Introduction

Home , Ira Nadel, James Joyce Quarterly, Stephen James Joyce

Notes

Introduction

1. Unless otherwise noted, all references to Hugh Kenner will refer parentheti- cally to his 1987 Ulysses. Revised Edition . 2. Indeed, Groden argues: “In fact, Joyce never really ‘finished’ Ulysses . Rather, since he was determined that it should be published on his fortieth birthday, February 2, 1922, he had to stop writing it” (13). 3. See my ‘ Ulysses’ for Beginners published by the National Library of Ireland Joyce Studies series in 2004 for a fuller discussion of the considerations that go into the concepts of first-time readers and virgin readers (1–6). 4. See Reader-Response Criticism: From Formalism to Poststructuralism , edited by Jane P. Tompkins, for a variety of discussions on these topics. 5. Gerald Prince also offers the following useful distinction: “The implied reader of a narrative text must also be distinguished from the narratee: the former is the audience of the implied author and is inferrable from the entire text, whereas the latter is the audience of the narrator and is inscribed as such in the text” (43). 6. Harry Blamires, who also addresses chiefly the student and the general reader, makes the same predictive statement: “Sadly he notes the handwriting on the letter to Molly: it is Boylan’s (Molly’s lover)” (23). 7. Another study of the novel’s narration that predates Possible Worlds theory is Dermot Kelly’s 1988 Narrative Strategies in Joyce’s ‘Ulysses’. 8. Philosophers who contributed to Possible Worlds theory include analytic philosopher David Lewis (in his 1973 work on Counterfactuals ) and theorist of modal logic Saul Kripke. Doležel describes the contribution of analytic philosophy to contemporary thought with this encomium: “Analytic philosophy has preserved the sober spirit of critical thinking at a time of bloated verbosity. This spirit, which requires controlled theory formation and testing, precise conceptual analysis, and fair assessment of the ideas of the past, has not died but has carried us into the computer age” (x). 9. Kendall Walton’s Mimesis as Make-Believe also addresses similar issues of fiction making. 10. Hart’s essay on “Wandering Rocks” appears in James Joyce’s ‘Ulysses’: Critical Essays, edited by Hart and David Hayman in 1973. 11. Marie-Laure Ryan cites the Borges story “The Garden of Forking Paths” as alluding to a piece of fiction that would presumably violate logical constraints by presenting a figure who, when confronted with alternatives, chooses all of them (41). 12. Both Ryan and Doležel refer this notion of fiction as a game of pretense to the pragmatic theories of Kendall Walton. But Doležel aims to integrate pragmatic 266 Notes

theories of fiction-making into “a unified theory of fictionality whose core is fictional semantics” (12). 13. Robert Martin Adams is actually very rigorous and logical in imputing symbolic meanings to features of the text, but he nonetheless offers examples of symbol ascription. Tom Rochford’s characteristics, which include wearing a claret waistcoat, offer Adams the following “symbolic clues”: “He is robin- breasted as a harbinger of spring and rebirth; his two-columned machine represents a form of spiritual accounting [ . . . ]; and his saving a man from a sewer establishes him as a prototype of the resurrection, a Christ-figure” (92). 14. Much scholarship has been devoted to this intertextual relationship, which is far from simple. Since the polyglot Joyce lacked Greek, the precise version or versions of Homer’s Odyssey he consulted required elucidation. Michael Seidel’s 1976 Epic Geography: James Joyce’s ‘Ulysses’ explored Stuart Gilbert’s numerous allusions to Victor Bérard’s Les Phéniciens et l’Odyssée as a work Joyce admired. And Hugh Kenner in a 1969 James Joyce Quarterly article pointed out the range of “Homers ” produced by translations with which Joyce would have been familiar. These include Charles Lamb’s Adventures of Ulysses , which Joyce read as a boy, as well as Butcher and Lang’s 1879 translation, and Samuel Butler’s “plain prose version” offered in his 1900 edition of The Authoress of the Odyssey (“Homer’s Sticks and Stones” 295). 15. Karen Lawrence too maps the Odyssey onto Ulysses while conceding its limita- tions. “‘Eumaeus’ represents the recognition scene between Stephen (Telemachus) and Bloom (Odysseus), and this has a special place in the story,” she writes, even as she shows how the predicted climax is sabotaged in the episode itself (176). 16. Vicki Mahaffey suggests that Stephen “fears fragmentation, directing his fear at women and Jews as those he believes most likely to disintegrate or symboli- cally castrate him” (“Sidereal Writing” 260). 17. See Morris Beja’s discussion of the sexual issues that confront all three pro- tagonists in the novel in “The Joyce of Sex: Sexual Relationships in Ulysses ” in The Seventh of Joyce (255–266).

One The Conflicts of Stephen Dedalus: From the “Telemachiad” to “Aeolus”

1. Although Margaret McBride treats Ulysses as a metafictional text authored by Stephen Dedalus, she is careful not to conflate Stephen and Joyce. “A metafictional reading of Ulysses requires an excision of the biographical and auto- biographical. Stephen must be viewed not as “Stephen-Joyce” but as a purely literary construct,” she writes( Ulysses and The Metamorphosis of Stephen Dedalus) (35). 2. L. H. Platt gives the power relationship between Mulligan and Stephen a much larger political framework, arguing that it represents the historical social and class conflict between Irish Catholics and Ascendancy Protestants. He writes, “Joyce’s fiction is usually presented as developing under the stimulus of European models, rather than in response to Irish cultural contexts; this is one reason why it may be uncomfortable to think of Joyce engaging in old hostilities which, in the post-Parnell political hiatus, were fought out by the Protestant and Catholic intellegentsias in essentially literary terms” (“The Buckeen and Notes 267

the Dogsbody,” James Joyce Quarterly , 84). Of course, if Mulligan is considered to be Catholic, rather than merely mocking Catholicism, this argument becomes much more ambiguous. 3. See C. E. F. Trench’s article, “Dermot Chenevix Trench and Haines of Ulysses ” in the Fall 1975 issue of James Joyce Quarterly (39–48). His account clarifies the extent to which the national and political descriptions of the historical Trench and the fictional Haines are in stark conflict. 4. Vincent J. Cheng has offered a provocative formulation of this relationship in Joyce, Race, and Empire . “I would like to suggest that one way to think about the dynamics of ‘Telemachus’ is as an ethnographic encounter with a ‘native’ population, in which the British anthropologist ventures out in the wilderness to study the primitive ‘wild Irish’ and their folkways, in the presence of a willing native informant (Mulligan) and the latter’s semi-willing specimen of study (Stephen)” (152). 5. Margaret McBride says of Stephen, “Nor will he return to the job at Deasy’s school” ( Ulysses and the Metamorphosis of Stephen Dedalus 53). But I read Stephen’s thought as entertaining a possibility rather than announcing a decision. 6. The Canting Academy , also called The Devil’s Cabinet Opened, was a 1673 dictionary of slang written by Richard Head to demystify the “cant” of thieves. Gifford and Seidman’s allusion makes better sense in relation to Stephen’s theft of Hyde’s words than to the poem’s vernacular. Here is how they cite Hyde’s stanza: And my love came behind me-- He came from the South: His breast to my bosom, His mouth to my mouth. (62; my indentation and italics) 7. Marilyn French writes, “Stephen is a victim of the usurpers Mulligan and Haines, but is a pretender-usurper himself, as in his thefts from Wilde, the telegram cribbed from Meredith, the Shakespeare lecture, which was taken from numerous sources but credits none and which purposely falsified some facts, as well as the poem plagiarized from Hyde” (67). 8. In his Winter 1987 James Joyce Quarterly article, Vincent Cheng offers a detailed analysis of the vampire poem’s relevance to Stephen’s anxiety that violence lies at the heart of both sexual and artistic creation. “To Stephen a kiss, mouth-to-mouth, had been a troubling symbol for the sexual act since the opening pages of A Portrait ,” Cheng writes (163). “In short, Stephen’s vampire imagery in ‘Proteus’ introduces sex as violent and destructive coupling, creation and art as violent destruction, and the ambiguity among God, vampire, father, creator, artist, and Stephen” (167). 9. Although he offers an intriguing investigation of the poem’s possible sources, Robert Adams Day appears to concur that the process of Stephen’s composition is unconscious and ultimately unknowable. “What Stephen is doing is recapitulating the moment, memorably described by T. S. Eliot, when a multi- tude of images from life and reading (‘from picture papers and cheap novels, indeed, as well as serious books’) begin to arise from the unconscious and coalesce in the mind “(184). 10. Gifford and Seidman offer an answer to Stephen’s question (62) by pointing to 13.1246–13.1247: “Mr Bloom stooped and turned over a piece of paper on the strand. He brought it near his eyes and peered. Letter? No. Can’t read.” 268 Notes

However, the narration shows us Stephen “cramming the scribbled note and pencil into a pocket” (3.437) and there is no reason to think that he lost the scrap of paper on the strand. 11. Stephen’s remembered catalogue of Kevin Egan’s topics includes a reference to A. E.: “Of Ireland, the Dalcassians, of hopes, conspiracies, of Arthur Griffith now, A E, pimander, good shepherd of men” (3.226). But his summary thought, “Weak wasting hand on mine. They have forgotten Kevin Egan, not he them” (3.263) implies a desire to find himself remembered, not forgotten by the likes of A. E., at the end of the day. 12. Ellmann reports Joyce winning a prize for English composition at Belvedere College in 1898: “Professor William Magennis of University College, Dublin, who read the papers, remarked that this young man’s was publishable” (56). 13. Gifford and Seidman give Richard M. Kain credit (147) for providing crucial information about the biographical basis of this allusion to George Russell’s interview with the American (“yankee”) author of Irish Plays and Playwrights , Cornelius Weygandt. Weygandt relates a story Russell told him about a boy “not yet twenty-one” who, one night, waited two hours outside his home in order to discuss the Irish revival with him. Russell does not identify “the boy” as Joyce at this time, but described him as “an exquisite who thought the literary movement was becoming vulgarized through so many people becoming interested in it” (Weygandt 121). 14. John Gordon, guided by the timetables of Clive Hart and Leo Knuth, offers the following chronology. “At 12:30 Haines and Mulligan begin their wait at the Ship, 5 Lower Abbey street. About a half hour later, Stephen, having sent along an insulting telegram and then stood them up, arrives with his news- paper friends at Mooney’s, 1 Lower Abbey street” (“Haines and the Black Panther” 590). How long did it take a telegram to be delivered a few blocks in those days? If Stephen ordered it before 12:30, Haines and Mulligan would hardly have suffered a long wait. 15. Margaret McBride makes an intriguing observation, noticing that there is a gap in the story consisting of a segment the reader does not hear when the narration switches back to Bloom for a moment. “It appears that the reader misses Stephen’s recounting of a long, arduous climb by the women. Such an omission is the first hint that the significance of the parable does not lie in the actual tale. It lies instead in Stephen’s composing process” (Ulysses and the Metamorphosis of Stephen Dedalus 71).

Two The Stakes of Stephen’s Gambit in “Scylla and Charybdis”

1. A note published online by the Princess Grace Irish Library gives the following information: “Lyster is the model for the ‘quaker librarian’ in James Joyce’s Ulysses (“Scylla and Charybdis”) but was in fact a pronounced member of the Church of Ireland. (Correspondence with Esqyn Lyster, a descendant; Princess Grace Irish Library, June 2003.) See http://www.pgil-eirdata.org/html/pgil _datasets/authors/l/Lyster,T/life.htm 2. John Eglinton referred to his appearance in Ulysses briefly in a June 1922 Dial piece on Irish letters: “I am by no means sure, however, that I have understood Notes 269

Mr Joyce’s method, which is sufficiently puzzling even when he relates inci- dents in which I myself have taken a humble part.” In James Joyce: The Critical Heritage , Volume I, 272. 3 . Best also appears to have invited Haines to the office to hear Stephen’s Hamlet discussion. The virgin reader, having just learned of Stephen’s telegram to Mulligan may not yet be able to draw the inference that Haines, upset at being stood up and deprived of the Hamlet theory at the Ship, deliberately disdains the invitation. 4. Vincent Cheng discusses Stephen’s Boer War comments and sentiments in Joyce, Race, and Empire (227–230). 5 . Barbara Temple-Thurston writes, “There is no doubt that Joyce was informed and interested in the bitter struggle in South Africa. [ . . . ] In August 1921, Joyce asked Frank Budgen to send him Conan Doyle’s History of South African War (Letters I 169). The complexities and ironies of the South African struggle provided Joyce with rich source material for metaphors for his views on such issues as the violence of nationalistic fanaticism, the brutality of imperialism, and the cruelties of betrayals resulting from collusion” (247). 6 . Stephen may also wish here to counter Mulligan’s earlier praise of Swinburne, “Isn’t the sea what Algy calls it: a great sweet mother?” (1.77). 7 . Gifford and Seidman evoke the personality of the historical George Russell to argue that A.E.’s abrupt leave-taking from the group in the library office “need not be read as an act of rudeness toward Stephen.” They explain that “George William Russell (A.E.) is reported to have been a very kindly man and at the same time very punctual in his habits and commitments. The gesture of interruption he makes here was repeated often enough to become a minor legend in Dublin literary circles” (210). However, if we treat the A.E. of “Scylla and Charybdis” as a fictional figure rather than as the historical prototype, then the gesture can readily be construed as impatience or dismissal justified by Stephen’s admitted behavior toward Russell on earlier occasions. 8 . This interpretation would be available only to readers familiar with George Moore’s politics. 9. According to Ellmann, Gogarty took a pair of women’s drawers from a suit- case belonging to the underwear salesman, George Roberts, “strung them up, placed a broomstick in the middle, and attached a note signed John Eglinton, at that time an ostentatious celibate, with the rubric ‘I never did it’” (174). 10. See http://en.wikipedia.org/wiki/Counterfactual_history. 11. Ellmann gives a detailed account of Joyce’s contentious relationship with Synge in Paris during his 1903 sojourn there ( James Joyce 123–125). 12 . The essay appeared in the Triestine paper Il Piccolo Della Sera . See “Oscar Wilde: The Poet of ‘Salomé’,” The Critical Writings of James Joyce , 201–205. 13. See Vincent J. Cheng’s discussion of “White negroes” in Joyce, Race, and Empire (19–41). 14 . George L. Geckle offers a highly detailed and erudite explication of the “lapwing” references in the episode in a 1969 James Joyce Quarterly article titled “Stephen Dedalus as Lapwing: A Symbolic Center of Ulysses .” Geckle’s con- clusion is that the references to the physically and morally unattractive bird show that Stephen is aware that he is “a failure in all respects” (112). 15 . John Gordon offers a provocative discussion of Stephen’s performance in “Getting Past No in ‘Scylla and Charybdis’” in the Spring 2007 issue of the James Joyce Quarterly (501–522). Gordon emphasizes the ad hoc character of the lecture: “That is to say, Stephen’s theory is a work in progress. Cast as 270 Notes

a dramatic performance—one that begins with the beginning of Hamlet and concludes with the last lines of Cymbeline —this is a production very much in its pre-Broadway tryout stage” (502). 16 . Robert Kellogg comments, “That Dana should publish articles about making money does not bother Eglinton. That an artist should be paid for his work does. Stephen’s view is, of course, just the opposite” (165). 17. ( http://www.sparknotes.com/lit/ulysses/section9.rhtml ). John Gordon’s argument, that Stephen’s Shakespeare discussion shows a certain amount of impro- visation and trial and error does not, in and of itself, suggest that he offers it “casually,” however.

Three The Larger World of “Wandering Rocks”: The Case of Father Conmee

1. The February 5, 2004 Los Angeles Times reported the death of the last survivor of the General Slocum disaster, Adella Wotherspoon, 100. “Wotherspoon was 6 months old when the paddle-wheel steamboat, named for Civil War Maj. Gen. Henry Warner Slocum, caught fire below decks as it took German American church members on an outing on the East River in New York City on June 15, 1904” (B13). 2. Don Gifford and Robert Seidman gloss her as “Bessie Sheehy, whose husband David (1844–1932), was member of Parliament (Nationalist) for South Galway (1885–90) and for South Meath (1903–18)” (260). According to Andrew Gibson, her grandson was Conor Cruise O’Brien (33). 3. Fritz Senn calls this maneuver “a unique act of usurpatory brainwashing” on Joyce’s part: “he replaces the irretrievable thoughts of a real Irish priest with his fictional forgeries” (“Charting Elsewhereness” 162). 4. This inference will be confirmed a few segments later, when Martin Cunningham tells Mr. Power, “The youngster will be all right [ . . . ] I wrote to Father Conmee and laid the whole case before him” (10.955). Gifford sup- plies the name of the institution at Artane, the O’Brien Institute for Destitute Children (260) which is not specifically mentioned in Ulysses. However, the “Artane Orphans” make an appearance in the fantasy world of the “Circe” episode (15.1889). 5. One could of course argue that the African Missions served greater numbers of people even if their social services were linked to religious affiliation, and that Conmee’s motives are not necessarily compromised by making the Missions a higher priority than helping a single child. Vincent Sherry offers a much larger discussion of the theme of charity and gratuity in the episode (36). 6. Like Mrs. Sheehy, Mrs. M’Guinness also has a historical prototype, according to Gifford: “Mrs. Ellen M’Guinness, pawnbroker, 38–39 Gardiner Street Upper, Dublin” (261). 7. Karen Lawrence comments on “Wandering Rocks”: “Instead of plot as conspir- acy (as reflected in Stephen’s theory on Shakespeare), or at least as motivated drama, we find the characters’ actions plotted according to the coordinates of time and space” (The Odyssey of Style 84). 8. Kimberly Devlin offers an intriguing speculation about those “shirts” Maggy Dedalus is boiling on the stove. Noting the poor condition of the girls’ clothes, she wonders if even before May Dedalus died, she and her daughters ran Notes 271

“an unofficial laundry service for others out of their kitchen” (“Visible Shades” 83). 9. Bonnie Kime Scott notes that while Katey and Boody are in still in school, Maggy, “who has spent much of her day scavenging” is trying her best to run “a bare, subsistence household” (“Diversions from Mastery” 146). 10. I discussed the curious gap represented by the unexplained reference to lady Maxwell in an earlier version of my argument about Father Conmee in the 2007 Joyce Studies Annual , 21–43.

Four The Blooms: Secrets and Suspense in “Calypso” and “Lotus Eaters”

1. Joyce’s interest in the case of Oscar Wilde clearly sensitized him to the plight of homosexuals, including those in seemingly conventional marriages with children. At the same time prohibitions on writing about this plight obliged him to veil allusions to this topic, in such stories as “A Painful Case,” for example. Creating ambiguities about Bloom’s sexuality at the outset of Ulysses allows Joyce to set up the series of aspersions and innuendoes about Bloom’s possible effeminacy that will be cast on it elsewhere in the novel by such disparate figures as Mulligan and the nameless narrator of “Cyclops.” Maneuvering the reader into a similar position early in the text implicates him or her in the ethical pitfalls of homophobia and sexual stereotyping. 2. Patrick McCarthy speculates that Bloom’s knowledge about the origins of his marriage bed—unlike Odysseus’s—is faulty, and that Molly’s own account suggests that the bed was probably purchased in Dublin (36). 3. This characterization seems oddly contradicted by Bloom’s simultaneous observation that Milly’s letter shows her “[c]oming out of her shell” (4.422). 4. Joyce produces a narrative account of just such parodic jumbles of scandals in the Honophrius section of Finnegans Wake . “Honophrius is a concupiscent exservicemajor who makes dishonest propositions to all. He is considered to have committed, invoking droit d’oreiller , simple infidelities with Felicia, a virgin, and to be practising for unnatural coits with Eugenius and Jeremias, two or three philadelphians. Honophrius, Felicia, Eugenius and Jeremias are consan- guineous to the lowest degree” (572.21). However, it is important to note the total absence of implicature in this unequivocal narrative assertion. In the Wake , the scandals are produced by narration; in “Calypso” they are hinted at, or suggested, by an impaired implicature and therefore produced by the reader. 5. See Mary Power’s “The Discovery of Ruby” in the Winter 1981 James Joyce Quarterly , 115–121. The novel Molly Bloom reads is clearly not identical with Amye Reade’s work, but appears to share its spirit. 6. This letter to Bennett Cerf was reprinted in the 1934 Modern Library edition and many subsequent Random House editions. My references to this letter, and to Judge Woolsey’s decision, are taken from Ulysses . New Edition, Corrected and Reset. New York: The Modern Library, 1961. The Cerf letter is also reprinted in Vol. III of The Letters of James Joyce , edited by Richard Ellmann, 241. 7. Bloom’s implicature is repeated in “Lestrygonians” when the narration tells us “Mr Bloom’s eye followed its line and saw again the dyeworks’ van drawn up before Drago’s. Where I saw his brillantined hair just when I was.” (8.1083). 272 Notes

When Bloom was what ? We are still not told, though by now the reader has enough information about Bloom’s suspicions to infer that the glistening hair belonged to Boylan. 8. Dorrit Cohn also introduces a concept she calls “psycho-narration” or the narrative representation of sub-verbal states that may illuminate some of Bloom’s even more submerged thoughts. According to Cohn, this technique can not only “explain a character’s conscious thoughts better than the character himself, it can also effectively articulate a psychic life that remains unver- balized, penumbral, or obscure” (46). However, psycho-narration in Cohn’s sense is still produced by a narrative voice. Many of Bloom’s inarticulate inte- rior monologues, in contrast, seem more like a psycho-dramatization than a psycho-narration. 9. The referent of this description is ambiguous, however, and the coat may be the woman’s rather than the man’s.

Five Jewish in Dublin: Bloom’s Encounters on the Way to “Cyclops”

1. Eliot’s 1919 “Burbank with a Baedeker: Bleistein with a Cigar” contained such lines as “The rats are underneath the piles./ The jew is underneath the lot” (Complete Poems and Plays 24). And although Ezra Pound’s diatribes against Jews became more virulent in the years before World War II, his biographer John Tytell reports that “[i]n 1922 he had attacked Harriet Monroe for “the damn remnants in you of Jew religion, that bitch Moses and the rest of the tribal barbarians” (243). Yet Pound, of course, famously abetted Joyce’s pub- lication of Ulysses , offering not only his own support, but in addition “Pound brought in the subscription of Yeats” (Ellmann, James Joyce 506). 2. In his chapter, “The Enigmatic Jewishness of Leopold Bloom,” Paul Schwaber traces reference to events entailing Bloom’s Jewishness from the veteran reader’s perspective (79–120). 3. Although Doležel does not elaborate what he calls “[m]ental power, originating in superior mental capacities [knowledge, skills, expertise, etc.]” (103), the attribute appears to play a psychological role in Bloom’s agential constellations. 4. Doležel discusses the role that proscriptive and prescriptive norms play in the deontic system or obligation-worlds of fictional characters (120). Bloom clearly adheres to norms of hygiene that such other figures as Stephen Dedalus and Dennis Breen violate. On the other hand, his violation of such local norms as standing drinks gets him into trouble. 5. The character of the narrator and narrative voice has something to do with Bloom’s address. The first-person dun in “Cyclops” refers to him as Bloom, for example, while the “Nausicaa” narrator refers to him as “Mr Bloom.” 6. See Neil Davison’s detailed discussion of Reuben J. Dodd’s source and significance in Ulysses (57–58). 7. Cunningham’s comment, coming at a sensitive moment in the conversation, appears patently provocative and cruel, and bound to inflame any anti-Semitic sentiments brewing against Bloom. Yet this seems incompatible with his earlier kindness to Bloom. An alternative explanation, if we wanted to ‘take a charitable view of it,’ could suggest that Cunningham intends to produce an Notes 273

ill-conceived pun on ‘converted,’ that is, explaining that Bloom is a ‘converted Jew’ while making a joke at Bloom’s expense. 8. Gifford explains “coon” as meaning, in the English idiom, “a sly, knowing fellow.” But he also adds “in American slang, derogatory and offensive for a black” (119). 9. Bloom appears troubled enough by Menton’s rudeness to revisit the dinged hat conversation in “Aeolus”: “Thank you. I ought to have said something about an old hat or something. No. I could have said. Looks as good as new now. See his phiz then” (7.171). 10. See Vincent Cheng’s extended discussion of race in his chapter “Catching the conscience of a race” in Joyce, Race, and Empire (15–74). British typologies of the Irish as “white negroes,” discussed by Cheng, make Irish slurs against blacks especially ironic (26). Marilyn Reizbaum also discusses the contradic- tory nature of stereotyping of both blacks and Jews in “Introduction” to James Joyce’s Judaic Other (8–9). 11. Molly fills in the rest of the scenario in “Penelope”: “still I made him spend once with my foot the night after Goodwins botchup of a concert” (18.263). 12. Gifford and Seidman give the historical source of information on a scheme of selling foreign lottery tickets presumably not authorized by the Hungarian government (162). 13. Although David Lloyd uses “Counterparts” rather than Ulysses as his chief example, he offers an illuminating discussion of Irish drinking practices in “Counterparts: Dubliners, masculinity, and temperance nationalism” ( Semicolonial Joyce 128–149). 14. See Ira Nadel’s discussion of the influence of Otto Weininger, an author to whom Joyce’s Triestine friends introduced him, on the stereotype of the effeminate Jew (154). Neil Davison further adds that “Weininger’s analogies between Jews and women were present in similar form in misogynistic and anti-Semitic popular culture throughout Europe” (139). 15. Neil Davison comments: “On some level, perhaps even in his formative years, Bloom has always been aware of being perceived as different in this essential manner” (210).

Six An Anatomy of Anti- Semitism: The “Cyclops” Episode

1. Hayman’s argument appears in the “Cyclops” essay of Hart and Hayman’s 1974 James Joyce’s ‘Ulysses’: Critical Essays . 243–275. 2. Ira Nadel offers a historical and biographical context for the connection between Bloom, Freemasons, and anti-Semitism in Joyce and the Jews . “The connection of Bloom with the Freemasons is constant throughout the novel and implied are its anti-Semitic connotations, as well as conspiratorial nature. Both may derive from attacks on Nathan [“Ernesto Nathan, the first Jewish mayor of Rome” 209] in Rome during Joyce’s residence” (212). 3. Patrick McCarthy notes that rumor is generally pervasive in the Dublin of the novel: “In Ulysses, where at least we have a basis for separating some facts from their corresponding unfacts, there are numerous examples of rumors that are demonstrably untrue” (53). 274 Notes

4. Fritz Senn points out that Bloom is also guilty of violating conventions govern- ing conversation in pubs. “The tacit rules are simple enough. You keep the party going by being wittily entertaining [ . . . ] and you play straight man to the Citizen and prompt him to his histrionics [ . . . ]. But you do not seriously argue or waste everybody’s good time with explanations or technicalities” (“Bloom among the Orators” 48). 5. Kimberly Devlin notes “According to the anti-Semitic mythology that Ulysses explores, Jewishness is stereotyped as fraudulence and sly self-misrepresenta- tion, as ‘Cyclops’ makes especially clear” (121). 6. Andrew Gibson argues that a specific historical attack on Jews in Limerick— referred to as the “Limerick pogrom” and occurring in “mid-January 1904”— undoubtedly influenced Joyce’s writing of “Cyclops.” “Indeed, the instances of anti-Semitism which punctuate Bloom’s day have a precise, historical character. [ . . . ] This is partly the result, not only of the events in Limerick, but of the coverage of those events in the Irish, and to a lesser extent, the English press” (145). 7. See Patrick McCarthy’s discussion of Lenehan’s false allegation (53). 8. A number of critics see in the ending of “Cyclops” Bloom’s transformation into a Christ figure. Daniel Schwarz writes, “The narrator’s hyperbolic description of the execution, trial, and resurrection comically equates Bloom with Christ, for Bloom, too, is both ostracized outsider and victim” (188). Suzette Henke relates Bloom’s scapegoating to political and historical sentiments. “Nationalism requires its scapegoat as well as its myth of original sin. Leopold Bloom becomes the new paschal lamb to be sacrificed on the altar of history (143). Andrew Gibson concurs with this sentiment without recourse to the Christ typology: “Bloom encounters the betrayal of the Irish-Jewish analogy. He comes up repeatedly against the anti-Semitism of the new nationalism” (“Only a Foreigner Would Do” 151). 9. Daniel Schwarz sees “Cyclops” as a genuinely triumphant moment for Bloom, in a number of respects, and so it is. “Are we not to assume that this courageous speech to the Citizen, at the risk of physical attack, is one major reason that for Bloom 16 June, 1904 is not merely a gratuitous day but rather a crystallizing day” (180). The question is whether Bloom’s fellow Dubliners will see it that way, or instead be influenced by the dun’s and other accounts of the events.

Seven The (Im)possible Worlds of “Oxen of the Sun”

1. Joyce identified the style of this section as a “diarystyle bit Pepys-Evelyn,” in his famous letter to Frank Budgen (Selected Letters 252). But James Atherton points out that “there is no sign of Evelyn and the Pepys imitation is barely recognizable” (324), presumably because Joyce here as elsewhere in “Oxen of the Sun” relied more on W. Peacock’s anthology of English prose than he did on the original authors (315). Atherton’s point would make 1704 problematic as the transposed present of this narrative segment, since Pepys died in 1703 and Evelyn in 1706. 2. Fritz Senn writes, “The rapid transformations of style that go to make up the Oxen of the Sun chapter could also be taken to be a series of translations, not Notes 275

horizontally from one language into another, but vertically through progres- sive stages of the literary language, and of course into the idiom of highly individualistic writers. This is one reason why translators find the Oxen of the Sun chapter particularly frustrating” (Joyce’s Dislocutions 3). 3. Stanley Sultan famously conflated the narrative voice with the judgment of Joyce himself (286) on the morality of contraception. 4. See Ruth Ronen’s discussion of Ryan’s analysis of world-construction (69–70). 5. See Joyce’s March 20, 1920 letter to Frank Budgen in the Selected Letters of James Joyce (251–252). 6. Karen Lawrence concurs with the notion that the changing styles interfere with the factuality of the events. She writes, “The point is that the various styles contain their own systems of values; because events are narrated in certain styles, they are apt to be altered by the style chosen” (136). 7. The role of guest was equally dangerous in the generic landscape of other antique literatures—for example, in the Homeric account of Circe’s island. Joyce cites such a moment in his 1909 essay on Oscar Wilde, in which Wilde is figured as the guest of an adoring British public whose hospitality turned to savagery. “His name symbolizes him: Oscar, the nephew of King Fingal and the only son of Ossian in the amorphous Celtic Odyssey , who was treacher- ously killed by the hand of his host as he sat at table” (“Oscar Wilde: The Poet of ‘Salomé’” in The Critical Writings of James Joyce 201). 8. See Marie-Laure Ryan’s discussion of what she calls the “O-World” or obligation world of fiction (116–117). 9. Stephen’s response to the thunder as the voice of god announces a theme that will play a powerful role in Joyce’s Finnegans Wake , where it will be medi- ated through the Enlightenment ethnography of Giambattista Vico’s historical cycles and myths of origin. 10. A version of “categorial incompatibility” crops up in the eighteenth-century section that follows, when talk of the natural phenomenon of hoof-and-mouth disease in cattle appears transformed into an allegory of the papal transfer of control of Ireland to Britain by means of the papal “bull” Laudabiliter . The allegorical mode functions in the service of a kind of Swiftean satire here, whose aim is illumination by substitution rather than attention to abstrac- tion. See Atherton (326) and Sultan (291). Sultan points out that Swift uses the same punning on “bull” in his attack on the papacy in Section IV of A Tale of A Tub . 11. One of the most interesting discussions of Milly Bloom was presented thirty years ago by Tilly Eggers in the James Joyce Quarterly (Summer 1975). Without analyzing Bannon’s discussion, Eggers nonetheless points to its implications: “Milly does not become a mother in the novel, but having begun menstruating and having a relationship with Bannon, she is a potential mother” (391). 12. Robert Janusko gives a summary of the evidence that allows us to identify the girl in Bannon’s locket as Milly Bloom. But he notes the curious discrepancy, “that Bannon carries a picture of a young lady in a locket tied around his neck, although Milly has written to Leopold that her pictures have not yet been developed” (“From Seymour to Amby to Bannon” 395). Given that Milly would have written the letter to her father on June 15, there could conceiv- ably have been time for the photo to be developed, inserted into a locket, and brought by Bannon to Dublin from Mullingar by the night of the next day. 276 Notes

13. Janusko demonstrates that in earlier drafts it was a Mulligan friend named Seymour, who is also enlisting in the military, who accompanied him to the Holles Street hospital that night. The change to Bannon therefore raises some puzzling questions. “Bannon, like Seymour before him, now has plans to join the army. Is this retention of the Seymour description an oversight on Joyce’s part, lost in the thousand hours of composition? Or has Joyce decided to have Bannon seek military refuge from an embarrassing romantic complication? Is Bannon, despite his protestations of affection in the Sterne parody, now simply to desert Milly?” (“From Seymour to Amby to Bannon” 394). 14. Terence Killeen gives the most specific explanation of this possibility when he notes, “Crotthers, the Scottish student, is chatting with Bannon, who shows him a locket bearing Milly Bloom’s image” (160). 15. The political sentiments of passages like this remind us that the narrative voice is here distinctly British rather than Irish. 16. Mary Lowe-Evans anchors her discussion of the relationship between the dis- courses of morality and sexuality in “Oxen of the Sun” by referring to a book in Joyce’s library: W. E. H. Lecky’s History of European Morals published in 1869 (64–66). 17. Bloom remembers that the experienced midwife, Mrs. Thornton, “knew from the first poor little Rudy wouldn’t live. Well, God is good, sir. She knew at once” (4.418). Rudy appears never to have been a “healthy child” who inexpli- cably died. 18. The text goes out of its way to impute the expression “staggering bob” not to the narrative voice but to Stephen Dedalus himself, I believe. Here is the sentence in its entirety: “For the enlightenment of those who are not so intimately acquainted with the minutiae of the municipal abattoir as this morbidminded esthete and embryo philosopher who for all his overweening bumptiousness in things scientific can scarcely distinguish an acid from an alkali prides himself on being, it should perhaps be stated that staggering bob in the vile parlance of our lowerclass licensed victuallers signifies the cookable and eatable flesh of a calf newly dropped from its mother” (14.1293). 19. Gifford and Seidman note that “There are many versions of this subject, among the most famous one by Titian (now in Vienna) and several by the early-sixteenth-century Netherland painter, Van Cleef. The allusion does not seem to be a specific visual image but rather to the way Pater generalizes his aesthetic experience, particularly in The Renaissance ” (439). 20. Robert Janusko’s approach to the “Embryological Framework” of the episode is extremely interesting and informative and takes a more positive approach to its significance for the characters. See The Sources and Structures of James Joyce’s ‘Oxen’ (39–54).

Eight “Circe”: Stephen’s and Bloom’s Catharsis

1. Critics differ on the psychological status of the fantasy sequences in “Circe.” Stanley Sultan astutely addresses the episode’s form as an example of European Expressionist drama on the order of August Strindberg’s Dream Play , a genre characterized by “illogicality, fluidity of transition, overt symbolism, and fantasy” (302). But he maintains that the status of the characters’ fantasies is that of daydreams (306). Sultan calls their description as hallucinations Notes 277

“inaccurate”—“hallucinations are totally a product of imagination” (306). In contrast, Hugh Kenner does refer to them as hallucinations and points out that when Bloom fantasizes “there is no later sign that he remembers [his fantasy experience] or has even been aware of it” (120). 2. See Margot Norris’s essay “Disenchanting Enchantment: The Theatrical Brothel of ‘Circe’” in Ulysses: En-gendered Perspectives (229–241). 3. Freud devotes two different sections in The Interpretation of Dreams to the question of the forgetting of dreams (76–80 and 550–571). The argument that might best apply to “Circe” has to do with resistance, that Nighttown produces conditions that let Stephen and Bloom lower their resistance to confronting painful conflicts in their waking life, but that resistance to these recognitions is reinstated once their sojourn there is over. 4. Robert Janusko reminds us that Stephen has already begun singing in “Oxen of the Sun.” “Stephen sings for them a song from the masque celebrating the nuptials of Amintor and Evadne in The Maid’s Tragedy by Beaumont and Fletcher” ( Sources and Structures 16). 5. See Gifford’s note on the possibility that George Russell may have played or voiced the role of Mananaun in a performance of his play Deirdre (491; 15.2262). 6. See Gregory Castle’s insightful discussion of the complicated implications of Mulligan’s criticism of Stephen on this score. “In the end, it is Stephen who is able to criticize the Revival without allowing his ambivalence to shade into a kind of mercenary complicity and who is able to maintain an increasingly critical focus on his own investments in the Revival” (223). 7. Stuart Gilbert points out: “The Hours (as important personages in Ulysses as in the work of Proust) are associated with the morris (moorish) dancers with their ‘caps and indices’, numbered like the hours” (340). 8. Vincent Cheng discusses the function of the “Black Panther Vampire” in his article in the Winter 1987 James Joyce Quarterly (161–176). 9. See Wolfgang Wicht’s (2000) Utopianism in James Joyce’s ‘Ulysses’ , with its extended focus on the “Circe” episode. 10. The simultaneous emergence of “THE YEWS” and “THE NYMPH” suggest their shared situation on walls, since the brothel parlor’s walls are “tapestried with a paper of yewfronds and clear glades” (15.2046) and the Nymph’s picture hangs on the wall of the Bloom bedroom. 11. “Circe” corresponds in function but not in form to what Dorrit Cohn calls “psycho-narration” in her book, Transparent Minds (21–57). Although the stage directions of “Circe” function like narratorial comments, the dramatic form presents characters’ inner selves without the intervention of narration. This suggests that the “sub-verbal states” Cohn attributes to much psycho- narration are paradoxically communicated verbally in “Circe.”

Nine The Text as Salvation Army: Abjection and Perception in “Eumaeus”

1. Margaret McBride, of course, suggests the intriguing “possibility that Stephen is the implied, Ovidlike narrator of Ulysses ” (12). She therefore sees an irony in Bloom’s thinking of himself as a writer since “[a]t this speaker’s elbow sits 278 Notes

an aspiring writer”—namely, Stephen Dedalus—“who will disappear into the night” to compose a novel about “the all-unwitting Bloom” (104). 2. Lawrence followed her 1981 stylistic analysis of “Eumaeus” with a Marxist analysis in 1992. “‘Beggaring Description’: Politics and Style in Joyce’s ‘Eumaeus’,” published in the Summer 1992 issue of Modern Fiction Studies , relates the episode’s language to its address to the downtrodden figures in the cabman’s shelter. 3. My focus on abjection in relation to identity is not in conflict with the more psychoanalytically theorized construction of abjection articulated by Julia Kristeva in Powers of Horror: An Essay on Abjection . However, my attention on the production of abjection will address more specific relations between narrative language and identity construction. 4. Margaret McBride finds in the episode “myriad examples of facts that have become fictions and fictions that are accepted as fact. The very terms ‘fact’ and ‘facts’ turn up thirty-four times in ‘Eumaeus’; this is more than the total number of times they are used throughout the remainder of the novel” (104). 5. The communicative function of the narrator is not taken for granted in contemporary narrative theory, as Marie-Laure Ryan discusses in her chapter on “Voices and Words” (68–69). Ryan attributes the notion that in some nar- ratives events appear to tell themselves to Ann Banfield. Banfield produces evidence “against the hypothesis that every text has a narrator and hence con- forms to the communication model” of literature (12). 6. Gifford and Seidman themselves complicate this information when they revisit it in a later gloss to Skin-the-Goat in “Eumaeus.” Here they attribute the information about Fitzharris’s job to unidentified Dubliners consulted in 1970. They write, “There is no evidence to suggest that he was keeper of the cabman’s shelter, but several Dubliners (1970) have suggested that the Dublin Corporation employed him as a nightwatchman after his release from prison; that is, Fitzharris had Gumley’s job” (538). 7. Assuming that the descriptor of “the black straw hat” allows us to identify her as the same woman, Stephen Dedalus has encountered her before, albeit in another fiction, Stephen Hero (189–192). There he does not walk with her, as she asks, but he does give her some coins before continuing his philosophical ruminations, into which he interpolates her as an exemplar of the common or simple soul. See Bonnie Kime Scott’s discussion of Stephen’s encounter with the woman in the black straw hat in her Summer 1979 James Joyce Quarterly article (407–416). 8. Bloom twice remembers the woman asking: “Psst! Any chance of your wash” (11.1255). The narrator transposes her request as “begged the chance of his washing”—a locution Bloom interrogates, “Also why washing which seemed rather vague than not, your washing” (16.714). Both locutions are ambiguous, as Bloom seems to note, leaving it unclear whether she asks for a job— that is, the privilege of doing his laundry—or offers a murky sexual favor. The narrator’s supposition of the woman’s “reconnoitring” possible “with the object of bringing more grist for her mill” (16.705) may therefore dishonor the desperation of the presumably homeless woman’s efforts to survive. 9. Gifford glosses “dip” as poor man’s gravy or broth for extending or flavoring meager meals of potatoes (310). 10. Joyce may have planted another allusion to “An Encounter” in “Eumaeus” when he has the figure of D. B. Murphy don a pair of “greenish goggles” Notes 279

(16.1672), making his eyes resonate to the “bottlegreen eyes” (19.272) of the queer old josser in the story. 11. Jennifer Levine lists the entire catalogue of “Murphy”’s descriptors in her essay (282) and argues for adding the silent descriptor never voiced in the episode: homosexual. 12. Gifford notes that “[a]nthropologists have documented cannibal tribes at the headwaters of the Amazon in Bolivia and in western Brazil, but not among the extant mountain and coastal tribes of Peru” (540). 13. The narrative voice actually says that “Murphy” “snapped the blade to and stowed the weapon in question away as before in his chamber of horrors, otherwise pocket” (16.587). The “chamber of horrors” trope exemplifies what John Paul Riquelme calls the teller’s tendency to “editorialize,” in his 1983 Teller and Tale in Joyce’s Fiction (217). 14. Levine finds in the reference to the tattoo artist Antonio an allusion to “Antonio, the ‘lover’ of Bassanio” in Shakespeare’s The Merchant of Venice (291). 15. Joyce’s story in Dubliners , “A Painful Case,” can also be read as demonstrat- ing a narration ‘in the closet.’ See my discussion, “Shocking the Reader in ‘A Painful Case’ in Suspicious Readings of Joyce’s ‘Dubliners’ (158–171), as well as Roberta Jackson’s “The Open Closet in Dubliners : James Duffy’s Painful Case” in the Fall 1999/Winter 2000 James Joyce Quarterly (83–97).

Ten Stephen Dedalus’s Anti- Semitic Ballad: A Sabotaged Climax in “Ithaca”

1. Booth adds a curious footnote to his discussion of dramatic intensification in fiction. “I would not want to be asked for proof, but I suspect that many besides Yeats have praised Ulysses as a work of genius without being sufficiently interested even to finish it” (64, n. 63). 2. A. Walton Litz’s influential 1974 essay in James Joyce’s “Ulysses”: Critical Essays argues that “both the action and the stylistic development of Ulysses reach a climax in ‘Ithaca’” (386). But Stephen’s singing of the ballad is not discussed as playing a role in that climax. 3. Neil Davison may suggest the best answer for why Bloom does not tell Molly about the citizen’s attack when he points out that in spite of her own likely Jewish heritage, Molly’s ruminations on matters Jewish “in no way reveal that she has ever considered herself a Jew” (237). If so, Bloom may be reluc- tant to share with her evidence of the vulnerability that comes with Jewish identity. 4. Paul Schwaber finds in Stephen’s ambiguous response to Bloom a significant tribute, namely that “Stephen accepts his [Bloom’s] intercession and views him as a savior” (175). The text in “Eumaeus” states: “— Ex quibus, Stephen mum- bled in a noncommittal accent, their two or four eyes conversing, Christus or Bloom his name is or after all any other, secundum carnem ” (16.1091). However, the context of Stephen’s remark fails to support any sense that it represents a conciliatory gesture. 5. In an early James Joyce Quarterly essay on “Eumaeus,” Brook Thomas reminds us that it may be Bloom’s style of discourse that conditions Stephen’s lack of responsiveness. “As much as we like to praise Bloom’s humanity and 280 Notes

classical temper, we become as bored as Stephen and politely try to stifle our yawns when confronted with the style that would produce Bloom’s proposed sketch of My Experiences in a Cabman’s Shelter ” (16). 6. Gerald L. Bruns’s early essay on “Eumaeus” offers a rather different interpretation of Bloom and Stephen’s relationship in this episode. By character- izing Bloom’s economic schemes as “not Utopian at all but entrepreneurial, the visions of a would-be parvenu ” (382), Stephen may be more readily forgiven for offering “sententious and sometimes disagreeable responses” to Bloom’s “sorry small talk.” Bruns concludes that a “profane silence” surrounds the two men’s conversation: “But, after all, it is this profane silence that is the environ- ment of ordinary life, in which such figures as Bloom and Stephen could hardly be expected to do more than sit and speak at an impasse” (383). 7. Brook Thomas comments on Bloom: “All day he has been searching for an audience worthy of his sensitive mind. Finally he thinks he has found it in Stephen” (James Joyce’s “Ulysses”: A Book of Many Happy Returns 134). 8. Robert M. Adams offered an early review of the quarrels voiced by critics with the list’s account of Molly’s putative lovers (36–40). 9. Five verses of the ballad are cited in the text. Here are the last two: She took him by the lilywhite hand And led him along the hall Until she led him to a room Where none could hear him call. She took a penknife out of her pocket And cut off his little head. And now he’ll play his ball no more For he lies among the dead. (17.821) 10. Richard Madtes argues that Joyce could have been familiar with an Irish version of the ballad, although the variant he cites as relevant to Joyce’s version refers to the “duke’s daughter” rather than to the “Jew’s daughter” as the mur- derer of little Harry Hughes (96–97). 11. Madtes writes, “We know that although the words under the music in the Ulysses text were written down by Joyce himself, the musical notation was written by his friend Jacques Benoîst-Méchin” (97). 12. Mahaffey offers a highly detailed and deeply researched discussion of the prov- enance of the ballad and its variants in her essay (“Sidereal Writing” 261–263) with particular attention to its gender implications. 13. Ira Nadel’s Joyce and the Jews: Culture and Texts , Marilyn Reizbaum’s James Joyce’s Judaic Other , and Neil R. Davison’s James Joyce: “Ulysses,” and the Construction of Jewish Identity all offer valuable historical context for Joyce’s address to Jewish matters in the novel. 14. David Wright has speculated at length about this curious and putatively “inconsequent” (17.945) intrusion of Mrs. Sinico into one of the last reported conversations between Bloom and Stephen in the novel. Although Bloom seems to describe her as “accidentally killed” in his question to Stephen, Wright suggests that Bloom speculates about her lonely and possibly suicidal end. “So we are bound to ask: does Bloom’s concern with the details of Emily Sinico’s death, and his apparent association of her with his own father (who seems to have killed himself partly because of loneliness), suggest that he knew enough about her to wonder whether she had taken her life deliberately and, moreover, to imagine why she might have done so?” (108). Notes 281

Eleven Molly Bloom before “Penelope”

1. Although Vicki Mahaffey is careful to call their two-dimensionality “apparent,” she says this about Stephen Dedalus and Molly Bloom: “When considered apart from Bloom, the characters of Stephen and Molly slide almost imper- ceptibly into caricature; they become disturbingly one-sided embodiments of male and female tendencies as disseminated through Christian doctrine” (Reauthorizing Joyce 140). 2. Mieke Bal writes of the formation of a fictional character, “The accumulation of characteristics causes odd facts to coalesce, complement each other, and then form a whole: the image of a character” (125). 3. Lubomír Doležel discusses the first-person narrative as having a world-con- structing function in his chapter on “Authentication” (152–159). 4. John Henry Raleigh calls this early time of the Bloom marriage their “golden years” and dates them as occurring during the period 1888–1893 (102). 5. Raleigh sees this as a reference to a previous night’s outing by the Blooms— given Bloom’s observation “Strange kind of music that last night” (4.530). But it seems unclear whether he might not be alluding to the last night of the bazaar when Molly danced with her new acquaintance Boylan for the first time. 6. The “rip” in Molly’s gown may be a stylistic gloss on “R.I.P.”—“Rest in Peace.” 7. The absence of a subject in the sentence technically creates an ambiguity, sug- gesting that either Molly, Bloom, or the two as a couple “could never like it again after Rudy.” But “Penelope” will make it very clear that Molly longed for the pleasure of sex as much after Rudy as before, and we can safely deduce that it is Bloom alone who could never like it again. 8. Ironically, Bloom is surprisingly unsentimental and matter-of-fact when thinking of the death of a generic infant later in “Hades”—in spite of the fact that its imagined dwarf’s face “mauve and wrinkled like little Rudy’s was” reminds him of his son (6.326). On this occasion he thinks “Meant nothing. Mistake of nature” (6.329). 9. This glimpse of a woman in bits and pieces is reminiscent of similar descriptions of Boylan throughout the text, who is also perceived in bits and pieces, through a hat, socks, shoes, or in sounds, such as the jingling money in his pockets. With Boylan, this synecdochic strategy colludes with his caricature as a rakish lover. 10. The narrating dun of “Cyclops” passes on a story of Pisser Burke’s, about how Molly used to be “in rivers of tears some times with Mrs O’Dowd crying her eyes out with her eight inches of fat all over her”—presumably because she felt oppressed by Bloom’s management of her (12.839). However, neither Bloom nor Molly corroborate this information in their own memories or thoughts. 11. Bloom appears ignorant or oblivious to the fact that Molly was actually in acute distress on this particular evening (“I was fit to be tied” [18.1114]) when a sudden onset of menstruation spoiled her pleasure in enjoying her only time in an opera box. 12. Marilyn French points out that “[t]he only characters who mention Molly without putting her into a tacit or explicit sexual context” are Mrs. Breen, the “frowzy whore,” and the narrating dun of “Cyclops” (252). 13. Bloom’s own allusion to Molly’s stomach at the Glencree dinner—“Just beginning to plump it out well” (8.168)—seemingly refers to her early pregnancy, in 282 Notes

contrast to Lenehan’s contention that “[s]he was well primed with a good load of Delahunt’s port under her bellyband” (10.557). 14. See Phillip Herring’s discussion of Brian Tweedy in Joyce’s Uncertainty Principle (135). 15. See Marilyn Reizbaum’s discussion of the stereotype of the effeminate Jew as grounded in the work of Otto Weininger (101).

Twelve The Worlds of “Penelope”

1. Kimberly Devlin ascribes theatricality and a penchant for mimicry to Molly Bloom, but at the same time credits her with “x-ray vision”: “Molly is consis- tently accorded a sort of X-ray vision that enables her to recognize artifice, various simulacra of the real immediately” (“Pretending in ‘Penelope’” 91). Fritz Senn concurs, crediting Molly with “having generally a good sense of what is spurious about others” (Dislocutions 178). 2. Paul Schwaber writes of Molly’s “ambivalence”: “Molly gives and takes back, asserts and lightens, expresses distaste only to find something admirable” (213). 3. Morris Beja reminds us “that Bloom is a victim not of primary or physical impotence but of secondary impotence” (“The Joy of Sex” 256) produced by psychological rather than physiological causes. 4. Father Robert Boyle speculates that it is Molly who does not want another child, presumably because she does not want “to go through the horrors of pregnancy, birth, and upbringing again” (417). He finds in this the source of Bloom’s unhappiness and therefore judges “that Molly has been the dominant force in the unhappy sexual relationship which had existed for so long at 7 Eccles street” (418). I find little evidence for this claim, however. 5. However, Molly does resort to poetic tropes when describing appealing men. Jean-Michel Rabaté notes “she likes to imagine that Bloom when young looked like Byron, and some of her fantasies revolve around Stephen Dedalus, whom she sees as a Romantic poet” (106). 6. Raleigh dates Molly’s relationship with Gardner as occurring during the Boer War years from 1899-1902 (173). 7. Carol Shloss argues that Molly Bloom is certainly aware of Irish political life, but it is “often dislike of what she knows that leads her to turn back to the private sphere” (106). 8. Susan Barzargan writes “The first mention of Gibraltar in her internal dia- logue occurs at a rare moment of contemplation on fear, punishment, and sin, when she recalls awakening to the sound of thunder” (121). She then contrasts the initial apocalyptic description of Viconian thunder over Gibraltar with its evocation at the end of the episode,” the euphoric, exotic image of Gibraltar as it appears in the climactic scene of her narrative” (122). 9. See Margot Norris, “Risky Reading of Risky Writing” in Joyce in Trieste: An Album of Risky Readings , 43–49. 10. See Sigmund Freud, “Fragment of an Analysis of a Case of Hysteria” (1905) in Sigmund Freud: Collected Papers , Vol. 3, 13–146. 11. Molly is right, that Kathleen Kearney is indeed the daughter of a bootmaker, as we learn in the story “A Mother” in Dubliners . One could consider the story of “A Mother” as the anemic counterpart of Molly’s story with respect to the challenges of mounting and maintaining a female singing career in Dublin. Notes 283

12. Molly’s plan to cook fish on a Friday indicates her adherence to Catholic prac- tice which designated Friday as a meatless day in her time. 13. Peter Costello’s fictionalized aftermath of Bloom’s post-1904 life has Molly Bloom indeed die of the cancer she thinks of fleetingly at this point in “Penelope.” “Her periods never became regular again and she suffered from occasional bouts of mysterious pain, which seemed to her to increase in fre- quency as the years passed” (106). 14. Herring writes, “Molly could well have been rejected by all but the most tol- erant in Gibraltar: by the Jews as an outcast (though legally Jewish) like her mother; by local society as a daughter of the regiment ( U 11.507); by the gar- rison as the product of a scandalous union” (133). Herring goes on to call the seeming consequence of Molly’s parentage a “historical absurdity,” since we are asked to believe that Brian Tweedy “fathered a child on a local girl and raised her as his daughter as if this were perfectly customary in military society” (135). 15. Morris Beja writes of the Blooms’ marital dilemma, “The question of responsi- bility no doubt matters to us as well, but ultimately laying blame is less enlight- ening than finding causes” (257). 16. See James McMichael’s insightful discussion of the Blooms’ marital conflict in ‘Ulysses’ and Justice (172–194).

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Abbott, H. Porter, 1 , 285 Budgen, Frank, 12 , 16 , 62 , 269 , abjection, 183–4 , 228 274 n.1 , 275 n.5 accessibility relations, 10–11 , 68 , Butler, Josephine, 193 140 , 159 B utler, Samuel, 266 n.14 Adams, Robert Martin, 266 n.13 , 280 n.8 Castle, Gregory, 277 n.6 A. E., see Russell, George Cerf, Bennett, 93 , 271 n.6 agential constellations in fiction, Cheng, Vincent J., 58 , 267 n.4, n.8 , 102–3 , 119–20 , 272 n.3 269 n.4, n.13 , 273 n.10 , 277 n.8 allegory, 143–4 climax, narrative, 43 , 51 , 180 , Ames, Keri, 16 , 19–20 199–203 , 206–13 , 241 , analytic philosophy, 5 , 265 n.8 266 n.15 , 279 n.2 anti-Semitism, 2 , 15 , 18 , 56–7 , 89 , Cohn, Dorrit, 96 , 237 , 272 n.8 , 102 , 109–16 , 120–32 , 149 , 277 n.11 154 , 176 , 199–201 , 206–13 , Colum, Padraic, 50–1 262 , 272 n.7 , 273 n.2, n.14 , conflict, in fiction, 13–17 , 25–6 , 30–3 , 274 n.5, n.6, n.8 37 , 126–31 , 143 , 157 , 161–2 , Aristotle, 21–2 , 46 , 56–7 , 81 , 205 168–72 , 178–80 , 238–40 Aristotle’s Masterpiece, 149–50 Contagious Diseases Acts, 193 Atherton, James, 135 , 143 , 145 , cooperative principle, 87 , 126–7 148–9 , 274 n.1 , 275 n.10 Costello, Peter, 263 , 283 Atkinson. F. M’Curdy, 165 counterfactuals, 5–6 , 13–18 , 21–2 , authentication function, in fiction, 54 , 81 , 136 , 265 7 , 116 , 125–6 , 132–3 , 140–1 , 184–5 , 189 , 192–7 , 204 , 281 n.3 Dana , 33 , 35 , 44 , 52 , 63 , 163 , 270 n.16 Bal, Mieke, 85 , 281 n.2 Davison, Neil, 111–12 , 120 , Banfield, Ann, 278 n.5 211 , 272 n.6 , 273 n.14, n.15 , Bazargan, Susan, 250 , 282 n.8 279 n.3 , 280 n.13 Beja, Morris, 266 n.17 , 282 n.3 , Day, Robert Adams, 267 n.9 283 n.15 Devlin, Kimberly J., 270 n.8 , Best, Richard Irvine, 44 , 46–63 , 274 n.5 , 282 n.1 164 , 269 disnarration in fiction, 8 , 81 , Blamires, Harry, 265 n.6 204–5 , 213 blood libel, 209 Doležel, Lubomír, 4– 12 , 30–1 , Boer War, 47 , 49 , 58 , 168 , 226 , 54 , 74 , 79–81 , 101 , 106 , 112 , 246–7 , 253 , 269 n.4 , 282 n.6 116–17 , 119–20 , 125 , 127–8 , Booth, General William, 183 131–3 , 139–40 , 149–50 , Booth, Wayne, 199 , 279 n.1 184–5 , 188 , 195–6 , 200 , 204 , Boyle, Robert, S. J., 240 , 282 n.4 212 , 250 , 265 n.8, n.12 , Brahe, Tycho, 60 272 n.3, n.4, 281 n.3 Bruns, Gerald, 184–5 , 280 n.6 drama, 157–9 292 Index

dyadic fictional system, 137–41 , Gregory, Lady Augusta, 64–5 , 165 148–9 , 153–4 Grice, Paul, 70 , 86–7 , 126–9 Griffith, Arthur, 130 , 267 Eco, Umberto, 5 Groden, Michael, 1 , 265 n.2 Egan, Kevin, 32 , 268 n.11 Eggers, Tilly, 275 n.11 habitual doings, 14–17 Eglinton, John (William Kirkpatrick happenings, 17–18 , 29 , 32 Magee), 33 , 44–64 , 162 , Hart, Clive, 6–7 , 67–8 , 265 n.10 , 268 n.2 , 269 n.9, n.11 , 270 n.16 268 n.14 Eliot, T. S., 64–5 , 272 n.1 Hatikvah, 207 Ellmann, Richard, 26 , 69 , 71 , Hayman, David, 4 , 115 , 117 , 124 , 268 n.12 , 269 n.9 130–2 , 265 n.10 , 273 n.1 extensional function of language, Heininger, John, 247 188–9 Henke, Suzette, 274 n.8 Herring, Phillip, 255 , 282 n.14 , facts, in fictional worlds, 6–8 , 283 n.14 116–17 , 134 , 138–41 , 184 , Homer’s Odyssey , 1 , 11–20 , 85 , 193 , 204 , 208 , 238 137–8 , 266 n.14, n.15 , 275 n.7 Fantasy-universe, 9, 158–61 , 174 homosexuality, 56–8 , 195–7 , Fargnoli, Nicholas, 4 271 n.1, n.4 , 279 n.11 fictional worlds, 3–10 , 21 , Hughes, Harry, the ballad of, 199 , 135–6 , 237 206–12 , 280 n.9 Finnegans Wake, 271 n.4 , 275 n.9 Hunter, Jefferson, 1–2 Fitzharris, James (Skin-the-Goat), Huxley, Thomas Henry, 150 189–91 , 278 n.6 Hyde, Douglas, 30–2 , 35 , 46 , Frank, Joseph, 2 267 n.6, n.7 French, Marilyn, 37–8 , 267 n.7 , 281 n.12 Ibsen, Henrik, 249 Freud, Sigmund, 15 , 57–8 , 93 , implicature, 4 , 10–11 , 69–70 , 86 , 159–61 , 225 , 248 , 251 , 88–99 , 103 , 109 , 119 , 126–9 , 277 n.3 , 282 n.19 145 , 195 , 245 , 271 n.4, n.7 imposture, 184 , 190 Gaelic, 28 , 36 , 207 incompleteness, in fiction, 3–4 , 9–10 , Geckle, George L., 269 n.14 25 , 29 , 32 , 69 , 73–5 , 119 , 195–6 , Genette, Gérard, 117 200 , 245 , 263 Gibson, Andrew, 270 n.2 , Ingarden, Roman, 5 274 n.6, n.8 intensional function of language, 184 , Gifford and Seidman, 21–2 , 30–1 , 44 , 188–9 , 192 , 195 49–50 , 58 , 61 , 74 , 80 , 119–23 , The Interpretation of Dreams, 159 145 , 150 , 165, 166, 183 , 189 , 205 , intertextuality, 4 , 11–19 , 122 , 267 n.6, n.10 , 268 n.13 , 269 n.7 , 196 , 266 n.14 270 n.2 , 273 n.8, n.12 , 276 n.19 , Iser, Wolfgang, 3 , 10 , 200 277 n.5 , 278 n.6, n.9 , 279 n.12 Gilbert, Stuart, 1 , 12 , 266 n.14 , Jackson, Roberta, 279 n.15 277 n.7 Janusko, Robert, 275 n.12 , Gillespie, Michael, 4 276 n.13, n.20 , 277 n.4 Gogarty, Oliver St. John, 26 , 44 , Jeep, Johannes, 204–5 , 211–12 50 , 54 , 269 Johnson, Samuel, 148 Gordon, John, 268 n.14 , 269 n.15 , 270 n.17 Kain, Richard M., 12 , 212 , 268 n.13 Gorman, Herbert, 69 Kellog, Robert, 270 n.16 Index 293

Kelly, Dermot, 265 n.7 modality, 5 , 8–9 , 133 Kenner, Hugh, 1 , 3 , 12 , 19–21 , 25 , 30 , Moore, George, 40 , 45 , 49–51 , 64 , 35–7 , 39 , 44 , 86–97 , 145–6 , 157 , 162 , 165 , 269 n.8 163–4 , 183 , 187, 210–11, 265 n.1 , 266 n.14 , 276 n.1 Nadel, Ira, 89 , 273 n.14, n.2 , Killeen, Terence, 275 n.14 280 n.13 Kipling, Rudyard, 47 narrative norm, 86 , 99 , 153–4 Knuth, Leo, 268 n.14 narratology, 3–5 , 86 , 96 , 115 , 198 , Kripke, Saul, 265 n.8 200 , 217–18 Kristeva, Julia, 278 n.3 narrators, 7–8 Künstlerroman, 99 Norris, Margot, 265 n.3 , 271 n.10 , 277 n.2 , 279 n.15 , 282 n.9 Lamb, Charles, 266 n.14 Lamos, Colleen, 195–7 Old Times in the Barony, 73 lapwing, 60–1 , 269 n.14 Osteen, Mark, 63 Lawrence, Karen, 2 , 81 , 86 , 118 , 135–8 , 144–5 , 147 , 153 , 183 , Parnell, Charles Stewart, 174–5 185–6 , 200 , 204 , 266 n.15 , parody and pastiche, 135–6 , 144 270 n.7 , 275 n.6 , 278 n.2 Pater, Walter, 275 n.19 Leibniz, Gottfried, 5 Pavel, Thomas, 4 , 73 , 120 Levine, Jennifer, 194–7 , Pearce, Richard, 247 279 n.11, n.14 Phoenix Park murders, 190 Lewis, David, 265 n.8 Platt, H. L., 73 , 266 n.2 Linati Carlo (schema), 1 , 12 plot, narrative, 12–18 , 25 , 32–3 , 43 , Little Review, 1 , 93 75 , 138 , 160–1 , 195 , 204 , 217 , Litz, A. Walton, 279 n.2 220 , 238 , 250 Lloyd, David, 273 n.13 Possible Worlds theory, 3–10 , 21–2 , Lowe-Evans, Mary, 276 26 , 54 , 62 , 71 , 79–80, 120 , 133 , Lyster, Thomas, 32 , 44–5 , 51 , 136–7 , 151 , 154–5 , 157–8 , 184 , 54–6 , 64 , 268 n.1 188 , 265 n.8 Pound, Ezra, 272 n.1 Magennis, William, 34, 55 , Power, Mary, 92 , 271 n.5 164–5 , 268 n.12 Prince, Gerald, 5–8 , 12 , 81 , 136–7 , Mahaffey, Vicki, 210–11 , 266 n.16 , 195 , 204 , 265 n.5 280 n.12 , 281 n.1 prototypes, historical, 6 , 44 Maimonides, Moses, 206 make-believe, 9 , 139 , 265 n.9 Rabaté, Jean-Michel, 282 n.5 Mananaun MacLir, 164 Raleigh, John Henry, 124 , 222 , 244 , Marcello, Benedetto, 163–4 281 n.4 , 282 n.6 Matdes, Richard, 280 n.10, n.11 Rapoport, Anatol, 127 McBride, Margaret, 263 , 266 n.1 , Reade, Amye, 271 n. 5 267 n.5 , 268 n.15 , 277 n.1 , Reader-response theory, 1 , 265 n.4 278 n.4 referentiality, 6 McCarthy, Patrick, 271 n.2 , Reizbaum, Marilyn, 123–4 , 130 , 273 n.3 , 274 n.7 273 n.10 , 280 n.13 , 282 n.15 McCormick, Kathleen, 82 , 217 Rimmon-Kenan, Shlomith, 5 McMichael, James, 283 n.16 Riquelme, John Paul, 250 , 279 n.13 M’Guinness, Ellen, 270 n.6 Roberts, George, 93 mimesis, 6, 10 , 117 , 265 n.9 Rochfort, Mary, 73–4 minimal departure, principle of, Ronen, Ruth, 4–9 , 116 , 200 , 11 , 194 275 n.4 294 Index

Russell, George (A.E.), 29 , 32–6 , suspense, 2 , 25 , 85–99 40 , 44–64 , 161–2 , 164–6 , Swift, Jonathan, 275 n.10 268 n.11, n.13 , 269 n.7 , Swinburne, Algernon Charles, 277 n.5 47 , 269 n.6 Ryan, Fred, 35 , 52 , 63 , 165 Synge, John Millington, 55–6 , Ryan, Marie-Laure, 4–17 , 26 , 29 , 43 , 269 n.11 51 , 64 , 68–76 , 79 , 85 , 94 , 122 , 124 , 133 , 135–9 , 147 , Temple-Thurston, Barbara, 157–60 , 170–1 , 178 , 194–5 , 269 n.5 238 , 265 n.11, n.12 , Tennyson, Alfred, 168 275 n.4, n.8 , 278 n.5 Textual Actual World, 8–11 , 136–45 , 153–5 , 158–60 , 229 Sacher-Masoch, Leopold von, 98 Thomas, Brook, 279 n.5 , 280 n.7 Salvation Army, 183–4, 188 , 197 Tompkins, Jane, 265 n.4 Schneidau, Herbert, 115 , 124 , Torgovnick, Marianna, 262 130–2 transworld identity, 4–6 , 26 , 44 , Schwaber, Paul, 204 , 208–10 , 60 , 65 , 159 , 189–90 272 n.2 , 279 n.4 , 282 n.2 Trench, C. E. F., 267 n.3 Schwarz, Daniel, 274 n.8, n.9 Trench, Samuel Chenevix, 26 , 28 , Scott, Bonnie Kime, 271 n.9 , 44 , 267 n.3 278 n.7 truth value, in fiction, 6–7 , 115–17 , Seidel, Michael, 266 n.14 123–32 , 198 Senn, Fritz, 85 , 126 , 270 n.3 , Twigg, Lizzie, 44 , 102 274 n.2, n.2 , 282 n.1 Tytell, John, 272 n.1 Shakespeare & Co., 57 , 65 Shakespeare lecture, 3 , 15 , 22 , utopian wishes, 170 , 174–6 , 181 45–62 , 161–2 , 168 , 267 n.7 Sheehy, Bessy, 270 n.2, n.6 Wagner, Richard, 167–8 Sherry, Vincent, 270 n.5 Walton, Kendall, 265 n.9, n.12 Shloss, Carol, 282 n.7 Weininger, Otto, 111 , 273 n.14 , Skin-the-Goat, see Fitzharris, James 282 n.15 social process, 18 , 106 Weygandt, Cornelius, 268 n.13 Soud, Stephen, 149 Wicht, Wolfgang, 277 n.9 speech acts, 7 , 116 Wicke, Jennifer, 247 Stanzel, Franz, 4 Wilde, Oscar, 55–8 , 63 , 267 n.7 , Steinberg, Erwin, 4 269 n.12 , 271 n.1 , 275 n.7 Sterne, Laurence, 144 , 147 Williams, Trevor, 70 stream-of-consciousness, 3 , 25 , Woolsey, John M., 93 , 271 n.6 29–33 Wotherspoon, Adella, 270 n.1 submerged tenth, the, 183 , 186 , Wright, David, 280 n.14 193 , 197 Sultan, Stanley, 141 , 209 , Yeats, W. B., 44 , 50 , 65 , 164 , 275 n.3, n.10 , 276 n.1 , 277 279 n.1