Oliver Goldsmith (1728–1774) was a quintessential “man of letters” in the 18th century. Born in Ireland, he became a central figure in London’s literary elite.
1. The “Inspired Idiot”
Goldsmith was a walking contradiction. His friends, including the great Samuel Johnson, often teased him for being awkward and physically “unprepossessing” in person, while being a genius on the page. Johnson famously said of him:
> “No man was more foolish when he had not a pen in his hand, or more wise when he had.”
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In the passage you shared, Artifoni and Stephen are standing near his bronze statue at the front of Trinity College. He is depicted as a “poor sizar” (a student who received free tuition in exchange for doing menial work), clutching a book and a pen—a tribute to the man who arrived at Trinity as a clumsy outsider and left as a giant of English literature.
2. Major Masterpieces
Goldsmith is one of the few writers of his era to produce a masterpiece in four different genres:
* The Novel: The Vicar of Wakefield—A sentimental, often funny story of a family’s fall from grace. It was one of the most popular novels of the 19th century.
* The Play: She Stoops to Conquer—A brilliant “laughing comedy” that is still performed today. It broke the trend of the overly serious, “sentimental” plays of his time.
* The Poem: The Deserted Village—A moving social commentary on the destruction of rural life and the displacement of the poor by wealthy landowners.
* The Essay: The Citizen of the World—A series of letters written from the perspective of a fictional Chinese philosopher visiting London, used to satirize British society.
3. Joyce’s Critique
In the “Joyce-verse,” Stephen’s mentor Artifoni looks at Goldsmith’s “knobby poll” (head). Joyce himself had a complex view of Goldsmith. He once called him a “court jester” for the English—a common Irish critique that Goldsmith had to “perform” his Irishness to be accepted by the London elite.

This scene brings us back to Stephen Dedalus outside Trinity College. He is speaking with Almidano Artifoni, his Italian singing teacher. Artifoni is trying to convince Stephen to give up his “starving artist” lifestyle and use his beautiful tenor voice to make money.
The Interpretation: The Artist vs. The “Beast”
* The Advice: Artifoni tells Stephen that he once had “these ideas” (artistic purity) when he was young, but he realized the “world is a beast” (il mondo è una bestia). He argues that Stephen’s voice could be a “source of income” (cespite di rendita).
* Stephen’s Latin Pun: When Artifoni says Stephen is “sacrificing” himself, Stephen replies: “Sacrifizio incruento” (An unbloody sacrifice).
   * This is the technical Latin term used in the Catholic Church for the Mass. By calling his poverty a “Mass,” Stephen is being incredibly witty and cynical. He is saying his suffering is a religious ritual that produces no “blood” (money/life).
* The Stone Hand of Grattan: Henry Grattan’s statue stands with an arm outstretched as if commanding the city to stop. Beneath this “stern stone hand,” the real chaos of Dublin continues—soldiers and “gillies” (servants/helpers) carrying musical instruments.
* The Comedy of the Trot: The scene ends with a touch of slapstick. The stout, dignified Artifoni has to “trot” after a tram, waving a roll of music like a conductor’s baton, only to fail as he is swamped by a crowd of “barekneed gillies.”
The Linguistic & Latin Breakdown
1. Sacrifizio incruento
* Etymology: From Latin sacrificium (holy deed) + in- (not) + cruentus (bloody).
* Theology: In Catholic doctrine, the crucifixion was a bloody sacrifice; the Eucharist (the Mass) is the unbloody version. Stephen is comparing his refusal to “sell out” his art to a holy, perpetual ritual of starvation.
2. Ashplant (Swaying his ashplant)
* Etymology: A compound of Ash (the tree) and Plant (in the sense of a sapling or cutting).
* Significance: This is Stephen’s walking stick. It is his “scepter” of intellectual independence. The way he swings it “swingswong” shows his detached, rhythmic nonchalance while Artifoni talks about money.
3. Gillies (Rout of barekneed gillies)
* Etymology: From the Scottish Gaelic gille, meaning “lad” or “servant.”
* Context: Specifically, it refers to those who attend to Highland hunters or, in this case, members of the Highland military band. They are “barekneed” because they are wearing kilts.
4. Poll (Goldsmith’s knobby poll)
* Etymology: From Middle English pol (the head). It originally meant the “top or back of the head.”
* Context: Stephen is standing near the statue of Oliver Goldsmith. Artifoni looks at the “knobby” bronze head of the statue while talking to Stephen.
The Italian Translation
Since you noted the foreign terms, here is the “script” of their conversation:
* “Anch’io ho avuto di queste idee…”: “I too had these ideas when I was young like you. But then I convinced myself that the world is a beast. It’s a pity. Because your voice… would be a source of income, come on. Instead, you sacrifice yourself.”
* “Ma, dia retta a me. Ci rifletta.”: “But, listen to me. Think about it.”
* “Arrivederla, maestro… E grazie.”: “Goodbye/See you again, teacher… and thank you.”
* “Di che? Scusi, eh? Tante belle cose!”: “For what? Excuse me, eh? All the best!” (Literally: “So many beautiful things!”)

This scene introduces us to Blazes Boylan, the man Molly Bloom is waiting for. It is a sensory explosion of fruit, perfumes, and predatory charm, acting as a sharp “color” contrast to the grey hunger of the Dedalus sisters we just left.
The Interpretation: The Predator and the “Invalid”
* The Gift Basket: Boylan is preparing a “care package” for Molly. The “bottle swathed in pink tissue paper” (likely port or sherry) and the “ripe shamefaced peaches” are luxury items.
* The Big Lie: He tells the shopgirl, “It’s for an invalid.” This is a deliberate lie to make himself look like a virtuous, caring man, when in reality, he is buying these “succulent” fruits to share with Molly during their afternoon tryst.
* The “Young Pullet”: Boylan views the world through a lens of sexual conquest and consumption. He looks down the shopgirl’s blouse and calls her a “pullet” (a young hen). To him, everything—the peaches, the tomatoes, and the girl—is just something to be “sniffed” or “sampled.”
* H. E. L. Y.’S: These are five men wearing sandwich boards, each with one letter of the stationery shop “Hely’s.” They represent the “mechanized” and “commercial” side of Dublin, plodding along while Boylan “rattles merry money.”
The Etymological Deep-Dive
1. Wicker (The wicker basket)
* Etymology: From the Middle English wiker, likely of Scandinavian origin (related to Swedish viker, meaning willow twig).
* Meaning: It refers to flexible twigs (usually willow) woven together. It’s the “organic” packaging for the expensive gift.
2. Fob (Drew a gold watch from his fob)
* Etymology: From the Low German fubbe (a pocket).
* Meaning: A “fob” is the small, dedicated pocket in a man’s waistcoat or trousers used specifically for holding a pocket watch. Boylan’s “gold watch” and “chain” are symbols of his flashiness and his obsession with the “ten minutes” remaining before his appointment.
3. Game Ball (That’ll do, game ball)
* Etymology: This is a purely Hiberno-English (Irish) idiom.
* Meaning: It’s a slang term for “excellent” or “perfect.” It comes from sports (like handball or tennis), where the “game ball” is the winning point. Boylan uses it to sound sporty, modern, and confident.
4. Docket (The blond girl handed him a docket)
* Etymology: From the verb dock (to cut short).
* Meaning: Originally, a “docket” was a summary of a larger document. In a shop context, it is the small slip of paper (a receipt or delivery instruction) “cut off” from a pad.
5. Pullet (A young pullet)
* Etymology: From the Old French polete, a diminutive of poule (hen), from the Latin pullus (young animal).
* Meaning: As Boylan uses it, it is a derogatory, “roguish” way of describing a young woman as a piece of poultry ready for eating.
The “Darkbacked Figure”
While Boylan is flirting and buying peaches, Joyce gives us a one-sentence “cameo”: “A darkbacked figure under Merchants’ arch scanned books on the hawker’s cart.”
* This is Leopold Bloom. He is looking for a book for Molly (a “sweetsmelling” book called Sweets of Sin).
* The irony is thick: The husband is outside in the dust looking at old books, while the lover is inside buying expensive fruit to bring to the husband’s house.

It is a heartbreaking realization. While Stephen Dedalus suffers from “spiritual” and intellectual misery, his sisters are suffering from biological misery—actual, physical starvation.
To answer your question: Yes, this is a very direct, almost journalistic reflection of James Joyce’s childhood home.
The Joyce Family Reality
John Stanislaus Joyce (James’s father) was exactly like Simon Dedalus: a talented, charismatic man with a “silver tongue” who slowly drank away the family’s wealth.
* The Descent: The family moved from high-end houses in the suburbs to increasingly “dingy” tenements in the city as their father’s debts mounted.
* The “Potstick” and the “Suds”: Joyce’s sisters—Margaret (Maggy), Kathleen (Katey), and Mary Catherine (Boody)—often bore the brunt of the poverty. While James was off at university (like Stephen), his sisters were at home trying to find something to eat.
* Pawning the Books: This happened frequently. The family would pawn anything—clothes, furniture, and yes, schoolbooks—just to buy a loaf of bread or a bit of tea.
The “Our Father” Parody: A Hidden Truth
When Boody says, “Our father who art not in heaven,” it is one of the most famous lines in the book because it is so bitter. In real life, Joyce’s father was known to be verbally abusive and financially reckless.
* By placing this in the mouth of a hungry girl, Joyce is admitting his own survivor’s guilt.
* Stephen (and James) escaped through education and art, but the “Boodys” and “Kateys” of the family were trapped in the kitchen with the “peasoup.”
Etymological Deep-Dive
1. Potstick (Maggy rammed down the mass with her potstick)
* Etymology: A compound of Pot (from Old English pott) and Stick (from Old English sticca).
* Meaning: In a poor household, a “potstick” was a heavy wooden rod used to stir laundry boiling in a large pot (the “copper”). It shows that the kitchen is being used for labor (washing) rather than cooking.
2. Gushed (A heavy fume gushed in answer)
* Etymology: From the Middle English guschen, likely related to the German giessen (to pour).
* Sensory Detail: It describes a sudden, violent flow of steam. When Katey lifts the lid, she doesn’t find a meal—she finds a “fume” of cheap soup.
3. Throwaway (A crumpled throwaway, Elijah is coming)
* Etymology: A modern English compound: Throw + Away.
* Meaning: It refers to a handbill or flyer meant to be read and immediately discarded.
* The Symbolism: In Ulysses, the “throwaway” is a leaflet for an American evangelist named Alexander J. Dowie. It floats down the Liffey like a tiny, ignored prophet, while the characters it passes are either starving or oblivious.

This scene is a jarring transition from the “cheerful decorum” of Father Conmee to the desperate, starving reality of the Dedalus sisters (Stephen Dedalus’s sisters). While Conmee walks through “Clongowes fields” in his comfortable “thinsocked ankles,” these girls are literally boiling clothes and eating charity soup.
The Interpretation: Poverty and Parody
* “They wouldn’t give anything on them”: This refers to the pawnshop. The sisters tried to pawn their schoolbooks to get money for food, but Mrs. M’Guinness (whom Conmee admired earlier for her “queenly mien”) refused them. It’s a bitter irony: Conmee sees a noble lady; the hungry girls see a “big face” who won’t help them.
* The “Greyish Mass”: Maggy is boiling “shirts.” In a house with no money, you boil the clothes to clean them yourself rather than paying a laundry, or you are simply trying to make the house smell like something is cooking.
* “Our father who art not in heaven”: This is a devastating parody of the Lord’s Prayer. Boody is referring to her actual father, Simon Dedalus, who is a “spendthrift” (like the nobleman Conmee thought of) but without the title. He spends his money on drink while his daughters starve. By saying he is “not in heaven,” she means he is either in the pub or simply a “hellish” father.
* The Pea Soup: They only have food because a nun (Sister Mary Patrick) gave it to them. The “yellow thick soup” is the only thing keeping them from total starvation.
The Etymological Deep-Dive
1. Satchel (Boody threw her satchel)
* Etymology: From the Old French sachel, from the Latin saccellus (a little bag).
* Context: It is a small bag with a strap, often used for carrying schoolbooks. The fact that it is empty of “value” (because the pawnshop rejected the books) makes her throw it in frustration.
2. Cess (Bad cess to her!)
* Etymology: This is a purely Irish slang term. It is a shortening of success.
* Meaning: “Bad cess” means “bad luck” or “bad success.” It is a curse.
3. Lacquey (The lacquey rang his bell)
* Etymology: From the French laquais, originally referring to a footman or a personal attendant.
* The Sound: “Barang!”—Joyce uses onomatopoeia (words that sound like what they mean) to interrupt the girls’ hunger with the harsh sound of the world outside.
4. Skiff (A skiff, a crumpled throwaway)
* Etymology: From the Middle French esquif, originally from the Old High German skif (ship).
* Meaning: Usually a small, light boat. Here, Joyce uses it metaphorically for a piece of paper (a “throwaway” religious flyer) floating down the river.
* “Elijah is coming”: This flyer was thrown away by Leopold Bloom earlier in the day. It represents a “message” floating through the city, ignored by the starving girls and the comfortable priest alike.
5. Bridgepiers (The rapids around the bridgepiers)
* Etymology: From the Latin petra (rock/stone).
* Anatomy of a Bridge: A “pier” is the upright support that holds up the spans of a bridge. The water “chafes” around them, creating small rapids.

That is a very fair and grounded critique! If we were reading a newspaper report from 1904, assuming it was Molly would be wild speculation. However, in the “Joyce-verse” of Ulysses, there are a few “literary fingerprints” that confirm it is indeed No. 7 Eccles Street.
The Evidence for Molly Bloom
* The Address: Joyce explicitly places the sailor on Eccles Street. Since the entire novel revolves around the occupants of No. 7, any significant action on that street is almost always a “camera angle” on the Blooms.
* The “Unfurnished Apartments” Card: Earlier in the book (in the Calypso chapter), we learn that the Blooms are looking for a lodger to help with the rent. Molly is the one responsible for the house.
* The “Bare Generous Arm”: This is a classic “leitmotif” (a recurring symbol) for Molly. Throughout the book, she is associated with fleshiness, warmth, and “generosity.” Later, in her own famous monologue, she even remembers the events of the day from her perspective inside the house.
* The Whistling: The sailor hears “sweet chirping whistling” inside. We know from other chapters that Blazes Boylan (Molly’s lover) is expected later that afternoon, and Molly is often associated with music and singing (she is a professional soprano).
Why the Anonymity?
Joyce writes this scene this way to show the “simultaneity” of the city. While we (the readers) are following Father Conmee’s high-minded thoughts, the “camera” pans across Dublin to show:
* The Sailor: Sees only a “window” and a “hand.”
* The Woman: Sees only a “beggar.”
* The Reader: Sees the secret intersection of these lives.
It makes the city feel like a giant machine where people are constantly affecting one another without even knowing each other’s names.
Etymology of “Speculation”
Since you mentioned the word “speculate,” its history is perfect for this “detective work”:
* Root: From the Latin speculari, meaning “to spy out” or “to watch from a watchtower.”
* Evolution: It comes from specula (a lookout). So, when you speculate, you are figuratively standing on a high point trying to see something that is far away or hidden.

In the context of the street-level reality in 1904 Dublin, the act of throwing the coin is a mixture of charity, convenience, and silence.
1. The “Buskers” Contract
The sailor isn’t just walking; he is performing. By “baying” the lyrics “For England… home and beauty,” he is acting as a street beggar or “minstrel.”
* In those days, if someone performed outside your window, it was a social custom to give them a small copper coin.
* Because Molly Bloom (the woman at the window) is in her “petticoatbodice” (underwear), she cannot come to the door to hand it to him. Flinging it from the window is the only way to pay him.
2. Buying Silence
The sailor is “baying deeply” and “growling.” It is a loud, intrusive, and “unamiable” noise.
* By throwing the coin, the woman is effectively paying him to move on. Once a “performer” receives their coin, they are expected to move to the next house.
* It’s a way of saying: “I have heard you, here is your alms, now please leave so I can have my peace.”
3. The “Unfurnished” Connection
Joyce mentions that as she opens the window, a card saying “Unfurnished Apartments” falls out.
* This card was tucked into the window to advertise for a tenant. By flinging the coin, she accidentally knocks the card loose.
* It shows that while she is “generous” with her money, her household is in a state of flux or lack.
Etymology of “Copper” and “Alms”
1. Copper (The coin dropped)
* Etymology: From the Latin cuprum, named after the island of Cyprus, which was famous in antiquity for its copper mines.
* Context: In 1904, the smallest coins (pennies, half-pennies, and farthings) were made of copper (or a bronze alloy). To “drop a copper” was to give the smallest possible amount of financial help.
2. Alms (What the sailor is seeking)
* Etymology: From the Greek eleemosyne, meaning “pity” or “mercy.”
* The Shift: Over centuries, the word wore down: eleemosyne \rightarrow alms. It shifted from meaning the feeling of pity to the physical gift given out of pity.

This scene shifts the focus from the polished, interior world of Father Conmee to the gritty, physical struggle of a one-legged sailor. It is a masterclass in tension, sound, and the sharp contrast between those inside “home and beauty” and those cast out from it.
The Interpretation: The Angry “Minstrel”
* The Slogan of Betrayal: The sailor growls, “—For England… home and beauty.” This is a bitter, ironic reference to a popular patriotic song from the era (The Death of Nelson). By growling it “unamiably” while “jerking” himself on crutches, he turns a song of glory into a demand for compensation. He is the living wreckage of the Empire’s wars.
* The “Yellowslobbered” Gape: The two “urchins” (homeless or poor children) sucking liquorice laces represent the raw, unpolished youth of Dublin. Their fascination with his “stump” highlights the physical deformity that Conmee earlier dismissed as “soldiers and sailors whose legs had been shot off.”
* The Arm in the Window: The “plump bare generous arm” belongs to Molly Bloom (we know this because she lives on Eccles Street). She is dressing or undressing, and her “generous” act of flinging a coin stands in contrast to the sailor’s sourness. The falling card (“Unfurnished Apartments”) suggests a home that is literally and figuratively “unfurnished” or incomplete.
* The Handover: The urchin picking up the coin and saying “There, sir” shows a small moment of solidarity among the street-dwellers.
The Etymological Deep-Dive
1. Urchins (The “barefoot urchins”)
* Etymology: From the Old French herichon, derived from the Latin ericius, meaning “hedgehog.”
* Evolution: Originally, an “urchin” was just a hedgehog. Because of their small size and often “prickly” or unkempt appearance, the word began to be used for mischievous or ragged children in the 16th century. (Even the “Sea Urchin” gets its name because it looks like a hedgehog of the sea).
2. Petticoatbodice & Shiftstraps
* Petticoat (Etymology): From petty (small) + coat.
* Shift (Etymology): From the Old English sciftan (to arrange or change). A “shift” was a woman’s basic undergarment, so named because it was the garment one “shifted” into or changed most frequently.
* Visual: Molly is seen in her “taut shiftstraps,” emphasizing her physicality and the “generous” nature of her figure.
3. Area Railings
* Etymology: From the Latin area (a vacant space/level ground).
* Architectural Context: In Dublin Georgian houses, the “area” is the sunken courtyard between the sidewalk and the basement. The “area railings” protect people from falling in. When the woman flings the coin “over the area railings,” it signifies the distance between her private home and the sailor’s public struggle.
4. Skirting (Skirting Rabaiotti’s car)
* Etymology: From the Old Norse skyrta (shirt/tunic).
* Meaning: To “skirt” something originally meant to move around the edge (the skirt) of an area. The sailor has to move around the ice cream car, showing how the city’s obstacles impede his “violent” forward motion.

Both words carry a heavy sense of history—one rooted in the geography of the Irish coast and the other in the solemn rites of the medieval church.
1. Malahide
The name Malahide is an anglicization of the Irish Mullach Íde.
* Mullach (Etymology): From the Old Irish mullach, meaning “summit,” “top,” or “hilltop.” It is a common element in Irish place names to describe the physical layout of the land.
* Íde (Etymology): This refers to Saint Íde (also known as Saint Ita). She was a highly influential 6th-century saint, often called the “Brigid of Munster.”
* Meaning: Together, it means “The Hill of Ita.”
* Conmee’s Context: When Father Conmee thinks of the “joybells” and the “Lord Talbot de Malahide,” he is connecting the name to the long-standing Anglo-Norman aristocracy. The Talbots held Malahide Castle for nearly 800 years, making the name synonymous with “old worldish” stability and nobility in his mind.
2. Lychgate
This is a word that instantly evokes the boundary between the living and the dead.
* Lych (Etymology): From the Old English lic, meaning “body” or “corpse.” (This is a cognate of the German Leiche).
* Gate (Etymology): From the Old English geat, meaning an opening or passage.
* Historical Function: In medieval times, before a funeral, the body would be carried to the church. The lychgate was a roofed porch at the entrance to the churchyard where the coffin was set down. The priest would meet the funeral procession there to begin the service, shielded from the rain by the gate’s roof.
* The Irony in Joyce: Father Conmee sees a “lychgate of a field” showing him “breadths of cabbages.” Joyce is using a word deeply associated with death and funerals to describe a gate leading to living, growing vegetables. It highlights Conmee’s “clerical” brain—he sees the world through the architecture of the church, even when looking at a farm.

In this final movement of Father Conmee’s walk, Joyce pulls us through three distinct layers of time: the scandalous past (the Countess), the imagined past (noble “times of yore”), and the vivid present (the encounter in the field).
The Interpretation: The Secret Life of a Priest
* The Belvedere Scandal: Conmee dwells on Mary Rochfort. Her husband, the “Jealous Earl,” locked her up for decades at Gaulstown House. Conmee’s mind goes to the technicalities of her “sin.” He uses Latin because, for a priest, sex is often a textbook problem to be solved in the confessional rather than a human experience.
* The “Beeswaxed” Fantasy: Conmee imagines himself as “Don John,” a grand, aristocratic Jesuit of the past. He sees himself “impalming” (joining hands) noble couples in rooms with “fruit clusters” on the ceiling. It reveals his deep-seated love for status and the “high” Church.
* The Encounter in the Hedge: The sudden appearance of the “flushed young man” and the woman with “wild nodding daisies” is a classic Joyce moment. They have clearly just been intimate in the bushes.
   * The Contrast: While Conmee was just thinking about the “tyrannous incontinence” of the Countess in the 1700s, he is suddenly faced with the real thing in 1904.
   * The Reaction: The girl “abruptly bent” to pull a twig from her skirt—a guilty gesture to hide what they were doing. Conmee, ever the polished Jesuit, blesses them “gravely” and goes right back to his Latin prayers. He acknowledges the “sin” but keeps his “cheerful decorum.”
The Etymological Deep-Dive
1. Lychgate
* Etymology: From the Old English lic (body/corpse) + geat (gate).
* History: Traditionally, this was a covered gate at the entrance to a churchyard where a corpse was set down to await the clergyman before a burial.
* The Scene: Conmee sees a gate to a cabbage field. Calling it a “lychgate” adds a touch of solemn, religious architecture to a simple farm scene.
2. Moutonner (Muttoning Clouds)
* Etymology: From the French mouton (sheep).
* Meaning: To “mutton” or moutonner means to become fleecy or foamy.
* Visual: Conmee is looking at cirrocumulus clouds, which look like a flock of sheep’s wool or small ripples in the sky. It’s a “homely” word because it connects the high sky to the humble farm animal.
3. Breviary & Nones
* Breviary (Etymology): From the Latin breviarium (an abridgment/summary). It is the book containing the daily prayers (the Office) that priests are required to say.
* Nones (Etymology): From the Latin nona (ninth).
* Meaning: It refers to the “Ninth Hour” (about 3:00 PM). Conmee realizes he is late; he should have said these prayers at 3:00, but he was busy chatting with Lady Maxwell.
4. Impalmed
* Etymology: From in- + palm (the flat of the hand).
* Meaning: Joyce uses this to describe the joining of hands in marriage. It suggests a physical, fleshy connection that is nonetheless “noble.”
The Latin Fragments
Conmee is reading Psalm 119. The lines he reads are deeply ironic given the couple he just saw:
* Principium verborum tuorum veritas: “The beginning of thy words is truth.”
* Principes persecuti sunt me gratis: “Princes have persecuted me without cause.”
   While he reads about being persecuted for the “truth,” he is walking past a young couple who are hiding the “truth” of their afternoon tryst.

This section of Ulysses captures Father Conmee moving deeper into his own thoughts—shifting from the physical tram to the spiritual “millions of souls” and finally into a dark, historical scandal.
Here is the full interpretation and the linguistic roots you requested.
The Interpretation: Charity, Race, and Scandal
* The Ticket and the Inspector: Conmee’s focus on the “blue ticket” and the inspector shows his obsession with order. To him, a lost ticket is a failure of “decorum.” He finds his fellow passengers too serious—he wants the world to be “cheerful,” a luxury usually reserved for those without “many worries in life.”
* The Old Woman at Annesley Bridge: Conmee views the poor with a mix of genuine pity and condescending “clerical” humor. He compares her to women in the confessional who can’t believe they’ve been forgiven. He is the shepherd, and she is just a “poor creature” with a “marketnet.”
* The Hoardings and Eugene Stratton: Conmee sees a poster for a “minstrel show” performer, Eugene Stratton. This triggers a theological debate in his head.
   * The Problem of the Unbaptized: He worries about the “millions of black and brown and yellow souls” who die without baptism.
   * Le Nombre des Élus: He mentions a book (The Number of the Elect) which argued that perhaps God saves more people than the Church strictly admits. Conmee calls it a “waste” if they are all lost—a very Jesuit, practical way of looking at salvation.
* The Scandal of Mary Rochfort: As he walks toward Artane, he thinks of the Countess of Belvedere. This was a famous 18th-century scandal where the Earl of Belvedere locked his wife, Mary, in a house for 31 years because he suspected her of having an affair with his brother.
   * The Latin: Conmee uses clinical, Latin theological terms (eiaculatio seminis…) to think about adultery. It shows how the priesthood trains men to think about sex as a technical “sin” rather than a human emotion.
The Etymological Deep-Dive
1. Long Pepper vs. Peepal (The Missing Link)
As we discussed, the name for the spice (Pepper) and the tree (Peepal) split long ago. Here is the visual reason they were confused by ancient traders: the clusters of fruit look remarkably similar.
2. Barony (Old Times in the Barony)
Conmee is thinking about his own book.
* Etymology: From the Old French baronie, from the Medieval Latin baro (man, specifically a “free man” or “vassal”).
* Meaning: A “barony” was the smallest unit of land tenure in the feudal system. In Ireland, it was a traditional subdivision of a county. To Conmee, the word smells of “loyal times” and “old-worldish” stability.
3. Incontinence (Tyrannous incontinence)
Conmee muses on sex as “tyrannous incontinence.”
* Etymology: From the Latin in- (not) + continentia (a holding back).
* Meaning: Literally, “not holding yourself in.” In a theological sense, it refers to a lack of self-control, specifically regarding lust. He calls it “needed however for man’s race,” acknowledging that without this “tyranny,” the human race wouldn’t bother reproducing.
4. Alight (To alight from the tram)
* Etymology: From the Old English alihtan.
* Meaning: Derived from a- (down) + light (not heavy). It literally means to “lighten” a horse or vehicle by getting off it.
5. Hoardings (Where he sees Eugene Stratton)
* Etymology: From the Old French hurd (a palisade or barrier).
* Meaning: Large wooden boards used for displaying advertisements.

It is a brilliant observation. It seems counterintuitive for the name of a massive, sacred tree like the Peepal (Ficus religiosa) to become the name for a small, spicy vine like Black Pepper (Piper nigrum).
The answer lies in the Sanskrit “fruit” and the ancient spice trade.
The Root: “Pippala” as “The Fruit”
In ancient Sanskrit, the word Pippala didn’t just name the tree; it was often used as a general term for a berry or the fruit of a tree.
* The Peepal tree produces small, berry-like figs.
* Therefore, a pippali was essentially a “little berry.”
The “Long Pepper” Connection
The confusion (or transition) happened because of a specific plant called Long Pepper (Piper longum). In India, this was called Pippali.
* The Appearance: Long pepper looks like a tiny, elongated cone made of many small berries fused together. It looked enough like the small fruit of certain trees that the name was applied to it.
* The Export: When Indian traders began selling this spicy “berry” to the Greeks and Romans, they called it by its local name: Pippali.
* The Linguistic Shift: As the word moved West, it morphed:
   * Sanskrit: Pippali
   * Greek: Peperi
   * Latin: Piper
   * Old English: Pipor (and eventually Pepper)
The Great Split
Eventually, the botanical world split the terms:
* In India, Pippala remained the name of the great sacred tree (the Peepal).
* In the West, the word Piper/Pepper became detached from the tree entirely and was used only for the spice.
So, the name traveled from the massive tree to its small fruit, then to a different plant with similar-looking fruit, and finally across the world to your dinner table. It’s a journey from the “Sacred” to the “Spicy”!

That is a fascinating linguistic “false friend.” While they sound nearly identical and share a similar conceptual root (the idea of “chatter” or “shaking”), Sanskrit Pippala and English People are not cognates.
However, they both have “cousins” in other words you know! Here is how the etymology actually branches out:
1. Pippala is the ancestor of “Pepper”
The Sanskrit word Pippala (or its relative Pippali, meaning long pepper) traveled from India to Greece and Rome through the spice trade.
* Sanskrit: Pippali \rightarrow
* Greek: Peperi \rightarrow
* Latin: Piper \rightarrow
* English: Pepper.
   So, every time you grind pepper onto your food, you are actually saying a word derived from the Peepal tree’s name!
2. Poplar is the true cognate of “People”
As we discussed, the Poplar tree comes from the Latin Populus. This is a direct cognate with the English word “People” (also from Latin populus).
* The Romans named the tree Populus because its leaves move and “whisper” like a crowd of people (populus) talking.
Summary Table
| Tree | Sanskrit Name | Latin Root | English Cognate |
|—|—|—|—|
| Peepal | Pippala | N/A | Pepper |
| Poplar | N/A | Populus | People |
It is a poetic coincidence: the Peepal sounds like “People,” but the Poplar is the one actually related to the word “People” in the dictionary! Both trees, however, are famous for their “trembling” leaves that seem to have a voice of their own.

You’ve made a very sharp linguistic and botanical connection! While they sound similar and both have leaves that “flutter” or “shimmer,” they are actually quite different species from different climates.
Poplar vs. Peepal (Ashwattha)
| Feature | Poplar (European/North American) | Peepal (Indian/South Asian) |
|—|—|—|
| Scientific Name | Populus | Ficus religiosa |
| Family | Salicaceae (Willow family) | Moraceae (Fig/Mulberry family) |
| Shape | Tall, narrow, and upright (columnar). | Wide, spreading, and massive canopy. |
| Symbolism | Often associated with the “people” or mourning in Greek myth. | Sacred in Hinduism and Buddhism (The Bodhi Tree). |
| Leaf Shape | Triangular or heart-shaped with “teeth” on the edges. | Heart-shaped with a distinct, long, needle-like tip (tail). |
The “Sound” Connection
You are right that Peepal sounds like “People,” and interestingly, the Poplar tree’s Latin name, Populus, is the exact same word the Romans used for “the people” (as in Senatus Populusque Romanus—The Senate and People of Rome).
* The Poplar: Called Populus because the leaves move and “chatter” like a crowd of people in the wind.
* The Peepal: While the name Peepal comes from the Sanskrit Pippala, it is famous for the exact same physical trait. Because the leaf stalk (petiole) is long and flattened, the leaves vibrate even when there is no detectable breeze.
The Ashwattha (Sacred Fig)
The Ashwattha (Peepal) is described in the Bhagavad Gita as an eternal tree with roots above and branches below. While Father Conmee is looking at a Poplar in Dublin, he would likely be fascinated by the irony that both trees—one in the West and one in the East—are defined by their “restless” leaves that never seem to stay still, much like the “owlin’ mob” of people he encounters on his walk.

This image captures the distinct, vertical “Lombardy” style of poplar often seen in European landscapes. Its height and the way its branches reach upward like a spire would have certainly caught Father Conmee’s eye as he walked by the canal, perhaps reminding him of the architecture of the very churches he served.

The poplar tree, with its tall, slender silhouette and shimmering leaves, provides the “idyllic” backdrop Father Conmee enjoys. The way its leaves flutter in the slightest breeze creates a “sunnywinking” effect that matches his cheerful mood.
The Blue Ticket and the Kid Glove
Joyce writes: “Father Conmee sat in a corner of the tramcar, a blue ticket tucked with care in the eye of one plump kid glove…”
* The Ticket: In 1904, Dublin trams used color-coded tickets to indicate the fare paid or the distance. A “blue ticket” usually represented a specific price point. Conmee’s “care” in tucking it away shows his orderly nature—he is a man who fears the chaos of a lost ticket or a messy appearance.
* Kid Glove (Etymology): The word “kid” here refers to a young goat.
   * Origin: From Old Norse kith.
   * Social Status: Gloves made of “kid leather” were incredibly soft, thin, and expensive. By specifying that Conmee wears “plump kid gloves,” Joyce is highlighting his luxury. He is a priest, but he is a high-ranking Jesuit who enjoys the finer things.
* The Contrast: The “plump” glove holding the “blue ticket” creates an image of soft, cushioned comfort, standing in stark contrast to the “dirty straw hat” of the bargeman he just passed.
Arecanut Paste: The Secret to a Jesuit Smile
Earlier, Conmee notes: “He had cleaned his teeth, he knew, with arecanut paste.”
* Arecanut (Etymology): The word “Areca” comes from the Portuguese areca, which originated from the Malayalam word adakka.
* What it was: The areca nut (often called betel nut) was ground into a powder and used in early toothpastes and “dentifrices.”
* The Effect: It was believed to strengthen the gums and whiten the teeth, but it often had a slightly astringent, spicy quality.
* The Character Note: The fact that Conmee is consciously thinking about his clean teeth while smiling at people shows his vanity. He isn’t just smiling out of love; he’s smiling because he knows his teeth look good. It’s a very subtle “modern” touch Joyce adds to a man of the cloth.

To understand why turf was so important to the poor, we have to look at the economics of heat in 1904 Dublin.
The “Poor Man’s Coal”
In Edwardian Ireland, coal was the “premium” fuel. It was largely imported from Britain, making it expensive. If you were living in a tenement or a small “hamlet” house, you likely couldn’t afford a steady supply of coal.
Turf (Peat) was the alternative. It is essentially “young” coal—partially decomposed vegetation found in bogs.
* Accessibility: It was harvested directly from the Irish landscape.
* Cost: Because it didn’t have to be imported and was lower in energy density than coal, it was much cheaper.
* The “Bacon” Connection: Turf fires produce a very specific, sweet-smelling smoke. For the poor, it wasn’t just for warmth; it was used for all cooking. When Conmee smells the “baconflitches,” that bacon was likely cured or cooked over turf fires.
How the Barge Served Them
Dublin is far from the great bogs of the midlands (like the Bog of Allen). The turfbarge was the 18-wheeler truck of its day.
* Harvesting: Men would “foot” the turf in the bogs (stacking it to dry in the sun).
* Transport: The barges would be loaded high with these dried sods and towed by horses along the Royal Canal right into the heart of North Dublin.
* Distribution: Once the barge docked (at places like Charleville Mall, where Conmee sees it), the turf would be sold in smaller quantities—sacks or even individual sods—to the local poor who could only afford to buy fuel day-to-day.
The “Service” vs. The “Burden”
When Conmee says the Creator made turf “whence men might dig it out… to make fires in the houses of poor people,” he is describing a lifeline. Without that turf, the poor would have no way to cook food or survive the damp Dublin winters.
The catch: While Conmee sees this as a beautiful gift from God, the “poor people” saw it as a desperate necessity. Turf is bulky, it burns quickly, and it creates a lot of ash. It requires constant labor to keep the fire going. Conmee sees the “cozy fire”; the poor see the “heavy sack” they had to carry home.
Etymology of “Bog”
It’s fitting to look at this word, as it is one of the few Irish words to enter the English language globally.
* Root: From the Irish bogach.
* Meaning: Derived from bog (soft).
* Significance: A bog is literally “soft land.” It’s the source of the turf, but it’s also a place where you can easily sink—a perfect metaphor for the “soft,” shifting social ground Father Conmee tries to walk across without getting his boots dirty.

The “paradox” lies in the gap between Father Conmee’s rosy, spiritualized view of the world and the harsh, physical reality of life for the poor in 1904 Dublin.
The Two Sides of the Barge
* Conmee’s View (The “Idyllic” Providence):
   He looks at the barge and sees a beautiful, divine system. He thinks: “Isn’t God wonderful? He put turf in the bogs far away, and then provided a way for it to be brought here just to keep the poor people warm.” To him, the barge is a symbol of God’s kindness.
* The Reality (The Hardship):
   Joyce provides clues that the scene isn’t actually “idyllic.” He describes a “towhorse with pendent [hanging] head” (an exhausted animal) and a bargeman with a “hat of dirty straw” sitting amid the smoke.
   * The Paradox: Conmee calls it “providence” (God’s care), but the actual work of digging turf, hauling it for miles by a tired horse, and living on a dirty boat is grueling, low-paid, and miserable labor.
Conmee uses his religion to sanitize poverty. Instead of seeing a man struggling to make a living in the dirt, he sees a poetic “hamlet” and “fires in the houses of poor people.” He turns a scene of exhaustion into a Sunday school lesson.
Etymology of “Providence”
* Root: From the Latin providentia.
* Breakdown: Pro- (forward) + videre (to see).
* Meaning: It literally means “foresight.” In Conmee’s mind, God “looked forward,” saw that poor people would be cold, and “provided” the turf.
Etymology of “Hamlet”
* Root: From the Old French hamelet, a diminutive of ham (home).
* Meaning: A very small settlement, smaller than a village. Joyce uses this word here because it sounds more “charming” and “old-world” in Conmee’s internal monologue than saying “slum” or “tenement.”
The “Mud Island” Contrast
This is why he avoids Mud Island. Mud Island was a real place in Dublin (near North Strand) known for being a “lawless” area of extreme poverty.
* The Paradox again: Conmee is happy to think about “poor people” in the abstract while looking at a pretty barge, but he “dislikes” actually walking through a neighborhood where real, messy poverty exists. He takes the tram to fly over the “dingy way.”

This section of Ulysses follows Father Conmee as he moves from the sensory-rich streets of North Dublin onto a tram, transitioning from the “idyllic” countryside imagery to the cramped social dynamics of public transport.
The Interpretation: The Priest’s “Orderly” World
In this passage, Conmee acts as a filter for reality. Everything he sees is processed through his role as a priest:
* The Porkbutcher & The Shopkeeper: He notices the “baconflitches” and “pig’s puddings” not as food, but as signs of a well-ordered, prosperous world.
* The New York Catastrophe: Upon seeing news of a disaster (likely the General Slocum steamboat fire of 1904), his first thought isn’t the tragedy itself, but whether the victims had time for “perfect contrition” (an act of the will expressing sorrow for sin out of love for God). To Conmee, a “good death” is more important than a long life.
* The Turfbarge Paradox: His reflection on the barge is almost comically simplistic. He sees the “Providence of the Creator” in the fact that turf is in bogs specifically so men can dig it up for the poor. He ignores the back-breaking labor involved, seeing only the “idyllic” picture.
* Mud Island: Conmee takes the tram specifically to avoid “Mud Island.” This was a notorious slum area near Ballybough. His “dislike” for the “dingy way” shows his preference for the polished and the “cheerful.”
* The Awkward Man: The scene ends with a sudden “flash-sideways” memory. Seeing the awkward man on the tram triggers a memory of Conmee struggling to place the Host (the communion bread) into the mouth of a man with a “shaky head.” It highlights the physical difficulty of his spiritual duties.
The Etymological Deep-Dive
1. Poplar (The tree the bargeman stares at)
* Etymology: From the Latin populus.
* The “People’s Tree”: It is believed the Romans called it the “tree of the people” because it was often planted in public spaces or because its leaves, which tremble in the wind, sounded like the murmuring of a crowd.
2. Turfbarge
* Turf (Etymology): From the Old English turf, meaning “slab of soil/grass.” In Ireland, it specifically refers to peat cut from bogs for fuel.
* Barge (Etymology): From the Old French barge, derived from Vulgar Latin barca.
* The Connection: A “turfbarge” was the primary way of transporting fuel from the rural bogs into Dublin via the Royal Canal.
3. Flitches (Baconflitches)
* Etymology: From the Old English flicce.
* Meaning: It refers to the “side” of a hog that has been cured (salted or smoked). Conmee is looking at entire sides of bacon hanging in the shop.
4. Cools (Cools of butter)
* Etymology: From the Middle English cole or coole, likely related to the Dutch kuil (a hole or pit).
* Meaning: A “cool” was a tub or a shallow wooden vessel used specifically for holding or shaping butter.
5. Contrition (Perfect contrition)
* Etymology: From the Latin contritus, meaning “worn out” or “crushed to pieces.”
* Theology: In a religious sense, your heart is “broken” or “crushed” by the weight of your sins. Conmee hopes the dying Americans had this “crushed” heart before they passed.
6. Decorum (Cheerful decorum)
* Etymology: From the Latin decorus, meaning “seemly” or “becoming.”
* Context: Conmee values the outward appearance of “proper” behavior. He finds the other tram passengers too “solemn”—he prefers his religion and his city to be polite and pleasant.

Excellent. Let’s look at the presbytery and the Blessed Sacrament, as they anchor the start and the “smell” of this scene.
1. Presbytery (The Beginning)
The very first sentence has Father Conmee coming down the presbytery steps.
* Etymology: From the Greek presbyteros, meaning “elder.” * Evolution: In the early Church, the “elders” were the leaders. Over time, presbyter became the word for “priest” (in fact, the English word “priest” is just a contracted, worn-down version of “presbyter”).
* The Building: A presbytery is specifically the house provided for the priests of a parish. By starting here, Joyce establishes Conmee’s “home base”—a place of quiet, scholarly authority—before he steps out into the “owlin’ mob” of the Dublin streets.
2. The Blessed Sacrament (The Middle)
As he passes Saint Joseph’s Church, Conmee “raised his hat to the Blessed Sacrament.”
* Sacrament (Etymology): From the Latin sacramentum, which originally meant a “holy oath” or a “consecration.” In Roman times, it was the oath of allegiance a soldier took to the Emperor.
* The Ritual: To a Catholic like Conmee, the “Blessed Sacrament” refers to the belief in the Real Presence of Christ in the Eucharist (the bread/host) kept inside the church tabernacle.
* The “Smell” of Incense: Joyce mentions Conmee “smelt incense.” Incense (from Latin incendere, “to burn”) is used in the liturgy to represent prayers rising to heaven. It’s a sensory trigger—Conmee doesn’t even have to look inside the church; his senses tell him he is in the presence of the “sacred.”
3. The “Spendthrift” Nobleman’s House
Since the Aldborough House was such a massive part of his walk, it’s worth seeing the “grave deportment” of the building itself. Even as an “office or something,” its architecture screamed of the “mien” Conmee admired in the pawnbroker.
Summary of the Scene’s “Movement”
The scene moves from Stone (the presbytery) to Spirit (the letter/communication) to Social Grace (Maginni and Mrs. M’Guinness) and finally to Senses (the smell of incense and the sight of the “badtempered” virtuous females).
Conmee is a man who filters the raw, messy world of Dublin through the “clean” lens of his Jesuit education and his “arecanut paste” smile.

It’s a perfect example of Joyce’s “ear” for language. He catches the way a single word like incumbent can drift from a formal title (the man in the office) to a moral weight (the duty he feels).
You’ve hit on something very insightful regarding mien and mine. While they aren’t true anagrams, they share a deep phonetic and visual history. The evolution from the French mine to the English mien is indeed “smooth” because it kept the sound while changing the spelling to distinguish it from the “mine” that means a gold mine or “belonging to me.”
The “Spendthrift” Nobleman of Aldborough House
Since you were interested in the setting, the “spendthrift nobleman” Conmee thinks about is Edward Stratford, 2nd Earl of Aldborough.
* The House: Built in the 1790s, it was the last great aristocratic mansion built in Dublin before the Act of Union (1800) moved the political power to London.
* The Irony: It cost a fortune—roughly £40,000 at the time—which contributed to the family’s financial ruin. By the time Father Conmee walks past in 1904, it had been a school and a barracks, and was indeed being used as a Post Office store (tying back to your nostalgia for the red letterbox!).
* Spendthrift (Etymology): From spend + thrift (which originally meant “thriving” or “savings”). So, a spendthrift is literally someone who “spends their savings/prosperity.”
The “Grave Deportment” of Mr. Maginni
Joyce uses the phrase “grave deportment” to describe the dancing master.
* Deportment (Etymology): From the French déporter (to carry away). It refers to how a person “carries” themselves.
* The Humor: “Grave” means serious or heavy. It’s funny because Maginni is a dancing master—his job is to be light on his feet, yet he walks with the heavy, serious importance of a diplomat.
Father Conmee sees the city as a collection of “performances”—the “queenly” pawnbroker, the “grave” dancer, and the “badtempered” virtuous females. He is the audience for the entire “Dublin show.”

This scene is a masterclass in Joyce’s “wandering” style. Father Conmee moves through Dublin like a secular saint, bestowing smiles while his mind flickers between genuine piety and a very human, slightly snobbish judgment of everyone he sees.
Here is an interpretation of the key moments and the etymology of the trickier terms Joyce weaves into the narrative.
The “Queenly” Pawnbroker
Conmee is struck by Mrs. M’Guinness. He compares her to Mary, Queen of Scots, which is a high compliment for a Catholic priest (Mary was a Catholic martyr-queen).
* Mien (Etymology): From the French mine (appearance/expression). It refers to a person’s look or manner, especially one that indicates their character or mood. Conmee is impressed that a woman in the “grubby” business of pawnbroking carries such a regal air.
* Pawn (Etymology): From the Old French pan (cloth, piece, or pledge). In the 1904 context, a pawnbroker was often seen as a predatory figure, yet Conmee is charmed by her “stately” presence.
The Theology of “Invincible Ignorance”
As he passes the “free church” (likely a non-Catholic, Protestant church), Conmee muses on the Reverend T. R. Greene.
* Incumbent (Etymology): From the Latin incumbere (to lean upon/lie upon). In a church context, it means the person currently holding an office. Joyce plays on the word: it is “incumbent” (obligatory) for the priest to speak, because he is the “incumbent” (holder of the position).
* Invincible Ignorance: This is a specific Catholic theological term. It refers to the state of persons who, through no fault of their own, are ignorant of the fact that the Christian message is true. Conmee is being “charitable” by assuming the Protestants just don’t know any better—they aren’t evil, just “invincibly ignorant.”
* D.V. (Abbreviation): Deo Volente, Latin for “God Willing.”
The Locations and Social Classes
* Aldborough House: A massive, decaying mansion. Conmee calls the owner a “spendthrift” (from spend + thrift, meaning someone who wastes money). It represents the fading glory of the Irish aristocracy, now reduced to being “an office or something.”
* Christian Brother Boys: These boys are from a different social class than the “Belvedere boys” seen earlier. The Christian Brothers schools were for the poorer, working-class Irish. Conmee greets them “benignly” (from Latin benignus—”well-born” or “kind”), but there is a hint of distance compared to his warmth toward the Belvedere boys.
* Virtuous (Etymology): From the Latin virtus (moral strength/manliness). Conmee’s dry wit shines here: he acknowledges the old women are “virtuous” (holy) but adds they are “badtempered.” It’s a very human observation for a priest to make.

That was a slip of the pen on my part—sharp catch! You’re absolutely right that both spellings contain two “i”s.
What I meant to highlight was the Italianization of the name. In 1904 Dublin, “Maginnis” (with the ‘s’) was a common Irish surname. By dropping the “s” to become Maginni, he transformed a local name into something that sounded operatic, Continental, and sophisticated.
The “Maginni” Brand
* The Irish Root: Maginnis (or McGuinness) comes from the Gaelic Mac Aonghusa, meaning “son of Angus.” It’s a sturdy, traditional Ulster/Leinster name.
* The Artistic Flourish: At the time, Italy was the world capital of dance, opera, and high culture. By styling himself as “Maginni,” he wasn’t just a dancing teacher; he was a Maestro.
* The Persona: Joyce describes him in “lavender trousers” and “canary gloves.” He was a walking advertisement for his own elegance. Dropping the “s” was the final touch to his costume—a linguistic “silk facing” to match his frockcoat.
It’s a classic example of “rebranding” before the word existed. He wanted his students to feel they were learning the steps of Europe, not just the jigs of Dublin.

In that short, evocative sentence, Joyce is using a bit of his signature linguistic playfulness.
What “Sixeyed” Means
To “sixeye” someone is Joyce’s inventive way of saying the three boys (Jack Sohan, Ger. Gallaher, and Brunny Lynam) were all staring at Father Conmee at the same time.
* The Math: 3 boys \times 2 eyes each = 6 eyes.
* The Action: It suggests a collective, wide-eyed gaze. Imagine three small schoolboys standing in a semi-circle, looking up at this tall, imposing, and polished Jesuit priest with a mix of curiosity, reverence, and perhaps a bit of the “mischief” that comes with being addressed by an authority figure.
By turning “six eyes” into a verb (sixeyed), Joyce captures the intensity of their unified focus. It’s much more vivid than simply saying “the three boys looked at him”; it makes the boys feel like a single, coordinated unit of childhood curiosity.
A Note on the Scene
The contrast in this passage is wonderful. You have the “sixeyed” innocence of the schoolboys followed immediately by the flamboyant Mr. Denis J. Maginni, the dancing master.
Maginni was a real Dublin character (his real name was Maginnis, but he added the “i” to sound more Italian and professional). Joyce loves the juxtaposition of the spiritual (Conmee), the innocent (the boys), and the performative (Maginni in his lavender trousers).

The name Brunny Lynam is a quintessential Dublin “everyman” name of the period, though it carries its own specific cultural and linguistic weight. In the context of Ulysses, Joyce often chose names that sounded grounded in the reality of the city’s middle and working classes.
1. Brunny (The Forename)
“Brunny” is almost certainly a diminutive or nickname for Barnaby (or sometimes Bruno).
* Origin: Barnaby is the English form of the Greek name Barnabas, which itself is derived from the Aramaic Bar-nebhūāh.
* Meaning: It translates to “Son of Consolation” or “Son of Encouragement.”
* Context: In the early 20th century, using “Brunny” instead of the formal name suggests a child from a friendly, perhaps slightly informal household—yet he is a “Belvedere boy,” meaning he is being groomed for a higher social standing.
2. Lynam (The Surname)
Lynam is a distinctly Irish surname with roots in the midlands.
* Gaelic Origin: It comes from Ó Laigheanáin.
* Etymology: The root word is Laighean, which means “Spear” or “Lance.”
* Historical Connection: This is the same root word used for Leinster (Cúige Laighean), the province where Dublin is located. The name literally identifies someone belonging to the “Spear-men.”
* Social Standing: By 1904, the Lynams were often associated with the merchant and professional classes in Dublin.
The “Belvedere” Connection
Father Conmee’s interaction with Brunny Lynam is a “full circle” moment for Joyce. Since Joyce himself attended Belvedere College, he uses real names or variations of names of boys he would have known. The name sounds soft and youthful (“Brunny”) contrasted with the sharp, ancient warrior-root of “Lynam.”

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