Joyce’s writing impressed me the most in this chapter. I didn’t expect Joyce to ever pull the focus away from Stephen or Bloom, or even reveal minor characters’ thoughts. I love how Joyce was able to capture the busy atmosphere of midday by relaying what multiple characters are doing at the same moment. I think the repetition of certain lines or character allows Joyce to place significant focus on certain details. For example he does this to show how admirable and charming Blazes Boylan is. In his section of the chapter we see Blazes flirting with a clerk. Then later Master Dignam points out a person “with a swell pair of kicks with him” (251). And then in the regal procession section Blazes is shown giving his red flower to a group of young ladies.
One time that Joyce uses this method best is how so many people mock Bloom. The fact that everyone who notices Bloom mocks him shows the extent of his unsociability. In a way it almost seems unnatural. Of all the times this happens my favorite is between M’Coy and Lenehan. M’Coy talks about Blooms wife as a sexual object. In the description he “hands moulded ample curves of air” (234). For one thing I loved how this paralleled Bloom thinking about the curves of a goddess a few chapters back. I like how Molly is sexually objectified by many people, making her like Helen. But since Bloom already knew this woman, what can he fantasize about other than a god? One other aspect of M’Coy and Lenehan’s exchange is when they wonder whether Bloom is looking for “Leopoldo or Bloom is on the Rye.” The mockings seem unnatural in how they were right. Even though Bloom was not looking for something with his name in the title, he was looking at “Tales of the Ghetto” by Leopold von Sacher Masoch.

“Father Conmee thought of that tyrannous incontinence, needed however for men’s race on earth, and of the ways of God which were not our ways”

I feel that this thought of Father Conmee holds tremendous weight in this chapter. If he were considering the incontinence of men it would make sense that Joyce would include a survey of human actions. In this chapter there are instances of drunkenness, promiscuity, greed, and bigotry. Furthermore for almost every person there is a mention of how the sunlight hits his or her eyes. This is reminiscent to Deseay’s claim that the Jews “sinned against the light…and you can see the darkness in there eyes” (34). One example of this is when Dilly “saw sunshades spanned and wheelspokes spinning in the glare” (253). While I do not want to try to diagram and make conclusions about who is pious based on the light in their eyes, I think that this shows Joyce’s ability to flesh out a motif.

Questions:

Both Bloom and Master Dignam mourn the loss of their father. Also Dignam is one of the few characters whose inner-thoughts were revealed. Do you see another possible parallels between the two characters?

What's in a name?

I find Stephen’s sections to be a little more confusing than Bloom’s. In the Scylla and Charbydis chapter this complexity reaches a new height, largely because of its subject matter. This scene is in a library and is mainly literary discussion. In some ways this chapter feels like Joyce rethinking a lot of the imagery and illusions he has worked in earlier. He explicitly discusses Hamlet and The Odyssey. What I love about this is that Joyce is including commentary of his own work. Although unlike Dante, who included explanations of his work afterward, Joyce does it within the work. But in many ways this contorts the piece, instead of clarifying it. Since there are multiple characters discussing the works, we see multiple interpretations. And Stephen’s and the narrator’s back and forth form of story-telling can make one unsure of Stephen’s interpretations.
One thing we do know about Stephen’s interpretation of literature, is that it relates to many of his personal thoughts. I remember after reading the Proteus chapter feeling very uncomfortable because of the personal nature of the chapter. And in the discussion of whether Hamlet was inspired by Shakespeare’s dead son Hamnet related to the feelings I had. There are many questions concerning the role of the personal in art; whether knowledge of the author’s life is important to the art. Russell says their exploration is “prying into the family life of a great man”, and he goes on to say that despite what Shakespeare did “we still have King Lear: and it is immortal” (189). So here we see Russell wanting art to be art for its own sake. In response John Ellington says, concerning Ann Hathaway, “She died, for literature at least, before she was born” (190). Afterward Stephen says she died when sixty seven, and related to how she served as a mother and wife for Shakespeare. After this Stephen thinks of his mother’s deathbed and how he wept alone. It is here that one can fully appreciate what Joyce has done in these lines. First he set up a discussion of prying into the artists personal life. After some discussion Joyce flips the topic, showing how thinking of art has reminded Stephen of his personal life. And like I mentioned earlier, Stephen is in a way the author of this book, thereby showing how the personal is inseparable from art.



Questions

There is a moment on page 217 when Stephen mentions “a creamfruit melon he held to me.” I just couldn’t find where he brings this up earlier. Does anyone remember?

Rabbi Bloom

By symbolically linking Ulyssess with The Odyssey Joyce makes the idea of the journey, or returning home very important. While the book is full of allusions to Odysseus’s journey home, there are also a lot of references to the heroes of the bible. Already there have been moments when Bloom has thought about Israel and biblical topics. In the beginning of the chapter Bloom thinks of the size of the Dedalus family, with a “birth every year almost. That’s in their theology or the priest won’t give the poor woman the confession, the absolution. Increase and multiply” (151). Here we see Bloom attributing the size of the Dedalus family to its religiosity. It’s funny that Bloom says this practice is part of their theology when it is apart of his too, since this commandment comes from Genesis. Later Bloom challenges the Dedalus family when he thinks, “I’d like to see them do the black fast Yom Kippur. Crossbuns” (152). Again this is strange, because the ritual of the fast is another old-testament tradition. We see Bloom confuse details all the time, but here it seems that the religions are confused themselves. Obviously Joyce is placing these two forms of monotheism against each other to question why such terrible, seemingly competitive, feuds occur between these groups of people. I included the sentence “Crossbuns” in the quote to show another conflict found in religion, the personal one. Even though Bloom wonders if the Dedalus family can last a fast, the reader knows that Bloom couldn’t. So his mentioning of crossbuns could be his appetite chiming in.
This sense of personal control in regards to religion is found all over this chapter. When Bloom thinks of an ad with an attractive woman writing something, he’s sure that all will be intrigued, “women too. Curiosity. Pillar of salt” (154). This thought has to do with Lot’s wife from the story of Sodom, and how she was turned to a pillar of salt by looking back at the city. Here I see the idea of sexual temptation come into play. Because if a woman were drawn to an ad with a female model, would that not make her homosexual or a sodomite?
One final role that religion plays in this chapter deals with the woman. In the second chapter of the book Deseay blames the woman for sin. Ever since that moment there have been recurring images of Eve. One of the punishments Eve received from eating from the tree of knowledge was pain at childbirth. In this chapter Bloom thinks of a young woman in labor and suggests, “they ought to invent something to stop that. Life with hard labour” (161). While short, I find this thought to be very profound. In the western tradition a painless childbirth in a way means a return to paradise. At the same time I think this notion displays a conflict of modernism and religion. Because it implies medicine can outweigh God’s punishments. But again Bloom would like a “life without hard labour.” In Lotus-Eaters Bloom fantasized about the east being a luxurious place (71), or even an Eden. But Bloom also thinks of Zionist settlers in Palestine, making an Eden by doing hard labor. Although he doesn’t follow either of these lifestyles, thereby leaving him in a house of bondage.

Connections
Swans are accused of spreading foot and mouth disease pg. 153.

Bloom thinks of a woman getting her boots all mucky on 168. He also notices the muck on Stephen’s boots of 147.

On 173 Blazes is called a “hairy chap” and on 92 he was “airing his quiff.”

On 174 dog noses are discussed in a very sexual way, like on 59.

Questions:

Bloom grapples with acting on his thoughts. For example he thinks about surprising both Molly and Milly, and seems to want to contact Martha? Are there any course of actions that you envision Bloom making? Or do you think his inaction is a sort of tragic flaw?

In every chapter since by the soap Bloom mentions it. What significance do you think it holds?

AEOLUS CHAPTER! READ ALL ABOUT IT!

This chapter I had the most difficulty with. Surprisingly it was not the headlines that threw me off, but the conversation. Not only do the characters’ obscure references cause difficulty, but Joyce’s portrayal of the scenes are confusing. A lot of the time there are different conversations between multiple people happening at once. While confusing as hell, this does parallel the events of the scene. If many people are crammed in a busy office, it would be hard to follow the conversation going on.
One other stylistic element of this chapter that intrigued me was Stephen’s return. Since Bloom was gone at this moment Joyce shifted back to revealing Stephen’s thoughts. I am curious to see if this will be a consistent shift.
In this chapter Joyce explores his own trade, writing. Not only is the scene in a newspaper office, but our young poet Stephen and a professor are in the scene too. One obvious way language is explored in this chapter is as a tool, or commodity. All these people in the office are sellers of words. And this relates to Stephen particularly. In the earlier chapters Stephen often grapples with having to make money, and inevitably making his thoughts and writings his money. When Haines says that he wants to make a book of Stephen’s sayings, Stephen only wonders “will I make money on it?” (16). But there is an inclination that selling words is base. One of Bloom’s thoughts elaborates on this idea; “funny the way those newspaper men veer about when they get wind of a new opening. Weathercocks. Hot and cold in the same breath. Wouldn’t know which to believe” (125). Since newspapers seem to have strong political connotation, a change of employment could coincide with a change of ideals. And to be false to oneself, and your readers, for the sake of money seems corrupt. And Bloom even mentions how the public will easily digest someone’s words when he says, “all very fine to jeer at it now in cold print but it goes down like hot cake that stuff” (126). This relates back to Stephen in how his skill could be used by the paper. Myles Crawford at one point says to Stephen “I want you to write something for me….Something with a bite in it. You can do it. I see it in your face. In the lexicon of youth…” (135). In a way this is Crawford trying to convince Stephen to be convincing. Where his own rhetorical knowledge may be lacking, Crawford uses what he can to persuade Stephen to use his. Crawford is not curious to see Stephen’s creativity, just what “bite,” or rhetorical spin, he can add to something. This is displayed when he says, “no poetic license. We’re in the archdiocese here” (148). This further shows how Crawford chooses political loyalty, in this case to the church, over true authorship. I think a lot of this ties to Stephen’s mention to St. Augustine on page 142. He talks about corruption of things, and much of Confessions has to do with the corrupt use of language for pride and vanity.
Joyce also explores the rules and conventions of language in this chapter. We see many puns and plays on words. Also the older people in this chapter think over exemplary oratories. And the professor even criticizes Doughy Daw for not alluding to, or doing what Shakespeare does with the moon in Hamlet. I feel like this is Joyce grappling with literary history, because in this chapter we see the refrain of waking from the nightmare of history. But this time the phrase has changed to “nightmare from you will never wake (137).


Connections:

Pg. 123 Blooms soap still bothers him in his pocket. Also found in Pg. 87 and Pg. 100

In the last scene Bloom thought of people having their hearts on their sleeves. In this chapter people are mentioned having brains on their sleeves Pg. 125.

I see more of the damn letters. In Proteus Stephen thought of the books he was going to write with letters as titles. In this chapter Crawford remembers how Gallaher assigned letters to all parts of Dublin. Pg. 137

Questions

What do you make of Stephen’s digression about the strike of a match effecting the rest of his life? (pg. 140 before A POLISHED PERIOD)

Murders, Suicides, and Dead Babies

“Well it is a long rest. Feel no more. It’s the moment you feel. Must be damned unpleasant” (110).

Almost everything in this chapter deals with death, be it actions or thoughts. In the passage above Bloom thinks of death as both a loss and intense moment of pain. Being a man of the body, Bloom inevitably thinks of his death in relation to it. He realizes when he is dead he will not be able to eat the inner organs of beasts. This view is also found when he thinks it is “much better to close up all the orifices. Yes, also. With wax. The sphincter loose. Seal all up” (98). Since we’ve seen Bloom have and enjoy a bowel movement, the sealing of the sphincter means the end of this enjoyment of digestion. But in thinking of how to store and preserve dead bodies Bloom seems unafraid of death. But maybe Bloom is not afraid of death but dying, for this is what the body experiences. In two places Bloom mentions the unpleasantness of death. He does in the quote above, when he is at the cemetery during the burial. And also in the carriage before hand, he calls a sudden death “the best death…no suffering he said. And a moment and all is over. Like dying in sleep” (95). Again this shows how Bloom fears the pain or agony of death. And this can be related to how both his father and child died. His father poisoned himself, which meant “no more pain” (97). But the dying process was still painful, since it was his depressing life. Support for this is when Bloom thinks, “they used to drive a stake of wood through his heart in the grave. As if it wasn’t broken already,” showing the emotional pain of the suicidal (96). But Bloom continues, “sometimes they repent too late. Found in the riverbed clutching rushes” (96). This again emphasizes how the moment of death would be the worst, because you may change your mind but realize that your hopes are futile. So Bloom thinks how dying is terrible for the suicidal, and this also relates to Rudy. From the moment of his birth Rudy was in the process of dying. But in calling his son “a mistake of nature” (96) Bloom seems able to cope with the idea of a dead child. Almost like he’ll never miss life, for he hasn’t experienced it. But at the same time Bloom thinks about missing the opportunity when he thinks, “I could of helped him on in life. I could” (89).

Connections:

When the cows passed in front of the carriage it made me think of Deseay, fighting foot and mouth disease.

On page 99 Bloom mentions carrion dogs in the river, and we know that there are.

Page 106 Bloom sings the “tooraloom” he does on page 71.

Page 112 Bloom thinks of the cords of the coffins as navelcords.

Questions:

Does Bloom’s confusion between his wife and daughter bother anyone else? Around page 100 he thinks about surprising Milly with a visit, and says that she’ll be “with her pants down.”

How did you feel about seeing Dedalus again? He seemed like more of a jerk. And what do you think of the moment when he “hurled a mute curse at the sky” (90).

All the ladies love me!

In Calypso Joyce highlighted Bloom’s materialism, in how he loved food, women, and money. In Lotus Eaters, particularly the scene where Bloom notices a rich couple going into a hotel, Bloom’s hedonism is shown to a new extent. In his (or the narrator’s?) description the woman is doing very little but is the center of action. “She stood still, waiting, while the man, husband, brother, like her, searched his pockets for change” (73). Even though the husband, brother, is trying to pay the porter, the sentence opens with the woman standing. And even her motionlessness is elaborate on, because she is also “waiting.” This line is also the only time the husband, brother, is mentioned, again showing Bloom’s sexual curiosity. His materialism is shown in how he notices the flicker of her hat while she drives away. Like an animal Bloom’s eye will just follow a shiny object. But also in this scene Joyce displays Bloom’s arrogance, cynicism, an foremost his rudeness. The whole time he half-heartedly listens to M’Coy, and even moves “to the side of M’Coy’s talking head,” treating him like an interruption (74). Actually later on he still dwells with having to meet with M’Coy, when he says, “I wish I didn’t have to meet that M’Coy fellow” (76). But beyond this rudeness Bloom comes off as arrogant, especially as a sexual being. This is shown when he thinks, “[she] sees me looking. Eye out for another fellow always. Good fallback” (74). While thinking that the woman notices him, Bloom is also thinks she is checking him out. And also in Church he wonders, “were those two buttons of my waistcoat open all the time. Women enjoy it. Annoyed if you don’t” (83). So not only does Bloom think of himself as handsome, but he implies women crave sex. And this deals with Bloom’s cynicism, another one of his facets displayed in this chapter. When Bloom thinks that the rich looking at other men is a “good fallback,” it shows how he is accusing her of being a gold-digger. But in calling it a good fallback he is supporting this treachery. And of course adulterous thoughts are not a stranger to Bloom.
Another moment in the scene with the rich woman shows Blooms hypocricy. This is when Bloom wonders where this girl is going. His assumption is that she’s “off to the country: Broadstone probably” (74). Since Bloom is so fascinated with this girl it seems likely Bloom envies her life. This has to do with Homer’s Lotus Eaters that the chapter is named after. In The Odyssey the lotus eaters are those who left Odysseus’s crew to live on the isle of the lotus. At many spots we see Bloom thinking about the people of the east having a relaxing life. He thinks, “the far east. Lovely spot it must be, the garden of the world, big lazy leaves to float about on, cactuses, flowery meads….Wonder it is like” (71). While he calls these people lethargic later on he is still curious about what the life is like. The hypocrisy lies in how Bloom is critical of those who don’t do work, but wants their lifestyle.

Connections:

Pg. 75 M’Coy goes off to investigate the drowning at sandy cove.

Pg. 79 Bloom contemplates about how checks can be ripped apart, and also be worth a lot. This contrasts Stephen noticing the weight of the coins he carries.

Pg. 86 Bloom thinks about his navel while fantasizing about a bath. We’ve seen both umbilical chords and navels elsewhere.

Pg. 85 The chemist talks about horse racing

Questions:

We discussed a lot about Bloom’s suspicion concerning his wife. But now we see how Mr. Flower has an affair going of his own. Would you call this infidelity on Bloom’s part? Or does it not count unless he pursues the body pleasure associated?

Do you ever feel like Bloom sees himself as a performer? One moment in this chapter he walks by a group of cab drivers and consciously notes, “shout a few flying syllables as they pass” (77).