LYNCH (Points.) The mirror up to nature. (He laughs.) Hu hu hu hu hu hu.
(Stephen and Bloom gaze in the mirror. The face of William Shakespeare, beardless, appears there, rigid in facial paralysis, crowned by the reflection of the reindeer antlered hatrack in the hall.)
SHAKESPEARE (In dignified ventriloquy.) 'Tis the loud laugh bespeaks the vacant mind. (To Bloom.) Thou thoughtest as how thou wastest invisible. Gaze. (He crows with a black capon's laugh.) Iagogo! How my Oldfellow chokit his Thursdaymomun. Iagogogo!
BLOOM (Smiles yellowly at the whores.) When will I hear the joke?
ZOE Before you're twice married and once a widower.
BLOOM Lapses are condoned. Even the great Napoleon, when measurements were taken near the skin after his death...
(Mrs Dignam, widow woman, her snubnose and cheeks flushed with deathtalk, tears and Tunny's tawny sherry, hurries by in her weeds, her bonnet awry, rouging and powdering her cheeks, lips and nose, a pen chivvying her brood of cygnets. Beneath her skirt appear her late husband's everyday trousers and turnedup boots, lace eights. She holds a Scottish widow's insurance policy and lace marqueeumbrella under which her brood runs with her, Patsy hopping on one short foot, his collar loose, a hank of porksteaks dangling, Freddy whimpering, Susy with a crying cods mouth, Alice struggling with the baby. She cuffs them on, her streamers flaunting aloft.)
FREDDY Ah, ma, you're dragging me along!
SUSY Mamma, the beeftea is fizzing over!
SHAKESPEARE (With paralytic rage.) Weda seca whokilla farst.
(The face of Martin Cunningham, bearded, refeatures Shakespeares beardless face. The marqueeumbrella sways drunkenly, the children run aside. Under the umbrella appears Mrs Cunningham in Merry Widow hat and kimono gown. She glides sidling and bowing, twisting japanesily.)
MRS CUNNINGHAM (Sings.) And they call me the jewel of Asia.
MARTIN CUNNINGHAM
(Gazes on her impassive.) Immense! Most bloody awful demirep!
STEPHEN Et exaltabuntur cornua iusti. Queens lay with prize bulls. Remember Pasiphae for whose lust my grandoldgross father made the first confessionbox. Forget not Madam Grissel Steevens nor the suine scions of the house of Lambert. And Noah was drunk with wine. And his ark was open.
BELLA None of that here. Come to the wrong shop.
LYNCH Let him alone. He's back from Paris.
ZOE (Runs to Stephen and links him.) O go on! Give us some parleyvoo.
(Stephen claps hat on head and leaps over to the fireplace, where he stands with shrugged shoulders, finny hands outspread, a painted smile on his face.)
LYNCH (Pommelling on the sofa.) Rmm Rmm Rmm Rrr rrrmmmmm.
STEPHEN (Gobbles, with marionette jerks. ) Thousand places of entertainment to expenses your evenings with lovely ladies saling gloves and other things perhaps her heart beerchops perfect fashionable house very eccentric where lots cocottes beautiful dressed much about princesses like are dancing cancan and walking there parisian clowneries extra foolish for bachelors foreigns the same if talking a poor english how much smart they are on things love and sensations voluptuous. Misters very selects for is pleasure must to visit heaven and hell show with mortuary candles and they tears silver which occur every night. Perfectly shocking terrific of religion's things mockery seen in universal world. All chic womans which arrive full of modesty then disrobe and squeal loud to see vampire man debauch nun very fresh young with dessous troublants. (He clocks his tongue loudly.) Ho, la la! Ce pif qu'il a!
LYNCH Vive le vampire!
THE WHORES Bravo! Parleyvoo!
STEPHEN (Grimacing with head back, laughs loudly, clapping himself) Great success of laughing. Angels much prostitutes like and holy apostles big damn ruffians. Demimondaines nicely handsome sparkling of diamonds very amiable cos turned. Or do you are fond better what belongs they moderns pleasure turpitude of old mans? (He points about him with grotesque gestures which Lynch and the whores reply to.) Caoutchouc statue woman reversible or lifesize tompeeptoms virgins nudities very lesbic the kiss five ten times. Enter gentlemen to see in mirrors every positions trapezes all that machine there besides also if desire act awfully bestial butcher's boy pollutes in warm veal liver or omelette on the belly pièce de Shakespeare.
BELLA (Clapping her belly, sinks back on the sofa with a shout of laughter.) An omelette on the... Ho! ho! ho! ho!... Omelette on the...
STEPHEN (Mincingly.) I love you, Sir darling. Speak you englishman tongue for double entente cordiale. O yes, mon loup. How much cost? Waterloo. Watercloset. (He ceases suddenly and holds up a forefinger.)
BELLA (Laughing.) Omelette...
THE WHORES (Laughing.) Encore! Encore!
STEPHEN Mark me. I dreamt of a watermelon.
ZOE Go abroad and love a foreign lady.
LYNCH Across the world for a wife.
FLORRY Dreams go by contraries.
STEPHEN (Extending his arms.) It was here. Street of harlots. In Serpentine Avenue Beelzebub showed me her, a fubsy widow. Where's the red carpet spread?
BLOOM (Approaching Stephen.) Look.
STEPHEN No, I flew. My foes beneath me. And ever shall be. World without end. (He cries.) Pater! Free!
BLOOM I say, look...
STEPHEN Break my spirit, will he? O merde alors! (He cries, his vulture talons sharpened.) Hola! Hillyho!
(Simon Dedalus' voice hilloes in answer, somewhat sleepy but ready.)
SIMON That's all right. (He swoops uncertainly through the air, wheeling, uttering cries of heartening, on strong ponderous buzzard wings.) Ho, boy! Are you going to win? Hoop! Pschatt! Stable with those halfcastes. Wouldn't let them within the bawl of an ass. Head up! Keep our flag flying! An eagle gules volant in a field argent displayed. Ulster king at arms! hai hoop! (He makes the beagle's call giving tongue.) Bulbul! Burblblbrurblbl! Hai, boy!
(The fronds and spaces of the wallpaper file rapidly across country. A stout fox drawn from covert, brush pointed, having buried his grandmother, runs swift for the open, bright-eyed, seeking badger earth, under the leaves. The pack of staghounds follows, nose to the ground, sniffing their quarry, beaglebaying, burblbrblng to be blooded. Ward Union huntsmen and huntswomen live with them, hot for a kill. From Six Mile Point, Flathouse, Nine Mile Stone follow the footpeople with knotty sticks, salmongaffs, lassos, flockmasters with stockwhips, bearbaiters with tomtoms, toreadors with bullswords, grey negroes waving torches. The crowd bowls of dicers, crown and anchor players, thimbleriggers, broadsmen. Crows and touts, hoarse bookies in high wizard hats clamour deafeningly.)
THE CROWD
Card of the races. Racing card!
Ten to one the field!
Tommy on the clay here!
Tommy on the clay!
Ten to one bar one.
Ten to one bar one.
Try your luck on spinning Jenny!
Ten to one bar one!
Sell the monkey, boys!
Sell the monkey!
I'll give ten to one!
Ten to one bar one!
(A dark horse, riderless, bolts like a phantom past the winningpost, his mane moonfoaming, his eyeballs stars. The field follows, a bunch of bucking mounts. Skeleton horses: Sceptre, Maximum the Second, Zinfandel, the Duke of Westminsters Shotover, Repulse, the Duke of Beauforts' Ceylon, prix de Paris. Dwarfs ride them, rusty armoured, leaping, leaping in their saddles. in a drizzle of rain, on a broken-winded isabelle nag, Cock of the North, the favourite, honey cap, green jacket, orange sleeves, Garrett Deasy up, gripping the reins, a hockey stick at the ready. His nag, stumbling on whitegaitered feet, jogs along the rocky road.)
THE ORANGE LODGES (Jeering.) Get down and push, mister. lap! You'll be home the night!
GARRETT DEASY (Bolt upright, his nailscraped face plastered with postage stamps, brandishes his hockeystick, his blue eyes flashing in the prism of the chandelier as his mount lopes by at a schooling gallop.) Per vias rectas!
(A yoke of buckets leopards all over him and his rearing nag, a torrent of mutton broth with dancing coins of carrots, barley, onions, turnips, potatoes.)
THE GREEN LODGES Soft day, sir John! Soft day, your honour!
(Private Carr, Private Compton and Cissy Caffrey pass beneath the windows, singing in discord.)
STEPHEN Hark! Our friend, noise in the street!
ZOE (Holds up her hand.) Stop!
PRIVATE CARR, PRIVATE COMPTON and CISSY CAFFREY
Yet I've a sort a
Yorkshire relish for...
ZOE That's me. (She claps her hands.) Dance! Dance! (She runs to the pianola.) Who has twopence?
BLOOM Who'll.
LYNCH (Handing her coins.) Here.
STEPHEN (Cracking his fingers impatiently.) Quick! Quick! Where's my augur's rod? (He runs to the piano and takes his ashplant, beating his foot in tripudium.)
ZOE (Turns the drumhandle.) There.
(She drops two pennies in the slot. Glow pink and violet lights start forth. The drum turns purring in low hesitation waltz. Professor Goodwin, in a bowknotted periwig, in court dress, wearing a stained inverness cape, bent in two from incredible age, totters across the room, his hands fluttering. He sits tinily on the piano stool and lifts and beats handless sticks of arms on the keyboard, nodding with damsels grace, his bowknot bobbing.)
ZOE (Twirls around herself heeltapping.) Dance. Anybody here for there? Who'll dance?
(The pianola, with changing lights, plays in waltz time the prelude to My Girl's a Yorkshire Girl. Stephen throws his ashplant on the table and seizes Zoe around the waist. Florry and Bella push the table towards the fireplace. Stephen, aiming Zoe with exaggerated grace, begins to waltz her around the room. Her sleeve, falling from gracing arms, reveals a white fleshflower of vaccination. Bloom stands aside. Between the curtains, Professor Maginni inserts a leg on the toepoint of which spins a silk hat. With a deft kick, he sends it spinning to his crown and jauntyhatted skates in. He wears a slate frockcoat with claret silk lapels, a go-et of cream tulle, a green lowcut waistcoat, stock collar with white kerchief tight lavender trousers, patent pumps and canary gloves. In his buttonhole is a dahlia. He twirls in reversed directions a clouded cane, then wedges it tight in his oxter. He places a hand limply on his breastbone, bows and fondles his flower and buttons.)
MAGINNI The poetry of motion, art of callisthenics. No connection with Madam Legget Byrne's or Levinstone's. Fancy dress balls arranged. Deportment. The Katty Lanner steps. So. Watch me! My terpsichorean abilities. (He minuets forward three paces on tripping bee's feet.) Tout le monde an avant! Révérence! Tout le monde en place!
(The prelude ceases. Professor Goodwin, beating vague arms,shrivels, shrinks, his live cape falling about the stool. The air, in firmer waltz time, pounds. Stephen and Zoe circle freely. The lights change, glow, fade, gold, rose, violet.)
THE PIANOLA Two young fellows were talking about their girls, girls, girls, Sweethearts they'd left behind.
(From a corner the morning hours run out, goldhaired, slim, in girlish blue, waspwaisted, with innocent hands. Nimbly they dance, twirling their skipping ropes. The hours of noon follow in amber gold. Laughing linked, high haircombs flashing, they catch the sun in mocking mirrors, lifting their arms.)
MAGINNI (Clipclaps glovesilent hands.) Carré! Avant deux! Breathe evenly! Balance!
(The morning and noon hours waltz in their places, turning, advancing to each other, shaping their curves, bowing vis a vis. Cawaliers behind them arch and suspend their arms, with hands descending to, touching, rising from their shoulders.)
HOURS You may touch my.
CAVALIERS May I touch your?
HOURS O, but lightly!
CAVALIERS O, so lightly!
THE PIANOLA My little shy little lass has a waist.
(Zoe and Stephen turn boldly with looser swing. The twilight hours advance, from long landshadows, dispersed, lagging, languideyed, their cheeks delicate with cipria and false faint bloom. They are in grey gauze with dark bat sleeves that flutter in the land breeze.)
MAGINNI Avant! huit! Traversé! Salut! Cours de mains! Croisé!
(The eight hours steal to the last place. Morning, noon and twilight hours retreat before them. They are masked, with daggered hair and bracelets of dull bells. Weary, they curchycurchy under veils.)
THE BRACELETS Heigho! Heigho!
ZOE (Twisting, her hand to her brow.) O!
MAGINNI Los tiroirs! Cha?ne de dames! La corbeille! Dos à dos!
(Arabesquing wearily, they weave a pattern on the floor, weaving, unweaving, curtseying, twisting, simply swirling.)
ZOE I'm giddy.
(She frees herself droops on a chair, Stephen seizes Florry and turns with her.)
MAGINNI Boulangère! Los ronds! Los ponts! Chevaux de bois! Escargots!
(Twining, receding, with interchanging hands, the night hours link, each with arching arms, in a mosaic of movements. Stephen and Florry turn cumbrously.)
MAGINNI Dansez avec vos dames! Changes de dames! Donnes le petit bouquet a votre dame! Remerciez!
THE PIANOLA
Best, best of all,
Baraabum!
KITTY (Jumps up.) O, they played that on the hobbyhorses at the Mirus bazaar!
(She runs to Stephen. He leaves Florry brusquely and seizes Kitty. A screaming bit tern's harsh high whistle shrieks. Groangrousegurgling Toft's cumbersome whirligig turns slowly the room right roundabout the room.)
THE PIANOLA My girl's a Yorkshire girl.
ZOE Yorkshire through and through. Come on all!
(She seizes Florry and waltzes her.)
STEPHEN Pas seul!
(He wheels Kitty into Lynch's arm's, snatches up his ashplant from the table and takes the floor. All wheel, whirl, waltz, twirl. Bloombella, Kittylynch, Florryzoe, jujuby women. Stephen with hat ashplant frogsplits in middle highkicks with skykicking mouth shut hand clasp part under thigh, with clang tinkle boomhammer tallyho horn blower blue green yellow flashes. Toft's cumbersome turns with hobbyhorse riders from gilded snakes dangled, bowels fandango leaping spurn soil foot and fall again.)
THE PIANOLA
Though she's a factory lass
And wears no fancy clothes.
(Closeclutched swift swifter with glareblareflare scudding they scotlootshoot lumbering by. Baraabum!)
TUTTI Encore! Bis! Bravo! Encore!
SIMON Think of your mother's people!
STEPHEN Dance of death.
(Bang fresh barang bang of lacquey's bell, horse, nag, steer piglings, Conmee on Christass lame crutch and leg sailor in cockboat armfolded ropepulling hitching stamp hornpipe' through and through, Baraabum! On nags, hogs, bellhorses, Gadarene swine, Corny in coffin. Steel shark stone one handled Nelson, two trickies Frauenzimmer plumstained from pram falling bawling. Gum, he's a champion. Fuseblue peer from barrel rev. evensong love on hackney jaunt Blazes blind coddoubled bicyclers Dilly with snowcake no fancy clothes. Then in last wiswitchback lumbering up and down bump mash tub sort of viceroy and reine relish for tublumber bumpshire rose. Baraabum!)
(The couples fall aside. Stephen whirls giddily. Room whirls back. Eyes closed, he totters. Red rails fly spacewards. Stars all around suns turn roundabout. Bright midges dance on wall. He stops dead.)
STEPHEN Ho!
(Stephen's mother, emaciated, rises stark through the floor in leper grey with a wreath of faded orange blossoms and a torn bridal veil, her face worn and noseless, green with grave mould. Her hair is scant and lank. She fixes her bluecircled hollow eyesockets on Stephen and opens her toothless mouth uttering a silent word. A choir of virgins and confessors sing voicelessly.)
THE CHOIR
Liliata rutilantium te confessorum...
Iubilantium te virginum...
(From the top of a tower Buck Mulligan, in particoloured jester's dress of puce and yellow and clown's cap with curling bell, stands gaping at her, a smoking buttered split scone in his hand.)
BUCK MULLIGAN She's beastly dead. The pity of it! Mulligan meets the afflicted mother. (He upturns his eyes.) Mercurial Malachi.
THE MOTHER (With the subtle smile of death's madness.) I was once the beautiful May Goulding. I am dead.
STEPHEN (Horrorstruck.) Lemur, who are you? What bogey man's trick is this?
BUCK MULLIGAN (Shakes his curling capbell.) The mockery of it! Kinch killed her dogsbody bitchbody. She kicked the bucket. (Tears of molten butter fall from his eyes into the scone.) Our great sweet mother! Epi oinopa ponton.
THE MOTHER (Comes nearer, breathing upon him softly her breath of wetted ashes.) All must go through it, Stephen. More women than men in the world. You too. Time will come.
STEPHEN (Choking with fright, remorse and horror.) They said I killed you, mother. He offended your memory. Cancer did it, not I. Destiny.
THE MOTHER (A green rill of bile trickling from a side of her mouth.) You sang that song to me. Love's bitter mystery.
STEPHEN (Eagerly.) Tell me the word, mother, if you know now. The word known to all men.
THE MOTHER Who saved you the night you jumped into the train at Dalkey with Paddy Lee? Who had pity for you when you were sad among the strangers? Prayer is all powerful. Prayer for the suffering souls in the Ursuline manual, and forty days' indulgence. Repent, Stephen.
STEPHEN The ghoul! Hyena!
THE MOTHER I pray for you in my other world. Get Dilly to make you that boiled rice every night after your brain work. Years and years I loved you, O my son, my firstborn, when you lay in my womb.
ZOE (Fanning herself with the grate fan.) I'm melting!
FLORRY (Points to Stephen) Look! He's white.
BLOOM (Goes to the window to open it more.) Giddy.
THE MOTHER (With smouldering eyes.) Repent! O, the fire of hell!
STEPHEN (Panting.) The corpsechewer! Raw head and bloody bones!
THE MOTHER (Her face drawing near and nearer, sending out an ashen breath.) Beware! (She raises her blackened, withered right arm slowly towards Stephen's breast with outstretched fingers.) Beware! God's hand! (A green crab with malignant red eyes sticks deep its grinning claws in Stephen's heart.)
STEPHEN (Strangled with rage.) Shite! (His features grow drawn and grey and old.)
BLOOM (At the window.) What?
STEPHEN Ah non, par exemple! The intellectual imagination! With me all or not at all. Non serviam!
FLORRY Give him some cold water. Wait. (She rushes out.)
THE MOTHER (Wrings her hands slowly, moaning desperately.) O Sacred Heart of Jesus, have mercy on him! Save him from hell, O divine Sacred Heart!
STEPHEN No! No! No! Break my spirit all of you if you can! I'll bring you all to heel!
THE MOTHER (In the agony of her deathrattle.) Have mercy on Stephen, Lord, for my sake! Inexpressible was my anguish when expiring with love, grief and agony on Mount Calvary.
STEPHEN Nothung!
(He hits his ashplant high with both hands and smashes the chandelier. Time's livid final flame leaps and, in the following darkness, ruin of all space, shattered glass and toppling masonry.)
THE GASJET Pwfungg!
BLOOM Stop!
LYNCH (Rushes forward and seizes Stephen's hand.) Here! Hold on! Don't run amok!
BELLA Police!
(Stephen, abandoning his ashplant, his head and arms thrown back stark, beats the ground and flees from the room past the whores at the door.)
BELLA (Screams.) After him!
(The two whores rush to the halldoors. Lynch and Kitty and Zoe stampede from the room. They talk excitedly. Bloom follows, returns.)
THE WHORES (Jammed in the doorway, pointing.) Down there.
ZOE (Pointing.) There. There's something up.
BELLA Who pays for the lamp? (She seizes Bloom's coattail.) There. You were with him. The lamp's broken.
BLOOM (Rushes to the hall, rushes back.) What lamp, woman?
A WHORE He tore his coat.
BELLA (Her eyes hard with anger and cupidity, points.) Who's to pay for that? Ten Shillings. You're a witness.
BLOOM (Snatches up Stephen's ashplant.) Me? Ten shillings? Haven't you lifted enough off him? Didn't he...
BELLA (Loudly.) Here, none of your tall talk. This isn't a brothel. A ten shilling house.
BLOOM (His hand under the lamp, pulls the chain. Pulling, the gasjet lights up a crushed mauve purple shade. He raises the ashplant.) Only the chimney's broken. Here is all he...
BELLA (Shrinks back and screams.) Jesus! Don't!
BLOOM (Warding off a blow.) To show you how he hit the paper. There's not a sixpenceworth of damage done. Ten shillings!
FLORRY (With a glass of water enters.) Where is he?
BELLA Do you want me to call the police?
BLOOM O, I know. Bulldog on the premises. But he's a Trinity student. Patrons of your establishment. Gentlemen that pay the rent. (He makes a masonic sign.) Know what I mean? Nephew of the vice-chancellor. You don't want a scandal.
BELLA (Angrily.) Trinity! Coming down here ragging after the boat races and paying nothing. Are you my commander here? Where is he? I'll charge him. Disgrace him, I will. (She shouts.) Zoe! Zoe!
BLOOM (Urgently.) And if it were your own son in Oxford! (Warningly.) I know.
BELLA (Almost speechless.) Who are you incog?
ZOE (In the doorway.) There's a row on.
BLOOM What? Where? (He throws a shilling on the table and shouts.) That's for the chimney. Where? I need mountain air. (He hurries out through the hall. The whores point. Florry follows, spilling water from her tilted tumbler. On the doorstep all the whores clustered talk volubly, pointing to the right where the fog has cleared off From the left arrives a jingling hackney car. It slows to in front of the house. Bloom at the halldoor perceives Corny Kelleher who is about to dismount from the car with two silent lechers. He averts his face. Bella from within the hall uses on her whores. They blow ickylickysticky yumyum kisses. Corny Kelleher replies with a ghostly lewd smile. The silent lechers turn to pay the jarvey. Zoe and Kitty still point right. Bloom, parting them swiftly, draws his caliph's hood and poncho and hurries down the steps with sideways face. Incog Haroun al Baschid, he flits behind the silent lechers and hastens on by the railings with fleet step of a pard strewing the drag behind him, torn envelopes drenched in aniseed. The ashplant marks his stride. A pack of bloodhounds, led by Hornblower of Trinity brandishing a dogwhip in tallyho cap and an old pair of grey trousers, follows from far, picking up the scent, nearer, baying, panting, at fault, breaking away, throwing their tongues, biting his heels, leaping at his tail. He walks, runs, zigzags, gallops, lugs laid back. He is pelted with gravel, cabbagestumps, biscuitboxes, eggs, potatoes, dead codfish, womans slipperslappers. After him, freshfound, the hue and cry zigzag gallops in hot pursuit of follow my leader: 65 C 66 C night watch, John Henry Menton, Wisdom Hely, V.B. Dillon, Councillor Nannetti, Alexander Keyes, Larry O'Rourke, Joe Cuffe, Mrs O'Dowd Pisser Burke, The Nameless One, Mrs Riordan, The Citizen, Garryowen, Whatdoyoucallhim, Strangeface, Fellowthatslike, Sawhimbefore, Chapwith, Chris Callinan, sir Charles Cameron, Benjamin Dollard, Lenehan, Bartell d'Arcy, Joe Hynes, red Murray, editor Brayden, T.M. Healy, Mr Justice Fitzgibbon, John Howard Parnell, the reverend Tinned Salmon, Professor Joly, Mrs Breen, Denis Breen, Theodore Purefoy, Mina Purefoy, the Westland Row postmistress, C.P. M'Coy, friend of Lyons, Hoppy Holohan, man in the street, other man in the street, Footballboots, pugnosed driver rich protestant lady, Davy Byrne, Mrs Ellen M'Guinness, Mrs Joe Gallaher George Lidwell, Jimmy Henry on corns, Superintendent Laracy, Father Cowley, Crofton out of the Collector Generals, Dan Dawson, dental surgeon Bloom with tweezers, Mrs Bob Doran, Mrs Kennefick, Mrs Wyse Nolan, John Wyse Nolan, handsomemamedwomanrubbed againstwidebehindinClonskeatram, the bookseller of Sweets of Sin, Miss Dubedatandshedidbedad, Mesdames Gerald and Stanislaus Moran of Roebuck, the managing clerk of Drimmies colonel Hayes, Mastiansky, Citron, Penrose, Aaron Figatner, Moses Herzog, Michael E. Geraghty, Inspector Troy, Mrs Galbraith, the constable off Eccles Street corner old doctor Brady with stethoscope, the mystery man on the beach, a retriever Mrs Miriam Dandrade and all her lovers.
THE HUE AND CRY (Helterskelterelterwelter) He's Bloom! Stop Bloom! Stopabloom! Stopperrobber! Hi! Hi! Stop him on the corner!
(At the corner of Beaver Street beneath the scaffolding Bloom panting stops on the fringe of the noisy quarrelling knot, a lot not knowing a jot what hi! hi! row and wrangle round the whowhat brawlaltogether.)
STEPHEN (With elaborate gestures, breathing deeply and slowly.) You are my guests. The uninvited. By virtue of the fifth of George and seventh of Edward. History to blame. Fabled by mothers of memory.
PRIVATE CARR (To Cissy Caffrey.) Was he insulting you?
STEPHEN Addressed her in vocative feminine. Probably neuter. Ungenitive.
VOICES No, he didn't. The girl's telling lies. He was in Mrs Cohen's. What's up? Soldiers and civilians.
CISSY CAFFREY I was in company with the soldiers and they left me to do - you know and the young man ran up behind me. But I'm faithful to the man that's treating me though I'm only a shilling whore.
STEPHEN (Catches sight of Kitty's and Lynch's heads.) Hail, Sisyphus. (He points to himself and the others.) Poetic. Neopoetic.
VOICES She's faithfultheman.
CISSY CAFFREY Yes, to go with him. And me with a soldier friend.
PRIVATE COMPTON He doesn't half want a thick ear, the blighter. Biff him one, Harry.
PRIVATE CARR (To Cissy.) Was he insulting you while me and him was having a piss?
LORD TENNYSON (In Union Jack blazer and cricket flannels, bareheaded, flowingbearded.) Their's not to reason why.
PRIVATE COMPTON Biff him, Harry.
STEPHEN (To Private Compton. ) I don't know your name but you are quite right. Doctor Swift says one man in armour will beat ten men in their shirts. Shirt is synechdoche. Part for the whole.
CISSY CAFFREY (To the crowd.) No, I was with the private.
STEPHEN (Amiably.) Why not? The bold soldier boy. In my opinion every lady for example...
PRIVATE CARR (His cap awry, advancing to Stephen.) Say, how would it be, governor, if I was to bash in your jaw?
STEPHEN (Looks up in the sky.) How? Very unpleasant. Noble art of self-pretence. Personally, I detest action. (He waves his hand) Hand hurts me slightly. Enfin, ce sont vos oignons.
(To Cissy Caffrey.) Some trouble is on here. What is it, precisely?
DOLLY GRAY (From her balcony waves her handkerchief giving the sign of the heroine of Jericho.) Rahab. Cook's son, goodbye. Safe home to Dolly. Dream of the girl you left behind and she will dream of you.
(The soldiers turn their swimming eyes.)
BLOOM (Elbowing through the crowd plucks Stephen's sleeve vigorously.) Come now, professor, that carman is waiting.
STEPHEN (Turns.) Eh? (He disengages himself) Why should I not speak to him or to any human being who walks upright upon this oblate orange? (He points his finger.) I'm not afraid of what I can talk to if I see his eye. Retaining the perpendicular.
(He staggers a pace back.)
BLOOM (Propping him.) Retain your own.
STEPHEN (Laughs emptily.) My centre of gravity is displaced. I have forgotten the trick. Let us sit down somewhere and discuss. Struggle for life is the law of existence but modern philirenists, notably the tsar and the king of England, have invented arbitration. (He taps his brow.) But in here it is I must kill the priest and the king.
BIDDY THE CLAP Did you hear what the professor said? He's a professor out of the college.
CUNTY KATE I did. I heard that.
BIDDY THE CLAP He expresses himself with much marked refinement of phraseology.
CUNTY KATE Indeed, yes. And at the same time with such apposite trenchancy.
PRIVATE CARR (Pulls himself free and comes forward.) What's that you're saying about my king?
(Edward the Seventh appears in an archway. He wears a white jersey on which an image of the Sacred Heart is stitched, with the insignia of Garter and Thistle, Golden Fleece, Elephant of Denmark, Skinners' and Probyns' horse, Lincoln's Inn bencher and ancient and honourable artillery company of Massachusetts. He sucks a red jujube. He is robed as a grand elect perfect and sublime mason with trowel and apron, marked made in Germany. In his left hand he holds a plasterers bucket on which is printed: Défense d'uriner. A roar of welcome greets him.)
EDWARD THE SEVENTH (Slowly, solemnly but indistinctly.) Peace, perfect peace. For identification bucket in my hand. Cheerio, boys. (He turns to his subjects.) We have come here to witness a clean straight fight and we heartily wish both men the best of good luck. Mahak makar a back.
(He shakes hands with Private Carr, Private Compton, Stephen, Bloom and Lynch. General applause. Edward the Seventh lifts the bucket graciously in acknowledgement.)
PRIVATE CARR (To Stephen.) Say it again.
STEPHEN (Nervous, friendly, pulls himself up.) I understand your point of view, though I have no king myself for the moment. This is the age of patent medicine. A discussion is difficult down here. But this is the point. You die for your country, suppose. (He places his arm on Private Carr's sleeve.) Not that I wish it for you. But I say: Let my country die for me. Up to the present it has done so. I don't want it to die. Damn death. Long live life!
EDWARD THE SEVENTH (Levitates over heaps of slain in the garb and with the halo of Joking Jesus, a white jujube in his phosphorescent face.)
My methods are new and are causing surprise.
To make the blind see I throw dust in their eyes.
STEPHEN Kings and unicorns! (He falls back a pace.) Come somewhere and we'll... What was that girl saying?...
PRIVATE COMPTON Eh, Harry, give him a kick in the knackers. Stick one into Jerry.
BLOOM (To the privates, softly.) He doesn't know what he's saying. Taking a little more than is good for him. Absinthe, the greeneyed monster. I know him. He's a gentleman, a poet. It's all right.
STEPHEN (Nods, smiling and laughing.) Gentleman, patriot, scholar and judge of impostors.
PRIVATE CARR I don't give a bugger who he is. PRIVATE COMPTON We don't give a bugger who he is.
STEPHEN I seem to annoy them. Green rag to a bull.
(Kevin Egan of Paris in black Spanish tasselled shirt and peep-o'-day boys hat signs to Stephen.)
KEVIN EGAN H'lo. Bonjour! The vieille ogresse with the dents jaunes.
(Patrice Egan peeps from behind, his rabbit face nibbling a quince leaf.)
PATRICE Socialiste!
DON EMILE PATRIZIO FRANZ RUPERT POPE HENNESSY (In medieval hauberk, two wild geese volant on his helm, with noble indignation points a mailed hand against the privates.) Were those eykes to footboden, big grand porcos of johnyellows todos covered of gravy!
BLOOM (To Stephen.) Come home. You'll get into trouble.
STEPHEN (Swaying.) I don't avoid it. He provokes my intelligence.
BIDDY THE CLAP One immediately observes that he is of patrician lineage.
THE VIRAGO Green above the red, says he. Wolfe Tone.
THE BAWD The red's as good as the green, and better. Up the soldiers! Up King Edward!
A ROUGH (Laughs.) Ay! Hands up to De Wet.
THE CITIZEN (With a huge emerald muffler and shillelagh, calls.)
May the God above
Send down a cove
With teeth as sharp as razors
To slit the throat
Of the English dogs
That hanged our Irish leaders.
THE CROPPY BOY (The rope noose round his neck, gripes in his issuing bowels with both hands.)
I bear no hate to a living thing,
But love my country beyond the king.
RUMBOLD, DEMON BARBER (Accompanied by two blackmasked assistants, advances with a gladstone bag which he opens.) Ladies and gents, cleaver purchased by Mrs Pearcy to slay Mogg. Knife with which Voisin dismembered the wife of a compatriot and hid remains in a sheet in the cellar, the unfortunate female's throat being cut from ear to ear. Phial containing arsenic retrieved from the body of Miss Barrow which sent Seddon to the gallows.
(He jerks the rope, the assistants leap at the victims legs and drag him downward, grunting: the croppy boys tongue protrudes violently.)
THE CROPPY BOY Horhot ho hray ho rhother's hest.
(He gives up the ghost. A violent erection of the hanged sends gouts of sperm spouting through his death clothes on to the cobblestones. Mrs Bellingham, Mrs Yelverton Barry and the Honourable Mrs Mervyn Talboys rush forward with their handkerchiefs to sop it up.)
RUMBOLD I'm near it myself. (He undoes the noose.) Rope which hanged the awful rebel. Ten shillings a time as applied to His Royal Highness. (He plunges his head into the gaping belly of the hanged and draws out his head again clotted with coiled and smoking entrails.) My painful duty has now been done. God save the king!
EDWARD THE SEVENTH (Dances slowly, solemnly, rattling his bucket and sings with soft contentment.)
On coronation day, on coronation day,
O, Won't We have a merry time,
Drinking whisky, beer and wine!
PRIVATE CARR Here. What are you saying about my king?
STEPHEN (Throws up his hands.) O, this is too monotonous! Nothing. He wants my money and my life, though want must be his master, for some brutish empire of his. Money I haven't. (He searches his pockets vaguely.) Gave it to someone.
PRIVATE CARR Who wants your bleeding money?
STEPHEN (Tries to move off.) Will some one tell me where I am least likely to meet these necessary evils? ?a se voit aussi à Paris. Not that I... But by Saint Patrick!...
(The women's heads coalesce. Old Gummy Granny in sugarloaf hat appears seated on a toadstool, the deathflower of the potato blight on her breast.)
STEPHEN Aha! I know you, grammer! Hamlet, revenge! The old sow that eats her farrow!
OLD GUMMY GRANNY (Rocking to and fro.) Ireland's sweetheart, the king of Spain's daughter, alanna. Strangers in my house, bad manners to them! (She keens with banshee woe.) Ochone! Ochone! Silk of the kine! (She wails.) You met with poor old Ireland and how does she stand?
STEPHEN How do I stand you? The hat trick! Where's the third person of the Blessed Trinity? Soggarth Aroon? The reverend Carrion Crow.
CISSY CAFFREY (Shrill.) Stop them from fighting!
A ROUGH Our men retreated.
PRIVATE CARR (Tugging at his belt.) I'll wring the neck of any bugger says a word against my fucking king.
BLOOM (Terrified.) He said nothing. Not a word. A pure misunderstanding.
THE CITIZEN Erin go bragh!
(Major Tweedy and the Citizen exhibit to each other medals, decorations, trophies of war wounds. Both salute with fierce hostility.)
PRIVATE COMPTON Go it, Harry. Do him one in the eye. He's a proboer.
STEPHEN Did I? When?
BLOOM (To the redcoats.) We fought for you in South Africa, Irish missile troops. Isn't that history? Royal Dublin Fusiliers. Honoured by our monarch.
THE NAVVY (Staggering past.) O, yes. O, God, yes! O, make the kwawr a krowawr! O! Bo!
(Casqued halberdiers in armour thrust forward a pentice of gutted spear points. Major Tweedy, moustached like Turko the terrible, in bearskin cap with hackle plume and accoutrements, with epaulette, gilt chevrons and sabretache, his breast bright with medals, toes the line. He gives the pilgrim warrior's sign of the knights templars.)
MAJOR TWEEDY (Growls gruffly.) Rorke's Drift! Up, guards, and at them! Mahal shalal hashbaz.
PRIVATE CARR I'll do him in.
PRIVATE COMPTON (Waves the crowd back.) Fair play, here. Make a bleeding butcher's shop of the bugger.
(Massed bands blare Garryowen and God save the king.)
CISSY CAFFREY They're going to fight. For me!
CUNTY KATE The brave and the fair.
BIDDY THE CLAP Methinks yon sable knight will joust it with the best.
CUNTY KATE (Blushing deeply.) Nay, Madam. The gules doublet and merry Saint George for me!
STEPHEN The harlot's cry from street to street Shall weave old Ireland's windingsheet.
PRIVATE CARR (Loosening his belt, shouts.) I'll wring the neck of any fucking bastard says a word against my bleeding fucking king.
BLOOM (Shakes Cissy Caffrey's shoulders.) Speak, you! Are you struck dumb? You are the link between nations and generations. Speak, woman, sacred lifegiver.
CISSY CAFFREY (Alarmed seizes Private Carr's sleeve.) Amn't I with you? Amn't I your girl? Cissy's your girl. (She cries.) Police!
STEPHEN (Ecstatically, to Cissy Caffrey.)
White thy fambles, red thy gan
And thy quarrons dainty is.
VOICES Police!
DISTANT VOICES Dublin's burning! Dublin's burning! On fire, on fire!
(Brimstone fires spring up. Dense clouds roll past. Heavy Gatling guns boom. Pandemonium. Troops deploy. Gallop of hoofs. Artillery. Hoarse commands. Bells clang. Backers shout. Drunkards bawl. Whores screech. Foghorns hoot. Cries of valour. Shrieks of dying. Pikes clash on cuirasses. Thieves rob the slain. Birds of prey, winging from the sea, rising from marsh lands, swooping from eyries, hover screaming, gannets, connorants, vultures, goshawks, climbing woodcocks, peregrines, merlin, blackgrouse, sea eagles, gulls, albatrosses, barnacle geese. The midnight sun is darkened. The earth trembles. The dead of Dublin from Prospect and Mount Jerome in white sheepskin overcoats and black goat-fell cloaks arise and appear to many. A chasm opens with a noiseless yawn. Tom Rochford, winner in athletes singlet and breeches, arrives at the head of the national hurdle handicap and leaps into the void. He is followed by a race of runners and leapers. In wild attitudes they spring from the brink. Their bodies plunge. Factory lasses with fancy clothes toss redhot Yorkshire baraabombs. Society ladies lift their skirts above their heads to protect themselves. laughing witches in red cutty sarks ride through the air on broomsticks. Quakerlyster plasters blisters. It rains dragon's teeth. Armed heroes spring up from furrows. They exchange in amity the pass of knights of the red cross and fight duels with cavalry sabres: Wolfe Tone against Henry Grattan, Smith O'Brien against Daniel O'Connell, Michael Davitt against Isaac Butt, Justin M'Carthy against Parnell, Arthur Griffith against John Redmond John O'Leary against liar O'Johnny, lord Edward Fitzgerald against lord Gerald Fitzedward, The O'Donoghue of the Glens against The Glens of The Donoghue. On an eminence, the centre of the earth, rises the field altar of Saint Barbara. Black candles rise from its gospel and epistle horns. From the high barbicans of the tower two shafts of light fall on the smokepalled altarstone. On the altarstone Mrs Mina Purefoy, goddess of unreason, lies naked, fettered, a chalice resting on her swollen belly. Father Malachi O'Flynn, in a long petticoat and reversed chasuble, his two left feet back to the front, celebrates camp mash. The Reverend Mr Hugh C. Haines love MA. in a plain cassock and mortar board, his head and collar back to the front, holds over the celebrants head an open umbrella.)
FATHER MALACHI O'FLYNN Introibo ad altare diaboli.
THE REVEREND MR HAINES LOVE To the devil which hath made glad my young days.
FATHER MALACHI O'FLYNN (Takes from the chalice and elevates a blooddripping host.) Corpus Meum.
THE REVEREND MR HAINES LOVE (Raises high behind the celebrant's petticoats, revealing his grey bare hairy buttocks between which a carrot is stuck.) My body.
THE VOICE OF ALL THE DAMNED Htengier Tnetopinmo Dog Drol eht rot, Aiulella!
(From on high the voice of Adonai calls.)
ADONAI Dooooooooooog!
THE VOICE OF ALL THE BLESSED Alleluia, for the Lord God Omnipotent reigneth!
(From on high the voice of Adonai calls.)
ADONAI Goooooooooood!
(In strident discord peasants and townsmen of mange and Green factions sing Kick the Pope and Daily, daily sing to Mary.)
PRIVATE CARR (With ferocious articulation.) I'll do him in, so help me fucking Christ! I'll wring the bastard fucker's bleeding blasted fucking windpipe!
OLD GUMMY GRANNY (Thrusts a dagger towards Stephen's hand.) Remove him, acushla. At 8.35 a.m. you will be in heaven and Ireland will be free. (She prays.) O good God, take him!
BLOOM (Runs to Lynch.) Can't you get him away?
LYNCH He likes dialectic, the universal language. Kitty! (To Bloom.) Get him away, you. He won't listen to me. (He drags Kitty away.)
STEPHEN (Points.) Exit Judas. Et laqueo se suspendit.
BLOOM (Runs to Stephen.) Come along with me now before worse happens. Here's your stick.
STEPHEN Stick, no. Reason. This feast of pure reason.
CISSY CAFFREY (Pulling Private Carr.) Come on, you're boosed. He insulted me but I forgive him. (Shouting in his ear.) I forgive him for insulting me.
BLOOM (Over Stephen's shoulder.) Yes, go. You see he's incapable.
PRIVATE CARR (Breaks loose.) I'll insult him.
(He rushes towards Stephen, fists outstretched, and strikes him in the face. Stephen totters, collapses, falls stunned. He lies prone, his face to the sky, his hat rolling to the wall. Bloom follows and picks it up.)
MAJOR TWEEDY (Loudly.) Carbine in bucket! cease fire! Salute!
THE RETRIEVER (Barking furiously.) Ute ute ute ute ute ute uteute.
THE CROWD Let him up! Don't strike him when he's down! Air! Who? The soldier hit him. He's a professor. Is he hurted? Don't manhandle him! He's fainted!
(The retriever, nosing on the fringe of the crowd, barks noisily.)
What call had the redcoat to strike the gentleman and he under the influence? Let them go and fight the Boers!
THE BAWD Listen to who's talking! Hasn't the soldier a right to go with his girl? He gave him the coward's blow.
(They grab at each other's hair, claw at each other and spit.)
THE RETRIEVER (Barking.) Wow wow wow.
BLOOM (Shoves them back, loudly.) Get back, stand back!
PRIVATE COMPTON (Tugging his comrade.) Here bugger off, Harry. There's the cops!
(Two raincaped watch, tall, stand in the group)
FIRST WATCH What's wrong here?
PRIVATE COMPTON We were with this lady and he insulted us and assaulted my chum. (The retriever barks.) Who owns the bleeding tyke?
CISSY CAFFREY (With expectation.) Is he bleeding?
A MAN (Rising from his knees.) No. Gone off. He'll come to all right.
BLOOM (Glances sharply at the man.) Leave him to me. I can easily...
SECOND WATCH Who are you? Do you know him?
PRIVATE CARR (Lurches towards the watch.) He insulted my lady friend.
BLOOM (Angrily.) You hit him without provocation. I'm a witness. Constable, take his regimental number.
SECOND WATCH I don't want your instructions in the discharge of my duty. PRIVATE COMPTON (Pulling his comrade.) Here, bugger off, Harry. Or Bennett'll have you in the lockup.
PRIVATE CARR (Staggering as he is pulled away.) God fuck old Bennett! He's a whitearsed bugger. I don't give a shit for him.
FIRST WATCH (Taking out his notebook.) What's his name?
BLOOM (Peering over the crowd.) I just see a car there. If you give me a hand a second, sergeant.
FIRST WATCH Name and address.
(Corny Kelleher weepers round his hat, a death wreath in his hand, appears among the bystanders.)
BLOOM (Quickly.) O, the very man! (He whispers.) Simon Dedalus' son. A bit sprung. Get those policemen to move those loafers back.
SECOND WATCH Night, Mr Kelleher.
CORNY KELLEHER (To the watch, with drawling eye.) That's all right. I know him. Won a bit on the races. Gold cup. Throwaway. (He laughs.) Twenty to one. Do you follow me?
FIRST WATCH (Turns to the crowd.) Here, what are you all gaping at? Move on out of that.
(The crowd disperses slowly, muttering, down the lane.)
CORNY KELLEHER Leave it to me, sergeant. That'll be all right. (He laughs, shaking his head.) We were often as bad ourselves, ay or worse. What? Eh, what?
FIRST WATCH (Laughs.) I suppose so.
CORNY KELLEHER (Nudges the second watch.) Come and wipe your name off the slate. (He lilts, wagging his head.) With my tooraloom tooraloom tooraloom tooraloom. What, eh, do you follow me?
SECOND WATCH (Genially.) Ah, sure we were too.
CORNY KELLEHER (Winking.) Boys will be boys. I've a car round there.
SECOND WATCH All right, Mr Kelleher. Good night.
CORNY KELLEHER I'll see to that.
BLOOM (Shakes hands with both of the watch in turn.) Thank you very much gentlemen, thank you. (He mumbles confidentially.) We don't want any scandal, you understand. Father is a well known, highly respected citizen. Just a little wild oats, you understand.
FIRST WATCH O, I understand, sir.
SECOND WATCH That's all right, Sir.
FIRST WATCH It was only in case of corporal injuries I'd have had to report it at the station.
BLOOM (Nods rapidly.) Naturally. Quite right. Only your bounden duty.
SECOND WATCH It's our duty.
CORNY KELLEHER Good night, men.
THE WATCH (Saluting together.) Night, gentlemen. (They move off with slow heavy tread.)
BLOOM (Blows.) Providential you came on the scene. You have a car?.
CORNY KELLEHER (Laughs, pointing his thumb over his right shoulder to the car brought up against the scaffolding.) Two commercials that were standing fizz in Jammet's. Like princes, faith. One of them lost two quid on the race. Drowning his grief and were on for a go with the jolly girls. So I landed them up on Behan's car and down to nighttown.
BLOOM I was just going home by Gardiner street when I happened to...
CORNY KELLEHER (Laughs.) Sure they wanted me to join in with the mots. No, by God, says I. Not for old stagers like myself and yourself. (He laughs again and leers with lacklustre eye.) Thanks be to God we have it in the house what, eh, do you follow me? Hah! hah! hah!
BLOOM (Tries to laugh.) He, he, he! Yes. Matter of fact I was just visiting an old friend of mine there, Virag, you don't know him (poor fellow he's laid up for the past week) and we had a liquor together and I was just making my way home...
(The horse neighs.)
THE HORSE Hohohohohohoh! Hohohohome!
CORNY KELLEHER Sure it was Behan, our jarvey there, that told me after we left the two commercials in Mrs Cohen's and I told him to pull up and got off to see. (He laughs.) Sober hearsedrivers a specialty. Will I give him a lift home? Where does he hang out? Somewhere in Cabra, what?
BLOOM No, in Sandycove, I believe, from what he let drop.
(Stephen, prone, breathes to the stars. Corny Kelleher asquint, drawls at the horse. Bloom in gloom, looms down.)
CORNY KELLEHER (Scratches his nape.) Sandycove! (He bends down and calls to Stephen.) Eh! (He calls again.) Eh! He's covered with shavings anyhow. Take care they didn't lift anything off him.
BLOOM No, no, no. I have his money and his hat here and stick.
CORNY KELLEHER Ah well, he'll get over it. No bones broken. Well, I'll shove along. (He laughs.) I've a rendezvous in the morning. Burying the dead. Safe home!
THE HORSE (Neighs.) Hohohohohome.
BLOOM Good night. I'll just wait and take him along in a few...
(Corny Kelleher returns to the outside car and mounts it. The horse harness jingles.)
CORNY KELLEHER (From the car, standing.) Night.
BLOOM Night.
(The jarvey chucks the reins and raises his whip encouragingly. The car and horse back slowly, awkwardly and turn. Corny Kelleher on the sideseat sways his head to and fro in sign of mirth at Blooms plight. The jarvey joins in the mute pantomimic merriment nodding from the farther seat. Bloom shakes his head in mute mirthful reply. With thumb and palm Corny Kelleher reassures that the two bobbies will allow the sleep to continue for what else is to be done. With a slow nod Bloom conveys his gratitude as that is exactly what Stephen needs. The car jingles tooraloom round the corner of the tooraloom lane. Corny Kelleher again reassuralooms with his hand. Bloom with his hand assuralooms Corny Kelleher that he is reassuraloomtay. The tinkling hoofs and jingling harness grow fainter with their tooralooloolooloo lay. Bloom, holding in his hand Stephens hat festooned with shavings and ashplant, stands irresolute. Then he bends to him and shakes him by the shoulder.)
BLOOM Eh! Ho! (There is no answer he bends again.) Mr Dedalus! (There is no answer.) The name if you call. Somnambulist. (He bends again and, hesitating, brings his mouth near the face of the prostrate form.) Stephen! (There is no answer. He calls again.) Stephen!
STEPHEN (Groans.) Who? Black panther vampire. (He sighs and stretches himself then murmurs thickly with prolonged vowels.) Who... drive... Fergus now. And pierce... wood's woven shade?...
(He turns on his left side, sighing, doubling himself together.)
BLOOM Poetry. Well educated. Pity. (He bends again and undoes the buttons of Stephen's waistcoat.) To breathe. (He brushes the wood shavings from Stephen's clothes with light hands and fingers.) One pound seven. Not hurt anyhow. (He listens.) What!
(Murmurs.)
... shadows... the woods
... white breast... dim...
(He stretches out his arms, sighs again and curls his body. Bloom holding his hat and ashplant stands erect. A dog barks in the distance. Bloom tightens and loosens his grip on the ashplant. He looks down on Stephen's face and form.)
BLOOM (Communes with the night.) Face reminds me of his poor mother. In the shady wood. The deep white breast. Ferguson, I think I caught. A girl. Some girl. Best thing could happen him... (He murmurs.)... swear that I will always hail, ever conceal, never reveal, any part or parts, art or arts... (He murmurs.) in the rough sands of the sea. a cabletow's length from the shore... where the tide ebbs ... and flows...
(Silent, thoughtful, alert, he stands on guard, his fingers at his lips in the attitude of secret master. Against the dark wall a figure appears slowly, a fairy boy of eleven, a changeling, kidnapped, dressed in an Eton suit with glass shoes and a little bronze helmet, holding a book in his hand. He reads from right to left inaudibly, smiling, kissing the page.)
BLOOM (Wonderstruck, calls inaudibly.) Rudy!
RUDY (Gazes unseeing into Bloom's eyes and goes on reading, kissing, smiling. He has a delicate mauveface. On his suit he has diamond and ruby buttons. In his free left hand he holds a slim ivory cane with a violet howknot. A white lambkin peeps out of his waistcoat pocket.)
Circe
The Mabbot street entrance of nighttown, before which stretches an uncobbled transiding set with skeleton tracks, red and green will-o'-the-wisps and danger signals. Rows of flimsy houses with gaping doors. Rare lamps with faint rainbow fans. Round Rabaiotti's halted ice gondola stunted men and women squabble. They grab wafers between which are wedged lumps of coal and copper snow. Sucking, they scatter slowly. Children. The swancomb of the gondola, highreared, forges on through the murk, white and blue under a lighthouse. Whistles call and answer.
THE CALLS Wait, my love, and I'll be with you.
THE ANSWERS Round behind the stable.
(A deaf mute idiot with goggle eyes, his shapeless mouth dribbling, jerks past, shaken in Saint Vitus' dance. A chain of children's hands imprisons him.)
THE CHILDREN Kithoguel Salute.
THE IDIOT (Lifts a palsied left arm and gurgles.) Grhahute!
THE CHILDREN Where's the great light?
THE IDIOT (Gobbing.) Ghaghahest.
(They release him. He jerks on. A pygmy woman swings on a rope slung between the railings, counting. A form sprawled against a dustbin and muffled by its arm and hat moves, groans, grinding growling teeth, and snores again. On a step a gnome totting among a rubbish tip crouches to shoulder a sack of rags and bones. A crone standing by with a smoky oil lamp rams the last bottle in the maw of his sack. He heaves his booty, tugs askew his peaked cap and hobbles off mutely. The crone makes back for her lair swaying her lamp. A bandy child, asquat on the doorstep with a papershuttlecock, crawls sidling after her in spurts, clutches her skirt, scrambles up. A drunken navvy ups with both hands the railings of an area, lurching heavily. At a corner two night watch in shoulder capes, their hands upon their staffholsters, loom tall. A plate crashes; a woman screams; a child wails. Oaths of a man roar, mutter, cease. Figures wander, lurk, peer from warrens. In a room lit by a candle stuck in a bottleneck a slut combs out the tatts from the hair of a scrofulous child. Cissy Caffrey's voice, still young, sings shrill from a lane.)
CISSY CAFFREY
I gave it to Molly
Because she was jolly,
The leg of the duck
The leg of the duck.
(Private Cart and Private Compton, swaggersticks tight in their oxters, as they march unsteadily rightaboutface and burst together from their mouths a volleyed fart. Laughter of men from the lane. A hoarse virago retorts.)
THE VIRAGO Signs on you, hairy arse. More power the Cavan girl.

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