The Complete Works of   JAMES JOYCE

by James Joyce

  Mr Bloom turned at Gray’s confectioner’s window of unbought tarts and passed the reverend Thomas Connellan’s bookstore. Why I left the church of Rome? Birds’ Nest. Women run him. They say they used to give pauper children soup to change to protestants in the time of the potato blight. Society over the way papa went to for the conversion of poor jews. Same bait. Why we left the church of Rome.

  A blind stripling stood tapping the curbstone with his slender cane. No tram in sight. Wants to cross.

  — Do you want to cross? Mr Bloom asked.

  The blind stripling did not answer. His wallface frowned weakly. He moved his head uncertainly.

  — You’re in Dawson street, Mr Bloom said. Molesworth street is opposite. Do you want to cross? There’s nothing in the way.

  The cane moved out trembling to the left. 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. Horse drooping. Driver in John Long’s. Slaking his drouth.

  — There’s a van there, Mr Bloom said, but it’s not moving. I’ll see you across. Do you want to go to Molesworth street?

  — Yes, the stripling answered. South Frederick street.

  — Come, Mr Bloom said.

  He touched the thin elbow gently: then took the limp seeing hand to guide it forward.

  Say something to him. Better not do the condescending. They mistrust what you tell them. Pass a common remark.

  — The rain kept off.

  No answer.

  Stains on his coat. Slobbers his food, I suppose. Tastes all different for him. Have to be spoonfed first. Like a child’s hand, his hand. Like Milly’s was. Sensitive. Sizing me up I daresay from my hand. Wonder if he has a name. Van. Keep his cane clear of the horse’s legs: tired drudge get his doze. That’s right. Clear. Behind a bull: in front of a horse.

  — Thanks, sir.

  Knows I’m a man. Voice.

  — Right now? First turn to the left.

  The blind stripling tapped the curbstone and went on his way, drawing his cane back, feeling again.

  Mr Bloom walked behind the eyeless feet, a flatcut suit of herringbone tweed. Poor young fellow! How on earth did he know that van was there? Must have felt it. See things in their forehead perhaps: kind of sense of volume. Weight or size of it, something blacker than the dark. Wonder would he feel it if something was removed. Feel a gap. Queer idea of Dublin he must have, tapping his way round by the stones. Could he walk in a beeline if he hadn’t that cane? Bloodless pious face like a fellow going in to be a priest.

  Penrose! That was that chap’s name.

  Look at all the things they can learn to do. Read with their fingers. Tune pianos. Or we are surprised they have any brains. Why we think a deformed person or a hunchback clever if he says something we might say. Of course the other senses are more. Embroider. Plait baskets. People ought to help. Workbasket I could buy for Molly’s birthday. Hates sewing. Might take an objection. Dark men they call them.

  Sense of smell must be stronger too. Smells on all sides, bunched together. Each street different smell. Each person too. Then the spring, the summer: smells. Tastes? They say you can’t taste wines with your eyes shut or a cold in the head. Also smoke in the dark they say get no pleasure.

  And with a woman, for instance. More shameless not seeing. That girl passing the Stewart institution, head in the air. Look at me. I have them all on. Must be strange not to see her. Kind of a form in his mind’s eye. The voice, temperatures: when he touches her with his fingers must almost see the lines, the curves. His hands on her hair, for instance. Say it was black, for instance. Good. We call it black. Then passing over her white skin. Different feel perhaps. Feeling of white.

  Postoffice. Must answer. Fag today. Send her a postal order two shillings, half a crown. Accept my little present. Stationer’s just here too. Wait. Think over it.

  With a gentle finger he felt ever so slowly the hair combed back above his ears. Again. Fibres of fine fine straw. Then gently his finger felt the skin of his right cheek. Downy hair there too. Not smooth enough. The belly is the smoothest. No-one about. There he goes into Frederick street. Perhaps to Levenston’s dancing academy piano. Might be settling my braces.

  Walking by Doran’s publichouse he slid his hand between his waistcoat and trousers and, pulling aside his shirt gently, felt a slack fold of his belly. But I know it’s whitey yellow. Want to try in the dark to see.

  He withdrew his hand and pulled his dress to.

  Poor fellow! Quite a boy. Terrible. Really terrible. What dreams would he have, not seeing? Life a dream for him. Where is the justice being born that way? All those women and children excursion beanfeast burned and drowned in New York. Holocaust. Karma they call that transmigration for sins you did in a past life the reincarnation met him pike hoses. Dear, dear, dear. Pity, of course: but somehow you can’t cotton on to them someway.

  Sir Frederick Falkiner going into the freemasons’ hall. Solemn as Troy. After his good lunch in Earlsfort terrace. Old legal cronies cracking a magnum. Tales of the bench and assizes and annals of the bluecoat school. I sentenced him to ten years. I suppose he’d turn up his nose at that stuff I drank. Vintage wine for them, the year marked on a dusty bottle. Has his own ideas of justice in the recorder’s court. Wellmeaning old man. Police chargesheets crammed with cases get their percentage manufacturing crime. Sends them to the rightabout. The devil on moneylenders. Gave Reuben J. a great strawcalling. Now he’s really what they call a dirty jew. Power those judges have. Crusty old topers in wigs. Bear with a sore paw. And may the Lord have mercy on your soul.

  Hello, placard. Mirus bazaar. His Excellency the lord lieutenant. Sixteenth. Today it is. In aid of funds for Mercer’s hospital. The Messiah was first given for that. Yes. Handel. What about going out there: Ballsbridge. Drop in on Keyes. No use sticking to him like a leech. Wear out my welcome. Sure to know someone on the gate.

  Mr Bloom came to Kildare street. First I must. Library.

  Straw hat in sunlight. Tan shoes. Turnedup trousers. It is. It is.

  His heart quopped softly. To the right. Museum. Goddesses. He swerved to the right.

  Is it? Almost certain. Won’t look. Wine in my face. Why did I? Too heady. Yes, it is. The walk. Not see. Get on.

  Making for the museum gate with long windy steps he lifted his eyes. Handsome building. Sir Thomas Deane designed. Not following me?

  Didn’t see me perhaps. Light in his eyes.

  The flutter of his breath came forth in short sighs. Quick. Cold statues: quiet there. Safe in a minute.

  No. Didn’t see me. After two. Just at the gate.

  My heart!

  His eyes beating looked steadfastly at cream curves of stone. Sir Thomas Deane was the Greek architecture.

  Look for something I.

  His hasty hand went quick into a pocket, took out, read unfolded Agendath Netaim. Where did I?

  Busy looking.

  He thrust back quick Agendath.

  Afternoon she said.

  I am looking for that. Yes, that. Try all pockets. Handker. Freeman. Where did I? Ah, yes. Trousers. Potato. Purse. Where?

  Hurry. Walk quietly. Moment more. My heart.

  His hand looking for the where did I put found in his hip pocket soap lotion have to call tepid paper stuck. Ah soap there I yes. Gate.

  Safe!

  Episode 9, Scylla and Charybdis

  At the National Library, Stephen explains to various scholars his biographical theory of the works of Shakespeare, especially Hamlet, which he claims are based largely on the posited adultery of Shakespeare’s wife. Bloom enters the National Library to look up an old copy of the ad he has been trying to place. He encounters Stephen briefly and unknowingly at the end of the episode.

  Urbane, to comfort them, the quaker librarian purred:

  — And we have, have we not, those priceless pages of Wilhelm Meister. A great poet on a great brother poet. A hesitating soul taking arms
against a sea of troubles, torn by conflicting doubts, as one sees in real life.

  He came a step a sinkapace forward on neatsleather creaking and a step backward a sinkapace on the solemn floor.

  A noiseless attendant setting open the door but slightly made him a noiseless beck.

  — Directly, said he, creaking to go, albeit lingering. The beautiful ineffectual dreamer who comes to grief against hard facts. One always feels that Goethe’s judgments are so true. True in the larger analysis.

  Twicreakingly analysis he corantoed off. Bald, most zealous by the door he gave his large ear all to the attendant’s words: heard them: and was gone.

  Two left.

  — Monsieur de la Palice, Stephen sneered, was alive fifteen minutes before his death.

  — Have you found those six brave medicals, John Eglinton asked with elder’s gall, to write Paradise Lost at your dictation? The Sorrows of Satan he calls it.

  Smile. Smile Cranly’s smile.

  First he tickled her

  Then he patted her

  Then he passed the female catheter.

  For he was a medical

  Jolly old medi...

  — I feel you would need one more for Hamlet. Seven is dear to the mystic mind. The shining seven W.B. calls them.

  Glittereyed his rufous skull close to his greencapped desklamp sought the face bearded amid darkgreener shadow, an ollav, holyeyed. He laughed low: a sizar’s laugh of Trinity: unanswered.

  Orchestral Satan, weeping many a rood

  Tears such as angels weep.

  Ed egli avea del cul fatto trombetta.

  He holds my follies hostage.

  Cranly’s eleven true Wicklowmen to free their sireland. Gaptoothed Kathleen, her four beautiful green fields, the stranger in her house. And one more to hail him: ave, rabbi: the Tinahely twelve. In the shadow of the glen he cooees for them. My soul’s youth I gave him, night by night. God speed. Good hunting.

  Mulligan has my telegram.

  Folly. Persist.

  — Our young Irish bards, John Eglinton censured, have yet to create a figure which the world will set beside Saxon Shakespeare’s Hamlet though I admire him, as old Ben did, on this side idolatry.

  — All these questions are purely academic, Russell oracled out of his shadow. I mean, whether Hamlet is Shakespeare or James I or Essex. Clergymen’s discussions of the historicity of Jesus. Art has to reveal to us ideas, formless spiritual essences. The supreme question about a work of art is out of how deep a life does it spring. The painting of Gustave Moreau is the painting of ideas. The deepest poetry of Shelley, the words of Hamlet bring our minds into contact with the eternal wisdom, Plato’s world of ideas. All the rest is the speculation of schoolboys for schoolboys.

  A. E. has been telling some yankee interviewer. Wall, tarnation strike me!

  — The schoolmen were schoolboys first, Stephen said superpolitely. Aristotle was once Plato’s schoolboy.

  — And has remained so, one should hope, John Eglinton sedately said. One can see him, a model schoolboy with his diploma under his arm.

  He laughed again at the now smiling bearded face.

  Formless spiritual. Father, Word and Holy Breath. Allfather, the heavenly man. Hiesos Kristos, magician of the beautiful, the Logos who suffers in us at every moment. This verily is that. I am the fire upon the altar. I am the sacrificial butter.

  Dunlop, Judge, the noblest Roman of them all, A.E., Arval, the Name Ineffable, in heaven hight: K.H., their master, whose identity is no secret to adepts. Brothers of the great white lodge always watching to see if they can help. The Christ with the bridesister, moisture of light, born of an ensouled virgin, repentant sophia, departed to the plane of buddhi. The life esoteric is not for ordinary person. O.P. must work off bad karma first. Mrs Cooper Oakley once glimpsed our very illustrious sister H.P.B.’s elemental.

  O, fie! Out on’t! Pfuiteufel! You naughtn’t to look, missus, so you naughtn’t when a lady’s ashowing of her elemental.

  Mr Best entered, tall, young, mild, light. He bore in his hand with grace a notebook, new, large, clean, bright.

  — That model schoolboy, Stephen said, would find Hamlet’s musings about the afterlife of his princely soul, the improbable, insignificant and undramatic monologue, as shallow as Plato’s.

  John Eglinton, frowning, said, waxing wroth:

  — Upon my word it makes my blood boil to hear anyone compare Aristotle with Plato.

  — Which of the two, Stephen asked, would have banished me from his commonwealth?

  Unsheathe your dagger definitions. Horseness is the whatness of allhorse. Streams of tendency and eons they worship. God: noise in the street: very peripatetic. Space: what you damn well have to see. Through spaces smaller than red globules of man’s blood they creepycrawl after Blake’s buttocks into eternity of which this vegetable world is but a shadow. Hold to the now, the here, through which all future plunges to the past.

  Mr Best came forward, amiable, towards his colleague.

  — Haines is gone, he said.

  — Is he?

  — I was showing him Jubainville’s book. He’s quite enthusiastic, don’t you know, about Hyde’s Lovesongs of Connacht. I couldn’t bring him in to hear the discussion. He’s gone to Gill’s to buy it.

  Bound thee forth, my booklet, quick

  To greet the callous public.

  Writ, I ween, ’twas not my wish

  In lean unlovely English.

  — The peatsmoke is going to his head, John Eglinton opined.

  We feel in England. Penitent thief. Gone. I smoked his baccy. Green twinkling stone. An emerald set in the ring of the sea.

  — People do not know how dangerous lovesongs can be, the auric egg of Russell warned occultly. The movements which work revolutions in the world are born out of the dreams and visions in a peasant’s heart on the hillside. For them the earth is not an exploitable ground but the living mother. The rarefied air of the academy and the arena produce the sixshilling novel, the musichall song. France produces the finest flower of corruption in Mallarme but the desirable life is revealed only to the poor of heart, the life of Homer’s Phaeacians.

  From these words Mr Best turned an unoffending face to Stephen.

  — Mallarme, don’t you know, he said, has written those wonderful prose poems Stephen MacKenna used to read to me in Paris. The one about Hamlet. He says: il se promène, lisant au livre de lui-même, don’t you know, reading the book of himself. He describes Hamlet given in a French town, don’t you know, a provincial town. They advertised it.

  His free hand graciously wrote tiny signs in air.

  HAMLET

  ou

  LE DISTRAIT

  Pièce de Shakespeare

  He repeated to John Eglinton’s newgathered frown:

  — Pièce de Shakespeare, don’t you know. It’s so French. The French point of view. Hamlet ou...

  — The absentminded beggar, Stephen ended.

  John Eglinton laughed.

  — Yes, I suppose it would be, he said. Excellent people, no doubt, but distressingly shortsighted in some matters.

  Sumptuous and stagnant exaggeration of murder.

  — A deathsman of the soul Robert Greene called him, Stephen said. Not for nothing was he a butcher’s son, wielding the sledded poleaxe and spitting in his palms. Nine lives are taken off for his father’s one. Our Father who art in purgatory. Khaki Hamlets don’t hesitate to shoot. The bloodboltered shambles in act five is a forecast of the concentration camp sung by Mr Swinburne.

  Cranly, I his mute orderly, following battles from afar.

  Whelps and dams of murderous foes whom none But we had spared...

  Between the Saxon smile and yankee yawp. The devil and the deep sea.

  — He will have it that Hamlet is a ghoststory, John Eglinton said for Mr Best’s behoof. Like the fat boy in Pickwick he wants to make our flesh creep.

  List! List! O List!

  My flesh hears him: creeping, he
ars.

  If thou didst ever...

  — What is a ghost? Stephen said with tingling energy. One who has faded into impalpability through death, through absence, through change of manners. Elizabethan London lay as far from Stratford as corrupt Paris lies from virgin Dublin. Who is the ghost from limbo patrum, returning to the world that has forgotten him? Who is King Hamlet?

  John Eglinton shifted his spare body, leaning back to judge.

  Lifted.

  — It is this hour of a day in mid June, Stephen said, begging with a swift glance their hearing. The flag is up on the playhouse by the bankside. The bear Sackerson growls in the pit near it, Paris garden. Canvasclimbers who sailed with Drake chew their sausages among the groundlings.

  Local colour. Work in all you know. Make them accomplices.

  — Shakespeare has left the huguenot’s house in Silver street and walks by the swanmews along the riverbank. But he does not stay to feed the pen chivying her game of cygnets towards the rushes. The swan of Avon has other thoughts.

  Composition of place. Ignatius Loyola, make haste to help me!

  — The play begins. A player comes on under the shadow, made up in the castoff mail of a court buck, a wellset man with a bass voice. It is the ghost, the king, a king and no king, and the player is Shakespeare who has studied Hamlet all the years of his life which were not vanity in order to play the part of the spectre. He speaks the words to Burbage, the young player who stands before him beyond the rack of cerecloth, calling him by a name:

  Hamlet, I am thy father’s spirit,

  bidding him list. To a son he speaks, the son of his soul, the prince, young Hamlet and to the son of his body, Hamnet Shakespeare, who has died in Stratford that his namesake may live for ever.

  Is it possible that that player Shakespeare, a ghost by absence, and in the vesture of buried Denmark, a ghost by death, speaking his own words to his own son’s name (had Hamnet Shakespeare lived he would have been prince Hamlet’s twin), is it possible, I want to know, or probable that he did not draw or foresee the logical conclusion of those premises: you are the dispossessed son: I am the murdered father: your mother is the guilty queen, Ann Shakespeare, born Hathaway?