Joyce’s “Ulysses” – Episode 18

Statue of Molly Bloom: Wikipedia

This is the final episode and is a long internal soliloquy depicting Molly Bloom’s thoughts as she is in bed after Leopold returns home. The episode is comprised of eight long sentences and is all stream of consciousness. Much of Molly’s thoughts are sexual: memories of past affairs, her current liaison with Blazes Boylan, her suspicions regarding Leopold Bloom’s clandestine sexual encounters, and her early days with Bloom. The language is beautiful and should really be read to be felt. I am not going to attempt to analyze the text from this episode; instead, I will discuss the structure of the episode, its symbolism, and how it ties in to the overall structure and larger theme of the book. I will preface this by saying that these are my interpretations. Feel free to use them, just include me in the citation.

The first thing to note about Episode 18 is that it opens and closes with the same word: “Yes.” I see this as symbolic for a circle, implying that there is an eternal cycle associated with the episode. Considering that Joyce employs the same technique in Finnegan’s Wake, where the book begins mid-sentence and ends with the first half of the sentence, I would argue that he is doing the same here. In fact, I would take this a step further and assert that Episode 18 is a circle within a circle and that the entire book is intended to be viewed as cyclical. Remember back to the beginning with the large S. The letter S is also the last letter in the book. I feel that Joyce structured the book to represent the eternal circle of existence: birth, life, death, rebirth. There are certainly an abundance of references and allusions throughout the text hinting at this, whether it is all the talk about metempsychosis or the circles cast upon the ceiling as Bloom and Molly lay together, or the circles of stars. Images of circles and cycles permeate this book.

Gustave Dore

The myth is eternal. The story which Homer put forth in the Odyssey is one that has been repeated throughout history and will continue to be repeated as long as humans exist. It is an archetypal story and Joyce knew that. With that in mind, he made his version a modern interpretation of the myth.

In addition to the cyclical structure of the book, I believe that Joyce also included number mysticism within the structure of the book. Let’s break this down a bit. The book is split into 3 sections and contains 18 chapters. First we will consider the importance of the number 3. Obviously, 3 would represent the trinity. It also represents the three stages of life: birth, life, death. It symbolizes the father (Bloom), mother (Molly), and child (Stephen). In addition, each section begins with a large letter: S, M, and P, respectively. I see here another mystical trilogy: Spirit, Mortal, Psyche (although, some scholars have also associated with the three main characters: Stephen, Molly, and Poldy [nickname for Bloom]). I could go on like this for a long time, but I think you get the idea.

Now let’s think about the number 18. First off, if we were to apply kabbalistic numerology to this (and remember, Bloom is Jewish), we get 1+8 which equals 9, which in turn is 3×3, or a double trinity. At this point you may be thinking that this is a stretch, but stay with me, because it gets deeper. In the Jewish faith, the number 18 has another important aspect. It is the numeric representation of the Hebrew word chai (pronounced “hi”). The English translation for chai is “life.” I believe that Joyce consciously chose to make Ulysses 18 episodes because the book is the perfect representation of life, with all its recurring themes.

I have to say that I feel somewhat sad that I am finished. I feel like I’ve gotten to know Bloom and Stephen personally. I also really got a lot more out of the book reading it a second time. So will I read it a third time? Maybe. I’ll certainly keep my copy. I hope you enjoyed the posts and if you haven’t read along, I encourage you to spend the effort and read it one day. I personally think it is worth it.

Cheers!!

---

 

Previous Posts on Ulysses:

Episode 1

Episode 2

Episode 3

Episode 4

Episode 5

Episode 6

Episode 7

Episode 8

Episode 9

Episode 10

Episode 11

Episode 12

Episode 13

Episode 14

Episode 15

Episode 16

Episode 17

Joyce’s “Ulysses” – Episode 17

Source: Wikipedia

This episode corresponds to Odysseus’ return home to Ithaca in Homer’s Odyssey. According to SparkNotes, it is “narrated in the third person through a set of 309 questions and their detailed and methodical answers, in the style of a catechism or Socratic dialogue.” Since I’m not a Catholic, I can’t really say that it was like a catechism, but I will say that for me, the style resembled the method of scientific inquiry, where one seeks to get to the truth or prove a theory by posing a series of questions. It is strange reading, since much of what takes place in the episode is discussion between Bloom and Stephen, and then later Bloom telling Molly about his day, yet there is noticeably no dialog whatsoever in this episode.

In Joyce’s novel, Bloom also returns home, but it is not a triumphant return such as with Odysseus. He realizes he does not have his key and is locked out. After Stephen leaves, Bloom bumps his head on furniture that has been moved, adding to the sense that although he is home, it does not feel like home. He then gets into bed with Molly who is asleep at that point and notices signs that Blazes Boylan had been there and had sex with Molly in their bed. I can’t help but feel sad for Bloom.

As with all the episodes in this book, this one is also packed with lots of symbolism, so I am just going to focus on a few passages that were key for me on this reading.

Bloom is depicted as feeling dejected. He had hopes of doing significant things with his life, but he feels as if he never did.

Why would a recurrent frustration the more depress him?

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. 696)

As Stephen is leaving, both he and Bloom step outside and together they look up at the stars. Bloom has an epiphany as he realizes his connection to the universe. He envisions universes within himself, universes within each atom that composes everything in existence. It seems as if he grasps the connection between the scientific and the mystical, as symbolized by astrology. It is a fairly long passage, but it warrants including here.

With what meditations did Bloom accompany his demonstration to his companion of various constellations?

Mediations 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 Major) 10 lightyears (57,000,000,000,000 miles) distant and in volume 900 times the dimension of our planet: of Acturus: of the procession 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 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.

Were there obverse meditations of involution increasingly less vast?

Of the eons of geological periods recorded in the stratifications of the earth: of the myriad minute entomological organic existences concealed in the 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 in 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 components 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.

(pp. 698 – 699)

Source: NASA

Bloom’s epiphany continues as he realizes that god is ineffable. It is impossible for any human to understand and know the divine source, we can only use symbols as a way to allow us a glimpse of the true essence of the divine.

His (Bloom’s) logical conclusion, having weighed the matter and allowing for possible error?

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 probable apposition of one or more bodies equally of the same and of different magnitudes: a mobility of illusory forms immobilised in air: a past which possibly had ceased to exist as a present before its future spectators had entered actual present existence.

(p. 701)

Bloom then gazes at the moon. As he does so, he recognizes the lunar orb as a symbol for the goddess.

What special affinities appeared to him to exist between the moon and woman?

Her antiquity in preceding and surviving successive tellurian generations: her nocturnal predominance: her satellitic dependence: her luminary reflection: her constancy under all her phases, rising, and setting by her appointed times, waxing and waning: the forced invariability of her aspect: her indeterminate response to inaffirmative interrogation: her potency over effluent and refluent waters: her power to enamour, to mortify, to invest with beauty, to render insane, to incite to and aid delinquency: the tranquil inscrutability of her visage: the terribility of her isolated dominant implacable resplendent propinquity: her omens of tempest and of calm: the stimulation of her light, her motion and her presence: the admonition of her craters, her arid seas, her silence: her splendour, when visible: her attraction, when invisible.

(p. 702)

After getting into bed with Molly and noticing the signs of Boylan having been there, Bloom seems to resign himself and kisses Molly’s buttocks, which wakens her. It is revealed that they have not been intimate for 10 years, which would explain Molly’s affairs. After Bloom finishes telling her about his day, they lay in silence. Above them, the light from the lamp casts concentric circles on the ceiling, representing the eternal cycles of life-death-rebirth, and also the cycles of myths as represented in stories.

What moved visibly above the listener’s and the narrator’s invisible thoughts?

The upcast reflection of a lamp and shade, an inconstant series of concentric circles of varying gradations of light and shadow.

(p. 736)

Molly is then depicted as the Earth Goddess from which all life is born and to which all life returns. Bloom becomes the archetype of the weary traveler, at the end of his journey, returning to the womb of the divine female source from which he was created, thus ready to begin the cycle once again.

In what posture?

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-Tullus, fulfilled, recumbent, big with seed. Narrator: reclined laterally, left, with right and left legs flexed, the indexfinger and thumb of the right hand resting on the bridge of the nose, in the attitude depicted on a snapshot photograph made by Percy Apjohn, the childman weary, the manchild in the womb.

Womb? Weary?

He rests. He has travelled.

(p. 737)

The episode ends with an unanswered question.

Where?

(p. 737)

The question is left unanswered because the tale is eternal. Bloom has returned to his point of origin and the cycle must begin again, and the myth, like all existence, must continue in the never-ending circle.

This is, in fact, the end of the tale for Leopold Bloom. The final episode is Molly’s famous internal soliloquy, which I will cover in my next post.

---

 

Previous Posts on Ulysses:

Episode 1

Episode 2

Episode 3

Episode 4

Episode 5

Episode 6

Episode 7

Episode 8

Episode 9

Episode 10

Episode 11

Episode 12

Episode 13

Episode 14

Episode 15

Episode 16

Joyce’s “Ulysses” – Episode 16

“Reunion of Odysseus and Telemachus” by Henri-Lucien Doucet

This episode corresponds with the scene in Homer’s Odyssey where Odysseus is reunited with his son Telemachus in the hut of Eumaeus prior to his return to Ithaca. In Joyce’s novel, Leopold Bloom and Stephen Dedalus are in the cabman’s shelter having coffee and a roll. Bloom is offering “fatherly” advice to Stephen, particularly in regard to his choice of friends and his tendency to visit Nighttown, Dublin’s red-light district. Because Odysseus was in disguise in the Homeric epic, images of impersonation, disguise, and false identity permeate the episode.

Throughout this episode, Bloom tries to present himself as an erudite person, which he is not. It is a disguise he dons in the hopes of gaining the trust and friendship of Stephen. Bloom uses clichés and big words to try to sound smart, but in truth, doing so only draws attention to the fact that he is significantly less educated than Stephen. It is also worth pointing out that Stephen provides terse responses, almost as if he is intentionally hiding his intelligence.

—Everybody gets their own ration of luck, they say. Now you mention it his face was familiar to me. But leaving that for the moment, how much did you part with, he queried, if I am not too inquisitive?

—Half-a-crown, Stephen responded. I daresay he needs it to sleep somewhere.

—Needs, Mr Bloom ejaculated, professing not the least surprise at the intelligence, I can quite credit the assertion and I guarantee he invariably does. Everyone according to his needs and everyone according to his deeds. But talking about things in general, where, he added with a smile, will you sleep yourself? Walking to Sandycove is out of the question and, even supposing you did, you won’t get in after what occurred at Westland Row station. Simply fag out there for nothing. I don’t mean to presume to dictate to you in the slightest degree but why did you leave your father’s house?

—To seek misfortune, was Stephen’s answer.

(p. 619)

As the conversation in the cabman’s shelter continues, the topic of Parnell comes up, along with his scandalous affair with Kitty O’Shea, who was married to Captain William O’Shea. This causes Bloom to think about his marriage to Molly and her relationship with Blazes Boylan.

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

(p. 651)

Joyce then makes the connection back to the Odyssey, pointing out that men will hang around waiting for their chance to move in on a married woman, in the same way that the suitors waited around for their chance at Penelope in Homer’s epic.

He personally, being of a skeptical bias, believed, and didn’t make the smallest bones about saying so either, that man, or men in the plural, were always hanging around on the waiting list about a lady, even supposing she was the best wife in the world and they got on fairly well together for the sake of argument, when, neglecting her duties, she chose to be tired of the wedded life, and was on for a little flutter in the polite debauchery to press their intentions on her with improper intent, the upshot being that her affections centered on another, the cause of many liaisons between still attractive married women getting on for fair and forty and younger men, no doubt as several famous cases of feminine infatuation proved up to the hilt.

(pp. 655 – 656)

Toward the end of the episode, Bloom convinces Stephen to return with him to his house. As they walk off together into the night, they talk about music, sirens, and usurpers. The episode concludes with a streetsweeper’s impression of the two walking together which I found to be beautifully written.

The driver never said a word, good, bad or indifferent. Me merely watched the two figures, as he sat on his lowbacked car, both black—one full, one lean—walk towards the railway bridge, to be married by Father Maher. As they walked, they at times stopped and walked again, continuing their téte-à-téte (which of course he was utterly out of), about sirens, enemies of man’s reason, mingled with a number of topics of the same category, usurpers, historical cases of the kind while the man in the sweeper car or you might as well call it the sleeper car who in any case couldn’t possibly hear because they were too far simply sat in the seat near the end of lower Gardiner street and looked after their lowbacked car.

(p. 665)

We’re nearing the end of the book. The next episode ends on page 737 in my version with what appears to be a large bullet-like punctuation.

---

 

Previous Posts on Ulysses:

Episode 1

Episode 2

Episode 3

Episode 4

Episode 5

Episode 6

Episode 7

Episode 8

Episode 9

Episode 10

Episode 11

Episode 12

Episode 13

Episode 14

Episode 15

---

 

References:

http://www.sparknotes.com/lit/ulysses/section16.rhtml

http://en.wikipedia.org/wiki/Eumaeus

http://en.wikipedia.org/wiki/Charles_Stewart_Parnell

Joyce’s “Ulysses” – Episode 15

This episode corresponds with the section in Homer’s Odyssey concerning Odysseus’ encounter with Circe. According to Greek mythology, Circe is the goddess of magic and sorcery and is renowned for her knowledge of potions and herbs.

In Homer’s Odyssey, Circe is described as living in a mansion that stands in the middle of a clearing in a dense wood. Around the house prowled strangely docile lions and wolves, the drugged victims of her magic; they were not dangerous, and fawned on all newcomers. Circe worked at a huge loom. She invited Odysseus’ crew to a feast of familiar food, a pottage of cheese and meal, sweetened with honey and laced with wine, but also laced with one of her magical potions, and drunk from an enchanted cup. Thus so she turned them all into swine with a wand after they gorged themselves on it. Only Eurylochus, suspecting treachery from the outset, escaped to warn Odysseus and the others who had stayed behind at the ships. Odysseus set out to rescue his men, but was intercepted by the messenger god, Hermes, who had been sent by Athena. Hermes told Odysseus to use the holy herb moly to protect himself from Circe’s potion and, having resisted it, to draw his sword and act as if he were to attack Circe. From there, Circe would ask him to bed, but Hermes advised caution, for even there the goddess would be treacherous. She would take his manhood unless he had her swear by the names of the gods that she would not.

(Wikipedia)

In Joyce’s novel, this episode takes place in the red light district, most of which is in a brothel. The entire episode, which is the longest in the book at around 180 pages, is written in the form of a play script. The majority of the “action” that takes place is in the form of hallucinations and mental visions induced by intoxication. This draws on the symbolism of Circe as a sexual temptress and one who can ensnare men using drugs and potions. I see the use of the play form as symbolic of the action playing out on the stage of the individuals’ minds and psyches.

In Homer’s epic, Circe turns Odysseus’ men into swine. Likewise, Joyce uses pig metaphors throughout the episode to reinforce the image of the men who are soliciting the prostitutes being nothing but swine.

Most of Bloom’s hallucinations are tied to feelings of guilt regarding his sexuality. At one point he imagines himself on trial where all his dark secrets are exposed. It is like he is being accused and confronted by his conscience which is no longer comfortable with the things he has done and imagined.

THE CRIER

(Loudly.) Whereas Leopold Bloom of no fixed abode is a well-known dynamitard, forger, bigamist, bawd and cuckold and a public nuisance to the citizens of Dublin and whereas at this commission of assizes the most honorable…

(p. 470)

In one of the hallucinations, Bloom has a cross-dressing fantasy. He imagines himself being forced to assume a female role and become a prostitute. This ties in with Hermes’ warning to Odysseus that Circe would take his manhood.

BELLO

(Points to his whores.) As they are now, so will you be, wigged, singed, perfumesprayed, ricepowdered, with smoothshaven armpits. Tape measurements will be taken next your skin. You will be laced with cruel force into vicelike corsets of soft dove coutille, with whalebone busk, to the diamond trimmed pelvis, the absolute outside edge, while your figure, plumper than when at large, will be restrained in nettight frocks, pretty two ounce petticoats and fringes and things stamped, of course, with my houseflag, creations of lovely lingerie for Alice and nice scent for Alice. Alice will feel the pullpull. Martha and Mary will be a little chilly at first in such delicate thighcasing but the frilly flimsiness of lace round your bare knees will remind you…

(pp. 535 – 536)

In another of Bloom’s hallucinations, he encounters the Goddess in the form of The Nymph. She accuses him of exploiting her, using her sacred image in advertising as a means to sell things. I found this to be a powerful critique on how women continue to be exploited by the media.

THE NYMPH

Mortal! You found me in evil company, highkickers, coster picnic makers, pugilists, popular generals, immoral panto boys in flesh tights and nifty shimmy dancers, La Aurora and Karini, musical act, the hit of the century. I was hidden in cheap pink paper that smelt of rock oil. I was surrounded by the stale smut of clubmen, stories to the callow youth, ads for transparencies, truedup dice and bustpads, proprietary articles and why wear a truss with testimonial from ruptured gentleman. Useful hints to the married.

BLOOM

(Lifts a turtle head towards her lap.) We have met before. On another star.

THE NYMPH

(Sadly.) Rubber goods. Neverrip. Brand as supplied to the aristocracy. Corsets for men. I cure fits or money refunded. Unsolicited testimonials for Professor Waldmann’s wonderful chest exuber. My bust developed four inches in three weeks, reports Mrs Gus Rublin with photo.

BLOOM

You mean Photo Bits?

THE NYMPH

I do. You bore me away, framed me in oak and tinsel, set me above your marriage couch. Unseen, one summer eve, you kissed me in four places. And with loving pencil you shaded my eyes, my bosom and my shame.

(pp. 545 – 546)

This is such a long episode and there is so much that can be analyzed and explored, way too much for a single blog post. As such, I will look at one last quote that struck me as interesting. Stephen (who was with Bloom in the brothel) gets into an argument with a soldier. He criticizes the soldier’s willingness to die for his country. It is a display of anti-nationalism. Considering that Joyce wrote this at a time when nationalism was on the rise in Europe, I found it a poignant critique on the socio-political climate of the time.

STEPHEN

(Nervous, friendly, pulls himself up.) I understand your point of view, though I have no king myself for the moment. This is the age of patent medicine. A discussion is difficult down here. But this is the point. You die for your country, suppose. (He places his arm on Private Carr’s sleeve.) Not that I wish it for you. But I say: Let my country die for me. Up to the present it has done so. I don’t want to die. Damn death. Long live life!

(p. 591)

My next post on Ulysses will cover Episode 16 which ends on page 665 in my copy with the phrase “… and looked after their lowbacked car.”

---

 

Previous Posts on Ulysses:

Episode 1

Episode 2

Episode 3

Episode 4

Episode 5

Episode 6

Episode 7

Episode 8

Episode 9

Episode 10

Episode 11

Episode 12

Episode 13

Episode 14

---

 

References:

http://www.sparknotes.com/lit/ulysses/section15.rhtml

http://en.wikipedia.org/wiki/Circe

Joyce’s “Ulysses” – Episode 13

Painting by Michele Desubleo

This episode corresponds with the section concerning Nausicaä in Homer’s Odyssey.

In Book Six of the Odyssey, Odysseus is shipwrecked on the coast of the island of Scheria. Nausicaä and her handmaidens go to the sea-shore to wash clothes. Awoken by their games, Odysseus emerges from the forest completely naked, scaring the servants away, and begs Nausicaä for aid. Nausicaä gives Odysseus some of the laundry to wear, and takes him to the edge of the town. Realizing that rumors might arise if Odysseus is seen with her, she and the servants go ahead into town.

(Source: Wikipedia)

In Joyce’s novel, Gerty MacDowell corresponds with Princess Nausicaä, Gerty’s friends Cissy and Edy represent Nausicaä’s handmaidens, and Leopold Bloom is associated with Odysseus. As in the Homeric epic, the scene takes place on the beach and is full of sexuality, which in Joyce’s book is much more overt. Essentially, Bloom masturbates as he watches the girls on the beach.

Early in the episode, Gerty fantasizes about a storybook wedding. Images of fairy tales and being swept away by her Prince Charming abound. It is implied that while she is having these fantasies, Bloom is having his own as he watches. As Gerty notices Bloom watching her, she begins to tease him and play up to his fantasy, positioning herself so he can better see her and steal glimpses up her skirt. She begins moving her leg in a manner evocative of sexual intercourse.

Queen of angels, queen of patriarchs, queen of prophets, of all saints, they prayed, queen of the most holy rosay and then Father Conroy handed the thurible to Canon O’Hanlon and he put in the incense and censed the Blessed Sacrament and Cissy Caffrey caught the two twins and she was itching to give them a ringing good clip on the ear but she didn’t because she thought he might be watching but she never made a bigger mistake in all her life because Gerty could see without looking that he never took his eyes off of her and then Canon O’Hanlon handed the thurible back to Father Conroy and knelt down looking up at the Blessed Sacrament and the choir began to sing Tantum ergo and she just swung her foot in and out in time as the music rose and fell to the Tantumer gosa carmen tum.

(pp. 359 – 360)

What is interesting about this is that while Bloom is fantasizing about Gerty and Gerty is playing up to his attentions, there is a Catholic service happening at a nearby church. This builds a symbolic connection between Gerty and the Virgin Mary. Joyce seems to be criticizing our obsession with virginity and our secret desires for those things which are pure and generally out of our reach. I cannot help but wonder how many men, sitting in a church service, secretly wondered how a statue of the Virgin Mary might look if naked, like classical Greek statuary. Probably more than would be willing to admit.

Undoubtedly, the most memorable scene in this episode is when Bloom reaches orgasm. It happens as fireworks are exploding in the sky over the beach and Joyce employs the image of a Roman candle as a phallic symbol.

She would fain have cried to him chokingly, held out her snowy slender arms to him to come, to feel his lips laid on her white brow the cry of a young girl’s love, a strangled little cry, wrung from her, that cry that has rung through the ages. And then a rocket sprang and bang shot blind and O! then the Roman candle burst and it was like a sigh of O! and everyone cried O! O! in raptures and it gushed out of it a stream of rain gold hair threads and they shed and ah! They were all greeny dewy stars falling with golden, O so lively! O so soft, sweet, soft!

(pp. 366 – 367)

It is worth pointing out that Joyce uses the word “rapture” to describe the experience. I get the impression that he is also making the connection between orgasm and a profound religious experience. The image that comes to my mind is that of Bernini’s Ecstasy of Saint Teresa.

Bernini – Ecstasy of Saint Teresa

The episode ends on a sad note, with the sound of a cuckoo clock sounding the time.

Cuckoo
Cuckoo
Cuckoo

(p. 382)

The implication here is that Bloom was made a cuckold, that his wife Molly and Blazes Boylan have consummated their affair at the same time he was masturbating and fantasizing. So while it’s easy to look at Bloom in this episode and see a pervert jerking off as he watches a young girl at the beach, you can’t help but pity him also. He seems a sad and lonely person.

I’ll post my thoughts on episode 14 in about a week or so.

---

 

Previous Posts on Ulysses:

Episode 1

Episode 2

Episode 3

Episode 4

Episode 5

Episode 6

Episode 7

Episode 8

Episode 9

Episode 10

Episode 11

Episode 12

---

 

References:

http://www.sparknotes.com/lit/ulysses/section13.rhtml

http://en.wikipedia.org/wiki/Nausicaa

Joyce’s “Ulysses” – Episode 12

This episode corresponds to the section of Homer’s Odyssey where Odysseus and his men are captured by Polyphemus, the Cyclops.

In Homer’s epic, Odysseus lands on the island of the Cyclopes (Sicily) during his journey home from the Trojan War and enters a cave filled with provisions with some of his men. When the giant Polyphemus returns home with his flocks, he blocks the entrance with a great stone and, scoffing at the usual custom of hospitality, eats two of the men. Next morning, the giant kills and eats two more and leaves the cave to graze his sheep.

After the giant returns in the evening and kills two more of the men, Odysseus offers Polyphemus some strong and undiluted wine given to him earlier on his journey. Drunk and unwary, the giant asks Odysseus his name, promising him a guest-gift if he answers. Odysseus tells him “Οὖτις”, which means “no one” and Polyphemus promises to eat this “Nobody” last of all. With that, he falls into a drunken sleep. Odysseus had meanwhile hardened a wooden stake in the fire and now drives it into Polyphemus’ eye. When Polyphemus shouts for help from his fellow giants, saying that “Nobody” has hurt him, they think Polyphemus is being afflicted by divine power and recommend prayer as the answer.

In the morning, the blind Cyclops lets the sheep out to graze, feeling their backs to ensure that the men are not escaping. However, Odysseus and his men have tied themselves to the undersides of the animals and so get away. As he sails off with his men, Odysseus boastfully reveals his real name, an act of hubris that was to cause problems for him later. Polyphemus prays to his father, Poseidon, for revenge and casts huge rocks towards the ship, which barely escapes.

(Source: Wikipedia)

In Joyce’s novel, the Cyclops is represented by an unnamed person who is presented in this section as a first-person narrator. It is therefore from the “I” perspective, a singular and myopic view of the events that unfold. The events take place within a pub, the Dublin equivalent of a cave, dark and enclosed. Throughout the episode, there are lots of puns and wordplay associated with the word “eye.”

—Ay, says I. A bit off the top. An old plumber named Geraghty. I’m hanging on to his taw now for the past fortnight and I can’t get a penny out of him.

(p. 292)

The narrator is not a pleasant person. He seems to have an issue with everyone. He is totally self-centered (focused on his I) and, in my humble opinion, kind of a jerk. But then again, we all have our own egos inside and often think things about others which we keep to ourselves.

Since Odysseus blinded Polyphemus, the metaphor of blindness appears throughout the chapter.

—Some people, says Bloom, can see the mote in others’ eyes but they can’t see the beam in their own.

—Raimeis, says the citizen. There’s no-one as blind as the fellow that won’t see, if you know what that means.

(p. 326)

There is a lot of symbolism tied in to this short quote. On one hand, the narrator is blind to the opinions of others. He is solely concerned with his own opinions. Bloom is blind to the hostile anti-Semitic feelings that the people around him are feeling towards him. The people of Ireland, represented by the citizen, are blinded by their intense desire to establish a national identity. Finally, the mention by the citizen of “no-one” is an allusion to the name that Odysseus used when he fooled the Cyclops.

As the episode continues, the environment becomes more and more hostile towards Bloom. This is especially evident through the citizen, who gets so worked up he starts verbally attacking Bloom as he makes his exit from the pub with Martin Cunningham. The citizen follows him out to the street, hurling anti-Semitic insults at Bloom, who responds by naming famous Jews from history, including Jesus, which enrages the citizen even more.

—Mendelssohn was a jew and Karl Marx and Mercadante and Spinoza. And the Saviour was a jew and his father was a jew. Your God.

—He had no father, says Martin. That’ll do now. Drive ahead.

—Whose God? says the citizen.

—Well, his uncle was a jew, says he. Your God was a jew. Christ was a jew like me.

Gob, the citizen made a plunge back into the shop.

—By Jesus, says he, I’ll brain the bloody jewman for using the holy name. By Jesus, I’ll crucify him so I will. Give us the biscuitbox here.

(p. 342)

The episode concludes in a similar manner to the corresponding section in the Odyssey. As Bloom is escaping in the carriage (symbolic of Odysseus’ ship), the citizen, who is blinded by rage, throws the biscuit tin (symbolic of the boulder) at Bloom, but misses his mark.

Begob he drew his hand and made a swipe and let fly. Mercy of God the sun was in his eyes or he’d have left him for dead. Gob, he near sent it into county Longford. The bloody nag took fright and the old mongrel after the car like bloody hell and all the populace shouting and laughing and the old tinbox clattering along the street.

(pp. 343 – 344)

We are nearing the halfway mark in the novel. My next post will cover Episode 13 which in my book ends on page 382 with the word “Cuckoo.”

---

 

Previous Posts on Ulysses:

Episode 1

Episode 2

Episode 3

Episode 4

Episode 5

Episode 6

Episode 7

Episode 8

Episode 9

Episode 10

Episode 11

---

 

References:

http://en.wikipedia.org/wiki/Polyphemus

http://www.sparknotes.com/lit/ulysses/section12.rhtml

Joyce’s “Ulysses” – Episode 11

Painting by William Etty

This episode corresponds to the section in Homer’s Odyssey where Odysseus encounters the sirens. “In Greek mythology, the Sirens were dangerous yet beautiful creatures, portrayed as femme fatales who lured nearby sailors with their enchanting music and voices to shipwreck on the rocky coast of their island” (Wikipedia). In Ulysses, the episode takes place inside a bar and the sirens are represented by the two barmaids, Lydia Douce and Mina Kennedy, who are very flirtatious. Joyce also incorporates themes of music and intoxication into the episode. Essentially, this is the sex and drugs and rock and roll chapter.

Joyce does something very creative at the beginning of this episode. He essentially composes an overture to the chapter. He takes snippets of text from the episode and weaves them together, creating a literary prelude of sorts. It reads like a modernist poem, and while I have not been impressed with Joyce’s poetry, I have to say that this works well for me. The actual episode begins with the word: “Begin!”

Early in the episode, Lydia and Mina are gossiping and laughing. They are immediately portrayed as sexual by their little dirty jokes.

—O saints above! Miss Douce said, sighed above her jumping rose. I wished I hadn’t laughed so much. I feel all wet.

—O, Miss Douce! Miss Kennedy protested. You horrid thing!

And flushed yet more (you horrid!), more goldenly.

(p. 260)

As the episode continues, the connection is made between music and sexual arousal. In the next passage, a tuning fork is used as a phallic symbol to reinforce the connection between music and sexuality.

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. 264)

As Leopold Bloom sits in the bar, the combination of alcohol, music, and sexuality starts to overwhelm him. He loses himself in a flood of thoughts, memories, and fantasy caused by the environment.

Tenderness it welled: slow, swelling. Full it throbbed. That’s the chat. Ha, give! Take! Throb, a throb, a pulsing proud erect.

Words? Music? No: it’s what’s behind.

Bloom looped, unlooped, noded, disnoded.

Bloom. Flood of warm jimjam lickitup sweetness 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, tupthrop. Now! Language of love.

(p. 274)

Toward the end of the episode, there is a scene where Lydia is stroking the beer tap like it is a penis. This is symbolic of the connection between intoxication and succumbing to sexual temptation.

On the smooth jutting beerpull laid Lydia hand lightly, plumply, leave it to my hands. All lost in pity for croppy. Fro, to: to, fro: over the polished knob (she knows his eyes, my eyes, her eyes) her thumb and finger passed in pity: passed, repassed and, gently touching, then slid so smoothly, slowly down, a cool firm white enamel baton protruding through their sliding ring.

With a cock with a carra.

(p. 286)

When I read Ulysses for the first time in college, this was one of the episodes that really stood out for me. Probably because I played music for so many years, I really related to the musical imagery and symbolism that permeates this episode.

Next week I will cover Episode 12 which ends on page 345 with the phrase “… like a shot off a shovel.”

---

 

Previous Posts on Ulysses:

Episode 1

Episode 2

Episode 3

Episode 4

Episode 5

Episode 6

Episode 7

Episode 8

Episode 9

Episode 10

---

 

References:

http://www.sparknotes.com/lit/ulysses/section11.rhtml

http://en.wikipedia.org/wiki/Siren_%28mythology%29

Joyce’s “Ulysses” – Episode 6

Source: symbolreader.net

This episode corresponds to Book XI of Homer’s Odyssey, where Odysseus travels to the underworld of Hades and speaks with the dead. If you are unfamiliar with Odysseus’ journey to the underworld, I suggest reading “The Secrets of the Odyssey (7): Circe and the Underworld” by Symbol Reader, who is one of my favorite bloggers.

The main theme of this section is death, which makes for some morbid reading at times. The episode begins with Bloom getting into a carriage with Martin Cunningham, Jack Power, and Simon Dedalus (Stephen Dedalus’ father). The carriage is part of the funeral procession for Paddy Dignam who is to be buried. During the ride, there is much discussion and contemplation regarding death.

The carriage ride is symbolic for the journey to the land of the dead, which is represented by the cemetery. At one point in the journey, the carriage passes a waterway, which I assume is the River Liffey. This conjures images of the crossing of the River Styx as one enters the realm of the dead.

Their eyes watched him. On the slow weedy waterway he had floated on his raft coastward over Ireland drawn by a haulage rope past beds of reeds, over slime, mud-choked bottles, carrion dogs. Athlone, Mullingar, Moyvalley, I could make a walking tour to see Milly by the canal. Or cycle drawn. Hire some old crock, safety. Wren had one the other day at the auction but a lady’s. Developing waterways. James M’Cann’s hobby to row me o’er the ferry. Cheaper transit. By easy stages. Houseboats. Camping out. Also hearses. To heaven by water. Perhaps I will without writing. Come as a surprise, Leixlip, Clonsilla. Dropping down, lock by lock to Dublin. With turf from the midland bogs. Salute. He lifted his brown strawhat, saluting Paddy Dignam.

(p. 99)

When they reach the cemetery, Bloom observes the coffin being removed from the hearse. He begins to contemplate mortality, the sheer number of people who die every day. He notes that Dignam got there before they did, implying both that the hearse arrived before the carriage and also that Dignam died before him and the others.

Coffin now. Got here before us, dead as he is. Horse looking round at it with his plume skeowways. Dull eye: collar tight on his neck, pressing on a bloodvessel or something. Do they know what they cart out here every day? Must be twenty or thirty funerals every day. Then Mount Jerome for the protestants. Funerals all over the world everywhere every minute. Shovelling them under by the cartload doublequick. Thousands every hour. Too many for the world.

(p. 101)

As the burial proceeds, Bloom’s thoughts turn very morbid as he envisions the rotting and decay of the bodies within the earth, of the rats and maggots eating the rancid flesh of the deceased. The images reminded me of Poe and Baudelaire. I also couldn’t help wondering whether this was symbolic of the general decay of humanity, whether Joyce viewed the world around him as rotting just as the flesh of the dead was rotting beneath the soil.

One of those chaps would make short work of a fellow. Pick the bones clean no matter who it was. Ordinary meat for them. A corpse is meat gone bad. Well, and what’s cheese? Corpse of milk. I read in that Voyages of China that the Chinese say a white man smells like a corpse. Cremation better. Priests dead against it. Devilling for the other firm. Wholesale burners and Dutch oven dealers. Time of the plague. Quicklime fever pits to eat them. Lethal chamber. Ashes to ashes. Or bury at sea. Where is that Parsee tower of silence? Eaten by birds. Earth, fire, water. Drowning they say is the pleasantest. See your whole life in a flash. But being brought back to life no. Can’t bury in the air however. Out of a flying machine. Wonder does the news go about whenever a fresh one is let down. Underground communication. We learned that from them. Wouldn’t be surprised. Regular square feed for them. Flies come before he’s well dead. Got wind of Dignam. They wouldn’t care about the smell of it. Saltwhite crumbling mush of corpse: smell, taste like raw white turnips.

(p. 114)

Finally, Bloom’s communication with the dead slips into the realm of necrophilia. Although he seems repulsed by these thoughts, you get the sense that there is a morbid fascination with the idea of sex with the dead.

The gates glimmered in front: still open. Back to the world again. Enough of this place. Brings you a bit nearer every time. Last time I was here was Mrs Sinico’s funeral. Poor papa too. The love that kills. And even scraping up the earth at night with a lantern like the case I read of to get at fresh buried females or even putrefied with running gravesores. Give you the creeps after a bit.

(pp. 114 – 115)

For those who are reading along, I will be looking at Episode 7 next, which concludes on page 150 with the phrase “if the God Almighty’s truth was known.”

---

 

Previous Posts on Ulysses:

Episode 1

Episode 2

Episode 3

Episode 4

Episode 5

Joyce’s “Ulysses” – Episode 5

Image source: Wikipedia

Episode 5 corresponds with Book 9 in Homer’s Odyssey, which tells of the lotus-eaters. According to Greek mythology, the lotus-eaters “were a race of people living on an island near North Africa (possibly Djerba) dominated by lotus plants. The lotus fruits and flowers were the primary food of the island and were narcotic, causing the people to sleep in peaceful apathy.” (Wikipedia) This episode of Joyce’s novel incorporates imagery of drugs, plants, and placidness.

Early in the episode, Joyce establishes the connection between flowers and drowsiness.

The far east. Lovely spot it must be: the garden of the world, big lazy leaves to float about on, cactuses, flowery meads, snaky lianas they call them. Wonder is it like that. Those Cinghalese lobbing around in the sun, in dolce far niente. Not doing a hand’s turn all day. Sleep six months out of twelve. Too hot to quarrel. Influence of the climate. Lethargy. Flowers of idleness.

(p. 71)

There are a couple interpretations for this passage. On one level, it implies that narcotic flowers, such as the opium poppy, cause persons to lose themselves in a drug-induced daze, essentially losing touch with reality. But I feel that Joyce is also associating sex with drugs, the flower representing a woman’s sexuality. It is easy to lose oneself in the pleasure of sexual ecstasy and to lose interest in the world around.

We discover in this episode that Leopold Bloom is engaged in clandestine correspondence with a woman named Martha and that these letters they are writing are sexual in nature. While Bloom has not consummated any physical intimacy with Martha, it is evident that she wants to take it to the next level. I couldn’t help thinking how if this scene was written today, they would be meeting in a chat room or sending emails to each other. What I found most interesting about this correspondence and what makes it important to this episode is the pen name that Bloom uses: Henry Flowers. There is the association between his real and assumed last names, both of which tie into the theme of the lotus-eaters. There is also a sense that Bloom is using these letters as an escape from reality. What Leopold and Martha share is an illusion, a distraction from what is actually happening.

According to Karl Marx, religion is the opiate of the masses. Joyce draws on this concept by adding a scene in which Bloom enters a church and then considers how some cultures would actually prefer real opium to the numbing religion offered by the church.

Same notice on the door. Sermon by the reverend John Conmee S. J. on saint Peter Claver and the African mission. Save China’s millions. Prefer an ounce of opium. Celestials. Rank heresy for them.

(p. 80)

After leaving the church, Bloom stops into a pharmacy. The pharmacy is depicted as an almost alchemical lab, where the chemist produces drugs, lotions, and perfumes all intended to induce a state of drowsiness and forgetfulness.

The chemist turned back page after page. Sandy shriveled smell he seems to have. Shrunken skull. And old. Quest for the philosopher’s stone. The alchemists. Drugs age you after mental excitement. Lethargy then. Why? Reaction. A lifetime in a night. Gradually changes your character. Living all the day among herbs, ointments, disinfectants. All his alabaster lily-pots. Mortar and pestle. Aq. Dist. Fol. Laur. Te Virid. Smell almost cure you like the dentist’s doorbell. Doctor whack. He ought to physic himself a bit. Electuary and emulsion. The first fellow that picked an herb to cure himself had a bit of pluck. Simples. Want to be careful. Enough stuff here to chloroform you. Test: turns blue litmus paper red. Chloroform. Overdose of laudanum. Sleeping draughts. Lovephiltres. Paragoric poppysyrup bad for cough. Clogs the pores or the phlegm. Poisons the only cures. Remedy where you least expect it. Clever of nature.

(p. 84)

The episode ends with Bloom in a bath. He is giving in to the narcotic state, his flaccid penis floating in the water being symbolic of the dull state of all mankind, having lost all virility.

He foresaw his pale body reclined in it at full, naked, in a womb of warmth, oiled by scented melting soap, softly laved. He saw his trunk and limbs riprippled over and sustained, buoyed lightly upward, lemonyellow: his navel, bud of flesh: and saw the dark tangled curls of his bush floating, floating hair of the stream around the limp father of thousands, a languid floating flower.

(p. 86)

Check back soon for my thoughts on Episode 6, which ends on page 115 with the line “How grand we are this morning.”

---

 

Previous Posts on Ulysses:

Episode 1

Episode 2

Episode 3

Episode 4

---

 

References:

http://www.sparknotes.com/lit/ulysses/section5.rhtml

http://en.wikipedia.org/wiki/Lotus-eaters

http://en.wikipedia.org/wiki/Opium_of_the_people

Joyce’s “Ulysses” – Episode 4

This episode corresponds with Calypso in Homer’s Odyssey. It is also where we first meet Mr. Leopold M. Bloom, the “hero” of Joyce’s novel. For those of you who need a refresher, “Calypso was a nymph in Greek mythology, who lived on the island of Ogygia, where she detained Odysseus for several years.” In this episode, it is Molly Bloom, Leopold’s wife, who symbolizes Calypso.

The episode begins with the giant letter M beginning the phrase “Mr Leopold Bloom.” One must assume that there is some symbolism here. It may be that the M represents that Part II of the book is the main or middle section (note that there are three parts). It may also represent Leopold himself, M being the first, last, and middle letter in his full proper name: Mr. Leopold M. Bloom. If you remember back to the first part, which began with a giant S, the main figure in that part was Stephen Dedalus, whose name also begins and ends with the oversized letter. And yes, there is another very intriguing interpretation for which I will abstain from sharing at this point until after we complete the book, since it ties in with greater themes and the overall structure which is better addressed later on. Anyway, something to keep in the back of your mind as you read the book.

As I mentioned earlier, Molly is the archetype of the nymph. She is depicted as very sensual and it appears that she is involved in a clandestine affair with Blazes Boylan. To add to this imagery of Molly, there is a painting above their bed of the Bath of the Nymphs and Leopold likens Molly to the naked nymphs in the painting.

The Bath of the Nymphs over the bed. Given away with the Easter number of Photo Bits: Splendid masterpiece in art colours. Tea before you put milk in. Not unlike her with her hair down: slimmer. Three and six I gave for the frame. She said it would look nice over the bed. Naked nymphs: Greece: and for instance all the people that lived then.

(p. 65)

Painting by Gérard de Lairesse

There is also some triple goddess symbolism in this episode. The triple goddess symbolizes the three stages of the female life cycle which combined form the Divine Feminine. The three stages are Maiden, Mother, and Crone. Leopold interacts all three aspects of the goddess. He encounters the Maiden at the butcher shop and silently lusts after your youthful beauty.

A kidney oozed bloodgouts on the willowpatterned dish: the last. He stood by the nextdoor girl at the counter. Would she buy it too, calling the items from a slip in her hand. Chapped: washing soda. And a pound and a half of Dennny’s sausages. His eyes rested on her vigorous hips. Woods his name is. Wonder what he does. Wife is oldish. New blood. No followers allowed. Strong pair of arms. Whacking a carpet on the clothesline. She does whack it, by George. The way her crooked skirt swings at each whack.

(p. 59)

The Mother aspect of the Goddess is obviously Molly. The Crone Leopold encounters after leaving the butcher shop.

No, not like that. A barren land, bare waste. Vulcanic lake, the dead sea: no fish, weedless, sunk deep in the earth. No wind would lift those waves, grey metal, poisonous foggy waters. Brimstone they called it raining down: the cities of the plain: Sodom, Gomorrah, Edom. All dead names. A dead sea in a dead land, grey and old. Old now. It bore the oldest, the first race. A bent hag crossed from Cassidy’s clutching a noggin bottle by the neck. The oldest people. Wandered far away over all the earth, captivity to captivity, multiplying, dying, being born everywhere. It lay there now. Now it could bear no more. Dead: an old woman’s: the grey sunken cunt of the world.

(p. 61)

On pages 64 and 65, there is discussion regarding metempsychosis, or the transmigration of the soul. Simplified, this is the Greek philosophical version of the concept of reincarnation, where the soul, being divine, continues to exist after physical death and can be reborn in a new physical form. As I read this section, which is too long to include here, I thought about how this ties in with the book. I believe that Joyce is implying that the soul, like an archetype or a trope, is destined to be resurrected as it migrates along the path of human existence. The souls, the symbols, and the stories that originated with Homer continue to be reborn and in Joyce’s case are manifest in his book. If I remember correctly from when I read this book 20 years ago, I think this is a theme that recurs throughout the book.

I want to end this post by saying that I found this episode to be pretty funny. There are lots of sexual puns woven in, which work well with the episode’s theme of the nymph. For example, there is the image of the woman “whacking it” that appears in one of the previous quotes. Another example is when Molly makes a sexual joke about someone’s name.

—Yes. Get another of Paul de Kock’s. Nice name he has.

(p. 64)

For those of you reading along, next week I will cover episode 5, which ends on page 86 in my version with the phrase: “…a languid floating flower.” Read on!!

---

Previous Posts on Ulysses:

Episode 1

Episode 2

Episode 3

---

References:

http://en.wikipedia.org/wiki/Calypso_%28mythology%29

http://www.sparknotes.com/lit/ulysses/section4.rhtml

http://en.wikipedia.org/wiki/Triple_Goddess_%28Neopaganism%29