In the complex world of Ulysses, terms and characters often have multiple layers of meaning. Here is an elaboration on the “handicappers” and the mystery of the “Man in the Brown Macintosh.”
The “Handicappers”
The term handicappers in the context of the “quartermile flat handicappers” refers specifically to athletes participating in a handicap race, rather than “handicap” in the modern sense of a physical disability.
* Sports Context: In 1904, a “handicap” was a race where competitors were given different starting positions or “advantages” to equalize the competition based on their past performance. The “handicappers” listed (Green, Thrift, etc.) were real-life athletes from Trinity College. Harry Thrift, for instance, was a well-known runner who actually placed in the Trinity Races on June 16, 1904.
* Etymology: The word comes from the phrase “hand-in-cap,” an old game of barter. A neutral umpire would decide the difference in value between two items being traded. Both parties would put “forfeit money” into a cap, and the umpire’s job was to “handicap” the deal to make it fair. By the 18th century, this moved into horse racing (making horses carry extra weight) and later into footraces to “level the playing field.”
* The Irony: While the word doesn’t mean “disabled” here, Joyce places the athletes (representing speed and mechanical precision) in the same chapter where we see many characters struggling with physical limitations—like the “onelegged sailor” or the “blind stripling.”
The Man in the Brown Macintosh
You have made an excellent observation. The “Man in the Brown Macintosh” is one of the greatest mysteries in Ulysses.
* Physical Presence: He first appears in Chapter 6 (Hades) at Paddy Dignam’s funeral, where Bloom is puzzled by his appearance. Bloom wonders who the “thirteenth” man is. In Chapter 10 (Wandering Rocks), he is seen “passing swiftly and unscathed” across the path of the Viceregal cavalcade.
* Real or Illusion? Because he is seen by others and exists in scenes where Bloom is not the primary focus (like the end of Chapter 10), he cannot be a mere figment of Bloom’s imagination. He is a “real” person in the world of the novel.
* Thematic Identity: Commentators have many theories about who he “represents”:
* The Artist/Joyce: Some see him as a “cameo” by James Joyce himself, slipping into his own work like a painter in the corner of a canvas.
* The Ghost of Bloom’s Father: A theory suggests he might be a spectral “double” or a reminder of Rudolph Virag (Bloom’s father).
* An Everyman: He may simply represent the “anonymous” citizen of Dublin—a man whose identity is lost to the crowd.
* The Confusion: In later chapters, Bloom’s mind does begin to merge with the figure (he is jokingly called “Leopold M’Intosh” in Chapter 15), but your point stands: his physical appearance in Chapter 10 proves he is an independent entity in the “tossing wreckage” of Dublin.
This sprawling conclusion to “Wandering Rocks” is a cinematic masterpiece of literature. Joyce uses the Viceregal Cavalcade (the Lord Lieutenant’s carriage procession) as a thread that sews together all the characters you have met. As the carriages move from Phoenix Park in the west to the RDS in the east, we see a “cross-section” of Dublin’s social and political attitudes—from Simon Dedalus’s humble salute to John Wyse Nolan’s “coldness.”
Key Etymology & Difficult Terms
| Term | Etymology & Origin | Meaning in Context |
|—|—|—|
| Kingsbridge | Named after King George IV. | The western entry point to the city (now Heuston Station). |
| Fealty | From Old French fealte, via Latin fidelitas (“faithfulness”). | An oath of loyalty. Joyce ironically says the Poddle River (a polluted stream) hangs out a “tongue of liquid sewage” as its loyal tribute. |
| Advowsons | From Old French avoeson, via Latin advocatio. | An English legal term for the right in church law to nominate a clergyman to a specific parish. |
| Obeisance | From Old French obeissance (“obedience”). | A gesture of respect, such as a bow or a curtsy. |
| Dernier Cri | French for “the latest cry.” | A fashion term meaning the very latest style or “the last word” in trendiness. |
| Cavalcade | From Italian cavalcata, via cavallo (“horse”). | A formal procession of people on horses or in horse-drawn carriages. |
| Soubrette | (See earlier entry) | Here, the “soubrette” is Marie Kendall on a poster, smiling “daubily” (smeared with paint). |
| Hunter Watch | So named because hunters could check the time with one hand while holding reins. | A pocket watch with a protective metal cover that snaps shut over the crystal face. |
| Handicappers | From the phrase “hand in cap,” an old method of lottery/bargaining. | Athletes or officials involved in a race where participants are given advantages or disadvantages to equalize competition. |
| Postern | From Old French posterle, via Latin posterula (“back door”). | A secondary door or gate, specifically the back entrance to Trinity College. |
| Hoarding | From Old French hourd (“palisade/fence”). | A large outdoor board for displaying advertisements (a billboard). |
The Map of the Procession
The Lord Lieutenant follows a very specific path. He starts at the Viceregal Lodge and travels along the Northern Quays, crossing the river at Grattan Bridge to move through the city center toward the Mirus Bazaar.
Notable Collisions
* The Poddle River: Joyce personifies the river as a “tongue of liquid sewage,” mocking the “fealty” (loyalty) the city owes the British Crown by showing the city’s literal filth.
* Blazes Boylan: He stands out with his “skyblue tie” and “indigo serge.” While others bow, Boylan—the ultimate “alpha” of the book—offers only the “bold admiration of his eyes,” a sign of his arrogance.
* The Five Flagons: These are men walking as “human billboards” for H.E.L.Y.’S (a stationery shop where Bloom used to work). They move like a slow-motion train through the scene.
* The “Blind Stripling” and the “Man in the Brown Macintosh”: Two of the most mysterious recurring figures in the book. The man in the Macintosh (a waterproof coat named after inventor Charles Macintosh) passes “unscathed,” remaining an enigma to the end.
This final segment of “Wandering Rocks” shifts the perspective from the individual struggle of a grieving boy to the grand, imperial spectacle of the Viceregal Cavalcade. It serves as the “coda” or conclusion to the episode, as the Lord Lieutenant’s carriage sweeps through the streets, passing by all the characters we have seen throughout the chapter.
Key Figures & Etymology
| Name/Term | Origin & Etymology | Role/Meaning |
|—|—|—|
| William Humble | William: Germanic (wil = will + helm = helmet/protection). Humble: From Latin humilis (“lowly” or “on the ground”). | William Humble Ward, the 2nd Earl of Dudley. He was the Lord Lieutenant of Ireland (the King’s representative) in 1904. |
| Dudley | An English habitational name from Dudda’s Leah (leah = clearing/meadow). | The title of the Earl. The Dudleys were prominent members of the British aristocracy. |
| Lieutenant-Colonel | Lieutenant: French (lieu = place + tenant = holding). Colonel: From Italian colonnello (“column of soldiers”). | A high-ranking military officer. Heseltine was the official secretary to the Lord Lieutenant. |
| Viceregal | From Latin vice (“in place of”) + regalis (“royal”). | Pertaining to a Viceroy (the Lord Lieutenant). The “Viceregal Lodge” is now Áras an Uachtaráin, the residence of the President of Ireland. |
| A.D.C. | Abbreviation for the French Aide-de-camp. | Literally “field helper.” An officer who acts as a personal assistant to a person of high rank. |
| De Courcy | A Norman-French name. De (from) + Courcy (a place in Calvados, France). | The De Courcy family were among the earliest Norman invaders of Ireland. |
The Movement of the Cavalcade
The “Viceregal Lodge” was located in Phoenix Park. The carriage is driving “out after luncheon,” heading toward the Mazarine Blue (a charity bazaar) being held at the RDS in Ballsbridge.
This procession acts as a “unifying force” in the chapter. As the carriages roll through Dublin, the various “Wandering Rocks” (Bloom, Stephen, Master Dignam, the blind stripling, etc.) all stop to look. It is a moment where the disparate lives of Dubliners are momentarily linked by the passing of the British crown’s representative.
This section provides a heartbreaking contrast between the distractible world of a young boy and the sudden, visceral “scrunch” of grief. Patrick’s thoughts shift from the technical “science” of boxing to the terrifying physical reality of his father’s body in a coffin.
Etymology & Difficult Terms
| Term | Etymology & Origin | Meaning in Context |
|—|—|—|
| Puck in the wind | Puck (Irish poc) + wind. | A “puck in the wind” is a punch to the solar plexus (the pit of the stomach). It takes the “wind” out of an opponent. |
| Toff / Swell | Toff: Possibly from “tuft” (an ornamental tassel worn by titled students at Oxford). Swell: 18th-century slang for someone who “swells” with pride or fine clothing. | Both terms refer to upper-class men or “dandies.” Patrick notices their fine clothes (“kicks”/shoes) and red flowers. |
| Kicks | From the verb kick (Old Norse kikna). | 19th-century slang for shoes or boots. |
| Stud | From Old English studu (post/pillar). | A small, detachable button used to fasten a collar to a shirt. In 1904, collars were often separate from the shirt and required these small metal or bone studs to stay in place. |
| Satchels | From Old French sachel, via Latin saccellus (“little bag”). | Small bags used by schoolboys to carry books. |
| Boosed | From Middle Dutch busen (to drink to excess). | Slang for being intoxicated or drunk. Patrick remembers his father’s final night alive being spent in a drunken state. |
| Butty | Origin uncertain, likely related to “butt” (thick end). | Dublin slang for short and stout/thickset. |
| Purgatory | From Latin purgare (“to cleanse”). | In Catholic theology, a place of temporary suffering where souls are “cleansed” of minor sins before entering heaven. Patrick hopes his father is there rather than in Hell. |
The Anatomy of Grief
Joyce uses onomatopoeia and sensory memory to show how trauma works in a child’s mind:
* “The scrunch”: The sound of the screws entering the wood of the coffin.
* “The bumps”: The physical sound of the heavy “high” coffin hitting the walls or stairs as it was carried out.
* The physical struggle: Patrick remembers his father’s “tongue and his teeth” trying to form words—a final, failed attempt at communication.
Exploring the world of young Patrick Dignam gives us a vivid look at the sensory and social details of 1904 Dublin.
Wicklow Street
Wicklow Street was, and remains, a busy commercial thoroughfare in Dublin’s city center. In 1904, it was lined with specialist shops like Mangan’s pork butcher and Madame Doyle’s millinery. For a young boy like Patrick, it represents a “blooming” escape from the stifling atmosphere of a house in mourning.
Myler Keogh: Dublin’s Pet Lamb
Myler Keogh was a real historical figure—a celebrated Dublin boxer of the era. Patrick sees a poster for his upcoming fight against Sergeant-Major Bennett. Keogh represents the physical vitality and excitement that Patrick craves while he is trapped in his black mourning suit. The term “Pet Lamb” is an ironic, affectionate nickname for a man who made his living through “pucking” (hitting) others.
The “Two Mourning Masters Dignam”
Patrick sees his own reflection in the side mirrors of a shop window. Because he is wearing a suit for his father’s funeral, he refers to himself and his reflection as “two mourning Masters Dignam.” This moment illustrates his detachment; he sees himself as a character in a sad story rather than truly feeling the weight of the day until he sees the mirror image of his “cap awry” and his “collar sticking up.”
This poignant passage follows young Patrick Aloysius Dignam, the son of the man whose funeral took place earlier in the day. He is wandering the streets on an errand, distracted by the vibrant life of Dublin while still wearing the “mourning” clothes that remind him of his father’s death.
Etymology of Key Terms
| Term | Etymology & Origin | Meaning in Context |
|—|—|—|
| Puckers | From the verb puck (Irish poc), meaning to strike or hit. | Here, it refers to boxers or prize-fighters shown in a window display (likely a poster for an upcoming match). |
| Pelts | From the Latin pellis (“skin” or “hide”). | “Stripped to their pelts” means they are shirtless, down to their bare skin, ready to fight. |
| Props | From Middle Dutch proppe (support/stake). | In boxing slang, “putting up their props” means raising their fists in a defensive or attacking stance. |
| Bruiser | From the Old French bruisier (“to break” or “shatter”). | A slang term for a professional boxer or a person prone to fighting. Sergeant-Major Bennett is the “Portobello bruiser.” |
| Sovereigns | From the Old French soverain, via Latin supernus (“above”). | A British gold coin worth one pound sterling. A purse of fifty sovereigns was a significant prize. |
| Bunk | Origin uncertain, possibly from “buncum” (meaningless talk) or Dutch bank (bench). | To “do a bunk” is slang for running away or making a quick escape. Patrick considers escaping his mother’s mourning house. |
| Soubrette | From the Provençal soubret (“coy” or “reserved”), but came to mean the opposite in theater. | A female musical comedy actress or a flirty lady’s maid in a play. Marie Kendall was a real-life music hall star. |
| Mots | From the Irish maith (good) or Dutch moitje (girl). | Dublin slang for girls or girlfriends. Patrick is looking at “cigarette cards” featuring images of famous women. |
| Welted | From the Middle English welte (a strip of leather). | Slang for beating or thrashing someone. Stoer’s father “welted” him as punishment for smoking. |
| Milliner | Named after the city of Milan, Italy. | Originally a dealer in “Milan goods” (ribbons, silks, hats). Madame Doyle is a professional hat maker. |
Cultural Context
* Mangan’s, late Fehrenbach’s: These were real shops in Dublin. Fehrenbach’s was a German pork butcher; during the early 1900s, it was common for new owners to keep the old name (Mangan) to retain loyal customers.
* The “Blind down”: It was a strict Victorian/Edwardian custom to pull down the window blinds in a house where someone had recently died.
* Tawny Sherry: “Tawny” comes from the Anglo-French tauné (“tan-colored”). It is a fortified wine aged in wood, giving it a brownish color and nutty flavor.
Actually, there is a slight mix-up in the episode order! In Ulysses, the chapters are often referred to as “Episodes.”
* Chapter 10 (Episode 10) is “Wandering Rocks”: This is the chapter you are currently reading. it consists of 19 short segments following various citizens across Dublin between 3:00 PM and 4:00 PM. Cashel Boyle O’Connor Fitzmaurice Tisdall Farrell appears here as one of the many “moving parts” of the city.
* Chapter 11 (Episode 11) is “Sirens”: This episode takes place at the Ormond Hotel (which you saw mentioned in the earlier text with “Bronze by Gold”). It is famous for its musical structure, where Joyce uses words to mimic the sounds of an orchestra.
The confusion likely stems from the fact that in the earlier text you shared (about Father Cowley and Ben Dollard), the characters were heading toward the locations or discussing people that become central to the “Sirens” episode.
Key Terms & Etymology
To help you navigate the transition between these two complex chapters, here are the etymologies of the titles:
| Term | Etymology | Meaning/Context |
|—|—|—|
| Wandering Rocks | From the Greek Planktai. In the Odyssey, these were moving rocks that crushed ships. | In Joyce’s Dublin, the “rocks” are the various people and landmarks that the characters must navigate around without “colliding.” |
| Sirens | From the Greek Seirēn. In myth, these were creatures who lured sailors to their deaths with beautiful songs. | In Episode 11, the “Sirens” are the barmaids (Miss Douce and Miss Kennedy), and the “song” is the music and seductive atmosphere of the hotel bar. |
The Blind Stripling’s Path
In the passage you just read, the blind stripling (a “stripling” is a youth, from the root strip meaning a slender growth) is a recurring “rock” in Chapter 10. He is walking from College Park (at Trinity College) toward Merrion Square.
When Farrell bumps into him, it’s a collision of two “wandering rocks”—one man blinded by his own eccentricity and the other by physical sightlessness.
It is completely understandable to feel puzzled by these names. Joyce chose them specifically to reflect the chaotic, multi-layered history of Ireland—a mix of ancient Gaelic, Norman-French, and English influences.
Here is the breakdown of the names and terms in this passage.
Etymology of Names & Terms
| Name/Term | Origin & Etymology |
|—|—|
| Almidano | A rare Italian given name. It likely derives from the Germanic Almod, meaning “noble courage” (al = noble + mod = mind/courage). |
| Artifoni | An Italian surname. Arte (Art) + Foni (from fonia, related to “sound” or “voice”). The real Artifoni was a music teacher in Dublin; the name suggests “one who makes musical art.” |
| Holles | Derived from the Old English holegn, meaning “holly.” Holles Street is famous in Dublin as the site of the National Maternity Hospital. |
| Sewell | From the Middle English personal name Sewale, rooted in the Old English Sæweald (“sea-ruler”). Sewell’s Yard was a well-known livery stable. |
| Cashel | From the Irish caiseal, meaning “stone fort” or “castle.” It is famously associated with the Rock of Cashel, the seat of the Kings of Munster. |
| Boyle | From the Irish Ó Baoighill. The root is thought to be baogh, meaning “danger” or “pledge.” |
| O’Connor | From Ó Conchobhair. Con (hound/wolf) + cobhair (help/succour). It means “descendant of the hound-lover/helper.” |
| Fitzmaurice | A Norman-Irish name. Fitz (from French fils, meaning “son of”) + Maurice. It literally means “Son of Maurice.” |
| Tisdall | An English habitational name. Likely from Teesdale—the “valley of the River Tees” in Northern England. |
| Farrell | From the Irish Ó Fearghail. Fear (man) + gal (valor). It means “man of valor.” |
| Stickumbrelladustcoat | This is a Joycean portmanteau. It describes a single object (or a way of carrying them) where a walking stick, an umbrella, and a light coat (dustcoat) are all tangled or held together. It emphasizes Farrell’s eccentricity. |
| Merrion | Named after the Monuments of Merrion (Viscounts Fitzwilliam of Merrion). The name originates from a local townland. Merrion Square was the height of Dublin’s aristocratic fashion. |
| Wilde | From the Old English wilde, meaning “untamed” or “wild.” Here, it refers to the house of Sir William Wilde, father of the famous writer Oscar Wilde. |
The Character: Cashel Boyle O’Connor Fitzmaurice Tisdall Farrell
This character’s absurdly long name is a parody of the Anglo-Irish gentry who clung to every scrap of their lineage. He is a real historical figure—a well-known Dublin eccentric who walked the streets in a trance-like state.
His Latin mutter, “Coactus volui,” means “Having been forced, I still willed it.” It is a legal maxim suggesting that even if you are coerced into a choice, you still technically made it.
Appearance Count: Cashel Boyle O’Connor Fitzmaurice Tisdall Farrell
In the text you have analyzed today, this is his second notable appearance:
* Appearance 1: He was mentioned briefly in the “Sirens” section you shared earlier, where he was described as “murmuring, glassyeyed” and strode past the Kildare Street Club.
* Appearance 2: This passage, where he is walking around Merrion Square and rudely bumps into the blind stripling (the young blind man).
In this final poetic sentence of the section, Joyce tracks the journey of a literal piece of “trash”—the Elijah flyer—as it becomes a nautical traveler. The vocabulary shifts from the domesticity of the tea room to the industrial language of the Dublin docks.
Etymology of Nautical & Geographic Terms
| Term | Etymology & Origin | Meaning in Context |
|—|—|—|
| Skiff | From Middle French esquif, via Old Italian schifo, and ultimately from the Germanic skif (boat). It shares a root with “ship.” | A small, light boat. Here, Joyce uses it metaphorically to describe the “Elijah” flyer, personifying the paper as a tiny vessel navigating the river. |
| Trawlers | From the Middle Dutch traghel (to drag) or Latin trahere (to pull). | Fishing vessels that use a large net (a trawl) dragged along the sea floor. They represent the heavy, working-class industry of the Liffey. |
| Wapping | Likely from the Old English personal name Wappa + -ingas (the people of). | New Wapping Street is a real street in the Dublin Docklands. It was named after the famous Wapping district in London’s East End, which was also a historic maritime hub. |
| Schooner | An Americanism (c. 1713). Legend says it comes from the Scots word scoon (to skim over water). | A sailing ship with at least two masts, with the foremast usually being smaller than the mainmast. |
| Rosevean | From Cornish: Ros (heath/promontory) + vean (little). | This was a real three-masted schooner. Joyce likely saw it docked in Dublin on June 16, 1904. Its presence grounds the “Elijah” flyer’s journey in historical reality. |
The Journey of the “Elijah” Throwaway
The “archipelago of corks” describes the floating debris in the river, making the Liffey look like a miniature ocean. The flyer passes Benson’s Ferry, which was a real ferry service that crossed the Liffey between the North Wall and the South Wall, and finally the Rosevean, which had arrived from Bridgwater (a port in Somerset, England) carrying a cargo of bricks.
I apologize for that omission. Here are the visual representations of the architectural style and the streetscape of Nelson Street as it would have appeared in the early 20th century.
14 Nelson Street, Dublin
Nelson Street is a quintessential Northside Dublin residential street. The houses here are characterized by their “red-brick” Georgian and Victorian terraces, often featuring granite steps and decorative fanlights above the doors.
The Atmosphere of the Scene
In the text, the “onelegged sailor” growls at the area of No. 14. This specific spot is just a short walk from Eccles Street, the home of Leopold Bloom. By visualizing these red-brick terraces, you can better imagine the sailor’s rough voice echoing against the hard brick walls as the more affluent characters, like Mulligan and Haines, sit comfortably inside the D.B.C. tearoom downtown.
In James Joyce’s Ulysses, 14 Nelson Street is a significant address located in the North City area of Dublin, just off Eccles Street (where Leopold Bloom lives).
In the text you provided, it is the location where the onelegged sailor is seen growling “England expects…” This area was a typical Dublin residential street of the era, consisting of Georgian-style terraced red-brick houses.
Literary Significance
* The Onelegged Sailor: The sailor stops at No. 14 to beg. This scene is often interpreted as a commentary on the neglected veterans of the British Empire living in poverty in Dublin.
* Proximity to Bloom: It is just around the corner from 7 Eccles Street. Joyce used these specific, real-world addresses to create a “grid” of reality that the reader can follow through the city.
* The “England Expects” growl: This refers to Admiral Nelson’s famous signal at the Battle of Trafalgar: “England expects that every man will do his duty.” By having a crippled sailor growl this at a house on “Nelson” street, Joyce highlights the irony of imperial duty resulting in domestic destitution.
In this scene, set within the plush, carpeted interior of the D.B.C. (Dublin Bread Company), the conversation moves between high-brow literary criticism, psychological analysis, and snide gossip.
1. The Presence of John Howard Parnell
Mulligan points out the brother of the late “Uncrowned King of Ireland,” Charles Stewart Parnell. John Howard’s presence as a “City Marshal” playing chess in a café underscores the theme of fallen Irish greatness—the brother of a revolutionary leader is now a quiet civil servant lost in a game of strategy.
2. Shakespeare and Mental Health
Haines and Mulligan discuss Stephen Dedalus (referred to here by his surname). Haines dismisses Shakespearean scholarship as a “happy hunting ground” for the mentally unstable. This is a direct jab at Stephen’s elaborate theory on Hamlet, which he had been explaining earlier in the day.
3. The “Attic Note” and Stephen’s Failure
Mulligan argues that Stephen will never be a true poet because he is too burdened by his Jesuit upbringing and “visions of hell.”
* The Attic Note: Mulligan refers to the clarity and grace of Ancient Greek (Attic) literature.
* Swinburne: He mentions Algernon Charles Swinburne, a poet known for themes of rebellion and sensuality. Mulligan believes Stephen is too “fixed” on religious punishment to achieve the artistic “joy of creation.”
4. Professor Pokorny and Irish Myth
Haines brings up Julius Pokorny, a real-world linguist. He notes that ancient Irish mythology lacks a concept of “Hell” or “retribution,” making Stephen’s obsession with eternal punishment seem like a personal “idée fixe” (obsession) rather than something inherently Irish.
5. The “Ten Years” Joke
When asked if Stephen contributes to the Irish Literary Revival (“your movement”), Mulligan mocks him. He claims Stephen will write something “in ten years”—a prophetic irony by Joyce, as Ulysses was published roughly ten years after the date the novel is set (1904).
The Floating “Elijah”
The passage ends by following a “throwaway” (a handbill) advertising an evangelist named Elijah. This flyer was thrown into the Liffey by Leopold Bloom earlier. Its journey down the river serves as a cinematic “cut” away from the tea table to the broader geography of Dublin’s docks.
In the context of ancient Greece, “Attic” refers to the region of Attica, the triangular peninsula in east-central Greece that includes the city of Athens.
Literature is called “Attic” because Athens became the intellectual and cultural powerhouse of the Greek world during its “Golden Age” (the 5th and 4th centuries BC). The dialect spoken there—Attic Greek—became the standard for high-prestige prose, philosophy, and drama.
1. The Geographic Root: Attica
The term comes from the Greek Attikos (Αττικός), meaning “of Attica.” Because Athens was the dominant city in this region, “Attic” and “Athenian” became nearly synonymous in a literary sense.
2. The Dialect of Great Minds
Most of the classical works that formed the foundation of Western thought were written in the Attic dialect. This includes:
* Philosophy: The dialogues of Plato and the treatises of Aristotle.
* Drama: The tragedies of Aeschylus, Sophocles, and Euripides, as well as the comedies of Aristophanes.
* History: The detailed accounts of the Peloponnesian War by Thucydides.
* Oratory: The speeches of Demosthenes and Lysias.
3. “Atticism” as a Style
In later centuries (especially during the Roman Empire), a movement called Atticism arose. Writers felt that the “Common Greek” (Koine) of their time had become too simple or “impure.” They looked back to the 5th-century Athenian writers as the ultimate models of:
* Purity: Using only “correct” Athenian vocabulary.
* Precision: A refined, concise, and elegant way of structuring sentences.
* Restraint: Avoiding the flamboyant and overly emotional “Asianist” style.
Curious Connection: Why is an “Attic” a room?
You might wonder how a Greek dialect became the name for the room under your roof.
* In Classical Architecture, a small decorative story or wall placed above the main part of a building (the cornice) was called an “Attic story” because it was designed in the “Attic style” (simple and elegant).
* Over time, the term for the architectural decorative top-level was shortened to just “attic.”
* Eventually, people began using the word to describe the space inside that top-most level of a house.
This scene takes place in the D.B.C. (Dublin Bread Company) bakery and tearoom on Dame Street. It is a moment of pause where the “Oxford manner” of Haines meets the irreverent “mercurial” wit of Buck Mulligan.
The Dubliners in this Scene
| Character | Role & Significance |
|—|—|
| Buck Mulligan | A medical student based on Joyce’s real-life acquaintance Oliver St. John Gogarty. He is flamboyant, cynical, and spends the scene mocking Stephen Dedalus’s artistic ambitions. |
| Haines | An English intellectual visiting Dublin to “collect” Irish folklore. He represents the “enlightened” colonizer—polite but patronizing, viewing Irish suffering as an “interesting” academic point. |
| John Howard Parnell | The brother of the “Uncrowned King of Ireland,” Charles Stewart Parnell. Unlike his fiery brother, John Howard was the City Marshal—a quiet, eccentric man often seen playing chess in public. |
| The Onelegged Sailor | A recurring figure of Dublin’s poverty. His growl (“England expects…”) is a bitter reference to Nelson’s famous signal at Trafalgar, mocking the British Empire while begging for coins. |
| Professor Pokorny | A real historical figure (Julius Pokorny), a famous scholar of Celtic languages from Vienna. Haines uses his name to add academic weight to his analysis of the “Irish mind.” |
Where Are They Heading?
The movement in this section is both physical and metaphorical:
* The Immediate Goal: Mulligan and Haines are simply having tea (and “damn bad cakes”). They are resting before eventually heading back toward the Mail office or the water.
* Stephen’s “Tragedy”: Mulligan suggests Stephen is heading toward failure. He claims Stephen is “Wandering Ængus” (a reference to Yeats’s poem), lost in “visions of hell” and unable to capture the Attic note (the clarity and balance of Ancient Greek art).
* The “Throwaway”: At the end of the passage, we follow an object rather than a person. A handbill (the “Elijah” throwaway) that Leopold Bloom crumpled and threw into the Liffey earlier is “sailing eastward.” It passes New Wapping Street and the schooner Rosevean, heading toward the mouth of the Liffey and the sea.
Key Vocabulary & Etymology
* Mélange: A French word meaning “mixture.” In a coffee house context, it usually refers to a coffee topped with whipped cream (Viennese style).
* Idée Fixe: A French psychological term for an “obsession” or “fixed idea.” Haines uses it to pathologize Stephen’s preoccupation with religion.
* Attic Note: Derived from Attica (the region of Athens). In literary terms, it refers to a style that is pure, simple, and elegant, modeled after Greek antiquity.
* Panama: A hat made from the plaited leaves of the toquilla palm. Despite the name, they originated in Ecuador, but gained fame during the construction of the Panama Canal.
* Pith: From Old English pitha. It refers to the soft, spongy interior of the scone.
This section of Ulysses highlights the friction between the mundane (Jimmy Henry’s painful corns) and the monumental (the Lord Lieutenant’s procession). The appearance of Long John Fanning, the Subsheriff, introduces a figure of formidable authority who looms over the charity-seekers.
Etymology of Names
Joyce chose names with deep historical and linguistic resonance, often reflecting the character’s social standing or Irish heritage.
| Name | Origin & Etymology |
|—|—|
| Martin | Derived from the Roman name Martinus, which comes from Mars, the god of war. It suggests a sense of stoicism or leadership, fitting for the man spearheading the Dignam fund. |
| Cunningham | A Scottish and Irish surname. In the Irish context, it is an anglicization of Ó Cuinneagáin, from “descendant of the leader” (conn meaning “chief” or “head”). |
| Nolan | From the Irish Ó Nualláin. The root word is “nuall,” meaning “noble,” “famous,” or “shout/herald.” John Wyse Nolan often acts as the “herald” in these scenes, announcing the arrival of the Lord Lieutenant. |
| Wyse | An Anglo-Norman name. Derived from the Middle English “wise,” meaning “learned” or “discreet.” The Wyse family was historically prominent in Waterford, adding a layer of old-world respectability to his character. |
Etymology of Difficult Terms
| Term | Context in Text | Etymology & Meaning |
|—|—|—|
| Conscript Fathers | “Are the conscript fathers pursuing…” | A translation of the Latin Patres Conscripti, the title used for Roman Senators. Fanning uses it mockingly to describe the Dublin city councilmen. |
| Locum Tenens | “…doing locum tenens for him.” | Latin for “place holder” (locum = place, tenens = holding). It refers to a person who temporarily fulfills the duties of another (an acting Mayor). |
| Macebearer | “…old Barlow the macebearer…” | Mace (Old French mace / Latin mattea) + bearer. A ceremonial official who carries a mace (a staff of office) representing the authority of the corporation or state. |
| Pasterns | “…harness and glossy pasterns…” | From the Old French pasturon. In a horse, the pastern is the part of the foot between the fetlock and the hoof. |
| Henry Clay | “…removed his large Henry Clay…” | Named after the American statesman Henry Clay. It refers to a specific, high-quality brand of Havana cigar, signaling Fanning’s affluent and authoritative status. |
| Acrid | “…with rich acrid utterance…” | From the Latin acer (“sharp” or “keen”). It describes a tone of voice that is sharp, bitter, or pungent in spirit. |
Historical Note: The Lord Lieutenant
The arrival of the “Lord Lieutenant-General and General Governor of Ireland” at the end of the passage is a significant moment of imperial pageantry. He was the British monarch’s representative in Ireland. John Wyse Nolan watches with “unfriendly eyes,” reflecting the nationalist tension simmering beneath the surface of 1904 Dublin.
The route taken by Martin Cunningham and his companions is a short but significant traverse through the administrative and legislative heart of 1904 Dublin.
1. Starting Point: The Castleyard Gate
The group exits the Castleyard gate (the entrance to Dublin Castle, where a policeman acknowledges Cunningham. This gate represents the threshold between the British administration and the city proper.
2. Moving toward Lord Edward Street
They signal a jarvey and move toward Lord Edward Street. This street, named after the 1798 revolutionary Lord Edward FitzGerald, connects the Castle area to the older “Wood Quay” district.
3. Parliament Street and City Hall
The group proceeds down Parliament Street, passing the majestic City Hall. Joyce notes the local politicians (Nannetti, Cowley, and Lyon) on the steps, grounding the fiction in real-life municipal figures of the day.
4. Destination: Essex Gate
The scene concludes at Essex Gate, where the “empty castle car” is seen at rest. Today, this location is marked by the junction of Essex Gate and Exchange Street, leading into the Temple Bar district.
This passage moves us through the heart of Dublin’s municipal and commercial center. The narrative focus shifts to Martin Cunningham and his companions as they coordinate a collection for the Dignam family (the “youngster” mentioned). The dialogue reflects the complex social fabric of the city—touching on charity, local politics, and the ever-present casual prejudice of the era.
Key Vocabulary & Etymology
| Word | Context | Etymology & Meaning |
|—|—|—|
| Jarvey | “He signed to the waiting jarvey…” | A colloquial Irish term for the driver of a horse-drawn hackney carriage or jaunting car. It likely derives from the surname Jarvis, once common among London hackney drivers. |
| Crossblind | “…appeared above the crossblind of the Ormond hotel.” | A composite word (cross + blind). In 1904, these were typically short, horizontal fabric screens or shutters placed across the lower half of a window to provide privacy for patrons while allowing light in from the top. |
| Dapper | “…took the elbow of a dapper little man…” | From Middle Dutch dapper (“bold” or “sturdy”). By the 19th century, the meaning evolved to describe someone neat, trim, and smart in dress or appearance. |
| Corns | “The assistant town clerk’s corns are giving him some trouble…” | From the Latin cornu (“horn”). In this context, it refers to the hardened areas of skin on the feet, a common ailment exacerbated by the cobbled streets of Dublin. |
Geographic & Cultural Landmarks
* The Castleyard Gate: This refers to the exit of Dublin Castle, the seat of British rule in Ireland until 1922. The “policeman” touching his forehead is a sign of the respect (or subservience) shown to Cunningham, who held a position in the Castle administration.
* Bronze by Gold: This is one of the most famous motifs in Ulysses. It refers to the hair colors of the two barmaids at the Ormond Hotel: Miss Kennedy (blonde/gold) and Miss Douce (bronze/brunette).
* The Liberties: When Blazes Boylan is seen “making for the liberties,” he is heading toward one of the oldest and, at the time, poorest working-class quarters of Dublin, located outside the original city walls.
* “Much kindness in the Jew”: This is a deliberate, slightly misquoted literary allusion to Shakespeare’s The Merchant of Venice (“The Hebrew will turn Christian: he grows kind”). John Wyse Nolan uses it “elegantly” to remark on Leopold Bloom’s unhesitating five-shilling donation to the Dignam fund.
The geography of this scene is meticulously set along the River Liffey and its surrounding streets. Joyce used a 1904 directory to ensure every shop and street name was accurate to the day.
1. The Metal Bridge (Ha’penny Bridge)
Mr. Dedalus gazes toward the “metal bridge” to spot Ben Dollard. Officially named the Wellington Bridge, it was popularly known as the Metal Bridge (and later the Ha’penny Bridge). It was the only pedestrian bridge across the Liffey at the time.
2. The Quays and “Reddy and Daughter’s”
The characters meet outside “Reddy and Daughter’s,” which was an antique dealer located at 19 Ormond Quay Lower. This area along the river was a hub for legal offices, merchants, and musicians (due to the proximity of the Ormond Hotel).
3. Saint Mary’s Abbey and the Chapterhouse
The “Reverend Hugh C. Love” is seen walking from the “old chapterhouse of saint Mary’s abbey.” This is one of the oldest parts of Dublin; the abbey was once the wealthiest Cistercian monastery in Ireland. By 1904, it was tucked away behind commercial buildings near Meetinghouse Lane.
4. 29 Windsor Avenue
Ben Dollard mentions this address as the location where the landlord (the Reverend Mr. Love) has “distrained for rent.” This was a real address in Fairview, North Dublin. In a characteristic blend of fiction and reality, this was actually a house where James Joyce’s own family lived during one of their many moves necessitated by financial trouble.
This passage from the “Sirens” episode of Ulysses is a masterclass in Joyce’s use of Hiberno-English—a dialect that blends English vocabulary with Irish (Gaelic) syntax and spirit. The language here oscillates between ecclesiastical gravity and street-level grit.
Here is a detailed breakdown of the key terms and their etymological roots.
Key Vocabulary & Etymology
| Word | Context in Text | Etymology & Meaning |
|—|—|—|
| Gombeen | “A certain gombeen man of our acquaintance.” | From the Irish gaimbín, meaning “interest” or “usury.” In Irish history, a gombeen man was a moneylender who profited from the poverty of others, often during the Famine. |
| Bockedy | “Poor old bockedy Ben!” | Derived from the Irish bacach, meaning “lame” or “halt.” In Dublin slang, it refers to something or someone unsteady, crooked, or physically impaired. |
| Ilk | “Reuben of that ilk.” | From Old English ilca (“same”). While originally meaning “of the same family/estate,” Joyce uses it here with a touch of Simon Dedalus’s typical sarcasm to dismiss Reuben J. Dodd. |
| Distrained | “Hasn’t your landlord distrained for rent?” | From Old French destreindre, rooted in the Latin distringere (“to draw apart/hinder”). In legal terms, it refers to the seizure of someone’s property to compel the payment of a debt. |
| Shraums | “…wiped away the heavy shraums…” | From the Irish sream, referring to the discharge or “sleep” found in the corners of the eyes. It emphasizes Ben Dollard’s coarse, unrefined physical presence. |
| Basso profondo | “And how is that basso profondo, Benjamin?” | Italian for “deep bass.” It refers to the lowest range of the male voice. Given Ben’s “booming” nature, it is both a musical classification and a character trait. |
Hiberno-English Idioms
* “Arse and pockets”: A vivid Dublin descriptor for a man whose clothes are ill-fitting or who is walking in a way that emphasizes his bulk and poorly tailored trousers. It suggests a certain comical, shambling appearance.
* “On the right lay”: “Lay” here functions as slang for a “line of business” or a “plan.” Derived from the idea of a “layer” or “setup,” it implies they have found a legal loophole.
* “Barabbas”: Ben Dollard refers to the moneylender as Barabbas (the prisoner released instead of Jesus). This is a biblical allusion used as a biting ethnic slur and a comment on the man’s perceived lack of mercy.
The Sub-Sheriff and the “Beauty”
Ben Dollard describes a bailiff as a “cross between Lobengula and Lynchehaun.” * Lobengula was the second King of the Northern Ndebele people (modern Zimbabwe), often portrayed in contemporary British media as a “savage” figure.
* Lynchehaun refers to James Lynchehaun, a notorious Irish criminal of the era.
By mixing these names, Joyce illustrates the Dublin tendency to use hyperbole and historical/political caricature to describe local characters.
This excerpt from James Joyce’s Ulysses captures the quintessential wit and rhythmic dialogue of Dublin life. The interaction between Simon Dedalus, Father Cowley, and the “basso profondo” Ben Dollard highlights the precarious financial situations many characters face—weaving together themes of debt (the “gombeen man”), legal maneuvering (the “prior claim” of the landlord), and the sharp, sometimes cruel, humor used to mask their anxieties.
Dancing light of grace 