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<p><a href=\"http://www.joyceproject.com/notes/170003parallelcourses.htm\">What parallel courses did Bloom and Stephen follow</a> <a href=\"http://www.joyceproject.com/notes/170007returning.htm\">returning</a>?</p>
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<p>What parallel courses did Bloom and Stephen follow returning?</p>
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<p>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, north: then, at reduced pace with interruptions of halt, bearing right, Temple street, north, as far as Hardwicke place. Approaching, disparate, at relaxed walking pace they crossed both the circus before George's church diametrically, the chord in any circle being less than the arc which it subtends.</p>
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<p>Of what did the duumvirate deliberate during their itinerary?</p>
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<p>Music, literature, Ireland, Dublin, Paris, friendship, woman, prostitution, diet, the influence of gaslight or the light of arc and glowlamps on the growth of adjoining paraheliotropic trees, exposed corporation emergency dustbuckets, the Roman catholic church, ecclesiastical celibacy, the Irish nation, jesuit education, careers, the study of medicine, the past day, the maleficent influence of the presabbath, Stephen's collapse.</p>
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<p>Did Bloom discover common factors of similarity between their respective like and unlike reactions to experience?</p>
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<p>Both were sensitive to artistic impressions musical in preference to plastic or pictorial. Both preferred a continental to an insular manner of life, a cisatlantic to a transatlantic place of residence. Both indurated by early domestic training and an inherited tenacity of heterodox resistance professed their disbelief in many orthodox religious, national, social and ethical doctrines. Both admitted the alternately stimulating and obtunding influence of heterosexual magnetism.</p>
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<p>Were their views on some points divergent?</p>
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<p>Stephen dissented openly from Bloom's views on the importance of dietary and civic selfhelp while Bloom dissented tacitly from Stephen's views on the eternal affirmation of the spirit of man in literature. Bloom assented covertly to Stephen's rectification of the anachronism involved in assigning the date of the conversion of the Irish nation to christianity from druidism by Patrick son of Calpornus, son of Potitus, son of Odyssus, sent by pope Celestine I in the year 432 in the reign of Leary to the year 260 or thereabouts in the reign of Cormac MacArt († 266 A.D.), suffocated by imperfect deglutition of aliment at Sletty and interred at Rossnaree. The collapse which Bloom ascribed to gastric inanition and certain chemical compounds of varying degrees of adulteration and alcoholic strength, accelerated by mental exertion and the velocity of rapid circular motion in a relaxing atmosphere, Stephen attributed to the reapparition of a matutinal cloud (perceived by both from two different points of observation, Sandycove and Dublin) at first no bigger than a woman's hand.</p>
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<p>Was there one point on which their views were equal and negative?</p>
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<p>The influence of gaslight or electric light on the growth of adjoining paraheliotropic trees.</p>
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<p>Had Bloom discussed similar subjects during nocturnal perambulations in the past?</p>
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<p>In 1884 with Owen Goldberg and Cecil Turnbull at night on public thoroughfares between Longwood avenue and Leonard's corner and Leonard's corner and Synge street and Synge street and Bloomfield avenue. In 1885 with Percy Apjohn in the evenings, reclined against the wall between Gibraltar villa and Bloomfield house in Crumlin, barony of Uppercross. In 1886 occasionally with casual acquaintances and prospective purchasers on doorsteps, in front parlours, in third class railway carriages of suburban lines. In 1888 frequently with major Brian Tweedy and his daughter Miss Marion Tweedy, together and separately on the lounge in Matthew Dillon's house in Roundtown. Once in 1892 and once in 1893 with Julius Mastiansky, on both occasions in the parlour of his (Bloom's) house in Lombard street, west.</p>
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<p>What reflection concerning the irregular sequence of dates 1884, 1885, 1886, 1888, 1892, 1893, 1904 did Bloom make before their arrival at their destination?</p>
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<p>He reflected that the progressive extension of the field of individual development and experience was regressively accompanied by a restriction of the converse domain of interindividual relations.</p>
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<p>As in what ways?</p>
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<p>From inexistence to existence he came to many and was as one received: existence with existence he was with any as any with any: from existence to nonexistence gone he would be by all as none perceived.</p>
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<p>What action did Bloom make on their arrival at their destination?</p>
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<p>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.</p>
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<p>Was it there?</p>
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<p>It was in the corresponding pocket of the trousers which he had worn on the day but one preceding.</p>
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<p>Why was he doubly irritated?</p>
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<p>Because he had forgotten and because he remembered that he had reminded himself twice not to forget.</p>
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<p>What were then the alternatives before the, premeditatedly (respectively) and inadvertently, keyless couple?</p>
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<p>To enter or not to enter. To knock or not to knock.</p>
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<p>Bloom's decision?</p>
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<p>A stratagem. Resting his feet on the dwarf wall, he climbed over the area railings, compressed his hat on his head, grasped two points at the lower union of rails and stiles, lowered his body gradually by its length of five feet nine inches and a half to within two feet ten inches of the area pavement and allowed his body to move freely in space by separating himself from the railings and crouching in preparation for the impact of the fall.</p>
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<p>Did he fall?</p>
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<p>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 indication 2, Julian period 6617, MXMIV.</p>
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<p>Did he rise uninjured by concussion?</p>
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<p>Regaining new stable equilibrium he rose uninjured though concussed by the impact, raised the latch of the area door by the exertion of force at its freely moving flange and by leverage of the first kind applied at its fulcrum, gained retarded access to the kitchen through the subadjacent scullery, ignited a lucifer match by friction, set free inflammable coal gas by turning on the ventcock, lit a high flame which, by regulating, he reduced to quiescent candescence and lit finally a portable candle.</p>
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<p>What discrete succession of images did Stephen meanwhile perceive?</p>
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<p>Reclined against the area railings he perceived through the transparent kitchen panes a man regulating a gasflame of 14 CP, a man lighting a candle, a man removing in turn each of his two boots, a man leaving the kitchen holding a candle of 1 CP.</p>
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<p>Did the man reappear elsewhere?</p>
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<p>After a lapse of four minutes the glimmer of his candle was discernible through the semitransparent semicircular glass fanlight over the halldoor. The halldoor turned gradually on its hinges. In the open space of the doorway the man reappeared without his hat, with his candle.</p>
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<p>Did Stephen obey his sign?</p>
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<p>Yes, entering softly, he helped to close and chain the door and followed softly along the hallway the man's back and listed feet and lighted candle past a lighted crevice of doorway on the left and carefully down a turning staircase of more than five steps into the kitchen of Bloom's house.</p>
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<p>What did Bloom do?</p>
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<p>He extinguished the candle by a sharp expiration of breath upon its flame, drew two spoonseat deal chairs to the hearthstone, one for Stephen with its back to the area window, the other for himself when necessary, knelt on one knee, composed in the grate a pyre of crosslaid resintipped sticks and various coloured papers and irregular polygons of best Abram coal at twentyone shillings a ton from the yard of Messrs Flower and M'Donald of 14 D'Olier street, kindled it at three projecting points of paper with one ignited lucifer match, thereby releasing the potential energy contained in the fuel by allowing its carbon and hydrogen elements to enter into free union with the oxygen of the air.</p>
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<p>Of what similar apparitions did Stephen think?</p>
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<p>Of others elsewhere in other times who, kneeling on one knee or on two, had kindled fires for him, of Brother Michael in the infirmary of the college of the Society of Jesus at Clongowes Wood, Sallins, in the county of Kildare: of his father, Simon Dedalus, in an unfurnished room of his first residence in Dublin, number thirteen Fitzgibbon street: of his godmother Miss Kate Morkan in the house of her dying sister Miss Julia Morkan at 15 Usher's Island: of his mother Mary, wife of Simon Dedalus, in the kitchen of number twelve North Richmond street on the morning of the feast of Saint Francis Xavier 1898: of the dean of studies, Father Butt, in the physics' theatre of university College, 16 Stephen's Green, north: of his sister Dilly (Delia) in his father's house in Cabra.</p>
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<p>What did Stephen see on raising his gaze to the height of a yard from the fire towards the opposite wall?</p>
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<p>Under a row of five coiled spring housebells a curvilinear rope, stretched between two holdfasts athwart across the recess beside the chimney pier, from which hung four smallsized square handkerchiefs folded unattached consecutively in adjacent rectangles and one pair of ladies' grey hose with Lisle suspender tops and feet in their habitual position clamped by three erect wooden pegs two at their outer extremities and the third at their point of junction.</p>
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<p>What did Bloom see on the range?</p>
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<p>On the right (smaller) hob a blue enamelled saucepan: on the left (larger) hob a black iron kettle.</p>
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<p>What did Bloom do at the range?</p>
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<p>He removed the saucepan to the left hob, rose and carried the iron kettle to the sink in order to tap the current by turning the faucet to let it flow.</p>
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<p>Did it flow?</p>
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<p>Yes. From Roundwood reservoir in county Wicklow of a cubic capacity of 2.400 million gallons, percolating through a subterranean aqueduct of filtre mains of single and double pipeage constructed at an initial plant cost of £ 5 per linear yard by way of the Dargle, Rathdown, Glen of the Downs and Callowhill to the 26 acre reservoir at Stillorgan, a distance of 22 statute miles, and thence, through a system of relieving tanks, by a gradient of 250 feet to the city boundary at Eustace bridge, upper Leeson street, though from prolonged summer drouth and daily supply of 12 1/2 million gallons the water had fallen below the sill of the overflow weir for which reason the borough surveyor and waterworks engineer, Mr Spencer Harty, C. E., on the instructions of the waterworks committee had prohibited the use of municipal water for purposes other than those of consumption (envisaging the possibility of recourse being had to the impotable water of the Grand and Royal canals as in 1893) particularly as the South Dublin Guardians, notwithstanding their ration of 15 gallons per day per pauper supplied through a 6 inch meter, had been convicted of a wastage of 20.000 gallons per night by a reading of their meter on the affirmation of the law agent of the corporation, Mr Ignatius Rice, solicitor, thereby acting to the detriment of another section of the public, selfsupporting taxpayers, solvent, sound.</p>
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<p>What in water did Bloom, waterlover, drawer of water, watercarrier, returning to the range, admire?</p>
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<p>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 8.000 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.</p>
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<p>Having set the halffilled kettle on the now burning coals, why did he return to the stillflowing tap?</p>
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<p>To wash his soiled hands with a partially consumed tablet of Barrington's lemonflavoured soap, to which paper still adhered, (bought thirteen hours previously for fourpence and still unpaid for), in fresh cold neverchanging everchanging water and dry them, face and hands, in a long redbordered holland cloth passed over a wooden revolving roller.</p>
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<p>What reason did Stephen give for declining Bloom's offer?</p>
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<p>That he was hydrophobe, hating partial contact by immersion or total by submersion in cold water, (his last bath having taken place in the month of October of the preceding year), disliking the aqueous substances of glass and crystal, distrusting aquacities of thought and language.</p>
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<p>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?</p>
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<p>The incompatibility of aquacity with the erratic originality of genius.</p>
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<p>What additional didactic counsels did he similarly repress?</p>
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<p>Dietary: concerning the respective percentage of protein and caloric energy in bacon, salt ling and butter, the absence of the former in the lastnamed and the abundance of the latter in the firstnamed.</p>
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<p>Which seemed to the host to be the predominant qualities of his guest?</p>
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<p>Confidence in himself, an equal and opposite power of abandonment and recuperation.</p>
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<p>What concomitant phenomenon took place in the vessel of liquid by the agency of fire?</p>
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<p>The phenomenon of ebullition. Fanned by a constant updraught of ventilation between the kitchen and the chimneyflue, ignition was communicated from the faggots of precombustible fuel to polyhedral masses of bituminous coal, containing in compressed mineral form the foliated fossilised decidua of primeval forests which had in turn derived their vegetative existence from the sun, primal source of heat (radiant), transmitted through omnipresent luminiferous diathermanous ether. Heat (convected), a mode of motion developed by such combustion, was constantly and increasingly conveyed from the source of calorification to the liquid contained in the vessel, being radiated through the uneven unpolished dark surface of the metal iron, in part reflected, in part absorbed, in part transmitted, gradually raising the temperature of the water from normal to boiling point, a rise in temperature expressible as the result of an expenditure of 72 thermal units needed to raise 1 pound of water from 50° to 212° Fahrenheit.</p>
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<p>What announced the accomplishment of this rise in temperature?</p>
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<p>A double falciform ejection of water vapour from under the kettlelid at both sides simultaneously.</p>
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<p>For what personal purpose could Bloom have applied the water so boiled?</p>
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<p>To shave himself.</p>
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<p>What advantages attended shaving by night?</p>
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<p>A softer beard: a softer brush if intentionally allowed to remain from shave to shave in its agglutinated lather: a softer skin if unexpectedly encountering female acquaintances in remote places at incustomary hours: quiet reflections upon the course of the day: a cleaner sensation when awaking after a fresher sleep since matutinal noises, premonitions and perturbations, a clattered milkcan, a postman's double knock, a paper read, reread while lathering, relathering the same spot, a shock, a shoot, with thought of aught he sought though fraught with nought might cause a faster rate of shaving and a nick on which incision plaster with precision cut and humected and applied adhered: which was to be done.</p>
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<p>Why did absence of light disturb him less than presence of noise?</p>
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<p>Because of the surety of the sense of touch in his firm full masculine feminine passive active hand.</p>
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<p>What quality did it (his hand) possess but with what counteracting influence?</p>
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<p>The operative surgical quality but that he was reluctant to shed human blood even when the end justified the means, preferring, in their natural order, heliotherapy, psychophysicotherapeutics, osteopathic surgery.</p>
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<p>What lay under exposure on the lower, middle and upper shelves of the kitchen dresser, opened by Bloom?</p>
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<p>On the lower shelf five vertical breakfast plates, six horizontal breakfast saucers on which rested inverted breakfast cups, a moustachecup, uninverted, and saucer of Crown Derby, four white goldrimmed eggcups, an open shammy purse displaying coins, mostly copper, and a phial of aromatic violet comfits. On the middle shelf a chipped eggcup containing pepper, a drum of table salt, four conglomerated black olives in oleaginous paper, an empty pot of Plumtree's potted meat, an oval wicker basket bedded with fibre and containing one Jersey pear, a halfempty bottle of William Gilbey and Co's white invalid port, half disrobed of its swathe of coralpink tissue paper, a packet of Epps's soluble cocoa, five ounces of Anne Lynch's choice tea at 2/- per lb. in a crinkled leadpaper bag, a cylindrical canister containing the best crystallised lump sugar, two onions, one, the larger, Spanish, entire, the other, smaller, Irish, bisected with augmented surface and more redolent, a jar of Irish Model Dairy's cream, a jug of brown crockery containing a naggin and a quarter of soured adulterated milk, converted by heat into water, acidulous serum and semisolidified curds, which added to the quantity subtracted for Mr Bloom's and Mrs Fleming's breakfasts, made one imperial pint, the total quantity originally delivered, two cloves, a halfpenny and a small dish containing a slice of fresh ribsteak. On the upper shelf a battery of jamjars of various sizes and proveniences.</p>
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<p>What attracted his attention lying on the apron of the dresser?</p>
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<p>Four polygonal fragments of two lacerated scarlet betting tickets, numbered 8 87, 8 86.</p>
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<p>What reminiscences temporarily corrugated his brow?</p>
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<p>Reminiscences of coincidences, truth stranger than fiction, preindicative of the result of the Gold Cup flat handicap, the official and definitive result of which he had read in the <em>Evening Telegraph</em>, late pink edition, in the cabman's shelter, at Butt bridge.</p>
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<p>Where had previous intimations of the result, effected or projected, been received by him?</p>
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<p>In Bernard Kiernan's licensed premises 8, 9 and 10 little Britain street: in David Byrne's licensed premises, 14 Duke street: in O'Connell street lower, outside Graham Lemon's when a dark man had placed in his hand a throwaway (subsequently thrown away), advertising Elijah, restorer of the church in Zion: in Lincoln place outside the premises of F. W. Sweny and Co (Limited), dispensing chemists, when, when Frederick M. (Bantam) Lyons had rapidly and successively requested, perused and restituted the copy of the current issue of the <em>Freeman's Journal and National Press</em> which he had been about to throw away (subsequently thrown away), he had proceeded towards the oriental edifice of the Turkish and Warm Baths, 11 Leinster street, with the light of inspiration shining in his countenance and bearing in his arms the secret of the race, graven in the language of prediction.</p>
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<p>What qualifying considerations allayed his perturbations?</p>
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<p>The difficulties of interpretation since the significance of any event followed its occurrence as variably as the acoustic report followed the electrical discharge and of counterestimating against an actual loss by failure to interpret the total sum of possible losses proceeding originally from a successful interpretation.</p>
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<p>His mood?</p>
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<p>He had not risked, he did not expect, he had not been disappointed, he was satisfied.</p>
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<p>What satisfied him?</p>
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<p>To have sustained no positive loss. To have brought a positive gain to others. Light to the gentiles.</p>
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<p>How did Bloom prepare a collation for a gentile?</p>
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<p>He poured into two teacups two level spoonfuls, four in all, of Epps's soluble cocoa and proceeded according to the directions for use printed on the label, to each adding after sufficient time for infusion the prescribed ingredients for diffusion in the manner and in the quantity prescribed.</p>
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<p>What supererogatory marks of special hospitality did the host show his guest?</p>
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<p>Relinquishing his symposiarchal right to the moustache cup of imitation Crown Derby presented to him by his only daughter, Millicent (Milly), he substituted a cup identical with that of his guest and served extraordinarily to his guest and, in reduced measure, to himself the viscous cream ordinarily reserved for the breakfast of his wife Marion (Molly).</p>
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<p>Was the guest conscious of and did he acknowledge these marks of hospitality?</p>
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<p>His attention was directed to them by his host jocosely, and he accepted them seriously as they drank in jocoserious silence Epps's massproduct, the creature cocoa.</p>
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<p>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?</p>
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<p>The reparation of a fissure of the length of 1 1/2 inches in the right side of his guest's jacket. A gift to his guest of one of the four lady's handkerchiefs, if and when ascertained to be in a presentable condition.</p>
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<p>Who drank more quickly?</p>
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<p>Bloom, having the advantage of ten seconds at the initiation and taking, from the concave surface of a spoon along the handle of which a steady flow of heat was conducted, three sips to his opponent's one, six to two, nine to three.</p>
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<p>What cerebration accompanied his frequentative act?</p>
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<p>Concluding by inspection but erroneously that his silent companion was engaged in mental composition he reflected on the pleasures derived from literature of instruction rather than of amusement as he himself had applied to the works of William Shakespeare more than once for the solution of difficult problems in imaginary or real life.</p>
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<p>Had he found their solution?</p>
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<p>In spite of careful and repeated reading of certain classical passages, aided by a glossary, he had derived imperfect conviction from the text, the answers not bearing in all points.</p>
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<p>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 <em>Shamrock</em>, a weekly newspaper?</p>
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<p><em>An ambition to squint</em><br>
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<em>At my verses in print</em><br>
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<em>Makes me hope that for these you'll find room</em><br>
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<em>If you so condescend</em><br>
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<em>Then please place at the end</em><br>
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<em>The name of yours truly, L. Bloom.</em></p>
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<p>Did he find four separating forces between his temporary guest and him?</p>
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<p>Name, age, race, creed.</p>
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<p>What anagrams had he made on his name in youth?</p>
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<p>Leopold Bloom</p>
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<p>Ellpodbomool</p>
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<p>Molldopeloob</p>
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<p>Bollopedoom</p>
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<p>Old Ollebo, M. P.</p>
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<p>What acrostic upon the abbreviation of his first name had he (kinetic poet) sent to Miss Marion (Molly) Tweedy on the 14 February 1888?</p>
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<p><em>Poets oft have sung in rhyme</em><br>
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<em>Of music sweet their praise divine.</em><br>
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<em>Let them hymn it nine times nine.</em><br>
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<em>Dearer far than song or wine.</em><br>
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<em>You are mine. The world is mine.</em></p>
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<p>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 <em>If Brian Boru could but come back and see old Dublin now</em>, 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 <em>Sinbad the Sailor</em> (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?</p>
|
||||
<p>Firstly, oscillation between events of imperial and of local interest, the anticipated diamond jubilee of Queen Victoria (born 1820, acceded 1837) and the posticipated opening of the new municipal fish market: secondly, apprehension of opposition from extreme circles on the questions of the respective visits of Their Royal Highnesses the duke and duchess of York (real) and of His Majesty King Brian Boru (imaginary): thirdly, a conflict between professional etiquette and professional emulation concerning the recent erections of the Grand Lyric Hall on Burgh Quay and the Theatre Royal in Hawkins street: fourthly, distraction resultant from compassion for Nelly Bouverist's non-intellectual, non-political, non-topical expression of countenance and concupiscence caused by Nelly Bouverist's revelations of white articles of non-intellectual, non-political, non-topical underclothing while she (Nelly Bouverist) was in the articles: fifthly, the difficulties of the selection of appropriate music and humorous allusions from <em>Everybody's Book of Jokes</em> (1000 pages and a laugh in every one): sixthly, the rhymes, homophonous and cacophonous, associated with the names of the new lord mayor, Daniel Tallon, the new high sheriff, Thomas Pile and the new solicitorgeneral, Dunbar Plunket Barton.</p>
|
||||
<p>What relation existed between their ages?</p>
|
||||
<p>16 years before in 1888 when Bloom was of Stephen's present age Stephen was 6. 16 years after in 1920 when Stephen would be of Bloom's present age Bloom would be 54. In 1936 when Bloom would be 70 and Stephen 54 their ages initially in the ratio of 16 to 0 would be as 17 1/2 to 13 1/2, the proportion increasing and the disparity diminishing according as arbitrary future years were added, for if the proportion existing in 1883 had continued immutable, conceiving that to be possible, till then 1904 when Stephen was 22 Bloom would be 374 and in 1920 when Stephen would be 38, as Bloom then was, Bloom would be 646 while in 1952 when Stephen would have attained the maximum postdiluvian age of 70 Bloom, being 1190 years alive having been born in the year 714, would have surpassed by 221 years the maximum antediluvian age, that of Methusalah, 969 years, while, if Stephen would continue to live until he would attain that age in the year 3072 A.D., Bloom would have been obliged to have been alive 83,300 years, having been obliged to have been born in the year 81,396 B.C.</p>
|
||||
<p>What events might nullify these calculations?</p>
|
||||
<p>The cessation of existence of both or either, the inauguration of a new era or calendar, the annihilation of the world and consequent extermination of the human species, inevitable but impredictable.</p>
|
||||
<p>How many previous encounters proved their preexisting acquaintance?</p>
|
||||
<p>Two. The first in the lilacgarden of Matthew Dillon's house, Medina Villa, Kimmage road, Roundtown, in 1887, in the company of Stephen's mother, Stephen being then of the age of 5 and reluctant to give his hand in salutation. The second in the coffeeroom of Breslin's hotel on a rainy Sunday in the January of 1892, in the company of Stephen's father and Stephen's granduncle, Stephen being then 5 years older.</p>
|
||||
<p>Did Bloom accept the invitation to dinner given then by the son and afterwards seconded by the father?</p>
|
||||
<p>Very gratefully, with grateful appreciation, with sincere appreciative gratitude, in appreciatively grateful sincerity of regret, he declined.</p>
|
||||
<p>Did their conversation on the subject of these reminiscences reveal a third connecting link between them?</p>
|
||||
<p>Mrs Riordan (Dante), a widow of independent means, had resided in the house of Stephen's parents from 1 September 1888 to 29 December 1891 and had also resided during the years 1892, 1893 and 1894 in the City Arms Hotel owned by Elizabeth O'Dowd of 54 Prussia street where, during parts of the years 1893 and 1894, she had been a constant informant of Bloom who resided also in the same hotel, being at that time a clerk in the employment of Joseph Cuffe of 5 Smithfield for the superintendence of sales in the adjacent Dublin Cattle market on the North Circular road.</p>
|
||||
<p>Had he performed any special corporal work of mercy for her?</p>
|
||||
<p>He had sometimes propelled her on warm summer evenings, an infirm widow of independent, if limited, means, in her convalescent bathchair with slow revolutions of its wheels as far as the corner of the North Circular road opposite Mr Gavin Low's place of business where she had remained for a certain time scanning through his onelensed binocular fieldglasses unrecognisable citizens on tramcars, roadster bicycles equipped with inflated pneumatic tyres, hackney carriages, tandems, private and hired landaus, dogcarts, ponytraps and brakes passing from the city to the Phoenix Park and vice versa.</p>
|
||||
<p>Why could he then support that his vigil with the greater equanimity?</p>
|
||||
<p>Because in middle youth he had often sat observing through a rondel of bossed glass of a multicoloured pane the spectacle offered with continual changes of the thoroughfare without, pedestrians, quadrupeds, velocipedes, vehicles, passing slowly, quickly, evenly, round and round and round the rim of a round and round precipitous globe.</p>
|
||||
<p>What distinct different memories had each of her now eight years deceased?</p>
|
||||
<p>The older, her bezique cards and counters, her Skye terrier, her suppositious wealth, her lapses of responsiveness and incipient catarrhal deafness: the younger, her lamp of colza oil before the statue of the Immaculate Conception, her green and maroon brushes for Charles Stewart Parnell and for Michael Davitt, her tissue papers.</p>
|
||||
<p>Were there no means still remaining to him to achieve the rejuvenation which these reminiscences divulged to a younger companion rendered the more desirable?</p>
|
||||
<p>The indoor exercises, formerly intermittently practised, subsequently abandoned, prescribed in Eugen Sandow's <em>Physical Strength and How to Obtain It</em> which, designed particularly for commercial men engaged in sedentary occupations, were to be made with mental concentration in front of a mirror so as to bring into play the various families of muscles and produce successively a pleasant rigidity, a more pleasant relaxation and the most pleasant repristination of juvenile agility.</p>
|
||||
<p>Had any special agility been his in earlier youth?</p>
|
||||
<p>Though ringweight lifting had been beyond his strength and the full circle gyration beyond his courage yet as a High school scholar he had excelled in his stable and protracted execution of the half lever movement on the parallel bars in consequence of his abnormally developed abdominal muscles.</p>
|
||||
<p>Did either openly allude to their racial difference?</p>
|
||||
<p>Neither.</p>
|
||||
<p>What, reduced to their simplest reciprocal form, were Bloom's thoughts about Stephen's thoughts about Bloom and Bloom's thoughts about Stephen's thoughts about Bloom's thoughts about Stephen?</p>
|
||||
<p>He thought that he thought that he was a jew whereas he knew that he knew that he knew that he was not.</p>
|
||||
<p>What, the enclosures of reticence removed, were their respective parentages?</p>
|
||||
<p>Bloom, 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). Stephen, eldest surviving male consubstantial heir of Simon Dedalus of Cork and Dublin and of Mary, daughter of Richard and Christina Goulding (born Grier).</p>
|
||||
<p>Had Bloom and Stephen been baptised, and where and by whom, cleric or layman?</p>
|
||||
<p>Bloom (three times), by the reverend Mr Gilmer Johnston M. A., alone, in the protestant church of Saint Nicholas Without, Coombe, by James O'Connor, Philip Gilligan and James Fitzpatrick, together, under a pump in the village of Swords, and by the reverend Charles Malone C. C., in the church of the Three Patrons, Rathgar. Stephen (once) by the reverend Charles Malone C. C., alone, in the church of the Three Patrons, Rathgar.</p>
|
||||
<p>Did they find their educational careers similar?</p>
|
||||
<p>Substituting Stephen for Bloom Stoom would have passed successively through a dame's school and the high school. Substituting Bloom for Stephen Blephen would have passed successively through the preparatory, junior, middle and senior grades of the intermediate and through the matriculation, first arts, second arts and arts degree courses of the royal university.</p>
|
||||
<p>Why did Bloom refrain from stating that he had frequented the university of life?</p>
|
||||
<p>Because of his fluctuating incertitude as to whether this observation had or had not been already made by him to Stephen or by Stephen to him.</p>
|
||||
<p>What two temperaments did they individually represent?</p>
|
||||
<p>The scientific. The artistic.</p>
|
||||
<p>What proofs did Bloom adduce to prove that his tendency was towards applied, rather than towards pure, science?</p>
|
||||
<p>Certain possible inventions of which he had cogitated when reclining in a state of supine repletion to aid digestion, stimulated by his appreciation of the importance of inventions now common but once revolutionary, for example, the aeronautic parachute, the reflecting telescope, the spiral corkscrew, the safety pin, the mineral water siphon, the canal lock with winch and sluice, the suction pump.</p>
|
||||
<p>Were these inventions principally intended for an improved scheme of kindergarten?</p>
|
||||
<p>Yes, rendering obsolete popguns, elastic airbladders, games of hazard, catapults. They comprised astronomical kaleidoscopes exhibiting the twelve constellations of the zodiac from Aries to Pisces, miniature mechanical orreries, arithmetical gelatine lozenges, geometrical to correspond with zoological biscuits, globemap playing balls, historically costumed dolls.</p>
|
||||
<p>What also stimulated him in his cogitations?</p>
|
||||
<p>The financial success achieved by Ephraim Marks and Charles A. James, the former by his 1d. bazaar at 42 George's Street, South, the latter at his 6 1/2d. shop and world's fancy fair and waxwork exhibition at 30 Henry street, admission 2d., children 1d.: and the infinite possibilities hitherto unexploited of the modern art of advertisement if condensed in triliteral monoideal symbols, vertically of maximum visibility (divined), horizontally of maximum legibility (deciphered) and of magnetising efficacy to arrest involuntary attention, to interest, to convince, to decide.</p>
|
||||
<p>Such as?</p>
|
||||
<p>K. 11. Kino's 11/- Trousers.</p>
|
||||
<p>House of Keys. Alexander J. Keyes.</p>
|
||||
<p>Such as not?</p>
|
||||
<p>Look at this long candle. Calculate when it burns out and you receive gratis 1 pair of our special non-compo boots, guaranteed 1 candle power. Address: Barclay and Cook, 18 Talbot Street.</p>
|
||||
<p>Bacilikil (Insect Powder).</p>
|
||||
<p>Veribest (Boot Blacking).</p>
|
||||
<p>Uwantit (Combined pocket twoblade penknife with corkscrew, nailfile and pipecleaner).</p>
|
||||
<p>Such as never?</p>
|
||||
<p>What is home without Plumtree's Potted Meat?</p>
|
||||
<p>Incomplete.</p>
|
||||
<p>With it an abode of bliss.</p>
|
||||
<p>Manufactured by George Plumtree, 23 Merchants' quay, Dublin, put up in 4 oz. pots, and inserted by Councillor Joseph P. Nannetti, M. P., Rotunda Ward, 19 Hardwicke street, under the obituary notices and anniversaries of deceases. The name on the label is Plumtree. A plumtree in a meatpot, registered trade mark. Beware of imitations. Peatmot. Trumplee. Moutpat. Plamtroo.</p>
|
||||
<p>Which example did he adduce to induce Stephen to deduce that originality, though producing its own reward, does not invariably conduce to success?</p>
|
||||
<p>His own ideated and rejected project of an illuminated showcart, drawn by a beast of burden, in which two smartly dressed girls were to be seated engaged in writing.</p>
|
||||
<p>What suggested scene was then constructed by Stephen?</p>
|
||||
<p>Solitary hotel in mountain pass. Autumn. Twilight. Fire lit. In dark corner young man seated. Young woman enters. Restless. Solitary. She sits. She goes to window. She stands. She sits. Twilight. She thinks. On solitary hotel paper she writes. She thinks. She writes. She sighs. Wheels and hoofs. She hurries out. He comes from his dark corner. He seizes solitary paper. He holds it towards fire. Twilight. He reads. Solitary.</p>
|
||||
<p>What?</p>
|
||||
<p>In sloping, upright and backhands: Queen's Hotel, Queen's Hotel, Queen's Ho...</p>
|
||||
<p>What suggested scene was then reconstructed by Bloom?</p>
|
||||
<p>The Queen's Hotel, Ennis, County Clare, where Rudolph Bloom (Rudolf Virag) died on the evening of the 27 June 1886, at some hour unstated, in consequence of an overdose of monkshood (aconite) selfadministered in the form of a neuralgic liniment composed of 2 parts of aconite liniment to 1 of chloroform liniment (purchased by him at 10.20 a.m. on themorning of 27 June 1886 at the medical hall of Francis Dennehy, 17 Church street, Ennis) after having, though not in consequence of having, purchased at 3.15 p.m. on the afternoon of 27 June 1886 a new boater straw hat, extra smart (after having, though not in consequence of having, purchased at the hour and in the place aforesaid), the toxin aforesaid, at the general drapery store of James Cullen, 4 Main street, Ennis.</p>
|
||||
<p>Did he attribute this homonymity to information or coincidence or intuition?</p>
|
||||
<p>Coincidence.</p>
|
||||
<p>Did he depict the scene verbally for his guest to see?</p>
|
||||
<p>He preferred himself to see another's face and listen to another's words by which potential narration was realised and kinetic temperament relieved.</p>
|
||||
<p>Did he see only a second coincidence in the second scene narrated to him, described by the narrator as <em>A Pisgah Sight of Palestine or The Parable of the Plums</em>?</p>
|
||||
<p>It, with the preceding scene and with others unnarrated but existent by implication, to which add essays on various subjects or moral apothegms (e.g. <em>My Favourite Hero or Procrastination is the Thief of Time</em>) composed during schoolyears, seemed to him to contain in itself and in conjunction with the personal equation certain possibilities of financial, social, personal and sexual success, whether specially collected and selected as model pedagogic themes (of cent per cent merit) for the use of preparatory and junior grade students or contributed in printed form, following the precedent of Philip Beaufoy or Doctor Dick or Heblon's <em>Studies in Blue</em>, to a publication of certified circulation and solvency or employed verbally as intellectual stimulation for sympathetic auditors, tacitly appreciative of successful narrative and confidently augurative of successful achievement, during the increasingly longer nights gradually following the summer solstice on the day but three following, videlicet, Tuesday, 21 June (S. Aloysius Gonzaga), sunrise 3.33 a.m., sunset 8.29 p.m.</p>
|
||||
<p>Which domestic problem as much as, if not more than, any other frequently engaged his mind?</p>
|
||||
<p>What to do with our wives.</p>
|
||||
<p>What had been his hypothetical singular solutions?</p>
|
||||
<p>Parlour games (dominos, halma, tiddledywinks, spilikins, cup and ball, nap, spoil five, bezique, twentyfive, beggar my neighbour, draughts, chess or backgammon): embroidery, darning or knitting for the policeaided clothing society: musical duets, mandoline and guitar, piano and flute, guitar and piano: legal scrivenery or envelope addressing: biweekly visits to variety entertainments: commercial activity as pleasantly commanding and pleasingly obeyed mistress proprietress in a cool dairy shop or warm cigar divan: the clandestine satisfaction of erotic irritation in masculine brothels, state inspected and medically controlled: social visits, at regular infrequent prevented intervals and with regular frequent preventive superintendence, to and from female acquaintances of recognised respectability in the vicinity: courses of evening instruction specially designed to render liberal instruction agreeable.</p>
|
||||
<p>What instances of deficient mental development in his wife inclined him in favour of the lastmentioned (ninth) solution?</p>
|
||||
<p>In disoccupied moments she had more than once covered a sheet of paper with signs and hieroglyphics which she stated were Greek and Irish and Hebrew characters. She had interrogated constantly at varying intervals as to the correct method of writing the capital initial of the name of a city in Canada, Quebec. She understood little of political complications, internal, or balance of power, external. In calculating the addenda of bills she frequently had recourse to digital aid. After completion of laconic epistolary compositions she abandoned the implement of calligraphy in the encaustic pigment, exposed to the corrosive action of copperas, green vitriol and nutgall. Unusual polysyllables of foreign origin she interpreted phonetically or by false analogy or by both: metempsychosis (met him pike hoses), <em>alias</em> (a mendacious person mentioned in sacred scripture).</p>
|
||||
<p>What compensated in the false balance of her intelligence for these and such deficiencies of judgment regarding persons, places and things?</p>
|
||||
<p>The false apparent parallelism of all perpendicular arms of all balances, proved true by construction. The counterbalance of her proficiency of judgment regarding one person, proved true by experiment.</p>
|
||||
<p>How had he attempted to remedy this state of comparative ignorance?</p>
|
||||
<p>Variously. By leaving in a conspicuous place a certain book open at a certain page: by assuming in her, when alluding explanatorily, latent knowledge: by open ridicule in her presence of some absent other's ignorant lapse.</p>
|
||||
<p>With what success had he attempted direct instruction?</p>
|
||||
<p>She followed not all, a part of the whole, gave attention with interest comprehended with surprise, with care repeated, with greater difficulty remembered, forgot with ease, with misgiving reremembered, rerepeated with error.</p>
|
||||
<p>What system had proved more effective?</p>
|
||||
<p>Indirect suggestion implicating selfinterest.</p>
|
||||
<p>Example?</p>
|
||||
<p>She disliked umbrella with rain, he liked woman with umbrella, she disliked new hat with rain, he liked woman with new hat, he bought new hat with rain, she carried umbrella with new hat.</p>
|
||||
<p>Accepting the analogy implied in his guest's parable which examples of postexilic eminence did he adduce?</p>
|
||||
<p>Three seekers of the pure truth, Moses of Egypt, Moses Maimonides, author of <em>More Nebukim</em> (Guide of the Perplexed) and Moses Mendelssohn of such eminence that from Moses (of Egypt) to Moses (Mendelssohn) there arose none like Moses (Maimonides).</p>
|
||||
<p>What statement was made, under correction, by Bloom concerning a fourth seeker of pure truth, by name Aristotle, mentioned, with permission, by Stephen?</p>
|
||||
<p>That the seeker mentioned had been a pupil of a rabbinical philosopher, name uncertain.</p>
|
||||
<p>Were other anapocryphal illustrious sons of the law and children of a selected or rejected race mentioned?</p>
|
||||
<p>Felix Bartholdy Mendelssohn (composer), Baruch Spinoza (philosopher), Mendoza (pugilist), Ferdinand Lassalle (reformer, duellist).</p>
|
||||
<p>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?</p>
|
||||
<p>By Stephen: <em>suil, suil, suil arun, suil go siocair agus suil go cuin</em> (walk, walk, walk your way, walk in safety, walk with care).</p>
|
||||
<p>By Bloom: <em>Kifeloch, harimon rakatejch m'baad l'zamatejch</em> (thy temple amid thy hair is as a slice of pomegranate).</p>
|
||||
<p>How was a glyphic comparison of the phonic symbols of both languages made in substantiation of the oral comparison?</p>
|
||||
<p>By juxtaposition. On the penultimate blank page of a book of inferior literary style, entituled <em>Sweets of Sin</em> (produced by Bloom and so manipulated that its front cover came in contact with the surface of the table) with a pencil (supplied by Stephen) Stephen wrote the Irish characters for gee, eh, dee, em, simple and modified, and Bloom in turn wrote the Hebrew characters ghimel, aleph, daleth and (in the absence of mem) a substituted qoph, explaining their arithmetical values as ordinal and cardinal numbers, videlicet 3, 1, 4, and 100.</p>
|
||||
<p>Was the knowledge possessed by both of each of these languages, the extinct and the revived, theoretical or practical?</p>
|
||||
<p>Theoretical, being confined to certain grammatical rules of accidence and syntax and practically excluding vocabulary.</p>
|
||||
<p>What points of contact existed between these languages and between the peoples who spoke them?</p>
|
||||
<p>The presence of guttural sounds, diacritic aspirations, epenthetic and servile letters in both languages: their antiquity, both having been taught on the plain of Shinar 242 years after the deluge in the seminary instituted by Fenius Farsaigh, descendant of Noah, progenitor of Israel, and ascendant of Heber and Heremon, progenitors of Ireland: their archaeological, genealogical, hagiographical, exegetical, homilectic, toponomastic, historical and religious literatures comprising the works of rabbis and culdees, Torah, Talmud (Mischna and Ghemara), Massor, Pentateuch, Book of the Dun Cow, Book of Ballymote, Garland of Howth, Book of Kells: their dispersal, persecution, survival and revival: the isolation of their synagogical and ecclesiastical rites in ghetto (S. Mary's Abbey) and masshouse (Adam and Eve's tavern): the proscription of their national costumes in penal laws and jewish dress acts: the restoration in Chanah David of Zion and the possibility of Irish political autonomy or devolution.</p>
|
||||
<p>What anthem did Bloom chant partially in anticipation of that multiple, ethnically irreducible consummation?</p>
|
||||
<p><em>Kolod balejwaw pnimah</em><br>
|
||||
<em>Nefesch, jehudi, homijah.</em></p>
|
||||
<p>Why was the chant arrested at the conclusion of this first distich?</p>
|
||||
<p>In consequence of defective mnemotechnic.</p>
|
||||
<p>How did the chanter compensate for this deficiency?</p>
|
||||
<p>By a periphrastic version of the general text.</p>
|
||||
<p>In what common study did their mutual reflections merge?</p>
|
||||
<p>The increasing simplification traceable from the Egyptian epigraphic hieroglyphs to the Greek and Roman alphabets and the anticipation of modern stenography and telegraphic code in the cuneiform inscriptions (Semitic) and the virgular quinquecostate ogham writing (Celtic).</p>
|
||||
<p>Did the guest comply with his host's request?</p>
|
||||
<p>Doubly, by appending his signature in Irish and Roman characters.</p>
|
||||
<p>What was Stephen's auditive sensation?</p>
|
||||
<p>He heard in a profound ancient male unfamiliar melody the accumulation of the past.</p>
|
||||
<p>What was Bloom's visual sensation?</p>
|
||||
<p>He saw in a quick young male familiar form the predestination of a future.</p>
|
||||
<p>What were Stephen's and Bloom's quasisimultaneous volitional quasisensations of concealed identities?</p>
|
||||
<p>Visually, Stephen's: The traditional figure of hypostasis, depicted by Johannes Damascenus, Lentulus Romanus and Epiphanius Monachus as leucodermic, sesquipedalian with winedark hair.</p>
|
||||
<p>Auditively, Bloom's: The traditional accent of the ecstasy of catastrophe.</p>
|
||||
<p>What future careers had been possible for Bloom in the past and with what exemplars?</p>
|
||||
<p>In the church, Roman, Anglican or Nonconformist: exemplars, the very reverend John Conmee S. J., the reverend T. Salmon, D. D., provost of Trinity college, Dr Alexander J. Dowie. At the bar, English or Irish: exemplars, Seymour Bushe, K. C., Rufus Isaacs, K. C. On the stage modern or Shakespearean: exemplars, Charles Wyndham, high comedian Osmond Tearle († 1901), exponent of Shakespeare.</p>
|
||||
<p>Did the host encourage his guest to chant in a modulated voice a strange legend on an allied theme?</p>
|
||||
<p>Reassuringly, their place, where none could hear them talk, being secluded, reassured, the decocted beverages, allowing for subsolid residual sediment of a mechanical mixture, water plus sugar plus cream plus cocoa, having been consumed.</p>
|
||||
<p>Recite the first (major) part of this chanted legend?</p>
|
||||
<p><em>Little Harry Hughes and his schoolfellows all</em><br>
|
||||
<em>Went out for to play ball.</em><br>
|
||||
<em>And the very first ball little Harry Hughes played</em><br>
|
||||
<em>He drove it o'er the jew's garden wall.</em><br>
|
||||
<em>And the very second ball little Harry Hughes played</em><br>
|
||||
<em>He broke the jew's windows all.</em></p>
|
||||
<p> </p>
|
||||
<p>How did the son of Rudolph receive this first part?</p>
|
||||
<p>With unmixed feeling. Smiling, a jew he heard with pleasure and saw the unbroken kitchen window.</p>
|
||||
<p>Recite the second part (minor) of the legend.</p>
|
||||
<p><em>Then out there came the jew's daughter</em><br>
|
||||
<em>And she all dressed in green.</em><br>
|
||||
<em>« Come back, come back, you pretty little boy,</em><br>
|
||||
<em>And play your ball again. »</em><br>
|
||||
</p>
|
||||
<p><em>« I can't come back and I won't come back</em><br>
|
||||
<em>Without my schoolfellows all.</em><br>
|
||||
<em>For if my master he did hear</em><br>
|
||||
<em>He'd make it a sorry ball. »</em><br>
|
||||
</p>
|
||||
<p><em>She took him by the lilywhite hand</em><br>
|
||||
<em>And led him along the hall</em><br>
|
||||
<em>Until she led him to a room</em><br>
|
||||
<em>Where none could hear him call.</em><br>
|
||||
</p>
|
||||
<p><em>She took a penknife out of her pocket</em><br>
|
||||
<em>And cut off his little head.</em><br>
|
||||
<em>And now he'll play his ball no more</em><br>
|
||||
<em>For he lies among the dead.</em></p>
|
||||
<p>How did the father of Millicent receive this second part?</p>
|
||||
<p>With mixed feelings. Unsmiling, he heard and saw with wonder a jew's daughter, all dressed in green.</p>
|
||||
<p>Condense Stephen's commentary.</p>
|
||||
<p>One of all, the least of all, is the victim predestined. Once by inadvertence twice by design he challenges his destiny. It comes when he is abandoned and challenges him reluctant and, as an apparition of hope and youth, holds him unresisting. It leads him to a strange habitation, to a secret infidel apartment, and there, implacable, immolates him, consenting.</p>
|
||||
<p>Why was the host (victim predestined) sad?</p>
|
||||
<p>He wished that a tale of a deed should be told of a deed not by him should by him not be told.</p>
|
||||
<p>Why was the host (reluctant, unresisting) still?</p>
|
||||
<p>In accordance with the law of the conservation of energy.</p>
|
||||
<p>Why was the host (secret infidel) silent?</p>
|
||||
<p>He weighed the possible evidences for and against ritual murder: the incitations of the hierarchy, the superstition of the populace, the propagation of rumour in continued fraction of veridicity, the envy of opulence, the influence of retaliation, the sporadic reappearance of atavistic delinquency, the mitigating circumstances of fanaticism, hypnotic suggestion and somnambulism.</p>
|
||||
<p>From which (if any) of these mental or physical disorders was he not totally immune?</p>
|
||||
<p>From hypnotic suggestion: once, waking, he had not recognised his sleeping apartment: more than once, waking, he had been for an indefinite time incapable of moving or uttering sounds. From somnambulism: once, sleeping, his body had risen, crouched and crawled in the direction of a heatless fire and, having attained its destination, there, curled, unheated, in night attire had lain, sleeping.</p>
|
||||
<p>Had this latter or any cognate phenomenon declared itself in any member of his family?</p>
|
||||
<p>Twice, in Holles street and in Ontario terrace, his daughter Millicent (Milly) at the ages of 6 and 8 years had uttered in sleep an exclamation of terror and had replied to the interrogations of two figures in night attire with a vacant mute expression.</p>
|
||||
<p>What other infantile memories had he of her?</p>
|
||||
<p>15 June 1889. A querulous newborn female infant crying to cause and lessen congestion. A child renamed Padney Socks she shook with shocks her moneybox: counted his three free moneypenny buttons, one, tloo, tlee: a doll, a boy, a sailor she cast away: blond, born of two dark, she had blond ancestry, remote, a violation, Herr Hauptmann Hainau, Austrian army, proximate, a hallucination, lieutenant Mulvey, British navy.</p>
|
||||
<p>What endemic characteristics were present?</p>
|
||||
<p>Conversely the nasal and frontal formation was derived in a direct line of lineage which, though interrupted, would continue at distant intervals to more distant intervals to its most distant intervals.</p>
|
||||
<p>What memories had he of her adolescence?</p>
|
||||
<p>She relegated her hoop and skippingrope to a recess. On the duke's lawn, entreated by an English visitor, she declined to permit him to make and take away her photographic image (objection not stated). On the South Circular road in the company of Elsa Potter, followed by an individual of sinister aspect, she went half way down Stamer street and turned abruptly back (reason of change not stated). On the vigil of the 15th anniversary of her birth she wrote a letter from Mullingar, county Westmeath, making a brief allusion to a local student (faculty and year not stated).</p>
|
||||
<p>Did that first division, portending a second division, afflict him?</p>
|
||||
<p>Less than he had imagined, more than he had hoped.</p>
|
||||
<p>What second departure was contemporaneously perceived by him similarly, if differently?</p>
|
||||
<p>A temporary departure of his cat.</p>
|
||||
<p>Why similarly, why differently?</p>
|
||||
<p>Similarly, because actuated by a secret purpose the quest of a new male (Mullingar student) or of a healing herb (valerian). Differently, because of different possible returns to the inhabitants or to the habitation.</p>
|
||||
<p>In other respects were their differences similar?</p>
|
||||
<p>In passivity, in economy, in the instinct of tradition, in unexpectedness.</p>
|
||||
<p>As?</p>
|
||||
<p>Inasmuch as leaning she sustained her blond hair for him to ribbon it for her (cf neckarching cat). Moreover, on the free surface of the lake in Stephen's green amid inverted reflections of trees her uncommented spit, describing concentric circles of waterrings, indicated by the constancy of its permanence the locus of a somnolent prostrate fish (cf mousewatching cat). Again, in order to remember the date, combatants, issue and consequences of a famous military engagement she pulled a plait of her hair (cf earwashing cat). Furthermore, silly Milly, she dreamed of having had an unspoken unremembered conversation with a horse whose name had been Joseph to whom (which) she had offered a tumblerful of lemonade which it (he) had appeared to have accepted (cf hearthdreaming cat). Hence, in passivity, in economy, in the instinct of tradition, in unexpectedness, their differences were similar.</p>
|
||||
<p>In what way had he utilised gifts (1) an owl, (2) a clock, given as matrimonial auguries, to interest and to instruct her?</p>
|
||||
<p>As object lessons to explain: 1) the nature and habits of oviparous animals, the possibility of aerial flight, certain abnormalities of vision, the secular process of imbalsamation: 2) the principle of the pendulum, exemplified in bob, wheelgear and regulator, the translation in terms of human or social regulation of the various positions of clockwise moveable indicators on an unmoving dial, the exactitude of the recurrence per hour of an instant in each hour when the longer and the shorter indicator were at the same angle of inclination, <em>videlicet</em>, 5 5/11 minutes past each hour per hour in arithmetical progression.</p>
|
||||
<p>In what manners did she reciprocate?</p>
|
||||
<p>She remembered: on the 27th anniversary of his birth she presented to him a breakfast moustachecup of imitation Crown Derby porcelain ware. She provided: at quarter day or thereabouts if or when purchases had been made by him not for her she showed herself attentive to his necessities, anticipating his desires. She admired: a natural phenomenon having been explained by him to her she expressed the immediate desire to possess without gradual acquisition a fraction of his science, the moiety, the quarter, a thousandth part.</p>
|
||||
<p>What proposal did Bloom, diambulist, father of Milly, somnambulist, make to Stephen, noctambulist?</p>
|
||||
<p>To pass in repose the hours intervening between Thursday (proper) and Friday (normal) on an extemporised cubicle in the apartment immediately above the kitchen and immediately adjacent to the sleeping apartment of his host and hostess.</p>
|
||||
<p>What various advantages would or might have resulted from a prolongation of such an extemporisation?</p>
|
||||
<p>For the guest: security of domicile and seclusion of study. For the host: rejuvenation of intelligence, vicarious satisfaction. For the hostess: disintegration of obsession, acquisition of correct Italian pronunciation.</p>
|
||||
<p>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?</p>
|
||||
<p>Because the way to daughter led through mother, the way to mother through daughter.</p>
|
||||
<p>To what inconsequent polysyllabic question of his host did the guest return a monosyllabic negative answer?</p>
|
||||
<p>If he had known the late Mrs Emily Sinico, accidentally killed at Sydney Parade railway station, 14 October 1903.</p>
|
||||
<p>What inchoate corollary statement was consequently suppressed by the host?</p>
|
||||
<p>A statement explanatory of his absence on the occasion of the interment of Mrs Mary Dedalus (born Goulding), 26 June 1903, vigil of the anniversary of the decease of Rudolph Bloom (born Virag).</p>
|
||||
<p>Was the proposal of asylum accepted?</p>
|
||||
<p>Promptly, inexplicably, with amicability, gratefully it was declined.</p>
|
||||
<p>What exchange of money took place between host and guest?</p>
|
||||
<p>The former returned to the latter, without interest, a sum of money (£ 1-7-0), one pound seven shillings, advanced by the latter to the former.</p>
|
||||
<p>What counterproposals were alternately advanced, accepted, modified, declined, restated in other terms, reaccepted, ratified, reconfirmed?</p>
|
||||
<p>To inaugurate a prearranged course of Italian instruction, place the residence of the instructed. To inaugurate a course of vocal instruction, place the residence of the instructress. To inaugurate a series of static semistatic and peripatetic intellectual dialogues, places the residence of both speakers (if both speakers were resident in the same place), the <em>Ship</em> hotel and tavern, 6 Lower Abbey street (W. and E. Connery, proprietors), the National Library of Ireland, 10 Kildare street, the National Maternity Hospital, 29, 30 and 31 Holles street, a public garden, the vicinity of a place of worship, a conjunction of two or more public thoroughfares, the point of bisection of a right line drawn between their residences (if both speakers were resident in different places).</p>
|
||||
<p>What rendered problematic for Bloom the realisation of these mutually selfexcluding propositions?</p>
|
||||
<p>The irreparability of the past: once at a performance of Albert Hengler's circus in the Rotunda, Rutland square, Dublin, an intuitive particoloured clown in quest of paternity had penetrated from the ring to a place in the auditorium where Bloom, solitary, waspublicly declared to an exhilarated audience that he (Bloom) was his (the clown's) papa. The imprevidibility of the future: once in the summer of 1898 he (Bloom) had marked a florin (2/-) with three notches on the milled edge and tendered it in payment of an account due to and received by J. and T. Davy, family grocers, 1 Charlemont Mall, Grand Canal, for circulation on the waters of civic finance, for possible, circuitous or direct, return.</p>
|
||||
<p>Was the clown Bloom's son?</p>
|
||||
<p>No.</p>
|
||||
<p>Had Bloom's coin returned?</p>
|
||||
<p>Never.</p>
|
||||
<p>Why would a recurrent frustration the more depress him?</p>
|
||||
<p>Because at the critical turningpoint of human existence he desired to amend many social conditions, the product of inequality and avarice and international animosity.</p>
|
||||
<p>He believed then that human life was infinitely perfectible, eliminating these conditions?</p>
|
||||
<p>There remained the generic conditions imposed by natural, as distinct from human law, as integral parts of the human whole: the necessity of destruction to procure alimentary sustenance: the painful character of the ultimate functions of separate existence, the agonies of birth and death: the monotonous menstruation of simian and (particularly) human females extending from the age of puberty to the menopause: inevitable accidents at sea, in mines and factories: certain very painful maladies and their resultant surgical operations, innate lunacy and congenital criminality, decimating epidemics: catastrophic cataclysms which make terror the basis of human mentality: seismic upheavals the epicentres of which are located in densely populated regions: the fact of vital growth, through convulsions of metamorphosis, from infancy through maturity to decay.</p>
|
||||
<p>Why did he desist from speculation?</p>
|
||||
<p>Because it was a task for a superior intelligence to substitute other more acceptable phenomena in the place of the less acceptable phenomena to be removed.</p>
|
||||
<p>Did Stephen participate in his dejection?</p>
|
||||
<p>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.</p>
|
||||
<p>Was this affirmation apprehended by Bloom?</p>
|
||||
<p>Not verbally. Substantially.</p>
|
||||
<p>What comforted his misapprehension?</p>
|
||||
<p>That as a competent keyless citizen he had proceeded energetically from the unknown to the known through the incertitude of the void.</p>
|
||||
<p>In what order of precedence, with what attendant ceremony was the exodus from the house of bondage to the wilderness of inhabitation effected?</p>
|
||||
<p>Lighted Candle in Stick borne by</p>
|
||||
<p>BLOOM</p>
|
||||
<p>Diaconal Hat on Ashplant borne by</p>
|
||||
<p>STEPHEN.</p>
|
||||
<p>With what intonation secreto of what commemorative psalm?</p>
|
||||
<p>The 113th, <em>modus peregrinus: In exitu Israel de Egypto: domus Jacob de populo barbaro</em>.</p>
|
||||
<p>What did each do at the door of egress?</p>
|
||||
<p>Bloom set the candlestick on the floor. Stephen put the hat on his head.</p>
|
||||
<p>For what creature was the door of egress a door of ingress?</p>
|
||||
<p>For a cat.</p>
|
||||
<p>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?</p>
|
||||
<p>The heaventree of stars hung with humid nightblue fruit.</p>
|
||||
<p>With what meditations did Bloom accompany his demonstration to his companion of various constellations?</p>
|
||||
<p>Meditations of evolution increasingly vaster: of the moon invisible in incipient lunation, approaching perigee: of the infinite lattiginous scintillating uncondensed milky way, discernible by daylight by an observer placed at the lower end of a cylindrical vertical shaft 5000 ft deep sunk from the surface towards the centre of the earth: of Sirius (alpha in Canis Maior) 10 lightyears (57,000,000,000,000 miles) distant and in volume 900 times the dimension of our planet: of Arcturus: of the precession of equinoxes: of Orion with belt and sextuple sun theta and nebula in which 100 of our solar systems could be contained: of moribund and of nascent new stars such as Nova in 1901: of our system plunging towards the constellation of Hercules: of the parallax or parallactic drift of socalled fixed stars, in reality evermoving wanderers from immeasurably remote eons to infinitely remote futures in comparison with which the years, threescore and ten, of allotted human life formed a parenthesis of infinitesimal brevity.</p>
|
||||
<p>Were there obverse meditations of involution increasingly less vast?</p>
|
||||
<p>Of the eons of geological periods recorded in the stratifications of the earth: of the myriad minute entomological organic existences concealed in cavities of the earth, beneath removable stones, in hives and mounds, of microbes, germs, bacteria, bacilli, spermatozoa: of the incalculable trillions of billions of millions of imperceptible molecules contained by cohesion of molecular affinity in a single pinhead: of the universe of human serum constellated with red and white bodies, themselves universes of void space constellated with other bodies, each, in continuity, its universe of divisible component bodies of which each was again divisible in divisions of redivisible component bodies, dividends and divisors ever diminishing without actual division till, if the progress were carried far enough, nought nowhere was never reached.</p>
|
||||
<p>Why did he not elaborate these calculations to a more precise result?</p>
|
||||
<p>Because some years previously in 1886 when occupied with the problem of the quadrature of the circle he had learned of the existence of a number computed to a relative degree of accuracy to be of such magnitude and of so many places, e.g., the 9th power of the 9th power of 9, that, the result having been obtained, 33 closely printed volumes of 1000 pages each of innumerable quires and reams of India paper would have to be requisitioned in order to contain the complete tale of its printed integers of units, tens, hundreds, thousands, tens of thousands, hundreds of thousands, millions, tens of millions, hundreds of millions, billions, the nucleus of the nebula of every digit of every series containing succinctly the potentiality of being raised to the utmost kinetic elaboration of any power of any of its powers.</p>
|
||||
<p>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?</p>
|
||||
<p>Of a different order of difficulty. Conscious that the human organism, normally capable of sustaining an atmospheric pressure of 19 tons, when elevated to a considerable altitude in the terrestrial atmosphere suffered with arithmetical progression of intensity, according as the line of demarcation between troposphere and stratosphere was approximated from nasal hemorrhage, impeded respiration and vertigo, when proposing this problem for solution, he had conjectured as a working hypothesis which could not be proved impossible that a more adaptable and differently anatomically constructed race of beings might subsist otherwise under Martian, Mercurial, Veneral, Jovian, Saturnian, Neptunian or Uranian sufficient and equivalent conditions, though an apogean humanity of beings created in varying forms with finite differences resulting similar to the whole and to one another would probably there as here remain inalterably and inalienably attached to vanities, to vanities of vanities and to all that is vanity.</p>
|
||||
<p>And the problem of possible redemption?</p>
|
||||
<p>The minor was proved by the major.</p>
|
||||
<p>Which various features of the constellations were in turn considered?</p>
|
||||
<p>The various colours significant of various degrees of vitality (white, yellow, crimson, vermilion, cinnabar): their degrees of brilliancy: their magnitudes revealed up to and including the 7th: their positions: the waggoner's star: Walsingham way: the chariot of David: the annular cinctures of Saturn: the condensation of spiral nebulae into suns: the interdependent gyrations of double suns: the independent synchronous discoveries of Galileo, Simon Marius, Piazzi, Le Verrier, Herschel, Galle: the systematisations attempted by Bode and Kepler of cubes of distances and squares of times of revolution: the almost infinite compressibility of hirsute comets and their vast elliptical egressive and reentrant orbits from perihelion to aphelion: the sidereal origin of meteoric stones: the Libyan floods on Mars about the period of the birth of the younger astroscopist: the annual recurrence of meteoric showers about the period of the feast of S. Lawrence (martyr, l0 August): the monthly recurrence known as the new moon with the old moon in her arms: the posited influence of celestial on human bodies: the appearance of a star (1st magnitude) of exceeding brilliancy dominating by night and day (a new luminous sun generated by the collision and amalgamation in incandescence of two nonluminous exsuns) about the period of the birth of William Shakespeare over delta in the recumbent neversetting constellation of Cassiopeia and of a star (2nd magnitude) of similar origin but of lesser brilliancy which had appeared in and disappeared from the constellation of the Corona Septentrionalis about the period of the birth of Leopold Bloom and of other stars of (presumably) similar origin which had (effectively or presumably) appeared in and disappeared from the constellation of Andromeda about the period of the birth of Stephen Dedalus, and in and from the constellation of Auriga some years after the birth and death of Rudolph Bloom, junior, and in and from other constellations some years before or after the birth or death of other persons: the attendant phenomena of eclipses, solar and lunar, from immersion to emersion, abatement of wind, transit of shadow, taciturnity of winged creatures, emergence of nocturnal or crepuscular animals, persistence of infernal light, obscurity of terrestrial waters, pallor of human beings.</p>
|
||||
<p>His (Bloom's) logical conclusion, having weighed the matter and allowing for possible error?</p>
|
||||
<p>That it was not a heaventree, not a heavengrot, not a heavenbeast, not a heavenman. That it was a Utopia, there being no known method from the known to the unknown: an infinity renderable equally finite by the suppositious apposition of one or more bodies equally of the same and of different magnitudes: a mobility of illusory forms immobilised in space, remobilised in air: a past which possibly had ceased to exist as a present before its probable spectators had entered actual present existence.</p>
|
||||
<p>Was he more convinced of the esthetic value of the spectacle?</p>
|
||||
<p>Indubitably in consequence of the reiterated examples of poets in the delirium of the frenzy of attachment or in the abasement of rejection invoking ardent sympathetic constellations or the frigidity of the satellite of their planet.</p>
|
||||
<p>Did he then accept as an article of belief the theory of astrological influences upon sublunary disasters?</p>
|
||||
<p>It seemed to him as possible of proof as of confutation and the nomenclature employed in its selenographical charts as attributable to verifiable intuition as to fallacious analogy: the lake of dreams, the sea of rains, the gulf of dews, the ocean of fecundity.</p>
|
||||
<p>What special affinities appeared to him to exist between the moon and woman?</p>
|
||||
<p>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.</p>
|
||||
<p>What visible luminous sign attracted Bloom's, who attracted Stephen's, gaze?</p>
|
||||
<p>In the second storey (rere) of his (Bloom's) house the light of a paraffin oil lamp with oblique shade projected on a screen of roller blind supplied by Frank O'Hara, window blind, curtain pole and revolving shutter manufacturer, 16 Aungier street.</p>
|
||||
<p>How did he elucidate the mystery of an invisible attractive person, his wife Marion (Molly) Bloom, denoted by a visible splendid sign, a lamp?</p>
|
||||
<p>With indirect and direct verbal allusions or affirmations: with subdued affection and admiration: with description: with impediment: with suggestion.</p>
|
||||
<p>Both then were silent?</p>
|
||||
<p>Silent, each contemplating the other in both mirrors of the reciprocal flesh of theirhisnothis fellowfaces.</p>
|
||||
<p>Were they indefinitely inactive?</p>
|
||||
<p>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.</p>
|
||||
<p>Similarly?</p>
|
||||
<p>The trajectories of their, first sequent, then simultaneous, urinations were dissimilar: Bloom's longer, less irruent, in the incomplete form of the bifurcated penultimate alphabetical letter, who in his ultimate year at High School (1880) had been capable of attaining the point of greatest altitude against the whole concurrent strength of the institution, 210 scholars: Stephen's higher, more sibilant, who in the ultimate hours of the previous day had augmented by diuretic consumption an insistent vesical pressure.</p>
|
||||
<p>What different problems presented themselves to each concerning the invisible audible collateral organ of the other?</p>
|
||||
<p>To Bloom: the problems of irritability, tumescence, rigidity, reactivity, dimension, sanitariness, pelosity. To Stephen: the problem of the sacerdotal integrity of Jesus circumcised (I January, holiday of obligation to hear mass and abstain from unnecessary servile work) and the problem as to whether the divine prepuce, the carnal bridal ring of the holy Roman catholic apostolic church, conserved in Calcata, were deserving of simple hyperduly or of the fourth degree of latria accorded to the abscission of such divine excrescences as hair and toenails.</p>
|
||||
<p>What celestial sign was by both simultaneously observed?</p>
|
||||
<p>A star precipitated with great apparent velocity across the firmament from Vega in the Lyre above the zenith beyond the stargroup of the Tress of Berenice towards the zodiacal sign of Leo.</p>
|
||||
<p>How did the centripetal remainer afford egress to the centrifugal departer?</p>
|
||||
<p>By inserting the barrel of an arruginated male key in the hole of an unstable female lock, obtaining a purchase on the bow of the key and turning its wards from right to left, withdrawing a bolt from its staple, pulling inward spasmodically an obsolescent unhinged door and revealing an aperture for free egress and free ingress.</p>
|
||||
<p>How did they take leave, one of the other, in separation?</p>
|
||||
<p>Standing perpendicular at the same door and on different sides of its base, the lines of their valedictory arms, meeting at any point and forming any angle less than the sum of two right angles.</p>
|
||||
<p>What sound accompanied the union of their tangent, the disunion of their (respectively) centrifugal and centripetal hands?</p>
|
||||
<p>The sound of the peal of the hour of the night by the chime of the bells in the church of Saint George.</p>
|
||||
<p>What echoes of that sound were by both and each heard?</p>
|
||||
<p>By Stephen:</p>
|
||||
<p><em>Liliata rutilantium. Turma circumdet.</em><br>
|
||||
<em>Iubilantium te virginum. Chorus excipiat.</em></p>
|
||||
<p>By Bloom:</p>
|
||||
<p><em>Heigho, heigho,</em><br>
|
||||
<em>Heigho, heigho.</em></p>
|
||||
<p>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?</p>
|
||||
<p>Martin Cunningham (in bed), Jack Power (in bed), Simon Dedalus (in bed), Ned Lambert (in bed), Tom Kernan (in bed), Joe Hynes (in bed), John Henry Menton (in bed), Bernard Corrigan (in bed), Patsy Dignam (in bed), Paddy Dignam (in the grave).</p>
|
||||
<p>Alone, what did Bloom hear?</p>
|
||||
<p>The double reverberation of retreating feet on the heavenborn earth, the double vibration of a jew's harp in the resonant lane.</p>
|
||||
<p>Alone, what did Bloom feel?</p>
|
||||
<p>The cold of interstellar space, thousands of degrees below freezing point or the absolute zero of Fahrenheit, Centigrade or Reaumur: the incipient intimations of proximate dawn.</p>
|
||||
<p>Of what did bellchime and handtouch and footstep and lonechill remind him?</p>
|
||||
<p>Of companions now in various manners in different places defunct: Percy Apjohn (killed in action, Modder River), Philip Gilligan (phthisis, Jervis Street hospital), Matthew F. Kane (accidental drowning, Dublin Bay), Philip Moisel (pyemia, Heytesbury street), Michael Hart (phthisis, Mater Misericordiae hospital), Patrick Dignam (apoplexy, Sandymount).</p>
|
||||
<p>What prospect of what phenomena inclined him to remain?</p>
|
||||
<p>The disparition of three final stars, the diffusion of daybreak, the apparition of a new solar disk.</p>
|
||||
<p>Had he ever been a spectator of those phenomena?</p>
|
||||
<p>Once, in 1887, after a protracted performance of charades in the house of Luke Doyle, Kimmage, he had awaited with patience the apparition of the diurnal phenomenon, seated on a wall, his gaze turned in the direction of Mizrach, the east.</p>
|
||||
<p>He remembered the initial paraphenomena?</p>
|
||||
<p>More active air, a matutinal distant cock, ecclesiastical clocks at various points, avine music, the isolated tread of an early wayfarer, the visible diffusion of the light of an invisible luminous body, the first golden limb of the resurgent sun perceptible low on the horizon.</p>
|
||||
<p>Did he remain?</p>
|
||||
<p>With deep inspiration he returned, retraversing the garden, reentering the passage, reclosing the door. With brief suspiration he reassumed the candle, reascended the stairs, reapproached the door of the front room, hallfloor, and reentered.</p>
|
||||
<p>What suddenly arrested his ingress?</p>
|
||||
<p>The right temporal lobe of the hollow sphere of his cranium came into contact with a solid timber angle where, an infinitesimal but sensible fraction of a second later, a painful sensation was located in consequence of antecedent sensations transmitted and registered.</p>
|
||||
<p>Describe the alterations effected in the disposition of the articles of furniture.</p>
|
||||
<p>A sofa upholstered in prune plush had been translocated from opposite the door to the ingleside near the compactly furled Union Jack (an alteration which he had frequently intended to execute): the blue and white checker inlaid majolicatopped table had been placed opposite the door in the place vacated by the prune plush sofa: the walnut sideboard (a projecting angle of which had momentarily arrested his ingress) had been moved from its position beside the door to a more advantageous but more perilous position in front of the door: two chairs had been moved from right and left of the ingleside to the position originally occupied by the blue and white checker inlaid majolicatopped table.</p>
|
||||
<p>Describe them.</p>
|
||||
<p>One: a squat stuffed easychair, with stout arms extended and back slanted to the rere, which, repelled in recoil, had then upturned an irregular fringe of a rectangular rug and now displayed on its amply upholstered seat a centralised diffusing and diminishing discolouration. The other: a slender splayfoot chair of glossy cane curves, placed directly opposite the former, its frame from top to seat and from seat to base being varnished dark brown, its seat being a bright circle of white plaited rush.</p>
|
||||
<p>What significances attached to these two chairs?</p>
|
||||
<p>Significances of similitude, of posture, of symbolism, of circumstantial evidence, of testimonial supermanence.</p>
|
||||
<p>What occupied the position originally occupied by the sideboard?</p>
|
||||
<p>A vertical piano (Cadby) with exposed keyboard, its closed coffin supporting a pair of long yellow ladies' gloves and an emerald ashtray containing four consumed matches, a partly consumed cigarette and two discoloured ends of cigarettes, its musicrest supporting the music in the key of G natural for voice and piano of <em>Love's Old Sweet Song</em> (words by G. Clifton Bingham, composed by J. L. Molloy, sung by Madam Antoinette Sterling) open at the last page with the final indications <em>ad libitum, forte</em>, pedal, <em>animato</em>, sustained, pedal, <em>ritirando</em>, close.</p>
|
||||
<p>With what sensations did Bloom contemplate in rotation these objects?</p>
|
||||
<p>With strain, elevating a candlestick: with pain, feeling on his right temple a contused tumescence: with attention, focussing his gaze on a large dull passive and a slender bright active: with solicitation, bending and downturning the upturned rugfringe: with amusement, remembering Dr Malachi Mulligan's scheme of colour containing the gradation of green: with pleasure, repeating the words and antecedent act and perceiving through various channels of internal sensibility the consequent and concomitant tepid pleasant diffusion of gradual discolouration.</p>
|
||||
<p>His next proceeding?</p>
|
||||
<p>From an open box on the majolicatopped table he extracted a black diminutive cone, one inch in height, placed it on its circular base on a small tin plate, placed his candlestick on the right corner of the mantelpiece, produced from his waistcoat a folded page of prospectus (illustrated) entitled Agendath Netaim, unfolded the same, examined it superficially, rolled it into a thin cylinder, ignited it in the candleflame, applied it when ignited to the apex of the cone till the latter reached the stage of rutilance, placed the cylinder in the basin of the candlestick disposing its unconsumed part in such a manner as to facilitate total combustion.</p>
|
||||
<p>What followed this operation?</p>
|
||||
<p>The truncated conical crater summit of the diminutive volcano emitted a vertical and serpentine fume redolent of aromatic oriental incense.</p>
|
||||
<p>What homothetic objects, other than the candlestick, stood on the mantelpiece?</p>
|
||||
<p>A timepiece of striated Connemara marble, stopped at the hour of 4.46 a.m. on the 21 March 1896, matrimonial gift of Matthew Dillon: a dwarf tree of glacial arborescence under a transparent bellshade, matrimonial gift of Luke and Caroline Doyle: an embalmed owl, matrimonial gift of Alderman John Hooper.</p>
|
||||
<p>What interchanges of looks took place between these three objects and Bloom?</p>
|
||||
<p>In the mirror of the giltbordered pierglass the undecorated back of the dwarf tree regarded the upright back of the embalmed owl. Before the mirror the matrimonial gift of Alderman John Hooper with a clear melancholy wise bright motionless compassionate gaze regarded Bloom while Bloom with obscure tranquil profound motionless compassionated gaze regarded the matrimonial gift of Luke and Caroline Doyle.</p>
|
||||
<p>What composite asymmetrical image in the mirror then attracted his attention?</p>
|
||||
<p>The image of a solitary (ipsorelative) mutable (aliorelative) man.</p>
|
||||
<p>Why solitary (ipsorelative)?</p>
|
||||
<p><em>Brothers and sisters had he none.</em><br>
|
||||
<em>Yet that man's father was his grandfather's son.</em></p>
|
||||
<p>Why mutable (aliorelative)?</p>
|
||||
<p>From infancy to maturity he had resembled his maternal procreatrix. From maturity to senility he would increasingly resemble his paternal procreator.</p>
|
||||
<p>What final visual impression was communicated to him by the mirror?</p>
|
||||
<p>The optical reflection of several inverted volumes improperly arranged and not in the order of their common letters with scintillating titles on the two bookshelves opposite.</p>
|
||||
<p>Catalogue these books.</p>
|
||||
<p><em>Thom's Dublin Post Office Directory, 1886</em>.</p>
|
||||
<p>Denis Florence M'Carthy's <em>Poetical Works</em> (copper beechleaf bookmark at p. 5).</p>
|
||||
<p>Shakespeare's <em>Works</em> (dark crimson morocco, goldtooled).</p>
|
||||
<p><em>The Useful Ready Reckoner</em> (brown cloth).</p>
|
||||
<p><em>The Secret History of the Court of Charles II</em> (red cloth, tooled binding).</p>
|
||||
<p><em>The Child's Guide</em> (blue cloth).</p>
|
||||
<p><em>When We Were Boys</em> by William O'Brien M. P. (green cloth, slightly faded, envelope bookmark at p. 217).</p>
|
||||
<p><em>Thoughts from Spinoza</em> (maroon leather).</p>
|
||||
<p><em>The Story of the Heavens</em> by Sir Robert Ball (blue cloth).</p>
|
||||
<p>Ellis's <em>Three Trips to Madagascar</em> (brown cloth, title obliterated).</p>
|
||||
<p><em>The Stark-Munro Letters</em> by A. Conan Doyle, property of the City of Dublin Public Library, 106 Capel street, lent 21 May (Whitsun Eve) 1904, due 4 June 1904, 13 days overdue (black cloth binding, bearing white letternumber ticket).</p>
|
||||
<p><em>Voyages in China</em> by « Viator » (recovered with brown paper, red ink title).</p>
|
||||
<p><em>Philosophy of the Talmud</em> (sewn pamphlet).</p>
|
||||
<p>Lockhart's <em>Life of Napoleon</em> (cover wanting, marginal annotations, minimising victories, aggrandising defeats of the protagonist).</p>
|
||||
<p><em>Soll und Haben</em> by Gustav Freytag (black boards, Gothic characters, cigarette coupon bookmark at p. 24).</p>
|
||||
<p>Hozier's <em>History of the Russo-Turkish War</em> (brown cloth, 2 volumes, with gummed label, Garrison Library, Governor's Parade, Gibraltar, on verso of cover).</p>
|
||||
<p><em>Laurence Bloomfield in Ireland</em> by William Allingham (second edition, green cloth, gilt trefoil design, previous owner's name on recto of flyleaf erased).</p>
|
||||
<p><em>A Handbook of Astronomy</em> (cover, brown leather, detached, S plates, antique letterpress long primer, author's footnotes nonpareil, marginal clues brevier, captions small pica).</p>
|
||||
<p><em>The Hidden Life of Christ</em> (black boards).</p>
|
||||
<p><em>In the Track of the Sun</em> (yellow cloth, titlepage missing, recurrent title intestation).</p>
|
||||
<p><em>Physical Strength and How to Obtain It</em> by Eugen Sandow (red cloth).</p>
|
||||
<p><em>Short but yet Plain Elements of Geometry</em> written in French by F. Ignat. Pardies and rendered into Engliƒh by John Harris D. D. London, printed for R. Knaplock at the Biƒhop's Head, MDCCXI, with dedicatory epiƒtle to his worthy friend Charles Cox, eƒquire, Member of Parliament for the burgh of Southwark and having ink calligraphed statement on the flyleaf certifying that the book was the property of Michael Gallagher, dated this 10th day of May 1822 and requeƒting the perƒon who should find it, if the book should be loƒt or go aƒtray, to reƒtore it to Michael Gallagher, carpenter, Dufery Gate, Enniƒcorthy, county Wicklow, the fineƒt place in the world.</p>
|
||||
<p>What reflections occupied his mind during the process of reversion of the inverted volumes?</p>
|
||||
<p>The necessity of order, a place for everything and everything in its place: the deficient appreciation of literature possessed by females: the incongruity of an apple incuneated in a tumbler and of an umbrella inclined in a closestool: the insecurity of hiding any secret document behind, beneath or between the pages of a book.</p>
|
||||
<p>Which volume was the largest in bulk?</p>
|
||||
<p>Hozier's <em>History of the Russo-Turkish war.</em></p>
|
||||
<p>What among other data did the second volume of the work in question contain?</p>
|
||||
<p>The name of a decisive battle (forgotten), frequently remembered by a decisive officer, major Brian Cooper Tweedy (remembered).</p>
|
||||
<p>Why, firstly and secondly, did he not consult the work in question?</p>
|
||||
<p>Firstly, in order to exercise mnemotechnic: secondly, because after an interval of amnesia, when, seated at the central table, about to consult the work in question, he remembered by mnemotechnic the name of the military engagement, Plevna.</p>
|
||||
<p>What caused him consolation in his sitting posture?</p>
|
||||
<p>The candour, nudity, pose, tranquility, youth, grace, sex, counsel of a statue erect in the centre of the table, an image of Narcissus purchased by auction from P. A. Wren, 9 Bachelor's Walk.</p>
|
||||
<p>What caused him irritation in his sitting posture?</p>
|
||||
<p>Inhibitory pressure of collar (size 17) and waistcoat (5 buttons), two articles of clothing superfluous in the costume of mature males and inelastic to alterations of mass by expansion.</p>
|
||||
<p>How was the irritation allayed?</p>
|
||||
<p>He removed his collar, with contained black necktie and collapsible stud, from his neck to a position on the left of the table. He unbuttoned successively in reversed direction waistcoat, trousers, shirt and vest along the medial line of irregular incrispated black hairs extending in triangular convergence from the pelvic basin over the circumference of the abdomen and umbilicular fossicle along the medial line of nodes to the intersection of the sixth pectoral vertebrae, thence produced both ways at right angles and terminating in circles described about two equidistant points, right and left, on the summits of the mammary prominences. He unbraced successively each of six minus one braced trouser buttons, arranged in pairs, of which one incomplete.</p>
|
||||
<p>What involuntary actions followed?</p>
|
||||
<p>He compressed between 2 fingers the flesh circumjacent to a cicatrice in the left infracostal region below the diaphragm resulting from a sting inflicted 2 weeks and 3 days previously (23 May 1904) by a bee. He scratched imprecisely with his right hand, though insensible of prurition, various points and surfaces of his partly exposed, wholly abluted skin. He inserted his left hand into the left lower pocket of his waistcoat and extracted and replaced a silver coin (1 shilling), placed there (presumably) on the occasion (17 October 1903) of the interment of Mrs Emily Sinico, Sydney Parade.</p>
|
||||
<p>Compile the budget for 16 June 1904.</p>
|
||||
<p><em>DebitCredit</em> £ S. D. £ S. D.1 Pork Kidney<strong>. . . . . . . . . . </strong>0. 0. 3Cash in hand<strong>. . . . . . . . . . </strong>0. 4. 91 Copy <em>Freeman's Journal</em><strong>. . . </strong>0. 0. 1Commission recd. <em>Freeman's</em>1. 7. 61 Bath And Gratification<strong>. . . . . </strong>0. 1. 6<em> Journal</em><em><strong>. . . . . . . . . . . . </strong></em>1. 7. 6Tramfare<strong>. . . . . . . . . . . . . </strong>0. 0. 1Loan (Stephen Dedalus)<strong>. . . . . </strong>1. 7. 01 In Memoriam Patrick Dignam <strong>. </strong>0. 5. 02 Banbury cakes<strong>. . . . . . . . . </strong>0. 0. 11 Lunch<strong>. . . . . . . . . . . . . </strong>0. 0. 71 Renewal fee for book<strong>. . . . . </strong>0. 1. 01 Packet notepaper and enve- lopes<strong>. . . . . . . . . . . . . </strong>0. 0. 21 Dinner and Gratification<strong>. . . . . </strong>0. 2. 01 Postal Order and Stamp<strong>. . . . . </strong>0. 2. 8Tramfare<strong>. . . . . . . . . . . . . </strong>0. 0. 11 Pig's Foot <strong>. . . . . . . . . . . </strong>0. 0. 41 Sheep's Trotter<strong>. . . . . . . . . </strong>0. 0. 31 Cake Fry's plain chocolate<strong>. . . </strong>0. 0. 11 Square Soda Bread <strong>. . . . . . </strong>0. 0. 41 Coffee and Bun <strong>. . . . . . . . </strong>0. 0. 4Loan (Stephen Dedalus) refun- ded<strong>. . . . . . . . . . . . . . </strong>1. 7. 0 BALANCE<strong>. . . . . . . . </strong>0. 17. 5————————£ 2. 19. 3£ 2. 19. 3</p>
|
||||
<p>Did the process of divestiture continue?</p>
|
||||
<p>Sensible of a benignant persistent ache in his footsoles he extended his foot to one side and observed the creases, protuberances and salient points caused by foot pressure in the course of walking repeatedly in several different directions, then, inclined, he disnoded the laceknots, unhooked and loosened the laces, took off each of his two boots for the second time, detached the partially moistened right sock through the fore part of which the nail of his great toe had again effracted, raised his right foot and, having unhooked a purple elastic sock suspender, took off his right sock, placed his unclothed right foot on the margin of the seat of his chair, picked at and gently lacerated the protruding part of the great toenail, raised the part lacerated to his nostrils and inhaled the odour of the quick, then, with satisfaction, threw away the lacerated unguical fragment.</p>
|
||||
<p>Why with satisfaction?</p>
|
||||
<p>Because the odour inhaled corresponded to other odours inhaled of other unguical fragments, picked and lacerated by Master Bloom, pupil of Mrs Ellis's juvenile school, patiently each night in the act of brief genuflection and nocturnal prayer and ambitious meditation.</p>
|
||||
<p>In what ultimate ambition had all concurrent and consecutive ambitions now coalesced?</p>
|
||||
<p>Not to inherit by right of primogeniture, gavelkind or borough English, or possess in perpetuity an extensive demesne of a sufficient number of acres, roods and perches, statute land measure (valuation £ 42), of grazing turbary surrounding a baronial hall with gatelodge and carriage drive nor, on the other hand, a terracehouse or semidetached villa, described as <em>Rus in Urbe</em> or <em>Qui si sana</em>, but to purchase by private treaty in fee simple a thatched bungalowshaped 2 storey dwellinghouse of southerly aspect, surmounted by vane and lightning conductor, connected with the earth, with porch covered by parasitic plants (ivy or Virginia creeper), halldoor, olive green, with smart carriage finish and neat doorbrasses, stucco front with gilt tracery at eaves and gable, rising, if possible, upon a gentle eminence with agreeable prospect from balcony with stone pillar parapet over unoccupied and unoccupyable interjacent pastures and standing in 5 or 6 acres of its own ground, at such a distance from the nearest public thoroughfare as to render its houselights visible at night above and through a quickset hornbeam hedge of topiary cutting, situate at a given point not less than 1 statute mile from the periphery of the metropolis, within a time limit of not more than 15 minutes from tram or train line (e.g., Dundrum, south, or Sutton, north, both localities equally reported by trial to resemble the terrestrial poles in being favourable climates for phthisical subjects), the premises to be held under feefarm grant, lease 999 years, the messuage to consist of 1 drawingroom with baywindow (2 lancets), thermometer affixed, 1 sittingroom, 4 bedrooms, 2 servants' rooms, tiled kitchen with close range and scullery, lounge hall fitted with linen wallpresses, fumed oak sectional bookcase containing the Encyclopaedia Britannica and New Century Dictionary, transverse obsolete medieval and oriental weapons, dinner gong, alabaster lamp, bowl pendant, vulcanite automatic telephone receiver with adjacent directory, handtufted Axminster carpet with cream ground and trellis border, loo table with pillar and claw legs, hearth with massive firebrasses and ormolu mantel chronometer clock, guaranteed timekeeper with cathedral chime, barometer with hygrographic chart, comfortable lounge settees and corner fitments, upholstered in ruby plush with good springing and sunk centre, three banner Japanese screen and cuspidors (club style, rich winecoloured leather, gloss renewable with a minimum of labour by use of linseed oil and vinegar) and pyramidically prismatic central chandelier lustre, bentwood perch with fingertame parrot (expurgated language), embossed mural paper at 10/- per dozen with transverse swags of carmine floral design and top crown frieze, staircase, three continuous flights at successive right angles, of varnished cleargrained oak, treads and risers, newel, balusters and handrail, with steppedup panel dado, dressed with camphorated wax: bathroom, hot and cold supply, reclining and shower: water closet on mezzanine provided with opaque singlepane oblong window, tipup seat, bracket lamp, brass tierod brace, armrests, footstool and artistic oleograph on inner face of door: ditto, plain: servants' apartments with separate sanitary and hygienic necessaries for cook, general and betweenmaid (salary, rising by biennial unearned increments of £ 2, with comprehensive fidelity insurance, annual bonus (£ 1) and retiring allowance (based on the 65 system) after 30 years' service), pantry, buttery, larder, refrigerator, outoffices, coal and wood cellarage with winebin (still and sparkling vintages) for distinguished guests, if entertained to dinner (evening dress), carbon monoxide gas supply throughout.</p>
|
||||
<p>What additional attractions might the grounds contain?</p>
|
||||
<p>As addenda, a tennis and fives court, a shrubbery, a glass summerhouse with tropical palms, equipped in the best botanical manner, a rockery with waterspray, a beehive arranged on humane principles, oval flowerbeds in rectangular grassplots set with eccentric ellipses of scarlet and chrome tulips, blue scillas, crocuses, polyanthus, sweet William, sweet pea, lily of the valley [bulbs obtainable from sir James W. Mackey (Limited)] wholesale and retail seed and bulb merchants and nurserymen, agents for chemical manures, 23 Sackville street, upper), an orchard, kitchen garden and vinery protected against illegal trespassers by glasstopped mural enclosures, a lumbershed with padlock for various inventoried implements.</p>
|
||||
<p>As?</p>
|
||||
<p>Eeltraps, lobsterpots, fishingrods, hatchet, steelyard, grindstone, clodcrusher, swatheturner, carriagesack, telescope ladder, 10 tooth rake, washing clogs, haytedder, tumbling rake, billhook, paintpot, brush, hoe and so on.</p>
|
||||
<p>What improvements might be subsequently introduced?</p>
|
||||
<p>A rabbitry and fowlrun, a dovecote, a botanical conservatory, 2 hammocks (lady's and gentleman's), a sundial shaded and sheltered by laburnum or lilac trees, an exotically harmonically accorded Japanese tinkle gatebell affixed to left lateral gatepost, a capacious waterbutt, a lawnmower with side delivery and grassbox, a lawnsprinkler with hydraulic hose.</p>
|
||||
<p>What facilities of transit were desirable?</p>
|
||||
<p>When citybound frequent connection by train or tram from their respective intermediate station or terminal. When countrybound velocipedes, a chainless freewheel roadster cycle with side basketcar attached, or draught conveyance, a donkey with wicker trap or smart phaeton with good working solidungular cob (roan gelding, 14h).</p>
|
||||
<p>What might be the name of this erigible or erected residence?</p>
|
||||
<p>Bloom Cottage. Saint Leopold's. Flowerville.</p>
|
||||
<p>Could Bloom of 7 Eccles street foresee Bloom of Flowerville?</p>
|
||||
<p>In loose allwool garments with Harris tweed cap, price 8/6, and useful garden boots with elastic gussets and wateringcan, planting aligned young firtrees, syringing, pruning, staking, sowing hayseed, trundling a weedladen wheelbarrow without excessive fatigue at sunset amid the scent of newmown hay, ameliorating the soil, multiplying wisdom, achieving longevity.</p>
|
||||
<p>What syllabus of intellectual pursuits was simultaneously possible?</p>
|
||||
<p>Snapshot photography, comparative study of religions, folklore relative to various amatory and superstitious practices, contemplation of the celestial constellations.</p>
|
||||
<p>What lighter recreations?</p>
|
||||
<p>Outdoor: garden and fieldwork, cycling on level macadamised causeways ascents of moderately high hills, natation in secluded fresh water and unmolested river boating in secure wherry or light curricle with kedge anchor on reaches free from weirs and rapids (period of estivation), vespertinal perambulation or equestrian circumprocession with inspection of sterile landscape and contrastingly agreeable cottagers' fires of smoking peat turves (period of hibernation). Indoor: discussion in tepid security of unsolved historical and criminal problems: lecture of unexpurgated exotic erotic masterpieces: house carpentry with toolbox containing hammer, awl nails, screws, tintacks, gimlet, tweezers, bullnose plane and turnscrew.</p>
|
||||
<p>Might he become a gentleman farmer of field produce and live stock?</p>
|
||||
<p>Not impossibly, with 1 or 2 stripper cows, 1 pike of upland hay and requisite farming implements, e.g., an end-to-end churn, a turnip pulper etc.</p>
|
||||
<p>What would be his civic functions and social status among the county families and landed gentry?</p>
|
||||
<p>Arranged successively in ascending powers of hierarchical order, that of gardener, groundsman, cultivator, breeder, and at career, resident magistrate or justice of the peace with a family crest and coat of arms and appropriate classical motto (<em>Semper paratus</em>), duly recorded in the court directory (Bloom, Leopold P., M. P., P. C., K. P., L. L. D. <em>honoris causa</em>, Bloomville, Dundrum) and mentioned in court and fashionable intelligence (Mr and Mrs Leopold Bloom have left Kingstown for England).</p>
|
||||
<p>What course of action did he outline for himself in such capacity?</p>
|
||||
<p>A course that lay between undue clemency and excessive rigour: the dispensation in a heterogeneous society of arbitrary classes, incessantly rearranged in terms of greater and lesser social inequality, of unbiassed homogeneous indisputable justice, tempered with mitigants of the widest possible latitude but exactable to the uttermost farthing with confiscation of estate, real and personal, to the crown. Loyal to the highest constituted power in the land, actuated by an innate love of rectitude his aims would be the strict maintenance of public order, the repression of many abuses though not of all simultaneously (every measure of reform or retrenchment being a preliminary solution to be contained by fluxion in the final solution), the upholding of the letter of the law (common, statute and law merchant) against all traversers in covin and trespassers acting in contravention of bylaws and regulations, all resuscitators (by trespass and petty larceny of kindlings) of venville rights, obsolete by desuetude, all orotund instigators of international persecution, all perpetuators of international animosities, all menial molestors of domestic conviviality, all recalcitrant violators of domestic connubiality.</p>
|
||||
<p>Prove that he had loved rectitude from his earliest youth.</p>
|
||||
<p>To Master Percy Apjohn at High School in 1880 he had divulged his disbelief in the tenets of the Irish (protestant) church (to which his father Rudolf Virag (later Rudolph Bloom) had been converted from the Israelitic faith and communion in 1865 by the Society for promoting Christianity among the jews) subsequently abjured by him in favour of Roman catholicism at the epoch of and with a view to his matrimony in 1888. To Daniel Magrane and Francis Wade in 1882 during a juvenile friendship (terminated by the premature emigration of the former) he had advocated during nocturnal perambulations the political theory of colonial (e.g. Canadian) expansion and the evolutionary theories of Charles Darwin, expounded in <em>The Descent of Man</em> and <em>The Origin of Species</em>. In 1885 he had publicly expressed his adherence to the collective and national economic programme advocated by James Fintan Lalor, John Fisher Murray, John Mitchel, J. F. X. O'Brien and others, the agrarian policy of Michael Davitt, the constitutional agitation of Charles Stewart Parnell (M. P. for Cork City), the programme of peace, retrenchment and reform of William Ewart Gladstone (M. P. for Midlothian, N. B.) and, in support of his political convictions, had climbed up into a secure position amid the ramifications of a tree on Northumberland road to see the entrance (2 February 1888) into the capital of a demonstrative torchlight procession of 20,000 torchbearers, divided into 120 trade corporations, bearing 2000 torches in escort of the marquess of Ripon and John Morley.</p>
|
||||
<p>How much and how did he propose to pay for this country residence?</p>
|
||||
<p>As per prospectus of the Industrious Foreign Acclimatised Nationalised Friendly Stateaided Building Society (incorporated 1874), a maximum of £ 60 per annum, being 1/6 of an assured income, derived from giltedged securities, representing at 5 % simple interest on capital of £ 1,200 (estimate of price at 20 years' purchase), of which to be paid on acquisition and the balance in the form of annual rent, viz. £ 800 plus 2 1/2 % interest on the same, repayable quarterly in equal annual instalments until extinction by amortisation of loan advanced for purchase within a period of 20 years, amounting to an annual rental of £ 64, headrent included, the titledeeds to remain in possession of the lender or lenders with a saving clause envisaging forced sale, foreclosure and mutual compensation in the event of protracted failure to pay the terms assigned, otherwise the messuage to become the absolute property of the tenant occupier upon expiry of the period of years stipulated.</p>
|
||||
<p>What rapid but insecure means to opulence might facilitate immediate purchase?</p>
|
||||
<p>A private wireless telegraph which would transmit by dot and dash system the result of a national equine handicap (flat or steeplechase) of I or more miles and furlongs won by an outsider at odds of 50 to 1 at 3 hr 8 m p.m. at Ascot (Greenwich time), the message being received and available for betting purposes in Dublin at 2.59 p.m. (Dunsink time). The unexpected discovery of an object of great monetary value (precious stone, valuable adhesive or impressed postage stamps (7 shilling, mauve, imperforate, Hamburg, 1866: 4 pence, rose, blue paper, perforate, Great Britain, 1855: 1 franc, stone, official, rouletted, diagonal surcharge, Luxemburg, 1878), antique dynastical ring, unique relic in unusual repositories or by unusual means: from the air (dropped by an eagle in flight), by fire (amid the carbonised remains of an incendiated edifice), in the sea (amid flotsam, jetsam, lagan and derelict), onearth (in the gizzard of a comestible fowl). A Spanish prisoner's donation of a distant treasure of valuables or specie or bullion lodged with a solvent banking corporation loo years previously at 5% compound interest of the collective worth of £ 5,000,000 stg (five million pounds sterling). A contract with an inconsiderate contractee for the delivery of 32 consignments of some given commodity in consideration of cash payment on delivery per delivery at the initial rate of 1/4 d. to be increased constantly in the geometrical progression of 2 (1/4, 1/2, 1 d., 2 d., 4 d., 8 d., 1 s. 4 d., 2 s. 8 d. to 32 terms). A prepared scheme based on a study of the laws of probability to break the bank at Monte Carlo. A solution of the secular problem of the quadrature of the circle, government premium £ 1,000,000 sterling.</p>
|
||||
<p>Was vast wealth acquirable through industrial channels?</p>
|
||||
<p>The reclamation of dunams of waste arenary soil, proposed in the prospectus of Agendath Netaim, Bleibtreustrasse, Berlin, W. 15, by the cultivation of orange plantations and melonfields and reafforestation. The utilisation of waste paper, fells of sewer rodents, human excrement possessing chemical properties, in view of the vast production of the first, vast number of the second and immense quantity of the third, every normal human being of average vitality and appetite producing annually, cancelling byproducts of water, a sum total of 80 lbs. (mixed animal and vegetable diet), to be multiplied by 4,386,035, the total population of Ireland according to census returns of 1901.</p>
|
||||
<p>Were there schemes of wider scope?</p>
|
||||
<p>A scheme to be formulated and submitted for approval to the harbour commissioners for the exploitation of white coal (hydraulic power), obtained by hydroelectric plant at peak of tide at Dublin bar or at head of water at Poulaphouca or Powerscourt or catchment basins of main streams for the economic production of 500,000 W. H. P. of electricity. A scheme to enclose the peninsular delta of the North Bull at Dollymount and erect on the space of the foreland, used for golf links and rifle ranges, an asphalted esplanade with casinos, booths, shooting galleries, hotels, boardinghouses, readingrooms, establishments for mixed bathing. A scheme for the use of dogvans and goatvans for the delivery of early morning milk. A scheme for the development of Irish tourist traffic in and around Dublin by means of petrolpropelled riverboats, plying in the fluvial fairway between Island bridge and Ringsend, charabancs, narrow gauge local railways, and pleasure steamers for coastwise navigation (10/- per person per day, guide (trilingual) included). A scheme for the repristination of passenger and goods traffics over Irish waterways, when freed from weedbeds. A scheme to connect by tramline the Cattle Market (North Circular road and Prussia street) with the quays(Sheriff street, lower, and East Wall), parallel with the Link line railway laid (in conjunction with the Great Southern and Western railway line) between the cattle park, Liffey junction, and terminus of Midland Great Western Railway 43 to 45 North Wall, in proximity to the terminal stations or Dublin branches of Great Central Railway, Midland Railway of England, City of Dublin Steam Packet Company, Lancashire and Yorkshire Railway Company, Dublin and Glasgow Steam Packet Company, Glasgow, Dublin and Londonderry Steam Packet Company (Laird line), British and Irish Steam Packet Company, Dublin and Morecambe Steamers, London and North Western Railway Company, Dublin Port and Docks Board Landing Sheds and transit sheds of Palgrave, Murphy and Company, steamship owners, agents for steamers from Mediterranean, Spain, Portugal, France, Belgium and Holland and for Liverpool Underwriters' Association, the cost of acquired rolling stock for animal transport and of additional mileage operated by the Dublin United Tramways Company, limited, to be covered by graziers' fees.</p>
|
||||
<p>Positing what protasis would the contraction for such several schemes become a natural and necessary apodosis?</p>
|
||||
<p>Given a guarantee equal to the sum sought, the support, by deed of gift and transfer vouchers during donor's lifetime or by bequest after donor's painless extinction, of eminent financiers (Blum Pasha, Rothschild Guggenheim, Hirsch, Montefiore, Morgan, Rockefeller) possessing fortunes in 6 figures, amassed during a successful life, and joining capital with opportunity the thing required was done.</p>
|
||||
<p>What eventuality would render him independent of such wealth?</p>
|
||||
<p>The independent discovery of a goldseam of inexhaustible ore.</p>
|
||||
<p>For what reason did he meditate on schemes so difficult of realisation?</p>
|
||||
<p>It was one of his axioms that similar meditations or the automatic relation to himself of a narrative concerning himself or tranquil recollection of the past when practised habitually before retiring for the night alleviated fatigue and produced as a result sound repose and renovated vitality.</p>
|
||||
<p>His justifications?</p>
|
||||
<p>As a physicist he had learned that of the 70 years of complete human life at least 2/7, viz., 20 years are passed in sleep. As a philosopher he knew that at the termination of any allotted life only an infinitesimal part of any person's desires has been realised. As a physiologist he believed in the artificial placation of malignant agencies chiefly operative during somnolence.</p>
|
||||
<p>What did he fear?</p>
|
||||
<p>The committal of homicide or suicide during sleep by an aberration of the light of reason, the incommensurable categorical intelligence situated in the cerebral convolutions.</p>
|
||||
<p>What were habitually his final meditations?</p>
|
||||
<p>Of some one sole unique advertisement to cause passers to stop in wonder, a poster novelty, with all extraneous accretions excluded, reduced to its simplest and most efficient terms not exceeding the span of casual vision and congruous with the velocity of modern life.</p>
|
||||
<p>What did the first drawer unlocked contain?</p>
|
||||
<p>A Vere Foster's handwriting copybook, property of Milly (Millicent) Bloom, certain pages of which bore diagram drawings, marked <em>Papli</em>, which showed a large globular head with 5 hairs erect, 2 eyes in profile, the trunk full front with 3 large buttons, 1 triangular foot: 2 fading photographs of queen Alexandra of England and of Maud Branscombe, actress and professional beauty: a Yuletide card, bearing on it a pictorial representation of a parasitic plant, the legend <em>Mizpah</em>, the date Xmas 1892, the name of the senders: from Mr and Mrs M. Comerford, the versicle: <em>May this Yuletide bring to thee, Joy and peace and welcome glee</em>: a butt of red partly liquefied sealing wax, obtained from the stores department of Messrs Hely's, Ltd., 89, 90, and 91 Dame street: a box containing the remainder of a gross of gilt « J » pennibs, obtained from same department of same firm: an old sandglass which rolledcontaining sand which rolled: a sealed prophecy (never unsealed) written by Leopold Bloom in 1886 concerning the consequences of the passing into law of William Ewart Gladstone's Home Rule bill of 1886 (never passed into law): a bazaar ticket, N° 2004, of S. Kevin's Charity Fair, price 6 d. 100 prizes: an infantile epistle, dated, small em monday, reading: capital pee Papli comma capital aitch How are you note of interrogation capital eye I am very well full stop new paragraph signature with flourishes capital em Milly no stop: a cameo brooch, property of Ellen Bloom (born Higgins), deceased: 3 typewritten letters, addressee, Henry Flower, c/o. P. O. Westland Row, addresser, Martha Clifford, c/o. P. O. Dolphin's Barn: the transliterated name and address of the addresser of the 3 letters in reversed alphabetic boustrophedontic punctated quadrilinear cryptogram (vowels suppressed) N. IGS./WI. UU. OX/W. OKS. MH/Y. IM: a press cutting from an English weekly periodical <em>Modern Society</em>, subject corporal chastisement in girls' schools: a pink ribbon which had festooned an Easter egg in the year 1899: two partly uncoiled rubber preservatives with reserve pockets, purchased by post from Box 32, P. O., Charing Cross, London, W. C.: 1 pack of 1 dozen creamlaid envelopes and feintruled notepaper, watermarked, now reduced by 3: some assorted Austrian-Hungarian coins: 2 coupons of the Royal and Privileged Hungarian Lottery: a lowpower magnifying glass: 2 erotic photocards showing a) buccal coition between nude senorita (rere presentation, superior position) and nude torero (fore presentation, inferior position) b) anal violation by male religious (fully clothed, eyes abject) of female religious (partly clothed, eyes direct), purchased by post from Box 32, P. O., Charing Cross, London, W. C.: a press cutting of recipe for renovation of old tan boots: a 1d. adhesive stamp, lavender, of the reign of Queen Victoria: a chart of the measurements of Leopold Bloom compiled before, during and after 2 months' consecutive use of Sandow-Whiteley's pulley exerciser (men's 15/-, athlete's 20/-) viz., chest 28 in and 29 1/2 in, biceps 9 in and 10 in, forearm 8 1/2 and 9 in, thigh 10 in and 12 in, calf 11 in and 12 in: 1 prospectus of The Wonderworker, the world's greatest remedy for rectal complaints, direct from Wonderworker, Coventry House, South Place, London E. C., addressed to Mrs L. Bloom with brief accompanying note commencing: Dear Madam.</p>
|
||||
<p>Quote the textual terms in which the prospectus claimed advantages for this thaumaturgic remedy.</p>
|
||||
<p>It heals and soothes while you sleep, in case of trouble in breaking wind, assists nature in the most formidable way, insuring instant relief in discharge of gases, keeping parts clean and free natural action, an initial outlay of 7/6 making a new man of you and life worth living. Ladies find Wonderworker especially useful, a pleasant surprise when they note delightful result like a cool drink of fresh spring water on a sultry summer's day. Recommend it to your lady and gentlemen friends, lasts a lifetime. Insert long round end. Wonderworker.</p>
|
||||
<p>Were there testimonials?</p>
|
||||
<p>Numerous. From clergyman, British naval officer, wellknown author, city man, hospital nurse, lady, mother of five, absentminded beggar.</p>
|
||||
<p>How did absentminded beggar's concluding testimonial conclude?</p>
|
||||
<p>What a pity the government did not supply our men with wonderworkers during the South African campaign! What a relief it would have been!</p>
|
||||
<p>What object did Bloom add to this collection of objects?</p>
|
||||
<p>A 4th typewritten letter received by Henry Flower (let H. F. be L. B.) from Martha Clifford (find M. C.).</p>
|
||||
<p>What pleasant reflection accompanied this action?</p>
|
||||
<p>The reflection that, apart from the letter in question, his magnetic face, form and address had been favourably received during the course of the preceding day by a wife (Mrs Josephine Breen, born Josie Powell), a nurse, Miss Callan (Christian name unknown), a maid, Gertrude (Gerty, family name unknown).</p>
|
||||
<p>What possibility suggested itself?</p>
|
||||
<p>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.</p>
|
||||
<p>What did the 2nd drawer contain?</p>
|
||||
<p>Documents: the birth certificate of Leopold Paula Bloom: an endowment assurance policy of £ 500 in the Scottish Widows' Assurance Society, intestated Millicent (Milly) Bloom, coming into force at 25 years as with profit policy of £ 430, £ 462-10-0 and £ 500 at 60 years or death, 65 years or death and death, respectively, or with profit policy (paidup) of £ 299-10-0 together with cash payment of £ 133-10-0, at option: a bank passbook issued by the Ulster Bank, College Green branch showing statement of a/c for halfyear ending 31 December 1903, balance in depositor's favour: £ 18-14-6 (eighteen pounds, fourteen shillings and sixpence, sterling), net personalty: certificate of possession of £ 900, Canadian 4 % (inscribed) government stock (free of stamp duty): dockets of the Catholic Cemeteries' (Glasnevin) Committee, relative to a graveplot purchased: a local press cutting concerning change of name by deedpoll.</p>
|
||||
<p>Quote the textual terms of this notice.</p>
|
||||
<p>I, Rudolph Virag, now resident at n° 52 Clanbrassil street, Dublin, formerly of Szombathely in the kingdom of Hungary, hereby give notice that I have assumed and intend henceforth upon all occasions and at all times to be known by the name of Rudolph Bloom.</p>
|
||||
<p>What other objects relative to Rudolph Bloom (born Virag) were in the 2nd drawer?</p>
|
||||
<p>An indistinct daguerreotype of Rudolph Virag and his father Leopold Virag executed in the year 1852 in the portrait atelier of their (respectively) 1st and 2nd cousin, Stefan Virag of Szesfehervar, Hungary. An ancient haggadah book in which a pair of hornrimmed convex spectacles inserted marked the passage of thanksgiving in the ritual prayers for Pessach (Passover): a photocard of the Queen's Hotel, Ennis, proprietor, Rudolph Bloom: an envelope addressed: <em>To My Dear Son Leopold</em>.</p>
|
||||
<p>What fractions of phrases did the lecture of those five whole words evoke?</p>
|
||||
<p>Tomorrow will be a week that I received... it is no use Leopold to be ... with your dear mother... that is not more to stand... to her... all for me is out... be kind to Athos, Leopold... my dear son... always... of me... <em>das Herz... Gott... dein</em>...</p>
|
||||
<p>What reminiscences of a human subject suffering from progressive melancholia did these objects evoke in Bloom?</p>
|
||||
<p>An old man, widower, unkempt of hair, in bed, with head covered, sighing: an infirm dog, Athos: aconite, resorted to by increasing doses of grains and scruples as a palliative of recrudescent neuralgia: the face in death of a septuagenarian suicide by poison.</p>
|
||||
<p>Why did Bloom experience a sentiment of remorse?</p>
|
||||
<p>Because in immature impatience he had treated with disrespect certain beliefs and practices.</p>
|
||||
<p>As?</p>
|
||||
<p>The prohibition of the use of fleshmeat and milk at one meal, the hebdomadary symposium of incoordinately abstract, perfervidly concrete mercantile coexreligionist excompatriots: the circumcision of male infants: the supernatural character of Judaic scripture: the ineffability of the tetragrammaton: the sanctity of the sabbath.</p>
|
||||
<p>How did these beliefs and practices now appear to him?</p>
|
||||
<p>Not more rational than they had then appeared, not less rational than other beliefs and practices now appeared.</p>
|
||||
<p>What first reminiscence had he of Rudolph Bloom (deceased)?</p>
|
||||
<p>Rudolph Bloom (deceased) narrated to his son Leopold Bloom (aged 6) a retrospective arrangement of migrations and settlements in and between Dublin, London, Florence, Milan, Vienna, Budapest, Szombathely with statements of satisfaction (his grandfather having seen Maria Theresia, empress of Austria, queen of Hungary), with commercial advice (having taken care of pence, the pounds having taken care of themselves). Leopold Bloom (aged 6) had accompanied these narrations by constant consultation of a geographical map of Europe (political) and by suggestions for the establishment of affiliated business premises in the various centres mentioned.</p>
|
||||
<p>Had time equally but differently obliterated the memory of these migrations in narrator and listener?</p>
|
||||
<p>In narrator by the access of years and in consequence of the use of narcotic toxin: in listener by the access of years and in consequence of the action of distraction upon vicarious experiences.</p>
|
||||
<p>What idiosyncracies of the narrator were concomitant products of amnesia?</p>
|
||||
<p>Occasionally he ate without having previously removed his hat. Occasionally he drank voraciously the juice of gooseberry fool from an inclined plate. Occasionally he removed from his lips the traces of food by means of a lacerated envelope or other accessible fragment of paper.</p>
|
||||
<p>What two phenomena of senescence were more frequent?</p>
|
||||
<p>The myopic digital calculation of coins, eructation consequent upon repletion.</p>
|
||||
<p>What object offered partial consolation for these reminiscences?</p>
|
||||
<p>The endowment policy, the bank passbook, the certificate of the possession of scrip.</p>
|
||||
<p>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.</p>
|
||||
<p>Successively, in descending helotic order: Poverty: that of the outdoor hawker of imitation jewellery, the dun for the recovery of bad and doubtful debts, the poor rate and deputy cess collector. Mendicancy: that of the fraudulent bankrupt with negligible assets paying 1/4d. in the £, sandwichman, distributor of throwaways, nocturnal vagrant, insinuating sycophant, maimed sailor, blind stripling, superannuated bailiffs man, marfeast, lickplate, spoilsport, pickthank, eccentric public laughingstock seated on bench of public park under discarded perforated umbrella. Destitution: the inmate of Old Man's House (Royal Hospital) Kilmainham, the inmate of Simpson's Hospital for reduced but respectable men permanently disabled by gout or want of sight. Nadir of misery: the aged impotent disfranchised ratesupported moribund lunatic pauper.</p>
|
||||
<p>With which attendant indignities?</p>
|
||||
<p>The unsympathetic indifference of previously amiable females, the contempt of muscular males, the acceptance of fragments of bread, the simulated ignorance of casual acquaintances, the latration of illegitimate unlicensed vagabond dogs, the infantile discharge of decomposed vegetable missiles, worth little or nothing, nothing or less than nothing.</p>
|
||||
<p>By what could such a situation be precluded?</p>
|
||||
<p>By decease (change of state): by departure (change of place).</p>
|
||||
<p>Which preferably?</p>
|
||||
<p>The latter, by the line of least resistance.</p>
|
||||
<p>What considerations rendered it not entirely undesirable?</p>
|
||||
<p>Constant cohabitation impeding mutual toleration of personal defects. The habit of independent purchase increasingly cultivated. The necessity to counteract by impermanent sojourn the permanence of arrest.</p>
|
||||
<p>What considerations rendered it not irrational?</p>
|
||||
<p>The parties concerned, uniting, had increased and multiplied, which being done, offspring produced and educed to maturity, the parties, if not disunited were obliged to reunite for increase and multiplication, which was absurd, to form by reunion the original couple of uniting parties, which was impossible.</p>
|
||||
<p>What considerations rendered it desirable?</p>
|
||||
<p>The attractive character of certain localities in Ireland and abroad, as represented in general geographical maps of polychrome design or in special ordnance survey charts by employment of scale numerals and hachures.</p>
|
||||
<p>In Ireland?</p>
|
||||
<p>The cliffs of Moher, the windy wilds of Connemara, lough Neagh with submerged petrified city, the Giant's Causeway, Fort Camden and Fort Carlisle, the Golden Vale of Tipperary, the islands of Aran, the pastures of royal Meath, Brigid's elm in Kildare, the Queen's Island shipyard in Belfast, the Salmon Leap, the lakes of Killarney.</p>
|
||||
<p>Abroad?</p>
|
||||
<p>Ceylon (with spicegardens supplying tea to Thomas Kernan, agent for Pulbrook, Robertson and Co, 2 Mincing Lane, London, E. C., 5 Dame street, Dublin), Jerusalem, the holy city (with mosque of Omar and gate of Damascus, goal of aspiration), the straits of Gibraltar (the unique birthplace of Marion Tweedy), the Parthenon (containing statues, nude Grecian divinities), the Wall street money market (which controlled international finance), the Plaza de Toros at La Linea, Spain (where O'Hara of the Camerons had slain the bull), Niagara (over which no human being had passed with impunity), the land of the Eskimos (eaters of soap), the forbidden country of Thibet (from which no traveller returns), the bay of Naples (to see which was to die), the Dead Sea.</p>
|
||||
<p>Under what guidance, following what signs?</p>
|
||||
<p>At sea, septentrional, by night the polestar, located at the point of intersection of the right line from beta to alpha in Ursa Maior produced and divided externally at omega and the hypotenuse of the rightangled triangle formed by the line alpha omega so produced and the line alpha delta of Ursa Maior. On land, meridional, 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, a pillar of the cloud by day.</p>
|
||||
<p>What public advertisement would divulge the occultation of the departed?</p>
|
||||
<p>£ 5 reward, lost, stolen or strayed from his residence 7 Eccles street, missing gent about 40, answering to the name of Bloom, Leopold (Poldy), height 5 ft., 9 1/2 inches, full build, olive complexion, may have since grown a beard, when last seen was wearing a black suit. Above sum will be paid for information leading to his discovery.</p>
|
||||
<p>What universal binomial denominations would be his as entity and nonentity?</p>
|
||||
<p>Assumed by any or known to none. Everyman or Noman.</p>
|
||||
<p>What tributes his?</p>
|
||||
<p>Honour and gifts of strangers, the friends of Everyman. A nymph immortal, beauty, the bride of Noman.</p>
|
||||
<p>Would the departed never nowhere nohow reappear?</p>
|
||||
<p>Ever he would wander, selfcompelled, to the extreme limit of his cometary orbit, beyond the fixed stars and variable suns and telescopic planets, astronomical waifs and strays, to the extreme boundary of space, passing from land to land, among peoples, amid events. Somewhere imperceptibly he would hear and somehow reluctantly, suncompelled, obey the summons of recall. Whence, disappearing from the constellation of the Northern Crown he would somehow reappear reborn above delta in the constellation of Cassiopeia and after incalculable eons of peregrination return an estranged avenger, a wreaker of justice on malefactors, a dark crusader, a sleeper awakened, with financial resources (by supposition) surpassing those of Rothschild or the silver king.</p>
|
||||
<p>What would render such return irrational?</p>
|
||||
<p>An unsatisfactory equation between an exodus and return in time through reversible space and an exodus and return in space through irreversible time.</p>
|
||||
<p>What play of forces, inducing inertia, rendered departure undesirable?</p>
|
||||
<p>The lateness of the hour, rendering procrastinatory: the obscurity of the night, rendering invisible: the uncertainty of thoroughfares, rendering perilous: the necessity for repose, obviating movement: the proximity of an occupied bed, obviating research: the anticipation of warmth (human) tempered with coolness (linen), obviating desire and rendering desirable: the statue of Narcissus, sound without echo, desired desire.</p>
|
||||
<p>What advantages were possessed by an occupied, as distinct from an unoccupied bed?</p>
|
||||
<p>The removal of nocturnal solitude, the superior quality of human (mature female) to inhuman (hotwaterjar) calefaction, the stimulation of matutinal contact, the economy of mangling done on the premises in the case of trousers accurately folded and placed lengthwise between the spring mattress (striped) and the woollen mattress (biscuit section).</p>
|
||||
<p>What past consecutive causes, before rising preapprehended, of accumulated fatigue did Bloom, before rising, silently recapitulate?</p>
|
||||
<p>The preparation of breakfast (burnt offering): intestinal congestion and premeditative defecation (holy of holies): the bath (rite of John): the funeral (rite of Samuel): the advertisement of Alexander Keyes (Urim and Thummim): the unsubstantial lunch (rite of Melchisedek): the visit to museum and national library (holy place): the bookhunt along Bedford row, Merchants' Arch, Wellington Quay (Simchath Torah): the music in the Ormond Hotel (Shira Shirim): the altercation with a truculent troglodyte in Bernard Kiernan's premises (holocaust): a blank period of time including a cardrive, a visit to a house of mourning, a leavetaking (wilderness): the eroticism produced by feminine exhibitionism (rite of Onan): the prolonged delivery of Mrs Mina Purefoy (heave offering): the visit to the disorderly house of Mrs Bella Cohen, 82 Tyrone street, lower and subsequent brawl and chance medley in Beaver street (Armageddon): nocturnal perambulation to and from the cabman's shelter, Butt Bridge (atonement).</p>
|
||||
<p>What selfimposed enigma did Bloom about to rise in order to go so as to conclude lest he should not conclude involuntarily apprehend?</p>
|
||||
<p>The cause of a brief sharp unforeseen heard loud lone crack emitted by the insentient material of a strainveined timber table.</p>
|
||||
<p>What selfinvolved enigma did Bloom risen, going, gathering multicoloured multiform multitudinous garments, voluntarily apprehending, not comprehend?</p>
|
||||
<p>Who was M'Intosh?</p>
|
||||
<p>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?</p>
|
||||
<p>Where was Moses when the candle went out?</p>
|
||||
<p>What imperfections in a perfect day did Bloom, walking, charged with collected articles of recently disvested male wearing apparel, silently, successively, enumerate?</p>
|
||||
<p>A provisional failure to obtain renewal of an advertisement: to obtain a certain quantity of tea from Thomas Kernan (agent for Pulbrook, Robertson and Co, 5 Dame Street, Dublin, and 2 Mincing Lane, London E. C.): to certify the presence or absence of posterior rectal orifice in the case of Hellenic female divinities: to obtain admission (gratuitous or paid) to the performance of <em>Leah</em> by Mrs Bandmann Palmer at the Gaiety Theatre, 46, 47, 48, 49 South King street.</p>
|
||||
<p>What impression of an absent face did Bloom, arrested, silently recall?</p>
|
||||
<p>The face of her father, the late Major Brian Cooper Tweedy, Royal Dublin Fusiliers, of Gibraltar and Rehoboth, Dolphin's Barn.</p>
|
||||
<p>What recurrent impressions of the same were possible by hypothesis?</p>
|
||||
<p>Retreating, at the terminus of the Great Northern Railway, Amiens street, with constant uniform acceleration, along parallel lines meeting at infinity, if produced: along parallel lines, reproduced from infinity, with constant uniform retardation, at the terminus of the Great Northern Railway, Amiens street, returning.</p>
|
||||
<p>What miscellaneous effects of female personal wearing apparel were perceived by him?</p>
|
||||
<p>A pair of new inodorous halfsilk black ladies' hose, a pair of new violet garters, a pair of outsize ladies' drawers of India mull, cut on generous lines, redolent of opoponax, jessamine and Muratti's Turkish cigarettes and containing a long bright steel safety pin, folded curvilinear, a camisole of batiste with thin lace border, an accordion underskirt of blue silk moirette, all these objects being disposed irregularly on the top of a rectangular trunk, quadruple battened, having capped corners, with multicoloured labels, initialled on its fore side in white lettering B. C. T. (Brian Cooper Tweedy).</p>
|
||||
<p>What impersonal objects were perceived?</p>
|
||||
<p>A commode, one leg fractured, totally covered by square cretonne cutting, apple design, on which rested a lady's black straw hat. Orangekeyed ware, bought of Henry Price, basket, fancy goods, chinaware and ironmongery manufacturer, 21, 22, 23 Moore Street, disposed irregularly on the washstand and floor and consisting of basin, soapdish and brushtray (on the washstand, together), pitcher and night article (on the floor, separate).</p>
|
||||
<p>Bloom's acts?</p>
|
||||
<p>He deposited the articles of clothing on a chair, removed his remaining articles of clothing, took from beneath the bolster at the head of the bed a folded long white nightshirt, inserted his head and arms into the proper apertures of the nightshirt, removed a pillow from the head to the foot of the bed, prepared the bedlinen accordingly and entered the bed.</p>
|
||||
<p>How?</p>
|
||||
<p>With circumspection, as invariably when entering an abode (his own or not his own): with solicitude, the snakespiral springs of the mattress being old, the brass quoits and pendent viper radii loose and tremulous under stress and strain: prudently, as entering a lair or ambush of lust or adders: lightly, the less to disturb: reverently, the bed of conception and of birth, of consummation of marriage and of breach of marriage, of sleep and of death.</p>
|
||||
<p>What did his limbs, when gradually extended, encounter?</p>
|
||||
<p>New clean bedlinen, additional odours, the presence of a human form, female, hers, the imprint of a human form, male, not his, some crumbs, some flakes of potted meat, recooked, which he removed.</p>
|
||||
<p>If he had smiled why would he have smiled?</p>
|
||||
<p>To reflect that each one who enters imagines himself to be the first to enter whereas he is always the last term of a preceding series even if the first term of a succeeding one, each imagining himself to be first, last, only and alone whereas he is neither first nor last nor only nor alone in a series originating in and repeated to infinity.</p>
|
||||
<p>What preceding series?</p>
|
||||
<p>Assuming Mulvey to be the first term of his series, Penrose, Bartell d'Arcy, professor Goodwin, Julius Mastiansky, John Henry Menton, Father Bernard Corrigan, a farmer at the Royal Dublin Society's Horse Show, Maggot O'Reilly, Matthew Dillon, Valentine Blake Dillon (Lord Mayor of Dublin), Christopher Callinan, Lenehan, an Italian organgrinder, an unknown gentleman in the Gaiety Theatre, Benjamin Dollard, Simon Dedalus, Andrew (Pisser) Burke, Joseph Cuffe, Wisdom Hely, Alderman John Hooper, Dr Francis Brady, Father Sebastian of Mount Argus, a bootblack at the General Post Office, Hugh E. (Blazes) Boylan and so each and so on to no last term.</p>
|
||||
<p>What were his reflections concerning the last member of this series and late occupant of the bed?</p>
|
||||
<p>Reflections on his vigour (a bounder), corporal proportion (a billsticker), commercial ability (a bester), impressionability (a boaster).</p>
|
||||
<p>Why for the observer impressionability in addition to vigour, corporal proportion and commercial ability?</p>
|
||||
<p>Because he had observed with augmenting frequency in the preceding members of the same series the same concupiscence, inflammably transmitted, first with alarm, then with understanding, then with desire, finally with fatigue, with alternating symptoms of epicene comprehension and apprehension.</p>
|
||||
<p>With what antagonistic sentiments were his subsequent reflections affected?</p>
|
||||
<p>Envy, jealousy, abnegation, equanimity.</p>
|
||||
<p>Envy?</p>
|
||||
<p>Of a bodily and mental male organism specially adapted for the superincumbent posture of energetic human copulation and energetic piston and cylinder movement necessary for the complete satisfaction of a constant but not acute concupiscence resident in a bodily and mental female organism, passive but not obtuse.</p>
|
||||
<p>Jealousy?</p>
|
||||
<p>Because a nature full and volatile in its free state, was alternately the agent and reagent of attraction. Because attraction between agent(s) and reagents at all instants varied, with inverse proportion of increase and decrease, with incessant circular extension and radial reentrance. Because the controlled contemplation of the fluctuation of attraction produced, if desired, a fluctuation of pleasure.</p>
|
||||
<p>Abnegation?</p>
|
||||
<p>In virtue of a) acquaintance initiated in September 1903 in the establishment of George Mesias, merchant tailor and outfitter, 5 Eden Quay, b) hospitality extended and received in kind, reciprocated and reappropriated in person, c) comparative youth subject to impulses of ambition and magnanimity, colleagual altruism and amorous egoism, d) extraracial attraction, intraracial inhibition, supraracial prerogative, e) an imminent provincial musical tour, common current expenses, net proceeds divided.</p>
|
||||
<p>Equanimity?</p>
|
||||
<p>As as natural as any and every natural act of a nature expressed or understood executed in natured nature by natural creatures in accordance with his, her and their natured natures, of dissimilar similarity. As not as calamitous as a cataclysmic annihilation of the planet in consequence of a collision with a dark sun. As less reprehensible than theft, highway robbery, cruelty to children and animals, obtaining money under false pretences, forgery, embezzlement, misappropriation of public money, betrayal of public trust, malingering, mayhem, corruption of minors, criminal libel, blackmail, contempt of court, arson, treason, felony, mutiny on the high seas, trespass, burglary, jailbreaking, practice of unnatural vice, desertion from armed forces in the field, perjury, poaching, usury, intelligence with the king's enemies, impersonation, criminal assault, manslaughter, wilful and premeditated murder. As not more abnormal than all other parallel processes of adaptation to altered conditions of existence, resulting in a reciprocal equilibrium between the bodily organism and its attendant circumstances, foods, beverages, acquired habits, indulged inclinations, significant disease. As more than inevitable, irreparable.</p>
|
||||
<p>Why more abnegation than jealousy, less envy than equanimity?</p>
|
||||
<p>From outrage (matrimony) to outrage (adultery) there arose nought but outrage (copulation) yet the matrimonial violator of the matrimonially violated had not been outraged by the adulterous violator of the adulterously violated.</p>
|
||||
<p>What retribution, if any?</p>
|
||||
<p>Assassination, never, as two wrongs did not make one right. Duel by combat, no. Divorce, not now. Exposure by mechanical artifice (automatic bed) or individual testimony (concealed ocular witnesses), not yet. Suit for damages by legal influence or simulation of assault with evidence of injuries sustained (selfinflicted), not impossibly. Hushmoney by moral influence possibly. If any, positively, connivance, introduction of emulation (material, a prosperous rival agency of publicity: moral, a successful rival agent of intimacy), depreciation, alienation, humiliation, separation protecting the one separated from the other, protecting separator from both.</p>
|
||||
<p>By what reflections did he, a conscious reactor against the void of incertitude, justify to himself his sentiments?</p>
|
||||
<p>The preordained frangibility of the hymen: the presupposed intangibility of the thing in itself: the incongruity and disproportion between the selfprolonging tension of the thing proposed to be done and the selfabbreviating relaxation of the thing done; the fallaciously inferred debility of the female: the muscularity of the male: the variations of ethical codes: the natural grammatical transition by inversion involving no alteration of sense of an aorist preterite proposition (parsed as masculine subject, monosyllabic onomatopoeic transitive verb with direct feminine object) from the active voice into its correlative aorist preterite proposition (parsed as feminine subject, auxiliary verb and quasimonosyllabic onomatopoeic past participle with complementary masculine agent) in the passive voice: the continued product of seminators by generation: the continual production of semen by distillation: the futility of triumph or protest or vindication: the inanity of extolled virtue: the lethargy of nescient matter: the apathy of the stars.</p>
|
||||
<p>In what final satisfaction did these antagonistic sentiments and reflections, reduced to their simplest forms, converge?</p>
|
||||
<p>Satisfaction at the ubiquity in eastern and western terrestrial hemispheres, in all habitable lands and islands explored or unexplored (the land of the midnight sun, the islands of the blessed, the isles of Greece, the land of promise), of adipose anterior and posterior female hemispheres, redolent of milk and honey and of excretory sanguine and seminal warmth, reminiscent of secular families of curves of amplitude, insusceptible of moods of impression or of contrarieties of expression, expressive of mute immutable mature animality.</p>
|
||||
<p>The visible signs of antesatisfaction?</p>
|
||||
<p>An approximate erection: a solicitous adversion: a gradual elevation: a tentative revelation: a silent contemplation.</p>
|
||||
<p>Then?</p>
|
||||
<p>He kissed the plump mellow yellow smellow melons of her rump, on each plump melonous hemisphere, in their mellow yellow furrow, with obscure prolonged provocative melonsmellonous osculation.</p>
|
||||
<p>The visible signs of postsatisfaction?</p>
|
||||
<p>A silent contemplation: a tentative velation: a gradual abasement: a solicitous aversion: a proximate erection.</p>
|
||||
<p>What followed this silent action?</p>
|
||||
<p>Somnolent invocation, less somnolent recognition, incipient excitation, catechetical interrogation.</p>
|
||||
<p>With what modifications did the narrator reply to this interrogation?</p>
|
||||
<p>Negative: he omitted to mention the clandestine correspondence between Martha Clifford and Henry Flower, the public altercation at, in and in the vicinity of the licensed premises of Bernard Kiernan and C°, Limited, 8, 9 and 10 Little Britain street, the erotic provocation and response thereto caused by the exhibitionism of Gertrude (Gerty), surname unknown. Positive: he included mention of a performance by Mrs Bandmann Palmer of <em>Leah</em>at the Gaiety Theatre, 46, 47, 48, 49 South King street, an invitation to supper at Wynn's (Murphy's) Hotel, 35, 36 and 37 Lower Abbey street, a volume of peccaminous pornographical tendency entituled <em>Sweets of Sin</em>, anonymous author a gentleman of fashion, a temporary concussion caused by a falsely calculated movement in the course of a postcenal gymnastic display, the victim (since completely recovered) being Stephen Dedalus, professor and author, eldest surviving son of Simon Dedalus, of no fixed occupation, an aeronautical feat executed by him (narrator) in the presence of a witness, the professor and author aforesaid, with promptitude of decision and gymnastic flexibility.</p>
|
||||
<p>Was the narration otherwise unaltered by modifications?</p>
|
||||
<p>Absolutely.</p>
|
||||
<p>Which event or person emerged as the salient point of his narration?</p>
|
||||
<p>Stephen Dedalus, professor and author.</p>
|
||||
<p>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?</p>
|
||||
<p>By the listener a limitation of fertility inasmuch as marriage had been celebrated 2 calendar months after the 18th anniversary of her birth (8 September 1870), viz. 8 October, and consummated on the same date with female issue born 15 June 1889, having been anticipatorily consummated on the 10 September of the same year and complete carnal intercourse, with ejaculation of semen within the natural female organ, having last taken place 5 weeks previous, viz. 27 November 1893, to the birth on 29 December 1893 of second (and only male) issue, deceased 9 January 1894, aged 11 days, there remained a period of 10 years, 5 months and 18 days during which carnal intercourse had been incomplete, without ejaculation of semen within the natural female organ. By the narrator a limitation of activity, mental and corporal, inasmuch as complete mental intercourse between himself and the listener had not taken place since the consummation of puberty, indicated by catamenic hemorrhage, of the female issue of narrator and listener, 15 September 1903, there remained a period of 9 months and 1 day during which, in consequence of a preestablished natural comprehension in incomprehension between the consummated females (listener and issue), complete corporal liberty of action had been circumscribed.</p>
|
||||
<p>How?</p>
|
||||
<p>By various reiterated feminine interrogation concerning the masculine destination whither, the place where, the time at which, the duration for which, the object with which in the case of temporary absences, projected or effected.</p>
|
||||
<p>What moved visibly above the listener's and the narrator's invisible thoughts?</p>
|
||||
<p>The upcast reflection of a lamp and shade, an inconstant series of concentric circles of varying gradations of light and shadow.</p>
|
||||
<p>In what directions did listener and narrator lie?</p>
|
||||
<p>Listener, S. E. by E.: Narrator, N. W. by W.: on the 53rd parallel of latitude, N., and 6th meridian of longitude, W.: at an angle of 45° to the terrestrial equator.</p>
|
||||
<p>In what state of rest or motion?</p>
|
||||
<p>At rest relatively to themselves and to each other. In motion being each and both carried westward, forward and rereward respectively, by the proper perpetual motion of the earth through everchanging tracks of neverchanging space.</p>
|
||||
<p>In what posture?</p>
|
||||
<p>Listener: reclined semilaterally, left, left hand under head, right leg extended in a straight line and resting on left leg, flexed, in the attitude of Gea-Tellus, fulfilled, recumbent, big with seed. Narrator: reclined laterally, left, with right and left legs flexed, the index finger and thumb of the right hand resting on the bridge of the nose, in the attitude depicted in a snapshot photograph made by Percy Apjohn, the childman weary, the manchild in the womb.</p>
|
||||
<p>Womb? Weary?</p>
|
||||
<p>He rests. He has travelled.</p>
|
||||
<p>With?</p>
|
||||
<p>Sinbad the Sailor and Tinbad the Tailor and Jinbad the Jailer and Whinbad the Whaler and Ninbad the Nailer and Finbad the Failer and Binbad the Bailer and Pinbad the Pailer and Minbad the Mailer and Hinbad the Hailer and Rinbad the Railer and Dinbad the Kailer and Vinbad the Quailer and Linbad the Yailer and Xinbad the Phthailer.</p>
|
||||
<p>When?</p>
|
||||
<p>Going to dark bed there was a square round Sinbad the Sailor roc's auk's egg in the night of the bed of all the auks of the rocs of Darkinbad the Brightdayler.</p>
|
||||
<p>Where?</p>
|
||||
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|
|
@ -1,725 +1,108 @@
|
|||
<p class="newchapter">
|
||||
<a id="030034ineluctable" class="box-images" href="notes/030034ineluctable.htm">Ineluctable modality of the visible</a>: at least that if no more, thought
|
||||
through my eyes. <a id="030020signatures" class="box-images" href="notes/030020signatures.htm">Signatures of all things</a> <a id="030001sandymount1" class="box-images" href="notes/030001sandymount.htm">I am here</a> to read, seaspawn
|
||||
and seawrack, the nearing tide, that rusty boot. <a id="010031snotgreen3" class="box-images" href="notes/010031snotgreen.htm">Snotgreen</a>, bluesilver,
|
||||
rust: <a id="030030colouredsigns" class="box-images" href="notes/030030colouredsigns.htm">coloured signs</a>. Limits of <a id="030025baldhewas2" class="box-images" href="notes/030025baldhewas.htm">the diaphane. But he adds: in bodies.</a>
|
||||
Then he was aware of them bodies before of them coloured. How? By
|
||||
<a id="030035knockingsconce" class="box-images" href="notes/030035knockingsconce.htm">knocking his sconce against them</a>, sure. Go easy. <a id="030025baldhewas" class="box-images" href="notes/030025baldhewas.htm">Bald he was and a
|
||||
millionaire, <i>maestro di color che sanno</i>.</a> Limit of the diaphane in. Why
|
||||
in? Diaphane, adiaphane. If you can put your five fingers through it it
|
||||
is a gate, if not a door. Shut your eyes and see.
|
||||
</p>
|
||||
<p>
|
||||
Stephen closed his eyes to hear his boots crush crackling wrack and
|
||||
shells. You are walking through it howsomever. I am, a stride at a time.
|
||||
A very short space of time through very short times of space. Five, six:
|
||||
the <a id="030009laocoon1" class="box-images" href="notes/030009laocoon.htm"><i>nacheinander</i></a>. Exactly: and that is the ineluctable modality of the
|
||||
audible. Open your eyes. No. Jesus! If I fell over <a id="010009tower5" class="box-images" href="notes/010009tower.htm">a cliff that beetles
|
||||
o'er his base</a>, fell through the <a id="030009laocoon2" class="box-images" href="notes/030009laocoon.htm"><i>nebeneinander</i></a> ineluctably! I am
|
||||
getting on nicely in the dark. My <a id="010099ashplant3" class="box-images" href="notes/010099ashplant.htm">ash sword</a> hangs at my side. <a id="030003theydo" class="box-images" href="notes/030003theydo.htm">Tap with
|
||||
it: they do.</a> My two feet in <a id="030010hislegs" class="box-images" href="notes/030010hislegs.htm">his boots</a> are at the ends of his legs,
|
||||
<i>nebeneinander</i>. Sounds solid: made by <a id="030092losdemiurgos" class="box-images" href="notes/030092losdemiurgos.htm">the mallet of <i>Los Demiurgos</i>.
|
||||
Am I walking into eternity</a> along <a id="030001sandymount2" class="box-images" href="notes/030001sandymount.htm">Sandymount strand</a>? Crush, crack, crick,
|
||||
crick. Wild <a id="020030shellmoney2" class="box-images" href="notes/020030shellmoney.htm">sea money</a>. <a id="030006dominiedeasy" class="box-images" href="notes/030006dominiedeasy.htm">Dominie Deasy kens them a'.</a>
|
||||
</p>
|
||||
<p class="lyrics"><i>
|
||||
Won't you come to Sandymount, <br />
|
||||
Madeline the mare?</i>
|
||||
</p>
|
||||
<p>
|
||||
Rhythm begins, you see. I hear. A <a id="030007catalectic" class="box-images" href="notes/030007catalectic.htm">catalectic tetrameter of iambs</a>
|
||||
marching. No, agallop: <i>deline the mare</i>.
|
||||
</p><span id="ed1922pg37"></span>
|
||||
<p>
|
||||
Open your eyes now. I will. One moment. Has all vanished since? If I
|
||||
open and am for ever in the black adiaphane. <a id="030031basta1" class="box-images" href="notes/030031basta.htm"><i>Basta</i>!</a> I will see if I
|
||||
can see.
|
||||
</p>
|
||||
<p>
|
||||
See now. There all the time without you: and <a id="020025asitwas5" class="box-images" href="notes/020025asitwas.htm">ever shall be</a>, <a id="030025baldhewas3" class="box-images" href="notes/030025baldhewas.htm">world
|
||||
without end</a>.
|
||||
</p>
|
||||
<p>
|
||||
They came down <a id="030032leahys" class="box-images" href="notes/030032leahys.htm">the steps from Leahy's terrace</a> prudently, <a id="030033frauenzimmer1" class="box-images" href="notes/030033frauenzimmer.htm"><i>Frauenzimmer</i></a>:
|
||||
and down the shelving shore flabbily, their splayed feet sinking <span id="ed1932pg34"> </span>in
|
||||
the silted sand. Like me, like <a id="010032sweetmother2" class="box-images" href="notes/010032sweetmother.htm">Algy</a>, coming down to our <a id="010039mightymother2" class="box-images" href="notes/010039mightymother.htm">mighty mother</a>.
|
||||
Number one <a id="030054swunglourdily" class="box-images" href="notes/030054swunglourdily.htm">swung lourdily her midwife's bag, the other's gamp poked</a> in
|
||||
the beach. From <a id="030060theliberties" class="box-images" href="notes/030060theliberties.htm">the liberties</a>, out for the day. Mrs Florence MacCabe,
|
||||
relict of the late Patk MacCabe, deeply lamented, of <a id="030023bridestreet1" class="box-images" href="notes/030023bridestreet.htm">Bride Street</a>. <span id="ed1986pg31"> </span>One
|
||||
of her sisterhood lugged me squealing into life. <a id="030026exnihilo" class="box-images" href="notes/030026exnihilo.htm">Creation from nothing.</a>
|
||||
What has she in the bag? A misbirth <span id="ed1961pg37"> </span> </span>with a trailing navelcord, hushed
|
||||
in <a id="030091ruddywool" class="box-images" href="notes/030091ruddywool.htm">ruddy wool</a>. The cords of all link back, strandentwining cable of
|
||||
all flesh. That is why mystic monks. <a id="030095beasgods" class="box-images" href="notes/030095beasgods.htm">Will you be as gods?</a> Gaze in your
|
||||
<a id="010065omphalos4" class="box-images" href="notes/010065omphalos.htm">omphalos</a>. <a id="030008edenville" class="box-images" href="notes/030008edenville.htm">Hello! Kinch here. Put me on to Edenville. Aleph, alpha:
|
||||
nought, nought, one.</a>
|
||||
</p>
|
||||
<p>
|
||||
Spouse and <a id="030083nakedeve" class="box-images" href="notes/030083nakedeve.htm">helpmate of Adam Kadmon: Heva, naked Eve. She had no navel.</a>
|
||||
Gaze. Belly without blemish, bulging big, a buckler of taut vellum,
|
||||
no, whiteheaped corn, orient and immortal, standing from everlasting to
|
||||
everlasting. <a id="010148uncleanloins2" class="box-images" href="notes/010148uncleanloins.htm">Womb of sin.</a>
|
||||
</p>
|
||||
<p>
|
||||
Wombed in sin darkness I was too, <a id="030026exnihilo2" class="box-images" href="notes/030026exnihilo.htm">made not begotten</a>. By them, <a id="030090knowthevoice1" class="box-images" href="notes/030090knowthevoice.htm">the man
|
||||
with my voice</a> and my eyes and <a id="010045waxandrosewood3" class="box-images" href="notes/010045waxandrosewood.htm">a ghostwoman with ashes on her breath</a>.
|
||||
They clasped and sundered, <a id="030026exnihilo3" class="box-images" href="notes/030026exnihilo.htm">did the coupler's will. From before the ages
|
||||
He willed me and now may not will me away or ever. A <i>lex eterna</i> stays
|
||||
about Him.</a> Is that then <a id="010119trinity3" class="box-images" href="notes/010119trinity.htm">the divine substance wherein Father and Son are
|
||||
consubstantial</a>? Where is <a id="030040arius" class="box-images" href="notes/030040arius.htm">poor dear Arius</a> to try conclusions? Warring
|
||||
his life long on the <a id="030096contransmag" class="box-images" href="notes/030096contransmag.htm">contransmagnificandjewbangtantiality</a>. Illstarred
|
||||
heresiarch. In a Greek watercloset he breathed his last: euthanasia.
|
||||
With beaded mitre and with crozier, stalled upon his throne, widower of
|
||||
a widowed see, with upstiffed omophorion, with clotted hinderparts.
|
||||
</p>
|
||||
<p>
|
||||
Airs romped round him, nipping and eager airs. They are coming, waves.
|
||||
The whitemaned seahorses, champing, brightwindbridled, <a id="030042mananaan" class="box-images" href="notes/030042mananaan.htm">the steeds of
|
||||
Mananaan</a>.
|
||||
</p>
|
||||
<p>
|
||||
I mustn't forget <a id="020064telegraph5" class="box-images" href="notes/020064telegraph.htm">his letter for the press</a>. And after? <a id="010049shiptavern2" class="box-images" href="notes/010049shiptavern.htm">The Ship, half
|
||||
twelve.</a> By the way <a id="020035owenothing2" class="box-images" href="notes/020035owenothing.htm">go easy with that money</a> like a good young imbecile. Yes, I must.
|
||||
</p>
|
||||
<p>
|
||||
His pace slackened. Here. Am I going to aunt Sara's or not? My
|
||||
consubstantial <a id="030050fathersvoice" class="box-images" href="notes/030050fathersvoice.htm">father's voice</a>. Did you see anything of your artist
|
||||
brother <span id="ed1922pg38"></span>
|
||||
Stephen lately? No? Sure he's not down in <a id="030015strasburgterrace" class="box-images" href="notes/030015strasburgterrace.htm">Strasburg terrace</a> with
|
||||
his aunt Sally? <a id="010020ancientgreek3" class="box-images" href="notes/010020ancientgreek.htm">Couldn't he fly a bit higher than that, eh?</a> And and and
|
||||
and tell us, Stephen, how is uncle Si? O weeping God, the things I
|
||||
married into! De boys up in de hayloft. The drunken little costdrawer
|
||||
and his brother, the cornet player. <a id="030065gondoliers" class="box-images" href="notes/030065gondoliers.htm">Highly respectable gondoliers!</a> And
|
||||
skeweyed Walter sirring his father, no less! Sir. Yes, sir. No, sir.
|
||||
<a id="030064jesuswept" class="box-images" href="notes/030064jesuswept.htm">Jesus wept</a>: and no wonder, by Christ!
|
||||
</p>
|
||||
<span id="ed1932pg35"> </span><p>
|
||||
<a id="030014wheezybell" class="box-images" href="notes/030014wheezybell.htm">I pull the wheezy bell</a> of their shuttered cottage: and wait. They <a id="030016coignofvantage" class="box-images" href="notes/030016coignofvantage.htm">take
|
||||
me for a dun, peer out from a coign of vantage</a>.
|
||||
</p>
|
||||
<p>
|
||||
— It's Stephen, sir.
|
||||
</p>
|
||||
<p>
|
||||
— Let him in. Let Stephen in.
|
||||
</p>
|
||||
<p>
|
||||
A bolt drawn back and Walter welcomes me.
|
||||
</p>
|
||||
<span id="ed1961pg38"> </span><p>
|
||||
— We thought you were someone else.
|
||||
</p>
|
||||
<p>
|
||||
In his broad bed nuncle Richie, pillowed and blanketed, extends over the
|
||||
hillock of his knees a sturdy forearm. Cleanchested. He has washed the
|
||||
upper moiety.
|
||||
</p>
|
||||
<p>
|
||||
— Morrow, nephew.
|
||||
</p>
|
||||
<span id="ed1986pg32"> </span><p>
|
||||
He lays aside the lapboard whereon he drafts his bills of costs for
|
||||
the eyes of master Goff and master Shapland Tandy, filing consents and
|
||||
common searches and a writ of <i>Duces Tecum</i>. A <a id="030062bogoak1" class="box-images" href="notes/030062bogoak.htm">bogoak</a> frame over his
|
||||
bald head: <a id="030066requiescat" class="box-images" href="notes/030066requiescat.htm">Wilde's <i>Requiescat</i></a>. The drone of his misleading whistle
|
||||
brings Walter back.
|
||||
</p>
|
||||
<p>
|
||||
— Yes, sir?
|
||||
</p>
|
||||
<p>
|
||||
— Malt for Richie and Stephen, tell mother. Where is she?
|
||||
</p>
|
||||
<p>
|
||||
— Bathing Crissie, sir.
|
||||
</p>
|
||||
<p>
|
||||
Papa's little bedpal. Lump of love.
|
||||
</p>
|
||||
<p>
|
||||
— No, uncle Richie...
|
||||
</p>
|
||||
<p>
|
||||
— Call me Richie. Damn your <a id="030063lithiawater" class="box-images" href="notes/030063lithiawater.htm">lithia water</a>. It lowers. Whusky!
|
||||
</p>
|
||||
<p>
|
||||
— Uncle Richie, really...
|
||||
</p>
|
||||
<p>
|
||||
— Sit down or by the law Harry I'll knock you down.
|
||||
</p>
|
||||
<p>
|
||||
Walter squints vainly for a chair.
|
||||
</p>
|
||||
<p>
|
||||
— He has nothing to sit down on, sir.
|
||||
</p>
|
||||
<p>
|
||||
— He has nowhere to put it, you mug. Bring in our <a id="030094chippendale" class="box-images" href="notes/030094chippendale.htm">chippendale chair</a>.
|
||||
Would you like a bite of something? None of your damned lawdeedaw airs
|
||||
here. The rich of a rasher fried with a herring? Sure? So much the
|
||||
better. We have nothing in the house but <a id="030076backachepills1" class="box-images" href="notes/030076backachepills.htm">backache pills</a>.
|
||||
</p>
|
||||
<p>
|
||||
<a id="030056allerta" class="box-images" href="notes/030056allerta.htm"><i>All'erta</i>!</a>
|
||||
</p>
|
||||
<p>
|
||||
He drones bars of Ferrando's <a id="030031basta7" class="box-images" href="notes/030031basta.htm"><i>aria di sortita</i></a>. The grandest number,
|
||||
Stephen, in the whole opera. Listen.
|
||||
</p><span id="ed1922pg39"></span>
|
||||
<p>
|
||||
His tuneful whistle sounds again, finely shaded, with rushes of the air,
|
||||
his fists bigdrumming on his padded knees.
|
||||
</p>
|
||||
<p>
|
||||
<a id="030016coignofvantage2" class="box-images" href="notes/030016coignofvantage.htm">This wind is sweeter.</a>
|
||||
</p>
|
||||
<p>
|
||||
<a id="030057ownhouse2" class="box-images" href="notes/030057ownhouse.htm">Houses of decay</a>, mine, his and all. You told the <a id="010157clongowes2" class="box-images" href="notes/010157clongowes.htm">Clongowes</a> gentry you
|
||||
had an uncle a judge and an uncle a general in the army. Come out of
|
||||
them, Stephen. Beauty is not there. Nor in the stagnant bay of <a id="030047marshlibrary" class="box-images" href="notes/030047marshlibrary.htm">Marsh's
|
||||
library</a> where you read the fading prophecies of <a id="030048joachim" class="box-images" href="notes/030048joachim.htm">Joachim Abbas</a>. For whom?
|
||||
<a id="030047marshlibrary2" class="box-images" href="notes/030047marshlibrary.htm">The hundredheaded rabble of the cathedral close</a>. <a id="030061furiousdean" class="box-images" href="notes/030061furiousdean.htm">A hater <span id="ed1932pg36"> </span>of his kind
|
||||
ran from them to the wood of madness, his mane foaming in the moon,
|
||||
his eyeballs stars. Houyhnhnm, horsenostrilled.</a> The oval equine
|
||||
faces, Temple, Buck Mulligan, Foxy Campbell, Lanternjaws. Abbas
|
||||
father, furious dean, what offence laid <span id="ed1961pg39"> </span>fire to their brains? Paff!
|
||||
<a id="030101calve" class="box-images" href="notes/030101calve.htm"><i>Descende, calve, ut ne nimium decalveris</i>.</a> A <a id="010136nimbus2" class="box-images" href="notes/010136nimbus.htm">garland of grey hair</a>
|
||||
on his comminated head see him me clambering down to the footpace
|
||||
(<i>descende</i>!), clutching a monstrance, basiliskeyed. Get down, bald poll!
|
||||
A choir gives back menace and echo, assisting about the altar's horns,
|
||||
the snorted Latin of jackpriests moving burly in their albs, <a id="010012untonsured2" class="box-images-med" href="notes/010012untonsured.htm">tonsured</a>
|
||||
and oiled and gelded, fat with <a id="030019kidneysofwheat" class="box-images" href="notes/030019kidneysofwheat.htm">the fat of kidneys of wheat</a>.
|
||||
</p>
|
||||
<p>
|
||||
And at the same instant perhaps a priest round the corner is elevating
|
||||
it. <a id="030018dringdring" class="box-images" href="notes/030018dringdring.htm">Dringdring!</a> And two streets off another locking it into a pyx.
|
||||
Dringadring! And in a ladychapel another taking housel all to his own
|
||||
cheek. Dringdring! Down, up, forward, back. <a id="030044danoccam1" class="box-images" href="notes/030044danoccam.htm">Dan Occam thought of that,
|
||||
invincible doctor. A misty English morning the imp hypostasis tickled
|
||||
his</a> <span id="ed1986pg33"> </span><a id="030044danoccam1b" class="box-images" href="notes/030044danoccam.htm">brain.</a> Bringing his host down and kneeling he heard twine with his
|
||||
second bell the first bell in the transept (he is lifting his) and,
|
||||
rising, heard (now I am lifting) their two bells (he is kneeling) twang
|
||||
in diphthong.
|
||||
</p>
|
||||
<p>
|
||||
<a id="030097neverbeasaint" class="box-images" href="notes/030097neverbeasaint.htm">Cousin Stephen, you will never be a saint.</a> <a id="030085isleofsaints" class="box-images" href="notes/030085isleofsaints.htm">Isle of saints.</a> <a id="030084awfullyholy" class="box-images" href="notes/030084awfullyholy.htm">You were
|
||||
awfully holy, weren't you?</a> You prayed to the Blessed Virgin that you
|
||||
might not have a red nose. You prayed to the devil in <a id="030077serpentine1" class="box-images" href="notes/030077serpentine.htm">Serpentine avenue</a>
|
||||
that the fubsy widow in front might lift her clothes still more from the
|
||||
wet street. <a id="030031basta3" class="box-images" href="notes/030031basta.htm"><i>O si, certo</i>!</a> Sell your soul for that, do, dyed rags pinned
|
||||
round a squaw. More tell me, more still!! On the top of <a id="030021howthtram" class="box-images" href="notes/030021howthtram.htm">the Howth tram</a>
|
||||
alone crying to the rain: <i>naked women</i>! What about that,
|
||||
eh?
|
||||
</p>
|
||||
<p>
|
||||
What about what? What else were they invented for?
|
||||
</p>
|
||||
<p>
|
||||
Reading two pages apiece of seven books every night, eh? I was young.
|
||||
You bowed to yourself in the mirror, <a id="010121applause2" class="box-images" href="notes/010121applause.htm">stepping forward to applause</a>
|
||||
earnestly, striking face. Hurray for the Goddamned idiot! Hray! No-one
|
||||
saw: tell no-one. Books you were going to write with letters for titles.
|
||||
Have you read his <span id="ed1922pg40"></span>
|
||||
F? O yes, but I prefer Q. Yes, but W is wonderful. O
|
||||
yes, W. Remember your <a id="030098epiphanies" class="box-images" href="notes/030098epiphanies.htm">epiphanies</a> on green oval leaves, deeply
|
||||
deep, copies to be sent if you died to all the great libraries of the
|
||||
world, including <a id="030098epiphanies2" class="box-images" href="notes/030098epiphanies.htm">Alexandria</a>? Someone was to read them there after a few
|
||||
thousand years, a mahamanvantara. Pico della Mirandola like. Ay, <a id="030041likeawhale1" class="box-images" href="notes/030041likeawhale.htm">very
|
||||
like a whale.</a> When one reads these strange pages of one long gone one
|
||||
feels that one is at one with one who once...
|
||||
</p>
|
||||
<p>
|
||||
The grainy sand had gone from under his feet. His boots trod again
|
||||
a damp crackling mast, razorshells, squeaking pebbles, <span id="ed1961pg40"> </span><a id="030038pebbles1" class="box-images" href="notes/030038pebbles.htm">that on the</a>
|
||||
<span id="ed1932pg37"> </span><a id="030038pebbles1b" class="box-images" href="notes/030038pebbles.htm">unnumbered pebbles beats</a>, wood sieved by the shipworm, <a id="030002lostarmada" class="box-images" href="notes/030002lostarmada.htm">lost Armada</a>.
|
||||
Unwholesome sandflats waited to suck his treading soles, breathing
|
||||
upward <a id="030039sewage" class="box-images" href="notes/030039sewage.htm">sewage breath</a>. He coasted them, walking warily. A porterbottle
|
||||
stood up, stogged to its waist, in the cakey sand dough. A sentinel:
|
||||
isle of dreadful thirst. Broken hoops on the shore; at the land a maze
|
||||
of dark cunning nets; farther away chalkscrawled backdoors and on the
|
||||
higher beach a dryingline with two crucified shirts. <a id="030099ringsend" class="box-images" href="notes/030099ringsend.htm">Ringsend</a>: wigwams
|
||||
of brown steersmen and master mariners. Human shells.
|
||||
</p>
|
||||
<p>
|
||||
He halted. I have passed the way to aunt Sara's. Am I not going there?
|
||||
<a id="030010hislegs2" class="box-images" href="notes/030010hislegs.htm">Seems not.</a> No-one about. He turned northeast and crossed the firmer sand
|
||||
towards <a id="030004pigeonhouse" class="box-images" href="notes/030004pigeonhouse.htm">the Pigeonhouse</a>.
|
||||
</p>
|
||||
<p>
|
||||
<i>— Qui vous a mis dans cette fichue position?</i>
|
||||
</p>
|
||||
<p>
|
||||
<i>— <a id="010150fatherbird2" class="box-images" href="notes/010150fatherbird.htm">C'est le pigeon, Joseph.</i></a>
|
||||
</p>
|
||||
<p>
|
||||
Patrice, home on furlough, lapped warm milk with me in the bar MacMahon.
|
||||
Son of the <a id="030027wildgoose" class="box-images" href="notes/030027wildgoose.htm">wild goose</a>, Kevin Egan of Paris. <a id="010150fatherbird3" class="box-images" href="notes/010150fatherbird.htm">My father's a bird</a>, he
|
||||
lapped the sweet <a id="030005lapped1" class="box-images" href="notes/030005lapped.htm"><i>lait chaud</i></a> with pink young tongue, plump bunny's
|
||||
face. Lap, <a id="030005lapped3" class="box-images" href="notes/030005lapped.htm"><i>lapin.</i></a> He hopes to win in the <a id="030005lapped4" class="box-images" href="notes/030005lapped.htm"><i>gros lots</i></a>.</a> About the nature
|
||||
of women he read in Michelet. But he must send me <i>La Vie de Jésus</i> by
|
||||
M. Léo Taxil. Lent it to his friend.
|
||||
</p>
|
||||
<span id="ed1986pg34"> </span><p>
|
||||
<i>— <a id="030005lapped2" class="box-images" href="notes/030005lapped.htm">C'est tordant, vous savez. Moi, je suis socialiste. Je ne crois pas
|
||||
en l'existence de Dieu. Faut pas le dire à mon père.</i></a>
|
||||
</p>
|
||||
<p>
|
||||
<i>— <a id="030005lapped6" class="box-images" href="notes/030005lapped.htm">Il croit?</i></a>
|
||||
</p>
|
||||
<p>
|
||||
<i>—<a id="030005lapped5" class="box-images" href="notes/030005lapped.htm">Mon père, oui.</i></a>
|
||||
</p>
|
||||
<p>
|
||||
<a id="030033frauenzimmer2" class="box-images" href="notes/030033frauenzimmer.htm"><i>Schluss</i>.</a> He laps.
|
||||
</p>
|
||||
<p>
|
||||
My <a id="010097latinquarterhat2" class="box-images" href="notes/010097latinquarterhat.htm">Latin quarter hat</a>. <a id="010096contradictmyself2" class="box-images" href="notes/010096contradictmyself.htm">God, we simply must dress the character. I want
|
||||
puce gloves.</a> You were a student, weren't you? Of what in the other
|
||||
devil's name? <a id="030073paysayenn1" class="box-images" href="notes/030073paysayenn.htm">Paysayenn. P. C. N., you know: <i>physiques, chimiques et
|
||||
naturelles</i>.</a> Aha. Eating your groatsworth of <a id="030073paysayenn2" class="box-images" href="notes/030073paysayenn.htm"><i>mou en civet</i></a>,</a> fleshpots
|
||||
of Egypt, elbowed by belching cabmen. Just say in the most natural
|
||||
tone: when I was in Paris, <a id="030073paysayenn3" class="box-images" href="notes/030073paysayenn.htm"><i>boul' Mich'</i></a>, I used to. Yes, used to
|
||||
carry punched tickets to prove an alibi if they arrested
|
||||
<span id="ed1922pg41"></span>you for murder
|
||||
somewhere. Justice. On the night of the seventeenth of February 1904 the
|
||||
prisoner was seen by two witnesses. Other fellow did it: other me.
|
||||
Hat, tie, overcoat, nose. <a id="030073paysayenn4" class="box-images" href="notes/030073paysayenn.htm"><i>Lui, c'est moi</i>.</a> You seem to have enjoyed
|
||||
yourself.
|
||||
</p>
|
||||
<p>
|
||||
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 <span id="ed1961pg41"> </span>usher. Hunger
|
||||
<a id="010130toothless3" class="box-images" href="notes/010130toothless.htm">toothache</a>. <a id="030073paysayenn5" class="box-images" href="notes/030073paysayenn.htm"><i>Encore deux minutes</i>. Look clock. Must get. <i>Fermé</i>.</a> Hired
|
||||
dog! Shoot him to bloody bits with a bang shotgun, bits man spattered
|
||||
walls all brass buttons. <a id="030100clackback" class="box-images" href="notes/030100clackback.htm">Bits all khrrrrklak in place clack back.</a> Not
|
||||
hurt? <span id="ed1932pg38"> </span>O, that's all right. Shake hands. See what I meant, see? O, that's
|
||||
all right. Shake a shake. O, that's all only all right.
|
||||
</p>
|
||||
<p>You were going to do wonders, what? <a id="020018columbanus2" class="box-images" href="notes/020018columbanus.htm">Missionary to Europe after fiery Columbanus. Fiacre and Scotus on their creepystools in heaven</a> spilt from
|
||||
their pintpots, loudlatinlaughing: <i>Euge! Euge</i>! Pretending to speak
|
||||
broken English as you dragged your valise, porter threepence, across
|
||||
the slimy pier at Newhaven. <a id="030073paysayenn6" class="box-images" href="notes/030073paysayenn.htm"><i>Comment?</i></a> Rich booty you brought back; <a id="030074culotterouge" class="box-images" href="notes/030074culotterouge.htm"><i>Le
|
||||
Tutu</i>, five tattered numbers of <i>Pantalon Blanc et Culotte Rouge</i></a>; a
|
||||
blue French telegram, curiosity to show:
|
||||
</p>
|
||||
<p>
|
||||
— Mother dying come home father.
|
||||
</p>
|
||||
<p>
|
||||
The aunt thinks <a id="010042prayforme6" class="box-images" href="notes/010042prayforme.htm">you killed your mother</a>. That's why she won't.
|
||||
</p>
|
||||
<p class="lyrics"><i>Then here's a health to Mulligan's aunt <br />
|
||||
And I'll tell you the reason why. <br />
|
||||
She always kept things decent in <br />
|
||||
The Hannigan famileye.</i>
|
||||
</p>
|
||||
<p>
|
||||
His feet marched in sudden proud rhythm over the sand furrows, along by
|
||||
the boulders of <a id="030004pigeonhouse2" class="box-images" href="notes/030004pigeonhouse.htm">the south wall</a>. He stared at them proudly, piled stone
|
||||
mammoth skulls. Gold light on sea, on sand, on boulders. The sun is
|
||||
there, the slender trees, the lemon houses.
|
||||
</p>
|
||||
<p>
|
||||
Paris rawly waking, crude sunlight on her lemon streets. Moist pith of
|
||||
farls of bread, the froggreen wormwood, her matin incense, court
|
||||
the air. <a id="030031basta8" class="box-images" href="notes/030031basta.htm">Belluomo</a> rises from the bed of his wife's lover's wife, the
|
||||
kerchiefed housewife is astir, a saucer of acetic acid in her hands. In
|
||||
Rodot's Yvonne <span id="ed1986pg35"> </span>and Madeleine newmake their tumbled beauties, shattering
|
||||
with gold teeth <a id="030022chaussons1" class="box-images" href="notes/030022chaussons.htm"><i>chaussons</i></a> of pastry, their mouths yellowed with <a id="030022chaussons2" class="box-images" href="notes/030022chaussons.htm">the
|
||||
<i>pus</i> of <i>flan bréton</i></a>. Faces of Paris men go by, their wellpleased
|
||||
pleasers, curled <a id="030022chaussons9" class="box-images" href="notes/030022chaussons.htm">conquistadores</a>.
|
||||
</p>
|
||||
<span id="ed1922pg42"></span><p>
|
||||
Noon slumbers. <a id="030051kevinegan" class="box-images" href="notes/030051kevinegan.htm">Kevin Egan rolls gunpowder cigarettes</a> through fingers
|
||||
smeared with printer's ink, <a id="030045absinthe1" class="box-images" href="notes/030045absinthe.htm">sipping his green fairy</a> as Patrice his
|
||||
white. About us gobblers fork spiced beans down their gullets. <a id="030022chaussons3" class="box-images" href="notes/030022chaussons.htm"><i>Un demi
|
||||
sétier!</i></a> A jet of coffee steam from the burnished caldron. She serves me
|
||||
at his beck. <a id="030022chaussons4" class="box-images" href="notes/030022chaussons.htm"><i>Il est irlandais. Hollandais? Non fromage. Deux irlandais,
|
||||
nous, Irlande,</i></a> <span id="ed1961pg42"> </span><a id="030022chaussons4b" class="box-images" href="notes/030022chaussons.htm">vous savez ah, oui!</i></a> She thought you wanted a cheese
|
||||
<i>hollandais</i>. Your postprandial, do you know that word? Postprandial.
|
||||
There was a fellow I knew once in Barcelona, queer fellow, used to call
|
||||
it his postprandial. Well: <a id="030036slainte" class="box-images" href="notes/030036slainte.htm"><i>slainte</i></a>! Around the slabbed tables the
|
||||
tangle of wined breaths and grumbling gorges. His breath hangs over our
|
||||
saucestained plates, the green fairy's fang thrusting between his lips.
|
||||
Of Ireland, <a id="030086dalcassians1" class="box-images" href="notes/030086dalcassians.htm">the Dalcassians</a>, of hopes, conspiracies, of <a id="030037griffith" class="box-images" href="notes/030037griffith.htm">Arthur Griffith</a>
|
||||
now. To yoke me<span id="ed1932pg39"> </span> as his yokefellow,
|
||||
our crimes our common cause. <a id="030090knowthevoice2" class="box-images" href="notes/030090knowthevoice.htm">You're your father's son. I know the voice.</a>
|
||||
His fustian shirt, sanguineflowered, trembles its Spanish tassels at
|
||||
his secrets. M. Drumont, famous journalist, Drumont, know what he called
|
||||
queen Victoria? Old hag with the yellow teeth. <a id="030022chaussons5" class="box-images" href="notes/030022chaussons.htm"><i>Vieille ogresse</i>
|
||||
with the <i>dents jaunes</i>.</a> <a id="050002maudgonne2" class="box-images" href="notes/050002maudgonne.htm">Maud Gonne</a>, beautiful woman, <i>La Patrie</i>, M.
|
||||
Millevoye, <a id="030075licentious" class="box-images" href="notes/030075licentious.htm">Félix Faure, know how he died? Licentious men.</a> <a id="030022chaussons7" class="box-images" href="notes/030022chaussons.htm">The froeken,
|
||||
<i>bonne a tout faire</i>, who rubs male nakedness in the bath at Upsala.
|
||||
<i>Moi faire</i>, she said, <i>Tous les messieurs</i>. Not this <i>Monsieur</i>, I
|
||||
said.</a> Most licentious custom. Bath a most private thing. I wouldn't let
|
||||
my brother, not even my own brother, most lascivious thing. Green eyes,
|
||||
I see you. Fang, I feel. Lascivious people.
|
||||
</p>
|
||||
<p>
|
||||
The blue fuse burns deadly between hands and burns clear. Loose
|
||||
tobaccoshreds catch fire: a flame and acrid smoke light our corner. Raw
|
||||
facebones under his peep of day boy's hat. <a id="020073fenians6" class="box-images" href="notes/020073fenians.htm">How the head centre got away</a>,
|
||||
authentic version. Got up as a young bride, man, veil, orangeblossoms,
|
||||
drove out the road to Malahide. Did, faith. Of lost leaders, the
|
||||
betrayed, wild escapes. Disguises, clutched at, gone, not here.
|
||||
</p>
|
||||
<p>
|
||||
Spurned lover. I was a strapping young gossoon at that time, I tell you.
|
||||
I'll show you my likeness one day. I was, faith. Lover, for her love he
|
||||
<a id="020073fenians5" class="box-images" href="notes/020073fenians.htm">prowled with colonel Richard Burke, tanist of his sept, under the walls
|
||||
of Clerkenwell</a> and, crouching, saw a flame of vengeance hurl them upward
|
||||
in the fog. <a id="020003daughtersofmemory2" class="box-images" href="notes/020003daughtersofmemory.htm">Shattered glass and toppling masonry.</a> In gay Paree he hides,
|
||||
Egan of Paris, unsought by any save by me. Making his day's stations,
|
||||
the dingy printingcase, his three taverns, the Montmartre lair he sleeps
|
||||
short night in, <a id="030043flyblownfaces" class="box-images" href="notes/030043flyblownfaces.htm">rue de la Goutte-d'Or, damascened with flyblown faces of
|
||||
the gone.</a> Loveless, landless, wifeless. She is quite nicey comfy
|
||||
without her outcast man, madame in rue Git-le-Coeur,
|
||||
<span id="ed1922pg43"></span>canary and two
|
||||
buck lodgers. Peachy cheeks, a zebra skirt, frisky as a young thing's.
|
||||
Spurned and undespairing. Tell Pat you saw me, won't you? I wanted <span id="ed1961pg43"> </span>to
|
||||
get poor Pat a job one time. <a id="030022chaussons8" class="box-images" href="notes/030022chaussons.htm"><i>Mon fils</i></a>, <a id="030027wildgoose2" class="box-images" href="notes/030027wildgoose.htm">soldier of France</a>. I taught him
|
||||
to sing <i>The boys of Kilkenny are</i> <span id="ed1986pg36"> </span><i>stout roaring blades</i>. Know that old
|
||||
lay? I taught Patrice that. <a id="030067oldkilkenny" class="box-images" href="notes/030067oldkilkenny.htm">Old Kilkenny: saint Canice, Strongbow's
|
||||
castle on the Nore.</a> Goes like this. O, O. He takes me, Napper Tandy, by
|
||||
the hand.
|
||||
</p>
|
||||
</p>
|
||||
<p class="lyrics"> <i>O, O the boys of <br />
|
||||
Kilkenny...</i>
|
||||
</p>
|
||||
<p>
|
||||
Weak wasting hand on mine. They have forgotten Kevin Egan, not he them.
|
||||
Remembering thee, O Sion.
|
||||
</p>
|
||||
<p>
|
||||
He had come <a id="030004pigeonhouse3" class="box-images" href="notes/030004pigeonhouse.htm">nearer the edge of the sea</a> and wet sand slapped his boots.
|
||||
The new air greeted him, harping in wild nerves, wind of wild air <span id="ed1932pg40"> </span>of
|
||||
seeds of brightness. Here, I am not walking out to <a id="030013kishlightship1" class="box-images" href="notes/030013kishlightship.htm">the Kish lightship</a>,
|
||||
am I? He stood suddenly, his feet beginning to sink slowly in the
|
||||
quaking soil. Turn back.
|
||||
</p>
|
||||
<p>
|
||||
Turning, he scanned the shore south, his feet sinking again slowly
|
||||
in new sockets. The <a id="010085towerlivingroom2" class="box-images" href="notes/010085towerlivingroom.htm">cold domed room of the tower waits. Through the
|
||||
barbacans the shafts of light are moving</a> ever, slowly ever as my
|
||||
feet are sinking, creeping duskward over the dial floor. Blue dusk,
|
||||
nightfall, deep blue night. In the darkness of the dome they wait,
|
||||
their pushedback chairs, my obelisk valise, around a board of abandoned
|
||||
platters. Who to clear it? <a id="010146hugekey3" class="box-images" href="notes/010146hugekey.htm">He has the key.</a> I will not sleep there when
|
||||
this night comes. A shut door of a silent tower, entombing their blind
|
||||
bodies, <a id="010025blackpanther3" class="box-images" href="notes/010025blackpanther.htm">the panthersahib and his pointer</a>. Call: no answer. He lifted his
|
||||
feet up from the suck and turned back by the mole of boulders. <a id="020013candescent2" class="box-images" href="notes/020013candescent.htm">Take
|
||||
all, keep all. My soul walks with me, form of forms.</a> So in the moon's
|
||||
midwatches I pace the path above the rocks, <a id="030041likeawhale2" class="box-images" href="notes/030041likeawhale.htm">in sable silvered, hearing
|
||||
Elsinore's tempting flood.</a>
|
||||
</p>
|
||||
<p>
|
||||
The flood is following me. I can watch it flow past from here. Get back
|
||||
then by <a id="030004pigeonhouse4" class="box-images" href="notes/030004pigeonhouse.htm">the Poolbeg road</a> to the strand there. He climbed over the sedge
|
||||
and eely oarweeds and sat on a stool of rock, resting his ashplant in a
|
||||
grike.
|
||||
</p>
|
||||
<p>
|
||||
A bloated carcass of a dog lay lolled on bladderwrack. Before him the
|
||||
gunwale of a boat, sunk in sand. <a id="030052gautiersprose" class="box-images" href="notes/030052gautiersprose.htm"><i>Un coche ensablé</i>, Louis Veuillot
|
||||
called Gautier's prose.</a> These heavy sands are language tide and wind
|
||||
have silted here. And these, the stoneheaps of dead builders, a warren
|
||||
of weasel rats. Hide gold there. Try it. You have some. Sands and
|
||||
stones. Heavy of the past. <a id="030053sirlout" class="box-images" href="notes/030053sirlout.htm">Sir Lout's toys.</a> Mind you don't get one
|
||||
bang on the ear. I'm the bloody well gigant rolls all
|
||||
<span id="ed1922pg44"></span>them bloody well
|
||||
boulders, <span id="ed1961pg44"> </span>bones for my steppingstones. Feefawfum. I zmellz de bloodz odz
|
||||
an Iridzman.
|
||||
</p>
|
||||
<p>
|
||||
A point, live dog, grew into sight running across the sweep of sand.
|
||||
Lord, is he going to attack me? Respect his liberty. You will not
|
||||
be master of others or their slave. I have my stick. Sit tight. From
|
||||
farther away, walking shoreward across from the crested tide, figures,
|
||||
two. <a id="030093twomaries" class="box-images" href="notes/030093twomaries.htm">The two maries. They have tucked it safe mong the bulrushes.</a>
|
||||
Peekaboo. I see you. No, the dog. He is running back to them. Who?
|
||||
</p>
|
||||
<p>
|
||||
<a id="030046lochlanns" class="box-images" href="notes/030046lochlanns.htm">Galleys of the Lochlanns</a> ran here to beach, in quest of prey, their
|
||||
bloodbeaked prows riding low on a molten pewter surf. <a id="030046lochlanns2a" class="box-images" href="notes/030046lochlanns.htm">Dane vikings,
|
||||
torcs</a> <span id="ed1986pg37"> </span><a id="030046lochlanns2b" class="box-images" href="notes/030046lochlanns.htm">of tomahawks aglitter on their breasts when Malachi wore the
|
||||
collar of gold.</a> A school of <a id="030082famineplagueslaughters1" class="box-images" href="notes/030082famineplagueslaughters.htm">turlehide whales</a> stranded in hot noon,
|
||||
spouting, hobbling in the shallows. Then from the starving cagework city
|
||||
a horde of jerkined dwarfs, my people, with flayers' knives, running,
|
||||
scaling, hacking in green blubbery whalemeat. <a id="030082famineplagueslaughters3a" class="box-images" href="notes/030082famineplagueslaughters.htm">Famine, plague and</a>
|
||||
<span id="ed1932pg41"> </span><a id="030082famineplagueslaughters3b" class="box-images" href="notes/030082famineplagueslaughters.htm">slaughters.</a> Their blood is in me, their lusts my waves. I moved among
|
||||
them on the <a id="030082famineplagueslaughters2" class="box-images" href="notes/030082famineplagueslaughters.htm">frozen Liffey</a>, <a id="030087pastlife1" class="box-images" href="notes/030087pastlife.htm">that I, a changeling</a>, among the spluttering
|
||||
resin fires. I spoke to no-one: none to me.
|
||||
</p>
|
||||
<p>
|
||||
The dog's bark ran towards him, stopped, ran back. Dog of my enemy. I
|
||||
just simply stood pale, silent, bayed about. <i>Terribilia meditans</i>. A
|
||||
<a id="010103waistcoat2" class="box-images" href="notes/010103waistcoat.htm">primrose doublet</a>, fortune's knave, smiled on <a id="010133monthlywash2" class="box-images-med" href="notes/010133monthlywash.htm">my fear</a>. For that are you
|
||||
pining, the bark of their applause? Pretenders: live their lives. <a id="030058pretenders" class="box-images" href="notes/030058pretenders.htm">The
|
||||
Bruce's brother, Thomas Fitzgerald, silken knight, Perkin Warbeck,
|
||||
York's false scion, in breeches of silk of whiterose ivory, wonder of
|
||||
a day, and Lambert Simnel, with a tail of nans and sutlers, a scullion
|
||||
crowned.</a> All kings' sons. Paradise of pretenders then and now. <a id="010026lifeguard2" class="box-images" href="notes/010026lifeguard.htm">He saved
|
||||
men from drowning</a> and you shake at a cur's yelping. But <a id="030057ownhouse" class="box-images" href="notes/030057ownhouse.htm">the courtiers
|
||||
who mocked Guido in Or san Michele were in their own house.</a> House of...
|
||||
We don't want any of your medieval abstrusiosities. Would you do what he
|
||||
did? A boat would be near, a lifebuoy. <a id="030033frauenzimmer3" class="box-images" href="notes/030033frauenzimmer.htm"><i>Natürlich</i></a>, put there for you.
|
||||
Would you or would you not? <a id="010124fivefathoms4" class="box-images" href="notes/010124fivefathoms.htm">The man that was drowned nine days ago</a> off
|
||||
Maiden's rock. They are waiting for him now. The truth, spit it out. I
|
||||
would want to. I would try. I am not a strong swimmer. Water cold soft.
|
||||
When I put my face into it in the basin at <a id="010157clongowes3" class="box-images" href="notes/010157clongowes.htm">Clongowes</a>. Can't see! Who's
|
||||
behind me? Out quickly, quickly! Do you see the <a id="030017tideflowing" class="box-images-med" href="notes/030017tideflowing.htm">tide flowing quickly in
|
||||
on all sides</a>, sheeting the lows of sand quickly, <span id="ed1961pg45"> </span>shellcocoacoloured? If
|
||||
I had land under my feet. I want his life still to be his, mine to be
|
||||
mine. A drowning man. His human eyes scream to me out of horror of his
|
||||
death. I... With him together down... I could not save her. <a id="010159bitterwaters2" class="box-images" href="notes/010159bitterwaters.htm">Waters:
|
||||
bitter death:</a> lost.
|
||||
</p><span id="ed1922pg45"></span>
|
||||
<p>
|
||||
A woman and a man. I see her skirties. Pinned up, I bet.
|
||||
</p>
|
||||
<p>
|
||||
Their dog ambled about a bank of dwindling sand, trotting, sniffing on
|
||||
all sides. Looking for something lost in a <a id="030087pastlife2" class="box-images" href="notes/030087pastlife.htm">past life</a>. Suddenly he made
|
||||
off like a bounding hare, ears flung back, chasing the shadow of a
|
||||
lowskimming gull. The man's shrieked whistle struck his limp ears. He
|
||||
turned, bounded back, came nearer, trotted on twinkling shanks. <a id="030089bucktrippant1" class="box-images" href="notes/030089bucktrippant.htm">On a
|
||||
field tenney a buck, trippant, proper, unattired.</a> At the lacefringe of
|
||||
the tide he halted with stiff forehoofs, seawardpointed ears. His
|
||||
snout lifted barked at the wavenoise, herds of <a id="030089bucktrippant2" class="box-images" href="notes/030089bucktrippant.htm">seamorse. They serpented</a>
|
||||
towards his feet, curling, unfurling many crests, every ninth, breaking,
|
||||
plashing, from far, from farther out, waves and waves.
|
||||
</p>
|
||||
<p>
|
||||
<a id="030080cockles1" class="box-images" href="notes/030080cockles.htm">Cocklepickers.</a> They waded a little way in the water and, stooping,
|
||||
soused their bags and, lifting them again, waded out. The dog yelped
|
||||
running to them, reared up and pawed them, dropping on all fours, again
|
||||
reared up at them with mute bearish fawning. Unheeded he kept <span id="ed1932pg42"> </span>by them as
|
||||
they came towards the drier sand, a rag of wolf's tongue redpanting from
|
||||
<span id="ed1986pg38"> </span>his jaws. His speckled body ambled ahead of them and then loped off at a
|
||||
calf's gallop. The carcass lay on his path. He stopped, sniffed, stalked
|
||||
round it, brother, nosing closer, went round it, sniffling rapidly like
|
||||
a dog all over the dead dog's bedraggled fell. Dogskull, dogsniff, eyes
|
||||
on the ground, <a id="020067onegreatgoal2" class="box-images" href="notes/020067onegreatgoal.htm">moves to one great goal</a>. Ah, poor dogsbody! Here lies
|
||||
<a id="010047dogsbody2" class="box-images" href="notes/010047dogsbody.htm">poor dogsbody's body</a>.
|
||||
</p>
|
||||
<p>
|
||||
— Tatters! Out of that, you mongrel!
|
||||
</p>
|
||||
<p>
|
||||
The cry brought him skulking back to his master and a blunt bootless
|
||||
kick sent him unscathed across a spit of sand, crouched in flight. He
|
||||
slunk back in a curve. Doesn't see me. Along by the edge of the mole he
|
||||
lolloped, dawdled, smelt a rock and from under a cocked hindleg pissed
|
||||
against it. He trotted forward and, lifting his hindleg, pissed
|
||||
quick short at an unsmelt rock. The simple pleasures of the poor. His
|
||||
hindpaws then scattered the sand: then his forepaws dabbled and delved.
|
||||
Something he buried there, <a id="020009ghoststory2" class="box-images" href="notes/020009ghoststory.htm">his grandmother.</a> He rooted in the sand,
|
||||
<span id="ed1961pg46"> </span>dabbling, delving and stopped to listen to the air, scraped up the sand
|
||||
again with a fury of his claws, soon ceasing, <a id="030089bucktrippant3" class="box-images" href="notes/030089bucktrippant.htm">a pard, a panther, got in
|
||||
spousebreach</a>, vulturing the dead.
|
||||
</p>
|
||||
<p>
|
||||
After <a id="010025blackpanther4" class="box-images" href="notes/010025blackpanther.htm">he woke me up</a> last night same dream or was it? Wait. <a id="030055samedream" class="box-images" href="notes/030055samedream.htm">Open hallway.
|
||||
Street of harlots. Remember. Haroun al Raschid. I am almosting it.</a> That
|
||||
man led me, spoke. I was not afraid. The melon he had he held against my
|
||||
face. Smiled: creamfruit smell. That was the rule, said. In. Come. Red
|
||||
carpet spread. You will see who.
|
||||
</p><span id="ed1922pg46"></span>
|
||||
<p>
|
||||
Shouldering their bags they trudged, the <a id="030078tinkers1" class="box-images" href="notes/030078tinkers.htm">red Egyptians</a>. His blued feet
|
||||
out of turnedup trousers slapped the clammy sand, a dull brick muffler
|
||||
strangling his unshaven neck. With woman steps she followed: the
|
||||
ruffian and his <a id="030079strollingmort" class="box-images" href="notes/030079strollingmort.htm">strolling mort</a>. Spoils slung at her back. Loose sand and
|
||||
shellgrit crusted her bare feet. About her windraw face her hair trailed.
|
||||
Behind her lord, his helpmate, <a id="030079strollingmort6" class="box-images" href="notes/030079strollingmort.htm">bing awast to Romeville</a>. When night hides
|
||||
her body's flaws calling under her brown shawl from <a id="030024archway1" class="box-images" href="notes/030024archway.htm">an archway</a>
|
||||
where dogs have mired. Her fancyman is treating two Royal Dublins in
|
||||
O'Loughlin's of <a id="030059blackpitts1" class="box-images" href="notes/030059blackpitts.htm">Blackpitts</a>. Buss her, wap in rogues' rum lingo, for, O,
|
||||
my dimber wapping dell! A shefiend's whiteness under her rancid rags.
|
||||
<a id="030059blackpitts2" class="box-images" href="notes/030059blackpitts.htm">Fumbally's lane</a> that night: the tanyard smells.
|
||||
</p>
|
||||
<p class="lyrics"><a id="030079strollingmort7" class="box-images" href="notes/030079strollingmort.htm"><i>White thy fambles, red thy gan <br />
|
||||
And thy quarrons dainty is. <br />
|
||||
Couch a hogshead with me then. <br />
|
||||
In the darkmans clip and kiss.</i></a>
|
||||
</p>
|
||||
<span id="ed1932pg43"> </span><p>
|
||||
Morose delectation <a id="010102aquinas2" class="box-images" href="notes/010102aquinas.htm">Aquinas tunbelly</a> calls this, <a id="030031basta4" class="box-images" href="notes/030031basta.htm"><i>frate porcospino</i></a>.
|
||||
Unfallen Adam rode and not rutted. Call away let him: <i>thy quarrons
|
||||
dainty is</i>. Language no whit worse than his. Monkwords, marybeads jabber
|
||||
on their girdles: roguewords, tough nuggets patter in their pockets.
|
||||
</p>
|
||||
<p>
|
||||
Passing now.
|
||||
</p>
|
||||
<span id="ed1986pg39"> </span><p>
|
||||
A side eye at my <a id="010097latinquarterhat3" class="box-images" href="notes/010097latinquarterhat.htm">Hamlet hat</a>. If I were suddenly naked here as I sit? I
|
||||
am not. Across the sands of all the world, followed by the sun's flaming
|
||||
sword, to the west, trekking to evening lands. She trudges, schlepps,
|
||||
trains, drags, trascines her load. A tide westering, moondrawn, in
|
||||
her wake. Tides, myriadislanded, within her, blood not mine, <a id="010033epioinopaponton2" class="box-images-med" href="notes/010033epioinopaponton.htm"><i>oinopa
|
||||
ponton</i>, a winedark sea</a>. Behold the handmaid of the moon. In sleep
|
||||
the wet sign calls her hour, bids her rise. <a id="010081staringoutofdeath2" class="box-images-med" href="notes/010081staringoutofdeath.htm">Bridebed, childbed, bed of</a>
|
||||
<span id="ed1961pg47"> </span><a id="010081staringoutofdeath2b" class="box-images-med" href="notes/010081staringoutofdeath.htm">death, ghostcandled.</a> <i>Omnis caro ad te veniet</i>. He comes, pale vampire,
|
||||
through storm his eyes, his bat sails bloodying the sea, mouth to her
|
||||
mouth's kiss.
|
||||
</p>
|
||||
<p>
|
||||
Here. Put a pin in that chap, will you? <a id="030041likeawhale3" class="box-images" href="notes/030041likeawhale.htm">My tablets.</a> Mouth to her kiss.
|
||||
No. Must be two of em. Glue em well. Mouth to her mouth's kiss.
|
||||
</p>
|
||||
<p>
|
||||
His lips lipped and mouthed fleshless lips of air: mouth to her womb.
|
||||
Oomb, allwombing tomb. His mouth moulded issuing breath, unspeeched:
|
||||
ooeeehah: roar of cataractic planets, globed, blazing, roaring
|
||||
wayawayawayawayawayaway. Paper. The banknotes, blast them. <a id="020064telegraph6" class="box-images" href="notes/020064telegraph.htm">Old Deasy's
|
||||
letter.</a> Here. Thanking you for the hospitality tear the blank end off.
|
||||
Turning his back to the <span id="ed1922pg47"></span>
|
||||
sun he bent over far to a table of rock and
|
||||
scribbled words. That's twice I forgot to take slips from the library
|
||||
counter.
|
||||
</p>
|
||||
<p>
|
||||
His shadow lay over the rocks as he bent, ending. Why not endless till
|
||||
the farthest star? Darkly they are there behind this light, <a id="020023darkness5" class="box-images" href="notes/020023darkness.htm">darkness
|
||||
shining in the brightness</a>, delta of Cassiopeia, worlds. <a id="030087pastlife3" class="box-images" href="notes/030087pastlife.htm">Me sits there</a>
|
||||
with his <a id="030003theydo2" class="box-images" href="notes/030003theydo.htm">augur's rod of ash</a>, in <a id="020076brogues9" class="box-images" href="notes/020076brogues.htm">borrowed sandals</a>, by day beside a livid
|
||||
sea, unbeheld, in violet night walking beneath a reign of uncouth stars.
|
||||
I throw this ended shadow from me, manshape ineluctable, call it back.
|
||||
Endless, would it be mine, form of my form? Who watches me here? Who
|
||||
ever anywhere will read these written words? Signs on a white field.
|
||||
Somewhere to someone in your flutiest voice. <a id="030030colouredsigns2" class="box-images" href="notes/030030colouredsigns.htm">The good bishop of Cloyne
|
||||
took the veil of the temple out of his shovel hat: veil of space with
|
||||
coloured emblems hatched on its field.</a> Hold hard. Coloured on a flat:
|
||||
yes, that's right. Flat I see, then think distance, near, far, flat
|
||||
I see, east, back. Ah, see now! Falls back suddenly, frozen in
|
||||
stereoscope. Click does the trick. You find my words dark. Darkness is
|
||||
in our souls do you not think? Flutier. Our souls, shamewounded by our
|
||||
sins, cling to us yet more, a woman to her lover clinging, the more the
|
||||
more.
|
||||
</p>
|
||||
<span id="ed1932pg44"> </span><p>
|
||||
She trusts me, her hand gentle, the longlashed eyes. Now where the blue
|
||||
hell am I bringing her beyond the veil? Into the ineluctable modality of
|
||||
the ineluctable visuality. She, she, she. What she? The virgin at <a id="030049hodgesfiggis" class="box-images" href="notes/030049hodgesfiggis.htm">Hodges
|
||||
Figgis' window</a> on Monday looking in for one of the alphabet books you
|
||||
were going to write. Keen glance you gave her. Wrist through the
|
||||
braided jesse of her sunshade. She lives in Leeson park with a grief
|
||||
and kickshaws, a lady of letters. Talk that to someone else, Stevie: <span id="ed1961pg48"> </span>a
|
||||
pickmeup. Bet she wears those curse of God stays suspenders and
|
||||
yellow stockings, darned with lumpy wool. Talk about apple dumplings,
|
||||
<a id="030031basta6" class="box-images" href="notes/030031basta.htm"><i>piuttosto</i></a>. Where are your wits?
|
||||
</p>
|
||||
<span id="ed1986pg40"> </span><p>
|
||||
Touch me. Soft eyes. Soft soft soft hand. I am lonely here. O, touch me
|
||||
soon, now. <a id="010044painfretted3" class="box-images" href="notes/010044painfretted.htm">What is that word known to all men?</a> I am quiet here alone.
|
||||
Sad too. Touch, touch me.
|
||||
</p>
|
||||
<p>
|
||||
He lay back at full stretch over the sharp rocks, cramming the scribbled
|
||||
note and pencil into a pocket, his hat tilted down on his eyes. That is
|
||||
<a id="030010hislegs4" class="box-images" href="notes/030010hislegs.htm">Kevin Egan's movement</a> I made, nodding for his nap, <a id="030102viditdeus" class="box-images-short" href="notes/030102viditdeus.htm">sabbath sleep. <i>Et
|
||||
vidit Deus. Et erant valde bona</i>.</a> Alo! <i>Bonjour</i>. Welcome as the flowers
|
||||
in May. Under its leaf he watched through peacocktwittering lashes the
|
||||
southing sun. I am caught in this burning scene. Pan's hour, the faunal
|
||||
noon. Among gumheavy serpentplants, milkoozing fruits, where on the
|
||||
tawny waters leaves lie wide. Pain is far.
|
||||
</p><span id="ed1922pg48"></span>
|
||||
<p>
|
||||
<a id="010072bittermystery5" class="box-images" href="notes/010072bittermystery.htm"><i>And no more turn aside and brood.</i></a>
|
||||
</p>
|
||||
<p>
|
||||
His gaze brooded on his broadtoed boots, <a id="030010hislegs3" class="box-images" href="notes/030010hislegs.htm">a buck's castoffs</a>,
|
||||
<i>nebeneinander</i>. He counted the creases of rucked leather wherein
|
||||
another's foot had nested warm. The foot that beat the ground in
|
||||
tripudium, foot I dislove. But you were delighted when Esther Osvalt's
|
||||
shoe went on you: girl I knew in Paris. <i>Tiens, quel petit pied!</i>
|
||||
Staunch friend, a brother soul: Wilde's love that dare not speak its
|
||||
name. He now will leave me. And the blame? As I
|
||||
am. As I am. All or not at all.
|
||||
</p>
|
||||
<p>
|
||||
In long lassoes from the <a id="030011cocklake" class="box-images" href="notes/030011cocklake.htm">Cock lake</a> the water flowed full, covering
|
||||
greengoldenly lagoons of sand, rising, flowing. My ashplant will float
|
||||
away. I shall wait. No, they will pass on, passing, chafing against the
|
||||
low rocks, swirling, passing. <a id="030012thisjob" class="box-images" href="notes/030012thisjob.htm">Better get this job over quick.</a> Listen: a
|
||||
fourworded wavespeech: seesoo, hrss, rsseeiss, ooos. Vehement breath of
|
||||
waters amid seasnakes, rearing horses, rocks. In cups of rocks it slops:
|
||||
flop, slop, slap: bounded in barrels. And, spent, its speech ceases. It
|
||||
flows purling, widely flowing, floating foampool, flower unfurling.
|
||||
</p>
|
||||
<p>
|
||||
Under the upswelling tide he saw the writhing weeds lift languidly and
|
||||
sway reluctant arms, <a id="010086maryann3" class="box-images" href="notes/010086maryann.htm">hising up their petticoats</a>, in whispering water
|
||||
swaying and upturning coy silver fronds. Day by day: night by night:
|
||||
<span id="ed1932pg45"> </span>lifted, flooded and let fall. Lord, they are weary; and, whispered to,
|
||||
they sigh. Saint Ambrose heard it, sigh of leaves and waves, waiting,
|
||||
<a id="030068ingemiscit" class="box-images" href="notes/030068ingemiscit.htm">awaiting the fullness of their times, <i>diebus ac noctibus iniurias
|
||||
patiens ingemiscit</i>.</a> To no end gathered; vainly then released,
|
||||
forth <span id="ed1961pg49"> </span>flowing, wending back: loom of the moon. Weary too in sight of
|
||||
lovers, <a id="030075licentious2" class="box-images" href="notes/030075licentious.htm">lascivious men</a>, a naked woman shining in her courts, she draws a
|
||||
toil of waters.
|
||||
</p>
|
||||
<p>
|
||||
Five fathoms out there. <a id="010124fivefathoms2" class="box-images" href="notes/010124fivefathoms.htm">Full fathom five thy father lies.</a> At one, he
|
||||
said. <a id="030069founddrowned" class="box-images-short" href="notes/030069founddrowned.htm">Found drowned. High water at Dublin bar.</a> Driving before it a loose
|
||||
drift of rubble, fanshoals of fishes, silly shells. A corpse rising
|
||||
saltwhite from the undertow, bobbing landward, a pace a pace a porpoise.
|
||||
There he is. Hook it quick. <a id="020010lycidas2" class="box-images" href="notes/020010lycidas.htm">Sunk though he be beneath the watery
|
||||
floor.</a> We have him. Easy now.
|
||||
</p>
|
||||
<p>
|
||||
Bag of corpsegas sopping in foul brine. A quiver of minnows, fat of a
|
||||
spongy titbit, flash through the slits of his buttoned trouserfly.
|
||||
God <span id="ed1986pg41"> </span>becomes man becomes fish becomes barnacle goose becomes featherbed
|
||||
mountain. Dead breaths I living breathe, tread dead dust, devour a
|
||||
urinous offal from all dead. Hauled stark over the gunwale he breathes
|
||||
upward the stench of <a id="010159bitterwaters3" class="box-images" href="notes/010159bitterwaters.htm">his green grave</a>, his leprous nosehole snoring to
|
||||
the sun.
|
||||
</p>
|
||||
<p>
|
||||
A <a id="010124fivefathoms3" class="box-images" href="notes/010124fivefathoms.htm">seachange</a> this, brown eyes saltblue. <a id="030028seadeath" class="box-images" href="notes/030028seadeath.htm">Seadeath, mildest of all deaths</a><span id="ed1922pg49"></span>
|
||||
known to man. Old Father Ocean.</a> <a id="030029prixdeparis" class="box-images" href="notes/030029prixdeparis.htm"><i>Prix de Paris</i>: beware of imitations.
|
||||
Just you give it a fair trial. We enjoyed ourselves immensely.</a>
|
||||
</p>
|
||||
<p>
|
||||
Come. I thirst. Clouding over. No black clouds anywhere, are there?
|
||||
Thunderstorm. Allbright he falls, proud lightning of the intellect,
|
||||
<i>Lucifer, dico, qui nescit occasum</i>. No. <a id="030081sandalshoon" class="box-images" href="notes/030081sandalshoon.htm">My cockle hat and staff and
|
||||
hismy sandal shoon.</a> Where? To evening lands. Evening will find itself.
|
||||
</p>
|
||||
<p>
|
||||
He took the <a id="010099ashplant4" class="box-images" href="notes/010099ashplant.htm">hilt of his ashplant, lunging with it</a> softly, dallying
|
||||
still. Yes, evening will find itself in me, without me. All days make
|
||||
their end. By the way next when is it Tuesday will be <a id="030072longestday" class="box-images" href="notes/030072longestday.htm">the longest
|
||||
day</a>. <a id="030088tennyson" class="box-images" href="notes/030088tennyson.htm">Of all the glad new year, mother, the rum tum tiddledy tum. Lawn
|
||||
Tennyson, gentleman poet.</a> <a id="030031basta5" class="box-images" href="notes/030031basta.htm"><i>Già</i></a>. For the old hag with the yellow teeth.
|
||||
And Monsieur Drumont, gentleman journalist. <i>Già</i>. My teeth are very
|
||||
bad. Why, I wonder. Feel. That one is going too. Shells. Ought I go to a
|
||||
dentist, I wonder, with that money? That one. <a id="010130toothless2" class="box-images" href="notes/010130toothless.htm">Toothless</a> Kinch, the
|
||||
<a id="010129ubermensch4" class="box-images" href="notes/010129ubermensch.htm">superman.</a> Why is that, I wonder, or does it mean something perhaps?
|
||||
</p>
|
||||
<p>
|
||||
My handkerchief. He threw it. I remember. Did I not take it up?
|
||||
</p>
|
||||
<p>
|
||||
His hand groped vainly in his pockets. No, I didn't. Better buy one.
|
||||
</p>
|
||||
<span id="ed1961pg50"> </span><p>
|
||||
He laid the dry snot picked from his nostril on a ledge of rock,
|
||||
carefully. For the rest let look who will.
|
||||
</p>
|
||||
<p>
|
||||
Behind. Perhaps there is someone.
|
||||
</p>
|
||||
<span id="ed1932pg46"> </span><p>
|
||||
He turned his face over a shoulder, rere regardant. <a id="030071threemaster" class="box-images" href="notes/030071threemaster.htm">Moving through the
|
||||
air high spars of a threemaster,</a> her sails brailed up on the <a id="030070crosstrees" class="box-images" href="notes/030070crosstrees.htm">crosstrees</a>,
|
||||
homing, upstream, silently moving, a silent ship.
|
||||
</p>
|
||||
<span id="ed1922pg50"></span>
|
||||
<span id="ed1932pg47"> </span>
|
||||
<span id="ed1961pg51"> </span>
|
||||
<span id="ed1986pg42"> </span>
|
||||
<p>Ineluctable modality of the visible: at least that if no more, thought through my eyes. Signatures of all things I am here to read, seaspawn and seawrack, the nearing tide, that rusty boot. Snotgreen, bluesilver, rust: coloured signs. Limits of the diaphane. But he adds: in bodies. Then he was aware of them bodies before of them coloured. How? By knocking his sconce against them, sure. Go easy. Bald he was and a millionaire, <em>maestro di color che sanno</em>. Limit of the diaphane in. Why in? Diaphane, adiaphane. If you can put your five fingers through it it is a gate, if not a door. Shut your eyes and see.</p>
|
||||
<p>Stephen closed his eyes to hear his boots crush crackling wrack and shells. You are walking through it howsomever. I am, a stride at a time. A very short space of time through very short times of space. Five, six: the <em>nacheinander</em>. Exactly: and that is the ineluctable modality of the audible. Open your eyes. No. Jesus! If I fell over a cliff that beetles o'er his base, fell through the <em>nebeneinander</em> ineluctably! I am getting on nicely in the dark. My ash sword hangs at my side. Tap with it: they do. My two feet in his boots are at the ends of his legs, <em>nebeneinander</em>. Sounds solid: made by the mallet of <em>Los Demiurgos</em>. Am I walking into eternity along Sandymount strand? Crush, crack, crick, crick. Wild sea money. Dominie Deasy kens them a'.</p>
|
||||
<p><em>Won't you come to Sandymount,<br>
|
||||
Madeline the mare?</em></p>
|
||||
<p>Rhythm begins, you see. I hear. A catalectic tetrameter of iambs marching. No, agallop: <em>deline the mare</em>.</p>
|
||||
<p>Open your eyes now. I will. One moment. Has all vanished since? If I open and am for ever in the black adiaphane. <em>Basta</em>! I will see if I can see.</p>
|
||||
<p>See now. There all the time without you: and ever shall be, world without end.</p>
|
||||
<p>They came down the steps from Leahy's terrace prudently, <em>Frauenzimmer</em>: and down the shelving shore flabbily, their splayed feet sinking in the silted sand. Like me, like Algy, coming down to our mighty mother. Number one swung lourdily her midwife's bag, the other's gamp poked in the beach. From the liberties, out for the day. Mrs Florence MacCabe, relict of the late Patk MacCabe, deeply lamented, of Bride Street. One of her sisterhood lugged me squealing into life. Creation from nothing. What has she in the bag? A misbirth with a trailing navelcord, hushed in ruddy wool. The cords of all link back, strandentwining cable of all flesh. That is why mystic monks. Will you be as gods? Gaze in your omphalos. Hello! Kinch here. Put me on to Edenville. Aleph, alpha: nought, nought, one.</p>
|
||||
<p>Spouse and helpmate of Adam Kadmon: Heva, naked Eve. She had no navel. Gaze. Belly without blemish, bulging big, a buckler of taut vellum, no, whiteheaped corn, orient and immortal, standing from everlasting to everlasting. Womb of sin.</p>
|
||||
<p>Wombed in sin darkness I was too, made not begotten. By them, the man with my voice and my eyes and a ghostwoman with ashes on her breath. They clasped and sundered, did the coupler's will. From before the ages He willed me and now may not will me away or ever. A <em>lex eterna</em> stays about Him. Is that then the divine substance wherein Father and Son are consubstantial? Where is poor dear Arius to try conclusions? Warring his life long on the contransmagnificandjewbangtantiality. Illstarred heresiarch. In a Greek watercloset he breathed his last: euthanasia. With beaded mitre and with crozier, stalled upon his throne, widower of a widowed see, with upstiffed omophorion, with clotted hinderparts.</p>
|
||||
<p>Airs romped round him, nipping and eager airs. They are coming, waves. The whitemaned seahorses, champing, brightwindbridled, the steeds of Mananaan.</p>
|
||||
<p>I mustn't forget his letter for the press. And after? The Ship, half twelve. By the way go easy with that money like a good young imbecile. Yes, I must.</p>
|
||||
<p>His pace slackened. Here. Am I going to aunt Sara's or not? My consubstantial father's voice. Did you see anything of your artist brother Stephen lately? No? Sure he's not down in Strasburg terrace with his aunt Sally? Couldn't he fly a bit higher than that, eh? And and and and tell us, Stephen, how is uncle Si? O weeping God, the things I married into! De boys up in de hayloft. The drunken little costdrawer and his brother, the cornet player. Highly respectable gondoliers! And skeweyed Walter sirring his father, no less! Sir. Yes, sir. No, sir. Jesus wept: and no wonder, by Christ!</p>
|
||||
<p>I pull the wheezy bell of their shuttered cottage: and wait. They take me for a dun, peer out from a coign of vantage.</p>
|
||||
<p>— It's Stephen, sir.</p>
|
||||
<p>— Let him in. Let Stephen in.</p>
|
||||
<p>A bolt drawn back and Walter welcomes me.</p>
|
||||
<p>— We thought you were someone else.</p>
|
||||
<p>In his broad bed nuncle Richie, pillowed and blanketed, extends over the hillock of his knees a sturdy forearm. Cleanchested. He has washed the upper moiety.</p>
|
||||
<p>— Morrow, nephew.</p>
|
||||
<p>He lays aside the lapboard whereon he drafts his bills of costs for the eyes of master Goff and master Shapland Tandy, filing consents and common searches and a writ of <em>Duces Tecum</em>. A bogoak frame over his bald head: Wilde's <em>Requiescat</em>. The drone of his misleading whistle brings Walter back.</p>
|
||||
<p>— Yes, sir?</p>
|
||||
<p>— Malt for Richie and Stephen, tell mother. Where is she?</p>
|
||||
<p>— Bathing Crissie, sir.</p>
|
||||
<p>Papa's little bedpal. Lump of love.</p>
|
||||
<p>— No, uncle Richie...</p>
|
||||
<p>— Call me Richie. Damn your lithia water. It lowers. Whusky!</p>
|
||||
<p>— Uncle Richie, really...</p>
|
||||
<p>— Sit down or by the law Harry I'll knock you down.</p>
|
||||
<p>Walter squints vainly for a chair.</p>
|
||||
<p>— He has nothing to sit down on, sir.</p>
|
||||
<p>— He has nowhere to put it, you mug. Bring in our chippendale chair. Would you like a bite of something? None of your damned lawdeedaw airs here. The rich of a rasher fried with a herring? Sure? So much the better. We have nothing in the house but backache pills.</p>
|
||||
<p><em>All'erta</em>!</p>
|
||||
<p>He drones bars of Ferrando's <em>aria di sortita</em>. The grandest number, Stephen, in the whole opera. Listen.</p>
|
||||
<p>His tuneful whistle sounds again, finely shaded, with rushes of the air, his fists bigdrumming on his padded knees.</p>
|
||||
<p>This wind is sweeter.</p>
|
||||
<p>Houses of decay, mine, his and all. You told the Clongowes gentry you had an uncle a judge and an uncle a general in the army. Come out of them, Stephen. Beauty is not there. Nor in the stagnant bay of Marsh's library where you read the fading prophecies of Joachim Abbas. For whom? The hundredheaded rabble of the cathedral close. A hater of his kind ran from them to the wood of madness, his mane foaming in the moon, his eyeballs stars. Houyhnhnm, horsenostrilled. The oval equine faces, Temple, Buck Mulligan, Foxy Campbell, Lanternjaws. Abbas father, furious dean, what offence laid fire to their brains? Paff! <em>Descende, calve, ut ne nimium decalveris</em>. A garland of grey hair on his comminated head see him me clambering down to the footpace (<em>descende</em>!), clutching a monstrance, basiliskeyed. Get down, bald poll! A choir gives back menace and echo, assisting about the altar's horns, the snorted Latin of jackpriests moving burly in their albs, tonsured and oiled and gelded, fat with the fat of kidneys of wheat.</p>
|
||||
<p>And at the same instant perhaps a priest round the corner is elevating it. Dringdring! And two streets off another locking it into a pyx. Dringadring! And in a ladychapel another taking housel all to his own cheek. Dringdring! Down, up, forward, back. Dan Occam thought of that, invincible doctor. A misty English morning the imp hypostasis tickled his brain. Bringing his host down and kneeling he heard twine with his second bell the first bell in the transept (he is lifting his) and, rising, heard (now I am lifting) their two bells (he is kneeling) twang in diphthong.</p>
|
||||
<p>Cousin Stephen, you will never be a saint. Isle of saints. You were awfully holy, weren't you? You prayed to the Blessed Virgin that you might not have a red nose. You prayed to the devil in Serpentine avenue that the fubsy widow in front might lift her clothes still more from the wet street. <em>O si, certo</em>! Sell your soul for that, do, dyed rags pinned round a squaw. More tell me, more still!! On the top of the Howth tram alone crying to the rain: <em>naked women</em>! What about that, eh?</p>
|
||||
<p>What about what? What else were they invented for?</p>
|
||||
<p>Reading two pages apiece of seven books every night, eh? I was young. You bowed to yourself in the mirror, stepping forward to applause earnestly, striking face. Hurray for the Goddamned idiot! Hray! No-one saw: tell no-one. Books you were going to write with letters for titles. Have you read his F? O yes, but I prefer Q. Yes, but W is wonderful. O yes, W. Remember your epiphanies on green oval leaves, deeply deep, copies to be sent if you died to all the great libraries of the world, including Alexandria? Someone was to read them there after a few thousand years, a mahamanvantara. Pico della Mirandola like. Ay, very like a whale. When one reads these strange pages of one long gone one feels that one is at one with one who once...</p>
|
||||
<p>The grainy sand had gone from under his feet. His boots trod again a damp crackling mast, razorshells, squeaking pebbles, that on the unnumbered pebbles beats, wood sieved by the shipworm, lost Armada. Unwholesome sandflats waited to suck his treading soles, breathing upward sewage breath. He coasted them, walking warily. A porterbottle stood up, stogged to its waist, in the cakey sand dough. A sentinel: isle of dreadful thirst. Broken hoops on the shore; at the land a maze of dark cunning nets; farther away chalkscrawled backdoors and on the higher beach a dryingline with two crucified shirts. Ringsend: wigwams of brown steersmen and master mariners. Human shells.</p>
|
||||
<p>He halted. I have passed the way to aunt Sara's. Am I not going there? Seems not. No-one about. He turned northeast and crossed the firmer sand towards the Pigeonhouse.</p>
|
||||
<p><em>— Qui vous a mis dans cette fichue position?</em></p>
|
||||
<p><em>— C'est le pigeon, Joseph.</em></p>
|
||||
<p>Patrice, home on furlough, lapped warm milk with me in the bar MacMahon. Son of the wild goose, Kevin Egan of Paris. My father's a bird, he lapped the sweet <em>lait chaud</em> with pink young tongue, plump bunny's face. Lap, <em>lapin.</em> He hopes to win in the <em>gros lots</em>. About the nature of women he read in Michelet. But he must send me <em>La Vie de Jésus</em> by M. Léo Taxil. Lent it to his friend.</p>
|
||||
<p><em>— C'est tordant, vous savez. Moi, je suis socialiste. Je ne crois pas en l'existence de Dieu. Faut pas le dire à mon père.</em></p>
|
||||
<p><em>— Il croit?</em></p>
|
||||
<p><em>—Mon père, oui.</em></p>
|
||||
<p><em>Schluss</em>. He laps.</p>
|
||||
<p>My Latin quarter hat. God, we simply must dress the character. I want puce gloves. You were a student, weren't you? Of what in the other devil's name? Paysayenn. P. C. N., you know: <em>physiques, chimiques et naturelles</em>. Aha. Eating your groatsworth of <em>mou en civet</em>, fleshpots of Egypt, elbowed by belching cabmen. Just say in the most natural tone: when I was in Paris, <em>boul' Mich'</em>, I used to. Yes, used to carry punched tickets to prove an alibi if they arrested you for murder somewhere. Justice. On the night of the seventeenth of February 1904 the prisoner was seen by two witnesses. Other fellow did it: other me. Hat, tie, overcoat, nose. <em>Lui, c'est moi</em>. You seem to have enjoyed yourself.</p>
|
||||
<p>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. <em>Encore deux minutes</em>. Look clock. Must get. <em>Fermé</em>. Hired dog! Shoot him to bloody bits with a bang shotgun, bits man spattered walls all brass buttons. Bits all khrrrrklak in place clack back. Not hurt? O, that's all right. Shake hands. See what I meant, see? O, that's all right. Shake a shake. O, that's all only all right.</p>
|
||||
<p>You were going to do wonders, what? Missionary to Europe after fiery Columbanus. Fiacre and Scotus on their creepystools in heaven spilt from their pintpots, loudlatinlaughing: <em>Euge! Euge</em>! Pretending to speak broken English as you dragged your valise, porter threepence, across the slimy pier at Newhaven. <em>Comment?</em> Rich booty you brought back; <em>Le Tutu</em>, five tattered numbers of <em>Pantalon Blanc et Culotte Rouge</em>; a blue French telegram, curiosity to show:</p>
|
||||
<p>— Mother dying come home father.</p>
|
||||
<p>The aunt thinks you killed your mother. That's why she won't.</p>
|
||||
<p><em>Then here's a health to Mulligan's aunt<br>
|
||||
And I'll tell you the reason why.<br>
|
||||
She always kept things decent in<br>
|
||||
The Hannigan famileye.</em></p>
|
||||
<p>His feet marched in sudden proud rhythm over the sand furrows, along by the boulders of the south wall. He stared at them proudly, piled stone mammoth skulls. Gold light on sea, on sand, on boulders. The sun is there, the slender trees, the lemon houses.</p>
|
||||
<p>Paris rawly waking, crude sunlight on her lemon streets. Moist pith of farls of bread, the froggreen wormwood, her matin incense, court the air. Belluomo rises from the bed of his wife's lover's wife, the kerchiefed housewife is astir, a saucer of acetic acid in her hands. In Rodot's Yvonne and Madeleine newmake their tumbled beauties, shattering with gold teeth <em>chaussons</em> of pastry, their mouths yellowed with the <em>pus</em> of <em>flan bréton</em>. Faces of Paris men go by, their wellpleased pleasers, curled conquistadores.</p>
|
||||
<p>Noon slumbers. Kevin Egan rolls gunpowder cigarettes through fingers smeared with printer's ink, sipping his green fairy as Patrice his white. About us gobblers fork spiced beans down their gullets. <em>Un demi sétier!</em> A jet of coffee steam from the burnished caldron. She serves me at his beck. <em>Il est irlandais. Hollandais? Non fromage. Deux irlandais, nous, Irlande,</em> vous savez ah, oui! She thought you wanted a cheese <em>hollandais</em>. Your postprandial, do you know that word? Postprandial. There was a fellow I knew once in Barcelona, queer fellow, used to call it his postprandial. Well: <em>slainte</em>! Around the slabbed tables the tangle of wined breaths and grumbling gorges. His breath hangs over our saucestained plates, the green fairy's fang thrusting between his lips. Of Ireland, the Dalcassians, of hopes, conspiracies, of Arthur Griffith now. To yoke me as his yokefellow, our crimes our common cause. You're your father's son. I know the voice. His fustian shirt, sanguineflowered, trembles its Spanish tassels at his secrets. M. Drumont, famous journalist, Drumont, know what he called queen Victoria? Old hag with the yellow teeth. <em>Vieille ogresse</em> with the <em>dents jaunes</em>. Maud Gonne, beautiful woman, <em>La Patrie</em>, M. Millevoye, Félix Faure, know how he died? Licentious men. The froeken, <em>bonne a tout faire</em>, who rubs male nakedness in the bath at Upsala. <em>Moi faire</em>, she said, <em>Tous les messieurs</em>. Not this <em>Monsieur</em>, I said. Most licentious custom. Bath a most private thing. I wouldn't let my brother, not even my own brother, most lascivious thing. Green eyes, I see you. Fang, I feel. Lascivious people.</p>
|
||||
<p>The blue fuse burns deadly between hands and burns clear. Loose tobaccoshreds catch fire: a flame and acrid smoke light our corner. Raw facebones under his peep of day boy's hat. How the head centre got away, authentic version. Got up as a young bride, man, veil, orangeblossoms, drove out the road to Malahide. Did, faith. Of lost leaders, the betrayed, wild escapes. Disguises, clutched at, gone, not here.</p>
|
||||
<p>Spurned lover. I was a strapping young gossoon at that time, I tell you. I'll show you my likeness one day. I was, faith. Lover, for her love he prowled with colonel Richard Burke, tanist of his sept, under the walls of Clerkenwell and, crouching, saw a flame of vengeance hurl them upward in the fog. Shattered glass and toppling masonry. In gay Paree he hides, Egan of Paris, unsought by any save by me. Making his day's stations, the dingy printingcase, his three taverns, the Montmartre lair he sleeps short night in, rue de la Goutte-d'Or, damascened with flyblown faces of the gone. Loveless, landless, wifeless. She is quite nicey comfy without her outcast man, madame in rue Git-le-Coeur, canary and two buck lodgers. Peachy cheeks, a zebra skirt, frisky as a young thing's. Spurned and undespairing. Tell Pat you saw me, won't you? I wanted to get poor Pat a job one time. <em>Mon fils</em>, soldier of France. I taught him to sing <em>The boys of Kilkenny are</em> <em>stout roaring blades</em>. Know that old lay? I taught Patrice that. Old Kilkenny: saint Canice, Strongbow's castle on the Nore. Goes like this. O, O. He takes me, Napper Tandy, by the hand.</p>
|
||||
<p><em>O, O the boys of<br>
|
||||
Kilkenny...</em></p>
|
||||
<p>Weak wasting hand on mine. They have forgotten Kevin Egan, not he them. Remembering thee, O Sion.</p>
|
||||
<p>He had come nearer the edge of the sea and wet sand slapped his boots. The new air greeted him, harping in wild nerves, wind of wild air of seeds of brightness. Here, I am not walking out to the Kish lightship, am I? He stood suddenly, his feet beginning to sink slowly in the quaking soil. Turn back.</p>
|
||||
<p>Turning, he scanned the shore south, his feet sinking again slowly in new sockets. The cold domed room of the tower waits. Through the barbacans the shafts of light are moving ever, slowly ever as my feet are sinking, creeping duskward over the dial floor. Blue dusk, nightfall, deep blue night. In the darkness of the dome they wait, their pushedback chairs, my obelisk valise, around a board of abandoned platters. Who to clear it? He has the key. I will not sleep there when this night comes. A shut door of a silent tower, entombing their blind bodies, the panthersahib and his pointer. Call: no answer. He lifted his feet up from the suck and turned back by the mole of boulders. Take all, keep all. My soul walks with me, form of forms. So in the moon's midwatches I pace the path above the rocks, in sable silvered, hearing Elsinore's tempting flood.</p>
|
||||
<p>The flood is following me. I can watch it flow past from here. Get back then by the Poolbeg road to the strand there. He climbed over the sedge and eely oarweeds and sat on a stool of rock, resting his ashplant in a grike.</p>
|
||||
<p>A bloated carcass of a dog lay lolled on bladderwrack. Before him the gunwale of a boat, sunk in sand. <em>Un coche ensablé</em>, Louis Veuillot called Gautier's prose. These heavy sands are language tide and wind have silted here. And these, the stoneheaps of dead builders, a warren of weasel rats. Hide gold there. Try it. You have some. Sands and stones. Heavy of the past. Sir Lout's toys. Mind you don't get one bang on the ear. I'm the bloody well gigant rolls all them bloody well boulders, bones for my steppingstones. Feefawfum. I zmellz de bloodz odz an Iridzman.</p>
|
||||
<p>A point, live dog, grew into sight running across the sweep of sand. Lord, is he going to attack me? Respect his liberty. You will not be master of others or their slave. I have my stick. Sit tight. From farther away, walking shoreward across from the crested tide, figures, two. The two maries. They have tucked it safe mong the bulrushes. Peekaboo. I see you. No, the dog. He is running back to them. Who?</p>
|
||||
<p>Galleys of the Lochlanns ran here to beach, in quest of prey, their bloodbeaked prows riding low on a molten pewter surf. Dane vikings, torcs of tomahawks aglitter on their breasts when Malachi wore the collar of gold. A school of turlehide whales stranded in hot noon, spouting, hobbling in the shallows. Then from the starving cagework city a horde of jerkined dwarfs, my people, with flayers' knives, running, scaling, hacking in green blubbery whalemeat. Famine, plague and slaughters. Their blood is in me, their lusts my waves. I moved among them on the frozen Liffey, that I, a changeling, among the spluttering resin fires. I spoke to no-one: none to me.</p>
|
||||
<p>The dog's bark ran towards him, stopped, ran back. Dog of my enemy. I just simply stood pale, silent, bayed about. <em>Terribilia meditans</em>. A primrose doublet, fortune's knave, smiled on my fear. For that are you pining, the bark of their applause? Pretenders: live their lives. The Bruce's brother, Thomas Fitzgerald, silken knight, Perkin Warbeck, York's false scion, in breeches of silk of whiterose ivory, wonder of a day, and Lambert Simnel, with a tail of nans and sutlers, a scullion crowned. All kings' sons. Paradise of pretenders then and now. He saved men from drowning and you shake at a cur's yelping. But the courtiers who mocked Guido in Or san Michele were in their own house. House of... We don't want any of your medieval abstrusiosities. Would you do what he did? A boat would be near, a lifebuoy. <em>Natürlich</em>, put there for you. Would you or would you not? The man that was drowned nine days ago off Maiden's rock. They are waiting for him now. The truth, spit it out. I would want to. I would try. I am not a strong swimmer. Water cold soft. When I put my face into it in the basin at Clongowes. Can't see! Who's behind me? Out quickly, quickly! Do you see the tide flowing quickly in on all sides, sheeting the lows of sand quickly, shellcocoacoloured? If I had land under my feet. I want his life still to be his, mine to be mine. A drowning man. His human eyes scream to me out of horror of his death. I... With him together down... I could not save her. Waters: bitter death: lost.</p>
|
||||
<p>A woman and a man. I see her skirties. Pinned up, I bet.</p>
|
||||
<p>Their dog ambled about a bank of dwindling sand, trotting, sniffing on all sides. Looking for something lost in a past life. Suddenly he made off like a bounding hare, ears flung back, chasing the shadow of a lowskimming gull. The man's shrieked whistle struck his limp ears. He turned, bounded back, came nearer, trotted on twinkling shanks. On a field tenney a buck, trippant, proper, unattired. At the lacefringe of the tide he halted with stiff forehoofs, seawardpointed ears. His snout lifted barked at the wavenoise, herds of seamorse. They serpented towards his feet, curling, unfurling many crests, every ninth, breaking, plashing, from far, from farther out, waves and waves.</p>
|
||||
<p>Cocklepickers. They waded a little way in the water and, stooping, soused their bags and, lifting them again, waded out. The dog yelped running to them, reared up and pawed them, dropping on all fours, again reared up at them with mute bearish fawning. Unheeded he kept by them as they came towards the drier sand, a rag of wolf's tongue redpanting from his jaws. His speckled body ambled ahead of them and then loped off at a calf's gallop. The carcass lay on his path. He stopped, sniffed, stalked round it, brother, nosing closer, went round it, sniffling rapidly like a dog all over the dead dog's bedraggled fell. Dogskull, dogsniff, eyes on the ground, moves to one great goal. Ah, poor dogsbody! Here lies poor dogsbody's body.</p>
|
||||
<p>— Tatters! Out of that, you mongrel!</p>
|
||||
<p>The cry brought him skulking back to his master and a blunt bootless kick sent him unscathed across a spit of sand, crouched in flight. He slunk back in a curve. Doesn't see me. Along by the edge of the mole he lolloped, dawdled, smelt a rock and from under a cocked hindleg pissed against it. He trotted forward and, lifting his hindleg, pissed quick short at an unsmelt rock. The simple pleasures of the poor. His hindpaws then scattered the sand: then his forepaws dabbled and delved. Something he buried there, his grandmother. He rooted in the sand, dabbling, delving and stopped to listen to the air, scraped up the sand again with a fury of his claws, soon ceasing, a pard, a panther, got in spousebreach, vulturing the dead.</p>
|
||||
<p>After he woke me up last night same dream or was it? Wait. Open hallway. Street of harlots. Remember. Haroun al Raschid. I am almosting it. That man led me, spoke. I was not afraid. The melon he had he held against my face. Smiled: creamfruit smell. That was the rule, said. In. Come. Red carpet spread. You will see who.</p>
|
||||
<p>Shouldering their bags they trudged, the red Egyptians. His blued feet out of turnedup trousers slapped the clammy sand, a dull brick muffler strangling his unshaven neck. With woman steps she followed: the ruffian and his strolling mort. Spoils slung at her back. Loose sand and shellgrit crusted her bare feet. About her windraw face her hair trailed. Behind her lord, his helpmate, bing awast to Romeville. When night hides her body's flaws calling under her brown shawl from an archway where dogs have mired. Her fancyman is treating two Royal Dublins in O'Loughlin's of Blackpitts. Buss her, wap in rogues' rum lingo, for, O, my dimber wapping dell! A shefiend's whiteness under her rancid rags. Fumbally's lane that night: the tanyard smells.</p>
|
||||
<p><em>White thy fambles, red thy gan<br>
|
||||
And thy quarrons dainty is.<br>
|
||||
Couch a hogshead with me then.<br>
|
||||
In the darkmans clip and kiss.</em></p>
|
||||
<p>Morose delectation Aquinas tunbelly calls this, <em>frate porcospino</em>. Unfallen Adam rode and not rutted. Call away let him: <em>thy quarrons dainty is</em>. Language no whit worse than his. Monkwords, marybeads jabber on their girdles: roguewords, tough nuggets patter in their pockets.</p>
|
||||
<p>Passing now.</p>
|
||||
<p>A side eye at my Hamlet hat. If I were suddenly naked here as I sit? I am not. Across the sands of all the world, followed by the sun's flaming sword, to the west, trekking to evening lands. She trudges, schlepps, trains, drags, trascines her load. A tide westering, moondrawn, in her wake. Tides, myriadislanded, within her, blood not mine, <em>oinopa ponton</em>, a winedark sea. Behold the handmaid of the moon. In sleep the wet sign calls her hour, bids her rise. Bridebed, childbed, bed of death, ghostcandled. <em>Omnis caro ad te veniet</em>. He comes, pale vampire, through storm his eyes, his bat sails bloodying the sea, mouth to her mouth's kiss.</p>
|
||||
<p>Here. Put a pin in that chap, will you? My tablets. Mouth to her kiss. No. Must be two of em. Glue em well. Mouth to her mouth's kiss.</p>
|
||||
<p>His lips lipped and mouthed fleshless lips of air: mouth to her womb. Oomb, allwombing tomb. His mouth moulded issuing breath, unspeeched: ooeeehah: roar of cataractic planets, globed, blazing, roaring wayawayawayawayawayaway. Paper. The banknotes, blast them. Old Deasy's letter. Here. Thanking you for the hospitality tear the blank end off. Turning his back to the sun he bent over far to a table of rock and scribbled words. That's twice I forgot to take slips from the library counter.</p>
|
||||
<p>His shadow lay over the rocks as he bent, ending. Why not endless till the farthest star? Darkly they are there behind this light, darkness shining in the brightness, delta of Cassiopeia, worlds. Me sits there with his augur's rod of ash, in borrowed sandals, by day beside a livid sea, unbeheld, in violet night walking beneath a reign of uncouth stars. I throw this ended shadow from me, manshape ineluctable, call it back. Endless, would it be mine, form of my form? Who watches me here? Who ever anywhere will read these written words? Signs on a white field. Somewhere to someone in your flutiest voice. The good bishop of Cloyne took the veil of the temple out of his shovel hat: veil of space with coloured emblems hatched on its field. Hold hard. Coloured on a flat: yes, that's right. Flat I see, then think distance, near, far, flat I see, east, back. Ah, see now! Falls back suddenly, frozen in stereoscope. Click does the trick. You find my words dark. Darkness is in our souls do you not think? Flutier. Our souls, shamewounded by our sins, cling to us yet more, a woman to her lover clinging, the more the more.</p>
|
||||
<p>She trusts me, her hand gentle, the longlashed eyes. Now where the blue hell am I bringing her beyond the veil? Into the ineluctable modality of the ineluctable visuality. She, she, she. What she? The virgin at Hodges Figgis' window on Monday looking in for one of the alphabet books you were going to write. Keen glance you gave her. Wrist through the braided jesse of her sunshade. She lives in Leeson park with a grief and kickshaws, a lady of letters. Talk that to someone else, Stevie: a pickmeup. Bet she wears those curse of God stays suspenders and yellow stockings, darned with lumpy wool. Talk about apple dumplings, <em>piuttosto</em>. Where are your wits?</p>
|
||||
<p>Touch me. Soft eyes. Soft soft soft hand. I am lonely here. O, touch me soon, now. What is that word known to all men? I am quiet here alone. Sad too. Touch, touch me.</p>
|
||||
<p>He lay back at full stretch over the sharp rocks, cramming the scribbled note and pencil into a pocket, his hat tilted down on his eyes. That is Kevin Egan's movement I made, nodding for his nap, sabbath sleep. <em>Et vidit Deus. Et erant valde bona</em>. Alo! <em>Bonjour</em>. Welcome as the flowers in May. Under its leaf he watched through peacocktwittering lashes the southing sun. I am caught in this burning scene. Pan's hour, the faunal noon. Among gumheavy serpentplants, milkoozing fruits, where on the tawny waters leaves lie wide. Pain is far.</p>
|
||||
<p><em>And no more turn aside and brood.</em></p>
|
||||
<p>His gaze brooded on his broadtoed boots, a buck's castoffs, <em>nebeneinander</em>. He counted the creases of rucked leather wherein another's foot had nested warm. The foot that beat the ground in tripudium, foot I dislove. But you were delighted when Esther Osvalt's shoe went on you: girl I knew in Paris. <em>Tiens, quel petit pied!</em> Staunch friend, a brother soul: Wilde's love that dare not speak its name. He now will leave me. And the blame? As I am. As I am. All or not at all.</p>
|
||||
<p>In long lassoes from the Cock lake the water flowed full, covering greengoldenly lagoons of sand, rising, flowing. My ashplant will float away. I shall wait. No, they will pass on, passing, chafing against the low rocks, swirling, passing. Better get this job over quick. Listen: a fourworded wavespeech: seesoo, hrss, rsseeiss, ooos. Vehement breath of waters amid seasnakes, rearing horses, rocks. In cups of rocks it slops: flop, slop, slap: bounded in barrels. And, spent, its speech ceases. It flows purling, widely flowing, floating foampool, flower unfurling.</p>
|
||||
<p>Under the upswelling tide he saw the writhing weeds lift languidly and sway reluctant arms, hising up their petticoats, in whispering water swaying and upturning coy silver fronds. Day by day: night by night: lifted, flooded and let fall. Lord, they are weary; and, whispered to, they sigh. Saint Ambrose heard it, sigh of leaves and waves, waiting, awaiting the fullness of their times, <em>diebus ac noctibus iniurias patiens ingemiscit</em>. To no end gathered; vainly then released, forth flowing, wending back: loom of the moon. Weary too in sight of lovers, lascivious men, a naked woman shining in her courts, she draws a toil of waters.</p>
|
||||
<p>Five fathoms out there. Full fathom five thy father lies. At one, he said. Found drowned. High water at Dublin bar. Driving before it a loose drift of rubble, fanshoals of fishes, silly shells. A corpse rising saltwhite from the undertow, bobbing landward, a pace a pace a porpoise. There he is. Hook it quick. Sunk though he be beneath the watery floor. We have him. Easy now.</p>
|
||||
<p>Bag of corpsegas sopping in foul brine. A quiver of minnows, fat of a spongy titbit, flash through the slits of his buttoned trouserfly. God becomes man becomes fish becomes barnacle goose becomes featherbed mountain. Dead breaths I living breathe, tread dead dust, devour a urinous offal from all dead. Hauled stark over the gunwale he breathes upward the stench of his green grave, his leprous nosehole snoring to the sun.</p>
|
||||
<p>A seachange this, brown eyes saltblue. Seadeath, mildest of all deaths known to man. Old Father Ocean. <em>Prix de Paris</em>: beware of imitations. Just you give it a fair trial. We enjoyed ourselves immensely.</p>
|
||||
<p>Come. I thirst. Clouding over. No black clouds anywhere, are there? Thunderstorm. Allbright he falls, proud lightning of the intellect, <em>Lucifer, dico, qui nescit occasum</em>. No. My cockle hat and staff and hismy sandal shoon. Where? To evening lands. Evening will find itself.</p>
|
||||
<p>He took the hilt of his ashplant, lunging with it softly, dallying still. Yes, evening will find itself in me, without me. All days make their end. By the way next when is it Tuesday will be the longest day. Of all the glad new year, mother, the rum tum tiddledy tum. Lawn Tennyson, gentleman poet. <em>Già</em>. For the old hag with the yellow teeth. And Monsieur Drumont, gentleman journalist. <em>Già</em>. My teeth are very bad. Why, I wonder. Feel. That one is going too. Shells. Ought I go to a dentist, I wonder, with that money? That one. Toothless Kinch, the superman. Why is that, I wonder, or does it mean something perhaps?</p>
|
||||
<p>My handkerchief. He threw it. I remember. Did I not take it up?</p>
|
||||
<p>His hand groped vainly in his pockets. No, I didn't. Better buy one.</p>
|
||||
<p>He laid the dry snot picked from his nostril on a ledge of rock, carefully. For the rest let look who will.</p>
|
||||
<p>Behind. Perhaps there is someone.</p>
|
||||
<p>He turned his face over a shoulder, rere regardant. Moving through the air high spars of a threemaster, her sails brailed up on the crosstrees, homing, upstream, silently moving, a silent ship.</p>
|
||||
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Load Diff
|
|
@ -11,433 +11,433 @@
|
|||
<p>Tink cried to bronze in pity.</p>
|
||||
<p>And a call, pure, long and throbbing. Longindying call.</p>
|
||||
<p>Decoy. Soft word. But look! The bright stars fade. O rose! Notes chirruping answer. Castile. The morn is breaking.</p>
|
||||
<p><a href="http://www.joyceproject.com/notes/040085brassquoits.htm\">Jingle jingle jaunted jingling.</a></p>
|
||||
<p><a href="http://www.joyceproject.com/notes/040085brassquoits.htm\">Coin rang. Clock clacked.</a></p>
|
||||
<p><a href="http://www.joyceproject.com/notes/040085brassquoits.htm\">Avowal. <em>Sonnez.</em> I could. Rebound of garter. Not leave thee. Smack. <em>La cloche!</em> Thigh smack. Avowal. Warm. Sweetheart, goodbye!</a></p>
|
||||
<p><a href="http://www.joyceproject.com/notes/040085brassquoits.htm\">Jingle. Bloo.</a></p>
|
||||
<p><a href="http://www.joyceproject.com/notes/040085brassquoits.htm\">Boomed crashing chords. When love absorbs. War! War! The tympanum.</a></p>
|
||||
<p><a href="http://www.joyceproject.com/notes/040085brassquoits.htm\">A sail! A veil awave upon the waves.</a></p>
|
||||
<p><a href="http://www.joyceproject.com/notes/040085brassquoits.htm\">Lost. Throstle fluted. All is lost now.</a></p>
|
||||
<p><a href="http://www.joyceproject.com/notes/040085brassquoits.htm\">Horn. Hawhorn.</a></p>
|
||||
<p><a href="http://www.joyceproject.com/notes/040085brassquoits.htm\">When first he saw. Alas!</a></p>
|
||||
<p><a href="http://www.joyceproject.com/notes/040085brassquoits.htm\">Full tup. Full throb.</a></p>
|
||||
<p><a href="http://www.joyceproject.com/notes/040085brassquoits.htm\">Warbling. Ah, lure! Alluring.</a></p>
|
||||
<p><a href="http://www.joyceproject.com/notes/040085brassquoits.htm\">Martha! Come!</a></p>
|
||||
<p><a href="http://www.joyceproject.com/notes/040085brassquoits.htm\">Clapclop. Clipclap. Clappyclap.</a></p>
|
||||
<p><a href="http://www.joyceproject.com/notes/040085brassquoits.htm\">Goodgod henev erheard inall.</a></p>
|
||||
<p><a href="http://www.joyceproject.com/notes/040085brassquoits.htm\">Deaf bald Pat brought pad knife took up.</a></p>
|
||||
<p><a href="http://www.joyceproject.com/notes/040085brassquoits.htm\">A moonlit nightcall: far, far.</a></p>
|
||||
<p><a href="http://www.joyceproject.com/notes/040085brassquoits.htm\">I feel so sad. P. S. So lonely blooming.</a></p>
|
||||
<p><a href="http://www.joyceproject.com/notes/040085brassquoits.htm\">Listen!</a></p>
|
||||
<p><a href="http://www.joyceproject.com/notes/040085brassquoits.htm\">The spiked and winding cold seahorn. Have you the? Each, and for other, plash and silent roar.</a></p>
|
||||
<p><a href="http://www.joyceproject.com/notes/040085brassquoits.htm\">Pearls: when she. Liszt's rhapsodies. Hissss.</a></p>
|
||||
<p><a href="http://www.joyceproject.com/notes/040085brassquoits.htm\">You don't?</a></p>
|
||||
<p><a href="http://www.joyceproject.com/notes/040085brassquoits.htm\">Did not: no, no: believe: Lidlyd. With a cock with a carra.</a></p>
|
||||
<p><a href="http://www.joyceproject.com/notes/040085brassquoits.htm\">Black.</a></p>
|
||||
<p><a href="http://www.joyceproject.com/notes/040085brassquoits.htm\">Deepsounding. Do, Ben, do.</a></p>
|
||||
<p><a href="http://www.joyceproject.com/notes/040085brassquoits.htm\">Wait while you wait. Hee hee. Wait while you hee.</a></p>
|
||||
<p><a href="http://www.joyceproject.com/notes/040085brassquoits.htm\">But wait!</a></p>
|
||||
<p><a href="http://www.joyceproject.com/notes/040085brassquoits.htm\">Low in dark middle earth. Embedded ore.</a></p>
|
||||
<p><a href="http://www.joyceproject.com/notes/040085brassquoits.htm\">Naminedamine. All gone. All fallen.</a></p>
|
||||
<p><a href="http://www.joyceproject.com/notes/040085brassquoits.htm\">Tiny, her tremulous fernfoils of maidenhair.</a></p>
|
||||
<p><a href="http://www.joyceproject.com/notes/040085brassquoits.htm\">Amen! He gnashed in fury.</a></p>
|
||||
<p><a href="http://www.joyceproject.com/notes/040085brassquoits.htm\">Fro. To, fro. A baton cool protruding.</a></p>
|
||||
<p><a href="http://www.joyceproject.com/notes/040085brassquoits.htm\">Bronzelydia by Minagold.</a></p>
|
||||
<p><a href="http://www.joyceproject.com/notes/040085brassquoits.htm\">By bronze, by gold, in oceangreen of shadow. Bloom. Old Bloom.</a></p>
|
||||
<p><a href="http://www.joyceproject.com/notes/040085brassquoits.htm\">One rapped, one tapped, with a carra, with a cock.</a></p>
|
||||
<p><a href="http://www.joyceproject.com/notes/040085brassquoits.htm\">Pray for him! Pray, good people!</a></p>
|
||||
<p><a href="http://www.joyceproject.com/notes/040085brassquoits.htm\">His gouty fingers nakkering.</a></p>
|
||||
<p><a href="http://www.joyceproject.com/notes/040085brassquoits.htm\">Big Benaben. Big Benben.</a></p>
|
||||
<p><a href="http://www.joyceproject.com/notes/040085brassquoits.htm\">Last rose Castile of summer left bloom I feel so sad alone.</a></p>
|
||||
<p><a href="http://www.joyceproject.com/notes/040085brassquoits.htm\">Pwee! Little wind piped wee.</a></p>
|
||||
<p><a href="http://www.joyceproject.com/notes/040085brassquoits.htm\">True men. Lid Ker Cow De and Doll. Ay, ay. Like you men. Will lift your tschink with tschunk.</a></p>
|
||||
<p><a href="http://www.joyceproject.com/notes/040085brassquoits.htm\">Fff! Oo!</a></p>
|
||||
<p><a href="http://www.joyceproject.com/notes/040085brassquoits.htm\">Where bronze from anear? Where gold from afar? Where hoofs?</a></p>
|
||||
<p><a href="http://www.joyceproject.com/notes/040085brassquoits.htm\">Rrrpr. Kraa. Kraandl.</a></p>
|
||||
<p><a href="http://www.joyceproject.com/notes/040085brassquoits.htm\">Then not till then. My eppripfftaph. Be pfrwritt.</a></p>
|
||||
<p><a href="http://www.joyceproject.com/notes/040085brassquoits.htm\">Done.</a></p>
|
||||
<p><a href="http://www.joyceproject.com/notes/040085brassquoits.htm\">Begin!</a></p>
|
||||
<p><a href="http://www.joyceproject.com/notes/040085brassquoits.htm\">Bronze by gold, Miss Douce's head by Miss Kennedy's head, over the crossblind of the Ormond bar heard the viceregal hoofs go by, ringing steel.</a></p>
|
||||
<p><a href="http://www.joyceproject.com/notes/040085brassquoits.htm\">— Is that her? asked Miss Kennedy.</a></p>
|
||||
<p><a href="http://www.joyceproject.com/notes/040085brassquoits.htm\">Miss Douce said yes, sitting with his ex, pearl grey and <em>eau de Nil.</em></a></p>
|
||||
<p><a href="http://www.joyceproject.com/notes/040085brassquoits.htm\">— Exquisite contrast, Miss Kennedy said.</a></p>
|
||||
<p><a href="http://www.joyceproject.com/notes/040085brassquoits.htm\">When all agog Miss Douce said eagerly:</a></p>
|
||||
<p><a href="http://www.joyceproject.com/notes/040085brassquoits.htm\">— Look at the fellow in the tall silk.</a></p>
|
||||
<p><a href="http://www.joyceproject.com/notes/040085brassquoits.htm\">— Who? Where? gold asked more eagerly.</a></p>
|
||||
<p><a href="http://www.joyceproject.com/notes/040085brassquoits.htm\">— In the second carriage, Miss Douce's wet lips said, laughing in the sun.</a></p>
|
||||
<p><a href="http://www.joyceproject.com/notes/040085brassquoits.htm\">He's looking. Mind till I see.</a></p>
|
||||
<p><a href="http://www.joyceproject.com/notes/040085brassquoits.htm\">She darted, bronze, to the backmost corner, flattening her face against the pane in a halo of hurried breath.</a></p>
|
||||
<p><a href="http://www.joyceproject.com/notes/040085brassquoits.htm\">Her wet lips tittered:</a></p>
|
||||
<p><a href="http://www.joyceproject.com/notes/040085brassquoits.htm\">— He's killed looking back.</a></p>
|
||||
<p><a href="http://www.joyceproject.com/notes/040085brassquoits.htm\">She laughed:</a></p>
|
||||
<p><a href="http://www.joyceproject.com/notes/040085brassquoits.htm\">— O wept! Aren't men frightful idiots?</a></p>
|
||||
<p><a href="http://www.joyceproject.com/notes/040085brassquoits.htm\">With sadness.</a></p>
|
||||
<p><a href="http://www.joyceproject.com/notes/040085brassquoits.htm\">Miss Kennedy sauntered sadly from bright light, twining a loose hair behind an ear. Sauntering sadly, gold no more, she twisted twined a hair.</a></p>
|
||||
<p><a href="http://www.joyceproject.com/notes/040085brassquoits.htm\">Sadly she twined in sauntering gold hair behind a curving ear.</a></p>
|
||||
<p><a href="http://www.joyceproject.com/notes/040085brassquoits.htm\">— It's them has the fine times, sadly then she said.</a></p>
|
||||
<p><a href="http://www.joyceproject.com/notes/040085brassquoits.htm\">A man.</a></p>
|
||||
<p><a href="http://www.joyceproject.com/notes/040085brassquoits.htm\">Bloowho went by by Moulang's pipes bearing in his breast the sweets of sin, by Wine's antiques, in memory bearing sweet sinful words, by Carroll's dusky battered plate, for Raoul.</a></p>
|
||||
<p><a href="http://www.joyceproject.com/notes/040085brassquoits.htm\">The boots to them, them in the bar, them barmaids came. For them unheeding him he banged on the counter his tray of chattering china. And</a></p>
|
||||
<p><a href="http://www.joyceproject.com/notes/040085brassquoits.htm\">— There's your teas, he said.</a></p>
|
||||
<p><a href="http://www.joyceproject.com/notes/040085brassquoits.htm\">Miss Kennedy with manners transposed the teatray down to an upturned </a><a href="http://www.joyceproject.com/notes/030063lithiawater.htm\">lithia crate</a>, safe from eyes, low.</p>
|
||||
<p>— What is it? loud boots unmannerly asked.</p>
|
||||
<p>— Find out, Miss Douce retorted, leaving her spyingpoint.</p>
|
||||
<p>— Your <em>beau,</em> is it?</p>
|
||||
<p>Jingle jingle jaunted jingling.</p>
|
||||
<p>Coin rang. Clock clacked.</p>
|
||||
<p>Avowal. <em>Sonnez.</em> I could. Rebound of garter. Not leave thee. Smack. <em>La cloche!</em> Thigh smack. Avowal. Warm. Sweetheart, goodbye!</p>
|
||||
<p>Jingle. Bloo.</p>
|
||||
<p>Boomed crashing chords. When love absorbs. War! War! The tympanum.</p>
|
||||
<p>A sail! A veil awave upon the waves.</p>
|
||||
<p>Lost. Throstle fluted. All is lost now.</p>
|
||||
<p>Horn. Hawhorn.</p>
|
||||
<p>When first he saw. Alas!</p>
|
||||
<p>Full tup. Full throb.</p>
|
||||
<p>Warbling. Ah, lure! Alluring.</p>
|
||||
<p>Martha! Come!</p>
|
||||
<p>Clapclop. Clipclap. Clappyclap.</p>
|
||||
<p>Goodgod henev erheard inall.</p>
|
||||
<p>Deaf bald Pat brought pad knife took up.</p>
|
||||
<p>A moonlit nightcall: far, far.</p>
|
||||
<p>I feel so sad. P. S. So lonely blooming.</p>
|
||||
<p>Listen!</p>
|
||||
<p>The spiked and winding cold seahorn. Have you the? Each, and for other, plash and silent roar.</p>
|
||||
<p>Pearls: when she. Liszt's rhapsodies. Hissss.</p>
|
||||
<p>You don't?</p>
|
||||
<p>Did not: no, no: believe: Lidlyd. With a cock with a carra.</p>
|
||||
<p>Black.</p>
|
||||
<p>Deepsounding. Do, Ben, do.</p>
|
||||
<p>Wait while you wait. Hee hee. Wait while you hee.</p>
|
||||
<p>But wait!</p>
|
||||
<p>Low in dark middle earth. Embedded ore.</p>
|
||||
<p>Naminedamine. All gone. All fallen.</p>
|
||||
<p>Tiny, her tremulous fernfoils of maidenhair.</p>
|
||||
<p>Amen! He gnashed in fury.</p>
|
||||
<p>Fro. To, fro. A baton cool protruding.</p>
|
||||
<p>Bronzelydia by Minagold.</p>
|
||||
<p>By bronze, by gold, in oceangreen of shadow. Bloom. Old Bloom.</p>
|
||||
<p>One rapped, one tapped, with a carra, with a cock.</p>
|
||||
<p>Pray for him! Pray, good people!</p>
|
||||
<p>His gouty fingers nakkering.</p>
|
||||
<p>Big Benaben. Big Benben.</p>
|
||||
<p>Last rose Castile of summer left bloom I feel so sad alone.</p>
|
||||
<p>Pwee! Little wind piped wee.</p>
|
||||
<p>True men. Lid Ker Cow De and Doll. Ay, ay. Like you men. Will lift your tschink with tschunk.</p>
|
||||
<p>Fff! Oo!</p>
|
||||
<p>Where bronze from anear? Where gold from afar? Where hoofs?</p>
|
||||
<p>Rrrpr. Kraa. Kraandl.</p>
|
||||
<p>Then not till then. My eppripfftaph. Be pfrwritt.</p>
|
||||
<p>Done.</p>
|
||||
<p>Begin!</p>
|
||||
<p>Bronze by gold, Miss Douce's head by Miss Kennedy's head, over the crossblind of the Ormond bar heard the viceregal hoofs go by, ringing steel.</p>
|
||||
<p>— Is that her? asked Miss Kennedy.</p>
|
||||
<p>Miss Douce said yes, sitting with his ex, pearl grey and <em>eau de Nil.</em></p>
|
||||
<p>— Exquisite contrast, Miss Kennedy said.</p>
|
||||
<p>When all agog Miss Douce said eagerly:</p>
|
||||
<p>— Look at the fellow in the tall silk.</p>
|
||||
<p>— Who? Where? gold asked more eagerly.</p>
|
||||
<p>— In the second carriage, Miss Douce's wet lips said, laughing in the sun.</p>
|
||||
<p>He's looking. Mind till I see.</p>
|
||||
<p>She darted, bronze, to the backmost corner, flattening her face against the pane in a halo of hurried breath.</p>
|
||||
<p>Her wet lips tittered:</p>
|
||||
<p>— He's killed looking back.</p>
|
||||
<p>She laughed:</p>
|
||||
<p>— O wept! Aren't men frightful idiots?</p>
|
||||
<p>With sadness.</p>
|
||||
<p>Miss Kennedy sauntered sadly from bright light, twining a loose hair behind an ear. Sauntering sadly, gold no more, she twisted twined a hair.</p>
|
||||
<p>Sadly she twined in sauntering gold hair behind a curving ear.</p>
|
||||
<p>— It's them has the fine times, sadly then she said.</p>
|
||||
<p>A man.</p>
|
||||
<p>Bloowho went by by Moulang's pipes bearing in his breast the sweets of sin, by Wine's antiques, in memory bearing sweet sinful words, by Carroll's dusky battered plate, for Raoul.</p>
|
||||
<p>The boots to them, them in the bar, them barmaids came. For them unheeding him he banged on the counter his tray of chattering china. And</p>
|
||||
<p>— There's your teas, he said.</p>
|
||||
<p>Miss Kennedy with manners transposed the teatray down to an upturned lithia crate, safe from eyes, low.</p>
|
||||
<p>— What is it? loud boots unmannerly asked.</p>
|
||||
<p>— Find out, Miss Douce retorted, leaving her spyingpoint.</p>
|
||||
<p>— Your <em>beau,</em> is it?</p>
|
||||
<p>A haughty bronze replied:</p>
|
||||
<p>— I'll complain to Mrs de Massey on you if I hear any more of your impertinent insolence.</p>
|
||||
<p>— Imperthnthn thnthnthn, bootsnout sniffed rudely, as he retreated as she threatened as he had come.</p>
|
||||
<p>— I'll complain to Mrs de Massey on you if I hear any more of your impertinent insolence.</p>
|
||||
<p>— Imperthnthn thnthnthn, bootsnout sniffed rudely, as he retreated as she threatened as he had come.</p>
|
||||
<p>Bloom.</p>
|
||||
<p>On her flower frowning Miss Douce said:</p>
|
||||
<p>— Most aggravating that young brat is. If he doesn't conduct himself I'll wring his ear for him a yard long.</p>
|
||||
<p>— Most aggravating that young brat is. If he doesn't conduct himself I'll wring his ear for him a yard long.</p>
|
||||
<p>Ladylike in exquisite contrast.</p>
|
||||
<p>— Take no notice, Miss Kennedy rejoined.</p>
|
||||
<p>— Take no notice, Miss Kennedy rejoined.</p>
|
||||
<p>She poured in a teacup tea, then back in the teapot tea. They cowered under their reef of counter, waiting on footstools, crates upturned, waiting for their teas to draw. They pawed their blouses, both of black satin, two and nine a yard, waiting for their teas to draw, and two and seven.</p>
|
||||
<p>Yes, bronze from anear, by gold from afar, heard steel from anear, hoofs ring from afar, and heard steelhoofs ringhoof ringsteel.</p>
|
||||
<p>— Am I awfully sunburnt?</p>
|
||||
<p>— Am I awfully sunburnt?</p>
|
||||
<p>Miss bronze unbloused her neck.</p>
|
||||
<p>— No, said Miss Kennedy. It gets brown after. Did you try the borax with the cherry laurel water?</p>
|
||||
<p>— No, said Miss Kennedy. It gets brown after. Did you try the borax with the cherry laurel water?</p>
|
||||
<p>Miss Douce halfstood to see her skin askance in the barmirror gildedlettered where hock and claret glasses shimmered and in their midst a shell.</p>
|
||||
<p>— And leave it to my hands, she said.</p>
|
||||
<p>— Try it with the glycerine, Miss Kennedy advised.</p>
|
||||
<p>— And leave it to my hands, she said.</p>
|
||||
<p>— Try it with the glycerine, Miss Kennedy advised.</p>
|
||||
<p>Bidding her neck and hands adieu Miss Douce</p>
|
||||
<p>— Those things only bring out a rash, replied, reseated. I asked that old fogey in Boyd's for something for my skin.</p>
|
||||
<p>— Those things only bring out a rash, replied, reseated. I asked that old fogey in Boyd's for something for my skin.</p>
|
||||
<p>Miss Kennedy, pouring now fulldrawn tea, grimaced and prayed:</p>
|
||||
<p>— O, don't remind me of him for mercy' sake!</p>
|
||||
<p>— But wait till I tell you, Miss Douce entreated.</p>
|
||||
<p>— O, don't remind me of him for mercy' sake!</p>
|
||||
<p>— But wait till I tell you, Miss Douce entreated.</p>
|
||||
<p>Sweet tea Miss Kennedy having poured with milk plugged both two ears with little fingers.</p>
|
||||
<p>— No, don't, she cried.</p>
|
||||
<p>— I won't listen, she cried.</p>
|
||||
<p>— No, don't, she cried.</p>
|
||||
<p>— I won't listen, she cried.</p>
|
||||
<p>But Bloom?</p>
|
||||
<p>Miss Douce grunted in snuffy fogey's tone:</p>
|
||||
<p>— For your what? says he.</p>
|
||||
<p>— For your what? says he.</p>
|
||||
<p>Miss Kennedy unplugged her ears to hear, to speak: but said, but prayed again:</p>
|
||||
<p>— Don't let me think of him or I'll expire. The hideous old wretch! That night in <a href="http://www.joyceproject.com/notes/060021concertrooms.htm\">the Antient Concert Rooms</a>.</p>
|
||||
<p>— Don't let me think of him or I'll expire. The hideous old wretch! That night in the Antient Concert Rooms.</p>
|
||||
<p>She sipped distastefully her brew, hot tea, a sip, sipped, sweet tea.</p>
|
||||
<p>— Here he was, Miss Douce said, cocking her bronze head three quarters, ruffling her nosewings. Hufa! Hufa!</p>
|
||||
<p>— Here he was, Miss Douce said, cocking her bronze head three quarters, ruffling her nosewings. Hufa! Hufa!</p>
|
||||
<p>Shrill shriek of laughter sprang from Miss Kennedy's throat. Miss Douce huffed and snorted down her nostrils that quivered imperthnthn like a snout in quest.</p>
|
||||
<p>— O! shrieking, Miss Kennedy cried. Will you ever forget his goggle eye?</p>
|
||||
<p>— O! shrieking, Miss Kennedy cried. Will you ever forget his goggle eye?</p>
|
||||
<p>Miss Douce chimed in in deep bronze laughter, shouting:</p>
|
||||
<p>— And your other eye!</p>
|
||||
<p>— And your other eye!</p>
|
||||
<p>Bloowhose dark eye read Aaron Figatner's name. Why do I always think Figather? Gathering figs, I think. And Prosper Lore's huguenot name. By Bassi's blessed virgins Bloom's dark eyes went by. Bluerobed, white under, come to me. God they believe she is: or goddess. Those today. I could not see. That fellow spoke. A student. After with Dedalus' son. He might be Mulligan. All comely virgins. That brings those rakes of fellows in: her white.</p>
|
||||
<p>By went his eyes. The sweets of sin. Sweet are the sweets.</p>
|
||||
<p>Of sin.</p>
|
||||
<p>In a giggling peal young goldbronze voices blended, Douce with Kennedy your other eye. They threw young heads back, bronze gigglegold, to let freefly their laughter, screaming, your other, signals to each other, high piercing notes.</p>
|
||||
<p>Ah, panting, sighing. Sighing, ah, fordone their mirth died down.</p>
|
||||
<p>Miss Kennedy lipped her cup again, raised, drank a sip and gigglegiggled. Miss Douce, bending again over the teatray, ruffled again her nose and rolled droll fattened eyes. Again Kennygiggles, stooping, her fair pinnacles of hair, stooping, her tortoise napecomb showed, spluttered out of her mouth her tea, choking in tea and laughter, coughing with choking, crying:</p>
|
||||
<p>— O greasy eyes! Imagine being married to a man like that! she cried. With his bit of beard!</p>
|
||||
<p>— O greasy eyes! Imagine being married to a man like that! she cried. With his bit of beard!</p>
|
||||
<p>Douce gave full vent to a splendid yell, a full yell of full woman, delight, joy, indignation.</p>
|
||||
<p>— Married to the greasy nose! she yelled.</p>
|
||||
<p>— Married to the greasy nose! she yelled.</p>
|
||||
<p>Shrill, with deep laughter, after bronze in gold, they urged each each to peal after peal, ringing in changes, bronzegold, goldbronze, shrilldeep, to laughter after laughter. And then laughed more. Greasy I knows. Exhausted, breathless, their shaken heads they laid, braided and pinnacled by glossycombed, against the counterledge. All flushed (O!), panting, sweating (O!), all breathless.</p>
|
||||
<p><a href="http://www.joyceproject.com/notes/060006toadeyes.htm\">Married to Bloom, to greaseaseabloom.</a></p>
|
||||
<p>— O saints above! Miss Douce said, sighed above her jumping rose. I wished I hadn't laughed so much. I feel all wet.</p>
|
||||
<p>— O, Miss Douce! Miss Kennedy protested. You horrid thing!</p>
|
||||
<p>Married to Bloom, to greaseaseabloom.</p>
|
||||
<p>— O saints above! Miss Douce said, sighed above her jumping rose. I wished I hadn't laughed so much. I feel all wet.</p>
|
||||
<p>— O, Miss Douce! Miss Kennedy protested. You horrid thing!</p>
|
||||
<p>And flushed yet more (you horrid!), more goldenly.</p>
|
||||
<p>By Cantwell's offices roved Greaseabloom, by Ceppi's virgins, bright of their oils. Nannetti's father hawked those things about, wheedling at doors as I. Religion pays. Must see him about Keyes's par. Eat first. I want. Not yet. <a href="http://www.joyceproject.com/notes/110002atfourshe.htm\">At four, she said.</a> Time ever passing. Clockhands turning. On. Where eat? The Clarence, Dolphin. On. For Raoul. Eat. If I net five guineas</p>
|
||||
<p>By Cantwell's offices roved Greaseabloom, by Ceppi's virgins, bright of their oils. Nannetti's father hawked those things about, wheedling at doors as I. Religion pays. Must see him about Keyes's par. Eat first. I want. Not yet. At four, she said. Time ever passing. Clockhands turning. On. Where eat? The Clarence, Dolphin. On. For Raoul. Eat. If I net five guineas</p>
|
||||
<p>with those ads. The violet silk petticoats. Not yet. The sweets of sin.</p>
|
||||
<p>Flushed less, still less, goldenly paled.</p>
|
||||
<p>Into their bar strolled Mr Dedalus. Chips, picking chips off one of his rocky thumbnails. Chips. He strolled.</p>
|
||||
<p>— O, welcome back, Miss Douce.</p>
|
||||
<p>— O, welcome back, Miss Douce.</p>
|
||||
<p>He held her hand. Enjoyed her holidays?</p>
|
||||
<p>— Tiptop.</p>
|
||||
<p>— Tiptop.</p>
|
||||
<p>He hoped she had nice weather in Rostrevor.</p>
|
||||
<p>— Gorgeous, she said. Look at the holy show I am. Lying out on the strand all day.</p>
|
||||
<p>— Gorgeous, she said. Look at the holy show I am. Lying out on the strand all day.</p>
|
||||
<p>Bronze whiteness.</p>
|
||||
<p>— That was exceedingly naughty of you, Mr Dedalus told her and pressed her hand indulgently. Tempting poor simple males.</p>
|
||||
<p>— That was exceedingly naughty of you, Mr Dedalus told her and pressed her hand indulgently. Tempting poor simple males.</p>
|
||||
<p>Miss Douce of satin douced her arm away.</p>
|
||||
<p>— O go away! she said. You're very simple, I don't think.</p>
|
||||
<p>— O go away! she said. You're very simple, I don't think.</p>
|
||||
<p>He was.</p>
|
||||
<p>— Well now, I am, he mused. I looked so simple in the cradle they christened me simple Simon.</p>
|
||||
<p>— You must have been a doaty, Miss Douce made answer. And what did the doctor order today?</p>
|
||||
<p>— Well now, he mused, whatever you say yourself. I think I'll trouble you for some fresh water and a half glass of whisky.</p>
|
||||
<p>— Well now, I am, he mused. I looked so simple in the cradle they christened me simple Simon.</p>
|
||||
<p>— You must have been a doaty, Miss Douce made answer. And what did the doctor order today?</p>
|
||||
<p>— Well now, he mused, whatever you say yourself. I think I'll trouble you for some fresh water and a half glass of whisky.</p>
|
||||
<p>Jingle.</p>
|
||||
<p>— With the greatest alacrity, Miss Douce agreed.</p>
|
||||
<p>— With the greatest alacrity, Miss Douce agreed.</p>
|
||||
<p>With grace of alacrity towards the mirror gilt Cantrell and Cochrane's she turned herself. With grace she tapped a measure of gold whisky from her crystal keg. Forth from the skirt of his coat Mr Dedalus brought pouch and pipe. Alacrity she served. He blew through the flue two husky fifenotes.</p>
|
||||
<p>— By Jove, he mused, I often wanted to see the Mourne mountains. Must be a great tonic in the air down there. But a long threatening comes at last, they say. Yes. Yes.</p>
|
||||
<p>— By Jove, he mused, I often wanted to see the Mourne mountains. Must be a great tonic in the air down there. But a long threatening comes at last, they say. Yes. Yes.</p>
|
||||
<p>Yes. He fingered shreds of hair, her maidenhair, her mermaid's, into the bowl. Chips. Shreds. Musing. Mute.</p>
|
||||
<p>None not said nothing. Yes.</p>
|
||||
<p>Gaily Miss Douce polished a tumbler, trilling:</p>
|
||||
<p>— <em>O, Idolores, queen of the eastern seas!</em></p>
|
||||
<p>— Was Mr Lidwell in today?</p>
|
||||
<p>— <em>O, Idolores, queen of the eastern seas!</em></p>
|
||||
<p>— Was Mr Lidwell in today?</p>
|
||||
<p>In came Lenehan. Round him peered Lenehan. Mr Bloom reached Essex bridge. Yes, Mr Bloom crossed bridge of Yessex.</p>
|
||||
<p>To Martha I must write. Buy paper. Daly's. Girl there civil. Bloom. Old Bloom. Blue bloom is on the rye.</p>
|
||||
<p>— He was in at lunchtime, Miss Douce said.</p>
|
||||
<p>— He was in at lunchtime, Miss Douce said.</p>
|
||||
<p>Lenehan came forward.</p>
|
||||
<p>— Was Mr Boylan looking for me?</p>
|
||||
<p>— Was Mr Boylan looking for me?</p>
|
||||
<p>He asked. She answered:</p>
|
||||
<p>— Miss Kennedy, was Mr Boylan in while I was upstairs?</p>
|
||||
<p>— Miss Kennedy, was Mr Boylan in while I was upstairs?</p>
|
||||
<p>She asked. Miss voice of Kennedy answered, a second teacup poised, her gaze upon a page:</p>
|
||||
<p>— No. He was not.</p>
|
||||
<p>— No. He was not.</p>
|
||||
<p>Miss gaze of Kennedy, heard, not seen, read on. Lenehan round the sandwichbell wound his round body round.</p>
|
||||
<p>— Peep! Who's in the corner?</p>
|
||||
<p>— Peep! Who's in the corner?</p>
|
||||
<p>No glance of Kennedy rewarding him he yet made overtures. To mind her stops. To read only the black ones: round o and crooked ess.</p>
|
||||
<p>Jingle jaunty jingle.</p>
|
||||
<p>Girlgold she read and did not glance. Take no notice. She took no notice while he read by rote a solfa fable for her, plappering flatly:</p>
|
||||
<p>— Ah fox met ah stork. Said thee fox too thee stork: Will you put your bill down inn my troath and pull upp ah bone?</p>
|
||||
<p>— Ah fox met ah stork. Said thee fox too thee stork: Will you put your bill down inn my troath and pull upp ah bone?</p>
|
||||
<p>He droned in vain. Miss Douce turned to her tea aside.</p>
|
||||
<p>He sighed aside:</p>
|
||||
<p>— Ah me! O my!</p>
|
||||
<p>— Ah me! O my!</p>
|
||||
<p>He greeted Mr Dedalus and got a nod.</p>
|
||||
<p>— Greetings from the famous son of a famous father.</p>
|
||||
<p>— Who may he be? Mr Dedalus asked.</p>
|
||||
<p>— Greetings from the famous son of a famous father.</p>
|
||||
<p>— Who may he be? Mr Dedalus asked.</p>
|
||||
<p>Lenehan opened most genial arms. Who?</p>
|
||||
<p>— Who may he be? he asked. Can you ask? Stephen, the youthful bard.</p>
|
||||
<p>— Who may he be? he asked. Can you ask? Stephen, the youthful bard.</p>
|
||||
<p>Dry.</p>
|
||||
<p>Mr Dedalus, famous father, laid by his dry filled pipe.</p>
|
||||
<p>— I see, he said. I didn't recognise him for the moment. I hear he is keeping very select company. Have you seen him lately?</p>
|
||||
<p>— I see, he said. I didn't recognise him for the moment. I hear he is keeping very select company. Have you seen him lately?</p>
|
||||
<p>He had.</p>
|
||||
<p>— I quaffed the nectarbowl with him this very day, said Lenehan. In Mooney's <em>en ville</em>and in Mooney's <em>sur mer.</em> He had received the rhino for the labour of his muse.</p>
|
||||
<p>— I quaffed the nectarbowl with him this very day, said Lenehan. In Mooney's <em>en ville</em>and in Mooney's <em>sur mer.</em> He had received the rhino for the labour of his muse.</p>
|
||||
<p>He smiled at bronze's teabathed lips, at listening lips and eyes:</p>
|
||||
<p>— The <em>élite</em> of Erin hung upon his lips. The ponderous pundit, Hugh MacHugh, Dublin's most brilliant scribe and editor and that minstrel boy of the wild wet west who is known by the euphonious appellation of the O'Madden Burke.</p>
|
||||
<p>— The <em>élite</em> of Erin hung upon his lips. The ponderous pundit, Hugh MacHugh, Dublin's most brilliant scribe and editor and that minstrel boy of the wild wet west who is known by the euphonious appellation of the O'Madden Burke.</p>
|
||||
<p>After an interval Mr Dedalus raised his grog and</p>
|
||||
<p>— That must have been highly diverting, said he. I see.</p>
|
||||
<p>— That must have been highly diverting, said he. I see.</p>
|
||||
<p>He see. He drank. With faraway mourning mountain eye. Set down his glass.</p>
|
||||
<p>He looked towards the saloon door.</p>
|
||||
<p>— I see you have moved the piano.</p>
|
||||
<p>— The tuner was in today, Miss Douce replied, tuning it for the smoking concert and I never heard such an exquisite player.</p>
|
||||
<p>— Is that a fact?</p>
|
||||
<p>— Didn't he, Miss Kennedy? The real classical, you know. And blind too, poor fellow. Not twenty I'm sure he was.</p>
|
||||
<p>— Is that a fact? Mr Dedalus said.</p>
|
||||
<p>— I see you have moved the piano.</p>
|
||||
<p>— The tuner was in today, Miss Douce replied, tuning it for the smoking concert and I never heard such an exquisite player.</p>
|
||||
<p>— Is that a fact?</p>
|
||||
<p>— Didn't he, Miss Kennedy? The real classical, you know. And blind too, poor fellow. Not twenty I'm sure he was.</p>
|
||||
<p>— Is that a fact? Mr Dedalus said.</p>
|
||||
<p>He drank and strayed away.</p>
|
||||
<p>— So sad to look at his face, Miss Douce condoled.</p>
|
||||
<p>— So sad to look at his face, Miss Douce condoled.</p>
|
||||
<p>God's curse on bitch's bastard.</p>
|
||||
<p>Tink to her pity cried a diner's bell. To the door of the diningroom came bald Pat, came bothered Pat, came Pat, waiter of Ormond. Lager for diner. Lager without alacrity she served.</p>
|
||||
<p>With patience Lenehan waited for Boylan with impatience, for jinglejaunty blazes boy.</p>
|
||||
<p>Upholding the lid he (who?) gazed in the coffin (coffin?) at the oblique triple (piano!) wires. He pressed (the same who pressed indulgently her hand), soft pedalling, a triple of keys to see the thicknesses of felt advancing, to hear the muffled hammerfall in action.</p>
|
||||
<p>Two sheets cream vellum paper one reserve two envelopes when I was in Wisdom Hely's wise Bloom in Daly's Henry Flower bought. Are you not happy in your home? Flower to console me and a pin cuts lo. Means something, language of flow. Was it a daisy? Innocence that is. Respectable girl meet after mass. Thanks awfully muchly. Wise Bloom eyed on the door a poster, a swaying mermaid smoking mid nice waves. Smoke mermaids, coolest whiff of all. Hair streaming: lovelorn. For some man. For Raoul. He eyed and saw afar on Essex bridge a gay hat riding on a <a href="http://www.joyceproject.com/notes/050013jauntingcar.htm\">jaunting car</a>. It is. Third time. Coincidence.</p>
|
||||
<p>Two sheets cream vellum paper one reserve two envelopes when I was in Wisdom Hely's wise Bloom in Daly's Henry Flower bought. Are you not happy in your home? Flower to console me and a pin cuts lo. Means something, language of flow. Was it a daisy? Innocence that is. Respectable girl meet after mass. Thanks awfully muchly. Wise Bloom eyed on the door a poster, a swaying mermaid smoking mid nice waves. Smoke mermaids, coolest whiff of all. Hair streaming: lovelorn. For some man. For Raoul. He eyed and saw afar on Essex bridge a gay hat riding on a jaunting car. It is. Third time. Coincidence.</p>
|
||||
<p>Jingling on supple rubbers it jaunted from the bridge to Ormond quay. Follow. Risk it. Go quick. At four. Near now. Out.</p>
|
||||
<p>— Twopence, sir, the shopgirl dared to say.</p>
|
||||
<p>— Aha... I was forgetting... Excuse...</p>
|
||||
<p>— And four.</p>
|
||||
<p>— Twopence, sir, the shopgirl dared to say.</p>
|
||||
<p>— Aha... I was forgetting... Excuse...</p>
|
||||
<p>— And four.</p>
|
||||
<p>At four she. Winsomely she on Bloohimwhom smiled. Bloo smi qui go. Ternoon. Think you're the only pebble on the beach? Does that to all. For men.</p>
|
||||
<p>In drowsy silence gold bent on her page.</p>
|
||||
<p>From the saloon a call came, long in dying. That was a tuningfork the tuner had that he forgot that he now struck. A call again. That he now poised that it now throbbed. You hear? It throbbed, pure, purer, softly and softlier, its buzzing prongs. Longer in dying call.</p>
|
||||
<p>Pat paid for diner's popcorked bottle: and over tumbler, tray and popcorked bottle ere he went he whispered, bald and bothered, with Miss Douce.</p>
|
||||
<p>— <em>The bright stars fade</em>...</p>
|
||||
<p>— <em>The bright stars fade</em>...</p>
|
||||
<p>A voiceless song sang from within, singing:</p>
|
||||
<p>— ... <em>the morn is breaking.</em></p>
|
||||
<p>— ... <em>the morn is breaking.</em></p>
|
||||
<p>A duodene of birdnotes chirruped bright treble answer under sensitive hands. Brightly the keys, all twinkling, linked, all harpsichording, called to a voice to sing the strain of dewy morn, of youth, of love's leavetaking, life's, love's morn.</p>
|
||||
<p>— <em>The dewdrops pearl</em>...</p>
|
||||
<p>— <em>The dewdrops pearl</em>...</p>
|
||||
<p>Lenehan's lips over the counter lisped a low whistle of decoy.</p>
|
||||
<p>— But look this way, he said, rose of Castile.</p>
|
||||
<p>— But look this way, he said, rose of Castile.</p>
|
||||
<p>Jingle jaunted by the curb and stopped.</p>
|
||||
<p>She rose and closed her reading, rose of Castile: fretted, forlorn, dreamily rose.</p>
|
||||
<p>— Did she fall or was she pushed? he asked her.</p>
|
||||
<p>— Did she fall or was she pushed? he asked her.</p>
|
||||
<p>She answered, slighting:</p>
|
||||
<p>— Ask no questions and you'll hear no lies.</p>
|
||||
<p>— Ask no questions and you'll hear no lies.</p>
|
||||
<p>Like lady, ladylike.</p>
|
||||
<p>Blazes Boylan's smart tan shoes creaked on the barfloor where he strode. Yes, gold from anear by bronze from afar. Lenehan heard and knew and hailed him:</p>
|
||||
<p>— See the conquering hero comes.</p>
|
||||
<p>Between the car and window, warily walking, went Bloom, unconquered hero. See me he might. The seat he sat on: warm. Black wary hecat walked towards <a href="http://www.joyceproject.com/notes/030113richiegoulding.htm\">Richie Goulding's legal bag</a>, lifted aloft, saluting.</p>
|
||||
<p>— <em>And I from thee</em>...</p>
|
||||
<p>— I heard you were round, said Blazes Boylan.</p>
|
||||
<p>— See the conquering hero comes.</p>
|
||||
<p>Between the car and window, warily walking, went Bloom, unconquered hero. See me he might. The seat he sat on: warm. Black wary hecat walked towards Richie Goulding's legal bag, lifted aloft, saluting.</p>
|
||||
<p>— <em>And I from thee</em>...</p>
|
||||
<p>— I heard you were round, said Blazes Boylan.</p>
|
||||
<p>He touched to fair Miss Kennedy a rim of his slanted straw. She smiled on him. But sister bronze outsmiled her, preening for him her richer hair, a bosom and a rose.</p>
|
||||
<p>Boylan bespoke potions.</p>
|
||||
<p>— What's your cry? Glass of bitter? Glass of bitter, please, and a sloegin for me. Wire in yet?</p>
|
||||
<p>— What's your cry? Glass of bitter? Glass of bitter, please, and a sloegin for me. Wire in yet?</p>
|
||||
<p>Not yet. At four he. All said four.</p>
|
||||
<p>Cowley's red lugs and Adam's apple in the door of the sheriff's office.</p>
|
||||
<p>Avoid. Goulding a chance. What is he doing in the Ormond? Car waiting. Wait.</p>
|
||||
<p>Hello. Where off to? Something to eat? I too was just. In here. What, Ormond? <a href="http://www.joyceproject.com/notes/110001bestvalue.htm\">Best value in Dublin</a>. Is that so? Diningroom. Sit tight there. See, not be seen. I think I'll join you. Come on. Richie led on. Bloom followed bag. Dinner fit for a prince.</p>
|
||||
<p>Hello. Where off to? Something to eat? I too was just. In here. What, Ormond? Best value in Dublin. Is that so? Diningroom. Sit tight there. See, not be seen. I think I'll join you. Come on. Richie led on. Bloom followed bag. Dinner fit for a prince.</p>
|
||||
<p>Miss Douce reached high to take a flagon, stretching her satin arm, her bust, that all but burst, so high.</p>
|
||||
<p>— O! O! jerked Lenehan, gasping at each stretch. O!</p>
|
||||
<p>— O! O! jerked Lenehan, gasping at each stretch. O!</p>
|
||||
<p>But easily she seized her prey and led it low in triumph.</p>
|
||||
<p>— Why don't you grow? asked Blazes Boylan.</p>
|
||||
<p>— Why don't you grow? asked Blazes Boylan.</p>
|
||||
<p>Shebronze, dealing from her jar thick syrupy liquor for his lips, looked as it flowed (flower in his coat: who gave him?), and syrupped with her voice:</p>
|
||||
<p>— Fine goods in small parcels.</p>
|
||||
<p>— Fine goods in small parcels.</p>
|
||||
<p>That is to say she. Neatly she poured slowsyrupy sloe.</p>
|
||||
<p>— Here's fortune, Blazes said.</p>
|
||||
<p>— Here's fortune, Blazes said.</p>
|
||||
<p>He pitched a broad coin down. Coin rang.</p>
|
||||
<p>— Hold on, said Lenehan, till I...</p>
|
||||
<p>— Fortune, he wished, lifting his bubbled ale.</p>
|
||||
<p>— Sceptre will win in a canter, he said.</p>
|
||||
<p>— I plunged a bit, said Boylan winking and drinking. Not on my own, you know. Fancy of a friend of mine.</p>
|
||||
<p>— Hold on, said Lenehan, till I...</p>
|
||||
<p>— Fortune, he wished, lifting his bubbled ale.</p>
|
||||
<p>— Sceptre will win in a canter, he said.</p>
|
||||
<p>— I plunged a bit, said Boylan winking and drinking. Not on my own, you know. Fancy of a friend of mine.</p>
|
||||
<p>Lenehan still drank and grinned at his tilted ale and at Miss Douce's lips that all but hummed, not shut, the oceansong her lips had trilled.</p>
|
||||
<p>Idolores. The eastern seas.</p>
|
||||
<p>Clock whirred. Miss Kennedy passed their way (flower, wonder who gave), bearing away teatray. Clock clacked.</p>
|
||||
<p>Miss Douce took Boylan's coin, struck boldly the cashregister. It clanged. Clock clacked. Fair one of Egypt teased and sorted in the till and hummed and handed coins in change. Look to the west. A clack. For me.</p>
|
||||
<p>— What time is that? asked Blazes Boylan. Four?</p>
|
||||
<p>— What time is that? asked Blazes Boylan. Four?</p>
|
||||
<p>O'clock.</p>
|
||||
<p>Lenehan, small eyes ahunger on her humming, bust ahumming, tugged Blazes Boylan's elbowsleeve.</p>
|
||||
<p>— Let's hear the time, he said.</p>
|
||||
<p>— Let's hear the time, he said.</p>
|
||||
<p>The bag of Goulding, Collis, Ward led Bloom by ryebloom flowered tables. Aimless he chose with agitated aim, bald Pat attending, a table near the door. Be near. At four. Has he forgotten? Perhaps a trick. Not come: whet appetite. I couldn't do. Wait, wait. Pat, waiter, waited.</p>
|
||||
<p>Sparkling bronze azure eyed Blazure's skyblue bow and eyes.</p>
|
||||
<p>— Go on, pressed Lenehan. There's no-one. He never heard.</p>
|
||||
<p>— ... <em>to Flora's lips did hie.</em></p>
|
||||
<p>— Go on, pressed Lenehan. There's no-one. He never heard.</p>
|
||||
<p>— ... <em>to Flora's lips did hie.</em></p>
|
||||
<p>High, a high note pealed in the treble clear.</p>
|
||||
<p>Bronzedouce communing with her rose that sank and rose sought Blazes Boylan's flower and eyes.</p>
|
||||
<p>— Please, please.</p>
|
||||
<p>— Please, please.</p>
|
||||
<p>He pleaded over returning phrases of avowal.</p>
|
||||
<p>— <em>I could not leave thee</em>...</p>
|
||||
<p>— Afterwits, Miss Douce promised coyly.</p>
|
||||
<p>— No, now, urged Lenehan. <em>Sonnez la cloche!</em> O do! There's no-one.</p>
|
||||
<p>— <em>I could not leave thee</em>...</p>
|
||||
<p>— Afterwits, Miss Douce promised coyly.</p>
|
||||
<p>— No, now, urged Lenehan. <em>Sonnez la cloche!</em> O do! There's no-one.</p>
|
||||
<p>She looked. Quick. Miss Kenn out of earshot. Sudden bent. Two kindling faces watched her bend.</p>
|
||||
<p>Quavering the chords strayed from the air, found it again, lost chord, and lost and found it, faltering.</p>
|
||||
<p>— Go on! Do! <em>Sonnez!</em></p>
|
||||
<p>— Go on! Do! <em>Sonnez!</em></p>
|
||||
<p>Bending, she nipped a peak of skirt above her knee. Delayed. Taunted them still, bending, suspending, with wilful eyes.</p>
|
||||
<p><em>— Sonnez!</em></p>
|
||||
<p><em>— Sonnez!</em></p>
|
||||
<p>Smack. She let free sudden in rebound her nipped elastic garter smackwarm against her smackable a woman's warmhosed thigh.</p>
|
||||
<p>— <em>La Cloche!</em> cried gleeful Lenehan. Trained by owner. No sawdust there.</p>
|
||||
<p>— <em>La Cloche!</em> cried gleeful Lenehan. Trained by owner. No sawdust there.</p>
|
||||
<p>She smilesmirked supercilious (wept! aren't men?), but, lightward gliding, mild she smiled on Boylan.</p>
|
||||
<p>— You're the essence of vulgarity, she in gliding said.</p>
|
||||
<p>— You're the essence of vulgarity, she in gliding said.</p>
|
||||
<p>Boylan, eyed, eyed. Tossed to fat lips his chalice, drankoff his tiny chalice, sucking the last fat violet syrupy drops. His spellbound eyes went after her gliding head as it went down the bar by mirrors, gilded arch for ginger ale, hock and claret glasses shimmering, a spiky shell, where it concerted, mirrored, bronze with sunnier bronze.</p>
|
||||
<p>Yes, bronze from anearby.</p>
|
||||
<p>— ... <em>Sweetheart, goodbye!</em></p>
|
||||
<p>— I'm off, said Boylan with impatience.</p>
|
||||
<p>— ... <em>Sweetheart, goodbye!</em></p>
|
||||
<p>— I'm off, said Boylan with impatience.</p>
|
||||
<p>He slid his chalice brisk away, grasped his change.</p>
|
||||
<p>— Wait a shake, begged Lenehan, drinking quickly. I wanted to tell you. Tom Rochford...</p>
|
||||
<p>— Come on to blazes, said Blazes Boylan, going.</p>
|
||||
<p>— Wait a shake, begged Lenehan, drinking quickly. I wanted to tell you. Tom Rochford...</p>
|
||||
<p>— Come on to blazes, said Blazes Boylan, going.</p>
|
||||
<p>Lenehan gulped to go.</p>
|
||||
<p>— Got the horn or what? he said. Wait. I'm coming.</p>
|
||||
<p>— Got the horn or what? he said. Wait. I'm coming.</p>
|
||||
<p>He followed the hasty creaking shoes but stood by nimbly by the threshold, saluting forms, a bulky with a slender.</p>
|
||||
<p>— How do you do, Mr Dollard?</p>
|
||||
<p>— Eh? How do? How do? Ben Dollard's vague bass answered, turning an instant from Father Cowley's woe. He won't give you any trouble, Bob. Alf Bergan will speak to the long fellow. We'll put a barleystraw in that Judas Iscariot's ear this time.</p>
|
||||
<p>— How do you do, Mr Dollard?</p>
|
||||
<p>— Eh? How do? How do? Ben Dollard's vague bass answered, turning an instant from Father Cowley's woe. He won't give you any trouble, Bob. Alf Bergan will speak to the long fellow. We'll put a barleystraw in that Judas Iscariot's ear this time.</p>
|
||||
<p>Sighing, Mr Dedalus came through the saloon, a finger soothing an eyelid.</p>
|
||||
<p>— Hoho, we will, Ben Dollard yodled jollily. Come on, Simon. Give us a ditty. We heard the piano.</p>
|
||||
<p>— Hoho, we will, Ben Dollard yodled jollily. Come on, Simon. Give us a ditty. We heard the piano.</p>
|
||||
<p>Bald Pat, bothered waiter, waited for drink orders. Power for Richie. And Bloom? Let me see. Not make him walk twice. His corns. Four now. How warm this black is. Course nerves a bit. Refracts (is it?) heat. Let me see. Cider. Yes, bottle of cider.</p>
|
||||
<p>— What's that? Mr Dedalus said. I was only vamping, man.</p>
|
||||
<p>— Come on, come on, Ben Dollard called. Begone dull care. Come, Bob.</p>
|
||||
<p>— What's that? Mr Dedalus said. I was only vamping, man.</p>
|
||||
<p>— Come on, come on, Ben Dollard called. Begone dull care. Come, Bob.</p>
|
||||
<p>He ambled Dollard, bulky slops, before them (hold that fellow with the: hold him now) into the saloon. He plumped him Dollard on the stool. His gouty paws plumped chords. Plumped, stopped abrupt.</p>
|
||||
<p>Bald Pat in the doorway met tealess gold returning. Bothered, he wanted Power and cider. Bronze by the window, watched, bronze from afar.</p>
|
||||
<p>Jingle a tinkle jaunted.</p>
|
||||
<p>Bloom heard a jing, a little sound. He's off. Light sob of breath Bloom sighed on the silent bluehued flowers. Jingling. He's gone. Jingle. Hear.</p>
|
||||
<p>— Love and War, Ben, Mr Dedalus said. God be with old times.</p>
|
||||
<p>— Love and War, Ben, Mr Dedalus said. God be with old times.</p>
|
||||
<p>Miss Douce's brave eyes, unregarded, turned from the crossblind, smitten by sunlight. Gone. Pensive (who knows?), smitten (the smiting light), she lowered the dropblind with a sliding cord. She drew down pensive (why did he go so quick when I?) about her bronze, over the bar where bald stood by sister gold, inexquisite contrast, contrast inexquisite nonexquisite, slow cool dim seagreen sliding depth of shadow, <em>eau de Nil.</em></p>
|
||||
<p>— Poor old Goodwin was the pianist that night, Father Cowley reminded them. There was a slight difference of opinion between himself and the Collard grand.</p>
|
||||
<p>— Poor old Goodwin was the pianist that night, Father Cowley reminded them. There was a slight difference of opinion between himself and the Collard grand.</p>
|
||||
<p>There was.</p>
|
||||
<p>— A symposium all his own, Mr Dedalus said. The devil wouldn't stop him. He was a crotchety old fellow in the primary stage of drink.</p>
|
||||
<p>— God, do you remember? Ben bulky Dollard said, turning from the punished keyboard. And by Japers I had no wedding garment.</p>
|
||||
<p>— A symposium all his own, Mr Dedalus said. The devil wouldn't stop him. He was a crotchety old fellow in the primary stage of drink.</p>
|
||||
<p>— God, do you remember? Ben bulky Dollard said, turning from the punished keyboard. And by Japers I had no wedding garment.</p>
|
||||
<p>They laughed all three. He had no wed. All trio laughed. No wedding garment.</p>
|
||||
<p>— Our friend Bloom turned in handy that night, Mr Dedalus said. Where's my pipe, by the way?</p>
|
||||
<p>— Our friend Bloom turned in handy that night, Mr Dedalus said. Where's my pipe, by the way?</p>
|
||||
<p>He wandered back to the bar to the lost chord pipe. Bald Pat carried two diners' drinks, Richie and Poldy. And Father Cowley laughed again.</p>
|
||||
<p>— I saved the situation, Ben, I think.</p>
|
||||
<p>— You did, averred Ben Dollard. I remember those tight trousers too. That was a brilliant idea, Bob.</p>
|
||||
<p>— I saved the situation, Ben, I think.</p>
|
||||
<p>— You did, averred Ben Dollard. I remember those tight trousers too. That was a brilliant idea, Bob.</p>
|
||||
<p>Father Cowley blushed to his brilliant purply lobes. He saved the situa. Tight trou. Brilliant ide.</p>
|
||||
<p>— I knew he was on the rocks, he said. The wife was playing the piano in the coffee palace on Saturdays for a very trifling consideration and who was it gave me the wheeze she was doing the other business? Do you remember? We had to search all Holles street to find them till the chap in Keogh's gave us the number. Remember?</p>
|
||||
<p>— I knew he was on the rocks, he said. The wife was playing the piano in the coffee palace on Saturdays for a very trifling consideration and who was it gave me the wheeze she was doing the other business? Do you remember? We had to search all Holles street to find them till the chap in Keogh's gave us the number. Remember?</p>
|
||||
<p>Ben remembered, his broad visage wondering.</p>
|
||||
<p>— By God, she had some luxurious operacloaks and things there.</p>
|
||||
<p>— By God, she had some luxurious operacloaks and things there.</p>
|
||||
<p>Mr Dedalus wandered back, pipe in hand.</p>
|
||||
<p>— Merrion square style. Balldresses, by God, and court dresses. He wouldn't take any money either. What? Any God's quantity of cocked hats and boleros and trunkhose. What?</p>
|
||||
<p>— Ay, ay, Mr Dedalus nodded. Mrs Marion Bloom has left off clothes of all descriptions.</p>
|
||||
<p>— Merrion square style. Balldresses, by God, and court dresses. He wouldn't take any money either. What? Any God's quantity of cocked hats and boleros and trunkhose. What?</p>
|
||||
<p>— Ay, ay, Mr Dedalus nodded. Mrs Marion Bloom has left off clothes of all descriptions.</p>
|
||||
<p>Jingle jaunted down the quays. Blazes sprawled on bounding tyres.</p>
|
||||
<p>Liver and bacon. Steak and kidney pie. Right, sir. Right, Pat.</p>
|
||||
<p>Mrs Marion met him pike hoses. Smell of burn. Of Paul de Kock. Nice name he.</p>
|
||||
<p>— What's this her name was? A buxom lassy. Marion...</p>
|
||||
<p>— Tweedy.</p>
|
||||
<p>— Yes. Is she alive?</p>
|
||||
<p>— And kicking.</p>
|
||||
<p>— She was a daughter of...</p>
|
||||
<p>— Daughter of the regiment.</p>
|
||||
<p>— Yes, begad. I remember the old drummajor.</p>
|
||||
<p>— What's this her name was? A buxom lassy. Marion...</p>
|
||||
<p>— Tweedy.</p>
|
||||
<p>— Yes. Is she alive?</p>
|
||||
<p>— And kicking.</p>
|
||||
<p>— She was a daughter of...</p>
|
||||
<p>— Daughter of the regiment.</p>
|
||||
<p>— Yes, begad. I remember the old drummajor.</p>
|
||||
<p>Mr Dedalus struck, whizzed, lit, puffed savoury puff after</p>
|
||||
<p>— Irish? I don't know, faith. Is she, Simon?</p>
|
||||
<p>— Irish? I don't know, faith. Is she, Simon?</p>
|
||||
<p>Puff after stiff, a puff, strong, savoury, crackling.</p>
|
||||
<p>— Buccinator muscle is... What?... Bit rusty... O, she is... My Irish Molly, O.</p>
|
||||
<p>— Buccinator muscle is... What?... Bit rusty... O, she is... My Irish Molly, O.</p>
|
||||
<p>He puffed a pungent plumy blast.</p>
|
||||
<p>— From the rock of Gibraltar... all the way.</p>
|
||||
<p>— From the rock of Gibraltar... all the way.</p>
|
||||
<p>They pined in depth of ocean shadow, gold by the beerpull, bronze by maraschino, thoughtful all two. Mina Kennedy, 4 Lismore terrace, Drumcondra with Idolores, a queen, Dolores, silent.</p>
|
||||
<p>Pat served, uncovered dishes. Leopold cut liverslices. As said before he ate with relish the inner organs, nutty gizzards, fried cods'roes while Richie Goulding, Collis, Ward ate steak and kidney, steak then kidney, bite by bite of pie he ate Bloom ate they ate.</p>
|
||||
<p>Bloom with Goulding, married in silence, ate. Dinners fit for princes.</p>
|
||||
<p>By Bachelor's walk jogjaunty jingled Blazes Boylan, bachelor, in sun in heat, mare's glossy rump atrot, with flick of whip, on bounding tyres: sprawled, warmseated, Boylan impatience, ardentbold. Horn. Have you the? Horn. Have you the? Haw haw horn.</p>
|
||||
<p>Over their voices Dollard bassooned attack, booming over bombarding chords:</p>
|
||||
<p>— <em>When love absorbs my ardent soul</em>...</p>
|
||||
<p>— <em>When love absorbs my ardent soul</em>...</p>
|
||||
<p>Roll of Bensoulbenjamin rolled to the quivery loveshivery roofpanes.</p>
|
||||
<p>— War! War! cried Father Cowley. You're the warrior.</p>
|
||||
<p>— So I am, Ben Warrior laughed. I was thinking of your landlord. Love or money.</p>
|
||||
<p>— War! War! cried Father Cowley. You're the warrior.</p>
|
||||
<p>— So I am, Ben Warrior laughed. I was thinking of your landlord. Love or money.</p>
|
||||
<p>He stopped. He wagged huge beard, huge face over his blunder huge.</p>
|
||||
<p>— Sure, you'd burst the tympanum of her ear, man, Mr Dedalus said through smoke aroma, with an organ like yours.</p>
|
||||
<p>— Sure, you'd burst the tympanum of her ear, man, Mr Dedalus said through smoke aroma, with an organ like yours.</p>
|
||||
<p>In bearded abundant laughter Dollard shook upon the keyboard. He would.</p>
|
||||
<p>— Not to mention another membrane, Father Cowley added. Half time, Ben. <em>Amoroso ma non troppo.</em> Let me there.</p>
|
||||
<p>— Not to mention another membrane, Father Cowley added. Half time, Ben. <em>Amoroso ma non troppo.</em> Let me there.</p>
|
||||
<p>Miss Kennedy served two gentlemen with tankards of cool stout. She passed a remark. It was indeed, first gentleman said, beautiful weather. They drank cool stout. Did she know where the lord lieutenant was going? And heard steelhoofs ringhoof ring. No, she couldn't say. But it would be in the paper. O, she needn't trouble. No trouble. She waved about her outspread <em>Independent,</em> searching, the lord lieutenant, her pinnacles of hair slowmoving, lord lieuten. Too much trouble, first gentleman said. O, not in the least. Way he looked that. Lord lieutenant. Gold by bronze heard iron steel.</p>
|
||||
<p>— . . . . . . . . . . . . <em>my ardent soul</em><br>
|
||||
<p>— . . . . . . . . . . . . <em>my ardent soul</em><br>
|
||||
<em>I care not foror the morrow.</em></p>
|
||||
<p>In liver gravy Bloom mashed mashed potatoes. Love and War someone is. Ben Dollard's famous. Night he ran round to us to borrow a dress suit for that concert. Trousers tight as a drum on him. Musical porkers. Molly did laugh when he went out. Threw herself back across the bed, screaming, kicking. <a href="http://www.joyceproject.com/notes/170008precedingseries.htm\">With all his belongings on show.</a> O saints above, I'm drenched! O, the women in the front row! O, I never laughed so many! Well, of course that's what gives him the base barreltone. For instance eunuchs. Wonder who's playing. Nice touch. Must be Cowley. Musical. Knows whatever note you play. Bad breath he has, poor chap. Stopped.</p>
|
||||
<p>In liver gravy Bloom mashed mashed potatoes. Love and War someone is. Ben Dollard's famous. Night he ran round to us to borrow a dress suit for that concert. Trousers tight as a drum on him. Musical porkers. Molly did laugh when he went out. Threw herself back across the bed, screaming, kicking. With all his belongings on show. O saints above, I'm drenched! O, the women in the front row! O, I never laughed so many! Well, of course that's what gives him the base barreltone. For instance eunuchs. Wonder who's playing. Nice touch. Must be Cowley. Musical. Knows whatever note you play. Bad breath he has, poor chap. Stopped.</p>
|
||||
<p>Miss Douce, engaging, Lydia Douce, bowed to suave solicitor, George Lidwell, gentleman, entering. Good afternoon. She gave her moist, a lady's, hand to his firm clasp. Afternoon. Yes, she was back. To the old dingdong again.</p>
|
||||
<p>— Your friends are inside, Mr Lidwell.</p>
|
||||
<p>— Your friends are inside, Mr Lidwell.</p>
|
||||
<p>George Lidwell, suave, solicited, held a lydiahand.</p>
|
||||
<p>Bloom ate liv as said before. Clean here at least. That chap in the Burton, gummy with gristle. No-one here: Goulding and I. Clean tables, flowers, mitres of napkins. Pat to and fro. Bald Pat. Nothing to do. Best value in Dub.</p>
|
||||
<p>Piano again. Cowley it is. Way he sits in to it, like one together, mutual understanding. Tiresome shapers scraping fiddles, eye on the bowend, sawing the cello, remind you of toothache. Her high long snore. Night we were in the box. Trombone under blowing like a grampus, between the acts, other brass chap unscrewing, emptying spittle. Conductor's legs too, bagstrousers, jiggedy jiggedy. Do right to hide them.</p>
|
||||
<p>Jiggedy jingle jaunty jaunty.</p>
|
||||
<p>Only the harp. Lovely. Gold glowering light. Girl touched it. Poop of a lovely. Gravy's rather good fit for a. Golden ship. Erin. The harp that once or twice. Cool hands. Ben Howth, the rhododendrons. We are their harps. I. He. Old. Young.</p>
|
||||
<p>— Ah, I couldn't, man, Mr Dedalus said, shy, listless.</p>
|
||||
<p>— Ah, I couldn't, man, Mr Dedalus said, shy, listless.</p>
|
||||
<p>Strongly.</p>
|
||||
<p>— Go on, blast you! Ben Dollard growled. Get it out in bits.</p>
|
||||
<p>— <em>M'appari,</em> Simon, Father Cowley said.</p>
|
||||
<p>— Go on, blast you! Ben Dollard growled. Get it out in bits.</p>
|
||||
<p>— <em>M'appari,</em> Simon, Father Cowley said.</p>
|
||||
<p>Down stage he strode some paces, grave, tall in affliction, his long arms outheld. Hoarsely the apple of his throat hoarsed softly. Softly he sang to a dusty seascape there: <em>A Last Farewell.</em> A headland, a ship, a sail upon the billows. Farewell. A lovely girl, her veil awave upon the wind upon the headland, wind around her.</p>
|
||||
<p>Cowley sang:</p>
|
||||
<p><em>— M'appari tutt'amor:</em> <br>
|
||||
<p><em>— M'appari tutt'amor:</em><br>
|
||||
<em>Il mio sguardo l'incontr...</em></p>
|
||||
<p>She waved, unhearing Cowley, her veil, to one departing, dear one, to wind, love, speeding sail, return.</p>
|
||||
<p>— Go on, Simon.</p>
|
||||
<p>— Ah, sure, my dancing days are done, Ben... Well...</p>
|
||||
<p>— Go on, Simon.</p>
|
||||
<p>— Ah, sure, my dancing days are done, Ben... Well...</p>
|
||||
<p>Mr Dedalus laid his pipe to rest beside the tuningfork and, sitting, touched the obedient keys.</p>
|
||||
<p>— No, Simon, Father Cowley turned. Play it in the original. One flat.</p>
|
||||
<p>— No, Simon, Father Cowley turned. Play it in the original. One flat.</p>
|
||||
<p>The keys, obedient, rose higher, told, faltered, confessed, confused.</p>
|
||||
<p>Up stage strode Father Cowley.</p>
|
||||
<p>— Here, Simon, I'll accompany you, he said. Get up.</p>
|
||||
<p>By Graham Lemon's pineapple rock, by <a href="http://www.joyceproject.com/notes/060009elveryselephant.htm\">Elvery's elephant</a> jingle jogged.</p>
|
||||
<p>— Here, Simon, I'll accompany you, he said. Get up.</p>
|
||||
<p>By Graham Lemon's pineapple rock, by Elvery's elephant jingle jogged.</p>
|
||||
<p>Steak, kidney, liver, mashed, at meat fit for princes sat princes Bloom and Goulding. Princes at meat they raised and drank Power and cider.</p>
|
||||
<p>Most beautiful tenor air ever written, Richie said: <em>Sonnambula.</em> He heard Joe Maas sing that one night. Ah, what M'Guckin! Yes. In his way. Choirboy style. Maas was the boy. Massboy. A lyrical tenor if you like. Never forget it. Never.</p>
|
||||
<p>Tenderly Bloom over liverless bacon saw the tightened features strain. <a href="http://www.joyceproject.com/notes/030076backachepills.htm\">Backache he. Bright's bright eye. Next item on the programme. Paying the piper. Pills, pounded bread, worth a guinea a box. Stave it off awhile.</a> Sings too: <em>Down among the dead men.</em>Appropriate. Kidney pie. Sweets to the. Not making much hand of it. Best value in. Characteristic of him. Power. Particular about his drink. Flaw in the glass, fresh Vartry water. Fecking matches from counters to save. Then squander a sovereign in dribs and drabs. And when he's wanted <a href="http://www.joyceproject.com/notes/010019money.htm\">not a farthing</a>. Screwed refusing to pay his fare. Curious types.</p>
|
||||
<p>Tenderly Bloom over liverless bacon saw the tightened features strain. Backache he. Bright's bright eye. Next item on the programme. Paying the piper. Pills, pounded bread, worth a guinea a box. Stave it off awhile. Sings too: <em>Down among the dead men.</em>Appropriate. Kidney pie. Sweets to the. Not making much hand of it. Best value in. Characteristic of him. Power. Particular about his drink. Flaw in the glass, fresh Vartry water. Fecking matches from counters to save. Then squander a sovereign in dribs and drabs. And when he's wanted not a farthing. Screwed refusing to pay his fare. Curious types.</p>
|
||||
<p>Never would Richie forget that night. As long as he lived: never. In the gods of the old Royal with little Peake. And when the first note.</p>
|
||||
<p>Speech paused on Richie's lips.</p>
|
||||
<p>Coming out with a whopper now. Rhapsodies about damn all. Believes his own lies. Does really. Wonderful liar. But want a good memory.</p>
|
||||
<p>— Which air is that? asked Leopold Bloom.</p>
|
||||
<p>— <em>All is lost now</em>.</p>
|
||||
<p>— Which air is that? asked Leopold Bloom.</p>
|
||||
<p>— <em>All is lost now</em>.</p>
|
||||
<p>Richie cocked his lips apout. A low incipient note sweet banshee murmured: all. A thrush. A throstle. His breath, birdsweet, good teeth he's proud of, fluted with plaintive woe. Is lost. Rich sound. Two notes in one there. Blackbird I heard in the hawthorn valley. Taking my motives he twined and turned them. All most too new call is lost in all. Echo. How sweet the answer. How is that done? All lost now. Mournful he whistled. Fall, surrender, lost.</p>
|
||||
<p>Bloom bent leopold ear, turning a fringe of doyley down under the vase. Order. Yes, I remember. Lovely air. In sleep she went to him. Innocence in the moon. Still hold her back. Brave, don't know their danger. Call name. Touch water. Jingle jaunty. Too late. She longed to go. That's why. Woman. As easy stop the sea. Yes: all is lost.</p>
|
||||
<p>— A beautiful air, said Bloom lost Leopold. I know it well.</p>
|
||||
<p>— A beautiful air, said Bloom lost Leopold. I know it well.</p>
|
||||
<p>Never in all his life had Richie Goulding.</p>
|
||||
<p>He knows it well too. Or he feels. Still harping on his daughter. Wise child that knows her father, Dedalus said. Me?</p>
|
||||
<p>Bloom askance over liverless saw. Face of the all is lost. Rollicking Richie once. Jokes old stale now. Wagging his ear. Napkinring in his eye. Now begging letters he sends his son with. Crosseyed Walter sir I did sir. Wouldn't trouble only I was expecting some money. Apologise.</p>
|
||||
<p>Piano again. Sounds better than last time I heard. Tuned probably. Stopped again.</p>
|
||||
<p>Dollard and Cowley still urged the lingering singer out with it.</p>
|
||||
<p>— With it, Simon.</p>
|
||||
<p>— It, Simon.</p>
|
||||
<p>— Ladies and gentlemen, I am most deeply obliged by your kind solicitations.</p>
|
||||
<p>— It, Simon.</p>
|
||||
<p>— I have no money but if you will lend me your attention I shall endeavour to sing to you of a heart bowed down.</p>
|
||||
<p>— With it, Simon.</p>
|
||||
<p>— It, Simon.</p>
|
||||
<p>— Ladies and gentlemen, I am most deeply obliged by your kind solicitations.</p>
|
||||
<p>— It, Simon.</p>
|
||||
<p>— I have no money but if you will lend me your attention I shall endeavour to sing to you of a heart bowed down.</p>
|
||||
<p>By the sandwichbell in screening shadow Lydia, her bronze and rose, a lady's grace, gave and withheld: as in cool glaucous <em>eau de Nil</em> Mina to tankards two her pinnacles of gold.</p>
|
||||
<p>The harping chords of prelude closed. A chord, longdrawn, expectant, drew a voice away.</p>
|
||||
<p>— <em>When first I saw that form endearing</em>...</p>
|
||||
<p>— <em>When first I saw that form endearing</em>...</p>
|
||||
<p>Richie turned.</p>
|
||||
<p>— Si Dedalus' voice, he said.</p>
|
||||
<p>— Si Dedalus' voice, he said.</p>
|
||||
<p>Braintipped, cheek touched with flame, they listened feeling that flow endearing flow over skin limbs human heart soul spine. Bloom signed to Pat, bald Pat is a waiter hard of hearing, to set ajar the door of the bar. The door of the bar. So. That will do. Pat, waiter, waited, waiting to hear, for he was hard of hear by the door.</p>
|
||||
<p>— <em>Sorrow from me seemed to depart.</em></p>
|
||||
<p>— <em>Sorrow from me seemed to depart.</em></p>
|
||||
<p>Through the hush of air a voice sang to them, low, not rain, not leaves in murmur, like no voice of strings or reeds or whatdoyoucallthem dulcimers touching their still ears with words, still hearts of their each his remembered lives. Good, good to hear: sorrow from them each seemed to from both depart when first they heard. When first they saw, lost Richie Poldy, mercy of beauty, heard from a person wouldn't expect it in the least, her first merciful lovesoft oftloved word.</p>
|
||||
<p>Love that is singing: <a href="http://www.joyceproject.com/notes/040035oldsweetsong.htm\">love's old sweet song</a>. Bloom unwound slowly the elastic band of his packet. Love's old sweet <em>sonnez la</em> gold. Bloom wound a skein round four forkfingers, stretched it, relaxed, and wound it round his troubled double, fourfold, in octave, gyved them fast.</p>
|
||||
<p>— <em>Full of hope and all delighted</em>...</p>
|
||||
<p>Tenors get women by the score. Increase their flow. Throw flower at his feet. When will we meet? <a href="http://www.joyceproject.com/notes/040069seasidegirls.htm\">My head it simply.</a> Jingle all delighted. He can't sing for tall hats. Your head it simply swurls. Perfumed for him. What perfume does your wife? I want to know. Jing. Stop. Knock. Last look at mirror always before she answers the door. The hall. There? How do you? I do well. There? What? Or? Phial of cachous, kissing comfits, in her satchel. Yes? Hands felt for the opulent.</p>
|
||||
<p>Love that is singing: love's old sweet song. Bloom unwound slowly the elastic band of his packet. Love's old sweet <em>sonnez la</em> gold. Bloom wound a skein round four forkfingers, stretched it, relaxed, and wound it round his troubled double, fourfold, in octave, gyved them fast.</p>
|
||||
<p>— <em>Full of hope and all delighted</em>...</p>
|
||||
<p>Tenors get women by the score. Increase their flow. Throw flower at his feet. When will we meet? My head it simply. Jingle all delighted. He can't sing for tall hats. Your head it simply swurls. Perfumed for him. What perfume does your wife? I want to know. Jing. Stop. Knock. Last look at mirror always before she answers the door. The hall. There? How do you? I do well. There? What? Or? Phial of cachous, kissing comfits, in her satchel. Yes? Hands felt for the opulent.</p>
|
||||
<p>Alas the voice rose, sighing, changed: loud, full, shining, proud.</p>
|
||||
<p>— <em>But alas, 'twas idle dreaming</em>...</p>
|
||||
<p>— <em>But alas, 'twas idle dreaming</em>...</p>
|
||||
<p>Glorious tone he has still. Cork air softer also their brogue. Silly man! Could have made oceans of money. Singing wrong words. Wore out his wife: now sings. But hard to tell. Only the two themselves. If he doesn't break down. Keep a trot for the avenue. His hands and feet sing too. Drink. Nerves overstrung. Must be abstemious to sing. Jenny Lind soup: stock, sage, raw eggs, half pint of cream. For creamy dreamy.</p>
|
||||
<p>Tenderness it welled: slow, swelling. Full it throbbed. That's the chat. Ha, give! Take! Throb, a throb, a pulsing proud erect.</p>
|
||||
<p>Words? Music? No: it's what's behind.</p>
|
||||
<p>Bloom looped, unlooped, noded, disnoded.</p>
|
||||
<p>Bloom. Flood of warm jimjam lickitup secretness flowed to flow in music out, in desire, dark to lick flow invading. Tipping her tepping her tapping her topping her. Tup. Pores to dilate dilating. Tup. The joy the feel the warm the. Tup. To pour o'er sluices pouring gushes. Flood, gush, flow, joygush, tupthrob. Now! Language of love.</p>
|
||||
<p>— ... <em>ray of hope</em>...</p>
|
||||
<p>— ... <em>ray of hope</em>...</p>
|
||||
<p>Beaming. Lydia for Lidwell squeak scarcely hear so ladylike the muse unsqueaked a ray of hopk.</p>
|
||||
<p><em>Martha</em> it is. Coincidence. Just going to write. Lionel's song. Lovely name you have. Can't write. Accept my little pres. Play on her heartstrings pursestrings too. She's a. I called you naughty boy. Still the name: Martha. How strange! Today.</p>
|
||||
<p>The voice of Lionel returned, weaker but unwearied. It sang again to Richie Poldy Lydia Lidwell also sang to Pat open mouth ear waiting to wait. How first he saw that form endearing, how sorrow seemed to part, how look, form, word charmed him Gould Lidwell, won Pat Bloom's heart.</p>
|
||||
<p>Wish I could see his face, though. Explain better. Why the barber in Drago's always looked my face when I spoke his face in the glass. Still hear it better here than in the bar though farther.</p>
|
||||
<p>— <em>Each graceful look</em>...</p>
|
||||
<p>— <em>Each graceful look</em>...</p>
|
||||
<p>First night when first I saw her at Mat Dillon's in Terenure. Yellow, black lace she wore. Musical chairs. We two the last. Fate. After her. Fate. Round and round slow. Quick round. We two. All looked. Halt. Down she sat. All ousted looked. Lips laughing. Yellow knees.</p>
|
||||
<p>— <em>Charmed my eye</em>...</p>
|
||||
<p>— <em>Charmed my eye</em>...</p>
|
||||
<p>Singing. <em>Waiting</em> she sang. I turned her music. Full voice of perfume of what perfume does your lilactrees. Bosom I saw, both full, throat warbling. First I saw. She thanked me. Why did she me? Fate. Spanishy eyes. Under a peartree alone patio this hour in old Madrid one side in shadow Dolores shedolores. At me. Luring. Ah, alluring.</p>
|
||||
<p>— <em>Martha! Ah, Martha!</em></p>
|
||||
<p>— <em>Martha! Ah, Martha!</em></p>
|
||||
<p>Quitting all languor Lionel cried in grief, in cry of passion dominant to love to return with deepening yet with rising chords of harmony. In cry of lionel loneliness that she should know, must Martha feel. For only her he waited. Where? Here there try there here all try where. Somewhere.</p>
|
||||
<p>— <em>Co-ome, thou lost one!</em> <br>
|
||||
<p>— <em>Co-ome, thou lost one!</em><br>
|
||||
<em>Co-ome, thou dear one!</em></p>
|
||||
<p>Alone. One love. One hope. One comfort me. Martha, chestnote, return!</p>
|
||||
<p><em>— Come!</em></p>
|
||||
<p><em>— Come!</em></p>
|
||||
<p>It soared, a bird, it held its flight, a swift pure cry, soar silver orb it leaped serene, speeding, sustained, to come, don't spin it out too long long breath he breath long life, soaring high, high resplendent, aflame, crowned, high in the effulgence symbolistic, high, of the etherial bosom, high, of the high vast irradiation everywhere all soaring all around about the all, the endlessnessnessness...</p>
|
||||
<p>— <em>To me!</em></p>
|
||||
<p>— <em>To me!</em></p>
|
||||
<p>Siopold!</p>
|
||||
<p>Consumed.</p>
|
||||
<p>Come. Well sung. All clapped. She ought to. Come. To me, to him, to her, you too, me, us.</p>
|
||||
<p>— Bravo! Clapclap. Good man, Simon. Clappyclapclap. Encore! Clapclipclap. Sound as a bell. Bravo, Simon! Clapclopclap. Encore, enclap, said, cried, clapped all, Ben Dollard, Lydia Douce, George Lidwell, Pat, Mina, two gentlemen with two tankards, Cowley, first gent with tank and bronze Miss Douce and gold Miss Mina.</p>
|
||||
<p>Blazes Boylan's smart tan shoes creaked on the barfloor, said before. Jingle by monuments of <a href="http://www.joyceproject.com/notes/060008sirjohngray.htm\">sir John Gray</a>, Horatio onehandled Nelson, reverend <a href="http://www.joyceproject.com/notes/060010fathermathew.htm\">father Theobald Mathew</a>, jaunted, as said before just now. Atrot, in heat, heatseated. <em>Cloche. Sonnez la. Cloche. Sonnez la.</em> Slower the mare went up the hill by <a href="http://www.joyceproject.com/notes/060011therotunda.htm\">the Rotunda, Rutland square</a>. Too slow for Boylan, blazes Boylan, impatience Boylan, joggled the mare.</p>
|
||||
<p>— Bravo! Clapclap. Good man, Simon. Clappyclapclap. Encore! Clapclipclap. Sound as a bell. Bravo, Simon! Clapclopclap. Encore, enclap, said, cried, clapped all, Ben Dollard, Lydia Douce, George Lidwell, Pat, Mina, two gentlemen with two tankards, Cowley, first gent with tank and bronze Miss Douce and gold Miss Mina.</p>
|
||||
<p>Blazes Boylan's smart tan shoes creaked on the barfloor, said before. Jingle by monuments of sir John Gray, Horatio onehandled Nelson, reverend father Theobald Mathew, jaunted, as said before just now. Atrot, in heat, heatseated. <em>Cloche. Sonnez la. Cloche. Sonnez la.</em> Slower the mare went up the hill by the Rotunda, Rutland square. Too slow for Boylan, blazes Boylan, impatience Boylan, joggled the mare.</p>
|
||||
<p>An afterclang of Cowley's chords closed, died on the air made richer.</p>
|
||||
<p>And Richie Goulding drank his Power and Leopold Bloom his cider drank, Lidwell his Guinness, second gentleman said they would partake of two more tankards if she did not mind. Miss Kennedy smirked, disserving, coral lips, at first, at second. She did not mind.</p>
|
||||
<p>— Seven days in jail, Ben Dollard said, on bread and water. Then you'd sing, Simon, like a garden thrush.</p>
|
||||
<p>— Seven days in jail, Ben Dollard said, on bread and water. Then you'd sing, Simon, like a garden thrush.</p>
|
||||
<p>Lionel Simon, singer, laughed. Father Bob Cowley played. Mina Kennedy served. Second gentleman paid. Tom Kernan strutted in. Lydia, admired, admired. But Bloom sang dumb.</p>
|
||||
<p>Admiring.</p>
|
||||
<p>Richie, admiring, descanted on that man's glorious voice. He remembered one night long ago. Never forget that night. Si sang <em>'Twas rank and fame</em>: in Ned Lambert's 'twas. Good God he never heard in all his life a note like that he never did <em>then false one we had better part</em> so clear so God he never heard <em>since love lives not</em> a clinking voice ask Lambert he can tell you too.</p>
|
||||
|
|
@ -448,17 +448,17 @@
|
|||
<p>Bloom ungyved his crisscrossed hands and with slack fingers plucked the slender catgut thong. He drew and plucked. It buzz, it twanged. While Goulding talked of Barraclough's voice production, while Tom Kernan, harking back in a retrospective sort of arrangement talked to listening Father Cowley, who played a voluntary, who nodded as he played. While big Ben Dollard talked with Simon Dedalus, lighting, who nodded as he smoked, who smoked.</p>
|
||||
<p>Thou lost one. All songs on that theme. Yet more Bloom stretched his string. Cruel it seems. Let people get fond of each other: lure them on. Then tear asunder. Death. Explos. Knock on the head. Outtohelloutofthat. Human life. Dignam. Ugh, that rat's tail wriggling! Five bob I gave. <em>Corpus paradisum.</em> Corncrake croaker: belly like a poisoned pup. Gone. They sing. Forgotten. I too; And one day she with. Leave her: get tired. Suffer then. Snivel. Big spanishy eyes goggling at nothing. Her wavyavyeavyheavyeavyevyevy hair un comb:'d.</p>
|
||||
<p>Yet too much happy bores. He stretched more, more. Are you not happy in your? Twang. It snapped.</p>
|
||||
<p>Jingle into <a href="http://www.joyceproject.com/notes/040007dorsetstreet.htm\">Dorset street</a>.</p>
|
||||
<p>Jingle into Dorset street.</p>
|
||||
<p>Miss Douce withdrew her satiny arm, reproachful, pleased.</p>
|
||||
<p>— Don't make half so free, said she, till we are better acquainted.</p>
|
||||
<p>— Don't make half so free, said she, till we are better acquainted.</p>
|
||||
<p>George Lidwell told her really and truly: but she did not believe.</p>
|
||||
<p>First gentleman told Mina that was so. She asked him was that so. And second tankard told her so. That that was so.</p>
|
||||
<p>Miss Douce, Miss Lydia, did not believe: Miss Kennedy, Mina, did not believe: George Lidwell, no: Miss Dou did not: the first, the first: gent with the tank: believe, no, no: did not, Miss Kenn: Lidlydiawell: the tank.</p>
|
||||
<p>Better write it here. Quills in the postoffice chewed and twisted.</p>
|
||||
<p>Bald Pat at a sign drew nigh. A pen and ink. He went. A pad. He went. A pad to blot. He heard, deaf Pat.</p>
|
||||
<p>— Yes, Mr Bloom said, teasing the curling catgut line. It certainly is. Few lines will do. My present. All that Italian florid music is. Who is this wrote? Know the name you know better. Take out sheet notepaper, envelope: unconcerned. It's so characteristic.</p>
|
||||
<p>— Grandest number in the whole opera, Goulding said.</p>
|
||||
<p>— It is, Bloom said.</p>
|
||||
<p>— Yes, Mr Bloom said, teasing the curling catgut line. It certainly is. Few lines will do. My present. All that Italian florid music is. Who is this wrote? Know the name you know better. Take out sheet notepaper, envelope: unconcerned. It's so characteristic.</p>
|
||||
<p>— Grandest number in the whole opera, Goulding said.</p>
|
||||
<p>— It is, Bloom said.</p>
|
||||
<p>Numbers it is. All music when you come to think. Two multiplied by two divided by half is twice one. Vibrations: chords those are. One plus two plus six is seven. Do anything you like with figures juggling. Always find out this equal to that. Symmetry under a cemetery wall. He doesn't see my mourning. Callous: all for his own gut. Musemathematics. And you think you're listening to the etherial. But suppose you said it like: Martha, seven times nine minus x is thirtyfive thousand. Fall quite flat. It's on account of the sounds it is.</p>
|
||||
<p>Instance he's playing now. Improvising. Might be what you like, till you hear the words. Want to listen sharp. Hard. Begin all right: then hear chords a bit off: feel lost a bit. In and out of sacks, over barrels, through wirefences, obstacle race. Time makes the tune. Question of mood you're in. Still always nice to hear. Except scales up and down, girls learning. Two together nextdoor neighbours. Ought to invent dummy pianos for that. <em>Blumenlied</em> I bought for her. The name. Playing it slow, a girl, night I came home, the girl. Door of the stables near Cecilia street. Milly no taste. Queer because we both, I mean.</p>
|
||||
<p>Bald deaf Pat brought quite flat pad ink. Pat set with ink pen quite flat pad. Pat took plate dish knife fork. Pat went.</p>
|
||||
|
|
@ -469,16 +469,16 @@
|
|||
<p>Bore this. Bored Bloom tambourined gently with I am just reflecting fingers on flat pad Pat brought.</p>
|
||||
<p>On. Know what I mean. No, change that ee. Accept my poor little pres enclos. Ask her no answ. Hold on. Five Dig. Two about here. Penny the gulls. Elijah is com. Seven Davy Byrne's. Is eight about. Say half a crown. My poor little pres: p. o. two and six. Write me a long. Do you despise? Jingle, have you the? So excited. Why do you call me naught? You naughty too? O, Mairy lost the pin of her. Bye for today. Yes, yes, will tell you. Want to. To keep it up. Call me that other. Other world she wrote. My patience are exhaust. To keep it up. You must believe. Believe. The tank. It. Is. True.</p>
|
||||
<p>Folly am I writing? Husbands don't. That's marriage does, their wives. Because I'm away from. Suppose. But how? She must. Keep young. If she found out. Card in my high grade ha. No, not tell all. Useless pain. If they don't see. Woman. Sauce for the gander.</p>
|
||||
<p><a href="http://www.joyceproject.com/notes/050013jauntingcar.htm\">A hackney car, number three hundred and twentyfour</a>, driver Barton James of number one Harmony avenue, Donnybrook, on which sat a fare, a young gentleman, stylishly dressed in an indigoblue serge suit made by George Robert Mesias, tailor and cutter, of number five Eden quay, and wearing a straw hat very dressy, bought of <a href="http://www.joyceproject.com/notes/040062bolandsbread.htm\">John Plasto of number one</a> <a href="http://www.joyceproject.com/notes/040062bolandsbread.htm\">Great Brunswick street, hatter</a>. Eh? This is the jingle that joggled and jingled. By <a href="http://www.joyceproject.com/notes/040060dlugacz.htm\">Dlugacz' porkshop</a> bright tubes of <a href="http://www.joyceproject.com/notes/040061agendath.htm\">Agendath</a> trotted a gallantbuttocked mare.</p>
|
||||
<p>— Answering an ad? keen Richie's eyes asked Bloom.</p>
|
||||
<p>— Yes, Mr Bloom said. Town traveller. Nothing doing, I expect.</p>
|
||||
<p>Bloom mur: best references. But Henry wrote: it will excite me. You know how. In haste. Henry. Greek ee. Better add postscript. What is he playing now? Improvising. Intermezzo. P. S. The rum tum tum. <a href="http://www.joyceproject.com/notes/040017seemtolikeit.htm\">How will you pun? You punish me? Crooked skirt swinging, whack by.</a> Tell me I want to. Know. O. Course if I didn't I wouldn't ask. La la la ree. Trails off there sad in minor. Why minor sad? Sign H. They like sad tail at end. P. P. S. La la la ree. I feel so sad today. La ree. So lonely. Dee.</p>
|
||||
<p>A hackney car, number three hundred and twentyfour, driver Barton James of number one Harmony avenue, Donnybrook, on which sat a fare, a young gentleman, stylishly dressed in an indigoblue serge suit made by George Robert Mesias, tailor and cutter, of number five Eden quay, and wearing a straw hat very dressy, bought of John Plasto of number one Great Brunswick street, hatter. Eh? This is the jingle that joggled and jingled. By Dlugacz' porkshop bright tubes of Agendath trotted a gallantbuttocked mare.</p>
|
||||
<p>— Answering an ad? keen Richie's eyes asked Bloom.</p>
|
||||
<p>— Yes, Mr Bloom said. Town traveller. Nothing doing, I expect.</p>
|
||||
<p>Bloom mur: best references. But Henry wrote: it will excite me. You know how. In haste. Henry. Greek ee. Better add postscript. What is he playing now? Improvising. Intermezzo. P. S. The rum tum tum. How will you pun? You punish me? Crooked skirt swinging, whack by. Tell me I want to. Know. O. Course if I didn't I wouldn't ask. La la la ree. Trails off there sad in minor. Why minor sad? Sign H. They like sad tail at end. P. P. S. La la la ree. I feel so sad today. La ree. So lonely. Dee.</p>
|
||||
<p>He blotted quick on pad of Pat. Envel. Address. Just copy out of paper. Murmured: Messrs Callan, Coleman and Co, limited. Henry wrote:</p>
|
||||
<p>Miss Martha Clifford<br>
|
||||
c/o P. O. <br>
|
||||
<a href="http://www.joyceproject.com/notes/040041dolphinsbarn.htm\">Dolphin's barn lane</a><br>
|
||||
c/o P. O.<br>
|
||||
Dolphin's barn lane<br>
|
||||
Dublin.</p>
|
||||
<p>Blot over the other so he can't read. Right. Idea prize titbit. Something detective read off blottingpad. Payment at the rate of guinea per col. <a href="http://www.joyceproject.com/notes/040065matcham.htm\">Matcham often thinks the laughing witch.</a>Poor Mrs Purefoy. U. P: up.</p>
|
||||
<p>Blot over the other so he can't read. Right. Idea prize titbit. Something detective read off blottingpad. Payment at the rate of guinea per col. Matcham often thinks the laughing witch.Poor Mrs Purefoy. U. P: up.</p>
|
||||
<p>Too poetical that about the sad. Music did that. Music hath charms. Shakespeare said. Quotations every day in the year. To be or not to be. Wisdom while you wait.</p>
|
||||
<p>In Gerard's rosery of Fetter lane he walks, greyedauburn. One life is all. One body. Do. But do.</p>
|
||||
<p>Done anyhow. Postal order, stamp. Postoffice lower down. Walk now. Enough. Barney Kiernan's I promised to meet them. Dislike that job. House of mourning. Walk. Pat! Doesn't hear. Deaf beetle he is.</p>
|
||||
|
|
@ -487,35 +487,35 @@ c/o P. O. <br>
|
|||
<p>Douce now. Douce Lydia. Bronze and rose.</p>
|
||||
<p>She had a gorgeous, simply gorgeous, time. And look at the lovely shell she brought.</p>
|
||||
<p>To the end of the bar to him she bore lightly the spiked and winding seahorn that he, George Lidwell, solicitor, might hear.</p>
|
||||
<p>— Listen! she bade him.</p>
|
||||
<p>— Listen! she bade him.</p>
|
||||
<p>Under Tom Kernan's ginhot words the accompanist wove music slow. Authentic fact. How Walter Bapty lost his voice. Well, sir, the husband took him by the throat. <em>Scoundrel,</em>said he, <em>You'll sing no more lovesongs.</em> He did, sir Tom. Bob Cowley wove. Tenors get wom. Cowley lay back.</p>
|
||||
<p>Ah, now he heard, she holding it to his ear. Hear! He heard. Wonderful. She held it to her own. And through the sifted light pale gold in contrast glided. To hear.</p>
|
||||
<p>Tap.</p>
|
||||
<p>Bloom through the bardoor saw a shell held at their ears. He heard more faintly that that they heard, each for herself alone, then each for other, hearing the plash of waves, loudly, a silent roar.</p>
|
||||
<p>Bronze by a weary gold, anear, afar, they listened.</p>
|
||||
<p>Her ear too is a shell, the peeping lobe there. Been to the seaside. <a href="http://www.joyceproject.com/notes/040069seasidegirls.htm\">Lovely seaside girls.</a>Skin tanned raw. Should have put on coldcream first make it brown. Buttered toast. O and that lotion mustn't forget. Fever near her mouth. Your head it simply. Hair braided over: shell with seaweed. Why do they hide their ears with seaweed hair? And Turks their mouth, why? Her eyes over the sheet, a yashmak. Find the way in. A cave. No admittance except on business.</p>
|
||||
<p>Her ear too is a shell, the peeping lobe there. Been to the seaside. Lovely seaside girls.Skin tanned raw. Should have put on coldcream first make it brown. Buttered toast. O and that lotion mustn't forget. Fever near her mouth. Your head it simply. Hair braided over: shell with seaweed. Why do they hide their ears with seaweed hair? And Turks their mouth, why? Her eyes over the sheet, a yashmak. Find the way in. A cave. No admittance except on business.</p>
|
||||
<p>The sea they think they hear. Singing. A roar. The blood it is. Souse in the ear sometimes. Well, it's a sea. Corpuscle islands.</p>
|
||||
<p>Wonderful really. So distinct. Again. George Lidwell held its murmur, hearing: then laid it by, gently.</p>
|
||||
<p>— What are the wild waves saying? he asked her, smiled.</p>
|
||||
<p>— What are the wild waves saying? he asked her, smiled.</p>
|
||||
<p>Charming, seasmiling and unanswering Lydia on Lidwell smiled.</p>
|
||||
<p>Tap.</p>
|
||||
<p>By Larry O'Rourke's, by Larry, <a href="http://www.joyceproject.com/notes/040081boldlarry.htm\">bold Larry O'</a>, Boylan swayed and Boylan turned.</p>
|
||||
<p>By Larry O'Rourke's, by Larry, bold Larry O', Boylan swayed and Boylan turned.</p>
|
||||
<p>From the forsaken shell Miss Mina glided to her tankard waiting. No, she was not so lonely archly Miss Douce's head let Mr Lidwell know. Walks in the moonlight by the sea. No, not alone. With whom? She nobly answered: with a gentleman friend.</p>
|
||||
<p>Bob Cowley's twinkling fingers in the treble played again. The landlord has the prior. A little time. Long John. Big Ben. Lightly he played a light bright tinkling measure for tripping ladies, arch and smiling, and for their gallants, gentlemen friends. One: one, one, one: two, one, three, four.</p>
|
||||
<p>Sea, wind, leaves, thunder, waters, cows lowing, <a href="http://www.joyceproject.com/notes/040037cattlemarket.htm\">the cattlemarket</a>, cocks, hens don't crow, snakes hissss. There's music everywhere. Ruttledge's door: ee creaking. No, that's noise. Minuet of <em>Don Giovanni</em> he's playing now. Court dresses of all descriptions in castle chambers dancing. Misery. Peasants outside. Green starving faces eating dockleaves. Nice that is. Look: look, look, look, look, look: you look at us.</p>
|
||||
<p>Sea, wind, leaves, thunder, waters, cows lowing, the cattlemarket, cocks, hens don't crow, snakes hissss. There's music everywhere. Ruttledge's door: ee creaking. No, that's noise. Minuet of <em>Don Giovanni</em> he's playing now. Court dresses of all descriptions in castle chambers dancing. Misery. Peasants outside. Green starving faces eating dockleaves. Nice that is. Look: look, look, look, look, look: you look at us.</p>
|
||||
<p>That's joyful I can feel. Never have written it. Why? My joy is other joy. But both are joys. Yes, joy it must be. Mere fact of music shows you are. Often thought she was in the dumps till she began to lilt. Then know.</p>
|
||||
<p>M'Coy valise. My wife and your wife. Squealing cat. Like tearing silk. Tongue when she talks like the clapper of a bellows. They can't manage men's intervals. Gap in their voices too. Fill me. I'm warm, dark, open. Molly in <em>quis est homo</em>: Mercadante. My ear against the wall to hear. Want a woman who can deliver the goods.</p>
|
||||
<p>Jog jig jogged stopped. Dandy tan shoe of dandy Boylan socks skyblue clocks came light to earth.</p>
|
||||
<p>O, look we are so! Chamber music. Could make a kind of pun on that. It is a kind of music I often thought when she. Acoustics that is. Tinkling. Empty vessels make most noise. Because the acoustics, the resonance changes according as the weight of the water is equal to the law of falling water. Like those rhapsodies of Liszt's, Hungarian, gipsyeyed. Pearls. Drops. Rain. Diddle iddle addle addle ooddle ooddle. Hiss. Now. Maybe now. Before.</p>
|
||||
<p>One rapped on a door, one tapped with a knock, did he knock Paul de Kock with a loud proud knocker with a cock carracarracarra cock. Cockcock.</p>
|
||||
<p>Tap.</p>
|
||||
<p>— <em>Qui sdegno,</em> Ben, said Father Cowley.</p>
|
||||
<p>— No, Ben, Tom Kernan interfered. <em>The Croppy Boy.</em> Our native Doric.</p>
|
||||
<p>— Ay do, Ben, Mr Dedalus said. Good men and true.</p>
|
||||
<p>— Do, do, they begged in one.</p>
|
||||
<p>— <em>Qui sdegno,</em> Ben, said Father Cowley.</p>
|
||||
<p>— No, Ben, Tom Kernan interfered. <em>The Croppy Boy.</em> Our native Doric.</p>
|
||||
<p>— Ay do, Ben, Mr Dedalus said. Good men and true.</p>
|
||||
<p>— Do, do, they begged in one.</p>
|
||||
<p>I'll go. Here, Pat, return. Come. He came, he came, he did not stay. To me. How much?</p>
|
||||
<p>— What key? Six sharps?</p>
|
||||
<p>— F sharp major, Ben Dollard said.</p>
|
||||
<p>— What key? Six sharps?</p>
|
||||
<p>— F sharp major, Ben Dollard said.</p>
|
||||
<p>Bob Cowley's outstretched talons griped the black deepsounding chords.</p>
|
||||
<p>Must go prince Bloom told Richie prince. No, Richie said. Yes, must. Got money somewhere. He's on for a razzle backache spree. Much? He seehears lipspeech. One and nine. Penny for yourself. Here. Give him twopence tip. Deaf, bothered. But perhaps he has wife and family waiting, waiting Patty come home. Hee hee hee hee. Deaf wait while they wait.</p>
|
||||
<p>But wait. But hear. Chords dark. Lugugugubrious. Low. In a cave of the dark middle earth. Embedded ore. Lumpmusic.</p>
|
||||
|
|
@ -525,7 +525,7 @@ c/o P. O. <br>
|
|||
<p>The priest's at home. A false priest's servant bade him welcome. Step in. The holy father. Curlycues of chords.</p>
|
||||
<p>Ruin them. Wreck their lives. Then build them cubicles to end their days in. Hushaby. Lullaby. Die, dog. Little dog, die.</p>
|
||||
<p>The voice of warning, solemn warning, told them the youth had entered a lonely hall, told them how solemn fell his footstep there, told them the gloomy chamber, the vested priest sitting to shrive.</p>
|
||||
<p>Decent soul. Bit addled now. Thinks he'll win in <em>Answers</em> poets' picture puzzle. We hand you crisp <a href="http://www.joyceproject.com/notes/010019money.htm\">five pound note</a>. Bird sitting hatching in a nest. Lay of the last minstrel he thought it was. See blank tee what domestic animal? Tee dash ar most courageous mariner. Good voice he has still. No eunuch yet with all his belongings.</p>
|
||||
<p>Decent soul. Bit addled now. Thinks he'll win in <em>Answers</em> poets' picture puzzle. We hand you crisp five pound note. Bird sitting hatching in a nest. Lay of the last minstrel he thought it was. See blank tee what domestic animal? Tee dash ar most courageous mariner. Good voice he has still. No eunuch yet with all his belongings.</p>
|
||||
<p>Listen. Bloom listened. Richie Goulding listened. And by the door deaf Pat, bald Pat, tipped Pat, listened.</p>
|
||||
<p>The chords harped slower.</p>
|
||||
<p>The voice of penance and of grief came slow, embellished, tremulous. Ben's contrite beard confessed. <em>in nomine Domini,</em> in God's name he knelt. He beat his hand upon his breast, confessing: <em>mea culpa.</em></p>
|
||||
|
|
@ -537,20 +537,20 @@ c/o P. O. <br>
|
|||
<p>Bronze gazed far sideways. Mirror there. Is that best side of her face? They always know. Knock at the door. Last tip to titivate.</p>
|
||||
<p>Cockcarracarra.</p>
|
||||
<p>What do they think when they hear music? Way to catch rattlesnakes. Night Michael Gunn gave us the box. Tuning up. Shah of Persia liked that best. Remind him of home sweet home. Wiped his nose in curtain too. Custom his country perhaps. That's music too. Not as bad as it sounds. Tootling. Brasses braying asses through uptrunks. Doublebasses helpless, gashes in their sides. Woodwinds mooing cows. Semigrand open crocodile music hath jaws. Woodwind like Goodwin's name.</p>
|
||||
<p>She looked fine. Her crocus dress she wore lowcut, belongings on show. Clove her breath was always in theatre when she bent to ask a question. Told her what Spinoza says in that book of poor papa's. Hypnotised, listening. Eyes like that. She bent. <a href="http://www.joyceproject.com/notes/170008precedingseries.htm\">Chap in dresscircle staring down into her with his operaglass for all he was worth.</a> Beauty of music you must hear twice. Nature woman half a look. God made the country man the tune. Met him pike hoses. Philosophy. O rocks!</p>
|
||||
<p>She looked fine. Her crocus dress she wore lowcut, belongings on show. Clove her breath was always in theatre when she bent to ask a question. Told her what Spinoza says in that book of poor papa's. Hypnotised, listening. Eyes like that. She bent. Chap in dresscircle staring down into her with his operaglass for all he was worth. Beauty of music you must hear twice. Nature woman half a look. God made the country man the tune. Met him pike hoses. Philosophy. O rocks!</p>
|
||||
<p>All gone. All fallen. At the siege of Ross his father, at Gorey all his brothers fell. To Wexford, we are the boys of Wexford, he would. Last of his name and race.</p>
|
||||
<p>I too. <a href="http://www.joyceproject.com/notes/040054saltcloak.htm\">Last of my race.</a> Milly young student. Well, my fault perhaps. No son. Rudy. Too late now. Or if not? If not? If still?</p>
|
||||
<p>I too. Last of my race. Milly young student. Well, my fault perhaps. No son. Rudy. Too late now. Or if not? If not? If still?</p>
|
||||
<p>He bore no hate.</p>
|
||||
<p>Hate. Love. Those are names. Rudy. Soon I am old.</p>
|
||||
<p>Big Ben his voice unfolded. Great voice Richie Goulding said, a flush struggling in his pale, to Bloom soon old. But when was young?</p>
|
||||
<p>Ireland comes now. My country above the king. She listens. Who fears to speak of nineteen four? Time to be shoving. Looked enough.</p>
|
||||
<p>— <em>Bless me, father,</em> Dollard the croppy cried. <em>Bless me and let me go.</em></p>
|
||||
<p>— <em>Bless me, father,</em> Dollard the croppy cried. <em>Bless me and let me go.</em></p>
|
||||
<p>Tap.</p>
|
||||
<p>Bloom looked, unblessed to go. Got up to kill: on eighteen bob a week. Fellows shell out the dibs. Want to keep your weathereye open. Those girls, those lovely. By the sad sea waves. Chorusgirl's romance. Letters read out for breach of promise. From Chickabiddy's own Mumpsypum. Laughter in court. Henry. I never signed it. The lovely name you.</p>
|
||||
<p>Low sank the music, air and words. Then hastened. The false priest rustling soldier from his cassock. A yeoman captain. They know it all by heart. The thrill they itch for. Yeoman cap.</p>
|
||||
<p>Tap. Tap.</p>
|
||||
<p>Thrilled she listened, bending in sympathy to hear.</p>
|
||||
<p>Blank face. Virgin should say: or fingered only. Write something on it: page. If not what becomes of them? Decline, despair. Keeps them young. Even admire themselves. See. Play on her. Lip blow. Body of white woman, a flute alive. Blow gentle. Loud. Three holes, all women. Goddess I didn't see. They want it. Not too much polite. That's why he gets them. Gold in your pocket, brass in your face. With look to look. Songs without words. <a href="http://www.joyceproject.com/notes/170008precedingseries.htm\">Molly, that hurdygurdy boy.</a> She knew he meant the monkey was sick. Or because so like the Spanish. Understand animals too that way. Solomon did. Gift of nature.</p>
|
||||
<p>Blank face. Virgin should say: or fingered only. Write something on it: page. If not what becomes of them? Decline, despair. Keeps them young. Even admire themselves. See. Play on her. Lip blow. Body of white woman, a flute alive. Blow gentle. Loud. Three holes, all women. Goddess I didn't see. They want it. Not too much polite. That's why he gets them. Gold in your pocket, brass in your face. With look to look. Songs without words. Molly, that hurdygurdy boy. She knew he meant the monkey was sick. Or because so like the Spanish. Understand animals too that way. Solomon did. Gift of nature.</p>
|
||||
<p>Ventriloquise. My lips closed. Think in my stom. What?</p>
|
||||
<p>Will? You? I. Want. You. To.</p>
|
||||
<p>With hoarse rude fury the yeoman cursed, swelling in apoplectic bitch's bastard. A good thought, boy, to come. One hour's your time to live, your last.</p>
|
||||
|
|
@ -571,23 +571,23 @@ c/o P. O. <br>
|
|||
<p>Tap. Tap. Tap.</p>
|
||||
<p>Pray for him, prayed the bass of Dollard. You who hear in peace. Breathe a prayer, drop a tear, good men, good people. He was the croppy boy.</p>
|
||||
<p>Scaring eavesdropping boots croppy bootsboy Bloom in the Ormond hallway heard growls and roars of bravo, fat backslapping, their boots all treading, boots not the boots the boy. General chorus off for a swill to wash it down. Glad I avoided.</p>
|
||||
<p>— Come on, Ben, Simon Dedalus said. By God, you're as good as ever you were.</p>
|
||||
<p>— Better, said Tomgin Kernan. Most trenchant rendition of that ballad, upon my soul and honour It is.</p>
|
||||
<p>— Lablache, said Father Cowley.</p>
|
||||
<p>— Come on, Ben, Simon Dedalus said. By God, you're as good as ever you were.</p>
|
||||
<p>— Better, said Tomgin Kernan. Most trenchant rendition of that ballad, upon my soul and honour It is.</p>
|
||||
<p>— Lablache, said Father Cowley.</p>
|
||||
<p>Ben Dollard bulkily cachuchad towards the bar, mightily praisefed and all big roseate, on heavyfooted feet, his gouty fingers nakkering castagnettes in the air.</p>
|
||||
<p>Big Benaben Dollard. Big Benben. Big Benben.</p>
|
||||
<p>Rrr.</p>
|
||||
<p>And deepmoved all, Simon trumping compassion from foghorn nose, all laughing they brought him forth, Ben Dollard, in right good cheer.</p>
|
||||
<p>— You're looking rubicund, George Lidwell said.</p>
|
||||
<p>— You're looking rubicund, George Lidwell said.</p>
|
||||
<p>Miss Douce composed her rose to wait.</p>
|
||||
<p>— Ben machree, said Mr Dedalus, clapping Ben's fat back shoulderblade. Fit as a fiddle only he has a lot of adipose tissue concealed about his person.</p>
|
||||
<p>— Ben machree, said Mr Dedalus, clapping Ben's fat back shoulderblade. Fit as a fiddle only he has a lot of adipose tissue concealed about his person.</p>
|
||||
<p>Rrrrrrrsss.</p>
|
||||
<p>— Fat of death, Simon, Ben Dollard growled.</p>
|
||||
<p>— Fat of death, Simon, Ben Dollard growled.</p>
|
||||
<p>Richie rift in the lute alone sat: Goulding, Collis, Ward. Uncertainly he waited. Unpaid Pat too.</p>
|
||||
<p>Tap. Tap. Tap. Tap.</p>
|
||||
<p>Miss Mina Kennedy brought near her lips to ear of tankard one.</p>
|
||||
<p>— Mr Dollard, they murmured low.</p>
|
||||
<p>— Dollard, murmured tankard.</p>
|
||||
<p>— Mr Dollard, they murmured low.</p>
|
||||
<p>— Dollard, murmured tankard.</p>
|
||||
<p>Tank one believed: Miss Kenn when she: that doll he was: she doll: the tank.</p>
|
||||
<p>He murmured that he knew the name. The name was familiar to him, that is to say. That was to say he had heard the name of. Dollard, was it? Dollard, yes.</p>
|
||||
<p>Yes, her lips said more loudly, Mr Dollard. He sang that song lovely, murmured Mina. And <em>The last rose of summer</em> was a lovely song. Mina loved that song. Tankard loved the song that Mina.</p>
|
||||
|
|
@ -600,26 +600,26 @@ c/o P. O. <br>
|
|||
<p>Cowley, he stuns himself with it: kind of drunkenness. Better give way only half way the way of a man with a maid. Instance enthusiasts. All ears. Not lose a demisemiquaver. Eyes shut. Head nodding in time. Dotty. You daren't budge. Thinking strictly prohibited. Always talking shop. Fiddlefaddle about notes.</p>
|
||||
<p>All a kind of attempt to talk. Unpleasant when it stops because you never know exac. Organ in Gardiner street. Old Glynn fifty quid a year. Queer up there in the cockloft, alone, with stops and locks and keys. Seated all day at the organ. Maunder on for hours, talking to himself or the other fellow blowing the bellows. Growl angry, then shriek cursing (want to have wadding or something in his no don't she cried), then all of a soft sudden wee little wee little pipy wind.</p>
|
||||
<p>Pwee! A wee little wind piped eeee. In Bloom's little wee.</p>
|
||||
<p>— Was he? Mr Dedalus said, returning with fetched pipe. I was with him this morning at poor little Paddy Dignam's...</p>
|
||||
<p>— Ay, the Lord have mercy on him.</p>
|
||||
<p>— By the bye there's a tuningfork in there on the...</p>
|
||||
<p>— Was he? Mr Dedalus said, returning with fetched pipe. I was with him this morning at poor little Paddy Dignam's...</p>
|
||||
<p>— Ay, the Lord have mercy on him.</p>
|
||||
<p>— By the bye there's a tuningfork in there on the...</p>
|
||||
<p>Tap. Tap. Tap. Tap.</p>
|
||||
<p>— The wife has a fine voice. Or had. What? Lidwell asked.</p>
|
||||
<p>— O, that must be the tuner, Lydia said to Simonlionel first I saw, forgot it when he was here.</p>
|
||||
<p>— The wife has a fine voice. Or had. What? Lidwell asked.</p>
|
||||
<p>— O, that must be the tuner, Lydia said to Simonlionel first I saw, forgot it when he was here.</p>
|
||||
<p>Blind he was she told George Lidwell second I saw. And played so exquisitely, treat to hear. Exquisite contrast: bronzelid, minagold.</p>
|
||||
<p>— Shout! Ben Dollard shouted, pouring. Sing out!</p>
|
||||
<p>— 'lldo! cried Father Cowley.</p>
|
||||
<p>— Shout! Ben Dollard shouted, pouring. Sing out!</p>
|
||||
<p>— 'lldo! cried Father Cowley.</p>
|
||||
<p>Rrrrrr.</p>
|
||||
<p>I feel I want...</p>
|
||||
<p>Tap. Tap. Tap. Tap. Tap</p>
|
||||
<p>— Very, Mr Dedalus said, staring hard at a headless sardine.</p>
|
||||
<p>— Very, Mr Dedalus said, staring hard at a headless sardine.</p>
|
||||
<p>Under the sandwichbell lay on a bier of bread one last, one lonely, last sardine of summer. Bloom alone.</p>
|
||||
<p>— Very, he stared. The lower register, for choice.</p>
|
||||
<p>— Very, he stared. The lower register, for choice.</p>
|
||||
<p>Tap. Tap. Tap. Tap. Tap. Tap. Tap. Tap.</p>
|
||||
<p>Bloom went by Barry's. Wish I could. Wait. That wonderworker if I had. Twentyfour solicitors in that one house. Litigation. Love one another. Piles of parchment. Messrs Pick and Pocket have power of attorney. Goulding, Collis, Ward.</p>
|
||||
<p>But for example the chap that wallops the big drum. His vocation: Mickey Rooney's band. Wonder how it first struck him. Sitting at home after pig's cheek and cabbage nursing it in the armchair. Rehearsing his band part. Pom. Pompedy. Jolly for the wife. Asses' skins. Welt them through life, then wallop after death. Pom. Wallop. Seems to be what you call yashmak or I mean kismet. Fate.</p>
|
||||
<p>Tap. Tap. A stripling, blind, with a tapping cane came taptaptapping by Daly's window where a mermaid hair all streaming (but he couldn't see) blew whiffs of a mermaid (blind couldn't), mermaid coolest whiff of all.</p>
|
||||
<p>Instruments. A blade of grass, shell of her hands, then blow. Even comb and tissuepaper you can knock a tune out of. Molly in her shift <a href="http://www.joyceproject.com/notes/040049pleasantoldtimes.htm\">in Lombard street west</a>, hair down. I suppose each kind of trade made its own, don't you see? Hunter with a horn. Haw. Have you the? <em>Cloche. Sonnez la.</em> Shepherd his pipe. Policeman a whistle. Locks and keys! Sweep! Four o'clock's all's well! Sleep! All is lost now. Drum? Pompedy. Wait. I know. Towncrier, bumbailiff. Long John. Waken the dead. Pom. Dignam. Poor little <em>nominedomine.</em> Pom. It is music. I mean of course it's all pom pom pom very much what they call <em>da capo.</em> Still you can hear. As we march, we march along, march along. Pom.</p>
|
||||
<p>Instruments. A blade of grass, shell of her hands, then blow. Even comb and tissuepaper you can knock a tune out of. Molly in her shift in Lombard street west, hair down. I suppose each kind of trade made its own, don't you see? Hunter with a horn. Haw. Have you the? <em>Cloche. Sonnez la.</em> Shepherd his pipe. Policeman a whistle. Locks and keys! Sweep! Four o'clock's all's well! Sleep! All is lost now. Drum? Pompedy. Wait. I know. Towncrier, bumbailiff. Long John. Waken the dead. Pom. Dignam. Poor little <em>nominedomine.</em> Pom. It is music. I mean of course it's all pom pom pom very much what they call <em>da capo.</em> Still you can hear. As we march, we march along, march along. Pom.</p>
|
||||
<p>I must really. Fff. Now if I did that at a banquet. Just a question of custom shah of Persia. Breathe a prayer, drop a tear. All the same he must have been a bit of a natural not to see it was a yeoman cap. Muffled up. Wonder who was that chap at the grave in the brown macin. O, the whore of the lane!</p>
|
||||
<p>A frowsy whore with black straw sailor hat askew came glazily in the day along the quay towards Mr Bloom. When first he saw that form endearing? Yes, it is. I feel so lonely. Wet night in the lane. Horn. Who had the? Heehaw. Shesaw. Off her beat here. What is she? Hope she. Psst! Any chance of your wash. Knew Molly. Had me decked. Stout lady does be with you in the brown costume. Put you off your stroke. That appointment we made. Knowing we'd never, well hardly ever. Too dear too near to home sweet home. Sees me, does she? Looks a fright in the day. Face like dip. Damn her! O, well, she has to live like the rest. Look in here.</p>
|
||||
<p>In Lionel Marks's antique saleshop window haughty Henry Lionel Leopold dear Henry Flower earnestly Mr Leopold Bloom envisaged candlestick melodeon oozing maggoty blowbags. Bargain: six bob. Might learn to play. Cheap. Let her pass. Course everything is dear if you don't want it. That's what good salesman is. Make you buy what he wants to sell. Chap sold me the Swedish razor he shaved me with. Wanted to charge me for the edge he gave it. She's passing now. Six bob.</p>
|
||||
|
|
@ -627,9 +627,9 @@ c/o P. O. <br>
|
|||
<p>Near bronze from anear near gold from afar they chinked their clinking glasses all, brighteyed and gallant, before bronze Lydia's tempting last rose of summer, rose of Castile. First Lid, De, Cow, Ker, Doll, a fifth: Lidwell, Si Dedalus, Bob Cowley, Kernan and big Ben Dollard.</p>
|
||||
<p>Tap. A youth entered a lonely Ormond hall.</p>
|
||||
<p>Bloom viewed a gallant pictured hero in Lionel Marks's window. Robert Emmet's last words. Seven last words. Of Meyerbeer that is.</p>
|
||||
<p>— True men like you men.</p>
|
||||
<p>— Ay, ay, Ben.</p>
|
||||
<p>— Will lift your glass with us.</p>
|
||||
<p>— True men like you men.</p>
|
||||
<p>— Ay, ay, Ben.</p>
|
||||
<p>— Will lift your glass with us.</p>
|
||||
<p>They lifted.</p>
|
||||
<p>Tschink. Tschunk.</p>
|
||||
<p>Tip. An unseeing stripling stood in the door. He saw not bronze. He saw not gold. Nor Ben nor Bob nor Tom nor Si nor George nor tanks nor Richie nor Pat. Hee hee hee hee. He did not see.</p>
|
||||
|
|
|
|||
1913
seed_data/telem.html
1913
seed_data/telem.html
File diff suppressed because it is too large
Load Diff
File diff suppressed because it is too large
Load Diff
99
setup.py
99
setup.py
|
|
@ -11,6 +11,7 @@ es = Elasticsearch(ELASTICSEARCH_HOST)
|
|||
print 'Elasticsearch index deleted!'
|
||||
|
||||
def get_chapter_text_from_seed_data(string):
|
||||
string = string.encode('ascii', 'ignore')
|
||||
fname = './seed_data/' + string + '.html'
|
||||
HtmlFile = open(fname, 'r')
|
||||
chapter_source = HtmlFile.read()
|
||||
|
|
@ -57,7 +58,7 @@ SAMPLE_DATA = [
|
|||
},
|
||||
{'_op_type': 'index', '_type': 'chapter', '_source': {
|
||||
'number': 2,
|
||||
'title': 'Nestor',
|
||||
'title': 'Nestor',
|
||||
'text': get_chapter_text_from_seed_data('nestor')
|
||||
},
|
||||
},
|
||||
|
|
@ -109,54 +110,54 @@ SAMPLE_DATA = [
|
|||
'text': get_chapter_text_from_seed_data('wrocks')
|
||||
},
|
||||
},
|
||||
# {'_op_type': 'index', '_type': 'chapter', '_source': {
|
||||
# 'number': 11,
|
||||
# 'title': 'Sirens',
|
||||
# 'text': get_chapter_text_from_seed_data('sirens')
|
||||
# },
|
||||
# },
|
||||
# {'_op_type': 'index', '_type': 'chapter', '_source': {
|
||||
# 'number': 12,
|
||||
# 'title': 'Cyclops',
|
||||
# 'text': get_chapter_text_from_seed_data('cyclops')
|
||||
# },
|
||||
# },
|
||||
# {'_op_type': 'index', '_type': 'chapter', '_source': {
|
||||
# 'number': 13,
|
||||
# 'title': 'Nausicaa',
|
||||
# 'text': get_chapter_text_from_seed_data('nausicaa')
|
||||
# },
|
||||
# },
|
||||
# {'_op_type': 'index', '_type': 'chapter', '_source': {
|
||||
# 'number': 14,
|
||||
# 'title': 'Oxen of the Sun',
|
||||
# 'text': get_chapter_text_from_seed_data('oxen')
|
||||
# },
|
||||
# },
|
||||
# # {'_op_type': 'index', '_type': 'chapter', '_source': {
|
||||
# # 'number': 15,
|
||||
# # 'title': 'Circe',
|
||||
# # 'text': get_chapter_text_from_seed_data('circe')
|
||||
# # },
|
||||
# # },
|
||||
# {'_op_type': 'index', '_type': 'chapter', '_source': {
|
||||
# 'number': 16,
|
||||
# 'title': 'Eumaeus',
|
||||
# 'text': get_chapter_text_from_seed_data('eumaeus')
|
||||
# },
|
||||
# },
|
||||
# # {'_op_type': 'index', '_type': 'chapter', '_source': {
|
||||
# # 'number': 17,
|
||||
# # 'title': 'Ithaca',
|
||||
# # 'text': get_chapter_text_from_seed_data('ithaca')
|
||||
# # },
|
||||
# # },
|
||||
# {'_op_type': 'index', '_type': 'chapter', '_source': {
|
||||
# 'number': 18,
|
||||
# 'title': 'Penelope',
|
||||
# 'text': get_chapter_text_from_seed_data('penelope')
|
||||
# },
|
||||
# },
|
||||
{'_op_type': 'index', '_type': 'chapter', '_source': {
|
||||
'number': 11,
|
||||
'title': 'Sirens',
|
||||
'text': get_chapter_text_from_seed_data('sirens')
|
||||
},
|
||||
},
|
||||
{'_op_type': 'index', '_type': 'chapter', '_source': {
|
||||
'number': 12,
|
||||
'title': 'Cyclops',
|
||||
'text': get_chapter_text_from_seed_data('cyclops')
|
||||
},
|
||||
},
|
||||
{'_op_type': 'index', '_type': 'chapter', '_source': {
|
||||
'number': 13,
|
||||
'title': 'Nausicaa',
|
||||
'text': get_chapter_text_from_seed_data('nausicaa')
|
||||
},
|
||||
},
|
||||
{'_op_type': 'index', '_type': 'chapter', '_source': {
|
||||
'number': 14,
|
||||
'title': 'Oxen of the Sun',
|
||||
'text': get_chapter_text_from_seed_data('oxen')
|
||||
},
|
||||
},
|
||||
{'_op_type': 'index', '_type': 'chapter', '_source': {
|
||||
'number': 15,
|
||||
'title': 'Circe',
|
||||
'text': get_chapter_text_from_seed_data('circe')
|
||||
},
|
||||
},
|
||||
{'_op_type': 'index', '_type': 'chapter', '_source': {
|
||||
'number': 16,
|
||||
'title': 'Eumaeus',
|
||||
'text': get_chapter_text_from_seed_data('eumaeus')
|
||||
},
|
||||
},
|
||||
{'_op_type': 'index', '_type': 'chapter', '_source': {
|
||||
'number': 17,
|
||||
'title': 'Ithaca',
|
||||
'text': get_chapter_text_from_seed_data('ithaca')
|
||||
},
|
||||
},
|
||||
{'_op_type': 'index', '_type': 'chapter', '_source': {
|
||||
'number': 18,
|
||||
'title': 'Penelope',
|
||||
'text': get_chapter_text_from_seed_data('penelope')
|
||||
},
|
||||
},
|
||||
{'_op_type': 'index', '_type': 'note', '_source': {
|
||||
'title': 'Kinch',
|
||||
'text': 'A knife'
|
||||
|
|
|
|||
|
|
@ -0,0 +1,12 @@
|
|||
from elasticsearch import Elasticsearch
|
||||
from elasticsearch.helpers import bulk
|
||||
|
||||
# Elasticsearch index setup
|
||||
|
||||
#Elasticsearch local connection
|
||||
#TODO: Extract to config
|
||||
ELASTICSEARCH_HOST = '127.0.0.1:9200'
|
||||
es = Elasticsearch(ELASTICSEARCH_HOST)
|
||||
|
||||
# DELETE ES INDEX:
|
||||
es.indices.delete(index='joyce', ignore=[400, 404])
|
||||
Loading…
Reference in New Issue