64 (U262.997)

Hoho begob says I to myself says I.

The 64th Cast. Page 262, line 997.

 Hoho begob says I to myself says I. That explains the milk in the cocoanut and absence of hair on the animal’s chest. Blazes doing the tootle on the flute. Concert tour. Dirty Dan the dodger’s son off Island bridge that sold the same horses twice over to the government to fight the Boers.


Episode 12. In Barney Kiernan’s pub, Mr. Bloom is in conversation with the nationalist known as Citizen, along with Joe Hynes and the other drinkers.

Someone mentions that Bloom’s wife Molly is supposed to be going away on a concert tour with the impresario Blazes Boylan, and at that moment the narrator of this episode realizes that it is in fact to be an adulterous trip.

“begob” is an Irish exclamation, apparently derived from “by God.”

According to Gifford’s annotation, “says I to myself says I” echoes a phrase from the song “When I Went to the Bar” in the Gilbert and Sullivan comic opera Iolanthe (1882). ⇒ 

When I went to the Bar as a very young man,

(Said I to myself — said I),

I’ll work on a new and original plan,

(Said I to myself — said I),

I’ll never assume that a rogue or a thief

Is a gentleman worthy implicit belief,

Because his attorney has sent me a brief,

(Said I to myself — said I).

However, when I looked into it, I also found that there is an Irish song with exactly the title “Says I To Myself, Says I,” by Harry Von Tilzer and Ed Moran.

It was published in 1917, so it does not fit the novel’s date of 1904, but it is still an interesting coincidence. ⇒  

“the milk in the cocoanut” means, according to the dictionary, “the heart of the matter” or “the explanation of the mystery.”

The idea seems to be: how did the milk get into the coconut in the first place?

“absence of hair on the animal’s chest” is much less clear.

I am not sure what exactly it means. Is the narrator saying that either Bloom or Boylan has no chest hair?

Naoki Yanase argued that the narrator of this episode is actually a dog (in Solving the Mysteries of James Joyce, Iwanami Shinsho, 1996).

One of his reasons is precisely this kind of phrasing: referring to a human being as “the animal” and being oddly preoccupied with hair.

“the tootle on the flute” comes from a line in Percy French’s song “Phil the Fluter’s Ball.” ⇒ 

With a toot on the flute

And a twiddle on the fiddle-oh

Hopping in the middle

Like a herrin’ on the griddle-oh

Up, down, hands around

And crossing to the wall

Sure hadn’t we the gaiety

At Phil the Fluter’s ball

Island Bridge is a place-name on the western edge of Dublin.

The narrator in this episode is a remarkably inventive user of language.

  

“Says I To Myself, Says I”

https://library.si.edu/digital-library/book/saysimyselfsays00vont


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63 (U356.216)

 (A sinister figure with crossed legs leans against O’Beirne’s wall.

The 63rd Cast. Page 356, line 216.

 (A sinister figure leans on plaited legs against O’Beirne’s wall, a visage unknown, injected with dark mercury. From under a wideleaved sombrero the figure regards him with evil eye.)

 BLOOM: Buenas noches, señorita Blanca, que calle es esta?

 THE FIGURE: (Impassive, raises a signal arm.) Password. Sraid Mabbot.

 BLOOM: Haha. Merci. Esperanto. Slan leath. (He mutters.) Gaelic league spy, sent by that fireeater.

 


Episode 15. Mr. Bloom is following Stephen and Lynch, having left Amiens Street Station (now Connolly Station) and headed for the brothel district. He turns north from Talbot Street into Mabbot Street (now Corporation Street), and has come as far as O’Beirne’s pub. The star on the map below marks the spot.

         


Who is this figure in the sombrero?

A little later in the same episode, he appears again as the man of dark mercury. Mercury, of course, was once used as a treatment for syphilis.

 (A dark mercurialised face appears, leading a veiled figure.)

 THE DARK MERCURY: The Castle is looking for him. He was drummed out of the army.

 MARTHA: (Thickveiled, a crimson halter round her neck, a copy of the Irish Times in her hand, in tone of reproach, pointing.) Henry! Leopold! Lionel, thou lost one! Clear my name. 

(U372.748-)

Later still in the same episode, the sombrero man appears again. This time, he is Henry Flower. Bloom is carrying on a secret correspondence with a woman named Martha (who also appears in the passage above), and Henry Flower is the pseudonym he uses in those letters.

So the sombrero man is a kind of alter ego of Bloom himself.

But why is Henry Flower dressed in a sombrero?

 (From left upper entrance with two gliding steps Henry Flower comes forward to left front centre. He wears a dark mantle and drooping plumed sombrero. He carries a silverstringed inlaid dulcimer and a longstemmed bamboo Jacob’s pipe, its clay bowl fashioned as a female head. He wears dark velvet hose and silverbuckled pumps. He has the romantic Saviour’s face with flowing locks, thin beard and moustache. His spindlelegs and sparrow feet are those of the tenor Mario, prince of Candia. He settles down his goffered ruffs and moistens his lips with a passage of his amorous tongue.)

 HENRY: (In a low dulcet voice, touching the strings of his guitar.) There is a flower that bloometh. 

(U421.2478)

Bloom addresses the sombrero man in Spanish. One wonders whether Bloom actually knows any Spanish, but in fact he has already used a similar phrase in Episode 13.

Buenas noches, señorita. El hombre ama la muchacha hermosa. Why me? Because you were so foreign from the others.

(U311.1208)

Henry responds by raising one arm in signal. I wonder whether this is meant to suggest the Red Hand of Ulster—the symbol of Ulster in the north of Ireland, derived from myth.

Since this is still before the Northern Ireland question in its later form, it would presumably carry the meaning of a Gaelic Irish nationalist symbol.

Henry then says in Irish, “Sraid Mabbot”—that is, “Mabbot Street.”

Irish (Gaelic) was the older language historically spoken in Ireland.

It is not entirely clear whether Bloom understands this, but he answers with “Slan leath,” meaning “goodbye” or “farewell” in Irish.

In Episode 12, the nationalist Citizen says “Slan leat” as a kind of toast in the pub (U258.819). The spelling is slightly different, but it appears to mean the same thing.

So Terry brought the three pints.

—Here, says Joe, doing the honours. Here, citizen.

Slan leat, says he.

—Fortune, Joe, says I. Good health, citizen.

The Gaelic League appeared earlier in this blog, in Cast no. 33.

Bloom seems to suspect that this man is one of the Citizen’s crowd—the same crowd from the pub, and perhaps sent by that quarrelsome nationalist whom he had clashed with earlier.

             

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62 (U132.375)

 Sss. Dth, dth, dth! Three days groaning in bed,

The 62nd Cast. Page 132, line 375.

 Sss. Dth, dth, dth! Three days imagine groaning on a bed with a vinegared handkerchief round her forehead, her belly swollen out. Phew! Dreadful simply! Child’s head too big: forceps. Doubled up inside her trying to butt its way out blindly, groping for the way out. Kill me that would.

Episode 8. A little earlier, at a street corner, Mr. Bloom met Mrs. Breen, an old flame of his, and heard from her that Mrs. Purefoy had been admitted to the maternity hospital with a difficult labour. This is the thought now passing through his mind.

To begin with, I am not quite sure what “Sss. Dth, dth, dth!” is supposed to be. It is clearly some sort of onomatopoeia, but even after looking at published Japanese translations and annotation books, I could not make much of it. Is Bloom imagining Mrs. Purefoy’s groaning? Even so, the sound does not seem to fit very well.

So I tried checking whether Joyce uses “sss, dth” anywhere else. And in fact, about eighty lines earlier, there it was. When Bloom meets Mrs. Breen, he says “Dth! Dth!”

—Yes, Mrs Breen said. And a houseful of kids at home. It’s a very stiff birth, the nurse told me.

—O, Mr Bloom said.

 His heavy pitying gaze absorbed her news. His tongue clacked in compassion. Dth! Dth!

—I’m sorry to hear that, he said. Poor thing! Three days! That’s terrible for her.

(U130.288)

Since Joyce writes “His tongue clacked in compassion,” this must be the sound of tongue-clicking. But why would Bloom click his tongue here?

I checked how one says tongue-clicking in English dictionaries.

One finds expressions like:   click [clack, cluck] one’s tongue

And under the second sense of “cluck,” I found this:

2. to express sympathy or disapproval by saying something, or by making a short low noise with your tongue
(Longman Dictionary of Contemporary English)

So there it is: in English, one can apparently click one’s tongue as an expression of sympathy.

As for the vinegar-soaked handkerchief wrapped around the forehead, it was presumably meant either to reduce fever or to relieve pain, but I have not been able to discover whether this was actually a recognized medical custom in the West.

In Japan, in earlier times, people used to place a pickled plum on the temple when they had a headache. Apparently this was thought to work because benzaldehyde, one of the aromatic compounds in umeboshi, produces a relaxing effect.

I suspect vinegar may have been imagined in much the same way.

Forceps

"File:Plate showing the birth of a baby, using forceps (2 of 4) Wellcome L0050179.jpg" is licensed under CC BY 4.0

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61 (U552.312)

 On the middle shelf, one chipped eggcup containing pepper,

The 61st Cast. Page 552, line 312.

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.


As in the previous post, this is Episode 17. The whole of Episode 17 proceeds in the form of question and answer. This passage comes immediately after the one discussed in Cast 11 of this blog. It is the answer to the question of what was inside the open kitchen cupboard in Bloom’s house, and here the items on the middle shelf are listed one by one.

It is, on the face of it, merely a list of household contents, but in terms of the meaning it carries within Ulysses, it becomes a miniature of the Bloom household, and an extraordinarily rich one. Let us look at it item by item.



1. The contents of the middle shelf

① One chipped eggcup containing pepper

As we saw in Cast 11, there are four eggcups on the top shelf. They were probably originally part of a set of six. One had its rim chipped, so it is being used as a pepper holder. This morning, when preparing his own breakfast, Mr. Bloom pinched pepper from it.(U51.279)

② One drum of table salt

③ Four conglomerated black olives in oleaginous paper

In Episode 18, Bloom’s wife Molly remembers that there are still a few olives in the kitchen.(U641.1481)

④ One empty pot of Plumtree’s potted meat

In section 5 of Episode 10, Boylan has a bottle and a wide-mouthed jar—namely Plumtree’s potted meat—packed into a wicker basket at the fruit shop, wrapped in pink tissue paper. Pears and peaches are then arranged on top and sent to Molly. Which means that he and Molly ate the potted meat together in the Bloom marital bed that day.

Plumtree’s potted meat is one of the most famous props in Ulysses. I will come back to it in more detail later.

The blond girl in Thornton’s bedded the wicker basket with rustling fibre. Blazes Boylan handed her the bottle swathed in pink tissue paper and a small jar.

—Put these in first, will you? he said.

—Yes, sir, the blond girl said. And the fruit on top.

(U187.299-)


⑤ One 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

What Boylan had packed at the fruit shop has now been put away here.

The words bedded and disrobed seem to have been chosen with Boylan and Molly’s tryst in mind.

The Jersey pear is a French pear variety called Louise Bonne of Jersey. It is said to have reached Britain by way of Jersey, hence the name.

File:Hedrick (1921) - Louise bonne de Jersey.jpg - Wikimedia Commons


William Gilbey and Co. was a Dublin wine and spirits merchant, but I have not been able to determine whether it was run by relatives of Walter Gilbey (1831–1914), founder of W&A Gilbey, the famous Gilbey company known for gin and vodka.

The word invalid comes from the fact that Boylan asked for the goods to be sent as if they were for a sick person (“It’s for an invalid”).Though Boylan certainly bought it under that pretext, it should be added that in the 1890s the London firm Gilbey’s actually marketed a product called “Gilbey’s Invalid Port,” advertised as beneficial to health. So this was indeed an actual product name.


⑥ One packet of Epps’s soluble cocoa

Later on, Mr. Bloom will make cocoa for Stephen, whom he has brought home, and the two of them will drink it together. It is likely that he opened this cupboard in order to prepare that cocoa.

Epps’s cocoa was a commercial cocoa product associated with Dr. John Epps (1805–1869), the son of a prosperous Calvinist food merchant in London, and himself an English physician, phrenologist, and pioneer of homeopathy.

Cocoa became popular in the early years of the twentieth century as a nourishing and fortifying drink. Since it contains neither caffeine nor alcohol, cocoa is a very Bloom-like beverage in its health-consciousness.

⑦ Five ounces of Anne Lynch’s choice tea at 2/- per lb in a crinkled leadpaper bag

“2/-” is a money notation meaning 2 shillings. “lb” is a unit of weight meaning pound.

One pound is about 453 grams. Two shillings in 1904 would be worth roughly £8 today, or about 1,200 yen.

Anne Lynch was a tea merchant in Dublin. Beyond that, I have not been able to find out much. This morning Mr. Bloom made tea for both Molly and himself. Since it is tea for Molly to drink, it is choice tea, that is, tea of good quality.

I am not sure what “leadpaper” is. Dictionaries gloss it as something like “lead foil paper,” but I wonder whether it literally means paper lined with a foil of lead.

⑧ One cylindrical canister containing the best crystallised lump sugar

This morning Mr. Bloom served sugar with the tea for both of them, but since Molly uses it too, the sugar is of good quality.

⑨ Two onions, one, the larger, Spanish, entire, the other, smaller, Irish, bisected with augmented surface and more redolent

I think the Spanish onion corresponds to Molly, who is from Gibraltar, while the Irish onion corresponds to Mr. Bloom, who was born in Dublin.

⑩ One jar of Irish Model Dairy’s cream

Irish Model Dairy probably refers to Albert Agricultural College, which was founded for the purpose of modern agricultural education.

The cream jar would have looked something like this:


This morning Mr. Bloom served tea with sugar and cream, but he says explicitly that the cream is for Molly.

Everything on it? Bread and butter, four, sugar, spoon, her cream. Yes.

(U51.298)

In Episode 8, Nolan mentions that he saw Bloom buying cream for Molly the day before yesterday.

It’s not the wife anyhow, Nosey Flynn said. I met him the day before yesterday and he coming out of that Irish farm dairy John Wyse Nolan’s wife has in Henry street with a jar of cream in his hand taking it home to his better half. She’s well nourished, I tell you. Plovers on toast.

(U145.951)

The cream seems to be reserved for Molly alone, and to be something relatively expensive and of good quality.

⑪ One 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

A naggin is an Irish English term for a small bottle of liquor. Originally it seems to have meant a quantity of 0.25 imperial pint (about 140 ml). Here it is clearly being used as a unit of volume.

Bacteria in milk break down the sugar lactose and produce lactic acid, which is what makes milk sour. As the lactic acid acidifies the milk, the casein molecules in it begin to coagulate and precipitate. That is why spoiled milk separates.

Mrs. Fleming is the charwoman or housekeeper who comes in to work at the Bloom household. The milk appears to be drunk by Mr. Bloom, Mrs. Fleming, and the cat, but not by Molly. That may be why the milk is of poor quality.

⑫ Two cloves

Molly uses cloves as a breath freshener.(U233.1057)

⑬ One halfpenny coin

⑭ One small dish containing a slice of fresh ribsteak

This may well be something Molly has set aside for Mr. Bloom’s supper.


2. Plumtree’s potted meat

Now to Plumtree’s potted meat. It appears repeatedly in this novel.

Episode 5

When Bloom meets McCoy in the street, he opens his newspaper and notices the Plumtree advertisement. Presumably he had been trying to look at the obituary notices because Dignam’s funeral is taking place that day.

He unrolled the newspaper baton idly and read idly:

What is home without
Plumtree’s Potted Meat?
Incomplete.
With it an abode of bliss.

(U61.145)

Episode 8

Looking at Healey’s stationery advertisement, Bloom thinks that Healey’s ideas for advertisements are as bad as the potted-meat ad placed under the obituary notices. Since Bloom works in advertising, he is naturally interested in ads.

His ideas for ads like Plumtree’s potted under the obituaries, cold meat department. You can’t lick ’em.

(U127.139)

③ Also in Episode 8

As Bloom wonders what to eat in the pub, he recalls the Plumtree’s potted meat advertisement under the obituary notices. His chain of association then develops into thoughts of the flesh of the dead and even cannibalism.

Sardines on the shelves. Almost taste them by looking. Sandwich? Ham and his descendants musterred and bred there. Potted meats. What is home without Plumtree’s potted meat? Incomplete. What a stupid ad! Under the obituary notices they stuck it. All up a plumtree. Dignam’s potted meat. Cannibals would with lemon and ric

(U140.743-)

Episode 15

In Bloom’s hallucination scene, he is holding pork and mutton in his hands, and when Mrs. Breen, an old flame, asks what it is, he recalls the Plumtree’s potted meat advertisement.

BLOOM: (Offhandedly.) Kosher. A snack for supper. The home without potted meat is incomplete. I was at Leah, Mrs Bandmann Palmer. Trenchant exponent of Shakespeare. Unfortunately threw away the programme. Rattling good place round there for pigs’ feet. Feel.

(U364.495)

Episode 17

The present passage.(U552.312)

Episode 17

As an example of an advertisement that should never have existed, Plumtree’s potted meat is cited. This is followed by a detailed description of the product.

Such as never?

What is home without Plumtree’s Potted Meat?
Incomplete.
With it an abode of bliss.

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.

(U560.597-)

Episode 17

When Bloom gets into bed, what he feels is described. Breadcrumbs and flakes of potted meat have been left behind in the bed.

What did his limbs, when gradually extended, encounter?

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.

(U601.2126)

Episode 18

In Molly Bloom’s half-dreaming consciousness, she remembers that during the day she drank port and ate potted meat with Boylan.

after the last time after we took the port and potted meat it had a fine salty taste yes

(U611.132)

In this novel, Plumtree’s potted meat seems to carry the following meanings:

1. As an advertisement placed under the obituary notices in the newspaper, it evokes burial and the flesh of the dead.
2. As the food eaten by Molly and Boylan in the Bloom marital bed, it becomes a symbol of their adulterous meeting.

It also seems to be linked to the Book of Exodus.

In Ulysses, the phrase “fleshpots of Egypt” appears several times. Stephen uses it in Episode 3(U35.177)and Episode 9(U171.884), Bloom in Episode 5(U70.548), and Bloom’s grandfather Virag Lipoti in Episode 15(U419.2365).

Originally, the phrase comes from the Old Testament Book of Exodus (16:3), where the Israelites, having left Egypt under Moses, run out of food in the wilderness and complain that in Egypt they had once sat by the fleshpots and eaten well. The “fleshpots of Egypt” represent imagined luxury, sensual satisfaction, or desire.

And at the end of Episode 7, on the way from the newspaper office to the pub, the title of the parable told by Stephen is A Pisgah Sight of Palestine or The Parable of The Plums. (Mount Pisgah, of course, is the mountain from which Moses, after the Exodus, looked out toward the Promised Land.)

I think Plumtree is being linked both with the “fleshpots of Egypt” and with “The Parable of the Plums.”

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60 (U598.2015)

 Would the departed never, nowhere, nohow reappear?

The 60th Cast. Page 598, line 2015.

 Would the departed never nowhere nohow reappear?

 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.

 

Episode 17. This Episode is written from beginning to end in the form of questions and answers. It is a little after two in the morning. Mr. Bloom has brought Stephen back to his house. After Stephen has gone out again, various thoughts pass through Bloom’s mind.

Bloom is fantasizing about abandoning his family and going away to some far-off place. Perhaps because he has just seen Stephen off beneath the stars, Episode 17 is full of cosmic imagery.

This Q&A is constructed in a geometrical fashion.

never, nowhere, nohow form a set of parallel terms.

And the following correspond to one another:

departedreappear
wanderrecall
neverever
nowheresomewhere
nohowsomehow
selfcompelledsuncompelled

waifs and strays is originally a legal term meaning “property or animals of unknown ownership” though it later came to mean things like “street children” or “stray dogs.” Here, I think the original legal sense is what is being imagined.

The opposition between wandering and return is, of course, the basic story of Homer’s Odyssey, which underlies the central motif of Ulysses.


Path of Halley’s Comet

https://commons.wikimedia.org/wiki/File:PSM_V76_D020_Path_of_halley_comet.png

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59 (U23.161)

 Gone too from the world, Averroes and Moses Maimonides

58 (U124.28)

 From Butler’s monument house corner 

The 58th Cast. Page 124, line 28.

 From Butler’s monument house corner he glanced along Bachelor’s walk. Dedalus’ daughter there still outside Dillon’s auctionrooms. Must be selling off some old furniture. Knew her eyes at once from the father. Lobbing about waiting for him. Home always breaks up when the mother goes. Fifteen children he had. Birth every year almost. That’s in their theology or the priest won’t give the poor woman the confession, the absolution. Increase and multiply. Did you ever hear such an idea?

 

Sackville Street around 1900

The building at the extreme left is Butler’s Monument House.

"Sackville Street & O'Connell Bridge, Dublin, Ireland, ca. 1899" by trialsanderrors is licensed under CC BY 2.0


Episode 8. This scene takes place a little earlier than the one in the previous post. Mr. Bloom has left the newspaper office and is heading south down Sackville Street. He is around the spot marked with a star on the map. At the corner of Sackville Street and Bachelor’s Walk stands Butler’s Monument House, the musical instrument maker’s premises (the place circled on the map). On Bachelor’s Walk there is Dillon’s auction rooms (the building enclosed in the oval).

 


     

When Mr. Bloom says that “Dedalus’s daughter still outside Dillon’s auctionrooms,” it is because he himself had just gone to Dillon’s a little earlier from the newspaper office on advertising business, and must have seen Simon Dedalus’s daughter, Dilly, there at that time.

Joyce’s care in keeping such small details consistent is astonishing.

—I'm just running round to Bachelor's walk, Mr Bloom said, about this ad of Keyes's. Want to fix it up. They tell me he's round there in Dillon's. 

(U106.430)

Why is Simon there in the auction rooms in the first place? Simon—who is the father of Stephen, another protagonist of the novel—is impoverished and down at heel, with far too many children. On top of that, his wife died of illness the previous year. So, Bloom assumes, he is trying to raise money by putting household goods up for auction.

From what the novel itself tells us, the Dedalus family consists of Stephen as the eldest son, one younger brother (U173.977), and the sisters Dilly, Katey, Boody, and Maggy (Episode 10, sections 4, 11, and 13). Whether there really were fifteen children, we do not know.

Bloom says that Dilly’s eyes resemble her father’s. As I noted in Cast 30 of this blog, one of the themes of this novel is that “father and son are one and the same being,” and one variation on that theme is the motif of parent and child having exactly the same eyes or the same voice.

① Stephen thinks that he and his father have the same voice and eyes.

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.

(U32.45)

② In Paris, the exile Kevin Egan says that Stephen’s voice resembles his father’s.

 You’re your father’s son. I know the voice.

(U36.230)

③ On the way from the newspaper office to the pub, the editor Crawford says that Stephen is the very image of his father (“chip of the old block”).

—Lay on, Macduff!

—Chip of the old block! the editor cried, clapping Stephen on the shoulder. Let us go.

 (U118.900)

④ In the library scene, Stephen says that Shakespeare’s daughter Susanna was very like her father (“chip of the old block”).

It repeats itself again when he is near the grave, when his married daughter Susan, chip of the old block, is accused of adultery.

(U174.1005)

⑤ At the second-hand bookstall in Bedford Row, Stephen recalls that people once told him that his sister Dilly had the same eyes as he did.

—I bought it from the other cart for a penny, Dilly said, laughing nervously. Is it any good?

 My eyes they say she has. Do others see me so? Quick, far and daring. Shadow of my mind.

(U200.866-)

Now, back to the main passage.

I was not sure what lob means in “lobbing about.”

Normally it means “to throw (a ball) in a high arc.” But according to the dictionary, it can also mean “to move slowly and heavily” (Merriam-Webster Dictionary), so for the moment I take it here to mean something like “hanging about” or “loitering.”

“Absolution” means remission or forgiveness of sins.

In Catholicism, it is an authority possessed only by ordained clergy of priestly rank or above, and refers to the act by which, on behalf of Christ, forgiveness of sins and their punishment is pronounced for one who is contrite.

“Increase and multiply” echoes the Book of Genesis (9:1) in the Old Testament.

And God blessed Noe and his sons. And he said to them: Increase and multiply, and fill the earth.

Mr. Bloom seems, in general, to feel a certain resentment toward religious matters.


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