to a street drunk telling him something and, characteristically, grinning.

He sees some schoolboys with satchels and notes that he’s off school till the following Monday (it being Thursday) and that Uncle Barney is meant to get news about his father’s death into the papers so everyone knows why he’s absent.

Suddenly his mind flicks to concrete and disconcerting details of seeing his dead dad laid out: how his face had gone grey instead of its usual red; a fly walking over his face up to his eye; the scrunching sound at they screwed the screws of the coffin; the bumping sound it made being carried downstairs, and his Uncle Barney instructing the men how to manage it in the tight space.

The last night pa was boosed he was standing on the landing there bawling out for his boots to go out to Tunney’s for to boose more and he looked butty and short in his shirt. Never see him again. Death, that is. Pa is dead. My father is dead. He told me to be a good son to ma. I couldn’t hear the other things he said but I saw his tongue and his teeth trying to say it better. Poor pa. That was Mr Dignam, my father. I hope he’s in purgatory now because he went to confession to Father Conroy on Saturday night.

Pathos.

Section 19: The Viceregal cavalcade

As this chapter began with an extended description of a representative of the Catholic Church (Father Conmee) it ends with an extended description of the chief representative of the British state in Ireland, William Humble, Earl of Dudley, as he rides with his wife in one carriage, followed by dignitaries in several more, out from the Viceregal Lodge in Phoenix Park and across the city on his way to inaugurate the Mirus bazaar in aid of funds for Mercer’s hospital.

According to the commentators, Father Conmee’s movement is from south to north, while the Viceregal Cavalcade processes from Phoenix Park in the west across to the east side of Dublin, so that the two miniature odysseys form a cross over the geography of the city. In Joyce everything falls into patterns and schemas.

In a massive paragraph Joyce records the reactions to the cavalcade as it passes by of every one of the characters we’ve met so far in this chapter, plus some new ones: Tom Kernan; Dudley White (a real-life barrister); Richie Goulding Stephen’s uncle and down-at-heel lawyer; Miss Kennedy and Miss Douce, the barmaids we’ll meet in the next chapter; Simon Dedalus doffing his hat, which His Excellency returns; the reverend Hugh C. Love similarly doffs his hat but unnoticed; Lenehan and M’Coy watch the procession unmoved; Gerty MacDowell is irritated because her view of what the Viceroy’s wife is wearing is blocked by parked vans; John Wyse Nolan smiles coldly; Tom Rochford notices Lady Dudley looking at him and quickly takes his hands out of his pockets; Marie Kendall stares down at the procession from her much-mentioned poster; Buck Mulligan gaily, and Haines gravely watch the procession from the window of the DBC, the customers crowding to the window casting a shadow on John Howard Parnell’s chessboard; Dilly Dedalus looks up from her second-hand French primer to watch the wheels spin by; John Henry Menton watches from the door of his business; Mrs Breen pulls her husband back from stepping in front of the horses, he hastily salutes the carriages and the Viceroy’s aide-de-camp replies; the five sandwichboard men spelling HELYS stop to watch; Mr Denis J Maginni walks on, unaffected.

With typical confidence Blazes Boylan doesn’t unhat but admires the pretty women in their carriages. From their carriage the Viceroy and wife hear the band of Highland soldiers playing on College Green (the ones we saw getting off a tram in section 6).

Cashel Boyle O’Connor Fitzmaurice Tisdall Farrell stares over the top of the procession; Hornblower, a Unionist, doffs his cap; Master Patrick Aloysius Dignam sees other people taking their hats off and so doffs his own dirty black cap. The cavalcade passes the blind stripling and the mysterious man in the brown mackintosh who keeps cropping up. Then on past Mr Eugene Stratton, two ladies and two small schoolboys.

Mockery The grandiosity of the Viceroy is mocked in at least two ways. First, the entire thing is done in a parody of a Court Circular or official report, complete with the full qualifications of everyone involved. Second, the list includes satirical figures and gestures, the best of which is:

From its sluice in Wood quay wall under Tom Devan’s office Poddle river hung out in fealty a tongue of liquid sewage.

And after this long list of people reacting to the parade, the whole thing builds up to an image of rude indifference:

On Northumberland and Lansdowne roads His Excellency acknowledged punctually salutes from rare male walkers, the salute of two small schoolboys at the garden gate of the house said to have been admired by the late queen when visiting the Irish capital with her husband, the prince consort, in 1849 and the salute of Almidano Artifoni’s sturdy trousers swallowed by a closing door.

How beautifully and amusingly this complicated set-piece of interlocking parts and references comes to a comic closure.

Caveat: when is a panoramic view not a panoramic view?

In all the commentary I’ve read, among all the fine words about Aristotle, Hume and Vico, I haven’t come across anyone pointing out how rough Joyce’s characters are. The novel is overwhelmingly about the lowlife of Dublin and impresses on you a sometimes crushing sense of a world of failures and cadgers, blowhards, parasites and drinkers.

The most impressive chapters in ‘Ulysses’ are 1) the encounter in Barney Kiernan’s pub with the drunk citizen and his little court of drunk sycophants; 2) ‘Circe’ which is set in a brothel among prostitutes and ends in a drunken fight with a squaddie; 3) 40-pages spent inside the head of Molly Bloom who middle-class professors claim to love but I wonder if they’d really invite the semi-literate, slovenly, sex-mad wife of a failing advertising canvasser to their nice dinner parties.

Even when we meet characters which ought to be solidly middle-class like the editor of the Evening Telegraph, he turns out to be crude and tipsy. The authors A.E. and John Eglinton in the National Library ought to raise the tone, but for some reason they don’t, instead the arrival of Buck Mulligan with his play about masturbation significantly lowers it. Any of the supposedly middle class characters are swamped by the world of cadgers, racing tipsters, loan sharks, debtors, pawners and beggars which is where Joyce’s imagination really lies.

Stephen may be a great intellectual but he comes from a family which has gone right down the tubes, is reduced to pawning its curtains and books, and relies on out-and-out charity to have anything to even eat. It’s all surprisingly close to the sense of threadbare impoverishment which Samuel Beckett picked up and made his own in the 1940s and 50s, it’s overwhelmingly bereft and immiserated.

Where are the middle classes? Where are the fine dinner parties and posh young ladies going to private school, the balls, the visits to the theatre, the recitals? Where are the well-paid, well-dressed officers in the army and in the administration? (making a fleeting appearance only to be mocked, in the finale of this chapter.)

It’s characteristic that (in the National Library chapter, and later) Stephen is embittered at not being invited to George Moore’s literary soirèe and so Joyce doesn’t show it. That would require a whole chapter of fine talk along the lines of George Eliot or Henry James. In its place we get the unbelievably rough and crude ‘Circe’ chapter.

Dublin was and is a port city but where are the business meetings and professional dealings of importers and exporters and customs officers and so on? Scenes set in the big companies that own the ships and the ships’ captains, educated capable men? Instead of them we get the scene in the cabman’s shelter in ‘Eumaeus’, among the roughest of the rough, notable for the threatening bluster of the tattooed sailor, the drunken argument about Parnell everyone gets into, and that the place is run by a convicted terrorist.

Bearing all this in mind, I don’t see how the book as a whole, let alone this chapter, can be said to give a ‘panoramic view’ of the city. It gives a cleverly interlocking and cross-referencing portrait of Joyce’s level of Dublin society, of the lower middle class, working class, hard drinking, scrounging and begging classes, yes. But an overview of all the people in the city, including the genuinely middle, upper and aristocratic classes? Emphatically not.


Credit

‘Ulysses’ by James Joyce was published by Shakespeare and Company in 1922.

Related links

Joyce reviews

Ulysses by James Joyce: Ithaca

What qualifying considerations allayed his perturbations?

‘Ithaca’ is the 17th of the 18 chapters in James Joyce’s epic modernist novel, ‘Ulysses’. Here’s a reminder of the complete chapter numbers and names. (Note that the chapter names are not given in the published book, they were assigned in guidance and schemas Joyce sent to supporters and commentators and have been used by everyone, including me, ever since; but you won’t find them in any published or online editions, which only have chapter numbers.)

Part 1. Telemachiad

  1. Telemachus
  2. Nestor
  3. Proteus

Part 2. Odyssey

  1. Calypso
  2. Lotus Eaters
  3. Hades
  4. Aeolus
  5. Lestrygonians
  6. Scylla and Charybdis
  7. Wandering Rocks
  8. Sirens
  9. Cyclops
  10. Nausicaa
  11. Oxen of the Sun
  12. Circe

Part 3. Nostos

  1. Eumaeus
  2. Ithaca
  3. Penelope

Place in the sequence

‘Ithaca’ is the second chapter of the third part of the novel. The first 14 chapters slowly build up to the long, mad fantasia of chapter 15, ‘Circe’, set in a brothel in Dublin’s red light district which is depicted as a version of hell, populated by the hideously poor and deformed, and that’s before the long sequence of bizarre hallucinations even begins.

The long phantasmagoria of ‘Circe’ ends with over-educated, drunk and depressed Stephen Dedalus getting knocked down by an angry English soldier and the next chapter, ‘Eumaeus’, describes the older figure of Leopold Bloom, a friend of Stephen’s father, helping him up and helping him along to an all-night café down by the docks where he tries to restore him with a cup of (disgusting) coffee and an apology for a roll.

Here they are buttonholed by a dodgy old sailor (D.B. Murphy) who tells a series of tall tales about his sailing career, which somehow triggers a long discussion about the Lost Leader of Irish nationalism, Charles Stewart Parnell, with much stream-of-consciousness free-associating by Bloom, who cautions Stephen about his dissolute life, reflects on his wife cuckolding him, and has his own views about the Parnell scandal.

Bloom eventually tells Stephen it’s time to leave, pays the café bill, and invites the young man back to his place, for a cup of cocoa and the offer of a bed for the night made-up on the sofa.

This chapter, ‘Ithaca’, describes the pair’s walk from the all-night café down on the Dublin waterfront to Bloom’s house at 7 Eccles Street, the route they take, their conversation, what they do (make a nice cup of cocoa) and (at great length) say when they get there.

Time

Each of the chapters of ‘Ulysses’ covers about an hour in the course of one long day, starting at 8am on Thursday 16 June 1904 and going through to the early hours of the following morning, Friday 17 June. (As Stephen remarks, ‘Every Friday buries a Thursday’.) ‘Ithaca’ takes place from about 2 to 3 am on the morning of Friday 17 June 1904. As Bloom lets Stephen out the back door of his garden, the bells of St George’s ring, the commentators tell me at 2.30 am.

Homeric parallel

Each of the chapters in ‘Ulysses’ is based on an episode from the Odyssey of Homer, the famous epic poem composed some 750 years BC, which describes the ten-year-long voyage back from the Trojan War of the Greek hero Odysseus and his crew and which featured encounters with mythical creatures and legendary figures such as the giant Cyclops or the witch Circe.

This chapter, coming near the end of the story is loosely based on the incidents surrounding Odysseus’s final arrival home. In Homer Odysseus discovers that his palace has been taken over by scores of ‘suitors’, living off the fat of his kingdom while they vie for the hand of his wife, Penelope, all insisting that the long-absent Odysseus must be dead by now.

Well, the novel’s unlikely Odysseus figure, Leopold Bloom, certainly arrives home, at the shabby house which is the ironic modern equivalent of the Greek hero’s palace. And his wife, Molly, the ironic modern reincarnation of Penelope is there, fast asleep, upstairs in the marital bed. But where are the hordes of suitors which Odysseus had to fight and defeat in the poem? Nowhere to be seen. So the chapter is only in a very high-level way a re-enactment of the Odyssey passage.

The cleverest commentary I’ve read points out that, in Homer’s poem, Odysseus arrives at his palace in disguise, pretending to be one more suitor, and has to take part in the ritual challenge the suitors have created, which is to fire an arrow through the hafts of twelve axes set up in a row. None of the suitors has managed to achieve this feat as it would have required a very steady hand indeed, requiring tremendous accuracy – and so the clever commentary I read suggests that Joyce chose to ignore the fact of the suitors and the challenge as such, but borrowed the theme of extreme accuracy as his concept for the entire chapter. Hence:

Conceit of precision

The later chapters of ‘Ulysses’ are characterised by large-scale conceits or concepts which dominate their form and style. ‘Nausicaa’ is written in the style of a romantic novelist. ‘Oxen of the Sun’ consists of a series of pastiches of English prose given in historical order. ‘Circe’ is entirely in the form of a surreal play. ‘Eumaeus’ is written in the deliberately bad, clichéd but at the same time pretentious style derived from popular magazines or local newspapers.

Following the trend, this chapter, ‘Ithaca’, is dominated by one of the more drastic and intrusive conceits: the entire chapter is cast in the form of (short) questions and (long) answers. It is a catechism.

What is a catechism? A catechism is ‘a summary of religious doctrine and teachings, traditionally structured in a question-and-answer format designed for instruction, memorization, and conversion’. Catechisms are commonly used by the Catholic Church, especially in schools, and Joyce was educated at Jesuit schools where he would have used catechisms on a daily basis.

But there’s another angle to the idea. The turn of the century when ‘Ulysses’ is set saw the creation and mass marketing of a number of popular encyclopedias and guides, and many of these were in effect secular catechisms, consisting of numerous short questions which prompted long encyclopedia-style answers. According to the scholars, Joyce was particularly indebted to Richmal Mangnall’s ‘Historical and Miscellaneous Questions’, which was immensely popular in the Victorian era and which is also mentioned in ‘A Portrait of the Artist as a Young Man.’ Here’s an article about Mangnall:

And you can read her Historical Questions read online. The closest modern parallel is the sets of ‘frequently asked questions’ which we nowadays find in loads of contexts, from gadget instruction manuals to medical guidance.

So how does this all apply to the ‘Ithaca’ chapter? One example will make it clear:

What act did Bloom make on their arrival at their destination?

At the housesteps of the 4th of the equidifferent uneven numbers, number 7 Eccles street, he inserted his hand mechanically into the back pocket of his trousers to obtain his latchkey.

See? The text describes the events in the form of a rhetorical question, and a detailed and pedantic answer.

Now, we know that Joyce was extremely pedantic, a logician and a precisian. He was pedantic about words, spoken and thought, but right from the earliest Dubliners stories he was also extremely precise about the movements and actions of all the characters, often deforming the normal word order of his sentences in order to emphasise particular gestures. And very obviously he loads Stephen, in particular, with vast amounts of specialist knowledge, of theology, history, languages and much more.

So alighting on this catechistic format to structure an entire chapter allowed Joyce to combine his interest in precise description of movement and gesture, with encyclopedic (and often scientific) information. Take the moment when Bloom discovers he’s lost his front door keys and so lowers his body over the ‘area’, the sunken space in front of his house, then lets himself drop the few feet to the flagstones. As the text puts it:

Did he fall?

By his body’s known weight of eleven stone and four pounds in avoirdupois measure, as certified by the graduated machine for periodical selfweighing in the premises of Francis Froedman, pharmaceutical chemist of 19 Frederick street, north, on the last feast of the Ascension, to wit, the twelfth day of May of the bissextile year one thousand nine hundred and four of the christian era (jewish era five thousand six hundred and sixtyfour, mohammadan era one thousand three hundred and twentytwo), golden number 5, epact 13, solar cycle 9, dominical letters C B, Roman indiction 2, Julian period 6617, MCMIV.

So yes, he did fall, but with a great weight of pedantic, pedagogic impediments adding to the description.

This can be comic. The grotesquely exaggerated, pedantic precision of the answers and indeed the whole concept, is, if you have a certain bookish sense of humour, very funny. I liked it in the same way I liked the ‘Oxen of the Sun’ chapter, I liked the wittiness of the conceit and the sustained inventiveness of the execution, smiling all through and laughing out loud in several places. For example when they have a pee in the garden.

At Stephen’s suggestion, at Bloom’s instigation both, first Stephen, then Bloom, in penumbra urinated, their sides contiguous, their organs of micturition reciprocally rendered invisible by manual circumposition, their gazes, first Bloom’s, then Stephen’s, elevated to the projected luminous and semiluminous shadow.

Just as importantly, it’s also extremely easy to understand what is going on because even the smallest gesture is explained in such pedantic detail. For this reason – for their high concepts, their comedy and the ease of understanding what’s going on and why – these later chapters are by far my favourites, much more than the first ten or so chapters whose fragmented stream of consciousness and oblique, truncated dialogue I often found frustratingly incomprehensible.

Cast

  • Leopold Bloom
  • Stephen Dedalus

Questions about questions

How many questions are there in the ‘Ithaca’ chapter? 309.

Falling in with Joyce’s obsession for pattern and structure, the 309 questions can perhaps be divided into four parts or sections:

Part 1: Bloom and Stephen (questions 1 to 171)

Bloom and Stephen get into his house, drink cocoa and chat, Bloom offers him a bed for the night, Stephen refuses, they go for a joint pee in the garden, then Bloom lets Stephen out through it and off he walks.

Part 2: Bloom alone (questions 172 to 269)

Ponders, tidies up, goes upstairs, reviews a variety of belongings (letters from Milly, life insurance), fantasises about owning a country cottage or emigrating, takes clothes off.

Part 3: Bloom gets into bed (questions 270 to 290)

Bloom gets slowly and carefully into bed next to Molly and ponders his own complicated responses to knowledge of her infidelity with Hugh ‘Blazes’ Boylan. The outcome is a feeling of tenderness and he kisses her buttocks.

Part 4: Molly wakes up and asks him about his day (questions 291 to 309)

Molly asks him where he’s been and he lies: he doesn’t mention the fracas with the Citizen, his encounter with Gerty MacDowell, and certainly not his visit to the brothel. Instead he makes up a story about going to a performance the play ‘Leah’ at the Gaiety Theatre, then on to supper at Wynn’s (Murphy’s) Hotel, where after the meal ‘professor and author’ Stephen Dedalus put on a little gymnastic display but hurt himself so Bloom heroically stepped in to help him. In other words, a pack of lies. This is because they haven’t had sex for over ten years.

Incidentally, Molly’s questioning or inquisition obviously forms a series of questions within a series of questions, a catechism within a catechism, the kind of ingenuity Joyce loved and lovers of Joyce come to appreciate, too.

Ithaca questions

Is there any point trying to summarise the chapter? Or would it be easier and also more indicative just to list the questions?

Part 1: Bloom and Stephen

1. What parallel courses did Bloom and Stephen follow returning?

2. Of what did the duumvirate deliberate during their itinerary?

3. Did Bloom discover common factors of similarity between their respective like and unlike reactions to experience?

4. Were their views on some points divergent?

5. Was there one point on which their views were equal and negative?

6. Had Bloom discussed similar subjects during nocturnal perambulations in the past?

7. What reflection concerning the irregular sequence of dates 1884, 1885, 1886, 1888, 1892, 1893, 1904 did Bloom make before their arrival at their destination?

8. As in what ways?

9. What act did Bloom make on their arrival at their destination?

10. Was it there?

11. Why was he doubly irritated?

12. What were then the alternatives before the, premeditatedly (respectively) and inadvertently, keyless couple?

13. Bloom’s decision?

14. Did he fall?

15. Did he rise uninjured by concussion?

16. What discrete succession of images did Stephen meanwhile perceive?

17. Did the man reappear elsewhere?

18. Did Stephen obey his sign?

19. What did Bloom do?

20. Of what similar apparitions did Stephen think?

21. What did Stephen see on raising his gaze to the height of a yard from the fire towards the opposite wall?

22. What did Bloom see on the range?

23. What did Bloom do at the range?

24. Did it flow?

25. What in water did Bloom, waterlover, drawer of water, watercarrier, returning to the range, admire?

26. Having set the halffilled kettle on the now burning coals, why did he return to the stillflowing tap?

27. What reason did Stephen give for declining Bloom’s offer?

28. What impeded Bloom from giving Stephen counsels of hygiene and prophylactic to which should be added suggestions concerning a preliminary wetting of the head and contraction of the muscles with rapid splashing of the face and neck and thoracic and epigastric region in case of sea or river bathing, the parts of the human anatomy most sensitive to cold being the nape, stomach and thenar or sole of foot?

30. What additional didactic counsels did he similarly repress?

31. Which seemed to the host to be the predominant qualities of his guest?

32. What concomitant phenomenon took place in the vessel of liquid by the agency of fire?

33. What announced the accomplishment of this rise in temperature?

34. For what personal purpose could Bloom have applied the water so boiled?

35. What advantages attended shaving by night?

36. Why did absence of light disturb him less than presence of noise?

37. What quality did it (his hand) possess but with what counteracting influence?

38. What lay under exposure on the lower, middle and upper shelves of the kitchen dresser, opened by Bloom?

39. What attracted his attention lying on the apron of the dresser?

40. What reminiscences temporarily corrugated his brow?

41. Where had previous intimations of the result, effected or projected, been received by him?

42. What qualifying considerations allayed his perturbations?

43. His mood?

44. What satisfied him?

45. How did Bloom prepare a collation for a gentile?

46. What supererogatory marks of special hospitality did the host show his guest?

47. Was the guest conscious of and did he acknowledge these marks of hospitality?

48. Were there marks of hospitality which he contemplated but suppressed, reserving them for another and for himself on future occasions to complete the act begun?

49. Who drank more quickly?

50. What cerebration accompanied his frequentative act?

51. Had he found their solution?

52. What lines concluded his first piece of original verse written by him, potential poet, at the age of 11 in 1877 on the occasion of the offering of three prizes of 10/-, 5/- and 2/6 respectively for competition by the Shamrock, a weekly newspaper?

53. Did he find four separating forces between his temporary guest and him?

54. What anagrams had he made on his name in youth?

55. What acrostic upon the abbreviation of his first name had he (kinetic poet) sent to Miss Marion (Molly) Tweedy on the 14 February 1888?

56. What had prevented him from completing a topical song (music by R. G. Johnston) on the events of the past, or fixtures for the actual, years, entitled If Brian Boru could but come back and see old Dublin now, commissioned by Michael Gunn, lessee of the Gaiety Theatre, 46, 47, 48, 49 South King street, and to be introduced into the sixth scene, the valley of diamonds, of the second edition (30 January 1893) of the grand annual Christmas pantomime Sinbad the Sailor (produced by R. Shelton 26 December 1892, written by Greenleaf Whittier, scenery by George A. Jackson and Cecil Hicks, costumes by Mrs and Miss Whelan under the personal supervision of Mrs Michael Gunn, ballets by Jessie Noir, harlequinade by Thomas Otto) and sung by Nelly Bouverist, principal girl?

57. What relation existed between their ages?

58. What events might nullify these calculations?

59. How many previous encounters proved their preexisting acquaintance?

60. Did Bloom accept the invitation to dinner given then by the son and afterwards seconded by the father?

61. Did their conversation on the subject of these reminiscences reveal a third connecting link between them?

62. Had he performed any special corporal work of mercy for her?

63. Why could he then support that his vigil with the greater equanimity?

64. What distinct different memories had each of her now eight years deceased?

65. Were there no means still remaining to him to achieve the rejuvenation which these reminiscences divulged to a younger companion rendered the more desirable?

66. Had any special agility been his in earlier youth?

67. Did either openly allude to their racial difference?

68. What, reduced to their simplest reciprocal form, were Bloom’s thoughts about Stephen’s thoughts about Bloom and about Stephen’s thoughts about Bloom’s thoughts about Stephen?

69. What, the enclosures of reticence removed, were their respective parentages?

70. Had Bloom and Stephen been baptised, and where and by whom, cleric or layman?

71. Did they find their educational careers similar?

72. Why did Bloom refrain from stating that he had frequented the university of life?

73. What two temperaments did they individually represent?

74. What proofs did Bloom adduce to prove that his tendency was towards applied, rather than towards pure, science?

75. Were these inventions principally intended for an improved scheme of kindergarten?

76. What also stimulated him in his cogitations?

77. Such as?

78. Such as not?

79. Such as never?

80. Which example did he adduce to induce Stephen to deduce that originality, though producing its own reward, does not invariably conduce to success?

81. What suggested scene was then constructed by Stephen?

82. What?

83. What suggested scene was then reconstructed by Bloom?

84. Did he attribute this homonymity to information or coincidence or intuition?

85. Did he depict the scene verbally for his guest to see?

86. Did he see only a second coincidence in the second scene narrated to him, described by the narrator as A Pisgah Sight of Palestine or The Parable of the Plums?

87. Which domestic problem as much as, if not more than, any other frequently engaged his mind?

88. What had been his hypothetical singular solutions?

89. What instances of deficient mental development in his wife inclined him in favour of the lastmentioned (ninth) solution?

90. What compensated in the false balance of her intelligence for these and such deficiencies of judgment regarding persons, places and things?

91. How had he attempted to remedy this state of comparative ignorance?

92. With what success had he attempted direct instruction?

93. What system had proved more effective?

94. Example?

95. Accepting the analogy implied in his guest’s parable which examples of postexilic eminence did he adduce?

96. What statement was made, under correction, by Bloom concerning a fourth seeker of pure truth, by name Aristotle, mentioned, with permission, by Stephen?

97. Were other anapocryphal illustrious sons of the law and children of a selected or rejected race mentioned?

98. What fragments of verse from the ancient Hebrew and ancient Irish languages were cited with modulations of voice and translation of texts by guest to host and by host to guest?

99. How was a glyphic comparison of the phonic symbols of both languages made in substantiation of the oral comparison?

100. Was the knowledge possessed by both of each of these languages, the extinct and the revived, theoretical or practical?

101. What points of contact existed between these languages and between the peoples who spoke them?

102. What anthem did Bloom chant partially in anticipation of that multiple, ethnically irreducible consummation?

103. Why was the chant arrested at the conclusion of this first distich?

104. How did the chanter compensate for this deficiency?

105. In what common study did their mutual reflections merge?

106. Did the guest comply with his host’s request?

107. What was Stephen’s auditive sensation?

108. What was Bloom’s visual sensation?

109. What were Stephen’s and Bloom’s quasisimultaneous volitional quasisensations of concealed identities?

110. What future careers had been possible for Bloom in the past and with what exemplars?

111. Did the host encourage his guest to chant in a modulated voice a strange legend on an allied theme?

[Recite the first (major) part of this chanted legend.]

112. How did the son of Rudolph receive this first part?

[Recite the second part (minor) of the legend.]

113. How did the father of Millicent receive this second part?

[Condense Stephen’s commentary.]

114. Why was the host (victim predestined) sad?

115. Why was the host (reluctant, unresisting) still?

116. Why was the host (secret infidel) silent?

117. From which (if any) of these mental or physical disorders was he not totally immune?

118. Had this latter or any cognate phenomenon declared itself in any member of his family?

119. What other infantile memories had he of her?

120. What endemic characteristics were present?

121. What memories had he of her adolescence?

122. Did that first division, portending a second division, afflict him?

123. What second departure was contemporaneously perceived by him similarly, if differently?

124. Why similarly, why differently?

125. In other respects were their differences similar?

126. As?

127. In what way had he utilised gifts (1) an owl, (2) a clock, given as matrimonial auguries, to interest and to instruct her?

128. In what manners did she reciprocate?

129. What proposal did Bloom, diambulist, father of Milly, somnambulist, make to Stephen, noctambulist?

130. What various advantages would or might have resulted from a prolongation of such an extemporisation?

131. Why might these several provisional contingencies between a guest and a hostess not necessarily preclude or be precluded by a permanent eventuality of reconciliatory union between a schoolfellow and a jew’s daughter?

132. To what inconsequent polysyllabic question of his host did the guest return a monosyllabic negative answer?

133. What inchoate corollary statement was consequently suppressed by the host?

134. Was the proposal of asylum accepted?

135. What exchange of money took place between host and guest?

136. What counterproposals were alternately advanced, accepted, modified, declined, restated in other terms, reaccepted, ratified, reconfirmed?

137. What rendered problematic for Bloom the realisation of these mutually selfexcluding propositions?

138. Was the clown Bloom’s son?

139. Had Bloom’s coin returned?

140. Why would a recurrent frustration the more depress him?

141. He believed then that human life was infinitely perfectible, eliminating these conditions?

142. Why did he desist from speculation?

143. Did Stephen participate in his dejection?

144. Was this affirmation apprehended by Bloom?

145. What comforted his misapprehension?

146. In what order of precedence, with what attendant ceremony was the exodus from the house of bondage to the wilderness of inhabitation effected?

147. With what intonation secreto of what commemorative psalm?

148. What did each do at the door of egress?

149. For what creature was the door of egress a door of ingress?

150. What spectacle confronted them when they, first the host, then the guest, emerged silently, doubly dark, from obscurity by a passage from the rere of the house into the penumbra of the garden?

151. With what meditations did Bloom accompany his demonstration to his companion of various constellations?

152. Were there obverse meditations of involution increasingly less vast?

153. Why did he not elaborate these calculations to a more precise result?

154. Did he find the problems of the inhabitability of the planets and their satellites by a race, given in species, and of the possible social and moral redemption of said race by a redeemer, easier of solution?

155. And the problem of possible redemption?

156. Which various features of the constellations were in turn considered?

157. His (Bloom’s) logical conclusion, having weighed the matter and allowing for possible error?

158. Was he more convinced of the esthetic value of the spectacle?

159. Did he then accept as an article of belief the theory of astrological influences upon sublunary disasters?

160. What special affinities appeared to him to exist between the moon and woman?

162. What visible luminous sign attracted Bloom’s, who attracted Stephen’s, gaze?

163. How did he elucidate the mystery of an invisible attractive person, his wife Marion (Molly) Bloom, denoted by a visible splendid sign, a lamp?

164. Both then were silent?

165. Were they indefinitely inactive?

166. Similarly?

167. What different problems presented themselves to each concerning the invisible audible collateral organ of the other?

168. What celestial sign was by both simultaneously observed?

169. How did the centripetal remainer afford egress to the centrifugal departer?

170. How did they take leave, one of the other, in separation?

171. What sound accompanied the union of their tangent, the disunion of their (respectively) centrifugal and centripetal hands?

Part 2: Stephen walks away, Bloom alone

172. What echoes of that sound were by both and each heard?

173. Where were the several members of the company which with Bloom that day at the bidding of that peal had travelled from Sandymount in the south to Glasnevin in the north?

174. Alone, what did Bloom hear?

175. Alone, what did Bloom feel?

176. Of what did bellchime and handtouch and footstep and lonechill remind him?

177. What prospect of what phenomena inclined him to remain?

178. Had he ever been a spectator of those phenomena?

179. He remembered the initial paraphenomena?

180. Did he remain?

181. What suddenly arrested his ingress?

[Describe the alterations effected in the disposition of the articles of furniture.]

[Describe them.]

182. What significances attached to these two chairs?

183. What occupied the position originally occupied by the sideboard?

184. With what sensations did Bloom contemplate in rotation these objects?

185. His next proceeding?

186. What followed this operation?

187. What homothetic objects, other than the candlestick, stood on the mantelpiece?

188. What interchanges of looks took place between these three objects and Bloom?

189. What composite asymmetrical image in the mirror then attracted his attention?

190. Why solitary (ipsorelative)?

191. Why mutable (aliorelative)?

192. What final visual impression was communicated to him by the mirror?

[Catalogue these books.]

193. What reflections occupied his mind during the process of reversion of the inverted volumes?

194. Which volume was the largest in bulk?

195. What among other data did the second volume of the work in question contain?

196. Why, firstly and secondly, did he not consult the work in question?

197. What caused him consolation in his sitting posture?

198. What caused him irritation in his sitting posture?

199. How was the irritation allayed?

200. What involuntary actions followed?

[Compile the budget for 16 June 1904.]

201. Did the process of divestiture continue?

202. Why with satisfaction?

203. In what ultimate ambition had all concurrent and consecutive ambitions now coalesced?

204. What additional attractions might the grounds contain?

205. As?

206. What improvements might be subsequently introduced?

207. What facilities of transit were desirable?

208. What might be the name of this erigible or erected residence?

209. Could Bloom of 7 Eccles street foresee Bloom of Flowerville?

210. What syllabus of intellectual pursuits was simultaneously possible?

211. What lighter recreations?

212. Might he become a gentleman farmer of field produce and live stock?

213. What would be his civic functions and social status among the county families and landed gentry?

214. What course of action did he outline for himself in such capacity?

[Prove that he had loved rectitude from his earliest youth.]

215. How much and how did he propose to pay for this country residence?

216. What rapid but insecure means to opulence might facilitate immediate purchase?

217. Was vast wealth acquirable through industrial channels?

218. Were there schemes of wider scope?

219. Positing what protasis would the contraction for such several schemes become a natural and necessary apodosis?

220. What eventuality would render him independent of such wealth?

221. For what reason did he meditate on schemes so difficult of realisation?

222. His justifications?

223. What did he fear?

224. What were habitually his final meditations?

225. What did the first drawer unlocked contain?

[Quote the textual terms in which the prospectus claimed advantages for this thaumaturgic remedy.]

226. Were there testimonials?

227. How did absentminded beggar’s concluding testimonial conclude?

228. What object did Bloom add to this collection of objects?

229. What pleasant reflection accompanied this action?

230. What possibility suggested itself?

231. What did the 2nd drawer contain?

[Quote the textual terms of this notice.]

232. What other objects relative to Rudolph Bloom (born Virag) were in the 2nd drawer?

233. What fractions of phrases did the lecture of those five whole words evoke?

234. What reminiscences of a human subject suffering from progressive melancholia did these objects evoke in Bloom?

235. Why did Bloom experience a sentiment of remorse?

236. As?

237. How did these beliefs and practices now appear to him?

238. What first reminiscence had he of Rudolph Bloom (deceased)?

239. Had time equally but differently obliterated the memory of these migrations in narrator and listener?

240. What idiosyncracies of the narrator were concomitant products of amnesia?

241. What two phenomena of senescence were more frequent?

242. What object offered partial consolation for these reminiscences?

[Reduce Bloom by cross multiplication of reverses of fortune, from which these supports protected him, and by elimination of all positive values to a negligible negative irrational unreal quantity.]

243. With which attendant indignities?

244. By what could such a situation be precluded?

245. Which preferably?

246. What considerations rendered departure not entirely undesirable?

247. What considerations rendered departure not irrational?

248. What considerations rendered departure desirable?

249. In Ireland?

250. Abroad?

251. Under what guidance, following what signs?

252. What public advertisement would divulge the occultation of the departed?

253. What universal binomial denominations would be his as entity and nonentity?

254. What tributes his?

255. Would the departed never nowhere nohow reappear?

256. What would render such return irrational?

257. What play of forces, inducing inertia, rendered departure undesirable?

258. What advantages were possessed by an occupied, as distinct from an unoccupied bed?

259. What past consecutive causes, before rising preapprehended, of accumulated fatigue did Bloom, before rising, silently recapitulate?

260. What selfimposed enigma did Bloom about to rise in order to go so as to conclude lest he should not conclude involuntarily apprehend?

261. What selfinvolved enigma did Bloom risen, going, gathering multicoloured multiform multitudinous garments, voluntarily apprehending, not comprehend?

262. Who was M’Intosh?

263. What selfevident enigma pondered with desultory constancy during 30 years did Bloom now, having effected natural obscurity by the extinction of artificial light, silently suddenly comprehend?

264. Where was Moses when the candle went out?

265. What imperfections in a perfect day did Bloom, walking, charged with collected articles of recently disvested male wearing apparel, silently, successively, enumerate?

266. What impression of an absent face did Bloom, arrested, silently recall?

267. What recurrent impressions of the same were possible by hypothesis?

268. What miscellaneous effects of female personal wearing apparel were perceived by him?

269. What impersonal objects were perceived?

Part 3: Bloom gets into bed

270. Bloom’s acts?

271. How?

272. What did his limbs, when gradually extended, encounter?

273. If he had smiled why would he have smiled?

275. What preceding series?

276. What were his reflections concerning the last member of this series and late occupant of the bed?

277. Why for the observer impressionability in addition to vigour, corporal proportion and commercial ability?

278. With what antagonistic sentiments were his subsequent reflections affected?

279. Envy?

280. Jealousy?

281. Abnegation?

282. Equanimity? [this is a particularly funny one where Bloom justifies to himself reasons why Blazes Boylan tupping his wife is not as bad as a whole list of natural disasters and wicked crimes.]

283. Why more abnegation than jealousy, less envy than equanimity?

284. What retribution, if any?

285. By what reflections did he, a conscious reactor against the void of incertitude, justify to himself his sentiments? [Many, but the key one is ‘the futility of triumph or protest or vindication.’]

286. In what final satisfaction did these antagonistic sentiments and reflections, reduced to their simplest forms, converge?

287. The visible signs of antesatisfaction?

288. Then?

289. The visible signs of postsatisfaction?

290. What followed this silent action?

Part 4: Molly half wakes and asks Bloom about his day

291. With what modifications did the narrator [i.e. Bloom] reply to this interrogation [by Molly]?

292. Was the narration otherwise unaltered by modifications?

293. Which event or person emerged as the salient point of his narration?

294. What limitations of activity and inhibitions of conjugal rights were perceived by listener and narrator concerning themselves during the course of this intermittent and increasingly more laconic narration? [it is ten years since Bloom and Molly last had penetrative sex]

295. How?

296. What moved visibly above the listener’s and the narrator’s invisible thoughts?

297. In what directions did listener and narrator lie?

298. In what state of rest or motion?

299. In what posture?

300. Womb? Weary?

301. With?

302. When?

303. Where?

Famously, the answer to the final question is just a big black full stop.

A discrepancy

All the commentaries say there are 309 questions but, as you can see, I went through carefully numbering them and came up with only 303. Either the commentators are all wrong or I am. As I read I noticed there are a small number of places where the text doesn’t have a question and answer, it has a command to describe something which the text then obeys, for example ‘Describe the alterations effected in the disposition of the articles of furniture.’ When I counted 6 of these and added them to the 303 questions, that totalled 309 ‘prompts’. But in the end there are 10 of them and that doesn’t quite work either. So at the time of writing, I’m puzzled.

Another synopsis with notable learnings

Part 1

Bloom and Stephen walk the 0.8 of a mile from the cabman’s shelter to 7 Eccles Street, chatting about miscellaneous subjects. Bloom has left his front door keys in the pocket of his other trousers so is forced to climb over the low railing, lower himself into the area, force the latch of the window, enter the house, emerge 4 minutes later from the front door, and let Stephen in.

(Forgetting his keys leads Bloom to be jokily described ‘as a competent keyless citizen’ but as the commentators point out, Stephen is also keyless, having been deprived of the key to Mulligan’s Martello tower, so they are both in fact keyless. They are a keyless couple.)

He lights the hob and makes Stephen a nice cup of (Epps’s soluble) cocoa. They talk about – and Bloom thinks about – a wide range of subjects and these, in the chapter’s pedantic style, involve paragraphs of information about a very wide range of subjects including:

  • the date of Ireland’s conversion to Christianity
  • Bloom’s height and weight (5 foot 11, 11 stone 4 pounds)
  • the precise capacity of the reservoirs and pipes which supplied Dublin with water
  • the importance and beauty of water in all its forms
  • Stephen is a hydrophobe i.e. he hates water: astonishingly, he hasn’t had a bath since the previous October
  • the contents of Bloom’s shelves
  • poems and a song Bloom wrote when young
  • the two occasions they’d previously met (when Stephen was a boy)
  • the coincidence that Bloom lived in the same hotel and used to take for walks in her bathchair old Mrs Riordan, the same zealous Catholic who has the fearsome argument over the Dedalus family Christmas table in ‘Portrait’
  • they write down for comparison letters from Gaelic and Hebrew
  • prolonged memories of his daughter Millicent (Milly) as a girl
  • Bloom returns Stephen’s money which he took for safekeeping in the brothel, one pound seven shillings
  • Bloom invites Stephen to stay and sleep on the sofa but Stephen declines

They both go out into the backgarden for a pee, under what is memorably described as ‘The heaventree of stars hung with humid nightblue fruit’, which in turn prompts a series of extravagant speculations about the universe, life on other planets etc. Then Bloom unlocks the gate in the garden wall and Stephen departs.

Part 2

Alone, Bloom:

  • undresses
  • notices in the mirror the spines of his books, which the text lists (23 of them)
  • thinks about his dream country cottage
  • and becoming a landowner and JP, as which he will administer justice firmly but fairly to a long list of hypothetical malefactors
  • reviews quite a few money-making schemes he’s dreamed up but never implemented e.g. reclamation of human faeces, construction of optimum tram lines
  • reviews his documents, letters from his daughter, life insurance, letters from his dead dad
  • fantasises about moving out of Dublin, to scenic parts of Ireland or exotic abroad
  • he imagines a reward being issued for him after he goes missing

Part 3

In bed with Molly he ponders his complicated reactions to knowing that Boylan has slept with her. The overall outcome is tenderness and he kisses her on the buttocks, which half wakes her.

Part 4

They haven’t had sex in over ten years. Which explains why he prefers to sleep upside down i.e. with his head on a pillow by her feet, his feet at the head of the bed by her head.

Is Bloom a Jew?

No. Mentioned in ‘Eumaeus’, confirmed here.

What, reduced to their simplest reciprocal form, were Bloom’s thoughts about Stephen’s thoughts about Bloom and about Stephen’s thoughts about Bloom’s thoughts about Stephen?
He thought that he thought that he was a jew whereas he knew that he knew that he knew that he was not.

Notable facts

Out of the blue, Bloom refers to the late Mrs Emily Sinico, accidentally killed at Sydney Parade railway station, 14 October 1903. This must be the same Mrs Sinico who features in the Dubliners story ‘A Painful Case’.

Followed by the revelation that Stephen’s mother, Mrs Mary Dedalus (born Goulding) was buried almost a year ago, on 26 June 1903. That’s a long time for Stephen to wear mourning.

My favourite fact about Bloom remains that he has to walk on the right-hand side of anyone he’s walking with.

Naughty

Bloom is incorrigibly sexual. a) In his drawer he keeps two erotic postcards (carefully described). b) Reflecting that he has flattering encounters with several women today (Mrs Josephine Breen, Miss Callan, Gerty) he fantasises about a high class encounter:

The possibility of exercising virile power of fascination in the not immediate future after an expensive repast in a private apartment in the company of an elegant courtesan, of corporal beauty, moderately mercenary, variously instructed, a lady by origin.

c) When he thinks about moving out of Dublin, one way of navigating would be by the moon, but this gets sidetracked into another horny fantasy, of:

a bispherical moon, revealed in imperfect varying phases of lunation through the posterior interstice of the imperfectly occluded skirt of a carnose negligent perambulating female

Where ‘carnose’ means ‘fleshy, pulpy, or succulent’. Naughty Poldy!

Beautifuls

What are the most beautiful of the 309 answers? My favourites are the ones about water, moon/women and dawn.

25. What in water did Bloom, waterlover, drawer of water, watercarrier, returning to the range, admire?

Its universality: its democratic equality and constancy to its nature in seeking its own level: its vastness in the ocean of Mercator’s projection: its unplumbed profundity in the Sundam trench of the Pacific exceeding 8000 fathoms: the restlessness of its waves and surface particles visiting in turn all points of its seaboard: the independence of its units: the variability of states of sea: its hydrostatic quiescence in calm: its hydrokinetic turgidity in neap and spring tides: its subsidence after devastation: its sterility in the circumpolar icecaps, arctic and antarctic: its climatic and commercial significance: its preponderance of 3 to 1 over the dry land of the globe: its indisputable hegemony extending in square leagues over all the region below the subequatorial tropic of Capricorn: the multisecular stability of its primeval basin: its luteofulvous bed: its capacity to dissolve and hold in solution all soluble substances including millions of tons of the most precious metals: its slow erosions of peninsulas and islands, its persistent formation of homothetic islands, peninsulas and downwardtending promontories: its alluvial deposits: its weight and volume and density: its imperturbability in lagoons and highland tarns: its gradation of colours in the torrid and temperate and frigid zones: its vehicular ramifications in continental lakecontained streams and confluent oceanflowing rivers with their tributaries and transoceanic currents, gulfstream, north and south equatorial courses: its violence in seaquakes, waterspouts, Artesian wells, eruptions, torrents, eddies, freshets, spates, groundswells, watersheds, waterpartings, geysers, cataracts, whirlpools, maelstroms, inundations, deluges, cloudbursts: its vast circumterrestrial ahorizontal curve: its secrecy in springs and latent humidity, revealed by rhabdomantic or hygrometric instruments and exemplified by the well by the hole in the wall at Ashtown gate, saturation of air, distillation of dew: the simplicity of its composition, two constituent parts of hydrogen with one constituent part of oxygen: its healing virtues: its buoyancy in the waters of the Dead Sea: its persevering penetrativeness in runnels, gullies, inadequate dams, leaks on shipboard: its properties for cleansing, quenching thirst and fire, nourishing vegetation: its infallibility as paradigm and paragon: its metamorphoses as vapour, mist, cloud, rain, sleet, snow, hail: its strength in rigid hydrants: its variety of forms in loughs and bays and gulfs and bights and guts and lagoons and atolls and archipelagos and sounds and fjords and minches and tidal estuaries and arms of sea: its solidity in glaciers, icebergs, icefloes: its docility in working hydraulic millwheels, turbines, dynamos, electric power stations, bleachworks, tanneries, scutchmills: its utility in canals, rivers, if navigable, floating and graving docks: its potentiality derivable from harnessed tides or watercourses falling from level to level: its submarine fauna and flora (anacoustic, photophobe), numerically, if not literally, the inhabitants of the globe: its ubiquity as constituting 90 % of the human body: the noxiousness of its effluvia in lacustrine marshes, pestilential fens, faded flowerwater, stagnant pools in the waning moon.

160. What special affinities appeared to him to exist between the moon and woman?

Her antiquity in preceding and surviving successive tellurian generations: her nocturnal predominance: her satellitic dependence: her luminary reflection: her constancy under all her phases, rising and setting by her appointed times, waxing and waning: the forced invariability of her aspect: her indeterminate response to inaffirmative interrogation: her potency over effluent and refluent waters: her power to enamour, to mortify, to invest with beauty, to render insane, to incite to and aid delinquency: the tranquil inscrutability of her visage: the terribility of her isolated dominant implacable resplendent propinquity: her omens of tempest and of calm: the stimulation of her light, her motion and her presence: the admonition of her craters, her arid seas, her silence: her splendour, when visible: her attraction, when invisible.

175. Alone, what did Bloom feel?

The cold of interstellar space, thousands of degrees below freezing point or the absolute zero of Fahrenheit, Centigrade or Réaumur: the incipient intimations of proximate dawn.

Who, having stayed up all night partying, has not known that spectral feeling?

A real discrepancy

The next chapter, ‘Penelope’, starts with Molly surprised that Bloom has asked her to make him breakfast in bed the next morning. This is puzzling because in the final paragraphs right up to Bloom falling asleep, he is recorded as making no such request. Is this a hint that the catechism is not complete? You’ve heard of the unreliable narrator, a fairly frequent device in modern novels, movies, TV dramas. Are we dealing here with an unreliable catechist?


Credit

‘Ulysses’ by James Joyce was published by Shakespeare and Company in 1922.

Related links

Related reviews