Ulysses Page #10

Ulysses chronicles the appointments and encounters of the itinerant Leopold Bloom in Dublin in the course of an ordinary day, 16 June 1904. Ulysses is the Latinised name of Odysseus, the hero of Homer's epic poem the Odyssey, and the novel establishes a series of parallels between the poem and the novel, with structural correspondences between the characters and experiences of Bloom and Odysseus, Molly Bloom and Penelope, and Stephen Dedalus and Telemachus, in addition to events and themes of the early 20th-century context of modernism, Dublin, and Ireland's relationship to Britain. The novel is highly allusive and also imitates the styles of different periods of English literature.

• Fiction
• Novel

								


And here what will you learn more?

Mr Deasy shook his head.

—Who knows? he said. To learn one must be humble. But life is the great
teacher.

Stephen rustled the sheets again.

—As regards these, he began.

—Yes, Mr Deasy said. You have two copies there. If you can have them
published at once.

 Telegraph. Irish Homestead.

—I will try, Stephen said, and let you know tomorrow. I know two
editors slightly.

—That will do, Mr Deasy said briskly. I wrote last night to Mr Field,
M.P. There is a meeting of the cattletraders’ association today at the
City Arms hotel. I asked him to lay my letter before the meeting. You
see if you can get it into your two papers. What are they?

—The Evening Telegraph...

—That will do, Mr Deasy said. There is no time to lose. Now I have to
answer that letter from my cousin.

—Good morning, sir, Stephen said, putting the sheets in his pocket.
Thank you.

—Not at all, Mr Deasy said as he searched the papers on his desk. I
like to break a lance with you, old as I am.

—Good morning, sir, Stephen said again, bowing to his bent back.

He went out by the open porch and down the gravel path under the trees,
hearing the cries of voices and crack of sticks from the playfield. The
lions couchant on the pillars as he passed out through the gate:
toothless terrors. Still I will help him in his fight. Mulligan will
dub me a new name: the bullockbefriending bard.

—Mr Dedalus!

Running after me. No more letters, I hope.

—Just one moment.

—Yes, sir, Stephen said, turning back at the gate.

Mr Deasy halted, breathing hard and swallowing his breath.

—I just wanted to say, he said. Ireland, they say, has the honour of
being the only country which never persecuted the jews. Do you know
that? No. And do you know why?

He frowned sternly on the bright air.

—Why, sir? Stephen asked, beginning to smile.

—Because she never let them in, Mr Deasy said solemnly.

A coughball of laughter leaped from his throat dragging after it a
rattling chain of phlegm. He turned back quickly, coughing, laughing,
his lifted arms waving to the air.

—She never let them in, he cried again through his laughter as he
stamped on gaitered feet over the gravel of the path. That’s why.

On his wise shoulders through the checkerwork of leaves the sun flung
spangles, dancing coins.




[ 3 ]


Ineluctable modality of the visible: at least that if no more, thought
through my eyes. Signatures of all things I am here to read, seaspawn
and seawrack, the nearing tide, that rusty boot. Snotgreen, bluesilver,
rust: coloured signs. Limits of the diaphane. But he adds: in bodies.
Then he was aware of them bodies before of them coloured. How? By
knocking his sconce against them, sure. Go easy. Bald he was and a
millionaire, maestro di color che sanno. Limit of the diaphane in.
Why in? Diaphane, adiaphane. If you can put your five fingers through
it it is a gate, if not a door. Shut your eyes and see.

Stephen closed his eyes to hear his boots crush crackling wrack and
shells. You are walking through it howsomever. I am, a stride at a
time. A very short space of time through very short times of space.
Five, six: the nacheinander. Exactly: and that is the ineluctable
modality of the audible. Open your eyes. No. Jesus! If I fell over a
cliff that beetles o’er his base, fell through the nebeneinander
ineluctably! I am getting on nicely in the dark. My ash sword hangs at
my side. Tap with it: they do. My two feet in his boots are at the ends
of his legs, nebeneinander. Sounds solid: made by the mallet of Los
Demiurgos. Am I walking into eternity along Sandymount strand? Crush,
crack, crick, crick. Wild sea money. Dominie Deasy kens them a’.

     Won’t you come to Sandymount,
     Madeline the mare?

Rhythm begins, you see. I hear. A catalectic tetrameter of iambs
marching. No, agallop: deline the mare.

Open your eyes now. I will. One moment. Has all vanished since? If I
open and am for ever in the black adiaphane. Basta! I will see if I
can see.

See now. There all the time without you: and ever shall be, world
without end.

They came down the steps from Leahy’s terrace prudently,
Frauenzimmer: and down the shelving shore flabbily, their splayed
feet sinking in the silted sand. Like me, like Algy, coming down to our
mighty mother. Number one swung lourdily her midwife’s bag, the other’s
gamp poked in the beach. From the liberties, out for the day. Mrs
Florence MacCabe, relict of the late Patk MacCabe, deeply lamented, of
Bride Street. One of her sisterhood lugged me squealing into life.
Creation from nothing. What has she in the bag? A misbirth with a
trailing navelcord, hushed in ruddy wool. The cords of all link back,
strandentwining cable of all flesh. That is why mystic monks. Will you
be as gods? Gaze in your omphalos. Hello. Kinch here. Put me on to
Edenville. Aleph, alpha: nought, nought, one.

Spouse and helpmate of Adam Kadmon: Heva, naked Eve. She had no navel.
Gaze. Belly without blemish, bulging big, a buckler of taut vellum, no,
whiteheaped corn, orient and immortal, standing from everlasting to
everlasting. Womb of sin.

Wombed in sin darkness I was too, made not begotten. By them, the man
with my voice and my eyes and a ghostwoman with ashes on her breath.
They clasped and sundered, did the coupler’s will. From before the ages
He willed me and now may not will me away or ever. A lex eterna stays
about Him. Is that then the divine substance wherein Father and Son are
consubstantial? Where is poor dear Arius to try conclusions? Warring
his life long upon the contransmagnificandjewbangtantiality. Illstarred
heresiarch! In a Greek watercloset he breathed his last: euthanasia.
With beaded mitre and with crozier, stalled upon his throne, widower of
a widowed see, with upstiffed omophorion, with clotted hinderparts.

Airs romped round him, nipping and eager airs. They are coming, waves.
The whitemaned seahorses, champing, brightwindbridled, the steeds of
Mananaan.

I mustn’t forget his letter for the press. And after? The Ship, half
twelve. By the way go easy with that money like a good young imbecile.
Yes, I must.

His pace slackened. Here. Am I going to aunt Sara’s or not? My
consubstantial father’s voice. Did you see anything of your artist
brother Stephen lately? No? Sure he’s not down in Strasburg terrace
with his aunt Sally? Couldn’t he fly a bit higher than that, eh? And
and and and tell us, Stephen, how is uncle Si? O, weeping God, the
things I married into! De boys up in de hayloft. The drunken little
costdrawer and his brother, the cornet player. Highly respectable
gondoliers! And skeweyed Walter sirring his father, no less! Sir. Yes,
sir. No, sir. Jesus wept: and no wonder, by Christ!

I pull the wheezy bell of their shuttered cottage: and wait. They take
me for a dun, peer out from a coign of vantage.

—It’s Stephen, sir.

—Let him in. Let Stephen in.

A bolt drawn back and Walter welcomes me.

—We thought you were someone else.

In his broad bed nuncle Richie, pillowed and blanketed, extends over
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