The Backgrounds of Ulysses Author(s): Richard Ellmann Reviewed work(s): Source: The Kenyon Review, Vol. 16, No.

3 (Summer, 1954), pp. 337-386 Published by: Kenyon College Stable URL: http://www.jstor.org/stable/4333502 . Accessed: 12/03/2012 04:18
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THE
Vol. XVI

KENYON
SUMMER,

REVIEW
1954 No. 3

Richard Ellmann

THE BACKGROUNDS OF ULYSSES

1. The Artist's Otvwn Body

WHEN BritishBroadcasting the Companywas preparing

to present a long program on Joyce, its representatives went to Dublin and approached Dr. Richard Best, sometime director of the National Library, to ask him to participate in a radio interview. "What makes you come to me?" he asked. "What makes you think I have any connection with this man Joyce?"

"But you can't deny your connection,"said the men of the

B.B.C. "After all, you're a characterin Ulysses." Best drew himself up and retorted, "I am not a character in fiction. I am a living being." The incident is a warning. Even with a roman a' clef, which Ulysses largely is, no key quite fits. Art, more cavalier even than time, lavishes on one man another's hair, or voice, or bearing, with shocking disrespect for individual identity. Like Stephen in the Circe episode, art shatters light through the world, destroying and creating at once. So, when Dubliners asked each other in trepidation after the book appeared, "Are you in it?" or "Am I in it?" the answer was hard to give. A voice sounded familiar for an instant, a name seemed to belong to a friend, then both

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recededinto a new being. As Finneganls Wakeremindsus, "The traitsfeaturingthe chiaroscuro coalesce,their contrarieties eliminated,in one stablesomebody." Even the personages who retain their actual names, like Dr. Best himself, are often altered;so Best is depictedas saying ceaselessly, "Doni'tyou know"' not becausethis was one of his expressions, which it was not, but becauseit seemedto Joyce,still pique(dat Best'srefusalto lend him money in Dublin, the sort of expressionthat Best slhould have used. Still Joycebelieved,as he said in his earlyessayon-Mangan, life that the artistshould take into the centerof his intenise the life that surrounds hiecould then fling it abroadagain "amid it; music."Stephen's planetary theoryof the artistin the Portrait of the Artistas a YoungMan, that he is "like the God of the crea"withinor behindor beyondor abovehis handition,"remaining work, invisible,refinedout of existence,indifferent,paring his is fingernails," perhapsa reflectionof the Nietzscheanphase described himselfas "James Overduringwhich Joycefacetiously "Toothman,"only to be outdoneby Mulliganwho callsStephen, It less Kinch the superman." is much more aloof than Steplhen's a of theoryin Ulysses;there he fabricates hiistory Slhakespeare's psychological developmentchieflyfrom the evidencefurnished conby the plays and the poems.Even in the PortraitStephen's tention lha(d beeinsomewhatqualifiedby Lynch'ssardoniccomment, "Tryingto refinethem [tlhefingernails]also out of existence,"to whiclhStephenmakesno reply.But in UlyssesSteplhlen determines from the evidenceof VenusanidAdoniis that Shakespearewas seduced Anne Hathaway; by from the gloomyRichard III an(l King Learthat An-ne betrayed husbanid her witlhhiertwo brotlhers-in-law Richard an(d Edmund, wlhose names Slhakespeare accordinglyattributedto his villains, and from the late plays that the birth of a granddaughter reconcile(l Shakeslha(d peare to his lot. This theory, whiclh according friendsJoycetookas seriously to

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as Stephen,suggeststhatwe shouldlook in Ulyssesfor more than an impersonaland detachedpictureof Dublin life; it hints at what is, in fact, true, that nothing has been admittedinto the Like Shem and bookwhich is not in someway personal attached.

inchof the "wrote overeverysquare in Finnegans Joyce Wake, subhis available, own body,till by its corrosive only foolscap slowly unpresenttense integument limationone continuous fromhis own (thereby, said,reflecting he foldedall . . . history human life to . person unlivable,.. common all flesh, individual God,the artistis its of Instead beingcreation's only,mortal)." squid,his worka secretion. of whom WilliamBlakechased The daughters memory, although regular employment, from received Joyce fromhisdoor, of fabled," His he speaks themdisrespectfully. workis "history as and but not onlyin the Portrait in Ulysses his otherwritings ex what well. He wasnevera creator nihilo;he put togetlher he most and remembered, lheremembered of whathe had seenor The was, otherpeople remember. lattercategory in a hiad heard a citygivenoverto anecdote, largeone.His art,as the following and was transposition to pagesattempt demonstrate, a continual of For the in re-compositionknownmaterials. example, scene the two in described thePortrait classroom telescopes lectures, physics whichtookplace monthls and oneon electricity oneon mechanics, by remark, inspired the lecturer's whispered Moynihan's apart. of balls, "Chaseme, ladies,I'm in the discussion ellipsoidal was cavalry!" in fact madeby a youngman whosenamewas In but not Moynihan Kinahan. the sameway,as Mr.J. F. Byrne the memoir, long scenewith the us informs in his interesting and Hero happened in of director studies the Portrait Stephen
not to Joycebut to him; he told Joyceof it sevenyearsafter the

how his innocent to event,and was laterdispleased discover of lightinga fire had beencondescription the deanof studies relations of strained with the into a reflection Stephen's verte(l Church. Catholic

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The stylizationof Joyce'syouth in StephcnHcro and the Portraitproceedschieflyin three ways. Some changesare artisticallyalmostgratuitous, Joycefeels compelledto make them but to sparehis own feelingsor those of his family. Just as he had turnedhis fatherinto his unclein the firsttwo stories Dubliners, of he made the death of his brotherGeorgein 1902 into the death of a sisterwhom he called Isabel.The painfulness exactlyreof countingthe death of George,of whom he was very fond, was relievedby the changeof person. But the main waysof stylizinghis earlylife were by darkening and intensifyinghis youthfulstrugglewith the Church,and by deepeninghis isolationfrom others.StanislausJoycepoints out that his brotherwould sometimescounsel him to go easy with his rebellionagainstthe churchso as not to stir up a fuss; is this moderation not at all what we would expectfrom the passionateStephen.It is likely that Joycepassedmore quicklyfrom revoltto indifference than he has allowedStephento do. religious The isolation of Stephen from his classmatesis a steady process.A good example is his conversation StephenHero in is a rabidfeminist,and Stephen,we MacCann with MacCann. are told, "delightedto riddle MacCann'stheories with agile bullets."And so we have this dialogue:
-You would have no sphere of life closed to them [women]? -Certainly not. Would you have the soldiery,the police, and the fire brigade recruitedalso from them? -There are certain social duties for which women are physically unfitted.

MacCann's theoryis certainlyriddled,but it must be said that conversation could not reallyhave taken place in this form. this The original of MacCann,a man named Francis Skeffington was an extremely clever debater, (later Sheehy-Skeffington), for his skill in extricatinghimself from tight verbal known

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as He situations. had strongviewsaboutpacifism well as women's rights, and would inevitablyhave answered Joyce, as he did others,that thereshouldbe no soldieryor policeforce.But Joycc wishes to presentStephen as forever triumphantin argument, him from the tawdryworld of his fellows.This and to sequester sort of self-idealization pervadesthe Portraittoo; it combatsthe of by view which, spurred someremarks Joyce,has latelybecome and steadily ironic in his current,that he was unsympathetic in attitudeto Stephen.Mostof the alterations the facts are 'inhis own favor. While the officialdate for the beginningof Ulyssesis 1914, in Joycetold GeorgeBorach Zurichthat he had beenpreoccupied from the age of twelve. It was then that he with the Odyssey first read CharlesLamb'sTales of Ulyssesat BelvedereCollege. or The use of mythicalmaterialas a background parallelmust have been in his mind from the time when, in the summer of 1904, he signed three storieswith the name "StephenDaedaof lus."Conscious how the adoptionof this name and its implied novel, would stylize the hero of his autobiographical character he must have quickly begun to feel his way towardsanother mythologicalfigure to complement Stephen. By the autumn abouta new storyin his of I906 he writeshis brotherStanislaus The story was never written; on head, to be entitled "Ulysses."
February6, 1907, he tells Stanislaus that " 'Ulysses' never got any

forrarderthan the title." From the evidence of Joyce'sdiary

which Gorman prints, it is likely that the story was intended to

in include some of the materiallater incorporated the Aeolus that to was episode.Its abandonment due, perhaps, his discovery Borach(in J. T. Prescott's he had material a novel.As he toldt for about half of the translation),"In Rome, when I had finislhed Portrait,I realizedthat the Odysseyhiadto be the sequel,and I The way that the books led into each began to write Ulysses." which pagesof the Portrait, otheris suggested some discarded by overlapthe materialof Ulysses,but are writtenin the discursive

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style appropriate the earlierwork. to JoyceevidentlyreadHomercarefully between1907 and 1914,

and renewed his old enthusiasm. The Odyssey, he said to Borach, is "the most beautiful, all-embracing theme. It is greater, more hiuman than that of Hamlet, Don Quixote, Dante, Faust. Conscious of the fact that he was at the heiglht of his creative powers, he rcmarked, "Now niel mezzo del camn imm I find the subject of Odysseus the most human in world literature.Odysseus didn't want to go off to Troy; hie knew that the official reason for the war, the dissemination of the culture of Hellas, was only a pretext for the Greek merchants, who were seeking new markets. When the recruiting officers arrived, he happened to be plowing. He pretended to be mad. Thereupon they placed his little two-year-old son in thle furrow. In front of the child he halts hiisplow. Observe the beauty of the motifs: the only man in HIellaswlho is agaiinstthe war, and the father."Already he had found two themes of grcat importance in his own work, antian(1 family love. He was also very pleased to find in iimilitarism of on the researclhcs Clrisitiani of B6rar(d the hiistoricity the Odyssey that B'rard confirmedtlhisownI guess, wlicih was that Homer was in his descriptionsa naturalistic rathierthanifanciful writer, that Scylla and Charyb(is, (irce's isle, and all the other ports and OL)stacles encountered by Ulysses were real places. His classical parallel became so inevitable to him, the more he studied his material, tlhat,instea(l of his being a new Homer, Homer became almost a prefigurationof Jovce. Since the action of Ulysses is depictedlas having taken l)lace fifty years ago, on June i6, 1904, some have assumed that Joyce virtually excluded from his mind all that he saw after leaving Dublin in the autumn of 1904. While the assumption does credit to the book's verisimilitude,it is an error. Ulysses includlesa great deal that he came upon later. For example, the discussion in the library office is based mainly upon a lecture on Hamlet which Joyce gave in Trieste in 1913. There is mention in this episodie

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of of Freud's"Viennese school," which in 1904 no one in Dublin had heard, and of Karl Bleibtreu's theory that Rutland wrote Shakespeare's plays,of which Joycefirst heardin Zurichduring the firstWorld War. He was evidentlyso struckby the name of as Bleibtreu(whom he met) that he gives "Bliebtreustrasse'' a Berlinaddress a handbillpickedup by Bloom. on In Dublin Joycehad known nothingof Vico, but in Trieste he read both Vico and Croceon Vico. So Croce'sre-statement, "Mancreatesthe humanworld, createsit by transforming himself into the factsof society:by thinkingit he re-creates own his creations, traverses over again the pathshe has alreadytraversed, reconstructs whole ideally,and thus knows it with full and the trueknowledge," echoedin Stephen's is remark Ulysses: in "What went forth to the ends of the world to traverse itself. God, not the sun, Shakespeare,a commercial traveller, having itself traversed realityitself, becomesthat self. . . . Self which it in itself was ineluctably to preconditioned become.Ecco!"Nor can it be assumedthat Stephen'sknowledge of Thomas Aquinas, whosework he paraphrases the Proteusepisode,derivedfrom in the anthiology Aquinas which Joyce had picked up on the of Dublin quays; Joyce studied him intensivelyin I913, just as,

in

I919,

he spentseveral monthsin "working embryology up"

for the Oxen of the Sun episode. Not only the intellectualstructure Ulyssesis affectedby of his later knowledge.The clutterof everydaylife is often anachronistic, sometimesdeliberately In 1904 John MacCormack so. was only slightly known, but Joyce pays his old friend the of courtesy making him alreadyfamous.He becameacquainted with J. B. Pinker,the literaryagent, in I9I5, when Pinker was his very helpful to him, and he acknowledges servicesby mentioning his name. Joycewould hardlyhave includedAlessandro Volta'sname in his book if he had not attempted,in I9o9, to found the Volta Theatre in Dublin. When he dated George Moore'spublic conversionfrom Catholicismto Protestantism

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in 1904, Joyce probably knew, and did not care, that he was pre-

dating the event by five years. On the other hand, he is probably unintentionally a little inaccurate in putting a skating rink into Dublin in 1904, for the first one was started in I906. But if he had known the precise date, he would probably have done it anyway. An amusing use of later information is Bloom's advocacy of the Poulaphouca reservoirscheme, which, as Joyce knew, was later adopted, and his prediction that Nannetti would be Lord Mayor of Dublin before long, as indeed he became in I9o6. For the main body of his work Joyce of course relied chiefly upoll the incidents and conversations that he caught up from his first twenty years, spent almost continuously in Dublin, and from three later visits, two in I909 and one in 1912. Certain comic material was ready at hand, and, in thinking back upon his native city, he prepared his great convocation of the city's eccentrics. There was Professor Maginni, the dark, middle-aged dancing-master of North Great George's Street. Everyone knew hiis costume of tailcoat and dark grey trousers, silk hat, an immaculate higlh collar with wings; a gardenia in his buttonhole, spats, and a silver-mounted, silk umbrella in his hand; and his mincing step was familiar all over Dublin. There were also Mrs. McGinness the pawnbroker, who walked like a queen, and the five Hely's sandwichmen, each bearing a letter of the name; there was "Endymion" Farrell, who carried two swords, a fisiing rod, and an umbrella, wore a red rose in his buttonhole, and hiadupon his head a great bowler hat with large holes for ventilation; from a brewer's family in Dundalk, it was said that lhe had fallen into a vat and never recovered. Then there was the one-legged beggar known as "The Blackbird"who used to sing his and to curse undLer breatlhif he got nothing for it. Finally, there was Michael Cusack, the founder of the Gaelic Atlhletic As';ociation, wlho wouldl come into a pub and pound witlh his lheavy blackthlornon the counter, shouting at the waiter, "I'm Citizen Cusack from the Baroniy Byrne in the County of Clare, of

ELLMANN RICHARD

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were introduced you Protestant dog!"Wherethe othercharacters chiefly to salt the scene, Joyce saved Citizen Cusack for the importantrole of the Cyclops. Less known than these,but familiarto Joyceor his family, FatherJohnConwas a clusterof othercharacters. rewarded He mee for his kindnessto him at ClongowesWood College,where Conmeewas rector,by a benevolentportraitof the old man in

the Wandering crony, Rocksepisode.A more questionable who "Lord" JohnCorley, asksStephen money, a policefor was man'sson whomJoycehad already madeuse of in "TwoGalas was lants." Ironically, Corley delighted, Stanislaus affirms, Joyce WhenMollyBloom to hearthatJoyce usedhimin hisbooks. had objectsto the singingof Kathleen Kearney, name is not the drawnfrom nowhere, is a modification that of Olive but of who on Kennedy, appeared a concert program Joyce 1902 with in andwasthesinger hisstory, Mother." in "A Other names brought up by Mollyhada similar basisin fact;Tom Devan's sons two and werefriends the Joyces, ConnieConnolly the sister of was who together and Vincent formmuchof of Albrecht Connolly, in called thecharacter Even "Heron" thePortrait. thedogGarrybarks bites,but belonged a and to owenis not madeup of stray greatgrandfather Joyceon his mother's of side, whom Gerty identifies "Grandpapa MacDowell as accurately Giltrap." find To some of his characters Joycewent amongthe dead, the best example beingPisser Duff,whosenamehe delicately altered to Pisser Burke. Duff lookedharmless, wasa veryviolentman but who hung aroundthe markets, brushing down horseswhile drank pubs. wasbeaten deathby thepolice at He theirowners to
in GardinerStreet about I892, but Joyce evoked him to be a

vicious of friendof the equally narrator the Cyclops episode. Joycebuilt his art upona rock,and the rock was reality,
which he understood with deliberate naivete as a collocation of

Both what Blakecalled"minuteparticulars." Stephenand Bloom

profited fromthemagpie quality theirprogenitor. experiof The

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ences of Joyceon this June day have been telescoped. and He Gogartyhad takenthe Martellotowerat Sandycove, he had and a position at the Clifton School in Dalkey. In order to make June i6 a climacticday in Stephen'sexperience, Joycehas him
quitting both the tower and the school on that day. In reality,

like lessermen, hiefinishedout the schoolterm,which continued until later in June. The other details of the first episode are equallycompoundcd fact and fiction.Gogartyhad invitedan of born in England, named Samuel Chenevix Anglo-Irislhman,
Trenchi,to stay at the tower with him and Joyce,an(l Joyce foun(d

Trench repulsive,not least becauseof his recurrentnightmare abouta blackpantlher. One night Gogartyaddedto Joyce's irritationand friglht secondingHaines'scrieswith shotsfrom his by own gun directedat the panshangingaboveJoyce's head. Joyce, saysGogarty,got up and dressedanclneverreturned. The black but lanther duly makes his appearance, the deliberate changes are more impressive. suit his artistic needs Joyce converts To Trenclh into "Haines," pure-blooded a whose folkEnglishman,
lorist interest in Ireland then seems even more patronizing, an(d

who can stanid the conqueror Mulliganis made to stand for as for Ireland'sgay betrayer. emphasizethe contrastbetween To and Steplhen Mulligan,JoycemakesStephena hydroplhobe, when in fact he himselfswam often and greatlyenjoyedthe forty-foot bathing place by the tower. And to accentuate Steplhen's senise of guilt hiegiveshim the bittermemoryof havingrefusedto pray it for his motheraltlhough was her (leath-bed wish, wlhenin life uncle.' Joycehiadrefusednot his mother,but his overbearing to Joyce'sresemblances Bloom are more surprising. When he was six yearsold, he was sent away from his Brayhome to begin sclhool Clongowes.At Bray hiisbest friend was Eileen at
1. Jovcc's accuracy is usually so comlpletcthat two variations in the cpisode may be
nmentionedi; (nc is that the rcntal of the tower, paidl to the secrctary of state for war,

was nine rather than twel%cpoun(ls; the other that Bray Head cannot be seenl from the Martcllo tower.

RICHARD ELLMANN

347

Vance, whom, as he asserts with historical accuracy in the Portrait, everyone thought he would marry. Eileen's father sent the young Joycea valentine purporting to come from her, which read,
O Jimmie Joyce you are my darling You are my looking-glass from night till morning I'd rather have you without one farthing Than Harry Newall and his ass and garden.

Harry Newall was an old cripple who drove around Bray with donkey and cart and begged; when a child was naughty, he was told, "If you don't behave, I'll give you away to Harry Newall." Joyce took out this crude irony and put the valentine into Ulysses, where Bloom remembers having sent it to his daughter Milly:
0, Milly Bloom, you are my darling. You are my looking glass from night to morning. I'd rather have you without a farthing Than Katey Keogh with her ass and garden.

These resemblances extend to names mentioned casually. The Joyce family employed for a time a charwoman, Mrs. Fleming; in Ulysses she works in a similar capacity for the Blooms. The name of the Joyces' midwife was Mrs. Thornton, who delivered Joyce himself; it is she who is credited with having delivered both the Blooms' children. Joyce was born at Brighton Square, and the Blooms lived there shortly after their marriage. While at Belvedere Joyce took part in a dramatized version of Anstey's Vice Versa, a play which may have put the father-son theme in his head; Bloom also claims to have acted in this when a boy, although not in the same role. Both Joyce and Bloom took out books from the Capel Street Library,and both of them wrote themes, while at school, on the subjects of "My Favorite Hero" and "Procrastination Is the Thief of Time." They shared an admiration for the poetry of Byron, and Bloom gave Molly a copy of his works when he was courting her.

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Such personal associationsdo not stop with Joyce. Over the

whole of Ulyssesbroodsthe mocking spirit of his father. John Joycc,or Jack Joyceas he was called, had an extraStanislaus and skill as singerand as raconteur, both his songsand ordinary his storiesappearin Ulysses.He was alwaysvery proud of his eldest soIn,but never gratifiedhim by commentingon any of afterreceiving remarkto a daughter, his books;he did, hlowever, But "He'sa nicc sortof blackguard!" as Joycetold Louis Ulysses, Gillet when his father dicd in 193I, "He never said anything about my books, but he could not deny me. The humor of Ulyssesis lis; its people are lis friends;the book is his spitting
image." Superficially Jack Joyce is treated sharply as Simon Dedalus. Stephen continually denies that Simon is in any real sense his father, although Joyce himself hiadno doubt that he was in every way his father's son. Jack Joyce'sintolerance of his wife's family receives considerableemphasis; he did, in fact, regularly use John and William Murray, his two brothers-in-law,as targets of satire. William had been indiscreet enough on one occasion to call his daughter, "Papa's little lump of love," and Jack Joyce wickedly re-phrasesthis as "papa'slittle lump of dung." He also delights in parodying his brother-in-law'sinsistence that his children call him "sir."William Murrayappearsin Ulysses as Richie Goulding, costdrawerfor Goff and Tandy, that is, billing clerk for the wellknown solicitors'firm of Collis and Ward. The power of spccch of the narratorof the Cyclops episode also derives in part from Jack Joyce, who was, like the narrator, a "collector of bad and doubtful debts" during the time that he served as a rate collector; as such, he had the same knowledge of the private lives of everyone in Dublin which the narrator displays. The episode is full of Jack Joyce'sexpressions,as when, in the end, Bloom's apotheosis takes place "like a shot off a shovel." But Jack Joyce was a much kinder man. Several of his favorite stories appear prominently in his son's

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writings.Two of them are toldland re-toldin Finniegans Wake, he although,as JamesJoyceremarked, was nevercertainthat he had told them as well as his fatherusedto. One dealtwith a tailor who madea suitof clotlhes a hunchbacked for Norwegiancaptain; the captainwas entirelydissatisfied accusedthe tailorof misand shapingthe suit, while the tailor witlh equal vociferousness denouncedthe misshapenback of the captainas impossibleto fit. Thoughthe subjectseemsan unlikelyone, the exchanges became verybitterand verywitty.The secondstoryhad to do with Buckley and the Russiangeneralduring the CrimeanWar. Buckley, had an Irishmanfighting with the Britislh, drawn a bead on a Russiangeneral;the latter,all unawareof his danger,let down his trousersto defecate.The sight of his enemy in so helpless, a human, and extranational plight was too much for Buckley, who could not bring himself to shoot. On one occasionin the Joycehousehold,as Judge Eugene Sheehy recallsin his (deliglhtful autobiography, Jack Joyceread from the Freeman's the obituary noticeof a dear friend, Journal Mrs.Cassidy. Mrs. Joycewas shockedand criedout, "Oh! Don't tell me that Mrs. Cassidyis dead.""Well, I (lon't quite know aboutthat,"repliedJackJoyce,"butsomeonehastakenthe liberty of buryingher."In the Cyclopsepisode,when Paddy Dignam's " Alf deathis mentioned, Berganexclaims, 'Dead!He is no more dead than you are.' 'Maybeso,' says Joe. 'They took the liberty of buryinghim this morning anyhow.'" Another Jack Joyceanecdoteis used to good advantagein the Eumaeusepisode.He would tell how, when he was a rate collector,he was obliged to attend the levees in Dublin Castle. On one occasiontherewas a masquerade ball, and for a lark he went dressedas a Britishofficer. The jarveywho drovehiimin a cabto the castlewas expectinga tip befittinghis passenger's rank, but JackJoycegave him the minimum."Holy Jaysus," said the jarvey,"and I thought I lhada real officer!" "And so you have, my man,"said JackJoyce,refusingto be intimidated. have," "I

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one." saidthe jarvey,lookingat the coin in his fist, "a cotton-ball In the cabman's shelterin Ulyssessomeonesaysof Kitty O'Shea,
Parnell's mistress, "'Her husband was a captain or an officer.'

'Ay,' Skin-the-Goat amusinglyadded. 'He was, and a cottonball one.'" The narrativethread of Ulysseswinds in and out among there, friendswho areprominent the Joycecircle.Of JackJoyce's the mostimportant MatthewKaneand Ned Thornwereperhaps ton. Kaneappears, his initialssuggest,as MartinCunningham, as althoughJoycecovershis tracksa little by namingKane himself livedopposite Joyces North the on as dead.Thornton,a tea-taster, RichmondStreetduringthe I890's; he was the fatherof Eveline for whom the story in Dublinersis named, and he is also the not hero of "Grace," althoughthe fall in the bar thereoccurred whom Joyce brother, to Thorntonbut to JackJoyce.Thornton's (as modelfor the character Jack met only once,was the principal Joycewas for the eloquence)of the Cyclopsnarrator. fictionalname,Kernan,is probably derivedfrom Thornton's that of anotherof the Joyce'sneighborson North Richmond McKernan's daughter,Susie, was lame, and Street,McKernan. she becomes episode,the name GertyMacDowellin the Nausicaa to MacDowellbeing chosennot only becauseof its resemblance but a McKernan, because familyof that namelived on the North Strandnearthe Starof the Sea Church.In Ulyssesone of Gerty's friendsis CissyCaffrey, the nameof Cissycamefrom another and RichmondStreetgirl, CissyLoane.A secondfriend of Gertyis a Edy Boardman,who represents curiouscombinationof two When GertyMacneighborchildren,Eily and EddieBoardman. Boardman's Dowell is said to be jealousbecauseof Edy vanity over "the boy that had the bicyclealwaysriding up and down that Eddie Boardin front of her window,"Joyceis recollecting becausehe had the man was famous through all Drumcondra first pneumatic-tired bicycle in the neighborhood;boys came to from everywhere see it. But when he has Gertysay of the boy

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on the bicycle,"Only now his father kept him in the evening studyinghard to get an exhibitionin the intermediate that was on and he was going to Trinity College to study for a doctor ... .," he has his own assiduity, famouson North Richmond Street,in mind, as well as his briefpassageas a medicalstudent in 1902. JoycehonoredNorth RichmondStreetaboveany other Dublin thoroughfare combingit house by housefor material. by By weightinghis work with innumerable specificdetails,he won his freedomto re-compose them as he liked. The stubbornness with which he refuses to invent at first seems startling. Where, for example,does he get the advertisement, "What is home without Plumtree'sPotted Meat? Incomplete"?It is an improvedversionof a familiarslogan,"Life without Beacham's [Liver] Pills Is Mere Existence."'Where does he obtain the name of Mrs. Purefoy,the lady whose labor pains end in the Oxen of the Sun episode with the birth of a boy? The name comes,appropriately enough,from Dr. R. Damon Purefoy,who in 1904 was Dublin'sleading obstetrician; was noted for the he
2. Among many instances of the use of popular lore may be mentioned two songs which pass through Bloom's mind. The first ran: "Oh, oh, Antonio, He's gone away, Left me on my ownio; I'd like to meet him With his new sweetheart When up would go Antonio And his ice cream cart." It was taken up in a second song: "Has anybody here seen Kelly? Kay ee double ell wy? Has anybody here seen Kelly? Find him if you can. He's as bad as old Antonio, Left me on my ownio, Has anybody here seen Kelly? Kelly from the Isle of Man?"

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horseharnessed speedwith which his smartcar, its fast-trotting could go through the crowded streets. Or American-fashion, lettersfrom H. Rumwhere does Joyce find those remarkable quotedin the Cyclopsepisode,in which Rumbold bold, barber, Here the answeris more inhis advertises skill as a lhangman? friend,Alf Bergan,was at one time assistant volved.JackJoyce's of to the sub-sheriff Dublin, Long John Clancy,whose name is thinly disguisedin Ulysses as Long John Fanning. Hangings were rare in Dublin, and Clancy had no taste for the job of hiring a hangman.So hie called in Berganand announcedhe in was going to London, and would leave all the preparations Bergan'sreluctanthandls.Bergan,who delighted to retell the named lettersfroman Englishbarber storyin lateryears,received offeringto do the job on his way backfrom a holiday Billington, the in Ireland.Joyceremembered gist of the lettersand used it, afterSir Horace nameto H. Rumbold but he changedthe barber's in Rumbold,BritishMinister Bernin I9I8, againstwhom he had a grievance.Two other Britishdiplomaticemployeesby whom he was incensedin Zurich,A. PercyBennett,the consul-general at there,and a man named Henry Carr,are immortalized the name is given to one of the two end of the Circeepisode:Carr's soldierswho beat up Stephen, and Private Carr discusseshis way. superiorofficer,Bennett,in the most disrespectful art. Joyce's He forged Fact then, ratherthan fancy,liberated new creaturesout of old ones. In "The Dead," for example, from whom Curran, GabrielConroyis a mixtureof Constantine and sometling of the manner,of Joyceborrowsthe complexion, JackJoyce,who used to carvethe meat and make the speechat at the annualaffairsgiven by Joyce'sgreat-aunts I5 Usher'sIsland; and of Joyce himself, who wrote reviews for the Daily Irelandin favor and disparaged Express,a unionistnewspaper, of the continent.Miss Ivors,who reproveshis lack of national on feeling, is based partly,in her dress and convictions, Kath-

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leen Sheehy,whose character was howeverquite different.Both Curran and Joycemarriedwomen from the west of Ireland;but it was Nora Barnacle Joycewho remembered "TheLassof Aughrim" and connectedit with her Galway sweetheart,"Sonny" Bodkin (whose realname,MichaelBodkin,Joycedeftly changed to MichaelFurey). When Joycecame to Galwayin 1912, one of his first questionswas about the words of this song, which he afterwards frequentlysang.3 It might be supposedthat GabrielConroywas, in its combinationof a religiousand an Irishname, a cleverduplication of Constantine Curran;it is this, but Joyceis more naturalistic still; it was also the name of a publicanon Howth. So he wove and unwove his personages and plots in all his works, even in Finnegans Wake, where Shem and Shawn are partlyJamesand his
brother John Stanislaus Joyce, and partly otlier sets of counter-

but partswhom Joyceknew in life or literature; they are also the namesof two feeble-minded North Strandhangers-on, Jamesand John Ford, famousfor their incomprehensible speechand their shufflinggait, whose only occupations were bringingthe hurley stickson to the field for the hurleyteams,and carryingtwo of The factual foundationis many layers Hely's sandwich-signs. thick.
3. Three verses of "The Lass of Aughrim" were approximatelyas follows: "If you be the lass of Aughrim As I am taking you mean to be Tell me the first token That passed between you and me.

O don't you remember

That night on yon lean hill When we both met together Which I am sorry now to tell. The rain falls on my yellow locks And the dew it wets my skin, My baby lies cold in my arms, Lord Gregory, let me in...."

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II. The Uses of Parody and Imitation At the heart of Joyce's genius lies a talent for imitation and for parody. One of the best examples is his transmutation of a letter from Henry Blackwood Price to William Field, M.P., into the letter which Mr. Deasey asks Stephen to try to get published for him in the Dublin newspapers.Price wrote from Austria:
Dear Sir- I have this morning received from my friend, Professor Joyce,a letter in which he gives me your address.I thereforelose no time in giving you all the particularswith which I am acquainted,as to the treatmentof foot-and-mouthdisease in this Province of Austria. I must premisethat I am an Irishmanwithout politics,except a sinceredesire to serve my country with any means in my power, and as far as I can in a practicalmanner.Many yearsago I was in County Meath when there was a severe outbreakof foot-and-mouth disease. Then, as now, all affected beastswere destroyed.I was surprisedlast autumn to learn that a case of this diseasewas curedin eight or nine days, not half a mile from my house. When therefore I learned that the outbreaks in the British Isles had assumedso vast a proportionI determinedto do the best I could to bring the method of cure, adopted in Styria, to the knowledge of my countrymen. I will not waste time in enumeratingall the railway journeysI have taken, or the lettersI have written on the subject,but will as brieflyas is consistentwith clearness, you in possession all I know with reference put of to the method of treatmenthere. The methods adoptedin Austria are by a serum of inoculation, which is brought here from Berlin. There are varying opinions among the VeterinaryAuthoritieshere as to the efficacy of this remedy. In any case it deservesa trial in Ireland.The case in the Alpine village where I live was treated, I believe, exclusivelywith Pyoktanin as a disinfectantfollowed by tannic acid. I sent on the gth inst. a registeredletter to the County VeterinarySurgeon for the County Down (where I was born) giving him full particulars.. . . I did the same to Mr. Runciman,Ministerof Agriculture,on the 7th instant. ... On the ioth instant I wrote to the Departmentof Agriculturein Dublin at their request,in answerto an offer on my part to give them information as to the Styrian mode of treatmentof foot-and-mouth disease. Sufficient time has not yet elapsed to allow of my having any reply or acknowledgment.
..

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I hope you will not regardme as an enthusiastwho imagines that he has found a specificfor this disease.I do not go so far as that, but I say that in the hands of expericncedveterinarysurgeons Pyoktanin is, in an enormouspercentageof cases, absolutelysuccessfuland, therefore,saves a
great deal of money to the cattle owners.
. .

. There are two points in

this questionwhich should not be lost sight of. First, the cure may be quite successfulin the case of the Murzthaleror the Murthalerbreeds,the two breeds which are here best known, and yet with shorthornsand higher bred cattle less successful.Anyway, it should have a trial in Ireland.... Second, a great deal dependsupon expcriencedveterinarytreatment.I am in almost daily communicationwith three gentlemen who have had great success.. . . They are all three quite ready to go to the British isles without pay. . . . Herr E. Boehine . . . is now looking after some cases of diseasenear the Emperor'sshooting lodge at Murzsteg.... foot-and-mouth I have absolutelyno interest of a personalnature in this matter. My friend, Mr. Jas.Joyce,will tell you I am not that sort. -I am, sir, yours faithfully, Henry N. BlackwoodPrice, M.I.E.E.

of Joyce'sremarkablere-creation this letter comes in the Nestor episode:

-I have put the matter in a nutshell, Mr. Deasy said. It's about the foot and mouth disease.... May I trespasson your valuablespace. That doctrine of laissez faire which so often in our history. Our cattle trade. The way of all our old industries. Liverpool ring which jockeyed the Galway harbour scheme. Grain suppliesthrough the narrow waters of the Europeanconflagration. of channel. The pluterperfectimperturbability the department of agriculture. Pardoned a classicalallusion. Cassandra.By a woman who was no betterthan she should be. To come to the point at issue. -I don't mince words, do I? Mr. Deasy asked as Stephen read on. Foot and mouth disease. Knock as Koch's preparation.Serum and virus. Percentage of salted horses. Rinderpest.Emperor'shorses at Miirzsteg, lower Austria.Veterinarysurgeons.Mr. Henry BlackwoodPrice. Courteousoffer a fair trial. Dictates of comnion sense. All important question. In every sense of the word take the bull by the horns. Thanking you for the hospitality of your columns.

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I want that to be printed antd read, Mr. Deasy said. You wvillsee at the next outbreak they will put an embargo oni Irish cattle. And it canl 1be cured. It is cured. My cousin, B3lackwoodPrice, writes to me it is regularly treated and cured in Austria by cattle doctors there. Thcy offcr to comiie over here. I am trying to work up influence with the department. Now I'm going to try publicity. I'm surrounided by difficulties, by . . intrigucs, by . . backstairs influence, by . . . -I wrote last night to Mr. Ficld, M.P.

The real Mr. Deasy was Francis Irwin, wlho lhad the Clifton School at Dalkey. This school was closed at the end of the tcrm in 1904, because the owner of the buildings andl grounds was unwilling to put up with Irwin's clhronicdrunkenniess.Joycc hias entirely suppressedthis aspect of Irwin's charactcr;he lhasturnied him from an alcoholic into a Polonius. Deasy's references to Helen of Troy as "a woman no better than she shoultdbe," is later ma(le to seem singularly appropriateto a man wlhose wife has left him a "grasswidower"; but the real Irwin was a bachelor who lived with an elderly sister. Joyce altere(dthe facts in or(ler to add a humorous example to the theme of a(dtiltery which pervades Ulysses (Shakespeare, Menelaus, Captain O'Shea, and Bloom), so that Deasy's letter is entirely apposite. This device, which might be called the multiplication of instances, is essential to Joyce'smethod; hiehiabitually works with parallels, some of them parodic, some not. The recently published notes to Exiles indicate the process; because that plav and Ulysses were both to employ the theme of cuckoldry, Joyce had been reading and meditating on all the famous cuckoldisof history an(d literature. "The character of O'Shea," he notes late in 1913 or
early in 19I4, "is much more typical of Ireland" than that of his wife, who committed adultery with Parnell. "The two greatest Irishmen of modern times-Swift and Parnell-broke their lives over women. And it was the adulterous wife of the King of Leinster who brought the first Saxon to the Irish coast." Or, as Mr. Deasy puts it to Stephen, "A faithless wife first brought the

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wife strangers our shorehere,MacMurrough's and her leman to O'Rourke, princeof Breffni.A womantoo broughtParnelllow." Joycealso mentionsMoliere's Cocu Imaginaireand Georges Le Dandin, the unpublisheddrafts of Flaubert's MadameBovary, and Paulde Kock'sLe Cocu.He contrasts Cocuwith Moliere's L,e humorplays,as beingpainfuland hesitating insteadof salacious, ous,indecent,and lively.Exilesand Ulyssesembodyboth possible approaches the subject,the later work almost a parody of to the first. The parodicelementis often directedat himself in Ulysses. For example,the visionof the girl at the seashore, which comes at the end of the fourthchapter Ulysses, theredescribed of is with the stages of spiritualtumescenceand detumescencecarefully
delineated. This strange encounter, which actually occurred in

Joyce'slife, is parodiedin Ulyssesin the Nausicaaepisode,by of Bloom'sorgasmicbut equally detachedcontemplation Gerty MacDowell. In the sameway, Joyce's talkswith J. F. Byrne's representedin the Portraitas Cranly,during which he boldly announcedhis disaffection from Catholicism his embracement and of art,areparodied Bloom's by walkswith Mastiansky Citron and in whiclhhe boldly confides his agnosticismand his belief in Darwinism. This self-mockerywas usually subsequentto, rather than concurrent with, the originalexperience. genuinelyromantic The strainin Joyce's mind led him to his lay vision of the girl at the as seashore, it helped to lead him to his heroic non serviam.It led him also to the poems of ChamberMusic, but as usual he latercut into thesemercilessly with the anecdoteaboutchamber pots.The recenteditionof thesepoemswhich finds their covert concern to be with micturitionmisunderstands way that the
Joyceworked; his mind began with romance, even if it ended with controlled self-dlestruction.Joyce in 1904 formed the notion of touring the English watering places, singing and playing a lute, and wrote to Arnold Dolmetsch (who had designed a psaltery

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for Florence Farr), asking that he make him one. Dolmetsch's reply to this letter is alluded to directly in Ulysses wlhen Stephen asks, "Lynch, did I show you the letter about the lute?" But it is also parodied in Bloom's notion of a concert tour for Molly, "Tour the south then. What about English watering places? Brighton, Margate. Piers by moonliglht. Her voice floating out." This conception becomes even more grandiose when it is re-stated in the Eumaeus episode:
Another thing just struck him as a by no means bad notion was he might have a gaze aroundon the spot to see about tryinigto make arrangements about a concert tour of summincr miiusic embracingthe inost prominent pleasureresorts,Margatewith mixed bathitngand first rate hydros and spas, Eastbourne,Scarborough, Margateand so on, beautiful Bournemouth, the Channel islands anid sinilar bijou spots, which might prove highly remunerative. Not, of course, with a hole and corner scratchcompany or local ladies on the job, witness Mrs. C. P. M'Coy type-lend me your valise aindI'll post you the ticket. No, somcthing top notch, an all star Irish cast, the Tweedy-Flowergranidopera companiywith his own legal consortas leading lady as a sort of counter-blast the ElsterGrimes to and Moody-Manners, perfectly simple matter and he was quite sanguine of success,providingpuffs in the local paperscould be managedby some fellow with a bit of bounce who could pull the indispensablewires and thus combine businesswith l)leasure.But who? That was the rub.

This technique, of swelling and ridiculing, is used systematically in three episodes, Cyclops, Nausicaa, and Oxen of the Sun; but it operates less conspicuously throughout the book. Like Shem in Finnegans Wake, Joyce is "for ever cracking quips on himself." Parody is closely allied in hiis art with imitation. His talent for mimuicrywas the a(lmiration,and the annoyanceof his friends. He was muclhgiven, as Dr. Gogarty hiascomplained, to rushing
off to the lavatory in the midst of a coniversation to write down some chance but revealing remark he had just heard. The talent

extends to books as well as conversations;in Finnegans Wake he imitates and elaborates upon a paragraph from Edgar Quinet;

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in "The Dead"the famousending is imitatedfrom the twelfth book of the Iliad. Homer had written (in Thoreau'stranslafall tion), "The snowflakes thick and fast on a winter'sday. The coveringthe tops winds are lulled, and the snow falls incessant, and the hills, and the plains where the lotusof the mountains, tree grows,an(l the cultivatedfields,and they are falling by the inlets and shoresof the foaming sea, but are silently dissolved by the waves."This becomesin "The Dead": ". . . Snow was generalall over Ireland.It was falling on everypart of the dark centralplain, on the treelesshills, falling softly upon the Bog of Allen and, farther westward, softly falling into the dark the mutinousShannonwaves. ... He hieard snow falling faintly through the universe. ..." Joyce has developedthe Homeric as figure,wlich in contextuses snowflakes a simile for arrows; mood; he has localizedit and subduedit to fit GabrielConroy's the and he has prepared it throughout story.It is an imitation for the which transcends usualmeaningof that word. to His imitationof realityextendspainstakingly insuringthe of accuracy his details.Some curiouslettersfrom him to his aunt Murrayhave survived;in one he asks whether there Josephine are trees, and if so of what kind, behind the Star of the Sea to Church.In anotherhe askshier go to 7 EcclesStreetto measure the distancefrom the sidewalk to the area to make sure that have managedthat descent.Joycehad Bloom in his novel coul(d seen his friend Byrne,whose exact height and weight are those to which he attributes Bloom, negotiatethe drop successfully; was more athleticthan Bloom, he needed to be but since Byrne sure that the distancewas not too great.An even more striking naturalism that of SamuelBeckett.Beckett is anecdoteof Joyce's was taking dictationfrom Joycefor Finnegans Wake;therewas a knock on the door and Joycesaid, "Comein." Beckett,who hadn'theard the knock, by mistakewrote down "Comein" as he partof the dictatedtext. Afterwards readit backto Joycewho Beckthat 'Comein'?""That'swhat you dictated," said,"What's

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ett replied.Joycethought for a moment,realizingthat Beckett hadn'theard the knock; then he said, "Let it stand."The very in had fact that the misunderstanding occurred actualitygave it prestigefor Joyce. and in His naturalism Ulysseshas many intricatesupports, one of the most interestingis the blurredmargin. Joyceintroduces much materialwhich he does not inten(dto explain, so
that his book, like life, gives the impression of having many threads that we cannot follow. For example, on the way to the funeral, the morners catclh sight of Reuben J. Dodd, and Mr. Dedalus says, "The devil break the hasp of his back." This relent action seems a little excessive unless we know that Doddl lha(d money to Joyce's father, and that the subsequent exactions were the efficient cause of Mr. Dedalus' irritation. In the Circe episode Mulligan says, "Mulligan meets the afflicted mother," a remark based upon a story once current in Dublin that Gogarty, returnperiod, staggered ing home late one night in his medical-stu(dent up the steps of his home on Rutland Square, reciting a station of the Cross at each step until, as he reached the top of the stairs and his worried mother opene(d the (loor, he concluded, "Gogarty meets the afflicte(dmotlher." A similar mystery lies in Stephen's remark at the brotlhel, "Death is the highest form of life." Wlhile its extravagance fits so neatly into the Walpurgis-Nacht atmosphere as not to puzzle the reader particularly,the phrase comes from one of the elegant periods in Joyce's early lecture on Mangan. He said thlere,"As often as human fear and cruelty, that wicked monster begotten by luxury, are in league to make life ignoble and sullen and to speak evil of death the time is come wherein a man of timi(dcourage seizes the keys of hell and of death, and flings tlhcm far out into the abyss,proclaiming the praise of life, which the abiding,splendour of truth may sanctify, and of deatlh,the most beautiful form of life." The Mangan lecture is not altogether clear, but Joyce was probablyimplying, whether on the basis of cynicism or faitlh,

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that deathand life were only differentmodesof being, a propositiondefensible Catholic Theosophical in or terms,but one which becamethe subjectof much ridiculeamong his fellow-students. Two of his remarks aboutCranlyare also incomprehensible solely in termsof Ulysses."The Tinahelytwelve"and "Cranly's referto a remark eleventrueWicklowmento free theirsireland" and Clancy;they had Byrnehad made to his friendsMerriman agreedthat twelve men with resolutionand the courageto give their lives if necessary could save Ireland,and Byrne said that he thought he could find twelve such men in Wicklow. Joyce calls them "eleven"first becausethere are eleven playerson a soccerteam, and then refersto them as "the Tinahely twelve" becausethe railroadstationwhere Byrnewould leave the train on his visits to Wicklow was Tinahely.Again, Stephensays of Cranly earlyin the book,"He now will leaveme. And the blame? As I am. All or not at all."These sentences referto Byrne'sgrievance against Joyce for sending letters about sexual exploits in Paris to a man named Vincent Cosgrave;Byrne came near to breakingwith Joyceon his returnbecauseof it, and found the explanations Joyceofferedunsatisfactory. StephensaysCranly But must accepthim as he is, "all or not at all." With numerous references this sort Joyceedged his book; he is pertruncated of haps alone among naturalistic writersin his use of what in less discreetlhands might be a dangerousdevice. In largercompass, Aeolusor newspaper the episodeprovides an excellentexampleof all Joyce's devicesat work. He had considerableknowledge of the newspaperworld. He could draw upon his recollectionsof Chillingworth's(here called Longworth's)Daily Express,for whiclh 1903 and 1904 he wrote in reviews, the Piccolodella Sera,of Trieste,of which his friend and RobertoPreziosowas editor. His originalitywill be more apparentif it is understood once that almostnone of the episode at comesfrom anythinghe remembered I904, that almostall of in it is the resultof re-working earlierand latermemories. The best

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source of material was a trip he made to Dublin in I909, Wlhich he skillfully wove into the earlier setting. He came to Dublin early in the month of August, with a commission from Prezioso to do some articles about Ireland for the Piccolo. At the time Dublin was in a furore because the Abbey Theatre threatened to stage Shaw's The Shewing-Up of Blanco Posnet in spite of the Lord Chancellor's ban on the play, on the grounds that his authority did not extend to Ireland. Yeats and Lady Gregory did in fact produce the play during Horse Slhowweek, from Wednesday, August 25, througlh Saturday, August 28. Joyce was very interested and went to the first night with the other reporters; next afterwardshe was introdluced to most ot them in a pub. Thlle day he turned up at the offices of the Evening Telegraph, and Patrick J. Mead, the editor, lhospitablyintroduced him to other members of the staff. The Evening Telegraph, closely associated with the Freeman's Journal,was one of Dublin's grand old papers,dating back to 1763. It was to survive a fire in I9I6 and to last until 1926. The offices which the two papers shared were also old, and very big and rambling; they extentldedfrom Prince's Street to Middle Abbey Street. The edito.-ial staff used the Abbey Street exit, and Joyce lhasthe newspaper boys using the same one, when in fact the despatch room was on the Prince's Street side. This transposition may have been inadvertent,but was more probablya deliberate decision to add to the Aeolian atmosphere of haste and confusion. The publisher of the Freeman's journal was Thomas Sexton, a Parnellite who was feuding with Archbishop Walsh; consequently his paper minimized whiateverthe Archbislhopdid and played up everything that Cardinal Logue did. Walsh evidently made frequent protests,which Joyce refers to without explanation in the sentence, "His grace phoned down twice this morning." of The evolution of the clharacter Aeolus, god of the winds, blended memory and art. Joyce calls him Myles Crawford, and the name suggests that of the editor of the Evening Telegraph

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in 1904, Morris Cosgrave. But the personality of Crawford is not that of Cosgrave, but of Patrick J. Mead, who in 1904 was only sub-editor, though editor by I909. Pat Mead, like most of the staff in I909, was about fifty years old. A big, stout man, with red hair and a red face, he dressed like a dandy, and was invariably clean shaven with a flower in his buttonhole, although he had usually spent most of the previous night in his cups. He was a widower with a daughter and two sons. Mead had a terrible temper, but was basicallyvery kind and probablyan "easy touch"; on this occasion,however, the barristerO'Molloy fails to "raisethe wind" with him. Following the pattern of life set by their editor, the other staff members were also great drinkers; drinking capacity was said to be a primary consideration in hiring them. Joyce paid close attention to what he saw in the Evening Telegraph offices.The cashierof the newspaperwas a man named Ruttledge, who had a high, squeaky voice. On pay-day Ruttledge carried a money box around with him, paying out from office to office of the old building; and his coming was announced by the phrase, "The ghost walks," spoken in Ulysses by Professor MacHugh. MacHugh himself was, as his name suggests, Hugh MacNeill, a brilliant scholar of the classical and modern languages, whose great promise was never fulfilled. Ordinarily careless in dress, he had for a time a position as teacher of romance languages at Maynooth, and so was obliged to wear hat and tailcoat; he usually left them unbrushed. Gogarty, speculating upon this garb, evidently made the remark, "In mourning for Sallust," which passes through Stephen's mind. An idle rather than a dissipated man, MacNeill used to arrive early in the morning at the Evening Telegraph offices, read the paper, and remain all day. As the members of the staff arrived, he reprimanded them for being late. The title of professor was accorded him out of slightly ironic politeness, for in fact he never attained that eminence. While the descriptionand speech of Mead are generally those

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of Crawford,Joyce has inflatedhim somewhatas god of the winds of news. Mead was never guilty of either profanityor temperwith frequent but obscenity, Joyceheightenshis irascible arse." Meadnever oatlhs, makeshim say,"Kissmy royalIrishi and it either.It was said by Johni said this, but Joycedid not invent Wyse Power,who was famousat the Evening Telegraphoffices for the expression. Power himself appearsin Ulyssesunder the name of Johin Wyse Nolan, an(dalso undergoesa slight artisticrevision.Joyce him represents in the Wandering Rocksepisodeas quoting "elegantly"from the Merchantof Venice,"I'll say there is mucl was kindnessin the Jew."The quotation one he might well have man who knew Greek,Latin, made-he was a verywell educated and German;but Power did not speak elegantly,was on the contraryrough in manner,with a rough, red beardand a big, of inelegantvoice. In his broadside 19I2, "Gasfrom a Burner," Joyce spoke kindly of both Power and O'LearyCurtis,saying Curtisapthat he spoutedItalianby the hour to them. O'Leary pearsin the Aeolus episodeas O'MaddenBurke.Tall and thin, he dressedto suit his melancholytemper,and was widely read, Among the otherslightlymodiin particularly Frenchliterature. fied namesis that of IfnatiusGallaher,singledout by the editor for hiaving scoopedthe world'spresson the PhoenixPark murders in I882; thlis was GnatiusGiltrap,related,like Gran(dfathier at Giltrap,to Joyce'smother.He is described greaterlength in the story,"A Little Clou(l." Severalpeople appearunder their own names. Joyceseems them, in to have been guide(din part by his attitudetowardls
part by the possibilities of libel action, and in part by the artistic exigencies of his material, in determining wlhether or not to change their names. His uncle John Murray workecdon the advertising staff of the Freeman's Journal and is mentioned here in that capacity; he was called "Red" Murray to distinguislhhim from Chris Murray,also on the advertising staff, who was known

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as "Black" whoseimposingentrance observed Murray. Brayden, is by Red Murray and Bloom at the beginningof the episode,was at that time the editor of the Daily Telegraph.The description of him as beardedand with hunched shouldersis true to life. Paddy Hooper and Jack Hall were two reporters; Hooper, the son of an aldermanmentione(d elsewherein Ulysses,was to be the Evening Telegraph's e(ditor. last About I909 lhewas usually assignedto London; hence he is depictedhere as having come overto Irelandonly the night before.Hall was a famousreporter with old-worldmannersand tastes,wlhoin I9OI highly praised Joyce'sacting in his reviewof a play called Cupid'sConfidante. Nannettiwas foremanprinterof the Freeman's Journalin 1904; Joyce probablysaw his son, who was foreman printer of the

EvcningTelegraph in

I909.

ChrisCallinan, whom Lenelhan

mockinglycallsIgnatiusGallaher's brother-in-law, a reporter was who hiadthe Dublin coast as his provinceand was famous for his Irish bulls. These personages were not of much importance in the book,but they peopledJoyce's newspaper world and gave it lights and shadows. One of Joyce'smost curiouscompositeportraits Lenehan, is the parasitewho speaksFrench. The name is borrowedfrom MattLenehan,a reporter the Irish Times,but the personality on lhetook from a friendlof his father named MichaelHart, who was deadby aboutI900. MickHart,because his habitof speakof ing French, was called Monsart(that is, MonsieurHart). He worked, as Joyceimplies, for a racing paper called Sport, and alwaysattendedthe racesin flashyattire.As in "Two Gallants," where he first makeshis appearance Joyce'swork, he longed in to marrya rich girl, and paid court for a time to the daughter of JosephNagle, one of three brotherswho kept a big public house in Earl Street;but nothing came of it. He knew a great deal aboutracingand was fond of writingdoggerel;his greatest (lay was that, still recalle(d Dubliners,wlhenhe "tippedthe by (louble"in verse; that is, hie predictedthe winners of both the

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Handicapand GrandNational Steeplechase. Lincolnshire Not long afterthis triumphhe went downhill,and spenthis later days, in spite of his ability, in "knockingaround on the hard."He continuedto write verse; Joycegives one of his less a productions, limerick,in this episode.Mostof Hart's successful to poemshad to do with attempts get moneyand credit;one was entitled, "On Looking for the Loan of a Tanner [sixpence]"; another,which may be recordedhere, dealt with his effort to obtaina pint of stoutat Darden'sPublicHouse:
One day I askeda pint on tick From Mr. Darden,who In lordly accentstold me 'Twas a thing he didn't do. In Fanning'sI owed threepence, In Bergin'sone and four, In McGuire's only sixpence For they wouldn'tgive me more. When makes [sixpences]is gone and nothing'sleft To shove into the pawn, I rambleup to Stephen'sGreen And gaze on Ardilaun [a title held by the Guinnessfamily, who made porter].

Yet, as if to belie his incarnation in Ulysses, Joyce included Mich-

ael Hart in a list of Bloom'sfriendswho are now dead. To weld the Aeolus episode together, Joyce used three speechesand an epiphanyof his own. The first speechwas by CharlesDawson, a baker who was lord mayor in I882, later where Jack Joyce must becamechief of the rates department, have known him, and was also chairmanof the Irish Forestry Society.He is called "DoughyDan" here becauseof his profesexaggersion. To his fustianoratorical style,which he probably from the speech a floridbut noblepassage ates,Joycecounterposes of SeymourBushe, Q.C., in the Childs murdercase. It is im-

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possibleto know whether Bushe actuallyused the remarksattributedto him; they do not appearin his speechto the jury as in reported the press,althoughthathas the sameflorideloquence. If he did use the words,Joycemust have been in the audience, for, as a friend relates,he attendedthis murdercase in October, i899, and followed the proceedingswith great interest.It involved an alleged fratricide,a subjectwhich continuedto preoccupyJoycefor the rest of his life, and in Ulyssesis connected with Stephen's theoryof Shakespeare's to antagonism his brothers. Even Bushe'srhetoricpales in comparison with the third speech in this episode,that by John F. Taylor, which Joyce may also haveheard,andwhichwas at anyrateaccessible him in pamphto let form; he gives it verbatim.Against these three passages,all in varyingshadesof purple,he sets Stephen's grey one-a bitter, naturalistic accountof two ordinaryIrishwomen going up Nelson'sPillarto take a look at a veryreal-and not verypleasantIreland.When asked what he calls this, Stephen answers,"A PisgahSightof Palestine," namewhich was probably a impressed on Joyce'smind by a questionon Fuller'swork on one of his
intermediate examinations.

The episodeplaysits main themesagainsta faqadeof triviality: it has stock characters, Red Murrayand Brayden, no like of consequence the story,but usefulto give the senseof a crowded to
newspaper office; it has a series of minor incidents, some, relating

to Bloomand Stephen,servingto keep the narrative threadrunning, others,like O'Molloy'seffort to borrow from the editor, gratuitousexcept to solidify the moment with lifelike inconsequence; it has a great deal of conversation, much of it with an arcaneprofessionalism about it, such as the remarkabout his grace'sphone calls, or the privatejoke about Chris Callinan,to blur the marginand sharpenthe sense that a genuine "tranche
de vie" is being presented. Against the conversational ground

Joyceputs his four "set"pieces, the three flights of highflown and more or less noble rhetoric,and Stephen'scynical counter-

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blast in terse, naturalisticstyle. The effect of profusion and is abundance derivednot only from the multitudeof characters and incidents,but from the varietyof methodsused to set them forth. Ill. Circeand the Meaning of Ulysses In the Circeepisode,the climaxof Ulysses,all the conscious memoriesof the day in the minds of Bloom and Stephen,and and unknownto them,intersect, the mentalplane evenmemories shifts abruptlyfrom the consciousto the unconsciouslevel. It
offered Joyce a real test of his skill, and his successcan be illumin-

There was, to begin of ated by an awareness his raw materials. with, the necessityof finding an adequatesetting.Following a Circe's who long seriesof Homericcommentators havemoralized den as a place of temptationwhere the bestial aspectsof men emerge,Joycedecidedon the red-lightdistrictof Dublin for his was scene.The word "Nighttown" his invention,the usualDubStreet so lin word being "Monto," called becauseMontgomery authoritatively runsbesidethe brothelarea.Montowas described about I885 as the worst slum in Europe.It was concentrated Street,which becameTyroneStreetand chieflyin Mecklenburg is now a drearyRailwayStreet,the name having been changed as part of an effort,vain until recently,to change its character. houses;while some The streetis made up of eighteenth-century of these had by i9oo decayedinto tenements,others,the "flash in were kept up beautifully ladieswho appeared full by houses," dressbeforetheir selectclientele. evening grandin Monto. HorseShow week in Augustwas especially officersarrivedin numbersfor the event, and the The Britislh mess. The Monto ladies sent their cardsat once to the officers' a ladiesdroveto the racesin pony traps,and afterwards procession of innumerablecabs followed them back to Monto. The In BoerWar also proveda greatboon to theirbusiness. 1902 the returnedfrom South Africa, and Irish Battalionof Yeomanry

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a dull-wittedsocietypaperpublishedan anonymous poem sentimentally celebratingthe heroes'return,in which however the firstletterof eachline formedthe acrostic sentence, "Thewhores will be busy."This poem, which was quickly comprehended, killed the paperdead.It was usuallyattributed Gogarty,then to a medicalstudent. Joyce'sknowledge of Monto was of courseas completeas his knowledge of the Evening Telegraph.He does not have Bloom and Steplhen patronizethe lower numbersof Mecklenburg Street,near MabbotLane, since these were usuallypatronized by English "tommies"; these houseswere full of religious pictures,behind which the ladies kept "coshes," pieces of lead to preventtrouble.Joyce asked one of his visitorsin the pipe, 'thirtiesto securea completelist of the names and addresses on Mecklenburg Street,and seems to have retainedhis interestin them. A lady appropriately namedMrs.Lawlesslived at No. 4; her neighbour, No. 5, was Mrs.Hayes,a grandmotherly at type. But at the upper end of the street were the principalhouses. for Bloom,searching Stephenat Mrs. Cohen's(No. 82), knocks first by mistakeat No. 85, but is told that this is Mrs. Mack's house.ActuallyMrs.Mack kept two houses,No. 85 and No. go, and was so well known thatthe whole areawas sometimes called "Macktown."4 As for Mrs. Cohen, she was older than Mrs. Mack, and by 1904 had eitherdied or retired, Joycerestored in busibut her nessbecause name suitedthe Jewishthemesin the book.Her her
4. The medical students had a bawdy song that began,

O there goes Mrs. Mack;

She keeps a house of imprudence, She keeps an old back parlor For us poxy medical students, To show, to show That we are medical students, To show, to show That we medicals don't give a damn.

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Florry prostitutes. modelledon contemporary girls wereprobably The FleuryCrawford.5 descripwas Talbot,for instance, probably tion of another girl, Kitty Ricketts, suggests Becky Cooper, probablythe best known among Dublin prostitutesfrom the Joycewas probably beginningof the centuryuntil the 'twenties.6 familiaralso with Lady Bettyand May Oblong (Mrs. Roberts); that he failed to use the latter'sname. is is astonishing Yet the deeperproblemof Circewas to relate Bloom and theme level, to justifythe father-son Stephenon the unconscious that Joycehad made centralin his book. He does so chieflyin intermsof one traitwhich the two men share,their essentially aboutthis.He has shownBloom activeroles.Joyceis quiteearnest throughoutas the decentman who, in his pacificway, combats whichStephen of the narrowmindedness, product fearandcruelty, had combattedin the Portraitwith more truculenceand still with Bloomand Oncewe realizethatJoycesympathizes combats. in Stephenin their resistance terms of mind ratherthan body, an we can understand aspectof the libraryepisodewhich has therethatShakesStephenDedalusasserts puzzledcommentators. pearewas not Hamlet but Hamlet'sfather.Since Stephenin so Hamlet, and since he obviouslythinks of many ways resembles may seem caprithis himself as like Shakespeare, identification cious. But we have to understandJoyce'snotion both of the
artistic temperament and of the desirable man. Joyce, Stephen,
5. This young woman's father had a political job as scrivener in the Education Board. A priest came to see him to ask that he do something about his daughter; but Mr. Crawford twirled his villainous moustachcs and replied, "Well, the girl appears to be enjoying herself, and besides, she's a source of income to me." 6. Becky Cooper was noted for the prodigality of her charity as well as for her favors; young men who took her fancy were the surprisedand sometimes embarrassedrecipients of gifts of money and new clothes. A familiar song about her celebrated not her generosity, however, but her accessibility: Italy's maids are fair to see And France's maids are willing But less expensive 'tis to me: Becky's for a shilling.

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and Bloom sharethe samephilosophyof passivity act, energy in in thought, and tenacityin conviction.Hamlet, on the other hand, is the hero of a revenge-play; however unwittinglyand fumblingly,he sheds a great deal of blood. Joycedoes not encouragethis view of the artist,and so he relatesShakespeare to the sufferingfather,the victim,ratherthan to the avengingson. The artist enduresevil-he doesn't inflict it. "I detest action," says Stephento the soldiers.Becausehe takes this position,he belongs,in an extendedmetaphor which underliesall Ulysses,to the family of Bloom, who tells the Citizen, "It's no use.... Force, hatred, history, all that. That's not life for men and women, insult and hatred." They are son and fathermentally,if and not corporeally, both of them argue that what is corporeal is incidental.7 The kinship of Stephenand Bloom, on the surfaceso unwith greatadroitness. likely,is established Joycemakesuse of two sourcesto aid him, both literary; firstis Leopoldvon Sacherthe Masoch,the secondWilliam Blake. In the worst light Bloom's passivityin the face of Boylan'sadvancesto Molly, and his rejection of force in the Cyclopsepisode,seem part of a willing submissioncomparableto that of Sacher-Masoch. the best In light it is Blake's of rejection the corporeal, suggested Stephen's by comment,which stirsthe soldiersto fury, "Butin here [tapping his brow] it is I must kill the priestand the king." While writing the Circe episode Joyce drew heavily upon Sacher-Masoch's book, Venusin Furs (Venus im Pelz). Muchof the materialabout flagellationis derived principallyfrom this book. Venusin Furs tells of a young man named Severinwho so abases himself before his mistress,a wealthy lady named
7. In Finnegans Wake Shem also belongs to this type: "He went without saying that the cull disliked anything anyway approaching a plain straightforward standup or knockdown row and, as often as he was called in to umpire any octagonal argument among slangwhangers, the accomplished washout always used to rub shoulders with the last spcaker . . . and agree to every word as soon as half uttered.e... Here Joyce parodies Bloom and Stephen.

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Wanda, and so encouragesher cruelty towardshim, that she becomesincreasingly tyrannical, makeshim a servilego-between, and then,in a rapturous finale,turnshim overto her most recent lover for a whipping.There are many similarities Circe.The to society ladies who appearto Bloom, Mrs. YelvertonBarry (a name modifiedfrom that of a suspected and Mrs. transvestist) are as fond of wearing furs as Bellingham (an actual name) Wanda. Mrs. Bellingham recountsaccusinglyof Bloom, "He me addressed in severallhandwritings fulsomecompliments with as a Venus in furs and allegedprofoundpity for my frostbound coachman Balmerwhile in the samebreathhe expressed himself as enviousof his earflaps and fleecy sheepskinsand of his fortunateproximityto my person,when standingbehindmy chair wearingmy liveryand the armorialbearingsof the Bellingham escutcheon garnishedsable,a buck'shead coupedor."This picture of Bloom comes,at some remove,from that of the "hero" of Venusin Furs,who wearshis lady'slivery,has to follow her at ten paces, and suffers indignities comparableto those of Balmer. Like Severintoo, Bloom is depictedas welcominghis being birched,as even requestingthis privilege.Wanda, reluctantat is corfirstto yield to her lover'sstrangeimportunities, gradually ruptedby them: "You have corrupted imaginationand inmy were flamedmy blood,"she tells him; "Dangerous potentialities slumbering me, but you were the firstto awakenthem."Mrs. in in MervynTalboysputs it more ludicrously Ulysses,"You have in my natureinto fury."Severinasks lashedthe dormanttigress to be allowed to put on his mistress's shoes, and is kicked for performingthe task too slowly. Bloom is similarlyset to lacing the shoes of Bella Cohen, and fears she will kick him for his The morefearfuland hatefulBellais, the more Bloom ineptness. admiresher; so Bella, like Wanda, puts her foot on Bloom's neck. The willing slaveryof Severinto Wanda,which is sealed she by an agreement makeshim sign,is echoedin Bloom's promise

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neverto disobeyBella,and in her announcement him, "What to you longedl lhascome to pass.Henceforthyou are unmanned for and mine in earnest, thing underthe yoke." a The degradatioln Bloom continues.Like Severin,he is of forced to usherin Bella'snew lover, Blazes Boylan.A scene in Venusin Furs, in wlich SevcrinattendsWanda at her bath, is reflectedin an equivalentscene in Ulysses.And the climax of Sacher-Masoch's book, when Wan(da, pretendingaffection,coyly persuades Severinto let hierbin(dhim againsta pillar,and then turns him over to hiernew lover for a mercilessflogging, is echoedin Bella'spretenseof affectionwlich facilitates pullher ing Bloom'shair.Even the references the marblestatuette to that Bloom takes home in the rain, and to the nymph, "beautiful immortal,"whose "classiccurves"are picturedabove his bed, are paralleledin the "stonecold and pure"plastercast of Venus to which Severinpraysin Venusin Furs. Closely as he followed his source, Joyce made two major modifications. First,his versionof Sacher-Masoclha vaudeville is version;and second, Bloom'smasochistic fantasiesoccur in his unconscious mind; he berateshimself,and makeshimself worse than he is, becausehe is consciouis of having allowed too much in reality.Masochism the worst in Bloom, an(dStephen too, is but Blakismis the best. There are severalreferencesto Blake in the Circeepisode,the mostimportant its end. ThereStephen at falls out with two soldiers, wlho accusehim of attackingthe king because his declaration, of "Butin here it is I must kill the priest and the king."Joycehas in mind here an incidentthat occurred during Blake'sstay at Felpham,when he put two soldiersout of his garden in spite of their proteststhat as soldiersof the king they shouldnot be handledso. He repliedto them, or was alleged to have replied,"Damn the king," was thereforehaled up for treason,an(d barelygot off. (In FinnegansWakethe two
soldiers become three, and lhave an equally unpleasant role to

play.) Stephen does not put the soldliers fliglht;ratherthey to

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knock him down, but not before he has stated his contention religiousand secular,must be defeatedin that the authorities, spiritualrather than corporealwarfare.This is Blake'scentral conceptionof the conquestof tyrannyby imagination. Having displayedthe body'sdefeat and the spirit'svictory Joycebringsaboutthe and in both theirridiculous noble aspects, of mentalpurgation Bloomand Stephenat the end of the episode. a way, for so reserved book,that They are purgedin a surprising is, by love. The theme of family love, the love of a parentfor child and of child for parents,runs throughoutUlysses,but so covertly that we are only subtly aware of it. Molly Bloom's thoughts return to the lambswoolsweatershe knitted for her son Rudy, who died when he was only eleven years old. The Stephen, who claims to have denied his family, hyperborean almostmelts with affectionwhen he comesupon his sisterreadFrenchprimer,and remorseover his treatment ing Chardenal's of his motheraccountsfor his vision of her at the end of Circe. But Bloom emergeseven more decisivelyfrom the Circeansty with his vision of Rudy as he might be now:
Against the dark wall a figure appearsslowly, a fairy boy of eleven, a changeling,kidnapped,dressed in an Eton suit with glass shoes and a little bronze helmet, holding a book in his hand. He reads from right to left inaudibly,smiling, kissing the page. BLOOM calls inaudibly.) Rudy! (Wonderstruck, RUDY into Bloom's eyes and goes on reading, kissing, (Gazes unseeing smiling. He has a delicate mauve face. On his suit he has diamond and ruby buttons. In his free left hand he holds a slim ivory cane with a violet bowknot. A white lambkin peeps out of his waistcoatpocket.)

as This visionhas been described maudlin,but to see it only is so is to yield to the erroneouspresumptionthat tenderness It to temperament. is the visionof a fond father, contrary Joyce's

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coloredas such visionsshould be; and the sentimentalcoloring is offset by the bizarreattire and the detachmentof the child both of which establisha sense of distanceand estrangement from Bloom.The relationof Bloom and Rudy, as of Molly and Rudy,is profoundly moving; and so is the relationof Bloom to his own father,who committedsuicideby takingaconitepoison.8 (It is not surprising learn that Joycewas brokenup over his to father'sdeath,or that he used to say, as one of his sistersrecalls, "The most importantthing that can happen to a man is the birthof a child.") Joycedeliberately nothing aboutits emosays
tional quality, but he has Bloom at one point recall a few

snatches from the letterfound at his father's bedside.They make up what must be the best incompleteletterin literature: "To my dearson Leopold.Tomorrowwill be a week that I received. . . it is no use Leopoldto be ... with your dear mother... That is not moreto stand. . . to her . . . all for me is out . . . be kind to Athos, Leopold . . . my dear son . . . always. . . of me . . . das Herz ... Gott ... dein. . . ." These telling phrasessound the book'smost powerfulmotif. The phrase,"Be kind to Athos,"refersto Bloom'sfather's dog-and kindnessto animals,who are so much like children, and can repayaffectiononly with returnedaffection,is another of those ordinaryand fairly pervasiveaspectsof human nature that Joyceunderlinesfor praise.Even the Citizen, like Homer's Cyclops,is good to animals.The kindnessof Bloom on June i6, 1904, begins with animalsand ends with human beings. So he feedshis cat in the morning,then some seagulls,and in the Circe episodefeeds two dogs. He remembers dead son and dead his father, he is also concernedabout his living daughter,and he never forgets his wife for a moment. He contributes very generously-beyond his means-to the fund for the childrenof his friend Dignam who has just died; and, when he begins to see
8. His death is made to take place at the Queen's Hotel in Ennis because Joycc rcmembered a suicide that occurred there early in the century.

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Stephenas a sort of son, lhefollows him, tries to stop his drinking, )reventshis being robbed,risks arrestto defend him from will the police,and feeds him and takeshim home. Steplhen not stay the niglhtwith Bloom-the barrierbetweenman and man and usually only partially,and breaksdown only occasionally unitingof the the barrier quicklyreforms-but in the temporary Gabriel two Joyceaffirmsthe perceptionof communitywlhiclh Stephen at Conroy hladi the end of "the Dead," and wlhiclh when, at thieend of the Portrait,he went forth acknowledged "for his race." to forge a conscience by point of view is illuminated the Anotheraspectof Joyce's relation of Bloom andlStephen: Bloom's common sense joins intelligence; SteplhenDedalus, the Greek-ChristianSteplhen's the Irishman,joins Bloom Ulysses,the Greek-Jewish-Irishman; an(I decenicy as culturesseem to unite in praiseof brainpower Neither Stephennor Bloom is and againsthorsepower brutality. the tlhroughout book with strong;they are contrasted plhysically thosewlhoare: Stephencan'tswim while Mulliganswimsbeautifully; Bloom is only a walker,but the Citizen is the holderof recor(l all Ireland;an(d for Bloomis a cuckoldwhile the shot-put but adulterer; we spendmost BlazesBoylanis the loud-mouthed and never enter Boyof the book inside Bloom'sconsciousness, becauseJoycewould not grant a consciousness lan's,presumably It to coarseness. is true that Mulliganis cleveras well as strong, but it is the clevernessthat gdes with brutality.So we have Stephenand Bloom, the mental men, rangedagainstMulligan is partisanship clear. and Boylan,the burly men, andlJoyce's The schemeof value of Ulyssescomes closerto explicitexelse. It is pressionin the Circe episodethan it does anywlhere by buttresse(d a passagefrom another sectioniwhlichhas been WlhenBloomand Stephenarewalkinghometo 7 Ecclcs ignore(l. shelter, they discuss a great many Street from the cabrman's
things, an(d Joyce notes, witlh some un(lerstatement, that their

hie views were on certaini points (livergent."Stephen," writes,

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"dissentedopenly from Bloom's view on the importanceof dietary and civic selfhelp while Bloom dissentedtacitly from Stephen'sviews on the eternalaffirmation the spirit of man of in literature." While the loftiness of Stephen's statement is mocked, that literatureembodiesthieeternalaffirmation the of spiritof man is not a crotclhet Stephen, a principle Joyce. of but of He first stated it in his lectureon Mangan in I902, when he declared that "all thosewlhohavewrittennoblyhave not written in vain,"and saidthat they had part"in the continualaffirmation of the spirit." the light of these pronouncements the funcIn on tion of literature, assertionof love and communityin the the Circeepisodecan be betterunderstoocl; it nee(ibe no wonder and that the whole of Ulyssesshould end with a mighty "yes." IV. The Hero, the Herointe, Villain,and the Day the In niaking lhislheroLeopo!dBloom Joycerecognizedimplicitly wlhat he often sl)oke of (lirectly, his affinity for the Jews as a wandering, persecute(l people.When a Jewishstudentwrote to him to praise Ulysses but complain of its treatmentof the Jews,Joycewas much upsetand repliedthat he was in complete sympathywith them. No doubt the incongruityof making his goo(d Dublinera Jew,and one so indifferent all religiousforms to as to havebeen converted botlh to Protestantism Catholicism, and attractedhim with its satiricalpossibilities. But he must have been affectedalso by the Dreyfus uproarin Paris,which continuedfrom 1892 to I9o6; it had reachedone of its crisesin September,I902, just before Joyce'sarrivalin Paris,when Anatole France,a favoriteauthorof Joyce,deliveredhis eloquentoration over Zola,anothier favorite, whose J'accuse still reverberating was over Europe. A connection between the Jew and his artistdefen(ler may havebecn fixed in Joyce's mind by the connection betweenZola, France,andiDreyfus. Joycewas not, however,a propagandist bettertreatment for of the oppressed races.The parableof the likable Jew attracted

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without overwhelminghim. He was of course aware that the and Shakespeare, Dickens had been conceived Jews of Chaucer, as villains.But he boldly formed the idea of reversingthe techwho had endowed even Shylock with a nique of Shakespeare, few redeemingtraits.He decided to make Bloom likable and even noble in a humdrumsort of way, but to save him from by or sentimentality, proselytizing, making him also somewhat absurdas a convert,a drifter,a cuckold. in the We have observed similarity many of the recollections of Bloom and Joyce, but have yet to recognize their internal likeness.Joycewas not a cuckold,but for a time he incorrectly, and in great agitation,thought of himself as one. This pivotal experienceoccurredduring his visit to Dublin in I909. He dean cided to call upon his old friend Vincent Cosgrave, arrogant by claiming to have betrayed wastrel. Cosgravestupefiedhim Joycewith Nora in 1904. This news was so painfuland disconwas certing to Joyce, whose share of unconventionality much smallerthan is usually supposed,that he went immediatelyto his friend J. F. Byrne (Cranly) for counseland support. Byrne was then living at the addresswhich accordingly in becameso important Ulysses,7 EcclesStreet.He was able to of quiet Joyceaftera time by pointingout the unreliability Coseven for Joyce's irrefutably, grave, which later was established Joyce,who had happenedto meet mind, by Stanislaus Jesuitical Cosgraveon the very night wlhen Nora rebuffedhim. Joyce
gradually became calmer and sometime after went out to buy

Nora a necklaceon which was written,"Loveis unhappywhen The incidenthad nevertheless deeplyaffectedhim, love is away." and becamethe centraltheme in both Ulyssesand Exiles. And so, when Bloom at 7 Eccles Streetgraduallyrecovershis calm about Molly's affair with Boylan, Joyce is half-mocking,halfparallelinghis own agony and recoveryduring the summer an he revenge,by calling of igog. For Cosgrave reserved artist's name of Lynch, and by having Stephen him by the unpleasant

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say, after Lynch abandonshim in his troublewith the soldiers in Circe,"Exit Judas." in Joyce.He resembles some ways But Bloom is more tlhanand Joyce's good friendin Trieste,the businessman writerEttore Schmitz ((Italo Svevo). The differencein age between Svevo and Joyce was roughly the same as that between Bloom and in Joycecalls attentionto a resemblance Stephen,and Stanislaus the relationships. Besides,Svevoalso had marrieda Gentile,had changedhis name (though only for literarypurposes),possessed a good senseof humorand a fair knowledgeof Jewishcustoms. Where Joycewas partialonly to cats, Svevo, like Bloom, had a fondnessfor dogs as well. Wheie Joycecould not abidethe inner organs of animals and fowl, Svevo, like Bloom, loved them. but These are small similarities, Joycehad a spider'seye. Dublinershelped him to roun(dout his portraitof Otlher his hero. The first was a "Mr.Hunter,"as Joycecalls him in a about the story which he intendedto name, letter to Stanislaus "Ulysses."Joyce had met him only twice, but he wrote to his aunt Josepline Murrayto obtain all the details about him was that she could. Hunter,tall and dark-faced, supposedto be of his name,which he had presumably changed, Jewishin spite and was rumoredto have an unfaithful wife. But in making canvasserJoyce had someone else in Bloom an advertisement mind. This man is firstmentionedin Dublinersunderthe name of C. P. M'Coy,and is identifiedthere as having been a clerk for for in the MidlandRailway,a canvasser advertisements the
Irish Times and Freeman's Journal, a town traveller for a coal firm on commission, a private inquiry agent, a clerk in the office

of the sub-Sheriff, secretary the City Coroner.His wife and to had been a sopranoand still taught young childrento play the
piano at low terms. These facts all point to M'Coy's actual pro-

totype, Charley Chance, whose wife sang at concerts in the 'nineties underthe nameof MadameMarieTallon. In the variety of of his jobs,in the name and profession his wife, Chancewas

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the only Dubliner who fitted the description of Bloom; and that Joyce intended to combine him with Hunter is suggested by the juxtaposition of "Charley Chance" witlh "Mr. Hunker" in Fin-

negans Wake.
The name of Madame Marie Tallon bears a sisterly resemblance to Madame Marion Tweedy, Mrs. Bloom's concert name. In using the ClhancesJoyce neatly concealed their identity, however; he prevented anyone's supposing that they were in any sense the Blooms by ilntroducing the M'Coys as well into his book, and by inventing a professional rivalry between Mrs. M'Coy and Mrs. Bloom. The character which he attributes to Mrs. Bloom is also unlikc that of Mrs. Chance, whom he probably did not know; it is rather that of the buxom wife of a fruit store owner named Santos, with whom he was acquainted in Trieste and in Zurich. That Mrs. Santos had a good share in Mrs. Bloom was an open secret in the Joyce family. (During the second war Joyce was greatly concerned over the fate of Santos and his wife, then living in Marseilles,and was relieved to hear from Mrs. Maria Jolas, wlho at his request inquired about them there, that they had not been molested.) For the Spanish quality in Mrs. Bloom he drew upon one of the many daughters of Matt Dillon, an old friend of the family who is mentioned in Ulysses too. This daughter lhadbeen in Spain, smoked cigarettes, and was considered a Spanish type. Her image was perhaps the dominant inspirationifor Joyce's picture of Molly as a girl at Gibraltar; Mrs. San-tosin figure and conduct modelled the mature Molly, while her professional career and social status were drawn from Mrs. Chance. "Leopold Bloom" was also named with due deliberation. of Leopold was the first narmie a Jewish businessman in Trieste with wlhom Joyce was friendly; Bloom was the name of two or three families who lived in Dublin contemporaneously with Joyce. From one of these, a Mr. J. Bloom, Joyce borrowed the address of 38 Lombard Street, which was one of the longer

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of stopping-places the Bloom family. Joycewas relievedto hear from A. J. Leventhalof Trinity College, Dublin, just before Ulyssesappeared, that all these Bloomshad died or left Ireland. He probably remembered name in two specificconnections: the first, a man named Bloom was committedin Wexford for the murderof a girl who workedwith him in a photographic shop. let off and left the country. which occurred This incident, He was
early in the century, presumably gave Joyce the plan of establish-

ing Bloom'sdaughterMilly as an apprentice a photographer's in shop.He put the shop in Mullingarbecausehe had visitedthere the during the summersof I899 and I900 and remembered one such shop in the town, run by a man named Phil Shaw. The of secondconnection the name Bloomwas Daisy Bloom,a young woman who in 10og was a music teacherin Dublin, and had beenconverted Catholicism. is verypossible to It that Joyceheard abouther and drew a hint from her for Molly. Molly'sfatheris represented MajorBrianCooperTweedy; as Brian Cooper was a famous Irish officer of the time, while Tweedy is modeled syllabicallyand accentuallyupon Major Powell, who lived at 12 StamerStreetand was well known to Mrs.Murray, Joyce's aunt.As witlhHunter,she filled out a notebook with what she recalled of Powell's peculiarities help to Joyce in his book. No informationabout Powell now survives except that he had three daughters,one a Mrs. Clinch, whose name also appearsin Ulysses;the name of Powell is given to Josie Powell Breen, once a sweetheartof Bloom, now married to a litigiouscrackpotwlhoselibel suit over nothing is a parody of Joyce's own libel suit in ZurichagainstCarr. If Molly is built mainly out of Mrs. Chance,Mrs. Santos, and Dillon's dauglhter, hlasalso a few temperamental she links with Joyce'swife. Nora Joyce lha(d similar gift for pungent, a concentrated expression,and Joyce delighted in it as much as Bloom did. When her husbandmade one of his innumerable requests friendsthat they do some small servicefor him, Nora of

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would say,"If God Almightycame down to earth,you'dhave a job for him."When Joyceshowedoff a letterhe had just received from C. G. Jung, in which the psychologistmarvelledat the of knowle(dge women displayedin the final chapterof Ulysses, her comment was, "He knows nothing at all about women." She (lismissedthe Molly Bloom monologueas contemptuously as Molly herself dismissedMoll Flanders.On the other hand, when someone,after her husband's death, asked if she remembered hiismeetings witlh Andre'Gide, she replied after a moment's unsuccessfuleffort to recollect, "Sure if you've been marriedto the greatestwriterin the world you don't remember all the little fellows."Like Molly she was anti-intellectual; and like Molly she was very attachedto her hiusband not awebut struck. The rarity of capital letters and the run-on sentencesin Molly'smonologueare of courserelatedto Joyce's theoryof her mind (and of the femalemind in general) as a flow, in contrast to the seriesof short jumps made by Bloom and Stephen.But were probably these characteristics suggestedto him by the fact that Nora, after leaving Dublin with him, frequentlybegan lettersto her family but (lid not finish them; on one occasion Joyce, looking over her slhoulder, remarked,"Well, if you're going to write to them, at least start with a capitalletter,"to which she replied, "What differencedoes it make?" Another is tenuousresemblance that the name of an earlysuitorof Nora Mulin Galwayis given to Molly'sGibraltar friend,Lieutenant vey. The rigors of walking out in the Galway rain are transformed into the pleasuresof Gibraltarpromenades,and the innocentepiso(legiven a more seriousturn.
Whoever her prototypes were, it is necessary to correct cer-

of tain misinterpretations Molly.The celebrated monologuedoes of of not deserveits reputation being the stummit promiscuity, nor does it fit the descriptionof it, by a writer like Frank disas O'Connor, the summitof cruel,unfair,and anti-feminine

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section.If Molly were reallypromiscuous her conduct,Joyce in would not have used her for heroine,for that sort of flamboyance belongs to melodrama,not usually to everyday.It is true that Mr. Bloom,and criticsafter him, lists no less than twentyfive loversof Molly.But when we look at the list it containssome extraordinary names: there are two priests,a lord mayor, an In alderman,a gynecologist,a bootblack,a professor. the book it is clear that she has confessedto the priests,consultedwith the gynecologist, coquettedwith the rest.But only the most and Jesuiticalinterpretation infidelity-a burlesqueof Richard of Rowan'sJesuitical in interpretation Exiles-could classifythese episodesunderthat heading. The two loversMolly has had since her marriage Bartell are D'Arcy and Boylan. While adulteryis not excused by its infrequence, a tolerant age may find her behavior not wholly

in unjustified view of the fact thatfor elevenyears,since she was her twenty-two, husbandhas not had sexualrelationswith her. Most of her internalmonologueis devotedto her reminiscences of love-making beforeher marriage, even theseare on exambut ination less glamorous,and much less numerous,than usually recognized. The impression of voluptuousnessremains, but is basedmoreon her longingsor potentialities than on her activities. Joycedelightsin heighteningher into someonebeyondherself, and then in pulling her back to 7 EcclesStreet.She has to be an ordinarywoman, an ordinarywife, not an adulteress on the grand scale. There is no reasonto limit her to being an earth goddess either.Her fecundityis not in the leastremarkable. has had She two children,a boy and a girl, but the boy died shortlyafter recordfor a goddessof fertility.But birth-hardly an impressive it may be objectedthat if she has not engenderedeverything, at least she acceptseverything.Actually she does not. She is dissatisfiedwith the coarseness Blazes Boylan,and beyondthat, of seems dissatisfied with the consummation physicallove and of

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beyondeveryShe findsthe malebodyratherunpleasant. remains to thing elsea wife morethana goddess;married Bloom,she will with him too. For Mollyalso even if dissatisficd remainmarried, reluctanceand approthough with considerable acknowledges, of the priatefeminine indirection, importance mind as opposed of to body,the importance decency,and the bondsof the family. The virile Boylan is nothing but a body, while the much less body and mind. virile Bloom is, with all his shortcomings, In choosing a prototypefor his adultererJoyce evolved a strength, person oppositeto Bloom in every way-inl plhysical mannerof dressand speech,conductof life. Joycedoes not furHe prototype. of nish muclhhelp towardsthe (letcction Boylan's a horsedealeroff fatlher was informsus, however,that Boylan's to Island Bridge who sold hiorses the Britishduring the Boer War, that Boylan is a flashydresser,especiallynotablefor his These straw hat, and that he has just manageda prizefighter. detailsare, as we miglhtexpectfrom the confusinguse made of CharleyChanceas botlhM'Coyanid(in part at least) Bloom, a off mixture.The horsedealerwho had his premises IslandBridge was JamesDaly, who does not fit in with the otherdetailsexcept that, like all otherhorsedealersin Dublin,he sold horsesto the Britishduringthe BoerWar.Therewas, however,a horsedealer during the 'ninetieswho actuallybore the name Boylan, and probablyhad Blazes or Blazer for a nickname.Joycetook his and of borrowedthe occupation appearance name, and probably the character from someoneelse, a man namedTed Keogh,who Arch in is still alive. Keogh runs a junk shop underMerchant's car almostexactlythe samelocationas the hawker's whereBloom buys The Sweets of Sin for Molly. Keogh did not know Joyce his personally; only connectionwith the family, he relates,was at top that as a boy he shot a peashooter JackJoyce's hat and hit a horsedealer;he dressed it. Keogh in I909 was, like his father, and habituallywore a straw hat; and when Joyce expensively, visitedDublin in that yearKeogh was managinga well known

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prize fighter.Keogh was niot, however,the kind of personthat Boylanwas in most otherrespects, Joyceimposednew traits and of character upon him. Some of these may have come from a Triestinefriend whose first name, Robert,is given to the antagonistof RichardRowan in Exiles.9 Boylan'sfirstname is not Blazes,as he is alwayscalled,but of Hugh; and the provenance this name is amusing.It is likely that Joycehad in mind his classmate UniversityCollege,Dub. at lin-Hugh Boyle Kennedy-a prim and properman even as an undergraduate, who not only disapproved Joyce'smoralsbut of had the impertinence opposehis paperon "Dramaand Art" to with publicobjections. Kennedywas later to becomeChief Justice of the High Court,and Joycemust have keenly enjoyedhis private joke. Blazes Boylan'sname has anotherremarkable attribute;it is the privilege,given to only one othercharacter Joyce's in work -Gabriel Conroy-of sharingthe vowel sounds as well as the alliterationof the name "JamesJoyce." (Richard Rowan in Exiles has only the alliteration.)While with any other writer we might find here merely a coincidence, inJoyce'spassionate terestin names suggestsa further significance. The relationof Boylanto Bloom may well be what KennethBurkecalls "negaas tive synecdoche," the villain is the negativerepresentation of the hero. Joyce's notesfor Exiles show that he regarded relathe tion of hero and villain as a strangecompoundof admiration and repugnance. The mindless swagger of Boylan has an air aboutit. While Joyce'sclear preference for the mental men, is the Shems,he may have had a sneakingregardfor those burly men, the Shawns,with whom Boylanbelongs. There remainsthe final questionof why June i6, I904, was
chosen for the date of Ulysses. Joyce'sattachment to anniversaries is too well known to admit of the possibility that the choice was
9. The last nanme,Hand, Nvasprobahly borrowe(dfrom an unpleasant personage in Blake's works.

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accidental. Mrs. Joyceused to say that it was the day when she and her husbandfirst met, but Gormandates this event a week earlier, apparentlybasing his statementon Joyce'sreport. It seemsmore likely that it was on this day that JamesJoyceand Nora Barnaclewent for a promenadeon Howth, that on the way they stoppedat Downes'scakeshopto buy one of Joyce's and that they climbed the Hill of favoritesweets,a seed-cake, Howth, which is completelycoveredat that seasonwith rhododendrons,embracedand spoke of their love. Bloom's fondest memoryis of just such a moment,and Mrs.Bloom'sis too; it is of with her recollection it thatthe bookends.In this senseUlysses love is its causeof motion.The spiritis libis an epithalamion; occasion, occasion an eratedfrom its bondsthrougha eucharistic of literature, "profane a characterized what Joycedemanded by are joy."That such occasions as rareas miraclesdoes not reduce theirvalue,but enhancesit. They requireno divine intercession; they arise in quintessentialpurity from the mottled life of everyday. To tracethe materialsof Ulyssesis to discovera fuller admirationfor the hand thatchangedthem or, with equalmastery, let them alone. That Joyceshouldhave moved on to Finnegans in Wakemay appearless surprising view of this shapingof the of earlier book. For the superimposition one characterupon another,the welding of the living and dead, seem a prophecy of the cyclical theory that the living are the dead, and of the linguistictheorythat the languagesmay be welded into a commind, positetoo. All humanitybeganto fall into typesin Joyce's Words move into of all historyinto recurrences a few situations. words,people into people,incidentsinto incidentslike the ammust havebeen of biguitiesof a pun. The perception resemblance an exaltation,for it meant that human decency would persist spiritof man throughthe neverendingcycles,and the affirmable be indeed,as he had daredto say in his faithlessyouth, eternal.