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: Stephen’s theories

One of the thousands of factors which make both ‘Portrait of the Artist as a Young Man’ and ‘Ulysses’ complicated reads is that in both of them the protagonist – the over-educated literature student Stephen Dedalus – expounds a detailed aesthetic theory. What complicates things further is that 1) the theories don’t really match the novels they’re embedded in, and 2) the two theories contradict each other. What are these theories and which, if either, reflects Joyce’s own position?

Theory 1: Aristotle and Aquinas

In Chapter 5 of ‘A Portrait of the Artist as a Young Man’ Stephen Dedalus, now a student at the university, expounds his aesthetic theory during the course of a long walk round central Dublin with his friend Lynch. Stephen’s theory distinguishes between impure kinetic art – art which arouses emotions of desire or repulsion, movement towards or away from the artwork – and pure art which, in his opinion, creates a mood of aesthetic stasis.

In my review of ‘Portrait’ I say that I’m not particularly convinced by this because The Novel is not at all a ‘static’ art form unlike, say, a painting or a statue. The opposite: a novel is a dynamic art form because 1) as you read through it your understanding of everything – plot, characters, themes etc – is continually changing. And 2) because this dynamic process continues even after you’ve finished reading, as you reflect on the novel or maybe read reviews or essays or the Wikipedia article about it or any other random comments you happen to come across online. Or maybe 3) go on to read another book by the same author which radically influences your opinion of the first book. And so on.

Reading a novel is, in other words, a never-ending and dynamic process. Even if Stephen only meant to draw a distinction between 1) works which create a strong sense of attraction or repulsion (such as, for example, pornography at one end of the spectrum and horror stories at the other) and 2) the kind of work he has in mind which leaves an impression of clarity and detachment, with no emotions of any kind triggered – even this kind of model doesn’t really apply to novels, which people tend to either like or dislike for hundreds of highly personal reasons which could never be fully tabulated.

Theory 2: Shakespeare

So much for Stephen’s first theory as expounded in ‘A Portrait’. As to theory two, in chapter 9 (the ‘Scylla and Charybdis’ chapter) of ‘Ulysses’, the very same Stephen Dedalus, now a few years older and having left university, expounds a drastically different theory, using the works of Shakespeare as his test bed.

There are some key facts to get clear about this. For a start, the Shakespeare theory isn’t abstract like theory 1. Theory 1 relies on Stephen’s clever redefinition of concepts first propounded in the aesthetic theories of Aristotle and Thomas Aquinas – in other words, its comes directly out of his scholastic learning. Theory 2, on the contrary, is practical, in the sense that it arises not from the abstract aesthetic theories of ancient philosophers, but derives from Stephen’s own personal reading of the plays of Shakespeare. So straightaway the two theories inhabit a spectrum between abstract and applied.

But the content of the theories is also diametrically opposed. Theory 1 famously leads up to the conclusion that, if the ideal work of art creates a sense of stasis, then the ideal work of literature should strive to be as objective as possible, should be a work in which the personality of the author disappears. This theory posits that the highest genre of literature is drama because in drama (I’ve put in bold the really famous part of this speech, which is quoted in all discussion of the subject):

The personality of the artist, at first a cry or a cadence or a mood [in lyric poetry] and then a fluid and lambent narrative [in epic poetry], finally refines itself out of existence, impersonalises itself, so to speak. The aesthetic image in the dramatic form is life purified in and reprojected from the human imagination. The mystery of aesthetic, like that of material creation, is accomplished. The artist, like the God of creation, remains within or behind or beyond or above his handiwork, invisible, refined out of existence, indifferent, paring his fingernails.

Theory 2, by contrast, is an elaborate statement of the exact opposite proposition, which is that all the key figures and all the key relationships in Shakespeare’s plays, derive from his own family, are fundamentally autobiographical. Far from being refined out of existence, Stephen now argues that Shakespeare’s personal biography is now everywhere present in his plays.

Stephen focuses on ‘Hamlet’ which he tries to persuade us is Shakespeare’s most autobiographical play. He says one driver for the play was Shakespeare’s trauma at learning about the infidelity of his (older) wife, Anne Hathaway. Many readers think of Hamlet the prince as somehow expressing Shakespeare’s own opinions about life (the powerful speeches about the meaning of life, suicide and so on) but Stephen says the real avatar of the middle-aged, successful playwright stricken with grief at the infidelity of his wife is not the young student prince, but the ghost of Hamlet’s murdered father.

To put it in the rather convoluted language of the book, the idea is that Shakespeare was, like King Hamlet, cuckolded by his brother, Richard. Betrayed by his wife (Ann Hathaway/Gertrude) and betrayed by his brother (Richard Shakespeare/Claudius) Shakespeare is embodied in King Hamlet, the murdered father who returns as a ghost, and we know that Shakespeare played the role of the ghost in the first productions of the play, opposite a much younger actor playing the prince.

Far from refining himself out of existence, the author – in this theory – makes art out of the sordid mess and messy emotions of his own life.

Adding further evidence to the betrayal theme, in a passage about uncles, Stephen name-checks Shakespeare’s brothers Richard and Edmund, describes his assumed rivalry with them, and then goes on to point out how many wicked uncles (and wicked Richards and Edmunds) there are in his plays, notably Richard III and scheming Edmund in King Lear. Surely more evidence for his adulterous betrayal theory?

Having established his approach using ‘Hamlet’, Stephen goes on to talk about other Shakespeare plays, namely the so-called Romances written at the end of his career, which all feature the reconciliation of a father with his daughter (Prospero and Miranda (The Tempest), Leontes and Perdita (The Winter’s Tale), Pericles and Marina (Pericles). There must, Stephen insists, also be a biographical basis to this trope in Shakespeare, so long away in London, being reconciled with his alienated daughter (or grand-daughter?).

Disappointment

I remember being bitterly disappointed when I read this passage as a student. I was hoping one genius would have dazzling insights into another genius but it turns out Joyce had nothing of the sort. The idea that a writer uses his own experiences of his own family relationships in his works is so obvious as to be bathetic.

Far from giving new and unexpected insight into the creative process, the chapter suggests that all literature is autobiographical, is a projection of the artist’s (fractured) self and that the creator (Shakespeare / Joyce) is always present in his creations (Hamlet / Stephen-Bloom). This is not only not very interesting but, taken at face value, it diminishes both Shakespeare and Joyce.

In a dramatic context

To try and read Stephen’s presentation as a lecture or essay is to be disappointed so maybe a more profitable way to think about it is as part of the dramatic content of the novel. In other words, it is not interesting for what it tells us about Shakespeare (next to nothing, apart from a few details Stephen throws into his descriptions, for example of William’s daily walk to work along the Thames to the Globe theatre) so much as for 1) what it tells us about Stephen the fictional character, 2) the light it sheds on the themes of ‘Ulysses’, and 3) the broader artistic world of the day.

Fathers and sons

1. Regarding what the theory tells us about Stephen the fictional character, this is easy. It reveals that Stephen is obsessed with father-son relations, circling round and round the troubled relationship between Hamlet and his dead father, and the sad experience of Shakespeare and his dead son, Hamnet (who died aged 11 in 1596, as depicted in the current movie of the subject). Grandfathers, fathers and sons.

2. And this itself is, of course, entirely fitting in a novel which strongly features themes of fathers and sons: Stephen is anxious throughout the book that, instead of becoming the Great Writer he wants to be, he might instead be turning into a witty, garrulous drinker and failure like his father, Simon.

3. The novel also, of course, features Leopold Bloom who throughout Bloomsday repeatedly thinks about his own son, Rudy, who died when he was just 11 days old (Rudy 11 days, Hamnet 11 years – there are always patterns in Joyce). Bloom also resurrects his own father, Rudolf Virág, in one of the many ‘hallucinations’ in the delirious ‘Circe’ chapter.

4. And, of course, The Odyssey which ‘Ulysses’ is to some extent ‘based on’ (or aligned with or riffs off), is in part a poem about a young son (Telemachus) looking for his long-lost father (Odysseus).

5. Which is itself (sort of) echoed in the overall narrative arc whereby, in the final chapters of the book, young Stephen encounters Bloom in the role of father figure, and Bloom for a while takes a fatherly concern for Stephen (although, as is well known, the analogy doesn’t really hold because Stephen isn’t Bloom’s son and so, far from forging some kind of father and son relationship, Stephen in the end stumbles off into the night probably never to see Bloom again).

In other words, Stephen’s elaborate and contrived theory of Shakespeare not only need not be ‘true’ about Shakespeare, but doesn’t even need to be believable, because it’s not a public lecture or critical essay, it’s the speech of a character in a novel, and so only needs to 1) reflect the personality of the character (as it does) and 2) reflect or refer to some of the wider issues raised in the novel (as it does).

Performance, first aspect

Two more things undermine Stephen’s Shakespeare presentation as a theory. Most obviously, it is a performance. Stephen has arrived at Dublin’s National Library, in the head librarian’s office where are assembled some heavy hitters from the Dublin literary scene, the key figure being the poet A.E. (George Russell), an exponent of mysticism, Platonism, and emotive Irish nationalism. Also in the room are Mr Best (librarian, ‘tall, young, mild, light’) and John Eglinton (a pseudonym for real-life essayist William Kirkpatrick Magee, a literary figure and librarian).

These men know Stephen’s father, Simon Dedalus, and have heard tell of, but never yet met, his super-clever son (also promoted, among others, by his buddy Malachi Mulligan, as Eglinton attests: ‘—I was prepared for paradoxes from what Malachi Mulligan told us…’).

And so the whole situation is by way of Stephen’s opportunity to impress (some of) his elders and betters from the (small) Dublin literary scene. This situation explains why Stephen is so nervous, why he rambles on, and why he overstates and muddles his case (as my rather muddled summary of it indicates) and so is not really believable. It is a dramatic situation in which our hero has to continually gee himself up and keep at it:

Anxiously he glanced in the cone of lamplight where three faces, lighted, shone.

And, as his theory unfurls with increasing improbability, he comes to doubt it himself:

What the hell are you driving at? I know. Shut up. Blast you. I have reasons.

A clash of worldviews

One of the reasons for his nervousness is because Stephen isn’t just confronting eminent figures but eminent figures with a completely opposed aesthetic worldview. It is easy to forget that the whole episode is set in a particular time and place, namely Dublin 1904. Now as I’ve emphasised previously, this means it is describing a society, culture and characters which are in almost every aspect still late Victorian. And one of these aspects is that many of the leading literary figures of the time were still in thrall to fin-de-siecle aestheticism, art for arts sake, and continental Symbolism, all flavoured with the high-minded nobility of the Celtic Revival.

Which means that buried beneath the maze of banter and learnèd references which all the characters in this scene throw around, there is a pretty straightforward clash going on, between the old world of mazy Celtic twilights and high aesthetic values, and Stephen’s aggressively rude insistence on the thumpingly material facts of life, on eating, drinking, peeing, pooing, sex and masturbation.

The elder statesman and poet A.E. represents the school which believes art to be intensely spiritual and to inhabit a realm of neo-platonic forms and perfections. For him and his ilk art must be uplifting and inspiring to take us out of the deadening quotidian world and raise us to the spiritual uplands. In this view, Shakespeare is a genius and genius has access to insights and worlds deprived us ordinary mortals. A.E. says:

—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 painting of Gustave Moreau is the painting of ideas. The deepest poetry of Shelley, the words of Hamlet bring our minds into contact with the eternal wisdom, Plato’s world of ideas. All the rest is the speculation of schoolboys for schoolboys.

(Gustave Moreau, here, being used as the epitome of Symbolist painting.)

From my summary, above, you can see how Stephen (and by implication his creator) is against all this. For Stephen great art begins not in a realm of ‘formless spiritual essences’ but in the muck and mess of human existence. This is why Joyce venerated the Norwegian playwright Henrik Ibsen, and wrote a long critical essay about his plays, even writing the man himself a fan letter. It’s because Ibsen represented a complete departure from late-romanticism with its fairies and legends, and instead portrayed messy real modern life, complicated relationships driven by his characters’ fierce internal psychological battles.

But Stephen goes further than this. Ibsen never portrayed someone having a poo or masturbating or farting or having a pee in the garden (all of which happen in ‘Ulysses’). In his own way, Ibsen still respected Victorian manners and conventions. Not so Joyce. Along with all the other achievements of ‘Ulysses’, it brought the crudest physical bodily activities within the realm of artistic discourse. The book sets out to cover all of human life and so how could he leave out the basics?

Ezra Pound wasn’t wrong to see ‘Ulysses’ as a continuation of the meticulous realism of Flaubert, the taking of that kind of realism and accuracy to the limit and then beyond, exploding the bounds of the late-nineteenth century realist novel and going on to invent something completely new.

Back to the theory: hopefully you can now see that it is less valuable as an interpretation of Shakespeare (as which, it is pretty worthless) than as a dramatisation of Stephen (and Joyce’s) fierce punk opposition to the nose-holding high-mindedness of the older, Victorian generation.

Performance, second aspect

OK, so when Stephen presents his theory, he is doing it to not just a sceptical older generation but a generation with fundamentally different ideas about art than he holds and who he is, to some extent, baiting with his transgressive ideas.

But then something else happens to make it even more complicated. This is the arrival half way through Stephen’s nervous presentation of his frenemy and contemporary, the young wit Malachi ‘Buck’ Mulligan, who we saw teasing and antagonising Stephen in the very first scene in the opening chapter.

Half way through Stephen’s presentation shallow Buck arrives in the room and joins in the chorus of witty banter which accompanies every one of Stephen’s propositions, often with barely concealed mockery, for example when he gives his own not inaccurate parody of Stephen’s idea:

—It is quite simple. He proves by algebra that Hamlet’s grandson is Shakespeare’s grandfather and that he himself is the ghost of his own father.

In this respect the whole thing, although radically different in content, echoes in structure the presentation of theory 1 in ‘Portrait’. In that book, although Stephen’s theory is often quoted out of context as a standalone statement, it is actually delivered in a dynamic context, expounded during a long walk with a fellow student Lynch, who continually intervenes with deflating mockery of Stephen’s highfalutin theories.

Same here, only instead of just one set of interlocutors Stephen was already struggling to cope with – AE, Best, Eglinton, the occasional interventions of the chief librarian who pops in and out of the room – the arrival of Mulligan adds a whole new layer of mockery and chaffing to the mix.

So setting aside the radical dissimilarities of content, both theories have this in common, that they are delivered in the course of embattled dialogue with others.

Scylla and Charybdis

I’m aware I haven’t presented all these ideas in a perfect order. It’s quite difficult to do so when everything in the text is connected to everything else. But one last point. As I’ve reread it I’ve come to realise that the A.E. and John Eglinton’s traditional romantic neo-platonic theory is so clearly indicated or defended in its own right, that the chapter in effect contains not one but two aesthetic theories And when you come to think about it, this maybe sheds light on the Homeric parallel.

Scylla and Charybdis – who Joyce’s schemas tell us preside over this chapter – are famous sea monsters from Greek mythology, who lived on opposite sides of the narrow Strait of Messina. Scylla was a six-headed monster living on a cliff, who snatched sailors from passing ships, while Charybdis was a massive whirlpool that swallowed ships whole. Which is why they came to be used as a proverb symbolizing an inescapable dilemma, where avoiding one peril means falling victim to the other.

So: are these two aesthetic theories, the extreme of spiritual neoplatonism facing off against a theory of authorial autobiography, are these the Scylla and Charybdis of the title? In the Homer story, Odysseus’s ship has to sail a perfect middle course between the two perils. Does this suggest that Joyce does not stand behind Stephen’s theory, but somewhere between the two positions?

We know that Stephen has rejected his schoolboy theory of high aesthetic stasis and gone right over to the other end of the spectrum, deliberately shocking his fusty listeners with his insistence on the origins of Shakespeare’s works in the messy biographical details of sex and infidelity, jealousy and death.

But maybe this theory, theory 2, is also only dramatically appropriate to the character of Stephen Dedalus and didn’t represent Joyce’s own final view.

This interpretation is supported when, at the conclusion of his presentation, one of the auditors, John Eglinton, asks Stephen whether he believes his own theory and Stephen immediately (and with uncharacteristically blunt clarity) says No.

—You are a delusion, said roundly John Eglinton to Stephen. You have brought us all this way to show us a French triangle. Do you believe your own theory?
—No, Stephen said promptly.

(The French triangle is Eglinton’s way of saying Stephen’s theory reduces the genesis of one of the masterpieces of European literature, ‘Hamlet’, to the author’s involvement in a sordid little affair of adultery and his wife’s infidelity, a ‘French triangle’.)

But the point of the exchange is obviously Stephen’s immediate ‘No’. Now on one level this reflects the witty tone of banter in which the whole thing takes place, in which everyone is hyper-aware of all the literary references they’re making, distorting and parodying for comic purposes, in which everyone is showing off. To spend an hour delivering a convoluted theory and then reply so bluntly that he doesn’t even believe it himself, is a stylish and witty manoeuvre – its Wildean brashness makes Stephen more worthy to be a member of this caste of witty litterateurs than the original theory.

But it also gestures towards the solution of the puzzle. When faced with a rock and a hard place the solution is neither. Or both. Or parts of both. Maybe the theory is included not just to further delineate Stephen’s character, or because Joyce identifies with it, but because it requires the worldview it’s opposing. Stephen can only express his debunking theory if he has something to debunk and so he needs A.E. and Eglinton and (appearing half-way through, Mulligan) to argue back or mock his theories because the real world is made out of precisely such conflicts and antitheses.

Maybe the point isn’t Stephen’s first theory or second theory or A.E.s platonic theory but a dynamic interplay between all three.

A ghostly answer

In his 1982 book about ‘Ulysses’, Canadian critic Hugh Kenner suggests a typically playful solution. Maybe Joyce’s aesthetic approach can be likened to the figure of Hamlet’s ghost who wanders through Stephen’s exposition of the play, as he, indeed, wafts in and out of the Shakespeare play itself. Like old King Hamlet’s ghost, maybe Joyce’s own autobiography moves in and out of the text, putting in appearances, disappearing but, like the ghost, dominating the entire action even in its absence. Which makes theory 2, instead of a rejection of theory 1 whereby the artist:

remains within or behind or beyond or above his handiwork, invisible, refined out of existence, indifferent, paring his fingernails

More like a subtle extension of it. Maybe the ghost author can drift in and out of the narrative at whim, trailing elements of autobiography like a ghostly cloak, at moments coming powerfully into focus, at others disappearing altogether and so allowing Joyce to believe in both his theories and neither. After all, as Richard Ellmann jokes in his 1972 book, ‘Ulysses on the Liffey’:

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

So maybe that’s what he’s craftily doing here.


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: Penelope

of course hed never find another woman like me to put up with him the way I do
(Molly Bloom thinking her husband, Leopold, should count his blessings)

he can stick his tongue 7 miles up my hole as hes there my brown part
(Molly angry at Bloom’s weird habit of kissing her bottom)

Im always like that in the spring Id like a new fellow every year
(Molly’s friskiness)

what else were we given all those desires for Id like to know I cant help it if Im young still can I
(Molly defends her natural urges)

compared with what a man looks like with his two bags full and his other thing hanging down out of him or sticking up at you like a hatrack no wonder they hide it with a cabbageleaf
(Molly compares a woman’s lovely boobs with a man’s ugly bits)

wherever you be let your wind go free
(Molly celebrates the joys of farting)

I bet he never saw a better pair of thighs than that look how white they are
(Molly’s body positivity)

God send him sense and me more money
(dismissing a boring old bishop she once heard deliver a moralising sermon, and sounding very like her irreverent namesake, Moll Flanders)

Lord the cracked things come into my head sometimes

‘Penelope’ is the 18th and final chapter of James Joyce’s novel, ‘Ulysses’. Here’s a reminder of the complete chapter numbers and names. (Note that the names given here are not printed in the published book, they were assigned in guidance and schemas which Joyce sent to supporters and have been used by commentators ever since; but you won’t find them in any published or online edition):

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

As you can see, ‘Penelope’ is not only the final chapter but the third chapter of the third part of the novel, which is generally called ‘Nostos’, Greek for ‘The Return’, Joyce’s own name for it.

The preceding two chapters tell how (in ‘Circe’) middle-aged advertising salesman Leopold Bloom helped over-educated, drunk and depressed young Stephen Dedalus get away from Dublin’s red light district where he’d been involved in a fight with a soldier. In ‘Eumaeus’ Bloom helps Stephen to an all-night café down by the docks where he tries to restore him with a cup of (disgusting) coffee and a hot roll. In ‘Ithaca’ the pair leave the café and walk to Bloom’s home at 7 Eccles Street.

Here Bloom lets them in, makes Stephen a nice cup of cocoa and they talk about many things. Bloom offers to make up a bed on the sofa for Stephen and suggests all kinds of plans – that he could move in as a lodger and give his wife, Molly, Italian lessons, and maybe even join her as a professional singer in the music troupe Bloom fantasises about setting up and managing. But Stephen turns these offers down and, after the pair have gone for a pee in Bloom’s back garden, Bloom opens the garden gate and Bloom stumbles off into the night never to be heard of again.

Bloom re-enters his house, locks up, gets undressed interspersed with rummaging about in his drawers, looking at mementoes of his absent daughter and dead father, thinking about all kinds of subjects, not least extended fantasies about moving to a delightful cottage in the country. Then he finally gets into bed and thinks about the Central Event in the book which is that while he’s been out walking the streets of Dublin, his bosomy wife, Molly, stayed at home and was visited by the flash man-about-town and concert promoter Hugh ‘Blazes’ Boylan, who had sex with her.

All day long Bloom has been aware of their tryst, set for 4pm, so that he’s spent the book in a kind of PTSD hyper-self-aware state (which partly explains the super stream-of-consciousness style of the novel). But during the course of his ponderings, Bloom gets over it. He registers his own mixed emotions of jealousy and anger but circles, in the end, round to equanimity and, finally, tenderness. And in this sleep forgiving mood, he kisses Molly on her bare bottom.

Unfortunately, this has the effect of waking her up from her sleep. Now half awake, Molly quizzes her husband about where he’s been and he proceeds to tell her a pack of lies, saying he spent the evening at the theatre then went on to a restaurant for supper where a fellow diner, Stephen, injured himself performing a gymnastic feat and so he brought him home, here, to Eccles Street, to patch him up, and that’s why he’s come to bed late. And having recited this pack of lies which omits everything important which happened during the day and replaces it with a set of fabrications, Bloom falls asleep and hands the novel’s narrative over to his wife. And it’s here that the final chapter, ‘Penelope’, consisting of Molly Bloom’s long monologue, begins.

First a few more facts, then we’ll look in detail at Molly’s chapter.

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 and the commentators tell me this marks 2.30 am. So assuming it takes Bloom about half an hour to lock up, get undressed, potter about and finally get into bed, ‘Penelope’ kicks off maybe around 3am in the morning.

Homeric parallel

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

In The Odyssey, Penelope is the wife of Odysseus who has waited 20 long years for her husband’s return, which we, the readers, know has been comprised of the ten years of the war itself, and then the ten years of Odysseus’s wanderings round the Mediterranean. During the last few years she has been fending off the horde of ‘suitors’ who have descended like locusts on her palace and are eating her out of house and home while they vie for her hand in remarriage, and so ownership of Odysseus’s kingdom of Ithaca.

Now the key point is that Penelope is every bit as cunning as her husband Odysseus, who is himself described as being the most cunning and many-minded of the Greek heroes. And so in her husband’s absence, Penelope has devised a series of strategies to put off the suitors. The most famous of these is that she tells them she must weave a burial shroud for Odysseus’s elderly father, Laertes, and cannot listen to their suits until she’s finished. For three long years she dutifully weaves the shroud during the day but then carefully unpicks it during the night, so that the task is never finished. Clever, eh?

Molly, her modern reincarnation in the novel, shares many of Penelope’s traits. 1) For a start she represents the final aspect of Bloom’s coming home, his nostos or return. Sure he arrived at his actual house in the previous chapter, but in a sense it’s only climbing into bed and kissing her that marks the completion of his odyssey and his final arrival Home.

2) As to the suitors, Odysseus arrives back at his palace but still has to dispel the suitors and take possession, but there no hordes of suitors in the ‘Ulysses’ version. There was one (Blazes Boylan) but he’s long gone. Instead Bloom arrives home at his house but needs, in some subtle psychological sense, to retake ownership by a) touching all his precious possessions and b) working through in his mind his responses to Molly’s infidelity to him – both processes which are itemised in ‘Ithaca’.

3) Where Molly most resembles Penelope is in her own cleverness, in being every bit as smart as her husband. Because the real point of this chapter is that at long last we get to hear her side of the story and it is significantly, and at all points, different from her husband’s.

Because the ‘Penelope’ chapter consists of a long, long interior monologue by Molly in which she passes in a chaotic review over all the key moments in her life, before and after her marriage to Bloom, mentioning and describing her parents, her girlhood in Gibraltar, incidents from her career, the umpteen times she’s been propositioned or molested or flirted with – but above all, hundreds of comments about Bloom’s character and habits which show him in a completely different light from the entire preceding narrative.

It does a number of things, this final chapter. It rounds off the whole novel by bringing Bloom’s odyssey to a conclusion. But it also gives the woman’s version of a world up to now dominated by men and men’s opinions. More specifically, it gives a completely different portrait of Bloom than we’ve hitherto had, portrayed in detail by someone who knows him intimately (really intimately) and whose version is often at drastic odds with what we’ve learned so far.

First a brief reminder of the key facts of Molly’s biography, then I’ll go through the monologue in detail.

Molly key facts

  • current name Marion ‘Molly’ Bloom
  • born Marion Tweedy, daughter of Major Brian Tweedy, of the Royal Dublin Fusiliers
  • Molly was born and raised in Gibraltar because that’s where Major Tweedy’s regiment was stationed
  • age 33
  • earns money as a soprano singer and is fairly well known around Dublin
  • been married for 15 years to Leopold Bloom
  • two children: a daughter, Milly, who just turned 15 yesterday, and a son, Rudy, who died in infancy, aged 11 days, a decade ago, since when the couple haven’t had sex

Stream-of-consciousness

The latter 5 or 6 chapters of ‘Ulysses’ differ from the first ten or so in each being dominated by one big formatting idea. Thus ‘Nausicaa’ is written in the style of a lady’s romantic novel and ‘Circe is in the form of a play. Molly’s chapter is another case in point: it is the book’s purest example of the invention (often attributed to Joyce) of the stream-of-consciousness. It’s 24,000 words long, filling 40 to 50 pages of the book versions and yet it contains of just 8 unpunctuated sections i.e the words flow seamlessly together with no punctuation at all for thousands and thousands of words. The final section alone contains 3,680 words and no punctuation.

Why the initial style is hard

Surprisingly, though, it isn’t as hard to make sense of as the densest of the ‘initial style’. Brainy young Stephen Dedalus’s thoughts in ‘Proteus’ 1) contain loads of learned references, including 2) quotes from theology and literature, 3) often in foreign languages and 4) the references are often cut off halfway through, clipped and abbreviated, sometimes down to just one word, and all chopped up by continuous full stops into tight little fragments.

Rhythm begins, you see. I hear. A catalectic tetrameter of iambs marching. No, agallop: deline the mare.

It’s the combination of these four elements which makes the ‘initial style’, and Stephen’s stream-of-consciousness in particular, often so impenetrable.

Why Molly’s style is much easier

By contrast, all these challenging elements are missing in Molly’s thoughts. There are no fancy-ancy quotes or foreign languages or tight truncations; instead, a soothing flow of words:

theyre all so different Boylan talking about the shape of my foot he noticed at once even before he was introduced when I was in the D B C with Poldy laughing and trying to listen I was waggling my foot we both ordered 2 teas and plain bread and butter I saw him looking with his two old maids of sisters when I stood up

In one of the book’s many commentaries I came across the highly revealing fact that Joyce originally wrote the chapter out as traditional prose and then went back and took all the punctuation out. Once you know that, you can kind of feel your way towards the missing stops. Maybe ‘full stop’ is being slightly too dogmatic, but you can feel the ghost of the missing punctuation. In other words, the prose isn’t really endlessly flowing, it’s actually made up – once you get a feel for it – from relatively traditional units. So the excerpt above could be loosely punctuated thus:

they’re all so different – Boylan talking about the shape of my foot – he noticed at once, even before he was introduced – when I was in the D B C with Poldy laughing and trying to listen, I was waggling my foot – we both ordered 2 teas and plain bread and butter – I saw him looking with his two old maids of sisters when I stood up

Not that difficult after all, is it? In fact, surprisingly easy. Obviously there are plenty of passages which aren’t quite as easy to silently punctuate into traditional prose as this one, but a lot are, and once you get used to reading it while looking for these sentence-like units, you develop the knack for recognising them and so extracting the sense, relatively quickly.

While reading ‘Ulysses’ I came across the RTE radio dramatisation of the novel which was made for the centenary of Joyce’s birth in 1982. You can listen to each individual chapter as a separate track on Spotify.

Listening to this radio production of ‘Penelope’, what you almost immediately realise is the obvious fact that, if you’re going to read this text (or indeed anything) out loud, you regularly have to stop for breath. And any sensible reader will tend to stop for breath at the natural breaks of sense, at the end of cadences or phrases. So listening to someone read out Molly Bloom’s soliloquy really brings out the ghostly punctuation which, as I’ve suggested, in practice still exists in the text. Reading it out loud tends to naturally reintroduce the invisible punctuation.

In addition, this (marvellous) reading also brings out the changes of tone and expression which are continually occurring throughout the text, as appropriate for different phrases, and this, too, helps to chop up what at first seemed like page after page of solid text, into what are in reality much more manageable, understandable phrases.

The ‘Eternal Feminine’

As to the reason for this endless flow – in the schematic charts and diagrams which Joyce made about the book, he said ‘Penelope’ took the sign ∞ representing infinity, supposedly because she represents the Eternal Feminine.

Personally, I shy away from this kind of talk because discussing the ‘nature of woman’, ‘female psychology’ and so on was problematic and controversial at the time, and has only become more mired in four generations of feminist theory, not to mention the worldwide swamp of social media.

If you do a quick Google search and read any articles or commentary about Molly and her monologue you will quickly discover how the entire subject is infested by experts who cite the received ideas of our age, that Molly is a ‘strong independent women’ who ‘expresses her own sexuality’ in ‘defiance of the patriarchy’ and countless other clichés. You can find thousands of feminist interpretations at the click of a button.

What I noticed in the two commentaries I’ve tended to have open beside me, is that because they both go on at length about feminism, sexism, the patriarchy and so on, they completely ignore many other aspects and details which are just as important.

Therefore in my summary I will try to stick closely to what the words actually say and not wander off into sweeping generalisations about The Female Mind, Female Sexuality, the Patriarchy and all the other high-level issues which so many commentators instantly jump to. Their approach takes us away from the words on the page, which are not only funny and surprising but are deliberately designed to 1) recap information about quite a few characters we’ve met previously in the book and 2) prompt us to rethink everything we thought we knew about her husband, Leopold.

Yes yes

In that spirit, looking at the actual words on the page, there’s an obvious aspect of the concept of the infinite, which is that this big chapter starts with the word ‘yes’ and ends with the word ‘yes’. This is an obvious manoeuvre by Joyce to bring out the Eternity theme.

Pondering this I conceived a Kafkaesque nightmare of a hypothetical reader who finds themselves somehow condemned to read the chapter forever, because as soon as they read the final ‘yes’ they are transported back to the first ‘yes’ and so spend the rest of their lives stuck inside an endless loop of Molliness.

Section lengths

Precise definitions of the section lengths vary slightly on whether you’re referring to the 1922, 1961 or Gabler (1984) edition. I used an online word counter to count the words in each section of the Planet Gutenberg online edition.

Section 1: 3,746 words (opens with ‘Yes because he never did…’)

Section 2: 4,404 words (opens with ‘theyre all so different Boylan talking about the shape of my foot…’ and makes up what is supposedly the longest sentence in literature)

Section 3: 921 words (opens with ‘yes I think he made them a bit firmer sucking them like that so long he made me thirsty…’)

Section 4: 2,208 words (opens with ‘frseeeeeeeefronnnng train somewhere whistling…’)

Section 5: 2,378 words (opens with ‘Mulveys was the first when I was in bed that morning…’)

Section 6: 3,619 words (opens with ‘that was a relief wherever you be let your wind go free…’)

Section 7: 3,230 words (opens with ‘who knows is there anything the matter with my insides…’)

Section 8: 3,680 words (opens with ‘no thats no way for him has he no manners nor no refinement nor no nothing in his nature…’)

Summary

As explained, I am going to avoid wading into the many high-level feminist debates raised by the soliloquy (there’s no shortage of people doing that) and instead try to focus on the exact words and what they tell us.

Section 1 (3,746 words)

Molly is surprised that Bloom has asked her to make him breakfast in bed tomorrow morning. This request doesn’t occur in ‘Ithaca’ so is a puzzle.

Quickly she moves on to a sharp assessment of one of the many other people who appear in the monologue, Mrs Riordan who we met as Dante, nanny to young Stephen Dedalus in ‘Portrait’. In a surprising coincidence we discover she lived as an old lady in the same hotel as Molly and Bloom and the latter used to take her for excursions in her bathchair. I find this one of the most striking things in the entire monologue.

But Molly is cross because Dante never left them any money in her will when she died. Also, she was very moralistic, down on bathsuits etc so Molly is glad she’s not like that.

She likes Bloom for his kindness that way, mind you he’s useless when he’s ill, and so are men generally, ‘weak and puling’, compared to women who have to hide it all. Remembering Bloom being in hospital after he sprained his ankle at a party, she does the first of many shrewish comments about other women using their wiles to get close to Poldy, in this case Miss Stack buying him flowers to get into his bedroom, the implication she had a fancy for him or they even had sex (?).

She suspects he must have had an orgasm during the day because he asked for breakfast i.e. it gives him an appetite. But she’s equally sure it’s not an affair, it’s not ‘love’, so speculates it might be with one of the prostitutes from nighttown, which leads her on to think about all the little bitches Bloom’s picked up on the sly, ‘if they only knew him as well as I do’. She knows that’s why she kissed his bottom, it’s a tell-tale sign and remembers the smell of other women on his clothes.

Just recently she came into a room where he was writing which he hurriedly covered up with blotting paper, poor fool (we know it was probably a letter to his penpal lover Martha Clifford though Molly doesn’t know her name).

She hated it when he had a pash for their scullerymaid, Mary Driscoll, the pair of them flirting under her nose (we know about Mary because she appeared among the many accusers in Bloom’s dream trial in ‘Circe’) and was outraged when Bloom suggested Mary eat Christmas dinner with them, and driven to distraction by her queening round the place (singing in the WC) until she confronted Bloom with an ultimatum, her or me, he chose her and so she gave Mary her week’s notice.

She remembers the last time Bloom came on her bottom, on an evening when they’d gone for a walk with Blazes Boylan and the latter had squeezed her hand. She imagines seducing some young boy, then remembers Bloom’s insistent questioning of who is she thinking about.

She seems to go on and think that now she’s had sex with Boylan, the first time is over, now it will become more routine. She wonders why you can’t just get people to kiss and hug you, she loves kissing.

I wish some man or other would take me sometime when hes there and kiss me in his arms theres nothing like a kiss long and hot down to your soul almost paralyses you

Then thinks about having to go to confession, the silly euphemisms the priest uses, then that she was a bit attracted to the priest with his bullneck.

Id like to be embraced by one in his vestments and the smell of incense off him like the pope

Thinking back to her afternoon sex with Boylan, she wonders if he was satisfied with her, she didn’t like him slapping her on the bottom:

I laughed Im not a horse or an ass

A flower he was wearing reminds her of a funny tasting drink she associates with an American she knew, can’t figure out if he slept with her. She associates it with a thunderstorm which put the fear of God into her, thinks about the end of the world, what could you do except go to church and pray, which reminds her that Poldy isn’t religious, refuses to go to church, says there is no soul, just grey matter inside us. Which circles back to memories of sex with Boylan that afternoon:

he must have come 3 or 4 times with that tremendous big red brute of a thing he has I thought the vein or whatever the dickens they call it was going to burst… no I never in all my life felt anyone had one the size of that to make you feel full up…

With a little recrimination to God:

whats the idea making us like that with a big hole in the middle of us or like a Stallion driving it up into you because thats all they want out of you with that determined vicious look in his eye

But then a surprising debunkment of Boylan:

still he hasnt such a tremendous amount of spunk in him when I made him pull out and do it on me considering how big it is so much the better in case any of it wasnt washed out properly the last time I let him finish it in me

Surely the second he refers to Bloom (‘the last time’) since we thought Boylan had only done it once. Interesting to note she’s describing coitus interruptus in the first part. Then a complaint about condoms (?):

nice invention they made for women for him to get all the pleasure

Thoughts of contraception lead to the opposite, of large families like Mina Purefoy‘s whose husband keeps getting her pregnant so she lives in a swarm of children. She wonders about having a child by Boylan but then considers that Poldy has more spunk in him.

Then she remembers coming across him flirting with Josie Powell, the unmarried name of Josie Breen, who Bloom had a thing with, at a dance, which Bloom tried to justify then led to a stand-up row about politics, something about Jesus being a carpenter and the first socialist. But generally how she managed the rivalry with Josie, how she knew Bloom liked her better. But still she ponders how she would win Bloom back is he resumed his passion for Josie, in ‘his plabbery kind of a manner’. How she’d revive him by little touches, getting him to fold down her collar, whereas she’d go and confront Josie directly.

Remembers the night Bloom almost proposed when she was in the kitchen making a potato cake, and how Josie was always embracing her, Molly, in front of Bloom, as if it was Bloom, one among many women who flirted with him. Molly used to tease Josie with how close she was to Bloom, then after they got married she stopped coming round.

She wonders what life is like for her now, with her mad husband, Breen. Last time they met, Josie told her he sometimes gets into bed with his muddy boots on. At least Poldy always wipes his feet on the mat, always blacks his own boots, always takes off his hat when he comes up in the street. Whereas Breen is mad about this postcard he got with U.P. on it.

No she’d rather die than marry another man, mind you Bloom is lucky to have her: ‘hed never find another woman like me to put up with him the way I do’, and thinking of women driven to distraction by their husbands she thinks of Mrs Maybrick who poisoned her husband with white arsenic for love of another man. She was hanged.

Commentary: although there’s a fair amount about Bloom and Boyland, and their penises and spunk, in fact the section can be seen as Molly comparing herself with seven other women, with their different beliefs, moral values, and experiences of love and marriage. Knowing Joyce I imagine with a bit of effort you could work each of them up into symbolising different types or categories.

Section 2 (4,404 words)

its all very well a husband but you cant fool a lover

She blames Bloom for having some new fad every week. She left her suede gloves behind in the toilet at the DBC Dame Street, Poldy suggested offering a reward. Boyle likes her feet, likes her crossing them, he liked watching her take off her stockings. But this segues into Bloom one time asked her to walk in the horses’ dung in the street, ‘of course hes not natural like the rest of the world’.

She remembers him saying she’d beat Katty Lanner (a real-life dancer). The tenor Bartell DArcy who kissed her in church, he liked her low notes. She thinks she’ll tell Bloom about it one day and show him the place where they ‘did it’ – surely she means had sex.

In particular Bloom ‘hes mad on the subject of drawers’, and stares at young girls on bicycles with their skirts blowing up to show their knickers as they ride. The time at a fair when a woman was standing against the sun and he stared even though he was with her and Milly. The hypocrisy of men who can go and get anything they like from anything in a skirt but insist on interrogating them (women) about where they’ve been and with who etc. ‘drawers drawers the whole blessed time till I promised to give him the pair off my doll to carry about in his waistcoat pocket’ (which of course links up with the subject of the ‘Nausicaa’ chapter where Bloom gets his rocks off watching Gerty show him her drawers).

The time they were in the rain and he begged her to lift her skirt a little and she touched his trousers ‘the way I used to Gardner’.

Bloom was always canny not like ‘that other fool Henny Doyle he was always breaking or tearing something in the charades’. Bloom sent her 8 poppies. But he could never embrace well ‘like Gardner‘. She hopes Boylan will come round again, on Monday, same time, 4pm.

She hates people calling at random times like the time Professor Goodwin found her flushed from cooking stew. We learn that Boylan sent ahead a gift of port and peaches (which we saw him buying in Thornton’s fruit and flower shop in ‘Wandering Rocks’.

She’s scheduled to go to Belfast with Boylan the following week; lucky Bloom is to go to Ennis to commemorate his father’s death, would be tricky being in rooms next to each other; if Bloom had sex with her, Boylan would know.

She remembers the time Bloom carried bowls of soup from the dining car along a moving train spilling them everywhere, and the steward locked them in their compartment in revenge. She hopes Boylan books first class tickets. Trains remind her of the nice workman who got her and Bloom their own compartment in the train for their outing to Howth.

She remembers patriotic concerts she did in support of the Boer War where she sang the Rudyard Kipling poem The Absent-Minded Beggar. This song is mentioned numerous times in Bloom’s thoughts earlier in the book. Funnily enough I devoted a blog post to it when I had my Kipling phase. She wore a brooch for Lord Roberts and had a map of the war. Which leads her to reminisce about ‘Gardner lieut Stanley G 8th Bn 2nd East Lancs Rgt’ who fought in the war and apparently died there of enteric fever.

he was a lovely fellow in khaki and just the right height over me Im sure he was brave too he said I was lovely the evening we kissed goodbye at the canal lock my Irish beauty

She likes the army, after all she’s an army brat, her father was a major, so:

I love to see a regiment pass in review the first time I saw the Spanish cavalry at La Roque it was lovely… the Black Watch with their kilts in time at the march past the 10th hussars the prince of Wales own or the lancers O the lancers theyre grand or the Dublins that won Tugela

Interchangeable men I’ll note here where I’ve noticed it, that Joyce deliberately blends all the men in her life together under the one pronoun ‘he’. In consecutive phrases ‘he’ can refer to Bloom or Boylan or his or her father or various others. The implication (apart from Molly being dreamily half-awake) is that all men are the same. At a deeper level, maybe the implication is that all people are the same, that our identities are only skin deep, like name labels stuck on our chests at a conference which soon peel off.

She notes how Boylan’s father made money selling horses to the army and hopes he’ll buy her a nice present when they go to Belfast ‘well he could buy me a nice present up in Belfast after what I gave him’ i.e. sex. She’d love to go shopping with him. She’ll have to take her wedding ring off or risk being reported to the police (married woman with unmarried man) although:

O let them all go and smother themselves for the fat lot I care

She remembers that Boylan is heavy, hairy too, would be more convenient to have sex doggy position:

always having to lie down for them better for him put it into me from behind the way Mrs Mastiansky told me her husband made her like the dogs do

She remembers Boylan was beautifully dressed but for the first ten minutes in a foul temper because he’d just lost £20 on the Gold Cup horse race which reverberates through the novel. He got the tip from Lenehan and that reminds Molly of sitting in a coach next to Lenehan coming back from the Glencree dinner (in ‘Wandering Rocks’ Lenehan remembers this journey, pressed up against Molly so he could feel the outline of her fine breasts: ‘His hands moulded ample curves of air’, which gave him an erection). Unsurprisingly she thinks Lenehan is a creep. At that social do she was aware of the Lord Mayor staring at her with his dirty eyes. Molly’s fate is to be eyed up and chatted up wherever she goes.

She wishes she had cutlery as fine as the ones at that dinner and reflects she could have stolen a few by slipping them into her muff. Shopping: she wants two new chemises and a kidfitting corselet as advertised in The Gentlewoman. Which makes her reflect she’s getting a bit tubby, needs to lay off the stout at lunchtime. Mind you, the poor quality of the booze they get from Larry O’Rourke.

She’s got one pair of garters Bloom bought her, and he got her some lovely face cream which made skin ‘like new’, she asked him to buy a new bottle (which we saw him do right at the start of his part of the narrative). She only has 3 sets of clothes and one at the cleaners.

She feels sorry for herself wearing such shabby outfits and remembers she’ll be 33 this September i.e. 32 now. Mind you take Mrs Galbraith, older than her and a fine looking woman though on the turn. She remembers watching Kitty O’Shea brush her hair in the house opposite in Grantham Street. (This peripheral contact with Kitty parallels Bloom’s brief encounter with Charles Stewart Parnell, recovering his hat after it was knocked off in a riot.)

In another parallel her thoughts drift to Lily Langtry, the Jersey Lily, widely known to be having an affair with the Prince of Wales. So these two women mirror Molly in having extra-marital affairs: one with the leader of the nationalist Irish, one with the future King of England.

In a real digression she remembers Bloom buying a volume of Rabelais for her, and her not getting on with its absurdity and obscenity. (We know from ‘Ithaca’ that Bloom thinks he can educate Molly by leaving good books around.)

Back to the Prince of Wales, she knows he visited Gibraltar the year she was born, planted some tree. Back to Bloom and she wishes he’d change job ‘and go into an office or something where hed get regular pay or a bank where they could put him up on a throne to count the money all the day’, instead he mooches round the house under her feet all the time.

Molly remembers going to Mr Cuffe to plead for Bloom’s job back after he was fired; Cuffe stared at her breasts (as more or less all the men seem to) and politely refused. What she remembers more is the shabby dress she had to make the visit in.

Bloom thinks he knows about women’s clothes but hasn’t got a clue and she remembers some terrible hats he thought she looked great in. Just like he’s rubbish at cooking, ‘mathering everything he can scour off the shelves into it’.

Section 3 (921 words)

Molly ponders her breasts, thinking maybe Boylan made them firmer by sucking them, which leads onto the breasts on the grand statues of naked women you see everywhere, the woman often hiding one breast behind her hand. Mind you not as silly as men’s bits:

compared with what a man looks like with his two bags full and his other thing hanging down out of him or sticking up at you like a hatrack no wonder they hide it with a cabbageleaf

And she remembers various men who have exposed themselves to her:

  • that disgusting Cameron highlander behind the meat market
  • that other wretch with the red head behind the tree where the statue of the fish used to be when I was passing pretending he was pissing standing out for me to see it with his babyclothes up to one side
  • theyre always trying to show it to you every time nearly I passed outside the mens greenhouse near the Harcourt street station

She remembers popping into a men’s toilet in the freezing winter of 1893 coming back from a party and teasingly thinks ‘pity a couple of the Camerons werent there to see me squatting in the mens place’.

Of men’s penises she thinks: ‘I tried to draw a picture of it before I tore it up like a sausage or something I wonder theyre not afraid going about of getting a kick or a bang’.

She remembers Bloom encouraging her to let herself be photographed nude when he lost his job to earn some money, which reminds her of the painting of a naked nymph they have above their bed, or the erotic photos he keeps hidden in his drawer (catalogued in ‘Eumaeus’).

She remembers him trying to explain the word metempsychosis which had cropped up in a book right at the start of Bloom’s narrative: ‘he never can explain a thing simply the way a body can understand’ and then he went and burned the bloody pan frying his kidney this morning. Sounds like any wife complaining about any husband.

Then she switches men and complains about Boylan biting her nipple till she screamed: ‘arent they fearful trying to hurt you’. She remembers having swollen breasts full of milk when Milly was born and Bloom (typically) saying she could rent herself out as a wetnurse. She remembers ‘ that delicate looking student that stopped in no 28 with the Citrons Penrose’ nearly catching her washing naked through the window.

As to her full breasts she a) got Dr Brady to write her a prescription and b) got Bloom to suck the milk out of them, they were so hard and painful: ‘he said it was sweeter and thicker than cows then he wanted to milk me into the tea well hes beyond everything.’

Just one more of his outrageous suggestions, she thinks she should write them all in a book titled ‘the works of Master Poldy’. He used to suckle her for an hour at a time, the big baby: ‘hey want everything in their mouth all the pleasure those men get out of a woman’.

Then a very explicit memory of the multiple orgasms Boylan gave her:

O Lord I must stretch myself I wished he was here or somebody to let myself go with and come again like that I feel all fire inside me or if I could dream it when he made me spend the 2nd time tickling me behind with his finger I was coming for about 5 minutes with my legs round him I had to hug him after O Lord I wanted to shout out all sorts of things fuck or shit or anything at all

Though she had to restrain herself because you never know with some men, some men want you to remain coy and well behaved even while having sex. And she looks forward to more of the same with Boylan come Monday: ‘O Lord I cant wait till Monday’.

Section 4 (2,208 words)

Molly’s fourth sentence begins with her hearing a train whistle ‘frseeeeeeeefronnnng train somewhere whistling’, the latest of Joyce’s hundred or so attempts to transcribe non-human sounds (the cat, the door, bells, gongs, clocks, the sea and many more).

Molly thinks of the men who work in trains, away from their wives at night. ‘Im glad I burned the half of those old Freemans and Photo Bits leaving things like that lying about hes getting very careless’ – are these saucy magazines?

It was hot earlier, the rain shower was refreshing, she thought it was going to get as hot as Gibraltar. She remembers her father’s friend Mrs Hester Stanhope (a real-life historical figure) who sent her a nice frock from the B Marche Paris and her husband: they called each other Doggerina and Wogger, and she remembers a letter she wrote him.

She would give anything to be back in Gibraltar where life was free and easy. Take Edwardian clothes: ‘these clothes we have to wear whoever invented them expecting you to walk up Killiney hill then for example at that picnic all staysed up you cant do a blessed thing in them in a crowd run or jump out of the way’.

She hated bullfights, the horses all getting ripped open. She was good friends with Hester, who showed her how to put her hair up, she slept in her bed the night of the storm and they had a pillow fight in the morning.

She remembers blushing the first time ‘he’ looked at her, when she was with her father and Captain Grove: ‘he was attractive to a girl in spite of his being a little bald intelligent looking disappointed and gay at the same time’. ‘She’ gave Molly The Moonstone to read. Reminds her she doesn’t like books with Molly in the title like that Molly Flanders.

She’s hot and uncomfortable, the blanket is too heavy and her nightdress has ridden up so she moves around to get comfortable. She remembers the mosquito nets in Gibraltar, how long ago it seems. She remembers in detail the day the Stanhopes left, the dress Mrs S was wearing, then how terribly dull life was after they both left.

Ships remind her of guns booming whenever a dignitary arrived at Gibraltar like General Ulysses Grant (Ulysses – a small connection). She remembers old Sprague the consul dressed in mourning for his son (echoing Bloom) and then Captain Groves and her dad having endless yarns over whiskey in the evenings about imperial battles.

Boredom and trying to get a reaction reminds her of how she’d dress up and put her gloves on in the window for the benefit of the young doctor in the house opposite, in Holles Street, but he never got the idea. Men are stupid.

there was a nice fellow even in the opposite house that medical in Holles street the nurse was after when I put on my gloves and hat at the window to show I was going out not a notion what I meant arent they thick never understand what you say even youd want to print it up on a big poster for them… where does their great intelligence come in Id like to know grey matter they have it all in their tail if you ask me

She thinks of recent letters and cards, including one from Milly, and a letter from a Mrs Dwenn in Canada who wrote out of the blue wanting to know the recipe for pisto madrileno (apparently the Spanish version of ratatouille). And one from Floey Dillon who wrote to say she was married to a very rich architect. And: ‘poor Nancy Blake died a month ago of acute neumonia well I didnt know her so well as all that she was Floeys friend more than mine poor Nancy.’

She thanks God Boylan has fucked her:

O thanks be to the great God I got somebody to give me what I badly wanted to put some heart up into me

But she hopes he’ll write her a letter, she’d love a real love letter, ‘I told him he could write what he liked yours ever Hugh Boylan.’ It just makes you so happy: ‘true or no it fills up your whole day and life always something to think about every moment and see it all round you like a new world.’

Then she’ll write an answer from bed where he can imagine her. Need only be a few words, in fact the less the better, lets the imagination work. Not like here friend Atty Dillon who wrote long elaborate letters copied from The Ladies Letterwriter to the fellow that was something in the Four Courts. He ended up jilting her. ‘A few simple words’ is best.

This section ends with a sudden spurt of bitterness at the fate of women to be pursued and worshipped when young, and then dumped and ignored once they get old.

as for being a woman as soon as youre old they might as well throw you out in the bottom of the ashpit.

Note that it ends with a full stop, one of only two in the entire chapter.

Section 5 (2,378 words)

Section 5 opens with a similar passage to section 1 (intentionally?) in that it is a harsh character assassination of an older woman. In section 1 it’s Mrs Riordan (the Dante of ‘A Portrait of the Artist as a Young Man’). Here it is the elderly Spanish housekeeper of the Tweedy family in Gibraltar, Mrs Rubio. Molly condemns her as a:

disobliging old thing… with her switch of false hair on her and vain about her appearance ugly as she was near 80 or a 100 her face a mass of wrinkles

and also, as with Mrs Riordan, feels threatened by / despises the old woman’s religious zeal:

with all her religion domineering because she never could get over the Atlantic fleet coming in half the ships of the world and the Union Jack flying with all her carabineros because 4 drunken English sailors took all the rock from them and because I didnt run into mass often enough in Santa Maria to please her with her shawl up on her except when there was a marriage on with all her miracles of the saints and her black blessed virgin with the silver dress

So Molly dislikes her on account of 1) her age (she seems ancient to Molly, who is only 15); 2) her religious zeal (which clearly Molly has no time for); and 3) also a Spanish nationalist reason. Apparently the Spanish Mrs Rubio is still angry that the British seized a part of Spain with just ‘4 drunken sailors’. (Incidentally the number 4 seems to have no historical provenance: the actual capture of Gibraltar was, as you might expect, a bigger bloodier affair.)

So one morning this ‘disobliging old thing’ brings her a letter from Lieutenant Mulvey who is clearly a ‘beau’ of the 15-year-old Marion. This Mulvey followed her in the street one day, but instead of scaring Molly this just excited her and made her want to ‘pick him up’. Then he wrote her a letter making an appointment to see her, which thrilled her to bits, she kept it on her and was so excited that she wanted to move the hands on the clock forward to make the appointment come quicker.

Now who does this remind you of? Of Blazes Boylan of course, whose letter Molly received at the start of this long day, setting his arrival for 4pm. Direct parallel. History repeats.

Cut to Molly being out with this Mulvey who kissed her ‘under the Moorish wall’ and ‘he crushed all the flowers on my bosom’. She considered him her sweetheart. Given the graphic sexual details everywhere else, I was intrigued by the phrase:

I put my knee up to him a few times to learn the way

What way? Well, For the flirtatious lolz she told him she was engaged ‘to the son of a Spanish nobleman named Don Miguel de la Flora and he believed me’.

Eventually he was posted away, in May (she remembers because she always feels like a new man in the spring: ‘Im always like that in the spring Id like a new fellow every year’). She knew precisely how far to flirt:

I had that white blouse on open in the front to encourage him as much as I could without too openly they were just beginning to be plump

They were at some place up on some mountain among entrances to ancient galleries of St Michael’s caves, a beautiful sunny day and far from anywhere, and:

he caressed them outside they love doing that its the roundness there I was leaning over him with my white ricestraw hat… my blouse open for his last day

Obviously he wanted to go further:

he wanted to touch mine with his for a moment but I wouldnt let him he was awfully put out first for fear you never know consumption or leave me with a child embarazada that old servant Ines told me that one drop even if it got into you at all

And remembers how she’s experimented with how it would feel to have a penis inside her by using a banana.

after I tried with the Banana but I was afraid it might break and get lost up in me somewhere because they once took something down out of a woman that was up there for years

You can see why sex-averse Virginia Woolf loathed this book, can’t you? I’d forgotten it was stuffed (so to speak) with so much sexual crudeness or candour (depending on taste). As to men, well:

theyre all mad to get in there where they come out of youd think they could never go far enough up

Back to Mulvey, she would have full sex but instead masturbated him to climax:

how did we finish it off yes O yes I pulled him off into my handkerchief pretending not to be excited but I opened my legs I wouldnt let him touch me inside my petticoat because I had a skirt opening up the side I tormented the life out of him first tickling him I loved rousing that dog in the hotel rrrsssstt awokwokawok his eyes shut and a bird flying below us he was shy all the same I liked him like that moaning I made him blush a little when I got over him that way when I unbuttoned him and took his out and drew back the skin it had a kind of eye in it

Yep, sounds like a penis alright. Amusingly, she can’t clearly remember Mulvey’s name, though this is consistent with her using the pronoun ‘he’ to refer interchangeably to many men (mainly Bloom and Boylan).

Molly darling he called me what was his name Jack Joe Harry Mulvey was it yes I think a lieutenant he was rather fair he had a laughing kind of a voice

Lucky Jack Mulvey promised he’d come back for her and she promised she’d let him **** her, even if she was married. Twenty years ago it must be and he’s probably promoted and married and little does his wife know about his little sexual adventure with Molly Tweedy.

Far from anywhere she blew up the paper bag they’d brought biscuits in, then burst it with a bang which made all the pigeons take off. She wanted to fire his gun but he didn’t have one. HMS Calypso she thinks he was assigned to, because it was printed on his cap (note another sly Odysseus reference slipped in).

Cut to memories of some pompous old Bishop who delivered a sermon about the New Woman riding bicycle and wearing bloomers, which triggers her to think how funny she’s ended up with the surname Bloom. Her rival for Leopold, Josie Breen, used to joke that she was looking ‘blooming’ whenever they met, still better than names with bottom in them like Ramsbottom.

She doesn’t really remember her mother (who is a very shadowy figure in the whole book). Her name was Lunita Laredo and she was a Gibraltarian of Spanish/Jewish descent. A vivid memory of running down Williss Road and her boobs jiggling:

they were shaking and dancing about in my blouse like Millys little ones now when she runs up the stairs I loved looking down at them

She remembers the wonderful view from the Rock over the Straits to Africa. She was so infatuated with Mulvey, she kept the hankie the masturbated him into under her pillow for weeks, for the smell of it.

Mulvey appears to have given her a ring as a keepsake, ‘that clumsy Claddagh ring for luck’ that she then gave to another lover, Gardner, the soldier who went off to the Boer War where he died of enteric fever.

She has the impression of a moustache and for a moment thinks it was Mulvey’s but then realises she’s getting him mixed up with Gardner.

Another train whistles, reminding Molly of Love’s Old Sweet Song and her upcoming performance, which triggers a repeat of her scorn for the other singers:

Kathleen Kearney and her lot of squealers Miss This Miss That Miss Theother lot of sparrowfarts skitting around talking about politics they know as much about as my backside

As the daughter of a soldier who’s lived abroad, Molly views herself as much more worldly than the daughters of bootmakers and publicans, ‘I knew more about men and life when I was 15 than theyll all know at 50’.

She reflects on her looks. Her father left her her English accent (raised among soldiers in garrison) but she has her mother’s eyes and figure. Let them get a husband and a lovely daughter and get a fine man like Boylan falling over her and swiving her 4 or 5 times. She thinks about the correct posture, neck and facial position to project her singing voice best, and considers which songs to sing: Love’s Sweet Song and Wind from the South but not My Lady’s Bower, ‘too long for an encore’.

She thinks she could have been a prima donna if she hadn’t married Bloom. She’ll dress to impress.

Ill change that lace on my black dress to show off my bubs and Ill yes by God Ill get that big fan mended make them burst with envy

And then she realises she needs to pass wind and shifts position in the bed, carefully so as not to wake Bloom. (Remember the reference a few lines earlier to the song Wind from the South? A Joyce joke). So she softly passes wind, in another joke doing so in synch with the whistle from another passing train.

Section 6 (3,619 words)

Molly starts by being happy at having passed wind and wondering if it was the pork chop she ate earlier which gave her wind, she doesn’t trust that butcher.

She remembers being a girl in Gibraltar, the freezing cold nights, which leaps to being much older and stripping and creaming herself for the pleasure of the medical student living opposite (mentioned above).

Which links into her hoping Poldy isn’t going to fall in with the medical students, squandering money and getting drunk, what do they find to talk about?

We get more specifics on Bloom’s request for breakfast, which wasn’t reported in ‘Ithaca’. According to Molly, he ordered: ‘eggs and tea and Findon haddy and hot buttered toast’ which leads onto how she enjoys hearing him clunking up the stairs with the rattling cutlery. Then onto the cat, licking itself but she doesn’t like its claws. (It strikes me as odd that the cat doesn’t have a name. Surely Joyce missed a trick, he could have given it an ironically Odyssey-connected name.)

Hunger: she thinks she’ll buy a nice piece of plaice, no cod, and some jam which flows into the thought of buying more and organising a picnic, which flows into memories of various outings, better at the seaside but not in a boat after he swore blind he could row and then got into so much trouble they nearly drowned, and the water flooding into the rowing boat ruined her shoes and the wind ruined her hat.

But the sea brings memories of Gibraltar, the smell of the sardines and the bream in Catalan bay all silver in the fishermen’s baskets.

She remembers all the grandiose plans Bloom made, saying he’d change their place into a musical academy, or a hotel, full of plans and schemes which all come to nothing.

he ought to get a leather medal with a putty rim for all the plans he invents then leaving us here all day

She gets scared being alone in the house at night and remembers a vagrant who got 20 years for murdering an old woman, she’d castrate men like that. She remembers the night she swore she heard burglars and she made Poldy go downstairs with a candle frightened out of his wits, making as much racket as he could to scare them off, of course there was no-one.

Then she’s unhappy the way Bloom sent their daughter, Milly, away to Mullingar to get a job at a photographer’s, she thinks because he sensed Molly and Boylan’s impending affair. She should have been sent to Skerry’s Academy to study for the civil service.

She remembers Milly becoming a handful ‘with her roughness and carelessness’, breaking a statuette, refusing to peel the potatos, and Bloom taken to explaining things out of the paper to her and Milly pretending to play along. Cunning, like her dad. She’s started flirting with the boys and reminds Molly of herself at that age. She’d started to go beyond bounds for example to the skating rink and she smelled tobacco on her clothes.

all the people passing they all look at her like me when I was her age

And being prissy at the theatre, insisting Molly not touch her, which makes her remember men who’ve ogled and rubbed up against her at theatres. Milly didn’t even want Molly to kiss her at the station when she was leaving well – in the same tone as she said Bloom will never find anyone else like her, Molly thinks good luck to her daughter to find someone else who’ll dance attendance on her when she’s ill, like her old Ma.

I think Molly says she didn’t have a climax till she was 22:

of course she cant feel anything deep yet I never came properly till I was what 22 or so it went into the wrong place (?)

Milly’s boyfriends including Conny Connolly and Martin Harvey. She thinks such devotion means a man’s a bit cracked in the head which reminds her of Poldy’s father, must have been cracked to commit suicide.

She thinks it’s Bloom’s fault for not getting a servant and instead having the two women in the family slaving away for him, apart from the useless cleaner they had, Mrs Fleming, sneezing and farting everywhere and you had to follow her round fixing her work, and the time she left a smelly old dishcloth behind the dresser.

All the friends Bloom brings back at all hours including Simon Dedalus, and his son who won all the prizes, what was he doing bringing him home, and why did he have to drop down into the area to get into the house, amazing he didn’t rip his grand funeral trousers, shame her old drawers weren’t hanging up for them both to see!

And we learn that Mrs Fleming, useless as she was, is now leaving them to look after her husband who’s got to have an operation.

Thoughts of the body circle round to Molly realising her period’s about to start, not surprising considering ‘all the poking and rooting and ploughing he [Boylan] had up in me’. Damn! That means she’ll be bleeding when Boylan next visits in just three days time (it’s Friday and he’s scheduled to come around on Monday). Menstruation she sees as a curse, out of action five days every three weeks, ‘simply sickening’.

She remembers the most embarrassing occasion when it came on when they were at the theatre, had been given a box by one Michael Gunn to see Mrs Kendal and her husband at the Gaiety, when it came on her and her struggle to concentrate with her husband yakking on next to her.

O patience above its pouring out of me like the sea

She’s very self-conscious about having sex in the bed with all the springs jingling so seems to say that when Boylan came round she put the quilt on the floor and a pillow under her bottom.

She thinks she’ll shave her pubic hair to look like a young girl again, that’ll surprise Boylan next time!

And during these thoughts she’s eased out of bed and is squatting over the chamberpot bleeding into it, hoping she won’t break it, thinking about rinsing it out and perfuming it in the morning, very self conscious about it making such a noise, and so the section ends.

Section 7 (3,230 words)

Molly continues menstruating on her chamber pot. She remembers encounters with a gynaecologist, Dr Collins, who she’d gone to see, worried about some discharges, during which she gets long medical words wrong like ‘omissions’ and is amused by the posh word he used for her bits, ‘vagina’: comedy at the expense of her illiteracy.

Which segues into the letters Bloom wrote her, quoting Keats and other poetry. She was so excited by him and the letters she masturbated 4 or 5 times a day. She was impressed by his high political talk about home rule and the Land League. She’s thinking all this while she’s still on the pot:

I better not make an alnight sitting on this affair they ought to make chambers a natural size so that a woman could sit on it properly

I think she says the Leopold kneels to masturbate, ‘I suppose there isnt in all creation another man with the habits he has’; and then bemoans his habit for years of sleeping upside down in the bed, with his head at her feet and his feet by her head. The posture reminds her of him taking her to see an Indian god all yellow in a pinafore on his side, presumably a Buddha.

She reaches for a napkin which she ties round her parts, then slips back into bed, noting how deeply Bloom is sleeping, and repeating her hunch it’s because he had an orgasm today, and wondering who with, and waspishly pointing out he can only get it if he pays for it these days.

She laments the many moves of house they’ve had to make due to Bloom’s inability to keep a job or progress, including Raymond Terrace, Ontario Terrace, Lombard Street, Holles Street and then the City Arms hotel with the toilet out in the hall and you could always tell who’d used it before you by the stink. Things are always just starting to shape up when he puts his big foot in it, getting dismissed again and again, from Thoms and Helys and Mr Cuffes and Drimmies.

St George’s bells chime, saying its 2am (?) can that be right?

She describes Bloom’s poor attempts at cunnilingus:

when I wouldnt let him lick me in Holles street one night… he does it all wrong too thinking only of his own pleasure his tongue is too flat or I dont know what he forgets that wethen I dont Ill make him do it again

She wonders if the woman Bloom was with today was Josie, then decides he doesn’t have the guts to risk it with a married woman, despite her Josie Breen’s) mad husband. She thinks Poldy having sex was ‘the fruits of Mr Paddy Dignam yes they were all in great style at the grand funeral’ i.e. all those men all got hammered and went on somewhere and Bloom paid for a prostitute (she thinks; we know that’s not at all correct).

They think they’re so grand, those silly men in their little funeral parade and she rattles off a list of the male mourners at Dignam’s funeral who we met in chapter 6, but Molly says they’ve never seen a military parade like she knew back in Gibraltar, now that was impressive.

She feels sorry for poor Paddy’s wife and orphans which leads into memories of a dinner and formal singing, thoughts of Ben Dollard the base baritone, 5 shillings admittance to the concert, and then praises Simon Dedalus’s voice, untrained but effective (and we remember Simon singing at the Ormond Hotel in ‘Sirens’), she remembers he was married to May Goulding but a widower now.

She remembers seeing Stephen as a boy of 11, 11 years ago, when she was in mourning for poor Rudy, ‘he was an innocent boy then and a darling little fellow in his lord Fauntleroy suit and curly hair like a prince on the stage’ (‘prince’ of course reminds us of Stephen’s recent obsession with Shakespeare, Hamlet and the lecture at the National Library).

Suddenly she realises Stephen was predicted in the tarot cards she played with this morning and goes back through the cards in detail. She guesses at Stephen’s age and hopes he’s not a lank-haired poet, briefly imagining seducing him. Bloom claimed he’s a professor, Molly knows he’s surely too young, and hopes he’s not a professor like old Professor Goodwin whose specialist subject is whiskey.

Which segues into poetry, she likes poetry, and random quotes from favourite poems. It would be a nice change to have an intelligent person to talk to (Stephen) and not have to listen to Bloom’s endless talk about Billy Prescott’s ad and Keyes’s ad and Tom the Devil’s ad.

Instead she remembers seeing lithe young men at Margate bathingplace lazing on the rocks or diving into the sea, if only all men were that fit and handsome. Then some more rudeness:

I often felt I wanted to kiss him all over also his lovely young cock there so simple I wouldnt mind taking him in my mouth if nobody was looking as if it was asking you to suck it so clean and white he looks with his boyish face I would too in 1/2 a minute even if some of it went down what its only like gruel or the dew theres no danger

If she’s never met the adult Stephen this must be a sort of sleepy fantasy Stephen of her imagination she’s imagining sucking off and swallowing. Quite staggeringly pornographic, isn’t it?

She resolves to throw the tarot cards again in the morning to see if they’re fated to be together and anyway she’ll read and study some poetry so as not to appear ignorant if they meet, while she’ll teach him about sex until he half faints, and then:

then hell write about me lover and mistress publicly too with our 2 photographs in all the papers when he becomes famous

I’d forgotten that Molly has this quite graphic fantasy about Stephen. Remembering it sheds a whole new light on his character extending right back through ‘Portrait of the Artist’. What would happen if in the next few weeks Molly does meet Stephen, is taken by his strange intelligence and youth, while he sees sex sex sex in the older, voluptuous woman, and they ended up falling in love and eloping? Has anyone ever written a sequel to ‘Ulysses’ in which that happened?

Section 8 (3,680 words)

But then, what’s she going to do about Boylan? Thinking about Boylan makes her cross again at him slapping her on the bottom, such a peasant ‘he doesnt know poetry from a cabbage’. She criticises the way he just stripped off his shoes and trousers, might as well be an animal, he might as well have been an old lion. Well, maybe he was so excited because her boobs were so round and tempting. To be honest, they excite her sometimes, in fact she’d like to be a man:

I wished I was one myself for a change just to try with that thing they have swelling up on you so hard and at the same time so soft when you touch it

Men are lucky:

they can pick and choose what they please a married woman or a fast widow or a girl for their different tastes

Whereas women are restricted and limited. Jealousy. Why can’t people remain friends while sleeping around? She’s glad she’s still young and excitable but frustrated that Bloom never touches her, never embraces her any more. Only kisses her on the bottom, where she has least expression, like kissing an inanimate object, one time he kissed the front door, she thinks Bloom is mad, ‘what a madman nobody understands his cracked ideas but me’.

A woman needs loving and cherishing:

a woman wants to be embraced 20 times a day almost to make her look young no matter by who so long as to be in love or loved by somebody

Sometimes she gets so sexually frustrated she fantasises about going down to the docks and picking up a sailor or maybe one of the dangerous looking gypsies from their camp in Rathfarnham, some stranger to ‘ride me up against the wall without a word or a murderer anybody’.

Men, eh? She remembers some fine KC giving her and Bloom a fish supper after winning a bet on a boxing match but later that night catching him coming out of a dingy alley (Hardwicke lane) followed by a common prostitute, then going back to his wife.

She is irritated with Bloom being such a big lump and tries to budge him over in the bed, and irritated at him expected to be waited on with breakfast in bed. A little feminist polemic:

itd be much better for the world to be governed by the women in it you wouldnt see women going and killing one another and slaughtering when do you ever see women rolling around drunk like they do or gambling every penny they have and losing it on horses yes because a woman whatever she does she knows where to stop sure they wouldnt be in the world at all only for us they dont know what it is to be a woman and a mother how could they where would they all of them be if they hadnt all a mother to look after them

Speaking of needing mothers she wonders what Stephen’s doing away from his books and home and study, keeping bad company now his mother’s died.

Which morphs into thinking about her son Rudy, going over the decision to bury him in ‘that little woolly jacket I knitted crying as I was but give it to some poor child but I knew well Id never have another’. She and Bloom have never been the same since.

Back to Stephen, she wonders why he wouldn’t stay the night (how does she know this, it feels like Joyce’s awareness bleeding into hers). Remember Hugh Kenner’s point that Molly never says something but she soon contradicts it? Well, barely a few phrases after her little feminist praise of women, the exact opposite:

I hate that in women no wonder they treat us the way they do we are a dreadful lot of bitches I suppose its all the troubles we have makes us so snappy

She thinks Stephen could have slept on the sofa in the other room, mind you she’d have heard her filling the chamber pot, ‘arrah what harm’.

Dedalus, odd name. Makes her think of names of people on Gibraltar, she’s particularly tickled by a woman named Opisso, she’d die rather than have such a name.

small blame to me if I am a harumscarum I know I am a bit I declare to God I dont feel a day older than then

For the third time she laments that Stephen didn’t stay, she’d like to give him Spanish lessons then he’d see she’s not so ignorant after all: quite the persistent thinking about clean-cocked young Stevie.

And it goes on: she thinks Stephen was tired, and needed a rest, and she’d have happily brought him breakfast in on the sofa. She’s really taken with having Stephen as a lodger:

supposing he stayed with us why not theres the room upstairs empty and Millys bed in the back room he could do his writing and studies at the table in there for all the scribbling he does at it and if he wants to read in bed in the morning like me as hes making the breakfast for 1 he can make it for 2… Id love to have a long talk with an intelligent welleducated person

Which segues into needing to buy a new bed, and shopping triggers thoughts of going to the market early to get fresh fruit and vegetables, she’d love a fresh juicy young pear. And then another pornographic passage I can’t make out whether it starts about Stephen but it definitely becomes about Bloom, arousing him then making him feel guilty about Boylan:

Ill start dressing myself to go out presto non son piu forte Ill put on my best shift and drawers let him have a good eyeful out of that to make his micky stand for him Ill let him know if thats what he wanted that his wife is fucked yes and damn well fucked too up to my neck nearly not by him 5 or 6 times handrunning theres the mark of his spunk on the clean sheet I wouldnt bother to even iron it out that ought to satisfy him if you dont believe me feel my belly unless I made him stand there and put him into me Ive a mind to tell him every scrap and make him do it out in front of me serve him right its all his own fault if I am an adulteress

So she’ll let Bloom know that his wife has been well fucked and the mark must be of Boylan’s spunk, but what does ‘make him do it out in front of me’? Force Bloom to masturbate in front of her to shame him, to make it clear that if he masturbates and refuses to fuck her then she will be unfaithful, ‘its all his own fault if I am an adulteress’?

Supercrudely she says if he wants to kiss her bottom, he can kiss her hole, and she’ll get a £1 or 30 shillings out of him to go shopping with. She’ll buy some fine new drawers and let him masturbate onto her from behind:

Ill let him do it off on me behind provided he doesnt smear all my good drawers… Ill tighten my bottom well and let out a few smutty words smellrump or lick my shit or the first mad thing comes into my head… Ill tighten my bottom well and let out a few smutty words smellrump or lick my shit or the first mad thing comes into my head then Ill suggest about yes… then Ill wipe him off me just like a business his omission’

She realise it’s getting late, they’ll be up in China, the nuns will be getting up soon, she should try and get some sleep. She’ll get up early go and buy some flowers to brighten the place up in case Bloom brings Stephen home again, I’m surprised how much longing for Stephen features in this last section.

She’ll clean the piano and they’ll have music, she’ll buy some cakes and has a passage thinking about her favourite types. Flowers,

I love flowers Id love to have the whole place swimming in roses God of heaven theres nothing like nature the wild mountains then the sea and the waves rushing then the beautiful country with the fields of oats and wheat and all kinds of things and all the fine cattle going about that would do your heart good to see rivers and lakes and flowers all sorts of shapes and smells and colours springing up even out of the ditches primroses and violet

She dismisses Bloom’s highfalutin atheism, nature disproves it, and they all end up calling for the priest as they lie dying. Thoughts of God and nature line us up for the final passage in which she reminisces about the day she and Bloom spent outdoors on Howth hill.

the day we were lying among the rhododendrons on Howth head in the grey tweed suit and his straw hat the day I got him to propose to me yes first I gave him the bit of seedcake out of my mouth and it was leapyear like now yes 16 years ago my God after that long kiss I near lost my breath yes he said I was a flower of the mountain yes so we are flowers all a womans body yes that was one true thing he said in his life

What she remembers is genuinely liking him, but also her canny manipulation of him.

that was why I liked him because I saw he understood or felt what a woman is and I knew I could always get round him and I gave him all the pleasure I could leading him on till he asked me to say yes and I wouldnt answer first only looked out over the sea and the sky

And Joyce gives her a magnificent passage recapping all her memories of her girlhood in Gibraltar, all the sights and sounds and words of the hot place, the castle and the multicultural society of Greeks and Turks and Jews and Arabs, and it ends with the famous magnificent climax:

and the sea the sea crimson sometimes like fire and the glorious sunsets and the figtrees in the Alameda gardens yes and all the queer little streets and the pink and blue and yellow houses and the rosegardens and the jessamine and geraniums and cactuses and Gibraltar as a girl where I was a Flower of the mountain yes when I put the rose in my hair like the Andalusian girls used or shall I wear a red yes and how he kissed me under the Moorish wall and I thought well as well him as another and then I asked him with my eyes to ask again yes and then he asked me would I yes to say yes my mountain flower and first I put my arms around him yes and drew him down to me so he could feel my breasts all perfume yes and his heart was going like mad and yes I said yes I will Yes.

Molly’s feminism?

If you summarise Molly’s soliloquy, it’s easy to speak in clichés about her being a strong independent woman or expressing her sexuality, as if that’s a fine and impressive thing like a speech or a declaration. But if you read it closely (and if you’ve read my summary) you’ll realise she’s far from being a role model for feminists, she’s far too bitchy and critical of other women for that, critical of old women and scornful of her rival female singers.

And ‘expressing her sexuality’ sounds fine in the abstract but when you read the detail of her thoughts (I’m tempted but won’t repeat the fruitier passages), again, it’s not necessarily such a fine and noble thing; it feels much muckier, messier, real and compromised than that, as actual sex tends to be.

Is Molly a male projection?

All the commentaries go on about Molly being a modern woman freely expressing her own sexuality and, having gone through it in this much detail, you can see how Molly is, indeed, staggeringly rude but totally honest and accepting of sex, the sex act, her own desires and fantasies, yes.

However, I could never forget that this whole thing is written by a man. I.e. is it just a man’s fantasy of how sexually frank and candid he’d like a woman to be? Is it purely a male fantasy to imagine a woman who goes to sleep fantasising about sucking a young man’s cock or having it done to her doggy fashion? Is Molly’s much vaunted sexuality in fact male projection?

In a sense, the most relevant criticism of Molly is what the woman Joyce based her on, his own partner, Nora Barnacle, thought of her, and Nora was famously unimpressed by Molly. (As, when I summarised some of the passages to her, was my wife.)

This is vanishingly tiny anecdotal evidence but it crystallises my feeling that Molly is a construct made of words, not always convincing, and the relentless dominance of sex fantasies… well, rather than capturing a woman’s thoughts, it just felt too relentlessly male to me.

Men, eh?

That said, I was struck by the number of thoughts Joyce gives his creation which diss or rubbish male sexuality:

  • theyre so savage for it
  • they want to do everything too quick take all the pleasure out of it
  • can you ever be up to men the way it takes them
  • only for the name of a king theyre all made the one way
  • arent they fearful trying to hurt you
  • arent they thick never understand what you say even youd want to print it up on a big poster for them
  • they always want to see a stain on the bed to know youre a virgin for them all thats troubling them theyre such fools
  • I suppose he thinks I dont know deceitful men all their 20 pockets arent enough for their lies

All these sentences mocking men’s obsession with sex were written by a man. The steady stream of criticisms of the male sex, maybe that’s plausible in a woman’s passing thoughts? Or does it reveal a kind of self-obsession with masculinity on Joyce’s part? Is there something masochistic in Joyce the man writing quite so many passages slagging off men as sex-obsessed? Was it a form of self-critical therapy? Or was he simply bringing together lots of the criticisms you hear women say or women write about men, bundling them, along with much else besides, into Molly’s big boisterous character?

I’m not sure there’s any way of arriving at a conclusive answer, which is why I’ll note the questions but leave it at that.

Weaving contradictions

Hugh Kenner makes the point that Molly is a creature of contradictions, she doesn’t make a statement without somewhere else stating the opposite. Boylan is superb, Boylan is coarse. Bloom is inadequate, Bloom has more spunk in him than Boylan. The prospect of Stephen excites, then again he probably has long lank student hair. She’s proud to be a woman, she hates being a woman. She’ll bring Poldy breakfast in bed, she’ll throw it at him.

Kenner smartly compares this pattern of Molly stating then denying, with Homer’s Penelope weaving her shroud by day and unweaving it by night. Typically Kenner in being cute, insightful and amusing. I’ve written a blog post summarising Kenner’s book on ‘Ulysses’, coming soon.


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.

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Ulysses by James Joyce: Eumaeus

Cooks rats in your soup, he appetisingly added, the chinks does.
(Tall story-telling traveller D.B. Murphy)

—Then, Stephen said staring and rambling on to himself or some unknown listener somewhere, we have the impetuosity of Dante and the isosceles triangle miss Portinari he fell in love with and Leonardo and san Tommaso Mastino.
(Joyce satirising his own character, and technique)

It’s a patent absurdity on the face of it to hate people because they live round the corner and speak another vernacular.
(Part of Leopold Bloom’s extended soliloquy about toleration and fairness)

Intellectual stimulation, as such, was, he felt, from time to time a firstrate tonic for the mind. Added to which was the coincidence of meeting, discussion, dance, row, old salt of the here today and gone tomorrow type, night loafers, the whole galaxy of events, all went to make up a miniature cameo of the world we live in…
(Bloom’s thoughts giving one of the many summaries of ‘Ulysses’ itself)

give us this day our daily press.

‘Eumaeus’ is the 16th of the 18 chapters in James Joyce’s novel, ‘Ulysses’. Here’s a reminder of the book’s chapter numbers and names:

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

‘Eumaeus’ follows the longest chapter, ‘Circe’, which is an extended fantasia which sees the book’s two protagonists, young intellectual Stephen Dedalus and middle-aged advertising salesman Leopold Bloom, meet in a brothel in Dublin’s red light district.

Time

Each of the chapters covers about an hour in the course of one day, Thursday 16 June 1904, and into the early hours of the following Friday. ‘Eumaeus’ takes place roughly between 12.45 and 1.40 am i.e. in the early hours of the morning of the next day, Friday 17 June.

Context

‘Circe’ had ended with Stephen, very drunk, getting involved in a fight in the street with a British soldier. After a prolonged standoff, the soldier, Private Carr, punches Stephen in the face, knocking him to the ground. The pair are surrounded by a shouting crowd and the cops turn up, threatening to arrest Stephen. But the situation is defused by the fairy godmother-like arrival of a character met much earlier in the story, Corny Kelleher, who has some influence with the cops and gets them a) not to arrest Stephen and b) to disperse the threatening crowd.

This leaves Bloom looking down at the prone, mumbling figure of Stephen wondering what to do with him. He can’t leave him there on the street but is in a quandary where to take him. Eventually he thinks of a late-night café for nightworkers down by the docks, hoists Stephen to his feet and helps him stagger there.

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 which was packed with 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 Homeric character of Eumaeus. In the Odyssey, Odysseus finally makes it home to his kingdom of Ithaca but his palace is occupied by a horde of fit young men all vying to marry his wife, Penelope and thus gain control of his kingdom. Odysseus can’t just walk in so he disguises himself as a beggar and goes to the hut of Eumaeus, his faithful swineherd. Eumaeus had been bought as a slave as a baby by Odysseus’s father and the two men had grown up together. In other words, Eumaeus knows Odysseus better than anyone except his wife, Penelope.

After he has told Eumaeus a few old stories designed to test his faithfulness, Odysseus reveals his real identity to his delighted servant. Soon afterwards, in Eumaeus’s hut, the hero is reunited with his son, Telemachus. Together the three men plan how to take on the small army of suitors which are occupying his palace.

Modern equivalent

Back to the novel and Bloom helps Stephen on quite a long walk through the streets of Dublin to the all-night café where they encounter a drunken sailor named D.B. Murphy, who tells tall tales of his many sea journeys to exotic destinations.

So the parallel with Homer is there but, as you can see, is quite loose: Murphy is Eumaeus (even though he has not known Bloom/Odysseus since they were boys); and they take shelter with him but not in his hut or shelter, in a public café; and Bloom and Stephen certainly take shelter together but they do not meet there, they first back met in the maternity hospital in chapter 14 and then again in the brothel in chapter 15.

So the Homeric parallel is there but loosely applied and, like a cinematic effect, fades in and out of focus.

Style

After the mayhem of ‘Circe’, which is cast in the form of a surrealist absurdist play, ‘Eumaeus’ is much, much more restrained. It’s a return to traditional prose cast in sentences and paragraphs, all done in a unified tone of voice with no dramatic interruptions. This style is in a distinctive narrative voice completely different from any previous chapter but it is admirably clear and understandable compared to the clotted, truncated and often impenetrable style of earlier chapters.

Instead it’s written in a style variously described by commentators as ‘old’, ‘tired’, ‘worn out’ or ‘threadbare’ which, after all, is entirely appropriate to two protagonists who have had a long, trying day, particularly to Stephen who is sobering up after an all-day bender.

The tiredness is indicated by the way it is stuffed with clichés and worn-out expressions.

It was just the wellknown case of hot passion, pure and simple, upsetting the applecart with a vengeance…

The night air was certainly now a treat to breathe though Stephen was a bit weak on his pins.

That kind of thing. Thus after they enter the shelter:

A few moments later saw our two noctambules safely seated in a discreet corner only to be greeted by stares from the decidedly miscellaneous collection of waifs and strays and other nondescript specimens of the genus homo already there engaged in eating and drinking diversified by conversation for whom they seemingly formed an object of marked curiosity.

The effect is of a not-very-educated person, possibly a bit tipsy, striving to sound intelligent, or to put on their best style. Some critics suggest it’s what Leopold Bloom would sound like if he tried to write a piece of fiction. Not stupid, just clichéd and, as you can see from that one excerpt, also quite rambling.

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.

As you can see it’s not just Readers Digest/Titbits magazine clichés (‘bucked him up’, ‘not exactly what you would call’), several other things are going on. Among other things, the sentences are long and rambling, and you can hear the base note of Joyce’s characteristic clunkiness of phraseology, his tendency to bolt several shorter sentences together into a clumsy longer one. In fact, so long and rambling, it often feels like a kind of dress rehearsal for Molly Bloom’s long soliloquy which ends the book. Here is just one sentence from Bloom’s thoughts on how hardworking men and women need a nice holiday once a year:

There were equally excellent opportunities for vacationists in the home island, delightful sylvan spots for rejuvenation, offering a plethora of attractions as well as a bracing tonic for the system in and around Dublin and its picturesque environs even, Poulaphouca to which there was a steamtram, but also farther away from the madding crowd in Wicklow, rightly termed the garden of Ireland, an ideal neighbourhood for elderly wheelmen so long as it didn’t come down, and in the wilds of Donegal where if report spoke true the coup d’œil was exceedingly grand though the lastnamed locality was not easily getatable so that the influx of visitors was not as yet all that it might be considering the signal benefits to be derived from it while Howth with its historic associations and otherwise, Silken Thomas, Grace O’Malley, George IV, rhododendrons several hundred feet above sealevel was a favourite haunt with all sorts and conditions of men especially in the spring when young men’s fancy, though it had its own toll of deaths by falling off the cliffs by design or accidentally, usually, by the way, on their left leg, it being only about three quarters of an hour’s run from the pillar.

In fact at one point Bloom himself ponders the possibility of him writing up an account of his mad day, specifically the events in the cab shelter, strongly hinting at the Bloom-as-author theory.

He wondered whether he might meet with anything approaching the same luck as Mr Philip Beaufoy if taken down in writing suppose he were to pen something out of the common groove (as he fully intended doing) at the rate of one guinea per column. My Experiences, let us say, in a Cabman’s Shelter.

Hugh Kenner points out that Bloom speaks like the narrator, in the same mix of long-winded cliches and rather pompous phraseology, indicating either that he is speaking the style he would write (unlikely) or that, as in many other places by now, the narrative style has taken over the characters (Kenner p.130).

Cast

  • Leopold Bloom
  • Stephen Dedalus
  • Gumley – nightwatchmen asleep in his ‘sentrybox’ by the docks
  • Corley – 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
  • Skin-the-Goat – alias ‘the keeper’ – owner of the all-night café
  • D. B. Murphy of Carrigaloe – an occasional stammer and his gestures being also clumsy – teller of tall stories about his travels
  • a figure who may or may not be town clerk Henry Campbell, Bloom can’t decide (theme of confused identities)
  •  a streetwalker ‘glazed and haggard under a black straw hat’ makes a brief appearance

Detailed summary

Walking It’s further to the cabman’s shelter than summaries imply. They walk there in a passage which shows off Joyce’s command of Dublin’s street layout, you can imagine him carefully poring over a map: they walk along Beaver Street (more properly Lane) as far as the farrier’s, encountering the distinctly fetid atmosphere of the livery stables at the corner of Montgomery Street; turn left into Amien Street near Dan Bergin’s pub, where they see a four-wheeler cab outside the North Star Hotel. Bloom whistles for it but it doesn’t budge. So they head off for in the direction of Amiens Street railway terminus by way of Mullett’s and the Signal House.

Trams A Dublin United Tramways Company’s sandstrewer passes by which prompts Bloom to tell Stephen how he nearly got run over by a tram at the start of ‘Circe’ – so that incident, at least, was ‘real’ (within the terms of a fictional narrative). They pass the main entrance of the Great Northern railway station and the backdoor of the morgue, arriving at the Dock Tavern before turning into Store Street, famous for its C division police station. They continue past the tall warehouses of Beresford Place, past the turning on the right into Talbot Place, and Bloom enjoys the smell coming from James Rourke’s city bakery nearby.

Corny Bloom tells Stephen how lucky he was that Corny Kelleher turned up to sort things with the police, and rambles on to comment on the well-known corruption of some parts of the constabulary and snipe at the way you could never find one in the rough parts of town but there were plenty protecting the rich areas; and generally cautions against getting drunk and wasting your money on prostitutes. (Bit late for advice since we know from ‘Portrait’ that Stephen has been frequenting prostitutes since he was 16 i.e. 6 years.) Then he laments the way Stephen was ‘abandoned’ by all his pals, the drunk medics we met in ‘Oxen of the Sun’.

The sleeping nightwatchman On they walk, passing behind the Custom House, under the Loop Line Bridge, spotting the corporation watchman inside a sentrybox who, after some effort, Stephen remembers is a friend of his father’s, Gumley who, now he recognises him, he walks away so as to avoid. (Gumley having this job as nightwatchman is mentioned among the crew in the Evening Telegraph offices in chapter 8 ‘Aeolus’, and explicitly noted by Stephen.)

Lord John Corley But Stephen is hailed by a dubious figure who emerges from the shadows and proves to be Corley, an impoverished scrounger, nicknamed Lord John Corley because one of his female ancestors was a serving woman in a fine country house where, malicious rumour had it, she was impregnated by the aristocratic owner: hence the joke that noble blood runs in his veins and the facetious nickname.

Corley begs Corley now begs, saying his mates have abandoned him, he hasn’t a penny in the world and nowhere to sleep. As it happens, neither has Stephen: he suggests he tries for a vacancy coming up at Deasy’s school, then gives Corley a random coin from his pocket thinking it a penny, it’s in fact a half crown so Corley promises to pay it back. Corley carries on about needing a job, he asks Stephen to ask Bloom to ask a certain Boylan if he can get a job as one of the sandwich board men we’ve seen walking about Dublin earlier. This may or may not be the ‘Blazes’ Boylan who is at the centre of the narrative, but the name gives Bloom a turn.

Where will Stephen stay? Stephen quits Corley and rejoins Bloom who summarises the accommodation situation. 1) Stephen walking out to Sandycove, to the Martello Tower where he’s been sleeping, is out of the question (why? it’s only about 3 miles?). More importantly, if he did walk there, Mulligan wouldn’t let him into the tower. Why not? Because. Bloom reminds him, of ‘what occurred at Westland Row station’. What was this?

Bloom’s witness Bloom goes on to describe how he himself witnessed Buck Mulligan and Haines dodging among the crowd to avoid Stephen.

the very unpleasant scene at Westland Row terminus when it was perfectly evident that the other two, Mulligan, that is, and that English tourist friend of his, who eventually euchred their third companion, were patently trying as if the whole bally station belonged to them to give Stephen the slip in the confusion, which they did.

Did Stephen punch Mulligan? But critic Hugh Kenner thinks something more happened: he thinks Stephen’s bubbling resentment at Mulligan finally boiled over and Stephen hit Mulligan. This would explain why a) there are scattered references to Stephen’s hand hurting him in ‘Circe’ and this chapter] and b) explain why he absolutely cannot go back to the tower. The rupture is now final.

Family Why doesn’t he go and stay the night with his family? Bloom assures him his father, Simon Dedalus, often speaks proudly of him. This triggers a vivid memory in Stephen of his family’s poverty, of:

His family hearth the last time he saw it with his sister Dilly sitting by the ingle, her hair hanging down, waiting for some weak Trinidad shell cocoa that was in the sootcoated kettle to be done so that she and he could drink it with the oatmealwater for milk after the Friday herrings they had eaten at two a penny with an egg apiece for Maggy, Boody and Katey, the cat meanwhile under the mangle devouring a mess of eggshells and charred fish heads and bones on a square of brown paper,

Mulligan Meanwhile Bloom is rambling on about what an up-and-coming man Mulligan is, destined for a fine career, plus the story of him bravely rescuing a man from drowning. Stephen doesn’t say anything but we can imagine his inner chagrin.

Ice cream Italians The pair come up to an ice cream car (parked next to the men’s public urinal?) around which a group if Italian men are volubly arguing. They walk past them and enter ‘the cabman’s shelter’. It’s always described in these terms but the owner sells hot coffee, there’s a printed price list, and quite a few people are sitting around in it, so the word ‘shelter’ seems pretty misleading. That’s why I envision it as more of an all-night café, albeit of primitive wooden construction.

Skin-the-goat The owner of the shelter/café is said to be ‘Skin-the-Goat Fitzharris, the invincible’, a real-life historical figure famous because he was the getaway driver for the gang of nationalists who committed the notorious Phoenix park murders i.e stabbed to death the British officials, permanent undersecretary Thomas Henry Burke and Chief Secretary for Ireland, Lord Frederick Cavendish.

This Fitzharris was mentioned in chapter 8, ‘Aeolus’, as part of the story of Gallaher’s scoop told by the editor of the Evening Telegraph, Myles Crawford.

The fog of history Fitzharris symbolises several of the chapter’s themes, namely ambiguity and shifting identities. 1) Nobody knows whether the shelter keeper is the famous Skin, it’s just a widely held assumption; and 2) nobody is totally sure of his history, how long he was sentenced to prison, when he was released, some people said he emigrated to America etc. I.e. a fog of uncertainty. 3) The Phoenix Park murders themselves are long enough ago (1882, being discussed in 1904) for all kinds of other rumours and legends to have gathered around it, some of which the characters discuss.

Coffee The pair take a seat, Bloom orders Stephen a cup of coffee and a roll, and they settle back and review the shifty looking clientele. Bloom asks Stephen why, if he understands Italian, he doesn’t write poetry in it, such a beautiful language. Stephen explains that the Italians were arguing over money (in other words, just like so many of the Dubliners we’ve met).

Shocking coffee The café owner brings over ‘a boiling swimming cup of a choice concoction labelled coffee on the table and a rather antediluvian specimen of a bun’.

Red-haired man One particular red-haired, half-drunk bloke at a nearby table, a seaman by the look of him, asks Stephen what his name is. When he replies Dedalus, the sailor asks if he knows Simon Dedalus (i.e. Stephen’s father). With studied detachment, Stephen says he’s heard do him. Irish nationalism, and Stephen’s steady resistance to it, flare in the brief exchange about Simon:

—He’s Irish, the seaman bold affirmed, staring still in much the same way and nodding. All Irish.
—All too Irish, Stephen rejoined.

D.B. Murphy The sailor launches into an anecdote about seeing a man named Dedalus shoot eggs over his shoulder, as part of a travelling circus. Then introduces himself as D.B. Murphy of Carrigaloe, tells his listeners he has a wife down in Carrigaloe that he hasn’t seen for seven years. Which triggers thoughts in Bloom of various stories about sailors returning after long absences, obviously invoking the Odysseus parallels.

Chews tobacco Murphy asks one of the surrounding jarveys i.e. drivers of horsedrawn taxi cabs, for a wad of tobacco; the keeper gives him one, he bites a big hunk and starts chawing it. And Murphy embarks on a series of sailor yarns. If you think about it, it’s characteristically clever of Joyce to have a seasoned old sailor tell his yarns in a chapter characterised by knackered, cliched, threadbare prose. They suit each other.

A crocodile bites Remember how many inanimate objects got to talk in ‘Circe’? and Bloom’s general principle that ‘Everything speaks in its own way.’ Something similar here, for a moment, as Murphy re-enacts the sight of a crocodile biting off part of an anchor.

—I seen a crocodile bite the fluke of an anchor same as I chew that quid.
He took out of his mouth the pulpy quid and, lodging it between his teeth, bit ferociously:
—Khaan! Like that.

South American tribes Murphy shows round a postcard of primitive tribespeople in the south American jungle. This triggers Bloom’s long-held ambition to go on a sightseeing tour of England, which morphs into the idea of setting up his own travelling music company, with his wife Molly the soprano at its core. Which morphs into the general idea that the hardworking people of Dublin need an annual holiday (see the long quote above).

The sailor’s tattoo After a few more tales, the sailor declares he’s had enough, he’s sick of the sea, he wants a nice cushy landlubber job, like his mate who’s a gentleman’s valet. He laments that his son Danny abandoned a good apprenticeship and ran away to sea. He opens his shirt to show everyone a tattoo of an anchor on his chest, with a face above it (the face of the tattooist, named Antonio who was later, in a farfetched detail eaten by sharks). He shows how, if he pinches his skin, the face makes different expressions. A symbol of changeable identities, a central theme of the novel.

Prostitute appears A haggard streetwalker opens the door and peers in, maybe touting for business. Bloom recognises her and hides behind someone reading a newspaper. Commentators claim this is Bridie Kelly, the degraded prostitute who years earlier, Bloom lost his virginity to, although her name doesn’t occur her in text. But it would explain why Bloom ducks. Anyway, the shelter owner tells her to beat it.

Bloom’s plan to vet prostitutes This triggers Bloom to tell Stephen how shocking it is that such diseased women can haunt the streets, they ought to be vetted by the authorities, which leads on to speculation about the difference between soul and body, which triggers in Stephen a typically over-learned and satirical reply. Bloom replies to Stephen’s super-sophisticated theology with everyman common sense.

Motherly Bloom Bloom prompts Stephen to try some of the (revolting) coffee and stirs it to whisk up the sugar settled on the bottom. He also advises the young man to eat regular meals. He sounds like everyone’s mum.

Tall tales Bloom goes on to reflect about the sailor’s tall tales and wonder whether all manner of stories are true, such as Sinbad et al, describes visiting museums etc. In other words, the chapter brings together all manner of stories to question the nature of storytelling itself.

National characteristics Bloom rambles on to talk about national characteristics e.g. the Spanish for being hot-blooded and tells Stephen his wife is half-Spanish, born in Gibraltar.

Interest, however, was starting to flag somewhat all round and then the others got on to talking about accidents at sea, ships lost in a fog, collisions with icebergs, all that sort of thing.

The sailor swigs and pees Bloom watches the sailor bestir himself, ask others to move out of the way, go to the shelter door and exit, take a swig of the booze in one of the bottles in his pockets, then take a prolonged piss so loudly it wakes up a horse in the cab rank and disturbs the nightwatchmen slumbering in the sentrybox, previously mentioned.

Shipping news Meanwhile the other patrons of the shelter carry on discussing ships, the decline in the shipping trade and shipbuilding, along with famous wrecks and disasters at sea.

Irish nationalism The sailor re-enters the shelter and spits out his wad of tobacco, bringing an atmosphere of booze and starts singing a sea shanty. The owner, Skin-the-goat (if it is indeed him) launches on a setpiece speech about the rise of Ireland, about Ireland’s strong economy milched for generations by England, but how England’s day is nearly over, symbolised by her near failure to win the Boer War, how Germany and Japan are on the rise etc.

His advice to every Irishman was: stay in the land of your birth and work for Ireland and live for Ireland. Ireland, Parnell said, could not spare a single one of her sons.

Nationalists argue This, as we know from ‘Portrait’ and earlier in ‘Ulysses’ is the diametric opposite of Stephen’s view, who knows the only thing he must do is escape. More to the point, Murphy the old salt disagrees with the view that England’s power is about to collapse (‘—Take a bit of doing, boss, retaliated that rough diamond’) and this triggers an argument between the two (demonstrating the futile, inward-looking internecine argumentativeness of Irish nationalism which Stephen wants to escape).

Memories of the Citizen’s abuse All this triggers a chain of thoughts in Bloom which leads him to remember the incident with the Citizen in ‘Cyclops’. He tells Stephen the Citizen accused him of being a Jew whereat Bloom pointed out that his God (Jesus) and all his followers were Jews, which was the final straw which made the Citizen leap to his feet and make to attack Bloom, who ran out the pub. But his account includes a very important phrase for the book as a whole.

—He called me a jew and in a heated fashion offensively. So I without deviating from plain facts in the least told him his God, I mean Christ, was a jew too and all his family like me though in reality I’m not.

Bloom is not a Jew Bloom does not think of himself as a Jew, as he is not, either ethnically (his mother being a non-Jew) or religiously (having been brought up a Protestant and converted to Catholicism before marrying Molly). But this is confirmation of the fact in the man’s own words.

(Further confirmed in ‘Ithaca’ where we are given Bloom’s heritage: ‘only born male transubstantial heir of Rudolf Virag (subsequently Rudolph Bloom) of Szombathely, Vienna, Budapest, Milan, London and Dublin and of Ellen Higgins, second daughter of Julius Higgins (born Karoly) and Fanny Higgins (born Hegarty)’).

Bloom’s politics Bloom goes on to enunciate his belief in pacifism and non-violence, his liberal toleration, which has endeared him to all right-thinking readers ever since:

—Of course, Mr B. proceeded to stipulate, you must look at both sides of the question. It is hard to lay down any hard and fast rules as to right and wrong but room for improvement all round there certainly is though every country, they say, our own distressful included, has the government it deserves. But with a little goodwill all round. It’s all very fine to boast of mutual superiority but what about mutual equality. I resent violence and intolerance in any shape or form. It never reaches anything or stops anything. A revolution must come on the due instalments plan. It’s a patent absurdity on the face of it to hate people because they live round the corner and speak another vernacular, in the next house so to speak.

But fine speeches by fictional characters, loved by all bienpensant readers, don’t change anything. ‘Great hatred, little room’ as Yeats wrote about the civil war that was ravaging Ireland as Joyce wrote his novel. ‘Only’ about 1,500 people died in the Irish Civil War. it was the long legacy of resentment and intolerance it left which bit.

Bloom’s defence of the Jews And Bloom then whispers (so as not to be overheard) an extended defence of the Jews:

—Jews, he softly imparted in an aside in Stephen’s ear, are accused of ruining. Not a vestige of truth in it, I can safely say. History, would you be surprised to learn, proves up to the hilt Spain decayed when the inquisition hounded the jews out and England prospered when Cromwell, an uncommonly able ruffian who in other respects has much to answer for, imported them. Why? Because they are imbued with the proper spirit. They are practical and are proved to be so. I don’t want to indulge in any because you know the standard works on the subject and then orthodox as you are. But in the economic, not touching religion, domain the priest spells poverty.

Bloom’s socialism And then goes on to avow a kind of socialism based on a universal income:

I’m, he resumed with dramatic force, as good an Irishman as that rude person I told you about at the outset and I want to see everyone, concluded he, all creeds and classes pro rata having a comfortable tidysized income, in no niggard fashion either, something in the neighbourhood of £300 per annum. That’s the vital issue at stake and it’s feasible and would be provocative of friendlier intercourse between man and man. At least that’s my idea for what it’s worth. I call that patriotism. Ubi patria, as we learned a smattering of in our classical days in Alma Mater, vita bene. Where you can live well, the sense is, if you work.

Stephen the aesthete Interesting suggestion, right? But it is entirely characteristic of Stephen that he doesn’t process Bloom’s words in the way intended, instead perceiving them in purely aesthetic terms, in fact in terms of their colours.

He could hear, of course, all kinds of words changing colour like those crabs about Ringsend in the morning burrowing quickly into all colours of different sorts of the same sand where they had a home somewhere beneath or seemed to.

Difference between Bloom and Stephen This moment crystallises the differences between then: Bloom the earnest common sense everyman is on a completely different wavelength from Stephen the fastidious aesthete for whom meanings, in themselves, are passe, who is only interested in their sounds and shapes and patterns. And Joyce has Stephen make a joke which made me laugh out loud. Bloom, sensing Stephen’s reluctance at his ideas, hastens on to say that Stephen, too, would be rewarded in his scheme of universal work and payment, his writing being as important as the work of the peasant.

—You suspect, Stephen retorted with a sort of a half laugh, that I may be important because I belong to the faubourg Saint Patrice called Ireland for short.
—I would go a step farther, Mr Bloom insinuated.
—But I suspect, Stephen interrupted, that Ireland must be important because it belongs to me.

Eccentrics and scandal Bloom doesn’t think he can have heard this right and withdraws into his mind to process it, which gives rise to a long ramble which starts with Irish eccentrics (which he takes Stephen to be the latest in a long line of) but quickly segues into gossip about the sexual peccadilloes of the rich, in particular the British Royal Family, namechecking some scandalous court cases which dogged the young prince of Wales (future Edward VII) in the 1880s and 90s (sex, and naughty kinky sex, is never far away in ‘Ulysses’).

Reading the paper Abruptly, Bloom is distracted by a copy of ‘The pink edition extra sporting of the Telegraph’ which has been left on the table nearby. He scans the headlines (and so does the text) then settles to read the account of Paddy Dignam’s funeral written by Hynes. This contains several errors: in the list of attendees it misnames Bloom as Boom and includes Stephen Dedalus BA who was not, in fact, present.

Brief reversion of style With the entry of the newspaper something interesting happens to the style: it reverts to the more sober, clipped and telegraphic style from much earlier in the novel, the so-called initial style, just locally, just a little outbreak, which makes you realise how indebted the initial style is to the whole concept of pithy headlines and truncated snippets:

First he got a bit of a start but it turned out to be only something about somebody named H. du Boyes, agent for typewriters or something like that. Great battle, Tokio. Lovemaking in Irish, £ 200 damages. Gordon Bennett. Emigration Swindle. Letter from His Grace. William ✠. Ascot meeting, the Gold Cup. Victory of outsider Throwaway recalls Derby of ’92 when Capt. Marshall’s dark horse Sir Hugo captured the blue ribband at long odds. New York disaster. Thousand lives lost. Foot and Mouth. Funeral of the late Mr Patrick Dignam.

Parnell, again It’s just a local eddy, like a backwash in a river near a weir, then the text reverts to the ‘tired’ style. Meanwhile, in a very cryptic connection, the text implies that while Bloom’s been reading all this the conversation among the other customers has wheeled round, with a certain inevitability, to the tired old subject of the death of Charles Stewart Parnell, the great leader of the Irish independence movement who was brought down by being cited in a divorce case and so was immediately dropped by the Church and all good Catholic nationalists, lost his position and soon afterwards died of pneumonia on October 6, 1891, at the age of 45. Or did he? Aha!

Parnell will return! And this is the section of the tired old round-and-round-in-circles subject which the others have arrived at when Bloom notices what they’re discussing. They’ve just got to the urban legend that it wasn’t Parnell’s body that was buried, that his coffin was full of stones and that Parnell is just waiting for the right moment to return from his exile across the water (or South Africa among the Boers, where many swear they saw him) and lead the Irish to glorious independence.

Bloom and Parnell Turns out Bloom met the great man once, was present when the authorities smashed up the typesetting machines of his independence newspaper. In the mayhem, Parnell’s hat was knocked off and Bloom, with characteristic kindness, retrieved it and handed it back to him, at which the Lost Leader said Thank You. A characteristically humble and kind Bloom anecdote. (The incident of his presses being smashed up was a true event took place on 11 December 1890.)

More Parnell The Parnell passage rumbles on at length, Bloom describing the way the whole affair came out (Parnell had an affair with Katherine ‘Kitty’ O’Shea wife of Captain William O’Shea, for ten years, before the affair was revealed to the press in 1890, leading to the sensational divorce case, Parnell’s fall from political power, and death the next year). Bloom blames the husband, thinking him inadequate compared with the 6-foot, commanding Parnell who Bloom clearly identifies with, as a reformer and gentleman. But as to the idea of Parnell returning, Bloom thinks it wouldn’t be the panacea the nationalists think, it would only stir up the same mess of problems:

Still as regards return. You were a lucky dog if they didn’t set the terrier at you directly you got back. Then a lot of shillyshally usually followed,

The possible return of Parnell prompts Bloom to think about stories about missing husbands who returned after long absences or were imposters, as in the case of Roger Charles Tichborne. These obviously pick up the chapter’s theme of long-delayed returns, and false identities.

Infidelities As Bloom’s account proceeded I realised that the issue of marital infidelity raised by Parnell strikes close to home with Bloom, given that his whole day has been dominated by knowledge of his wife’s unfaithfulness to him. When he summarises the Parnell love triangle you realise he is summarising his own:

It was simply a case of the husband [O’Shea/Bloom] not being up to the scratch, with nothing in common between them beyond the name, and then a real man arriving on the scene [Parnell/Boylan], strong to the verge of weakness, falling a victim to her siren charms [Kitty/Molly] and forgetting home ties…

Molly and Blazes Can Bloom still love his wife Molly after he knows she has shagged Blazes Boylan?

The eternal question of the life connubial… Can real love, supposing there happens to be another chap in the case, exist between married folk? Poser.

To university professors who have to follow strict moral codes, and their woke students quick to judge inappropriate behaviour of all kinds, No. To anyone who’s knocked about a bit, Yes, because love is complicated, love is strange and unpredictable. Also, if you really love someone, it’s for life, no matter what American divorce lawyers tell you.

Photo of bosomy Molly Given his earlier thoughts about hot-blooded Mediterranean types, Bloom wonders whether Kitty O’Shea had Spanish blood and this leads him back to thoughts about his wife, and so he gets a proper studio photo of Molly out his pocket and shows it to Stephen. It confirms the impression we’ve got earlier of Molly’s amplitude.

Stephen, obviously addressed, looked down on the photo showing a large sized lady with her fleshy charms on evidence in an open fashion as she was in the full bloom of womanhood in evening dress cut ostentatiously low for the occasion to give a liberal display of bosom, with more than vision of breasts, her full lips parted and some perfect teeth, standing near, ostensibly with gravity, a piano on the rest of which was In Old Madrid, a ballad, pretty in its way, which was then all the vogue.
—Mrs Bloom, my wife the prima donna Madam Marion Tweedy, Bloom indicated. Taken a few years since. In or about ninety six.

Naked statues Yes, ‘her symmetry of heaving embonpoint’ triggers associations with the naked bosomy statues he saw outside the National Library, and then on to wondering whether she’ll be asleep by the time he gets back.

More Parnell And for some reason this triggers another page-long recap of the Parnell scandal, and another memory of the smashing up of the presses which he was present at, this time we learn he received a nasty poke in the ribs from the rioters – which triggers a memory of Bloom earlier that day pointing out the dent in John Henry Menton’s hat at Paddy Dignam’s funeral, a kindly gesture curtly rejected by Menton, in contrast with Parnell’s gentlemanliness.

Don’t consort with prostitutes Bloom’s thoughts turn to concern for Stephen and the risks to health and wallet of consorting with prostitutes. As to their relationship, his and Stephen’s:

The queer suddenly things he popped out with attracted the elder man who was several years the other’s senior or like his father

Back to Bloom’s? Bloom’s thoughts finally turn to practical matters and where Stephen is going to sleep for the night. He can’t see any alternative but to take him back to his place, offer him a nice cup of cocoa and make a bed on the sofa – although they mustn’t make a noise given that Molly has quite a temper on her and would dislike being woken up in the early hours.

Newspaper snippets Bloom pays the keeper the bill, while tired old jossers around the room read out various snippets from the newspaper, to general apathy (repeating the mood of worn-out lassitude). There’s still a bit more business to get through. The ‘ancient mariner’ as he is now jokingly referred to by the text (showing signs of the name-changing shapeshifting of the ‘Circe’ episode) asks for the paper and carefully puts on some striking green glasses, which resemble ‘seagreen portholes’.

They leave the shelter So Bloom pays up 4 pence for the coffee and roll and helps Stephen out of the shelter. He nips round to Stephen’s right side, always preferring to be on the right:

So saying he skipped around, nimbly considering, frankly at the same time apologetic to get on his companion’s right, a habit of his, by the bye, his right side being, in classical idiom, his tender Achilles.

Their musical tastes And they set off across Beresford Place, walking back to his place. Bloom takes the opportunity to share some of his thoughts about music. He shares with Stephen his favourite pieces of classical music (Mozart’s Twelfth Mass, Mendelsohn) along with popular airs, among them the one he heard Simon Dedalus sing in the Ormond Hotel yesterday. Surprisingly for a man who’s been silent for most of the chapter, Stephen pipes up but, characteristically, evinces a fondness for the more recondite lute music of Shakespeare’s day.

Sweeper horse They pass a horse dragging a sweeper which makes such a racket they can’t hear each other. Bloom feels sorry for the horse. Once it’s past he conversationally tells Stephen his wife would like him, she’s a musician etc. Surprisingly, Stephen sings a song, an old German song of Johannes Jeep about the clear sea and the voices of sirens, sweet murderers of men, which boggled Bloom a bit:

Von der Sirenen Listigkeit
Tun die Poeten dichten.

Clearly, this links together a number of threads: the sea – across which Odysseus sailed and which has been the theme of this chapter; and the sirens who we met in chapter 11.

Stephen’s singing impresses Bloom Anyway, Stephen’s tenor singing voice enormously impresses Bloom who immediately thinks Stephen could make a living from it, and be a social hit, getting entrance to all the finest houses, and (being Bloom) stirring the cockles of many a fine lady – ‘causing a slight flutter in the dovecotes of the fair sex and being made a lot of by ladies out for sensation’.

The horse poos In Joyce sex, or gross physical functions are never far away, because ideologically he is committed to the materiality of life. We’ve had the old sailor taking a swig of his grog before liberally pissing against a wall. Now this big horse pulling its sweeping chain is here, mainly for its turds:

The horse having reached the end of his tether, so to speak, halted and, rearing high a proud feathering tail, added his quota by letting fall on the floor which the brush would soon brush up and polish, three smoking globes of turds. Slowly three times, one after another, from a full crupper he mired. And humanely his driver waited till he (or she) had ended, patient in his scythed car.

Walking on Bloom helps Stephen step over the loose chain fence which separates the dock from the road, then carefully step over the horse’s poos and so into Gardiner Street lower while Stephen continues softly singing the German ballad.

And the driver of the sweeping car watches the odd couple walk of into the night.

This is all very beautiful. I far prefer the later, long, highly stylised chapters to the early ones, which I found very hard to follow. Nothing difficult at all here. Simple scenes described in an entertainingly parodic style.

The significance of newspapers

In his 1980 book about Joyce, American academic Hugh Kenner makes another simple but typically insightful point: if ‘Circe’ amounts to a monstrous dramatisation of ‘the nightmare of history’, ‘Eumaeus’ can be said to be the newspaper coverage of it, following the old proverb that history is repeated twice: first as tragedy, then as superficial and inaccurate newspaper coverage (p.131).

Full of tired cliché and ‘hail fellow well met’ pub bore locutions, the central symbol of the chapter is the evening edition of the Telegraph which Bloom finds left on a nearby table and which contains numerous inaccuracies, not least the misspelling of Bloom’s name as Boom. If a journalist who was actually there (at the funeral) can’t get the facts straight, what hope for people writing about events years or decades later i.e. historians?

This theme is dramatised in the prolonged passages about Parnell, which demonstrate the fog of rumours and urban myths which spring up around any historical event, the bigger and more traumatic, the more numerous and garish the rumours (nowadays, in 2026, more than ever with the proliferation of fake news across social media). Which also explains the parodies of Biblical phrases which are slipped into the text:

Sufficient unto the day is the newspaper thereof.

Give us this day our daily press.

Obviously the chaos of the press is explored in hugely more detail in the ‘Aeolus’ chapter. But Kenner’s point remains true that ‘Eumaeus’ gives concrete examples of the media’s tendency to trigger and then place on record all kinds of misleading information.

Not finishing the

As discussed, the prose style of ‘Eumaeus’ is distinctive and carefully chosen to reflect the exhausted subject matter. However it does retain certain elements of the tricky, difficult ‘initial style’ and one of these is the habit of not finishing sentences in Bloom’s stream of consciousness. This is a deliberate tactic to reflect the fast-moving nature of thought which leaps onto a new idea without finishing the current one.

The horse was just then.

Last joke

Having thought about it once, the scene with the Citizen recurs to Bloom several more times throughout the chapter. I particularly like this formulation of it, which made me laugh out loud:

He [Bloom] inwardly chuckled over his gentle repartee to the blood and ouns champion [the Citizen] about his god being a jew. People could put up with being bitten by a wolf but what properly riled them was a bite from a sheep. The most vulnerable point too of tender Achilles. ‘Your god was a jew.’ Because mostly they appeared to imagine he came from Carrick-on-Shannon or somewhereabouts in the county Sligo.


Credit

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

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Ulysses by James Joyce: Circe

BLOOM: It has been an unusually fatiguing day, a chapter of accidents.
(A reasonable summary)

THE BAWD: Trinity medicals. Fallopian tube. All prick and no pence.
(A mild example of the chapter’s studied obscenity)

In an archway a standing woman, bent forward, her feet apart, pisses cowily.
(A more typical example)

Cunty Kate
(Name of one of the characters and a full-on example of the chapter’s deliberate obscenity)

BLOOM: I meant only the spanking idea. A warm tingling glow without effusion. Refined birching to stimulate the circulation.
(In the courtroom sequence, Bloom defends his fondness for BDSM)

VIRAG (He chases his tail.) Piffpaff! Popo! (He stops, sneezes.) Pchp! (He worries his butt.) Prrrrrht!
(Example of the chapter’s many sound effects)

(Virag unscrews his head in a trice and holds it under his arm.)
VIRAG’S HEAD: Quack!
(Example of the chapter’s Dada absurdism)

STEPHEN: (Looks up to the sky.) How? Very unpleasant. Noble art of selfpretence.
(Typical cleverclogs punning from the master refuser, just after he’s been knocked to the ground by an angry squaddie)

The ‘Circe’ chapter of James Joyce’s novel ‘Ulysses’ is by far the longest, the strangest and the most outrageous of Ulysses’ 18 chapters. If you thought Bloom masturbating in chapter 13 was bad, you ain’t seen nothing yet. The chapter is packed with countless examples of bluntly crude and transgressive sexuality, but that’s only the one aspect of what amounts to one long, vast, often completely demented, hallucination.

The ‘Circe’ chapter is huge. At 150 pages in the average paperback edition it’s as long as the first 8 chapters of ‘Ulysses’ put together. When it has been dramatised on the radio, it takes at least 4 hours to perform. Perform? Yes, because the entire chapter is cast in the format of a play, it is a play script.

There are several ways of thinking about all this which are best laid out here before we get lost in the tsunami of grotesque incidents.

1. A ghost play

After long difficult days, both the novel’s main protagonists, Stephen Dedalus and Leopold Bloom, need purging. According to Joyce’s hero, Aristotle, the literary form designed to purge dangerous human emotions is the drama, the play. A play is needed to purge his characters. Moreover, Stephen has banged on about ghosts in Hamlet and both men need to confront their ghosts, so these problems combine to ensure it will be a ghost play, a play wherein Stephen will confront the accusing ghost of his mother and Bloom will see the ghost of his dead baby, now grown to be an 11-year-old boy.

(Hugh Kenner throws in a historical point that the Celtic Revival of the late nineteenth century had centred on a series of plays staged at the new Abbey Theatre and so ‘Circe’ represents Joyce tackling the sentimental Oirish mythologising of his Celtic revivalist opponents in their own genre, Kenner p.118.)

So Circe is written as a play, in the form of a script, with names of characters appearing in CAPITALS followed by their speech, with actions described in italics in brackets, exactly as in a script.

2. The climax of the accretive method

By accretive method all I mean is Joyce’s obsession with continually adding to his texts.

Joyce’s letters, essays, conversations with friends and testimony from his publishers all agree that Joyce’s method was accretive (meaning ‘a gradual increase, growth or the addition of new layers‘). In other words, once the basic structure of the narrative was created, Joyce went carefully back over the whole thing and added detail everywhere, and couldn’t stop adding more.

This explains why the text of ‘Ulysses’ is such a mess, because at every stage of the publication process, first as instalments in The Little Review, and then as it was readied for publication in Paris, Joyce compulsively more and more details to the printer’s proofs, adding words, phrases, paragraphs, sections, continually spotting new opportunities to add symbolism, quotes, references, filling the interstices of the narrative to amplify its encyclopedic networks of references and symbols.

Some chapters were set up in proof as many as ten times. (It didn’t help that all the print-setters and publishers were foreign, non-English speakers who couldn’t read Joyce’s crabbed handwriting and so introduced thousands of textual errors which textual scholars have made entire careers out of trying to fix.)

As the Ulysses Guide puts it:

Joyce estimated that he wrote a third of Ulysses at the proof stage of the revision process (Beach 58), arranging co-dependent details all over the novel and weaving a web of intratextual puzzles.

a) Sentence level

Joyce’s accretive method contributes to making the text so hard to read, because individual sentences would have new phrases or words added, some would cut in half or cut off in mid-sentence. Loads of passages became more ‘bittified’, adding to the never-ending Tower of Babel scale of the text’s internal references and correspondences but also the challenge of making sense of so many individual sentences or paragraphs.

b) Section level

He made significant changes on a macro level, too. For example, it was only late in the composition, after the book had been serialised in The Little Review, in summer 1921, that it crossed Joyce’s mind to punctuate the entire ‘Aeolus’ chapter with parody newspaper headlines, 62 of them.

c) The evolution of ‘Circe’

The accretive method reaches a kind of climax with ‘Circe’ which kept on growing, to its current monstrous proportions. The commentaries tell us that 1) Joyce had had the brainwave of setting his modernisation of the Circe legend – the legend of the woman who used her magic to enchant Odysseus and change his men into swine – in a contemporary Dublin brothel with the brothelkeeping madam as Circe. Good. A clever joke and in line with the trend of the novel to reincarnate classical legends as debased and degraded modern equivalents.

Then 2) we are told that he had the inspiration to cast it in the form of a play script – taking further the imposition of formats and styles on his subject matter which we had seen applied more and more thoroughly in the preceding chapters, Aeolus, Cyclops and Oxen of the Sun. Good. With you so far. Apparently, with this clear plan in mind, Joyce thought it would only take two or three months to write but it ended up taking six months and ging through at least eight drafts, swelling and bombasting with each iteration. Why?

Because it dawned on him that the chapter would act not only to purge his two central figures of their demons, it would purge the entire book too. It would purge the entire book of its ghosts and nightmares. And so to achieve this would require walk-on appearances by every character who had appeared in the novel so far, whether as a talking character or even the briefest of passing references. Everyone would appear, everyone would have a place in this grand finale. Here comes everyone! And not just characters but ideas, too, and topics from the novel’s many conversations. As the Ulysses Guide puts it:

As David Hayman puts it, Joyce seems to have taken the whole book, jumbled it together in a giant mixer and then rearranged its elements in a monster pantomime’ (Hayman 102).

This is what I mean by the climax of the accretive method. Whenever he thought he’d finished, he remembered someone else who could be made to appear in a further scene or vignette. And so the thing grew to its current gargantuan and exhausting size, with a bewildering number of characters appear in a bewildering variety of gross and grotesque scenes.

3. What is real any more?

‘Ulysses’ opens by describing the real world and real characters more or less realistically – admittedly in a mannered style but you more or less understand what is going on, you can decipher the ‘reality’ behind the style.

But as the work proceeds the events being described become increasingly hard to make out through the din of Joyce’s free indirect style before the entire approach arguably falls to pieces in the ‘Sirens’ episode.

Then, with ‘Aeolus’, something entirely new enters the picture because the 62 newspaper headlines the text is punctuated with are obviously a) not spoken or thought by any of the characters but b) don’t read as traditional authorial narration either. So who put them there?

Hence critic David Hayman’s invention of the figure he calls The Arranger. The Arranger it is who creates the newspaper headlines in ‘Aeolus’ and goes on to place the passages of mock heroic prose in ‘Cyclops’ which satirise the Citizen; and then arranges for the entire text of ‘Oxen of the Sun’ to consist of a series of extended pastiches of English as it evolved from Anglo-Saxon prose to Cardinal Newman. Note the steady increase in the ambition of the Arranger’s interventions:

  • Aeolus: limited to one-phrase headlines, albeit 62 of them
  • Cyclops: extended to create occasional blocks of parody
  • Oxen of the Sun: The Arranger takes over the entire text which consists of a series of historical pastiches

OK, so we understand the steady growth of The Arranger’s control. But despite it, all three chapters nevertheless retain the sense that, beneath or behind the interventions, something real is still happening, that, for example, behind the series of elaborate pastiches in ‘Oxen’ it’s still fairly obvious that there is a ‘real’ scene – half a dozen medical students and drifters getting drunk and bantering.

In ‘Circe’, by contrast, this sense of a reality lying behind the extravagant stylisations of the Arranger disappears. The incidents of ‘Circe’ are so extravagant, so demented, so hallucinatory, that there has ceased to be a behind, ceased to be a ‘reality’ which the reader can decipher their way back to. What you see is what you get. It is all on the surface.

The critic Hugh Kenner summarises attempts by various commentators to distinguish different levels of reality in the chapter:

  • The opening scene as Stephen and Bloom enter nighttown, some of the dialogue with the prostitutes, and Stephen getting into a fight with a squaddy right at the end, these can be said to be ‘real’ i.e. correlate with real life as we know it.
  • At the next level you have hallucinations of ‘real’ people i.e. when Stephen hallucinates his dead mother or Bloom hallucinates a sequence of women he’s sexually assaulted or sent rude letters to, these might be said to be based on real-world events.
  • And thirdly there are the out-and-out fantastical hallucinations such as the central event where Bloom turns into a woman and the brothelkeeper, Bella Cohen, turns into a man, along with countless other incidents where inanimate objects or animals talk, human beings appear in fancy dress or in changed shape, and so on.

This sounds plausible enough but in my view is a big mistake. In my opinion we have to accept the fact that The Arranger has taken over. Or to put it in different but equally hyperbolic terms: it is the book itself speaking. There is no longer any reality it relates to; the chapter is a festival of itself and its own imaginative possibilities, which are unlimited.

Kenner goes on to concede as much when he makes the one big Killer Fact about the chapter which is this: in the two chapters featuring Stephen and Bloom which follow ‘Circe’, neither of the characters refer to any of its central contents.

A visit to a brothel where Stephen smashes the chandelier, then a fight with a squaddie in the street, Yes. This handful of external events are referred back to but believe me these only occupy ten or less pages of the 150 and as to the other 140 pages of delirious hallucination, No, no later reference is made. It is as if they never happened because, in my view, it never did happen. Or, to put it better: it all did happen but we are now on a different plane of fiction. We are no longer in anything like a realist mode of fiction or reading. The book has moved way beyond the boring old reaching after factual verification. Kenner seems to lament this:

Deprived of reliable criteria for ‘reality’, we have no recourse but to read the text as though everything in it were equally real. (Kenner, p.126)

This sentence is immensely revealing. ‘No recourse’ Kenner says he has, but why does he need recourse? Why this obsession with seeking for a ‘reality’, for trying to distinguish the ‘real’ from the fantastical in the chapter. It’s all made up, Hugh! It’s all a book. It’s a novel. None of it happened. When I read a James Bond novel I don’t think: well that bit sounds plausible but that bit, no that’s obviously made up. The whole thing’s made up. Stop shackling yourself to this model of Realism or plausibility: the whole thing is a mad farrago, give in to it.

Kenner mentions The Temptation of Saint Anthony by Flaubert which had also crossed my mind as a forebear of ‘Circe’. Surely no critic reads the ‘Temptation’ carefully weighing up which bits are true and which are false: the whole thing is a mad hallucination. Same here. When insulted Kitty eggs the soldier on to punch Stephen why is that any more ‘real’ than the octopus which represents the end of the world or the talking belt buckles or the singing moth or Bloom turning into a woman and Bella into a dominating man? They all exist on the plane of the text and the text is a fiction, a fabrication, in all its elements.

The novel finally forces its reader to read and understand and live on its own terms and I don’t experience this as a cause for regret, reluctantly admitting I have ‘having no recourse’ but to accept this option. I accept it as a liberation. Relax and enjoy this mad fantasia.

4. The urge to offend

Reading through it slowly and carefully it’s hard to avoid the conclusion that Joyce set out to offend everyone he could think of. The Catholic Church, the British state, the British King, the Celtic revival, all believers in sexual norms or morality, all believers in sense and meaning, everyone is offended and here again, unlike the prissy self-conscious moralising of Hugh Kenner or Richard Ellman, as a child of the punk years, I found it hilarious from start to finish. Just the existence of the character Cunty Kate was going to offend church, state, censors, bourgeois moralists, feminists and that’s a fraction of its offensive material.

Example: The Croppy Boy

As a teeny tiny example, take The Croppy Boy. This is a sentimental Irish nationalist ballad commemorating the 1798 Rebellion, representing the tragic, betrayed and often anonymous sacrifice of young Irish rebels (‘croppies’) fighting against British rule. It has been performed millions of times by pious tearful nationalists lamenting Ireland’s subjugation to the brutal British etc.

But here’s how Joyce deals with it here. First he has the Croppy Boy appear in one of the countless visions or hallucinations standing on a scaffold with a rope around his neck and reciting the most famous lines from the ballad, pious nationalist sentiments:

I bear no hate to a living thing,
But I love my country beyond the king.

At which point the hangman jerks the rope and:

(The assistants leap at the victim’s legs and drag him downward, grunting: the croppy boy’s tongue protrudes violently.)
THE CROPPY BOY:
Horhot ho hray hor hother’s hest.

Which is offensive and funny in a disrespectful Monty Python kind of way. But it gets a lot worse, because as the assistants tug him down to asphyxiate him, the Croppy Boy gets a spontaneous erection and ejaculates, spraying semen on the ground below. OK, that’s very bad but then… a handful of posh ladies we’ve been introduced to earlier in the play, scramble to mop up his semen in their handkerchiefs.

(He gives up the ghost. A violent erection of the hanged sends gouts of sperm spouting through his deathclothes on to the cobblestones. Mrs Bellingham, Mrs Yelverton Barry and the Honourable Mrs Mervyn Talboys rush forward with their handkerchiefs to sop it up.)

Worse still, the hangman admits that hanging the boy has given him an erection too, so that he also is close to coming. And all the while the figure of King Edward VII dances round the scene rattling a bucket.

Who has this little scene not offended? And there are hundreds more like it. In a moderately offensive passage, in the brothel, after scores more hallucinations, Bloom gets into a long rambling argument with his long-dead grandfather, which rotates around sex and Bloom’s fetishes, with Bloom at one point observing of female genitals.

BLOOM: (Absently.) Ocularly woman’s bivalve case is worse. Always open sesame. The cloven sex. Why they fear vermin, creeping things.

Women fearing creepy crawlies that might creep up inside their vulvas! Talking of vulvas, at another point when Bloom has transformed into a woman and Bella into a man, he (Bello) shoves his fist deep into she-Bloom’s vulva then waves his smelly fist round at potential customers.

BELLO: Trained by owner to fetch and carry, basket in mouth. (He bares his arm and plunges it elbowdeep in Bloom’s vulva.) There’s fine depth for you! What, boys? That give you a hardon? (He shoves his arm in a bidder’s face.) Here wet the deck and wipe it round!

Offended yet? Disgusted yet? That appears to be Joyce’s aim.

5. The Homeric parallel

In The Odyssey Odysseus and his crew land on the island of Aeaea and a team of scouts discover the palace of Circe, a witch goddess. Circe invites Odysseus’s men inside for a drink and then magically turns them into pigs. One man escapes to tell Odysseus about their comrades’ fate and Circe’s trickery. Odysseus plans to rescue his men from Circe’s enchantment and receives help from Hermes who equips him with moly, a magical herb that will protect him from Circe’s witchcraft. The plan works: the moly counters Circe’s magic, she falls in love with wily Odysseus and agrees to change his crew from pigs back into men. In return Odysseus pledges to stay with her for a year, fathering two children on her during that time. Finally, some of Odysseus’s crew talk him out of his long entrancement and make him resume the journey home to Ithaca.

‘Circe’ synopsis

Here’s my summary of ‘Circe’ which doesn’t begin to do justice to the madness of actually reading it. This summary makes it sound rational and lucid, which it emphatically isn’t.

Into Nighttown Stephen and his friend Lynch, both plastered after a night drinking at the maternity hospital, walk into Nighttown, Dublin’s red-light district which is like a nightmare Hieronymus Bosch landscape.

(A pigmy woman swings on a rope slung between two railings, counting. A form sprawled against a dustbin and muffled by its arm and hat snores, groans, grinding growling teeth, and snores again. On a step a gnome totting among a rubbishtip crouches to shoulder a sack of rags and bones. A crone standing by with a smoky oillamp rams her last bottle in the maw of his sack. He heaves his booty, tugs askew his peaked cap and hobbles off mutely. The crone makes back for her lair, swaying her lamp. A bandy child, asquat on the doorstep with a paper shuttlecock, crawls sidling after her in spurts, clutches her skirt, scrambles up. A drunken navvy grips with both hands the railings of an area, lurching heavily. At a corner two night watch in shouldercapes, their hands upon their staffholsters, loom tall. A plate crashes: a woman screams: a child wails.)

Stephen tells Lynch he’s heading for the brothel of Georgina Johnson. Bloom enters flushed and panting from hurrying, running across a street where he is nearly hit by two cyclists and then run down by a tram. He sees an orange glow to the south and wonders whether Dublin is burning which triggers a chorus of children singing the nursery rhyme. The bicycle bells and motorman’s footgong have speaking parts and are among the 40 or so inanimate objects which get to speak.

THE BICYCLE BELLS: Haltyaltyaltyall.

THE TRAM GONG: Bang Bang Bla Bak Blud Bugg Bloo.

Or Vince Lynch’s cap which has a speaking part and expresses surprisingly profound opinions, for a cap:

THE CAP: (With saturnine spleen.) Bah! It is because it is. Woman’s reason. Jewgreek is greekjew. Extremes meet. Death is the highest form of life. Bah!

I like the Kisses which fly about him like birds and then settle on his clothes like sequins.

Bloom’s father Bloom hallucinates his father, Rudolph, come back to life to tick him off for his imprudence with money, for being in Nighttown, for leaving Judaism.

(A stooped bearded figure appears garbed in the long caftan of an elder in Zion and a smokingcap with magenta tassels. Horned spectacles hang down at the wings of the nose. Yellow poison streaks are on the drawn face.)

Mum and Molly Swiftly followed by his mother (In pantomime dame’s stringed mobcap, widow Twankey’s crinoline and bust) and then by Molly, wearing the sexy Turkish outfit he fantasises about her in, accompanied by a camel which peels her a mango. She accuses him of being a stick in the mud, the joke phrase from Nausicaa. The bar of soap in his pocket starts to sing.

THE SOAP:
We’re a capital couple are Bloom and I.
He brightens the earth. I polish the sky.

He is accused in turn by his old flame Mrs Breen and Gerty before a pair of black and white minstrels dance onto the stage and sing to a banjo.

Costume changes It’s important to note that Bloom keeps changing costume, wearing in quick succession:

  • a dinner jacket with wateredsilk facings
  • a purple Napoleon hat with an amber halfmoon
  • an oatmeal sporting suit
  • a red fez when he is transformed into a Turkish dentist
  • a lascar’s vest and trousers
  • court dress
  • a caubeen with clay pipe stuck in the band, dusty brogues, an emigrant’s red handkerchief bundle in his hand
  • becomes a baby wearing ‘babylinen and pelisse’
  • and many others

And that most of the other characters appear in non-naturalistic, absurdist outfits too. Myles Crawford appears as a chicken.

Hellscape Descriptions of the surrounding persistently link it with Dante’s hell and Bosch’s nightmareworld.

(Outside a shuttered pub a bunch of loiterers listen to a tale which their brokensnouted gaffer rasps out with raucous humour. An armless pair of them flop wrestling, growling, in maimed sodden playfight.)

The Trial Bloom is put in the dock to answer charges by a variety of women including the scullerymaid Mary Driscoll, Mrs Yelverton Barry, Mrs Bellingham and the Hon Mrs Mervyn Talboys. J.J. O’Molloy defends him.

Bloomusalem Bloom is exonerated in the trial which turns into a grand eulogy to him in which he King of his own city named Bloomusalem. Bloom imagines himself being loved and admired by Bloomusalem’s citizens.

THE BISHOP OF DOWN AND CONNOR: I here present your undoubted emperor-president and king-chairman, the most serene and potent and very puissant ruler of this realm. God save Leopold the First!

Coronation In which Bloom is wearing yet another costume, a dalmatic and purple mantle. He is crowned in a grand ceremony, fireworks go off, he holds a sceptre and orb, a vast palace is built for him etc.

Bloom’s downfall But as quickly as he was raised, he falls, with religious leaders denouncing him and a crowd more characters joining in.

THE MOB: Lynch him! Roast him! He’s as bad as Parnell was. Mr Fox!
(Mother Grogan throws her boot at Bloom.)

Bloom gives birth All the medical students from ‘Oxen of the Sun’ line up to accuse Bloom of being sexually abnormal. (They will reappear later as the Eight Beatitudes.) Bloom announces that he has become a woman and is pregnant and then: Bloom embraces Mrs Thornton the nurse tightly and bears eight male yellow and white children before an Italian Papal Nuncio gives an absurdist list of his ancestry.

Bloom is stoned and set on fire ‘All the people cast soft pantomime stones at Bloom. Many bonafide travellers and ownerless dogs come near him and defile him’ presumably that last phrase means piss on him. Then the head of the Dublin Fire Brigade sets him on fire.

At Bella’s After a lot, lot, lot more of this, Bloom eventually tracks Stephen and Lynch to Bella Cohen’s brothel (at 82 Tyrone street, lower). The prostitute Zoe Higgins greets him at the door and takes him onto the building where he meets Florry Talbot and Kitty Ricketts and encounters Stephen drunk at a piano and Lynch sprawled on a sofa. Here the hallucinations of other characters and situations continue, I liked the newsboys outside shouting about the safe arrival of the Antichrist, and reeled at the Hobgoblin who speaks in French (as hobgoblins obviously do, while appearing to destroy the solar system.

THE HOBGOBLIN: (His jaws chattering, capers to and fro, goggling his eyes, squeaking, kangaroohopping with outstretched clutching arms, then all at once thrusts his lipless face through the fork of his thighs.) Il vient! C’est moi! L’homme qui rit! L’homme primigène! (He whirls round and round with dervish howls.) Sieurs et dames, faites vos jeux! (He crouches juggling. Tiny roulette planets fly from his hands.) Les jeux sont faits! (The planets rush together, uttering crepitant cracks.) Rien va plus! (The planets, buoyant balloons, sail swollen up and away. He springs off into vacuum.)

Which is the cue for another favourite, the End of the World, who turns out to be an octopus which speaks with a Scottish accent.

(Along an infinite invisible tightrope taut from zenith to nadir the End of the World, a twoheaded octopus in gillie’s kilts, busby and tartan filibegs, whirls through the murk, head over heels, in the form of the Three Legs of Man.)
THE END OF THE WORLD: (With a Scotch accent.) Wha’ll dance the keel row, the keel row, the keel row?

(This is actually a nightmare reworking of a bizarre snippet Bloom overheard the mystic A.E. discussing with an acolyte in the street back in the ‘Lestrygonians’ chapter.)

Do you see why I think that trying to find a ‘rational’ or ‘realistic’ interpretation of all this is a fool’s errand. You should enjoy the show.

Enter Bella Cohen At the end of the hallucinations, Bloom is talking to Zoe-Kitty-Florry when he hears a sound coming from downstairs. He hears heels clacking on the staircase and observes what appears to be a male form passing down the staircase. He speaks with Zoe and Kitty for a moment, and then sees Bella Cohen come into the brothel. He observes her appearance and talks with her for a little while.

Bella and Bloom change gender But this conversation morphs into another hallucination, in which Bella becomes a man named Mr Bello and Bloom imagines himself to be a woman. New female Bloom willingly imagines herself being dominated by Bello, who both sexually and verbally humiliates Bloom. Bloom interacts with other imaginary characters in this scene before the hallucination ends.

A lucid moment When this hallucination ends, Bloom sees Stephen overpay Bella and suggests that he holds onto the drunk young man’s money safekeeping.

Stephen’s mother’s ghost Stephen hallucinates that his mother’s rotting cadaver has risen up from the floor to confront him. He cries Non serviam! and uses his ashplant walking stick to smash a chandelier before running out the room. The shattering of the chandelier deliberately repeats a phrase first occurring in Stephen’s thoughts in chapter 2, an image of the apocalypse, ironically repeated here in bathetic circumstances.

Time’s livid final flame leaps and, in the following darkness, ruin of all space, shattered glass and toppling masonry.

Payment Bella insists that Bloom pays for the damage, demanding 10 shillings but Bloom only throws a shilling on the table before himself running out the house in pursuit of Stephen.

Argument with a soldier A few streets away (in Beaver Street) Bloom finds Stephen engaged in an argument with an English soldier, Private Carr. This scene drags on surprisingly long with Carr claiming to be angry not just because Stephen, in a throwaway remark ‘insulted’ the King but also one of the prostitutes he, Carr, is chatting to. After a prolonged confused argument, Carr finally punches Stephen in the face, knocking him backwards and down onto his back.

Threat of arrest Two officers of the watch (the same pair we met at the start of the chapter) arrive and threaten to arrest Stephen but at this point another Dublin character arrives, Corny Kelleher. He alights from a horse-drawn carriage which, since he is an assistant at H.J. O’Neill’s funeral parlour, I took to be a funeral carriage. But Corny also (seems to) work as a police informant on the side and he manages to smooth things over with both the soldiers and the cops, who tell the excited crowd which has assembled to disperse. Bloom is very grateful, and so with much thanks and handshaking, Corny departs leaving Bloom alone with Stephen who’s still lying prone on the street.

Rudy’s ghost Bloom is pondering what to do with Stephen and just realising that he’s going to have to heave him up and take him somewhere safe to recuperate, when he is transfixed with the last thing which happens in this long, mad chapter – a sudden vision of his deceased son, Rudy, as an 11-year-old.

Cast

As a gesture towards the madness and to give you a sense of the scale of the thing, here is a full cast list of every person and object which speaks or appears, in order of appearance:

  • Children
  • The Idiot
  • A Crone
  • A Gnome
  • Cissy Caffrey
  • The Virago
  • Private Compton
  • Private Carr
  • Stephen Dedalus
  • Vincent Lynch – ‘his jockeycap low on his brow, attends him, a sneer of discontent wrinkling his face’
  • The Bawd
  • Edy Boardman
  • Leopold Bloom
  • The urchins
  • The motorman
  • Rudolph Bloom – Poldy’s father
  • Ellen Bloom – Poldy’s mother
  • Molly Bloom – Poldy’s wife
  • The lemon soap
  • Sweny – the chemist
  • Bridie Kelly – who Bloom lost his virginity to
  • Gerty MacDowell – who Bloom masturbated to in Nausicaa
  • Mrs Breen – former girlfriend of Bloom’s
  • Dennis Breen – her mad husband
  • Wisdom Hely’s sandwichboards
  • Tom and Sam Bohee – ‘coloured coons in white duck suits, scarlet socks, upstarched Sambo chokers and large scarlet asters in their buttonholes’
  • Alf Bergan
  • Richie Goulding – ‘three ladies’ hats pinned on his head’
  • Pat the waiter
  • The Gaffer (Crouches, his voice twisted in his snout)
  • The Loiterers (Guffaw with cleft palates)
  • The whores – shawled, dishevelled
  • The Navvy
  • The Shebeenkeeper
  • The wreaths
  • First watch
  • Second watch
  • The gulls
  • Bob Doran
  • Towser – bulldog
  • Signor Maffei – ‘passionpale, in liontamer’s costume with diamond studs in his shirtfront, steps forward, holding a circus paperhoop, a curling carriagewhip and a revolver with which he covers the gorging boarhound’
  • The Dark Mercury
  • Martha – (Thickveiled, a crimson halter round her neck) ‘My real name is Peggy Griffin. He wrote to me that he was miserable.’
  • Myles Crawford – as a chicken
  • Mr Philip Beaufoy – ‘palefaced, stands in the witnessbox, in accurate morning dress, outbreast pocket with peak of handkerchief showing, creased lavender trousers and patent boots’
  • A voice from the gallery
  • First Cryer
  • Mary Driscoll – scullerymaid Bloom assaulted – ‘a slipshod servant girl, approaches. She has a bucket on the crook of her arm and a scouringbrush in her hand’
  • George Fottrell – Clerk of the crown and peace
  • Longhand
  • Shorthand
  • Professor MacHugh
  • J. J. O’Molloy – in barrister’s grey wig and stuffgown, speaking with a voice of pained protest
  • Moses Dlugacz – ferreteyed albino in blue dungarees
  • Mrs Yelverton Barry – in lowcorsaged opal balldress and elbowlength ivory gloves, wearing a sabletrimmed brickquilted dolman, a comb of brilliants and panache of osprey in her hair – claims Bloom wrote her a rude anonymous letter
  • Mrs Bellingham – in cap and seal coney mantle, wrapped up to the nose, steps out of her brougham and scans through tortoiseshell quizzing-glasses which she takes from inside her huge opossum muff – ditto
  • The Honourable Mrs Mervyn Talboys – in amazon costume, hard hat, jackboots cockspurred, vermilion waistcoat, fawn musketeer gauntlets with braided drums, long train held up and hunting crop with which she strikes her welt constantly – ditto
  • Sluts and Ragamuffins
  • Davy Stephens – Messenger of the Sacred Heart and Evening Telegraph, with the Saint Patrick’s Day supplement
  • The very reverend Canon O’Hanlon in cloth of gold cope
  • Father Conroy
  • The reverend John Hughes S. J.
  • Clock/Timepiece
  • The brass quoits of a bed are heard to jingle
  • The Nameless One
  • The Jurors, namely: Martin Cunningham, foreman, silkhatted, Jack Power, Simon Dedalus, Tom Kernan, Ned Lambert, John Henry Menton, Myles Crawford, Lenehan, Paddy Leonard, Nosey Flynn, M’Coy and the featureless face of a Nameless One
  • The Crier
  • His Honour, Sir Frederick Falkiner, recorder of Dublin, in judicial garb of grey stone rises from the bench, stonebearded
  • Long John Fanning
  • H. Rumbold, master barber, in a bloodcoloured jerkin and tanner’s apron, a rope coiled over his shoulder
  • The bells of George’s church
  • Hynes
  • Paddy Dignam – dead, dog-eaten face
  • John O’Connell – caretaker, stands forth, holding a bunch of keys tied with crape
  • Father Coffey – chaplain, toadbellied, wrynecked, in a surplice and bandanna nightcap, holding sleepily a staff of twisted poppies
  • Tom Rochford
  • The Kisses
  • Zoe Higgins – a young whore in a sapphire slip, closed with three bronze buckles, a slim black velvet fillet round her throat
  • Midnight chimes
  • An elector
  • The Torchbearers
  • Late Lord Mayor Harrington – in scarlet robe with mace, gold mayoral chain and large white silk scarf
  • Councillor Lorcan Sherlock
  • A Blacksmith
  • A Paviour and Flagger
  • A Millionairess
  • A Noblewoman
  • A Feminist
  • A Bellhanger
  • The Bishop of Down and Connor
  • William, Archbishop of Armagh – in purple stock and shovel hat
  • Michael, Archbishop of Armagh
  • The Peers
  • John Howard Parnell
  • Tom Kernan
  • The Chapel of Freeman Typesetters
  • John Wyse Nolan
  • A Bluecoast Schoolboy
  • An Old Resident
  • An Applewoman
  • Thirtytwo workmen representing all the counties of Ireland
  • The Sightseers
  • The Man in the Mackintosh
  • The Women
  • The Babes and Sucklings
  • Baby Boardman – Edy Boardman’s baby, met in Nausicaa
  • The Citizen
  • Jimmy Henry, assistant town clerk
  • Paddy Leonard
  • Nosey Flynn
  • J.J. O’Molloy
  • Pisser Burke
  • Chris Callinan
  • Joe Hynes
  • Ben Dollard – rubicund, musclebound, hairynostrilled, hugebearded, cabbageeared, shaggychested, shockmaned, fatpapped
  • Larry O’Rourke
  • Crofton
  • Alexander Keyes
  • O’Madden Burke
  • Davy Byrne
  • Lenehan
  • Father Farley
  • Mrs Riordan
  • Mother Grogan
  • Hoppy Holohan
  • The Veiled Sibyl
  • Theodore Purefoy
  • Alexander J. Dowie
  • The Mob
  • Dr Mulligan – ‘In motor jerkin, green motorgoggles on his brow’
  • Dr Madden
  • Dr Crotthers
  • Dr Punch Costello
  • Dr Dixon
  • Mrs Thornton
  • Brother Buzz
  • Bantam Lyons
  • Brini – Papal Nuncio
  • A Deadhand writes on the wall
  • Crab – in bushranger’s kit
  • A Female Infant – shakes a rattle
  • A Hollybush
  • The Irish Evicted Tenants – ‘in bodycoats, kneebreeches, with Donnybrook fair shillelaghs’
  • The Artane Orphans
  • The Prison Gate Girls
  • Hornblower – ‘in ephod and huntingcap’
  • Mastiansky and Citron
  • George R Mesias, Bloom’s tailor, appears, a tailor’s goose under his arm,
  • Reuben J Dodd, blackbearded Iscariot, bad shepherd, bearing on his shoulders the drowned corpse of his son,
  • The Fire Brigade
  • Lieutenant Myers of the Dublin Fire Brigade
  • The Daughters of Erin – ‘in black garments, with large prayerbooks and long lighted candles in their hands’
  • A choir of six hundred voices, conducted by Vincent O’Brien, sings the chorus from Handel’s Messiah Alleluia for the Lord God Omnipotent reigneth, accompanied on the organ by Joseph Glynn
  • The Male Brutes
  • Kitty Ricketts – young prostitute working in Bella Cohen’s brothel
  • Zoe Higgins – ‘a bony pallid whore in navy costume, doeskin gloves rolled back from a coral wristlet, a chain purse in her hand’, also working in Bella Cohen’s brothel
  • Florry Talbot – ‘a blond feeble goosefat whore in a tatterdemalion gown of mildewed strawberry’, also working in Bella Cohen’s brothel
  • Lynch’s cap has a speaking part
  • Reuben J. Antichrist – phantasm
  • The Hobgoblin
  • The Gramophone
  • The End of the World – a twoheaded octopus in gillie’s kilts, busby and tartan filibegs, whirls through the murk, head over heels, in the form of the Three Legs of Man (with a Scotch accent)
  • Elijah
  • The Beatitudes (Dixon, Madden, Crotthers, Costello, Lenehan, Bannon, Mulligan and Lynch in white surgical students’ gowns)
  • Lyster
  • Best (from the National Library)
  • John Eglinton – literary man from the National Library
  • Mananaun MacLir – broods
  • The Gasjet speaks
  • Lipoti Virag – Bloom’s grandfather
  • The moth – performs a little moth song
  • Henry Flower – ‘He wears a dark mantle and drooping plumed sombrero. He carries a silverstringed inlaid dulcimer and a longstemmed bamboo Jacob’s pipe, its clay bowl fashioned as a female head. He wears dark velvet hose and silverbuckled pumps. He has the romantic Saviour’s face with flowing locks, thin beard and moustache. His spindlelegs and sparrow feet are those of the tenor Mario, prince of Candia.’ Bear in mind that Henry doesn’t exist.
  • Almidano Artifoni – ‘holds out a batonroll of music with vigorous moustachework’
  • Siamese twins
  • Philip Drunk and Philip Sober – two Oxford dons with lawnmowers
  • Nurse Callan and Nurse Quigley aka the Virgins
  • The Virgins
  • The Flybill
  • His Eminence Simon Stephen Cardinal Dedalus – phantasmal Primate of all Ireland
  • The Doorhandle
  • Bella Cohen – a massive whoremistress: she is dressed in a threequarter ivory gown, fringed round the hem with tasselled selvedge, and cools herself flirting a black horn fan like Minnie Hauck in Carmen. On her left hand are wedding and keeper rings. Her eyes are deeply carboned. She has a sprouting moustache. Her olive face is heavy, slightly sweated and fullnosed with orangetainted nostrils. She has large pendant beryl eardrops. Bloom says:

Exuberant female. Enormously I desiderate your domination.

  • The Fan
  • The Hoof (Bella has grown hooves)
  • Bello – Bella transformed into a man
  • Mrs Keogh – the brothel cook, wrinkled, greybearded, in a greasy bib, men’s grey and green socks and brogues, floursmeared, a rollingpin stuck with raw pastry in her bare red arm and hand
  • BLOOM-as-a-woman – a charming soubrette with dauby cheeks, mustard hair and large male hands and nose, leering mouth (It was Gerald converted me to be a true corsetlover when I was female impersonator in the High School play Vice Versa. It was dear Gerald. He got that kink, fascinated by sister’s stays. Now dearest Gerald uses pinky greasepaint and gilds his eyelids. Cult of the beautiful.’)
  • The Sins of the Past:
    • he went through a form of clandestine marriage with at least one woman in the shadow of the Black church
    • unspeakable messages he telephoned mentally to Miss Dunn at an address in D’Olier street while he presented himself indecently to the instrument in the callbox
    • by word and deed he frankly encouraged a nocturnal strumpet to deposit fecal and other matter in an unsanitary outhouse attached to empty premises
    • in five public conveniences he wrote pencilled messages offering his nuptial partner to all strongmembered males
    • and by the offensively smelling vitriol works did he not pass night after night by loving courting couples to see if and what and how much he could see?
    • did he not lie in bed, the gross boar, gloating over a nauseous fragment of wellused toilet paper presented to him by a nasty harlot?
  • (Bello bares his arm and plunges it elbowdeep in Bloom’s vulva.) There’s fine depth for you! What, boys? That give you a hardon? (He shoves his arm in a bidder’s face.) Here wet the deck and wipe it round!
  • A bidder
  • The Lacquey (from outside Dillon’s auction house, chapter 10)
  • Charles Alberta Marsh
  • A darkvisaged man
  • Sleepy Hollow
  • Milly Bloom, fairhaired, greenvested, slimsandalled, her blue scarf in the seawind simply swirling,
  • The Circumsised (M. Shulomowitz, Joseph Goldwater, Moses Herzog, Harris Rosenberg, M. Moisel, J. Citron, Minnie Watchman, P. Mastiansky, The Reverend Leopold Abramovitz, Chazen)
  • The Yews
  • The Nymph
  • The Waterfall
  • John Wyse Nolan – in the background, in Irish National Forester’s uniform
  • The Echo
  • The Halcyon Days (Master Donald Turnbull, Master Abraham Chatterton, Master Owen Goldberg, Master Jack Meredith, Master Percy Apjohn)
  • Staggering Bob
  • A Nannygoat – ‘plumpuddered, buttytailed, dropping currants’ – (Bleats.) Megeggaggegg! Nannannanny!
  • The DummyMummy
  • Councillor Nannetti – alone on deck, in dark alpaca, yellowkitefaced, his hand in his waistcoat opening
  • Bloom’s back trouserbutton
  • the bald little round jack-in-the-box head of Father Dolan – who pandybatted Stephen at Clogowes School in ‘Portrait’
  • Don John Conmee – mild, benign, rectorial, reproving
  • Black Liz – a huge rooster hatching in a chalked circle
  • The Boots
  • Blazes Boylan
  • Shakespeare
  • Mrs Dignam and her children:
    • Freddy Dignam whimpering
    • Susy Dignam with a crying cod’s mouth
    • Alice Dignam struggling with the baby
  • Martin Cunningham
  • Mrs Cunningham – in Merry Widow hat and kimono gown
  • Simon Dedalus
  • The Crowd watching a foxhunt
  • The Orange Lodges
  • Garrett Deasy
  • The Green Lodges
  • Professor Goodwin – in a bowknotted periwig, in court dress, wearing a stained inverness cape, bent in two from incredible age, totters across the room
  • Professor Maginni – inserts a leg on the toepoint of which spins a silk hat. With a deft kick he sends it spinning to his crown and jauntyhatted skates in. He wears a slate frockcoat with claret silk lapels, a gorget of cream tulle, a green lowcut waistcoat, stock collar with white kerchief, tight lavender trousers, patent pumps and canary gloves. In his buttonhole is an immense dahlia
  • The Pianola
  • The morning hours – run out, goldhaired, slimsandalled, in girlish blue, waspwaisted, with innocent hands. Nimbly they dance, twirling their skipping ropes
  • The noon hours follow in amber gold, laughing, linked, high haircombs flashing
  • Cavaliers
  • The Twilight Hours
  • The Night Hours
  • The Bracelets
  • The Choir
  • Stephen’s Mother, May Goulding
  • Buck Mulligan
  • The Hue and Cry
  • Lord Tennyson – gentleman poet in Union Jack blazer and cricket flannels, bareheaded, flowingbearded
  • Dolly Gray
  • Biddy the Clap
  • Cunty Kate
  • King Edward the Seventh
  • Kevin Egan of Paris in black Spanish tasselled shirt and peep-o’-day boy’s hat
  • Patrice Egan
  • Don Emile Patrizio Franz Rupert Pope Hennessy – in medieval hauberk, two wild geese volant on his helm,
  • The Croppy Boy
  • Rumbold, Demon Barber – accompanied by two blackmasked assistants,
  • Old Gummy Granny in a sugarloaf hat
  • Major Tweedy, moustached like Turko the terrible, in bearskin cap with hackleplume and accoutrements, with epaulettes, gilt chevrons and sabretaches, his breast bright with medals
  • Father Malachi O’Flynn
  • The Reverend Mr Haines Love
  • The Voice of all the Damned
  • Adonai
  • The Voice of all the Blessed
  • The Retriever
  • A Hag
  • The Horse
  • Rudy

Inanimate objects speak

I particularly enjoyed the inanimate objects which have speaking roles. Back in ‘Aeolus’ Bloom remarked in his inner monologue that ‘everything speaks in its own way’ and here that rule is wonderfully brought to life.

THE FAN: (Flirting quickly, then slowly.) Married, I see.

(The brass quoits of a bed are heard to jingle.)
THE QUOITS: Jigjag. Jigajiga. Jigjag.

(The bells of George’s church toll slowly, loud dark iron.)
THE BELLS: Heigho! Heigho!

There are nearly 40 of these speaking objects and all very entertaining exercises of Joyce’s ingenuity. Here’s an old-style gramophone where the needle has played the whole record and gone to that bit in the centre.

THE GRAMOPHONE: (Drowning his voice.) Whorusalaminyourhighhohhhh… (The disc rasps gratingly against the needle.)

THE GASJET: Pooah! Pfuiiiiiii!

Stephen can’t stop making grand declarations

In ‘Portrait’, remember how Joyce has Stephen make a series of grand declarations: ‘Ireland is the old sow that eats her farrow’; that the artist is like God ‘invisible, refined out of existence’; that he will go into exile and express himself as freely as he can ‘using for my defence the only arms I allow myself to use — silence, exile and cunning’ etc etc.

Stephen carries on making the same kind of declarations throughout ‘Ulysses’. In fact sometimes it seems like whenever Stephen Dedalus opens his mouth, he makes another grand statement. He is a grand statement machine. Here in the ‘Circe’ chapter many of these become garbled and incoherent although he still manages to make manifesto pledges which are routinely cited by the commentators as indicators of his and Joyce’s intentions.

STEPHEN: (Laughs emptily.) My centre of gravity is displaced. I have forgotten the trick. Let us sit down somewhere and discuss. Struggle for life is the law of existence but but human philirenists, notably the tsar and the king of England, have invented arbitration. (He taps his brow.) But in here it is I must kill the priest and the king.

You die for your country. Suppose. (He places his arm on Private Carr’s sleeve.) Not that I wish it for you. But I say: Let my country die for me.

My point is that Joyce critics tend to take these ringing declarations at face value, and also equate them with Joyce’s own views. Whereas, reading ‘Portrait’ and ‘Ulysses’ together, situating Stephen among the wider Dublin society portrayed in the latter book, and also comparing him with the easy-going and genuinely kind figure of Bloom, has steadily put me off Stephen. In my opinion, as the book progresses, Stephen comes to appear smaller, more bitter, more self-centred and selfish, and his grand statements ring increasingly hollow.

He is a legend in his own mind. He goes ‘to forge in the smithy of my soul the uncreated conscience of my race’ and yet when he bumps into his impoverished little sister, with pounds in his pocket, he doesn’t even give her a penny because he is saving all his money to squander it on booze and prostitutes. There’s a name for that kind of brother and it isn’t ‘hero’.

Cuckolding

It seems pointless zeroing on any particular set of sexual references since the whole thing overflows with obscenity. But the soft porn references to Boylan shafting his wife are particularly germane to the ‘plot’ and Bloom can’t stop thinking and fantasising about it.

BOYLAN: (To Bloom, over his shoulder.) You can apply your eye to the keyhole and play with yourself while I just go through her a few times.
BLOOM: Thank you, sir. I will, sir. May I bring two men chums to witness the deed and take a snapshot? (He holds out an ointment jar.) Vaseline, sir? Orangeflower…? Lukewarm water…?

LYDIA DOUCE: (Her mouth opening.) Yumyum. O, he’s carrying her round the room doing it! Ride a cockhorse. You could hear them in Paris and New York. Like mouthfuls of strawberries and cream.

BLOOM: (His eyes wildly dilated, clasps himself.) Show! Hide! Show! Plough her! More! Shoot!

Later on, Bella-turned-into-Bello fondles Bloom’s limp little willy, then describes Blazes tupping Molly:

BELLO: What else are you good for, an impotent thing like you? (He stoops and, peering, pokes with his fan rudely under the fat suet folds of Bloom’s haunches.) Up! Up! Manx cat! What have we here? Where’s your curly teapot gone to or who docked it on you, cockyolly? Sing, birdy, sing. It’s as limp as a boy of six’s doing his pooly behind a cart. Buy a bucket or sell your pump. (Loudly.) Can you do a man’s job?
BLOOM: Eccles street…
BELLO: (Sarcastically.) I wouldn’t hurt your feelings for the world but there’s a man of brawn in possession there. The tables are turned, my gay young fellow! He is something like a fullgrown outdoor man. Well for you, you muff, if you had that weapon with knobs and lumps and warts all over it. He shot his bolt, I can tell you! Foot to foot, knee to knee, belly to belly, bubs to breast! He’s no eunuch. A shock of red hair he has sticking out of him behind like a furzebush! Wait for nine months, my lad! Holy ginger, it’s kicking and coughing up and down in her guts already! That makes you wild, don’t it? Touches the spot? (He spits in contempt.) Spittoon!

And much more in the same vein. The theme bleeds through into the next chapter where Bloom and Stephen blunder off to a late-night café and find themselves in an argument about the great Lost Leader of Irish nationalism, Charles Stewart Parnell who fell from power after being named as the third party in a divorce case. The point is that Bloom sticks up for Parnell as being a Real Man, a proper stud, who stepped in to swive horny Kitty O’Shea when her husband (Captain O’Shea) was unable to do the deed. So a situation very like Bloom’s only with Bloom rooting (sic) for the cuckolder, rather than being the cuckoldee.

Stephen’s broken glasses

Hugh Kenner points out a key fact which is only now revealed but impacts our entire reading of the book. We knew that Stephen, like his creator, was short-sighted. But only here, late in the novel, do we discover that he broke his glasses the day before. In other words he’s been barely able to see for the entire novel!

STEPHEN: (Brings the match near his eye.) Lynx eye. Must get glasses. Broke them yesterday. Sixteen years ago. Distance. The eye sees all flat. (He draws the match away. It goes out.) Brain thinks. Near: far. Ineluctable modality of the visible.

What does that say, how does that qualify his repeated insistence on the importance of the appearance of things, the fact that he can barely see the appearance of anything!

Facts

Despite the delirious nature of most of the content, Joyce still chose to secrete a number of key facts about the entire novel into this chapter, for example, our heroes’ ages:

BLOOM: (Points to his hand.) That weal there is an accident. Fell and cut it twentytwo years ago. I was sixteen.

So Bloom is 38.

STEPHEN: See? Moves to one great goal. I am twentytwo. Sixteen years ago he was twentytwo too. Sixteen years ago I twentytwo tumbled. Twentytwo years ago he sixteen fell off his hobbyhorse. (He winces.) Hurt my hand somewhere.

So Stephen is 22.


Credit

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

Related links

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Ulysses by James Joyce: Oxen of the Sun

Sir Leopold that was the goodliest guest that ever sat in scholars’ hall and that was the meekest man and the kindest that ever laid husbandly hand under hen and that was the very truest knight of the world one that ever did minion service to lady gentle pledged him courtly in the cup.
(Leopold Bloom’s character done in medieval style)

morbidminded esthete and embryo philosopher
(Stephen Dedalus’s character in Romantic style)

A plumper and a portlier bull, says he, never shit on shamrock.
(Vincent Lynch in demotic mode)

The words of their tumultuary discussions were difficultly understood and not often nice.
(Too true)

Irish by name and irish by nature, says Mr Stephen, and he sent the ale purling about, an Irish bull in an English chinashop.
(Stephen Dedalus unwittingly summarising the format of the entire book: Irish content causing mayhem in the English language and literary tradition)

A quick reminder of the chapter numbers and names in ‘Ulysses’. (Note: none of the Greek chapter titles are actually indicated in the 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):

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

Plot

Middle-aged advertising salesman Leopold Bloom visits the National Maternity Hospital on Holles Street in Dublin, where a friend of his family’s, Mina Purefoy, is giving birth. She has been in the hospital for several days having a difficult labour and he is worried about her (kindly Bloom cf his active charity to Paddy Dignam’s widow). Here he finally meets over-educated, unemployed graduate Stephen Dedalus, who has been drinking with his medical student friends and is awaiting the promised arrival of of his frenemy Malachi ‘Buck’ Mulligan. As the only father in the group of men, Bloom is concerned about Mina Purefoy in her labour. He starts thinking about his wife, Molly Bloom, and the births of his two children. He also thinks about the loss of his son and heir, Rudy, who died aged just 11 days.

The young men are drunk and rowdy, and start discussing topics relating to fertility, contraception and abortion. There is also a suggestion that Milly, Bloom’s daughter, is in a relationship with one of the young men, Bannon. Half way through a nurse announces that Mina has given birth to a son so, after some more banter, the drunken crew leaves the hospital to go on to a pub to continue drinking.

Homeric (and literary) parallels

In the Odyssey, Odysseus and his crew land on the island of Thrinacia, home of Helios the sun god’s immortal sheep and longhorn cattle. Both Circe and Tiresias have warned Odysseus to avoid the island but if they go there, not to harm Helios’s oxen – sacred symbols of fertility – or the gods will punish the offenders with annihilation. After making his crew swear that they will leave the cattle alone, Odysseus hikes inland, prays to the gods for help getting home and falls asleep. Meanwhile, contrary to orders, his men kill and eat some of the oxen of the sun. Odysseus returns and is horrified and as his ships leave the island, Zeus strikes them with a devastating lightning storm, killing everyone except Odysseus, the only one innocent of violating sacred fertility.

In ‘Ulysses’ the rowdy behaviour of the gang of drinkers – Stephen Dedalus, Dixon, Lynch and Madden, Lenehan, Punch Costello, and Crotthers – effectively ‘profanes’ the sanctity of the maternity hospital, resulting in their ‘annihilation’ in the form of a collapse into complete incoherence at the end of the chapter. Bloom alone remains compos mentis by virtue of not having drunk anything and acted respectfully throughout.

On another level, you can see it this way. The inconsiderate drunk party not only disturbs the mums-to-be, it represents waste as against fertility. The pregnant women have fulfilled their destiny, whether you see that as ordained by God and his Catholic Church or Darwin and the scientists, women are made to breed and the women in the maternity hospital have fulfilled their fate. Which is completely unlike the eight or so young men who should be setting off on productive careers but instead are frittering away their evenings in dissipation.

It is an allegory of Fertility versus Infertility and this rings throughout the varied topics of conversation, underpinning for example Bloom’s memory of losing his virginity to a prostitute, or the couple of pages of facetious banter about contraceptives, or the story about the bull sent to fertilise Ireland’s women, or Mulligan’s joke plan to set up a fertility clinic.

Even tiny details contribute to this binary. Even the fact that it was flashy but shallow Buck Mulligan who was invited to George Moore’s soiree while Stephen spaffs away his God-given talents getting pissed with medical students, is an avatar of the central opposition between fruitful labour (literally labour, as in women giving birth) and sterile drunken wasters.

The oxen theme is present throughout insofar as the drunken party discuss the foot and mouth outbreak among Ireland’s cattle, prompted by Lenehan’s news that the letter Stephen took to the newspaper from Mr Deasy on the subject has been published in the evening paper.

So it is this theme, this binary between purposeful fecundity and funny sterility, which is subjected to a comic variation when the crew pile in to elaborate a long drunken comic fantasy about a mighty bull sent to Ireland which turns out to be sexually attractive to women. This is a farcical allegorical skit about papal bulls and Henry VIII, the Reformation and England’s relationship to Ireland.

But when Stephen jokily describes it as ‘an Irish bull in an English chinashop’ he is unwittingly summarising the format of the entire book: anarchic boisterous Irish content barely contained in a genre associated with England (the novel) and causing mayhem with the English language (a concern of Stephen’s ever since the ‘tundish’ episode in ‘Portrait of the Artist as a Young Man’).

Also, anyone who remembers one of the most unruly books in the English literary canon, Tristram Shandy, knows that it ends after 500 pages with the comic punchline that the whole thing has been a story about a cock and a bull.

Format

As explained, all the chapters subsequent to ‘Sirens’ are subject to big formatting ideas (over and above the challenges of the stream of consciousness technique which Joyce deployed in the first 10 or chapters, the so-called ‘initial style’).

The dominant mode of these later chapters is parody and let’s just remind ourselves what that means. Parody = ‘an imitation of the style of a particular writer, artist, or genre with deliberate exaggeration for comic effect.’ I think the key word here is exaggeration.

Thus it is that the text of Aeolus, set in a newspaper office, is punctuated by 63 newspaper headlines giving mockingly exaggerated summaries of the sections they precede. The text of Cyclops is interspersed with 33 extended passages which describe the main narrative’s events in the style of, among many others, Irish mythology and legend, legal jargon, journalism (again), sports commentaries and gossip columns, the Bible and even nursery rhymes.

It’s no surprise, then, if still striking, to find that most of the next chapter, Nausicaa, which describes a series of events focused round a naive and sentimental young woman, is written entirely in the style of a popular ladies romance ‘with deliberate exaggeration for comic effect.’ Previously the parodic elements had been episodic: now they take over the first half of an entire chapter. And so it is with the next one.

Parody in the Oxen of the Sun

Chapter 14. Oxen of the Sun, is something else again. From start to finish a third-person narrator or the ‘initial style’ don’t make an appearance, as the entire chapter consists (after an initial invocation) of a tissue of parodies which recapitulate the entire history of the English language. There are parodies of Anglo-Saxon, medieval romance, Elizabethan and Jacobean prose, Daniel Defoe, Addison and Steele’s Spectator, Oliver Goldsmith, Edward Gibbon, Gothic prose, Charles Lamb, Thomas de Quincy, Charles Dickens and Cardinal Newman to mention only the highlights. I can’t find online an exact list of the targets of all of the paragraphs; this is the nearest I could find, which omits half a dozen of the early ones.

That in itself is a graspable idea, and in fact I found it very enjoyable. But the chapter opens with a sort of invocation and there’s no way you could understand this (or the chaotic way it ends) without consulting a guide.

The opening incantations

The chapter opens with a made-up incantation which mixes Gaelic and Latin elements:

Deshil Holles Eamus. Deshil Holles Eamus. Deshil Holles Eamus.

You have to look this up to discover that ‘Deshil is an Anglicization of the Irish deasil which carries the general meaning of ‘turning to the right’ or ‘turning toward the sun’, while Eamus is Latin for ‘Let us go’ – so ‘Deshil Eamus’ means something like ‘Let us turn to the right’ or possibly ‘toward the sun’. Since ‘Holles’ Street is the location of Dublin’s National Maternity Hospital, the whole thing can be broadly translated as ‘let us turn to the sun in Holles Street’, which both references the oxen of the sun, but also the book’s insistent theme of paternity, namely the son Stephen looking for a father, and the birth of a baby boy which happens half way through the chapter.

This incantation is followed by two more incantatory sentences, each of them performing a threefold repetition of a threefold sentence: 3 x 3 x 3. Which are themselves followed by two paragraphs of highly Latinate prose, one in the prose style of historians Sallust and Tacitus, the second in medieval Latin prose. All this before we get to the start of the parodies.

It always confused me that the chapter didn’t just start at the beginning with Anglo-Saxon, but the commentaries explain that these preliminaries amount to 1) a parody of a religion incantation (fair enough) and 2) combine Celtic, Latin and English as a kind of forewarning of the three linguistic elements out of which Irish English grew.

Also, I couldn’t detect a distinctly Viking-Danish section, which I thought odd because it was the Vikings who founded Dublin: the internet tells me they established a fortified settlement around 841 AD at the ‘black pool’ (the Dyflin or Dubh Linn) where the Rivers Liffey and Poddle meet. But maybe it’s there and I just didn’t get it.

To recap: there is 1) a religious invocation, 2) 3 paragraphs representing the Latin of the Roman conquerors of ancient Britain, before 3) Anglo-Saxon announces the start of the series of paragraphs each of which represents a different era in the development of English prose.

And this chronological sequence is mapped onto the growth of a baby in the womb because we are in a maternity hospital.

The plot

In the plot what seems to have happened is Bloom caught a tram from Sandymount into the centre of Dublin meaning to check up on Mina Purefoy. He bumped into a Dr Dixon who treated him the previous month for a bee-sting and tells him to come along to the common room where a few of the lads are gathered and are drinking and carousing so this is what Bloom does, although he is careful to tip his glass away without drinking, just as he dodged having to drink anything in Cyclops (‘For he never drank no manner of mead which he then put by and anon full privily he voided the more part in his neighbour glass and his neighbour nist not of this wile.’)

Stephen is there and he is hammered. He has been drinking for 6 hours on an empty stomach, victim of all kinds of frustrations and resentments. He is the wildest of the crew. His heart is full of bitterness – ‘for he had in his bosom a spike named Bitterness which could not by words be done away.’

Further to the numbers mentioned above (3 x 3 x 3), Hugh Kenner points out that it takes Bloom 11 paragraphs to get into the common room; there follow 40 paragraphs of prose pastiches, representing the 40 week gestation of a foetus; and then 11 paragraphs describe the breaking up of the party in the common room and everyone going their separate ways – Bloom and Stephen separately making their way into Nighttown, the red light district of Dublin. So it is another example of Joyce’s favourite rhetorical device, chiasmus: ‘a rhetorical device that reverses the order of words, phrases or ideas in two parallel clauses, creating an A-B-B-A pattern’. In other words, symmetry: 11 opening, 40 central, 11 closing.

The parodies

So the chapter consists of forty paragraphs each one done in the styles of different eras of English prose, presented in chronological order. Apparently, Joyce relied heavily on reference books like Saintsbury’s ‘History of English prose Rhythm’ (1912). To see what happens (if patterns emerge), and as a quick overview you can skim through to get the effect, I’m going to quote the first sentence of all 40:

Before born bliss babe had. Within womb won he worship…
(Anglo-Saxon alliterative prose of Aelfric)

Some man that wayfaring was stood by housedoor at night’s oncoming.
(Anglo-Saxon)

Of that house A. Horne is lord [see Cast, below]. Seventy beds keeps he there teeming mothers are wont that they lie for to thole and bring forth bairns hale so God’s angel to Mary quoth.
(Medieval)

In ward wary the watcher hearing come that man mildhearted eft rising with swire ywimpled to him her gate wide undid…
(Alliterative Middle English of Piers Ploughman)

Loth to irk in Horne’s hall hat holding the seeker [Bloom] stood. On her stow he ere was living with dear wife and lovesome daughter that then over land and seafloor nine years had long outwandered…

As her eyes then ongot his weeds swart therefor sorrow she feared. Glad after she was that ere adread was…

Therefore, everyman, look to that last end that is thy death and the dust that gripeth on every man that is born of woman…

The man that was come in to the house then spoke to the nursingwoman and he asked her how it fared with the woman that lay there in childbed…

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 learningknight yclept Dixon.
(Medieval travel stories from the 1400s)

And in the castle was set a board that was of the birchwood of Finlandy and it was upheld by four dwarfmen of that country but they durst not move more for enchantment.
(Arthurian legend from the 1400s)

And the learning knight let pour for childe Leopold a draught and halp thereto the while all they that were there drank every each..

This meanwhile this good sister stood by the door and begged them at the reverence of Jesu our alther liege Lord to leave their wassailing for there was above one quick with child, a gentle dame, whose time hied fast.

Now let us speak of that fellowship that was there to the intent to be drunken an they might.

For they were right witty scholars. And he heard their aresouns each gen other as touching birth and righteousness…

But sir Leopold was passing grave maugre his word by cause he still had pity of the terrorcausing shrieking of shrill women in their labour and as he was minded of his good lady Marion that had borne him an only manchild which on his eleventh day on live had died and no man of art could save so dark is destiny.

About that present time young Stephen filled all cups that stood empty so as there remained but little mo if the prudenter had not shadowed their approach from him that still plied it very busily who, praying for the intentions of the sovereign pontiff, he gave them for a pledge the vicar of Christ which also as he said is vicar of Bray.
(Elizabethan history chronicles)

Hereupon Punch Costello dinged with his fist upon the board and would sing a bawdy catch Staboo Stabella about a wench that was put in pod of a jolly swashbuckler in Almany which he did straightways now attack… [until Nurse Quigley comes and tells him to stop singing]

To be short this passage was scarce by when Master Dixon of Mary in Eccles, goodly grinning, asked young Stephen what was the reason why he had not cided to take friar’s vows and he answered him obedience in the womb, chastity in the tomb but involuntary poverty all his days….
(Miltonic Latinate prose from the 1600s)

Thereto Punch Costello roared out mainly Etienne chanson but he loudly bid them, lo, wisdom hath built herself a house, this vast majestic longstablished vault, the crystal palace of the Creator, all in applepie order, a penny for him who finds the pea.

A black crack of noise in the street here, alack, bawled back. Loud on left Thor thundered: in anger awful the hammerhurler.

But was young Boasthard’s fear vanquished by Calmer’s words? No, for he had in his bosom a spike named Bitterness which could not by words be done away.
(Religious Allegorical prose of John Bunyan)

This was it what all that company that sat there at commons in Manse of Mothers the most lusted after and if they met with this whore Bird-in-the-Hand (which was within all foul plagues, monsters and a wicked devil) they would strain the last but they would make at her and know her.

So Thursday sixteenth June Patk. Dignam laid in clay of an apoplexy and after hard drought, please God, rained, a bargeman coming in by water a fifty mile or thereabout with turf saying the seed won’t sprout, fields athirst, very sadcoloured and stunk mightily, the quags and tofts too…
(17th century English diarists such as Samuel Pepys)

Lenehan announces that the letter Mr Deasy gave Stephen in chapter 2 has indeed been published in the newspaper which triggers a long discussion about one of the real life issues of the book, the outbreak of foot and mouth disease among Ireland’s cattle and how to treat it.

With this came up Lenehan to the feet of the table to say how the letter was in that night’s gazette and he made a show to find it about him (for he swore with an oath that he had been at pains about it) but on Stephen’s persuasion he gave over the search and was bidden to sit near by which he did mighty brisk.
(English journalist Daniel Defoe)

Enter Buck Mulligan and Alec Bannon. They’ve been caught in a shower of rain.

Our worthy acquaintance Mr Malachi Mulligan now appeared in the doorway as the students were finishing their apologue accompanied with a friend whom he had just rencountered, a young gentleman, his name Alec Bannon, who had late come to town, it being his intention to buy a colour or a cornetcy in the fencibles and list for the wars.
(Early 1700s periodical essays in the style of the Tatler and Spectator)

Mulligan presents a farcical plan to set up a hospital to inseminate women wanting a baby.

He proposed to set up there a national fertilising farm to be named Omphalos with an obelisk hewn and erected after the fashion of Egypt and to offer his dutiful yeoman services for the fecundation of any female of what grade of life soever who should there direct to him with the desire of fulfilling the functions of her natural. Money was no object, he said, nor would he take a penny for his pains.

He’s gone so far as to have a card printed:

Whereat he handed round to the company a set of pasteboard cards which he had had printed that day at Mr Quinnell’s bearing a legend printed in fair italics: Mr Malachi Mulligan. Fertiliser and Incubator. Lambay Island.

After which he is referred to by various jokey names such as Le Fécondateur. Back to the first sentences of each paragraph:

Valuing himself not a little upon his elegance, being indeed a proper man of person, this talkative now applied himself to his dress with animadversions of some heat upon the sudden whimsy of the atmospherics while the company lavished their encomiums upon the project he had advanced.
(18th century Anglo-Irish novelist and clergyman Laurence Sterne)

Amid the general vacant hilarity of the assembly a bell rang and, while all were conjecturing what might be the cause, Miss Callan entered and, having spoken a few words in a low tone to young Mr Dixon, retired with a profound bow to the company…
(18th century Anglo-Irish novelist, poet, and playwright Oliver Goldsmith)

At this point Nurse Callan comes to announce that Mrs Purefoy has finally had her child:

The young surgeon [Dixon], however, rose and begged the company to excuse his retreat as the nurse had just then informed him that he was needed in the ward. Merciful providence had been pleased to put a period to the sufferings of the lady who was enceinte which she had borne with a laudable fortitude and she had given birth to a bouncing boy.

After Nurse Callan leaves, Costello makes rude comments about her which triggers Dixon to make a long facetious defence of her honour and womanhood.

To revert to Mr Bloom who, after his first entry, had been conscious of some impudent mocks which he however had borne with as being the fruits of that age upon which it is commonly charged that it knows not pity…
(18th century Anglo-Irish philosopher Edmund Burke)

But with what fitness, let it be asked of the noble lord, his patron, has this alien, whom the concession of a gracious prince has admitted to civic rights, constituted himself the lord paramount of our internal polity?
(18th century satirist Junius)

This is a paragraph unexpectedly containing sustained criticism of Bloom, including his penchant for masturbation: ‘A habit reprehensible at puberty is second nature and an opprobrium in middle life’ and ticks him off for flirting with the serving girl Gerty when he has a fine wife at home, ‘Has he not nearer home a seedfield that lies fallow for the want of the ploughshare?’ and again: ‘The lewd suggestions of some faded beauty may console him for a consort neglected and debauched…’

The news was imparted with a circumspection recalling the ceremonial usage of the Sublime Porte by the second female infirmarian to the junior medical officer in residence, who in his turn announced to the delegation that an heir had been born…
(Philosophical historian Edward Gibbon)

Then a parody of Gothic:

But Malachias’ tale began to freeze them with horror. He conjured up the scene before them…
(Gothic novelist Horace Walpole)

This deals with the sudden appearance of the Englishman Haines in the common room. He’s come to tell Mulligan to meet him at the Westland Row station at 11.10pm to catch the last train back to Sandymount (location of the Martello Tower) and get back to the Martello Tower.

What is the age of the soul of man? As she hath the virtue of the chameleon to change her hue at every new approach, to be gay with the merry and mournful with the downcast, so too is her age changeable as her mood…
(Romantic essayist Charles Lamb)

Bloom reminisces about losing his virginity to Bridie Kelly, a symbol of fruitless sterile sexual encounters, compared with inseminating Molly and the next two paragraphs continue Bloom’s thoughts.

The voices blend and fuse in clouded silence: silence that is the infinite of space: and swiftly, silently the soul is wafted over regions of cycles of generations that have lived…
(Romantic essayist Thomas De Quincey)

Onward to the dead sea they tramp to drink, unslaked and with horrible gulpings, the salt somnolent inexhaustible flood.

The next one cuts to Stephen and a query about old schoolfriends triggers an important statement of the power of the author to conjure up characters.

Francis [Costello] was reminding Stephen of years before when they had been at school together in Conmee’s time. He asked about Glaucon, Alcibiades, Pisistratus. Where were they now? Neither knew. You have spoken of the past and its phantoms, Stephen said. Why think of them? If I call them into life across the waters of Lethe will not the poor ghosts troop to my call? Who supposes it? I, Bous Stephanoumenos, bullockbefriending bard, am lord and giver of their life.
(In the style of Walter Savage Landor’s ‘Imaginary Conversations’)

‘Bullockbefriending bard’ being the joke nickname he imagines funny Buck Mulligan giving him after he’s told him about the letter from Deasy about foot and mouth disease. But also continuing the theme of oxen of the sun, and the cock and bull joke thread. In fact this paragraph evolves away into a detailed description of the Gold Cup race in which Lenahan and others lost money when the outsider Throwaway won in the final furlongs.

However, as a matter of fact though, the preposterous surmise about him being in some description of a doldrums or other or mesmerised which was entirely due to a misconception of the shallowest character, was not the case at all…
(Essayist and historian Thomas Babington Macaulay)

The debate which ensued was in its scope and progress an epitome of the course of life. Neither place nor council was lacking in dignity. The debaters were the keenest in the land, the theme they were engaged on the loftiest and most vital. The high hall of Horne’s house had never beheld an assembly so representative and so varied nor had the old rafters of that establishment ever listened to a language so encyclopaedic…

Which of course refers to this chapter, this text itself, with its encyclopedic ambition.

It had better be stated here and now at the outset that the perverted transcendentalism to which Mr S. Dedalus’ (Div. Scep.) contentions would appear to prove him pretty badly addicted runs directly counter to accepted scientific methods…
(Biologist and essayist Thomas Henry Huxley)

Meanwhile the skill and patience of the physician had brought about a happy accouchement. It had been a weary weary while both for patient and doctor. All that surgical skill could do was done and the brave woman had manfully helped…
(Charles Dickens)

There are sins or (let us call them as the world calls them) evil memories which are hidden away by man in the darkest places of the heart but they abide there and wait…
(Cardinal Newman)

The stranger still regarded on the face before him a slow recession of that false calm there, imposed, as it seemed, by habit or some studied trick, upon words so embittered as to accuse in their speaker an unhealthiness, a flair, for the cruder things of life…
(English essayist Walter Pater)

Mark this farther and remember. The end comes suddenly. Enter that antechamber of birth where the studious are assembled and note their faces. Nothing, as it seems, there of rash or violent.
(Art critic John Ruskin)

After a lull, Stephen suggests they leave the hospital and move on to a local pub:

Burke’s! outflings my lord Stephen, giving the cry, and a tag and bobtail of all them after, cockerel, jackanapes, welsher, pilldoctor, punctual Bloom at heels with a universal grabbing at headgear, ashplants, bilbos, Panama hats and scabbards, Zermatt alpenstocks and what not…
(Scottish essayist and satirist Thomas Carlyle)

And they pile out of the boozy common room and into a corridor of the hospital.

Nurse Callan taken aback in the hallway cannot stay them nor smiling surgeon coming downstairs with news of placentation ended… The door! It is open? Ha! They are out, tumultuously, off for a minute’s race, all bravely legging it…

Only Bloom pauses to tell the nurse to give his best wishes to the mother, and then asks Nurse Callan: ‘Madam, when comes the storkbird for thee?’

The air without is impregnated with raindew moisture, life essence celestial, glistening on Dublin stone there under starshiny coelum. God’s air, the Allfather’s air, scintillant circumambient cessile air. Breathe it deep into thee.

Coda

The procession of historical parodies having (apparently) reached the present day, as the drunken crew bursts out into the night air, the text disintegrates into drunken chaos, barely comprehensible. As stated at the start, this collapse of thought and expression into complete chaos is Joyce’s equivalent of the annihilation of Odysseus’s sailors by the angry gods, in Homer.

All off for a buster, armstrong, hollering down the street. Bonafides. Where you slep las nigh? Timothy of the battered naggin. Like ole Billyo. Any brollies or gumboots in the fambly? Where the Henry Nevil’s sawbones and ole clo? Sorra one o’ me knows.

You need a guide to understand almost all of this. As well as the Homeric parallel, maybe it’s also intended to reflect the atmosphere of a packed pub in central Dublin near to closing time?

Query. Who’s astanding this here do? Proud possessor of damnall. Declare misery. Bet to the ropes. Me nantee saltee. Not a red at me this week gone. Yours?

Hurroo! Collar the leather, youngun. Roun wi the nappy. Here, Jock braw Hielentman’s your barleybree. Lang may your lum reek and your kailpot boil!

Waiting, guvnor? Most deciduously. Bet your boots on. Stunned like, seeing as how no shiners is acoming. Underconstumble? He’ve got the chink ad lib.

’Tis, sure. What say? In the speakeasy. Tight. I shee you, shir. Bantam, two days teetee. Bowsing nowt but claretwine. Garn!

You move a motion? Steve boy, you’re going it some. More bluggy drunkables? Will immensely splendiferous stander permit one stooder of most extreme poverty and one largesize grandacious thirst to terminate one expensive inaugurated libation? Give’s a breather. Landlord, landlord, have you good wine, staboo?

think closing time comes to the pub and everyone’s chucked out onto the street:

Closingtime, gents. Eh?… Bonsoir la compagnie… Where’s the buck and Namby Amby?Skunked? Leg bail. Aweel, ye maun e’en gang yer gates. Checkmate. King to tower.

‘King to tower’ meaning Buck Mulligan has left the group to catch the last tram back to his Martello tower.

Golly, whatten tunket’s yon guy in the mackintosh? Dusty Rhodes. Peep at his wearables. By mighty! What’s he got? Jubilee mutton. Bovril, by James.

Your attention! We’re nae tha fou. The Leith police dismisseth us. The least tholice. Ware hawks for the chap puking. Unwell in his abominable regions. Yooka. Night. Mona, my true love. Yook. Mona, my own love. Ook.

Which Hugh Kenner annotates: ‘The Leith police dismisseth us’ is a test the police administer to late night revellers to test how drunk they are. And Yooka, yook and ook are Joyce’s words for someone puking.

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 which Pflaaaap! indicates a clap of thunder. In other words this is an ironic (and quite submerged) reference to the thunder and lightning Zeus sent after the departing Odysseus and his men after they had slaughtered the sun god’s cattle (see above).

The final paragraph indicates that drunk Stephen persuades drunk Lynch to accompany him to Nighttown, Dublin’s red light district, to seek out a brothel:

Lynch! Hey? Sign on long o’ me. Denzille lane this way. Change here for Bawdyhouse. We two, she said, will seek the kips where shady Mary is. Righto, any old time…

And so off they stagger towards the next chapter, ‘Circe’:

Come on you winefizzling, ginsizzling, booseguzzling existences! Come on, you dog-gone, bullnecked, beetlebrowed, hogjowled, peanutbrained, weaseleyed fourflushers, false alarms and excess baggage! Come on, you triple extract of infamy!

Cast

The group of drinkers are listed several times, in different voices, in styles appropriate to the era being parodied:

So were they all in their blind fancy, Mr Cavil and Mr Sometimes Godly, Mr Ape Swillale, Mr False Franklin, Mr Dainty Dixon, Young Boasthard and Mr Cautious Calmer.

Leop. Bloom of Crawford’s journal sitting snug with a covey of wags, likely brangling fellows, Dixon jun., scholar of my lady of Mercy’s, Vin. Lynch, a Scots fellow, Will. Madden, T. Lenehan, very sad about a racer he fancied and Stephen D. Leop. Bloom there for a languor he had but was now better

As to individual characters in the chapter:

Leopold Bloom – ‘Mr Canvasser Bloom’, ‘staid agent of publicity and holder of a modest substance in the funds’, the main protagonist of ‘Ulysses’. The Oxen of the Sun directly follows Nausicaa in which Bloom was on the beach at Sandymount Strand outside Dublin and had a sexual encounter with a young woman he’d never met before (he masturbates while she, from a distance, shows him her stockinged legs and knickers).

In the gap between the two chapters he catches a tram back into central Dublin and walks to the maternity hospital in Holles Street because he’s concerned for a family friend, Mina Purefoy, who’s been in labour for several days. Here a doctor he knows, Dr Dixon, recognises him and invites him to join a drinking party in the doctors’ common room. Here half a dozen lads-about-town are having a riotous party, led by young Stephen Dedalus who Bloom has heard about but never met.

It was now for more than the middle span of our allotted years [i.e. past 35] that he had passed through the thousand vicissitudes of existence and, being of a wary ascendancy and a man of rare forecast he had enjoined his heart to repress all motions of a rising choler and, by intercepting them with the readiest precaution, foster within his breast that plenitude of sufferance which base minds jeer at..

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

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

Dr Dixon – 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.

Vincent Lynch – friend of Stephen’s when they were students. Recipient of Stephen’s long disquisition about aesthetics in ‘Portrait’, now just another drunk medical student – ‘Lynch whose countenance bore already the stigmata of early depravity and premature wisdom.’

Lenehan – ‘He was a kind of sport gentleman that went for a merryandrew or honest pickle and what belonged of women, horseflesh or hot scandal he had it pat. To tell the truth he was mean in fortunes and for the most part hankered about the coffeehouses and low taverns with crimps, ostlers, bookies, Paul’s men, runners, flatcaps, waistcoateers, ladies of the bagnio and other rogues of the game or with a chanceable catchpole or a tipstaff often at nights till broad day of whom he picked up between his sackpossets much loose gossip.’

Crotthers – ‘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 – ‘the squat form of Madden’ another drunk medical student.

Stephen Dedalus – ‘of all them, reserved young Stephen, he was the most drunken that demanded still of more mead’ – ‘he was of a wild manner when he was drunken’ – ‘so grieved he [Bloom] also in no less measure for young Stephen for that he lived riotously with those wastrels and murdered his goods with whores.’ Stephen is very drunk and dominates the table with a series of facetiously learned disquisitions. He is very frustrated that after his clever Shakespeare presentation at the National Library it was flashy, superficial Mulligan who was invited to a soirée at the home of Irish writer George Moore (4 Upper Ely Place, just a few blocks from the maternity hospital). Using his wits to entertain drunk medical students is a pitiful waste of his god-given gifts.

Suddenly I realised that Stephen isn’t Hamlet, as he fancies himself to be. He is young Prince Harry, son of Henry IV, isn’t he? An educated man wasting his days hanging round with lowlifes and routinely getting trolleyed – except, unlike young Prince Hal, Stephen has no kingdom to inherit to redeem himself.

Frank ‘Punch’ Costello – ‘Costello, the eccentric’ – ‘From a child this Frank had been a donought that his father, a headborough, who could ill keep him to school to learn his letters and the use of the globes, matriculated at the university to study the mechanics but he took the bit between his teeth like a raw colt and was more familiar with the justiciary and the parish beadle than with his volumes. One time he would be a playactor, then a sutler or a welsher, then nought would keep him from the bearpit and the cocking main, then he was for the ocean sea or to hoof it on the roads with the romany folk, kidnapping a squire’s heir by favour of moonlight or fecking maids’ linen or choking chicken behind a hedge.’

Malachi Buck Mulligan – ‘the primrose elegance and townbred manners of Malachi Roland St John Mulligan’. Comes fresh from a literary soiree at the house of George Moore which Stephen jealously wishes he had been invited to. ‘Valuing himself not a little upon his elegance, being indeed a proper man of person’ he wears a primrose vest. His coat is spotted with rain because they were caught in a shower. Eternal joker.

Alec Bannon – ‘the figure of Bannon in explorer’s kit of tweed shorts and salted cowhide brogues’ – in ‘Calypso’ we learned that he is dating Bloom’s daughter, Milly, from a letter she sent him (Bloom)

Nurse Callan – a nurse working at the National Maternity Hospital on Holles Street. She is an acquaintance of Leopold Bloom who opens the gate for him and provides updates on Mina Purefoy’s difficult, three-day labour.

Haines – the Englishman, staying with Buck Mulligan in the Martello Tower. Terrified Stephen overnight with his nightmare shoutings, then in the morning insulted him with his casual English dismissal of our mistreatment of Ireland for centuries.

Bridie Kelly – young working class woman Bloom lost his virginity to and reminisces about here (she also appears in Circe and Eumaeus), in one of the Gothic paragraphs described as ‘the bride of darkness, a daughter of night’.


Credit

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

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