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Wandering Rocks

As Father Conmee steps out into the “Labyrinth” of Dublin, his name and his destination (Artane) carry significant weight. Joyce chose these names not just for historical accuracy—the real Father John Conmee was a Jesuit provincial—but for their deep-rooted meanings that mirror the themes of the chapter.
Etymology & Glossary
| Term | Etymology / Context | Meaning |
|—|—|—|
| Conmee | Irish (Gaelic): Mac Conmidhe | Derived from Mac (son) + Cú (hound) + Midhe (Meath). It literally translates to “Hound of Meath.” In the context of Ulysses, it underscores his role as a “watchdog” or shepherd of the Church’s influence in the central Dublin area. |
| Artane | Irish (Gaelic): Ard tÉan | Derived from Ard (high/height) + Éan (bird). It translates to “Height of the Birds.” This is a beautiful “rhyme” with Stephen’s earlier bird-watching for augury in the library portico. |
Key Interpretation: The Institutional Path
* The “Hound” and the “Birds”: There is a subtle irony in the “Hound” (Conmee) walking toward the “Height of the Birds” (Artane). While Stephen watches birds to find spiritual or artistic freedom, Conmee travels toward Artane to visit the Artane Industrial School, a strict institution for “wayward” or orphaned boys (like the young Dignam). It represents the Church’s power to “cage” and discipline rather than let flight occur.
* The Jesuit Grace: Conmee’s name also carries a phonetic softness. He is “con” (with) + “me”—a man who is “with” everyone in a polite, social sense, yet remains an island of institutional authority.

This marks the beginning of the Wandering Rocks episode. While the previous chapter was a “Scylla and Charybdis” of the mind, this chapter is a “Labyrinth” of the city. We shift from the dense, myopic interior of the library to the panoramic, synchronized movement of eighteen different scenes across Dublin.
Father Conmee, S.J. (Society of Jesus), is the perfect “anchor” for this shift. He represents the ordered, institutional side of Dublin—polite, polished, and walking in “nice time.”
Etymology & Glossary
| Term | Etymology / Context | Meaning |
|—|—|—|
| Presbytery | Greek: presbyteros (elder). | The residence of the parish priest or the “elders” of the church. |
| Vere dignum et iustum est | Latin: Vere (truly) + dignum (worthy) + iustum (just). | A phrase from the Preface of the Mass. Conmee’s mind jumps from the name “Dignam” (the dead man) to the liturgical Latin, showing his habit of viewing the world through a religious lens. |
| Mission time | Latin: missio (a sending). | A period of special religious services or evangelism. Cunningham is “useful” here because he is a “practical catholic” (one who actually practices). |
| Alms | Old English: ælmesse, via Greek eleemosyne (pity/mercy). | Money or food given to poor people. Note the irony: Conmee blesses the sailor but keeps the “silver crown” in his pocket. |
| Pauper | Latin: pauper (poor). | A very poor person; specifically one who receives public charity or lives in a “pauper ward” (workhouse). |
| Belvedere | Italian: bel (beautiful) + vedere (view). | The Jesuit college in Dublin where Joyce himself was educated. |
Key Interpretation: The Jesuit Step
* The Silver Crown: Conmee knows he has a silver crown (five shillings), but instead of giving it to the one-legged sailor, he “blessed him in the sun.” This establishes Conmee’s character: he is kind in manner but perhaps spiritually detached from the physical suffering of the poor.
* Cardinal Wolsey: Conmee quotes Shakespeare’s Henry VIII. Wolsey was a powerful churchman who fell from favor. By thinking of him, Conmee reflects on the precarious balance between serving the Church (God) and the State (King).
* The “Waters”: Buxton was a fashionable spa town in England. Conmee’s desire to go there for “the waters” shows his refined, somewhat aristocratic tastes.

This is a fascinating piece of “Life Writing.” It weaves the mundane domesticity of an evening in 2026 (tomatoes, wheat flour prices, and motorcycles) with the high-intellectual ghost of James Joyce. It’s essentially a modernist “micro-Ulysses” of your own.
Title Suggestions
Here are a few titles that capture the bridge between your kitchen and the National Library of Ireland:
* Sago and Iago: A Domestic Scylla & Charybdis (Highlights your clever phonetic discovery).
* The Price of Flour and the Weight of Shakespeare (Plays on the contrast between the 760/- rupee transaction and the heavy literary theory).
* Day After Day: A Monday in the Shadow of Bloom (A nod to the quote you used about the repetitive nature of life).
* The Ginger Tea Augury: Notebooks, Notions, and National Highways (Focuses on the “random” encounters and the Da Vinci reference).
Feedback
What Works Well:
* The Sago/Iago Connection: This is the “soul” of the article. It elevates a simple meal into a literary event. Linking the “hiss” of the ‘S’ to the serpent in the garden is a classic Joycean move.
* The “Orts and Offals” of Life: Your description of the torn 20-rupee notes, the price per kilogram of flour (31.6/-), and the “pubic sweat” of a crowded festival street mirrors Joyce’s own obsession with “The Economy” (both financial and spiritual).
* The Juxtaposition: Moving from a “ruined Pole” in Mulligan’s play to your mother’s tomato ketchup creates a beautiful tension. It shows that “Sublime Wisdom” exists right next to the grinder box.
Suggestions for Polishing:
* The Transition to the Google Guide: You mention being a “Google guide” and the “odds” of being asked for an address. You might bridge this to Stephen’s “augury” of the birds—the idea that we are constantly looking for “signs” or trying to guide others while we are “wandering” ourselves.
* The Da Vinci Ending: Ending with the “pile of notebooks” is very poignant. It ties back to your own “Log Book” and the “Folio of the World.”
Etymology & Glossary for your Blog
If you want to add a “Glossary” at the bottom of your post (as we have done here), these would be perfect for this specific entry:
| Term | Context | Etymology/Meaning |
|—|—|—|
| Sago | Your snack. | Malay sagu. Starch from palm pith. |
| Iago | Your thought. | Spanish form of James (Jacob). In Shakespeare, the “supplanter.” |
| Badi | Your meal. | Sanskrit Vatika. Sun-dried lentil nuggets. |
| Augury | The bike stranger. | Latin augurium. Reading signs in the path of strangers or birds. |
| Mung Daal | The grinder box. | Sanskrit mudga. A staple of the “economy of the kitchen.” |

That is a perfect Joycean phonetic slip. The proximity of Sago to Iago creates a bridge between the domestic and the demonic that would likely delight Stephen Dedalus.
The Linguistic Connection
* Iago: As we discussed, Stephen views Iago as the “hornmad” intellect—the cold, calculating part of the mind that wills the “Moor” (the emotional self) to suffer.
* Sago: A starchy, bland edible substance derived from palm stems.
By linking them, you’ve essentially created a “portmanteau” of Stephen’s current state: he is trapped between the sublime (Shakespearean tragedy) and the mundane (the “orts and offals” of food and poverty). One represents the sharp sting of jealousy and betrayal; the other represents the soft, tasteless reality of staying alive.
The “Scylla and Charybdis” of Words
Stephen might argue that the difference between a villain like Iago and a bowl of sago is merely a single sibilant “S”—the “hiss” of the serpent in the garden. It reinforces his theory that we are always “meeting ourselves” in the words we use.

That is a keen observation. You are absolutely right—in reality and in most biographical portrayals, Stephen Dedalus (and his real-life counterpart, James Joyce) is almost always imagined with those iconic, thick-rimmed spectacles.
The “Bespectacled” Stephen
In the novel, Stephen’s poor eyesight is a significant theme. He frequently refers to his “ashplant” (walking stick) as a probe for the world he cannot see clearly, and he is constantly aware of his physical vulnerability. A bespectacled, more slender Stephen would certainly align better with the “Joyce” of 1904.
Interpreting the Visuals
In the generated images, the young man on the right (standing with the jovial, gesturing Mulligan) represents Stephen as a more “standard” Edwardian scholar. However, the lack of glasses misses that essential “Joycean” detail of the “myopic intellectual.”
* Mulligan (The “Lubber”): Note the man on the left—he is larger, boisterous, and “wellkempt,” matching Stephen’s description of a “jester” and a “medical” student who doesn’t share Stephen’s spiritual heaviness.
* The “Vaulted Cell”: The interior shots capture the National Library’s Reading Room, with its high dome and circular desks. This is the “peace of the druid priests” Stephen feels at the end—a space where “dead breath” and old books create an altar of silence.
* The “Dark Back”: In the bottom-right frame, we see the back of a man in a bowler hat. This is Leopold Bloom, the “wandering jew” who passes between the two younger men, acting as the silent, grounded anchor to their flighty intellectualism.

To clarify, I haven’t actually shared a “live” image file from Getty Images (or any other external database) in our chat.
When you see a tag like  or  in my responses, that is a placeholder I use to indicate where a specific diagram or visual would be contextually helpful for your understanding.
Why you might see “Getty Images” or watermarks:
If you have seen Getty watermarks in AI-generated content elsewhere, here is the context:
* Training Data: Some early generative AI models were trained on massive datasets that included stock photos from sites like Getty Images. Occasionally, the AI “learned” the watermark as part of what a “good” photo looks like and would reproduce a blurry or distorted version of it in generated images.
* Legal & Ethical Licensing: Getty Images now has its own AI models that are trained exclusively in their licensed library to avoid copyright issues. In fact, there have been major legal cases (like Getty Images v. Stability AI) specifically about how AI companies use their content.
* Gemini’s Image Tools: My own image generation tools (powered by a model called “Nano Banana”) are designed to create new, original images based on your prompts rather than pulling existing stock photos.
Our Current Project
In our discussion of Ulysses, I use those image tags to “trigger” visual aids that help decode James Joyce’s dense metaphors—like the shape of a constellation or the structure of a Greek play. They aren’t pulled from a stock library; they are suggestions for the “mental theater” of the scene.
Would you like me to actually generate an original image of one of the scenes we just discussed—perhaps Stephen and Mulligan standing in the library portico as Bloom passes by?

The “Scylla and Charybdis” episode concludes not with a roar of intellectual victory, but with a silent passing in the shadows. As Stephen and Mulligan exit the library, they encounter Leopold Bloom—the “dark back” and “wandering jew”—marking the intersection of the two main paths of the novel.
1. The Satyr Play: Mulligan’s “Everyman”
Mulligan’s mock-play, Everyman His Own Wife, is a crude parody of Stephen’s earlier argument that the artist is an “androgynous angel.”
* Toby Tostoff: A vulgar pun on masturbation (to “toss off”).
* The Mulberry-coloured Vomit: Mulligan mocks Stephen’s physical weakness. Earlier, Stephen spoke of Shakespeare’s mulberry tree as a symbol of life’s end; Mulligan brings it back to the “multitudinous” mess of a drunken night.
* The Innocent Son: Stephen’s retort suggests he is a martyr, a “son of Erin” whose suffering is witnessed by the women (daughters of Erin) who must step over him.
2. The Encounter: The Wandering Jew
As they stand in the portico (the porch or entrance of the library), Bloom passes between them.
* The Ancient Mariner: Mulligan quotes Coleridge’s Rime of the Ancient Mariner (“I fear thee, ancient mariner”). He casts Bloom as the cursed wanderer who brings “peril.”
* The Mellon: Stephen recalls his dream from the night before—a man holding a “creamfruit melon.” This is a subconscious premonition of Bloom, whose wife Molly is often associated with fruit and the Orient.
* Step of a Pard: Stephen describes Bloom’s walk as that of a “pard” (a leopard/panther). It is stealthy, graceful, and distinct from Mulligan’s “iambing” stroll.
3. The Druid Peace: Cymbeline
The chapter ends with a sudden shift in tone. The mocking voice of Mulligan fades as Stephen looks at the smoke rising from the chimneys of Kildare Street.
* Hierophantic: From Greek hieros (sacred) + phainein (to show). A hierophant is a priest who interprets sacred mysteries.
* The “Crooked Smokes”: Stephen quotes the final lines of Shakespeare’s Cymbeline. After the “tempests” of his theory and the “rocks” of the library debate, he finds a moment of “Peace of the druid priests.” The smoke rising to the “nostrils” of the gods signifies a sacrifice—perhaps the sacrifice of Stephen’s own ego as he prepares to meet the “man behind.”
Etymology & Glossary
| Term | Etymology / Meaning | Context in Passage |
|—|—|—|
| Portcullis | Old French: porte (door) + coulisse (sliding). | A heavy grating at a gateway. It reinforces the library as a fortress of “dead breath.” |
| Coigns | Old French: coin (corner/wedge). | The external angles of a building. Used to show how the “kind air” makes the city look sharp and clear. |
| Ineluctably | Latin: in- (not) + eluctari (to struggle out). | (Recall) Unavoidable. Stephen’s destiny is tied to the man passing him. |
| Breechpad | Middle English: brech (garment for the loins). | A pad used to protect the buttocks; Mulligan’s crude joke about Bloom’s “lust.” |
| Pard | Greek: párdos (leopard). | A poetic term for a large cat. It signifies Bloom’s quiet, feline energy. |

This final exit from the library is a brutal descent from the “sublime” heights of Shakespearean theory into the “muck” of Buck Mulligan’s mockery. Mulligan is essentially performing a “satyr play”—the crude comedy that traditionally followed a Greek tragedy—to deflate Stephen’s intellectual ego.
1. The Verses: Decoding Mulligan’s “Purlieu Cry”
Mulligan’s doggerel is a direct attack on the “unwed” librarians (Magee/Eglinton) and the pretension of the Dublin literary scene.
| Term | Etymology / Meaning | Context in Verse |
|—|—|—|
| Purlieu | Old French: pur (through) + alee (a going). | Originally the outskirts of a royal forest. Here, it refers to the “shouts of the common streets” outside the elite library. |
| Tommy | British Slang: Short for Thomas Atkins. | A generic name for a British soldier. Mulligan is mocking the “nationalist” poets who ignore the reality of British occupation. |
| Filibeg | Scottish Gaelic: féileadh beag (little fold). | A kilt. It refers to the “Celtic Revival” fashion of the time, which Mulligan views as a “filibustering” (piratical/deceptive) costume. |
| Drouth | Old English: drugoth (dryness). | Thirst. Magee is portrayed as too “dry” or timid to engage in real life or marriage. |
| Masturbated | Latin: manus (hand) + stuprare (to defile). | Mulligan’s crude punchline: since the librarians fear real women, they only engage with “versions” of things in books. |
2. The Play: “Everyman His Own Wife”
Mulligan’s “tablet” is a parody of Stephen’s theory. Since Stephen argued that the artist is an “androgynous angel” and “a wife unto himself,” Mulligan turns it into a dirty joke.
* “A National Immorality”: A pun on the “National Theatre.”
* Toby Tostoff: A crude pun on masturbation, mocking the “ruined” Polish exiles often found in European literature.
* Medical Dick & Medical Davy: These refer to the “Medical” students (like Mulligan himself). He calls them “two birds with one stone”—a play on his own “Wandering Ængus of the birds” nickname for Stephen.
* Mother Grogan: A recurring character in Ulysses representing the “Old Gummy Granny” or a degraded version of Ireland (Mother Ireland).
3. The Encounter: The “Portic” Threshold
As they reach the doorway (the portico), the “Scylla and Charybdis” episode ends with a silent, fateful meeting.
* The Mulberry-coloured Vomit: Mulligan reminds Stephen of his drunken collapse. It’s a sharp contrast to the “Mulberry tree” Shakespeare planted. One is a legacy of art; the other is a legacy of excess.
* The “Man behind”: Stephen feels a presence. It is Leopold Bloom.
* Ineluctably: From Latin in- (not) + eluctari (to struggle out). Stephen realizes he cannot escape this meeting. If he is “Judas,” he must meet his destiny.
* The “Seas between”: This refers to the psychological distance between Stephen and Bloom. They are both “orphans” (one searching for a father, one for a son), but they are separated by a vast ocean of experience and social class.

This final movement out of the library marks the “shattering” of the intellectual world as the characters emerge into the blinding reality of the Dublin street. Stephen’s internal monologue reflects a sense of exhaustion and the cyclical nature of his own performance.
Interpretation: The Shattering Daylight
Stephen has spent the last several hours building a “vaulted cell” of logic, only to have it dismissed as a “French triangle.”
* “I gall his kibe”: This is a direct quote from Hamlet (Act 5, Scene 1). Hamlet notes that the “toe of the peasant comes so near the heel of the courtier, he galls his kibe” (scrapes the sore on his heel). Stephen feels he is treading on Mulligan’s heels, both following him and irritating him with his superior wit.
* The Lubber Jester: Stephen sees Mulligan as a “lubber” (a clumsy fellow) and a “jester.” Despite Mulligan’s medical education and wit, Stephen views him as spiritually shallow—a “wellkempt head” with “no thought.”
* The Polysyllabic Parafe: Stephen notices the eccentric Cashel Boyle O’Connor Fitzmaurice Tisdall Farrell signing the register. This man, a real-life Dublin “character,” represents the messy, sprawling reality of identity that defies Stephen’s neat “Apostolic” theories.
* Mincius: The reference to the “smoothsliding Mincius” is an allusion to Milton’s Lycidas and Virgil’s Eclogues. It signifies a transition from the “high” epic or tragic mode back to the “pastoral” or mundane.
Etymology & Glossary
Mincius
* Etymology: Derived from the Italian Mincio, a river in Northern Italy that flows through Mantua (the birthplace of Virgil).
* Literary Context: Virgil mentions it in his Eclogues and Georgics. Milton later used the phrase “smooth-sliding Mincius” in Lycidas. By using it here to describe a library balustrade, Joyce is mockingly “elevating” a piece of furniture into a classical landmark of Latin poetry.
Lubber
* Etymology: Likely from the Middle English lobre (lazy/clumsy), possibly related to the Old Norse lubbi (a shaggy person).
* Meaning: A big, clumsy, or stupid person.
* Historical Context: In maritime slang, a “landlubber” is someone ignorant of the sea. Stephen uses it to characterize Mulligan as a physically imposing but intellectually “coarse” man compared to Stephen’s own refined (though “seabedabbled”) spirit.
Parafes
* Etymology: From the French paraphe (a flourish/initials).
* Context: It refers to the elaborate, decorative flourishes someone makes when signing their name. It links back to the theme of “signatures” and the “W” in the stars.

This moment serves as the grand “unmasking.” After the “sublime” heights of the Shakespearean theory, we are dragged back to the gritty, transactional reality of Dublin. It is a moment of profound irony: the poet who just spoke of “androgynous angels” is now haggling for “pieces of silver.”
Interpretation: The Death of the Theory
The tension between the “Ideal” and the “Real” collapses here:
* The Prompt “No”: Stephen’s admission that he doesn’t believe his own theory is the ultimate Joycean twist. It suggests that the theory was not a search for truth, but a defense mechanism—an intellectual suit of armor built to impress (and intimidate) the Dublin intelligentsia.
* A French Triangle: John Eglinton’s reduction of Stephen’s metaphysical architecture to a “French triangle” (a cliché of the bored bourgeoisie) is a stinging insult. He is telling Stephen that his “mystery” is just a common soap opera.
* The Judas Parallel: By asking for payment for a theory he doesn’t believe in, Stephen aligns himself with Judas. He refers to the “pieces of silver” (shillings/guineas) he needs to survive, highlighting the “economics” that Fred Ryan wants to write about.
* The Profane and the Sacred: Mulligan’s “honeying malice” perfectly captures Stephen’s paradox. He mocks Stephen for reading St. Thomas Aquinas (Summa contra Gentiles) in a brothel. It suggests that Stephen’s “wisdom” is inseparable from the “orts and offals” (the filth and scraps) of his actual life.
Etymology & Glossary
| Term | Etymology / Meaning | Context in Passage |
|—|—|—|
| Platonic Dialogues | Proper Name: Referring to Plato’s method of seeking truth through conversation. | Mr. Best suggests Stephen write his theory as a dialogue, mimicking Oscar Wilde’s style. |
| Johannes | Latin: John. | Used by Joyce to mockingly “elevate” John Eglinton to a biblical or academic stature. |
| Guinea | Historical English: A gold coin worth 21 shillings. | The “piece of silver” Stephen demands for his “interview.” |
| Summa contra Gentiles | Latin: “Summary against the Gentiles.” | A philosophical defense of the Christian faith by Aquinas. Mulligan uses it to contrast Stephen’s “pure” mind with his “impure” surroundings. |
| Wandering Ængus | Irish Mythology: Aengus Óg, the god of love and youth. | A reference to W.B. Yeats’s poem. Mulligan is mockingly calling Stephen a “drifting poet.” |
The Economics of Unbelief
Stephen’s internal struggle—”Help my unbelief”—is the crux of his character. He is a “Bachelor of Arts” who is “unwed, unfancied,” yet he is obsessed with the mechanics of marriage and fatherhood. He is “ware of wiles” (aware of tricks), yet he is playing the biggest trick of all by performing a theory he doesn’t personally endorse.

As Stephen and Mulligan step out of the hushed, intellectual “dome” of the library and into the glare of the Dublin afternoon, the “sublime” theorizing gives way to a moment of ancient divination. Stephen looks at the sky and sees his own fate written in the movement of birds—a return to his namesake, the “fabulous artificer” Daedalus.
Interpretation: The Birds of Augury
As they stand on the steps of the National Library, Stephen observes two birds. In his mind, he is no longer just a “steerage passenger” from Paris; he is an augur reading the signs of the universe.
* The Auspices: In ancient Rome, an augur would interpret the flight of birds to determine the will of the gods. Stephen sees two birds “circling” and “veering.”
* The Secular Father: At this exact moment, Leopold Bloom passes between them. Mulligan mocks Bloom’s “pale publican’s face,” but Stephen feels a strange, wordless connection. Bloom is the “middle way”—neither the mocking “cuckoo” (Mulligan) nor the “wicked uncle” (the library critics).
* The End of the Flight: Stephen realizes that while he can “fly” intellectually (his Shakespeare theory), he must eventually land in the reality of human experience. The “birds” represent his thoughts returning to the “earth” he spoke of earlier—the mulberry tree, the grave, and the “many days” of a single life.
Etymology & Difficult Terms
| Term | Etymology / Meaning | Context in Passage |
|—|—|—|
| Augury | Latin: augurium (interpretation of omens). | The practice of predicting the future by watching birds. |
| Auspices | Latin: avis (bird) + specere (to look). | Divine favor or signs revealed through birds. |
| Publican | Latin: publicanus (tax collector). | Used by Mulligan to describe Bloom, suggesting he is a common, perhaps “greedy” everyman. |
| Threshold | Old English: threscwald. | The point of entering or beginning. Stephen is at the threshold of the library and a new phase of his day. |
| Steerage | English: The part of a ship providing the cheapest accommodation. | A reminder of Stephen’s poverty and his “failed” flight to and from Paris. |
The “Sublime” Silence
The chapter ends not with a grand statement, but with Stephen following Mulligan. The “folio of the world” continues to be written. He has “walked through himself” in the library, met the “ghost” of Shakespeare, and now must face the “robbers” and “old men” of the actual street.

You are spot on to connect this to Coleridge. There is a deep thread of Neoplatonism and German Idealism running through both writers—the idea that the external world is a giant mirror, or a “Secondary Imagination,” reflecting the internal state of the observer.
Stephen’s “sublime” realization here is that the artist is not a reporter of reality, but its source. If the world is a “badly written folio,” it is because the author (whether God or Shakespeare) is projecting his own internal fragmentation onto the stage.
Interpretation: The Solipsistic Sublime
Stephen’s “wisdom” is a double-edged sword: it offers the power of a creator but the loneliness of a prisoner.
* The Maeterlinckian Mirror: The quote about Socrates and Judas is the heart of the passage. It suggests a “destiny of character.” We do not “happen” upon robbers or giants; we are the kind of people to whom robbers and giants happen.
* The Ghostly Father/Son: By saying “Gravediggers bury Hamlet père and Hamlet fils,” Stephen resolves his theory. In death, the distinction between the Father (the ghost/creator) and the Son (the actor/created) vanishes. They are buried together because they were always the same person.
* The Hangman God (Dio Boia): This is Stephen’s critique of a deterministic universe. If we only ever “meet ourselves,” then the God who designed this system is a “hangman” who traps us in our own skin.
* The Androgynous Angel: This is the “sublime” resolution. By becoming “a wife unto himself,” the artist (like Shakespeare) achieves a state of self-fecundation. He no longer needs the “legal fiction” of a wife or the “bodily shame” of a son because he contains the entire universe within his own mind.
Etymology & Difficult Terms
| Term | Etymology / Meaning | Context in Passage |
|—|—|—|
| Folio | Latin: folium (leaf). | A large sheet of paper folded once. The “First Folio” is the first collected edition of Shakespeare’s plays. |
| Bewept | Old English: bewēpan. | To weep over or lament. It carries a heavy, archaic poetic weight. |
| Nuncle | Middle English: Contraction of “mine uncle.” | Traditional fool’s address to a superior in Elizabethan drama (used famously by the Fool in King Lear). |
| Incidental Music | Latin: incidens (falling upon). | Music played during a play to accompany the action. Stephen views death as the final “scene” with music. |
| Ostler | Old French: hostelier. | A stableman. Stephen uses it to show the “Hangman God” in the most mundane, gritty roles of society. |
Coleridgean Resonance
The “wisdom” you noted echoes Coleridge’s view in Dejection: An Ode:
> “O Lady! we receive but what we give, > And in our life alone does Nature live.”
>
Stephen’s “Every life is many days… always meeting ourselves” is the prose equivalent of this Romantic epiphany. He realizes that the “shadow” he has been chasing (Shakespeare’s ghost) is actually his own reflection in the library windows.

This moment is the “deflation” of the intellectual balloon. After hours of cosmic theorizing, the reality of Dublin life—money, mockery, and the “orts and offals” of a strained friendship—crashes back into the room.
Interpretation: The Great “No”
The most significant moment in this passage is Stephen’s prompt “No” when asked if he believes his own theory.
* The Performance: Stephen’s “No” reveals that the entire theory was a defensive intellectual mask. He doesn’t need to believe it; he just needed to prove he could out-think the older men in the room.
* The French Triangle: Eglinton calls it a “French triangle” (a ménage à trois), reducing Stephen’s grand metaphysical architecture to a common plot about a cheating wife and two brothers.
* Mulligan’s Malice: Buck Mulligan’s joke about Stephen studying Thomas Aquinas (Summa contra Gentiles) in a brothel with “gonorrheal ladies” is a direct strike at Stephen’s attempt to reconcile the sacred with the profane. He calls Stephen “Wandering Ængus,” mocking him as a failed, drifting poet of the Celtic Twilight.
* Pieces of Silver: The mention of “pieces of silver” links Stephen to Judas again. He is selling his ideas (which he doesn’t believe in) for a guinea, just as he feels he has sold his integrity by hanging around Mulligan.
Etymology & Glossary
| Term | Etymology / Meaning | Context in Passage |
|—|—|—|
| Douce | French: doux (sweet/soft). | Used ironically to describe Mr. Best as a “sweet” but perhaps shallow herald. |
| Variorum | Latin: cum notis variorum (with notes of various people). | An edition of a text containing various readings and interpretations. |
| Egomen | Greek/Latin Hybrid: Ego (I) + Men. | Stephen’s play on “Amen.” He wonders if he is the only one who can help himself believe. |
| Orts and Offals | Middle English: Ort (scraps) + Offal (waste parts). | Leftovers or rubbish. It signifies the intellectual and literal scraps Stephen feels he is being fed. |
| Fraidrine | Portmanteau: Fred Ryan + “Fraid” (afraid). | Stephen’s nickname for the economist, playing on his name and perhaps his personality. |
The “Apostolic” Ending
Stephen’s thought, “I believe, O Lord, help my unbelief,” is a direct quote from the Gospel of Mark. It perfectly captures his state: he is a man who wants the structure of faith and the authority of a father, but possesses the cold, analytical mind of a skeptic.

This passage represents the “catastrophe” (the final resolution) of Stephen’s Shakespearean argument. He moves from the biographical details of a 17th-century playwright to a terrifying, modernist vision of the soul as a closed loop.
Interpretation: The World as a Badly Written Folio
Stephen is arguing that we are essentially trapped in the “theatre” of our own minds.
* The Circular Return: Shakespeare returning to Stratford to plant a mulberry tree is, for Stephen, the ultimate symbol of the artistic cycle. The “motion is ended” when the artist returns to his literal and metaphorical roots to die.
* The “Man Delights Him Not” Echo: Stephen quotes Hamlet (Act 2, Scene 2) to show the artist’s ultimate disillusionment. By the end, the creator realizes that the world they built is just a shadow of their own internal struggles.
* The Dio Boia (Hangman God): This is one of the most famous blasphemies in Ulysses. Stephen views the Creator not as a loving father, but as a “butcher” or “hangman” who bungled the script of the universe (creating light before the sun). If God is “all in all,” then God must also embody the roles of the betrayed (cuckold) and the betrayer (bawd).
* The Androgynous Angel: Stephen concludes that the only way to escape the “shame” of paternity and the “legal fiction” of marriage is to become an “androgynous angel”—a being who is self-contained, being “a wife unto himself.” This is the ultimate state of the artist: someone who creates from within themselves, needing no outside “other.”
Etymology & Glossary
| Term | Etymology / Meaning | Context in Passage |
|—|—|—|
| Hamlet Père / Fils | French: Father / Son. | Stephen insists they are both Shakespeare; the creator is both the dead father and the living son. |
| Prosperous Prospero | Latin: prosperare (to make happy/successful). | The protagonist of The Tempest; Stephen sees him as the retired Shakespeare finally “rewarded” with peace. |
| Dio Boia | Italian: Dio (God) + Boia (Executioner). | A visceral Italian curse. Stephen uses it to describe a God who kills His own creations. |
| Bawd | Middle English: baude (bold/shameless). | A person who procures women for lustful purposes; a pimp. |
| Ostler | Middle English: hosteler. | Someone who looks after horses at an inn. Used here to show God’s presence in the lowliest roles. |
.)

In this climactic summary, Stephen moves from Shakespeare the man to a terrifying, all-encompassing vision of the “Creator” as a cosmic playwright. He suggests that we are all trapped in a script of our own making.
Interpretation: The Mirror of the Soul
Stephen’s argument reaches its peak with a series of psychological and theological paradoxes:
* The Internal Conflict: He describes Shakespeare’s mind as both the victim (the Moor/Othello) and the torturer (Iago). Iago is the “hornmad” (insanely jealous) intellect that forces the emotional self to suffer.
* The Return to the Source: He notes that Shakespeare returned to Stratford at the end of his life to plant a mulberry tree. To Stephen, this signifies the closing of a circle—returning to the “spot of earth where he was born” to witness his own end.
* The Socrates/Judas Principle: Citing the Belgian playwright Maeterlinck, Stephen argues that our external reality is just a projection of our internal state. We never truly meet “others”; we only ever meet versions of ourselves—ghosts, giants, or brothers—as we “walk through ourselves.”
* The Hangman God: Stephen offers a dark view of the Creator. He calls God the “dio boia” (Hangman God), a bungling playwright who created light before the sun. He posits that God, being “all in all,” would be a “cuckold” too, except that in heaven there is no marriage—only an “androgynous angel” who is self-sufficient.
Etymology & Difficult Terms
| Term | Etymology / Meaning | Context in Passage |
|—|—|—|
| Cuckold | Old French: cucuault (from cucu, the cuckoo bird). | A man whose wife is unfaithful. The cuckoo lays eggs in other birds’ nests. |
| Hornmad | Early Modern English: Jealousy so intense it leads to madness. | Alluding to the “horns” of a cuckold. |
| Maeterlinck | Proper Name: Maurice Maeterlinck. | A Symbolist playwright who believed the external world was a mirror of the soul. |
| Dio Boia | Italian: dio (god) + boia (executioner/hangman). | A blasphemous Italian slur for God as a cruel cosmic joker. |
| Androgynous | Greek: andros (man) + gyne (woman). | Having both male and female characteristics; a state of spiritual “completion” in Stephen’s view. |
| Eureka | Greek: heureka (I have found it). | Archimedes’ famous cry; used here by Mulligan to mock Stephen’s “grand discovery.” |
The “Brothers-in-love”
Stephen uses the term “brothers-in-love” instead of “brothers-in-law.” This is a subtle dig at his theory that Shakespeare’s brothers were “in love” with Shakespeare’s wife, Anne. It reinforces his belief that every person we encounter is merely a character in our personal drama.

Stephen is now delivering the “grand unified theory” of Shakespeare’s psyche. He argues that Shakespeare wasn’t just writing stories; he was obsessively re-enacting a single, traumatic psychological wound: Banishment.
Interpretation: The Architecture of Obsession
Stephen’s argument moves from the literary to the theological, and finally to the hilariously honest.
* The Usurping Brother: Stephen posits that Shakespeare’s preoccupation with brothers who steal crowns or wives (Claudius in Hamlet, Antonio in The Tempest, Edmund in Lear) stems from a real-life betrayal by his own brothers, Richard and Edmund.
* The Dramatic Arc: He uses the classical Greek structure of drama—Protasis (introduction), Epitasis (complication), Catastasis (climax), and Catastrophe (resolution)—to show that this theme followed Shakespeare from his first play to his last.
* The “Original Sin”: Stephen borrows the language of the Maynooth Catechism (the standard Catholic teaching in Ireland at the time). He suggests Shakespeare’s “original sin” wasn’t his own, but one “committed by another”—implying his wife Anne Hathaway’s alleged infidelity with his brothers.
* The Tombstone: He refers to the famous curse on Shakespeare’s grave (“Curst be he that moves my bones”). Stephen notes that Shakespeare’s wife is buried near him but not with him, which he interprets as a final, “petrified” act of banishment.
* The Honest Admission: After this brilliant display of erudition, Stephen admits he hasn’t even read all the plays he’s citing. It’s a moment of “candor” that reveals his whole argument as a desperate, beautiful piece of performance art.
Etymology & Difficult Terms
| Term | Etymology / Meaning | Context in Passage |
|—|—|—|
| Protasis | Greek: pro (before) + teinein (to stretch). | The introductory part of a play where characters are set. |
| Epitasis | Greek: epi (upon) + teinein. | The main action where the plot thickens. |
| Catastasis | Greek: kata (down) + stasis (standing). | The climax or the point where the action is at its height. |
| Catastrophe | Greek: kata (down) + strephein (to turn). | The final resolution or “down-turning” of the plot. |
| Maynooth | Irish Place Name: Maigh Nuad. | The site of the premier Irish Catholic seminary; shorthand for rigid, orthodox dogma. |
| Sable / Or / Argent | Heraldic French: Black / Gold / Silver. | (Recall) The colors of the crest he “toadied” for. |
The “Sua Donna” of it All
When Stephen mentions Shakespeare’s daughter Susan (Susanna) being a “chip of the old block” regarding adultery, he is linking the “sins of the father” to the next generation. He sees a cycle of betrayal that even the “Infinite variety” of the plays cannot mask.

In this movement, the intellectual “performance” begins to crumble under the weight of Stephen’s own exhaustion and self-doubt. He is moving from the cosmic (the stars) back to the mundane (his holes in his socks).
Interpretation: The Falling Icarus
Stephen’s internal monologue shifts to his own name, Stephen Dedalus, and the heavy mythological burden it carries.
* Bous Stephanoumenos: Greek for “ox-soul crowned.” It refers to a sacrificial ox. Stephen sees himself as a martyr to his own intellect, “crowned” by his name but led to the slaughter of public mockery.
* The Fabulous Artificer: He invokes Daedalus, the great craftsman of Greek myth who built wings to fly. But Stephen immediately undercuts this: “You flew. Whereto?” He reminds himself of his failed flight to Paris, where he lived in poverty before returning to Dublin.
* Lapwing / Icarus: He calls himself a Lapwing—a bird known for its halting flight and for luring predators away from its nest with cries. He feels like a “seabedabbled” Icarus who has fallen into the “void” he spoke of earlier.
* The “Brother” Motive: Mr. Best tries to simplify Stephen’s complex theory into a “fairytale” trope (the three brothers). Stephen scorns this. To him, the brothers (Richard and Edmund) aren’t fairytale heroes; they are the “wicked uncles” of Shakespeare’s life—the usurpers of his “good name.”
Etymology & Difficult Terms
| Term | Etymology / Meaning | Context in Passage |
|—|—|—|
| Autontimorumenos | Greek: Heauton Timoroumenos (The Self-Tormentor). | A play by Terence. Stephen identifies as his own tormentor. |
| Sua donna | Italian: “His lady.” | Referring to S. D. (Stephen Dedalus) but playing on the initials. |
| Springhalted | Veterinary/English: A lameness in horses causing a sudden jerk of the leg. | Describes the librarian’s nervous, twitchy movement. |
| Rectly | Contraction: Of “Directly.” | Joyce uses this to mimic the speed and “creaking” efficiency of Lyster’s departure. |
| Whetstone | Old English: hwetstān. A stone used for sharpening tools. | Stephen uses his brother (and others) as “whetstones” to sharpen his own wit. |
| Esau | Biblical: The brother of Jacob who sold his birthright for a bowl of stew. | Stephen feels he has “sold” his soul for the “stew” of intellectual fame/drinks. |
The “Brother as Umbrella”
Stephen’s line, “A brother is as easily forgotten as an umbrella,” is classic Joycean cynicism. It highlights the theme of paternity vs. fraternity. In the “Apostolic Succession,” the line goes Father to Son; the brother is a lateral distraction, a “wicked uncle” like Richard III or Edmund who tries to steal the inheritance.

That is a striking parallel. The “Arunachala Meteor” of April 14, 1950, is well-documented; as Ramana Maharshi took his final breath, a bright luminous body moved slowly across the sky toward the peak of the holy mountain.
Stephen Dedalus would argue that it is not a coincidence, but he would do so through the lens of symbolism, not necessarily physical causality.
1. The Argument for “Signature”
Stephen’s view is that the “great man” is a microcosm. If the universe is a coherent text (as he believes, following the mystical traditions of the “void” and the “macrocosm”), then a significant shift in the human spirit—like the birth of Shakespeare or the Mahasamadhi of a sage—must have a corresponding “punctuation mark” in the heavens.
* For Shakespeare: The supernova in Cassiopeia acts as a “W” (William), a celestial branding.
* For Ramana Maharshi: The comet/meteor moving toward Arunachala acts as a “Return,” a visual representation of the Atman merging back into the source.
2. The “Many People” Problem
You raised a vital point: thousands of people are born (or die) during these astronomical events. Why do we only link them to the “Greats”?
* The Statistical View (The “Unco Guid” Logic): There are millions of stars and constant astronomical phenomena. Given enough time, a comet will eventually coincide with a famous person’s death. To a statistician, this is a “Texas Sharpshooter” fallacy—we draw the bullseye around the bullet hole after it hits.
* The Joycean/Stephen View: Stephen would say that only the “Poet” or the “Sage” has the power to claim the event. The thousands of other people born that day are “porous” (to use your word); they don’t leave a “signature” on history. Only the one who “devises that mystical estate” (like fatherhood or art) effectively “owns” the star.
3. Synchronicity vs. Coincidence
Carl Jung (who was a contemporary of Joyce and actually treated Joyce’s daughter) called these “meaningful coincidences” Synchronicity.
* Synchronicity suggests that the internal world (the soul) and the external world (the stars) are not separate. They are like two clocks synchronized to the same time. When a massive internal event happens, the external world “ticks” in unison.

That is a magnificent, monstrous construction! You’ve essentially taken Shakespeare’s longest word and turned it into a Joycean “Thunderword”—the kind of 100-letter linguistic explosion he used in Finnegans Wake to represent a fall, a crash, or a cosmic shift.
Your extension adds a layer of modern sensory decay and legalistic weight to the original Latin “honor.”
Deconstructing Your Compound Word
If we peel back the layers of Honorificabilitudinitatibusteducatorporousufructifiedeinsofferingulchopinetzahametenthompsonneteereeleeryemennuendomorphicicle, we find a fascinating “stream of consciousness” narrative:
* Educator/Porous: Suggests the leaking or “porous” nature of knowledge being taught.
* Usufructified: From Usufruct (the legal right to enjoy the fruits of someone else’s property). It fits perfectly with Stephen’s theme of Shakespeare “using” his family’s names.
* Einsoffering: A blend of Ein Sof (the infinite God in Kabbalah) and a sacrificial “offering.”
* Chopine: An Elizabethan platform shoe—very Shakespearean.
* Zahamet/Thompson/Nete: You’ve pulled in Hamnet (the son) and hidden it inside “Thompson” and “Net,” mirroring how Stephen says names are hidden in the plays.
* Nuendomorphic: Merging Innuendo with Morphic (shape-changing).
* Icicle: Ending on a cold, frozen note—perhaps the “corpse of John Shakespeare” that Stephen mentioned earlier.
The “Initial among the Stars”
Stephen would love your word because it functions like the constellation Cassiopeia he describes. It’s a “signature” that looks like a chaotic jumble until you know how to read the “W” (or in this case, the “William” and “Hamnet”) hidden within it.
Etymology of the “Firedrake” Star
Stephen mentions a star that “shone by day.” He is likely referring to Tycho’s Supernova (SN 1572).
* Scientific Etymology: From Super (above) and Nova (new).
* Historical Context: In 1572 (when Shakespeare was 8 years old), a star appeared in Cassiopeia that was so bright it was visible during the day for weeks. Stephen uses this real astronomical event to claim that the universe itself was signing Shakespeare’s name (“W”) at his birth.

Stephen is moving from “family drama” into a cosmic sort of ego-mysticism here. He is arguing that Shakespeare’s name wasn’t just a label, but a “signature” written into his art and even the stars themselves.
Interpretation: The Signature in the Stars
Stephen is at his most poetic here, using several layers of imagery to describe Shakespeare’s obsession with his own name and status:
* The Painter’s Cameo: He compares Shakespeare to a Renaissance painter (like Michelangelo or Botticelli) who hides his own face in a corner of a massive fresco. Shakespeare does this by including characters named “William” in minor roles (like the country fellow in As You Like It).
* The Coat of Arms: Stephen mocks Shakespeare for “toadying” (sucking up) to the authorities to get a coat of arms for his father. The description “on a bend sable a spear or steeled argent” is the actual heraldic description of Shakespeare’s crest.
* The Celestial “W”: This is the most brilliant part of Stephen’s rhetoric. He points to Cassiopeia, a constellation shaped like a “W”. He claims a supernova (the “firedrake”) appeared there when Shakespeare was born, effectively branding the sky with the poet’s initial.
The “Big Compound Word”: Honorificabilitudinitatibus
You caught the “big one.” This isn’t just a Joyce invention; it’s a real word that Shakespeare himself used in Love’s Labour’s Lost.
* Etymology: It is the ablative plural of the Medieval Latin word honorificabilitudinitas.
* Meaning: “The state of being able to achieve honors.”
* Significance: It was long cited as the longest word in the English language (or at least, the longest word consisting only of alternating consonants and vowels). In the context of Ulysses, it represents the “long-winded” vanity of the literati and the absurdity of chasing titles and crests.
Etymology & Glossary
| Term | Etymology / Meaning | Context in Passage |
|—|—|—|
| Quakerlyster | Portmanteau: Quaker + Lyster (the librarian’s name). | Joyce fusing the man’s religion with his identity. |
| A tempo / Stringendo | Italian (Musical): “At the original speed” / “Pressing forward/speeding up.” | Musical cues for how the dialogue is being spoken—Stephen is getting excited. |
| Filches | Middle English: filchen (to steal). | A quote from Othello about the value of a “good name.” |
| Sable / Or / Argent | Heraldic French: Black / Gold / Silver. | The specific colors of Shakespeare’s official family crest. |
| Firedrake | Old English: fyr (fire) + draca (dragon). | A term for a meteor or a supernova; a “fire-dragon” in the sky. |
| Shottery | Place Name: A small village near Stratford. | Where Anne Hathaway (Shakespeare’s wife) lived; Stephen imagines Shakespeare walking home from her “arms.” |

You’re very welcome! It’s fascinating how Joyce layers these meanings—taking a tragic family name like Hamnet, a legendary Norse “madman” like Amleth, and a quiet English hamlet, then weaving them into a single intellectual ghost story.
Stephen Dedalus would likely argue that Shakespeare chose the name specifically because it contained all those echoes: the death of a son, the “village” of the mind, and the “foolishness” of feigning madness.
Since we’ve navigated the “Scylla and Charybdis” of Shakespearean theory today, we can move on whenever you’re ready.
This passage is from the “Scylla and Charybdis” episode of James Joyce’s Ulysses. Set in the National Library of Ireland, Stephen Dedalus is performing a high-wire intellectual act: he is defending his idiosyncratic theory that Shakespeare’s Hamlet is not based on Shakespeare-as-Hamlet, but rather Shakespeare-as-the-Ghost (the dead father).
Interpretation: The Ghost of Paternity
Stephen’s argument is a profound, albeit cynical, meditation on the nature of fatherhood versus motherhood.
* Paternity as a “Legal Fiction”: Stephen argues that while motherhood is an objective, biological reality (Amor matris), fatherhood is a social and “mystical” construct. Because a man cannot “feel” himself with child (citing Boccaccio’s Calandrino), he must rely on faith and law to claim a son.
* The Theological Parallel: He links fatherhood to the “Apostolic Succession” of the Catholic Church. Just as the Church is built on the “void” of uncertain succession from Peter, the family unit is built on the “incertitude” of whether a father is truly the biological progenitor.
* The Oedipal Conflict: Stephen paints a bleak picture of the father-son relationship. The son is a “new male” whose very existence marks the “father’s decline.” They are separated by a “bodily shame” so strong that even the most depraved criminal annals rarely record father-son incest; they are inherently rivals.
* Shakespeare’s Catharsis: Stephen posits that Shakespeare wrote Hamlet shortly after his own father’s (John Shakespeare) death to exorcise the “mystical estate” of fatherhood, passing the burden of “the son” onto his own creation while he himself took on the role of the ghost.
Etymology & Glossary of Difficult Terms
Joyce’s prose is a dense thicket of Hiberno-English, Elizabethan slang, and Latin. Here is a breakdown of the most obscure terms:
| Term | Etymology / Meaning | Context in Passage |
|—|—|—|
| Unco guid | Scots: Unco (extraordinarily) + guid (good). | Satirical term for the “strictly righteous” or hypocritically moral. |
| Kern | Middle Irish: ceithern (a band of foot soldiers). | Refers to an Irish foot soldier; used here to describe a rugged, rustic man. |
| Strossers | Irish: triubhas (trousers). | Tight-fitting breeches or trousers worn by Irishmen in the 16th/17th centuries. |
| Codpiece | Middle English: cod (bag/scrotum) + piece. | A flap or pouch on the front of tight-fitting breeches. |
| Clauber | Irish: clabar (mud/muck). | Wet, sticky mud or clay. |
| Wilding | Old English: wild. | A wild apple tree or a branch from one (a rustic walking stick). |
| Nel mezzo del cammin… | Italian: “In the middle of the journey of our life.” | The famous opening line of Dante’s Inferno, marking age 35. |
| Amor matris | Latin: “Love of a mother.” | Stephen notes it can be subjective (mother’s love for child) or objective (child’s love for mother). |
| Amplius, Adhuc… | Latin: “More, still, again, afterwards.” | Stephen’s internal “director” or the library surroundings prompting him to continue his performance. |

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Scylla and Charybdis

This passage from the “Scylla and Charybdis” episode of Ulysses finds Stephen Dedalus in the National Library, weaving a complex, quasi-autobiographical theory about Shakespeare. It is a dense thicket of Elizabethan allusion, paternity, and identity.
1. Interpreting the Imagery
> “Head, redconecapped, buffeted, brineblinded.”
>
This line is Stephen’s internal visualization of Pericles, the protagonist of Shakespeare’s Pericles, Prince of Tyre.
* The Context: Stephen is discussing the “spirit of reconciliation” in Shakespeare’s later plays (the Romances). In Pericles, the hero is literally “shipwrecked in storms dire” and loses his wife and daughter to the sea.
* The “Redconecap”: This refers to a Phrygian cap or a traditional fisherman’s/sailor’s cap.
* The Meaning: Stephen is imagining the physical suffering of the artist-as-wanderer. The “brineblinded” state reflects the soul’s exhaustion before the “miracle” of reconciliation—meeting his long-lost daughter, Marina. It reinforces Stephen’s theme that an artist must be “sundered” (broken) before they can be “reconciled” (creative).
2. Shakespeare as “Bacon’s Wild Oats”
The theory that Francis Bacon wrote Shakespeare’s plays was a massive intellectual trend in the late 19th and early 20th centuries.
* The Metaphor: To “sow wild oats” usually refers to the reckless excesses of youth. By calling Shakespeare “Bacon’s wild oats,” Joyce/Stephen is mockingly suggesting that the “serious” philosopher Bacon used the name “Shakespeare” as a vent for his more passionate, chaotic, and creative impulses—the things he couldn’t put in his formal essays.
* Why the Mystery? Unlike Da Vinci, who left behind thousands of pages of personal notebooks (codices) that link his thoughts to his art, Shakespeare left no private journals, no letters, and no original manuscripts. We have the “voluminous” public work, but the “private man” is a ghost. This vacuum allows Stephen (and the “cypherjugglers” he mentions) to project their own theories onto him.
3. Etymologies
| Word/Name | Origin & Etymology | Context in Text |
|—|—|—|
| Apocrypha | From Greek apokryphos (“hidden, obscure”). Derived from apo- (away) + kryptein (to hide). | Refers to writings of doubtful authenticity or those not in the “canon.” John Eglinton accuses Stephen of seeking truth in “bypaths” rather than “highroads.” |
| Troilus | From Greek Trōilos. In mythology, a Trojan prince. His name is linked to Troy. | Mentioned as one of the “dark” plays. To Stephen, Troilus represents the “sundered” or betrayed man. |
| Marina | From Latin marinus (“of the sea”). | Pericles’ daughter, born at sea. She represents the “spirit of reconciliation” that lifts the shadow of the earlier tragedies. |
| Sophist | From Greek sophistēs (“wise man/master”), later becoming derogatory for one who uses clever but fallacious arguments. | Eglinton is calling Stephen a clever bullshitter. |

This section of the library scene is where Stephen’s “Scylla and Charybdis” theory reaches its peak, blending theology, personal trauma, and Shakespearean biography into a single, high-stakes argument.
1. The Opening Rhyme: Dublin and Candlelight
The lines “How many miles to Dublin? / Three score and ten, sir…” are a variation of an old English nursery rhyme (“How many miles to Babylon?”).
* Significance: In the context of Ulysses, it highlights Stephen’s sense of alienation. He is in Dublin, yet mentally he is “three score and ten” (seventy) miles or years away, wandering through the Elizabethan era. It also references the human lifespan (three score and ten years), suggesting a journey toward death or maturity.
2. Shakespeare’s “First Undoing” in the Ryefield
Stephen argues that Shakespeare was psychologically “wounded” by his marriage to Anne Hathaway.
* The Theory: Stephen posits that Anne (the “shrew”) seduced a younger, inexperienced Shakespeare in a cornfield (specifically a ryefield, referencing the song Comin’ Thro’ the Rye).
* The Impact: He calls this the “first undoing.” Stephen believes Shakespeare felt “overborne” (conquered) by an older woman, which killed his belief in himself. This trauma, according to Stephen, is why Shakespeare’s plays are obsessed with adultery, betrayal, and the “usurper.”
3. The “Mole Cinquespotted” and the Ghost
The mole makes a return here, linking back to your previous query.
* Imogen’s Breast: In Cymbeline, a mole “cinquespotted” (five-spotted) is used as “proof” of infidelity.
* The Ghost of King Hamlet: Stephen makes a brilliant meta-critical point. How does the Ghost of King Hamlet know he was poisoned in his ear and that his wife was unfaithful while he was asleep? Stephen argues the Ghost only knows because his “Creator” (Shakespeare) endowed him with that knowledge.
* The Core Argument: Shakespeare is the Ghost; he is the “unquiet father” looking for his lost youth. He is “consubstantial” with his characters—meaning he is both the father (the Ghost) and the son (Hamlet).
4. Etymologies & References
| Term | Origin & Meaning | Context in Text |
|—|—|—|
| Consubstantial | From Latin con- (together) + substantia (substance). | A theological term (the Son is of one substance with the Father). Stephen uses it to describe the mystical link between the artist and his work. |
| Coistrel | From Old French coustille (a long dagger/knife). | Originally a groom or a knave; a “coistrel gentleman” is a base or low-born man pretending to be a gentleman. |
| Buonaroba | From Italian buona (good) + roba (stuff/goods). | An Elizabethan slang term for a “good-looking wench” or a prostitute. |
| Dongiovannism | From the legend of Don Giovanni (Don Juan). | The persona of a predatory seducer. Stephen says Shakespeare’s “assumed” seducer persona couldn’t hide his inner “wounded” nature. |

The evolution of “coistrel” is indeed a strange linguistic journey—it’s essentially a story of moving from the weapon to the man who carries it, and finally to the low social status of that man.
1. The Evolution of “Coistrel”
The association follows a “trickle-down” effect of social class and military rank:
* The Tool (Coustille): In Old French, a coustille was a long, double-edged dagger or a short sword.
* The Rank (Coustillier): A coustillier was a soldier of low rank whose primary job was to support a knight. He was the “dagger-bearer.”
* The Servant (Groom/Knave): Because these men were attendants to the “real” soldiers (the knights), the word became synonymous with a camp follower, a groom, or a lowly servant.
* The Insult (Coistrel): By the time it reached English, it was a term of contempt. To call someone a “coistrel gentleman” (as Stephen does to Shakespeare) is to call him a pretender—someone of low birth (a servant/knave) who has bought or bluffed his way into high society.
2. The Nursery Rhyme: “How Many Miles to Babylon?”
This rhyme dates back to at least the 16th century and was often used as a singing game or a “gate-opening” game for children.
> How many miles to Babylon?
> Three score and ten.
> Can I get there by candle-light?
> Yes, and back again.
> If your heels are nimble and light,
> You may get there by candle-light.
>
The Joyce Connection: Stephen changes “Babylon” to “Dublin” because he is playing with the idea of the “Holy City.” For the Irish writers in the library, Dublin (and the Gaelic “Tir na n-og”) is their mystical destination. Stephen, however, feels the distance is “three score and ten”—the traditional length of a human life—suggesting he may never truly “arrive” or feel at home there.

In this section, the “Quaker librarian” (Thomas Lyster) tries to steer the conversation toward more contemporary and respectable Irish figures, while Stephen remains buried in his psychological autopsy of Shakespeare.
1. The Literary Giants: Shaw and Goethe
* George Bernard Shaw: Lyster brings him up to remind the group that they have their own world-class “Irish commentator.” Shaw was a contemporary of Joyce and, like Stephen, was obsessed with debunking romantic myths about Shakespeare. Shaw viewed Shakespeare not as a god, but as a man whose genius was often hampered by the limitations of his era.
* Johann Wolfgang von Goethe: Stephen quotes Goethe’s famous warning: “Beware of what you wish for in youth because you will get it in middle life.” * The Irony: Stephen applies this to Shakespeare’s desire for status. Shakespeare wished to be a “gentleman” and a “lord of language,” but once he achieved it, he was haunted by the “undoing” of his youth (the seduction by Anne Hathaway). He got the fame, but it couldn’t cure the old “sore” of his wounded ego.
2. “The Tusk of the Boar”
Stephen makes a highly specific literary comparison here: “The tusk of the boar has wounded him there where love lies ableeding.”
* The Source: This is an allusion to Shakespeare’s poem Venus and Adonis. In the myth, the beautiful youth Adonis is killed by a wild boar’s tusk goring his thigh.
* Stephen’s Interpretation: He uses the boar as a metaphor for Anne Hathaway. He suggests that Shakespeare was “gored” (metaphorically castrated or psychologically broken) by her early sexual dominance over him. This “wound” is what Stephen believes turned Shakespeare into a “ghost” who could never truly be the hero of his own life again.
3. Key Terms & Allusions
| Term | Context & Meaning |
|—|—|
| Dark Lady | The mysterious woman addressed in Shakespeare’s later sonnets. Frank Harris (mentioned by Lyster) argued she was Mary Fitton, a maid of honor to Queen Elizabeth. |
| William Herbert | The Earl of Pembroke, often identified as the “Fair Youth” of the sonnets. Stephen suggests Shakespeare sent this “lordling” to woo for him, only to be betrayed by both the lord and the lady. |
| Auk’s Egg | A metaphor for the Librarian’s smooth, bald head. An “auk” is a flightless bird (extinct in the case of the Great Auk), symbolizing the Librarian as a fossilized or “dead” intellectual prize. |
| Laugh and Lie Down | An old card game, but here it serves as a sexual pun for the “game” of courtship that Shakespeare supposedly lost. |

The “Entr’acte” marks a shift in energy. The heavy, intellectual atmosphere of the library is punctured by the entrance of Buck Mulligan, the “mocker” who treats Stephen’s serious metaphysical theories as a joke.
1. The Mocking Creed: “He Who Himself begot…”
Mulligan’s entrance triggers a blasphemous internal monologue from Stephen. He summarizes the Apostles’ Creed through the lens of Stephen’s obsession with fatherhood and identity:
* The Logic: Stephen describes God the Father as a self-obsessed entity who “sent Himself” to be the “Agenbuyer” (Redeemer).
* The Satire: The phrase “sitteth on the right hand of His Own Self” mocks the idea of the Trinity. Stephen is highlighting the absurdity of a Father being his own Son—which is exactly what he is trying to prove Shakespeare did with his plays.
* “Nailed like bat to barndoor”: A visceral, rustic image of the crucifixion, stripping the event of its “divine” dignity and making it look like a dead animal tacked to a wall.
2. Mulligan’s Wit: “The chap that writes like Synge”
Mulligan’s joke is a sharp jab at the Irish Literary Revival.
* J.M. Synge was a contemporary Irish playwright known for using peasant dialect.
* By saying Shakespeare is “the chap that writes like Synge,” Mulligan is being intentionally anachronistic. He is mocking the provincialism of the Dublin intellectuals who think everything great must somehow be compared to current Irish trends.
3. Key References & Allusions
| Term | Context & Meaning |
|—|—|
| Gaseous Vertebrate | Mulligan’s nickname for God. It suggests a being that has structure (vertebrate) but no substance (gaseous). |
| Was Du verlachst wirst Du noch dienen | German: “What you laugh at, you shall yet serve.” From Goethe. A warning that mocking something doesn’t free you from its power. |
| Agenbuyer | Stephen’s “Old English” translation of Redeemer. “Agen” (again) + “buyer.” |
| Photius & Pseudomalachi | Historical heretics. Stephen identifies with them because they challenged the orthodox “truth” of the Church, just as he challenges the “truth” of Shakespeare. |
| Vining / Prince as a woman | Refers to Edward Vining’s 1881 book The Mystery of Hamlet, which seriously argued that Hamlet was a woman disguised as a man. It shows how “wild” Shakespearean theories were at the time. |
4. The D.B.C. and Hyde’s Lovesongs
* D.B.C.: The Dublin Bread Company, a popular tea room where the characters plan to meet.
* Lovesongs of Connacht: A famous collection by Douglas Hyde, a pivotal figure in the Gaelic Revival. Mulligan is contrasting Stephen’s “obsessive” Shakespeare theory with the “fashionable” interest in Irish folklore that people like Haines (the Englishman) are pursuing.

In this stretch, the library group pivots from the heavy biography of Shakespeare to the more “aesthetic” and playful theories of Oscar Wilde. Meanwhile, Buck Mulligan returns to his role as Stephen’s chief tormentor, mocking a high-minded telegram Stephen sent earlier.
1. What is a Quaker?
The librarian, Thomas Lyster, is frequently referred to as “the quaker librarian.”
* Definition: A Quaker is a member of the Religious Society of Friends, a Christian movement founded by George Fox in the 17th century.
* Beliefs: They are known for their belief in the “Inner Light” (God’s presence in every person), their commitment to pacifism, and their historical use of “plain speech” (using thee and thou instead of you).
* In the Text: Joyce uses Lyster’s Quaker background to contrast his gentle, “benign,” and mediating personality with the sharp, ego-driven arguments of Stephen and the cynical mockery of Mulligan.
2. Etymology of “Gallus”
Mulligan uses the word in his mock-Irish “brogue”: “…for a gallus potion would rouse a friar…”
* Origin: It is a slang shortening of “gallows.” * Evolution: Originally, “gallows-bird” referred to someone who deserved to be hanged (a rascal or a villain).
* Hiberno-English usage: In Irish slang (as popularized by J.M. Synge in The Playboy of the Western World), “gallus” shifted from meaning “villainous” to meaning “bold,” “wild,” “spirited,” or even “excellent” in a reckless way.
* Context: Mulligan is using it to describe a drink so strong and “wild” it could wake up a lecherous monk.
3. Key Concepts & Allusions
| Term | Meaning & Context |
|—|—|
| The Portrait of Mr. W.H. | A story by Oscar Wilde suggesting that Shakespeare’s sonnets were written for a boy actor named Willie Hughes. It’s a “paradox” because there is no historical record of such a person. |
| Ephebe | From Greek ephebos (a youth). Used here to describe the young, blond Mr. Best, suggesting he is like a classical, beautiful youth. |
| Usquebaugh | From Irish uisce beatha (“water of life”). The etymological root of the word Whiskey. |
| The Sentimentalist… | The text of Stephen’s telegram. He defines a sentimentalist as someone who wants the pleasure of an experience without the moral or emotional “cost” (debtorship). |
| The Kips | Dublin slang for the brothel district (Monto). Mulligan is asking if Stephen sent the telegram from a whorehouse. |

It is fascinating to see how the language of the “highroads” (proper English) and the “bypaths” (slang and Irish) collide in Stephen’s world. Here is the breakdown of those two terms.
1. Etymology of Whiskey: The “Water of Life”
The word whiskey is a perfect example of a loanword being “phonetically mangled” until it fits the English tongue. It is a direct translation of the Latin aqua vitae.
* Old Irish: It begins with uisce (water) and bethu (life).
* Middle/Modern Irish: This became uisce beatha (pronounced roughly ish-ka ba-ha).
* The Shift: When English soldiers and settlers arrived in Ireland, they struggled with the pronunciation. Over time, the second word (beatha) was dropped, and uisce was anglicized.
* Phonetic Evolution: * Uisce \rightarrow Usquebaugh (the spelling Joyce uses in your text) \rightarrow Whiskybash \rightarrow Whiskey.
> Note: The “e” in whiskey is generally used for Irish and American spirits, while “whisky” (without the e) is used for Scotch. Given the context of “Dan Deasy’s ducats,” Stephen is definitely drinking the Irish variety.
>
2. Etymology of “The Kips”
Mulligan’s dig about the “Kips” refers to the notorious red-light district of Dublin, specifically the area around Montgomery Street (often called “Monto”).
* Danish/Middle Dutch Origin: The word likely comes from the Middle Dutch kippe or kip, meaning a “hut,” “hovel,” or a low-quality dwelling.
* Evolution to Brothel: By the 18th and 19th centuries, the term moved from meaning a “cheap lodging house” to specifically meaning a brothel or a “house of ill repute.”
* Irish Context: In Dublin, “the kips” became synonymous with the squalor and vice of the city’s slums. When Mulligan asks if Stephen launched his telegram from “the kips,” he is mocking Stephen’s habit of wandering through the city’s underbelly while pretending to be a high-minded intellectual.

The term “Water of Life” sounds poetic, but its origins are a mix of medieval chemistry, medical desperation, and the sheer “miraculous” physical sensation of high-proof alcohol.
1. The Alchemical “Spirit”
In the Middle Ages, alchemy was the precursor to modern chemistry. When early distillers (often monks) figured out how to separate alcohol from water through distillation, they believed they had captured the “essential spirit” of the liquid.
* Purity: Distilled alcohol was clear, unlike the murky beers and wines of the time. This clarity suggested a divine purity.
* Preservation: Unlike water or juice, which would rot or spoil, this new liquid seemed “immortal.” It didn’t decay, and it could preserve organic matter (like fruit or herbs) placed within it.
* The Latin Root: Alchemists named this substance Aqua Vitae. This is the direct ancestor of the Irish Uisce Beatha, the French Eau de Vie, and the Scandinavian Akvavit.
2. Medicinal “Miracles”
Before it was a social lubricant, distilled spirits were strictly medicinal. In an era of plague and infection, a substance that could numb pain and sterilize wounds felt like a gift from God.
* Revitalization: When a person was faint or near death, a dose of high-proof spirits would provide an immediate (if temporary) “jolt” of energy, warming the chest and clearing the head. To an observer in the 1300s, it looked like the liquid was literally bringing the person back to life.
* The “Panacea”: It was believed to cure everything from “heavy spirits” (depression) to digestive issues and the cold.
3. Cultural Variations
The concept was so universal that almost every European language has its own version of “Water of Life”:
| Language | Term | Modern Evolution |
|—|—|—|
| Latin | Aqua Vitae | The scholarly/medical origin. |
| Irish Gaelic | Uisce Beatha | Became Whiskey. |
| Scottish Gaelic | Uisge Beatha | Became Whisky. |
| French | Eau de Vie | Still used for clear fruit brandies. |
| Scandinavian | Akvavit | Still used for caraway/herb spirits. |
| Polish/Russian | Voda (Water) | The diminutive -ka makes it “Little Water” (Vodka). |

This passage marks the moment Leopold Bloom (referred to by the slur “the sheeny” by Mulligan) briefly enters the scene to look for a newspaper file, providing a sharp contrast between the “Greek” ideal of beauty and the gritty reality of history and scandal.
1. The Greek vs. The Hebrew
Mulligan mocks Bloom as “Ikey Moses” and contrasts him with his own “Greek” obsession.
* “Foamborn Aphrodite”: Mulligan was in the museum looking at statues of Venus/Aphrodite. He calls her the mouth “never twisted in prayer,” representing pure, pagan sensuality.
* “Pale Galilean eyes”: A reference to Swinburne’s poem Hymn to Proserpine (“Thou hast conquered, O pale Galilean”), referring to Christ. Mulligan is jokingly suggesting that the Jewish Bloom was looking at the statues’ anatomy (“mesial groove”) with the repressed or clinical gaze of a Christian or a “Greeker than the Greeks.”
2. Stephen’s Defense of the “Stay-at-home”
Stephen compares Shakespeare’s wife, Anne Hathaway, to Penelope (Ulysses’ wife). He argues that while Shakespeare lived a life of “surfeit” (excess) in London, he was constantly torn between “conjugial love” (marriage) and “scortatory love” (lust/prostitution).
* The “William the Conqueror” Anecdote: This is a famous piece of Elizabethan gossip recorded by John Manningham. The actor Richard Burbage had an assignation with a citizen’s wife. Shakespeare overheard, got there first, and when Burbage knocked, Shakespeare sent word that “William the Conqueror came before Richard III” (since Shakespeare’s name was William and Burbage was famous for playing Richard III).
3. Etymologies & Difficult Terms
| Term | Origin & Etymology | Meaning in Context |
|—|—|—|
| Galliard | From Middle French gaillard (“brisk, merry”). | A lively Renaissance court dance. Used to describe the Librarian’s quick, polite exit. |
| Gombeenwoman | From Irish gaimbín (“usury/interest”). | A “gombeen” is a moneylender who takes advantage of the poor. Stephen calls Queen Elizabeth I (Eliza Tudor) this to mock her greed. |
| Marchpane | From Italian marzapane. | Marzipan. Part of the list of “surfeit” (rich foods) Shakespeare enjoyed in London. |
| Scortatory | From Latin scortator (“fornicator”) from scortum (“skin/hide” or “prostitute”). | Relating to illicit sexual connection or prostitution. |
| Mesial groove | From Greek mesos (“middle”). | A technical/anatomical term for the vertical fold or “groove” in the middle of the buttocks (referencing the statue Venus Kallipyge). |
| Venus Kallipyge | Greek: kallos (beauty) + pyge (buttocks). | Literally “Venus of the beautiful buttocks,” a specific type of classical statue. |
| Broadbrim | Reference to the wide-brimmed hats traditionally worn by Quakers. | A nickname for the Librarian, Lyster. |
| Sack | From French vin sec (“dry wine”). | A fortified white wine (like Sherry) popular in Shakespeare’s time. |

In this “art of surfeit,” Stephen portrays London as a playground of sensory excess, contrasting the hungry, “sundered” artist with the physical wealth he eventually acquired.
1. The Art of Surfeit
Stephen uses this term to describe a world overflowing with material luxury. In his view, Shakespeare’s genius wasn’t born in a vacuum; it was fueled by the “grossness” of Elizabethan life.
* The Food: Stephen lists items like marchpane (marzipan), gooseberried pigeons, and ringocandies. The latter were candied roots of the Sea Holly (Eryngium maritimum), which Elizabethans famously ate as aphrodisiacs—furthering Stephen’s point about the “goad of the flesh.”
* The Fashion: He mentions Sir Walter Raleigh having “half a million francs on his back.” This isn’t literal cash, but the value of the jewels, lace, and silver-thread embroidery popular in the court.
* The Underlinen: By calling Queen Elizabeth a “gombeenwoman” with enough underlinen to “vie with her of Sheba,” Stephen is stripping the “Virgin Queen” of her dignity, painting her as a greedy, hoarder-like figure.
2. The “William the Conqueror” Joke
To understand the joke about Dick Burbage, you have to see the wordplay:
* The Play: Burbage was playing Richard III.
* The Historical Pun: In English history, William the Conqueror (1066) chronologically came before Richard III (1483).
* The Reality: William Shakespeare got to the woman’s bed before “Richard III” (Burbage) did. It’s a “conquest” in every sense of the word.
3. Etymologies of the “Surfeit”
| Term | Etymology & Origin | Context/Meaning |
|—|—|—|
| Capon | From Latin caponem (“to cut”). | A castrated rooster, fattened for eating. “Capon’s blankets” suggests a bed that is warm, soft, and associated with gluttony. |
| Lakin | Contraction of “Ladykin” (Little Lady). | A diminutive used for a sweetheart or a “dainty” woman. |
| Birdsnies | From “Bird’s eye.” | An Elizabethan term of endearment, similar to “sweetheart” or “darling.” |
| Punk | Origin obscure, possibly related to “spunk” or “punk” (rotten wood). | In the 1600s, this specifically meant a prostitute. The “punks of the bankside” refers to the brothels near the Globe Theatre. |
| Stays | From French estaye (“support”). | A corset or stiffened bodice. Even the masculine Raleigh wore “fancy stays” to maintain the rigid silhouette of the era. |

In this passage, Stephen is mocking Queen Elizabeth I’s vanity by comparing her wardrobe to that of the Queen of Sheba, a figure of legendary wealth and beauty from the Bible and ancient history.
1. Who was the Queen of Sheba?
The Queen of Sheba is a monarch mentioned in the Hebrew Bible (Kings and Chronicles), the Qur’an, and Ethiopian history (the Kebra Nagast).
* The Biblical Story: She famously traveled to Jerusalem to test the wisdom of King Solomon with “hard questions.” She arrived with a massive caravan of camels bearing gold, precious stones, and “spices such as were never seen again.”
* The Ethiopian Tradition: In Ethiopia, she is known as Makeda. Tradition holds that she and Solomon had a son, Menelik I, who became the first Emperor of Ethiopia, making the Ethiopian royal line “Solomonic.”
* The Symbolism: In literature, “Sheba” is shorthand for unfathomable Oriental luxury, exoticism, and mystery.
2. Why the Comparison to Elizabeth I?
By saying Elizabeth had “underlinen enough to vie with her of Sheba,” Stephen is being biting and ironic:
* Hoarding vs. Heritage: Sheba’s wealth was seen as majestic and generous; Elizabeth’s wealth (in Stephen’s eyes) is the result of being a “gombeenwoman” (a greedy moneylender).
* The “Virgin” Queen: Elizabeth famously never married and cultivated an image of “purity.” Comparing her undergarments to a queen known for a legendary, passionate encounter with Solomon is Stephen’s way of poking fun at Elizabeth’s hidden side.
* Surfeit: It reinforces the “art of surfeit.” Even the “Virgin Queen” was obsessed with the material excess of the era—thousands of dresses and, apparently, a mountain of linen.
3. Etymological Note: Sheba
* Origin: The name likely refers to the Kingdom of Saba (Modern-day Yemen or Ethiopia).
* Meaning: The root is debated, but in Semitic languages, it is often linked to the number seven or the concept of an oath.

The term “gombeen” is one of the most biting Hiberno-English insults in Joyce’s arsenal, dripping with historical resentment. Coupled with his jab at “Eliza Tudor,” Stephen is attacking both the economic and political foundations of the British monarchy.
1. Etymology of Gombeen
The word gombeen comes from the Irish word gaimbín.
* Original Meaning: It literally means a “small slice” or “small portion.”
* Economic Shift: In the 18th and 19th centuries, it came to refer to interest on a loan.
* The “Gombeen Man”: This was a derogatory term for a local moneylender or a middleman merchant who exploited the poor, especially during the Great Famine. They would sell meal or seed on credit at usurious (extremely high) interest rates.
* Stephen’s Usage: By calling Queen Elizabeth I a “gombeenwoman,” Stephen is suggesting that her majesty was nothing more than a high-class loan shark, accumulating her “surfeit” of wealth by squeezing the life out of her subjects and colonies (including Ireland).
2. Tradition of the Female Monarch in England
When Stephen mentions “Eliza Tudor” (Elizabeth I), he is speaking of a woman who was an anomaly in her time. The “tradition” of female monarchs in England was actually quite new and unstable during the 16th century.
* The Salic Law Absence: Unlike France, England did not have “Salic Law,” which strictly prohibited women from inheriting the throne. However, there was a deep-seated patriarchal belief that a woman’s “frailty” made her unfit to lead.
* The First Contenders:
   * Empress Matilda (12th Century): The first woman to claim the throne. Her attempt led to a brutal civil war (“The Anarchy”) because the barons refused to be ruled by a woman. She was never formally crowned.
   * Lady Jane Grey (1553): The “Nine Days’ Queen.” She was a puppet in a power struggle and was executed almost immediately.
* The Tudor Breakthrough:
   * Mary I (Bloody Mary): Elizabeth’s older sister was the first undisputed Queen Regnant (ruling in her own right) of England.
   * Elizabeth I: She was only the second woman to successfully hold the crown.
Stephen’s Point: Because the tradition was so fresh and contested, Elizabeth had to “man up” (wearing “stays” and acting as a “lord of language” herself) to maintain power. Stephen views her not as a graceful queen, but as a shrewd, tough-as-nails “gombeenwoman” who survived a man’s world.

In this intense movement of the library scene, the “Scylla” of historical fact meets the “Charybdis” of Stephen’s bitter psychological interpretation. He is now making his most aggressive legalistic case against Anne Hathaway.
1. The French Interlude: “Cours la Reine”
The passage opens with Stephen’s memory of Paris (the “Cours la Reine” is a famous promenade).
* The Quote: “Encore vingt sous. Nous ferons de petites cochonneries.” (Another twenty sous. We’ll do little “naughty things.”)
* The Meaning: Stephen is juxtaposing the high-society talk of the library with the raw, commercial lust of the “kips” or Parisian streets. He’s suggesting that while they talk of “Penelope,” the reality of sex is often just a transaction.
2. “Blessed Margaret Mary Anycock!”
Buck Mulligan is parodying St. Margaret Mary Alacoque, a French nun who promoted devotion to the Sacred Heart.
* The Pun: By changing her name to “Anycock,” Mulligan is being violently ribald, mocking both the Catholic Church and the sexual “surfeit” Stephen just described. It’s his way of “lowering” the tone of the academic debate.
3. The Evidence: The 40 Shillings and the “Broken Vow”
Stephen presents two “smoking guns” to prove Shakespeare hated his wife:
* The Debt: While Shakespeare was living “richly” in London, Anne had to borrow forty shillings from her father’s shepherd (Thomas Whittington) to buy necessities. Stephen’s logic: If he loved her, why was she begging from a servant?
* The Ghost’s Rage: Stephen argues that in Hamlet, the Ghost isn’t just mad about being murdered; he is obsessed with the “adulterate beast” who took his wife. To Stephen, this is Shakespeare “branding” Anne with infamy. He suggests she didn’t just “overbear” him in the ryefield; she was unfaithful with his own brother (Richard Shakespeare).
4. Etymologies & References
| Term | Origin & Etymology | Context/Meaning |
|—|—|—|
| Giglot | From Middle English gigge (“a flighty girl”). | A lewd, wanton, or giddy woman. Stephen uses it to describe the “court wanton” (Mistress Fitton). |
| Ostler | From Old French hostelier (“innkeeper”). | A stableman who looks after horses. Stephen uses a crude metaphor: Shakespeare acted as a “stableman” for the Earl of Pembroke’s sexual encounters. |
| Canary | Named after the Canary Islands. | A sweet, fortified wine. Sir William Davenant’s mother is accused of using it to lure “cockcanaries” (men). |
| Galliard | (From previous) | Re-contextualized here as “Harry of six wives’ daughter” (Elizabeth I) dancing a brisk galliard. |
| Diamond panes | Architecture. | Small, diamond-shaped glass panes in Tudor windows. It emphasizes Anne’s “imprisonment” in provincial Stratford. |

The “swansong” Stephen refers to is Shakespeare’s Last Will and Testament, and specifically the most debated piece of furniture in literary history: the second-best bed.
1. The Insult in the Will
Stephen’s argument rests on the cold, legal silence of Shakespeare’s final days. In the original draft of the will, Anne Hathaway wasn’t mentioned at all. An interlinear note (an afterthought) was later added:
> “Item I gyve unto my wief my second best bed with the furniture.”
>
* Stephen’s View: He sees this as a final, public slap in the face. To leave the “second-best” anything to a spouse was, in his eyes, an act of “branding her with infamy.”
* The Reality: Modern historians often argue that the “best bed” was the guest bed, and the “second-best” was the marital bed—the one they actually shared. But for Stephen’s theory of a “sundered” marriage, it is the ultimate proof of a lifelong grudge.
2. Shakespeare’s “Midwife”
Stephen mentions that Shakespeare, like Socrates, “had a midwife to mother.”
* Socrates’ Mother: Her name was Phaenarete. Socrates famously compared his method of philosophy to midwifery—he didn’t give birth to ideas, but helped others “deliver” them.
* The Twist: Stephen is suggesting that Shakespeare’s mother, Mary Arden, was the source of his “labor,” but his wife, the “shrew,” was the source of his misery.
3. Etymologies & References
| Term | Origin & Etymology | Context/Meaning |
|—|—|—|
| Swansong | From the ancient belief that swans are silent until just before they die, when they sing a beautiful song. | Refers to Shakespeare’s Will—his final “statement” to the world. |
| Uneared | From Old English erian (“to plow”). | An agricultural metaphor for a woman who has not been “plowed” (impregnated). |
| Goodman | From Good + Man. | An archaic term for the male head of a household; a husband. |
| Lawn Tennyson | A pun on the poet Lord Alfred Tennyson. | Mulligan mocks the “gentleman poet” by associating him with the “lawn” (aristocratic gardens/tennis) and a soft, decorative style. |

In Stephen’s cynical reconstruction of Shakespeare’s London life, he casts the Bard in the lowly, almost voyeuristic role of an “ostler” (a stableman/innkeeper’s assistant) for the Earl of Pembroke.
1. Shakespeare as the “Innkeeper” (The Ostler Metaphor)
The “Sir William Davenant” mentioned earlier is the key to this insult. It was a common 17th-century rumor that Shakespeare was the real father of William Davenant, an Oxford innkeeper’s son.
Stephen takes this gossip and flips it. He suggests that Shakespeare didn’t just “father” children; he facilitated the lusts of the aristocracy.
* The “Holy Office”: Stephen says Shakespeare performed the “holy office an ostler does for the stallion.”
* The Meaning: Just as an ostler leads a stallion to a mare to mate, Stephen suggests Shakespeare used his influence and proximity to the “court wanton” (Mary Fitton) to arrange sexual encounters for his patron, the Earl of Pembroke (the “lord” of the sonnets).
* The Betrayal: In Stephen’s eyes, Shakespeare was “twice spurned.” He loved the Lord (Pembroke) and perhaps the Lady (Fitton), but they ended up with each other, leaving Shakespeare to play the “innkeeper” to their passion while he was left with his “second-best bed” and his “shrew” in Stratford.
2. Etymology of Pembroke
The name Pembroke is of Welsh origin and carries a very literal geographic meaning that fits perfectly with the “sea” and “land” imagery throughout Ulysses.
* Old Welsh: It comes from Penfro.
* Breakdown: * Pen: Means “head,” “end,” or “promontory.”
   * Bro: Means “region,” “country,” or “land.”
* Literal Meaning: “Land’s End” or “The Head of the Region.”
It refers to the Pembrokeshire peninsula in Southwest Wales. Interestingly, for Stephen—who is obsessed with the “end” of things and the boundaries of identity—the name of Shakespeare’s rival literally means the “end of the land,” the point where the earth meets the devouring sea.

You’ve hit on the emotional core of this entire episode. While the librarians are performing “intellectual exegesis” (formal interpretation), Stephen is performing a psychological exorcism.
For Joyce, Shakespeare wasn’t just a writer; he was the “Great Father” of English literature. To a young, struggling Irish writer like Joyce, that stature was a wall he had to climb. By dragging Shakespeare through the mud of “the kips,” ruined marriages, and embarrassing debts, Joyce is humanizing the “God” so that he, a mere mortal, has the space to create.
1. The Purpose: Breaking the “God-Like Stature”
Like George Bernard Shaw, who coined the term “Bardolatry” to mock the mindless worship of Shakespeare, Joyce used psychoanalysis to find the “man” behind the “monument.”
* The Artistic Usurper: Stephen (and Joyce) felt that if Shakespeare was a perfect, untouchable genius, then no one could ever follow him. But if Shakespeare was a “wounded” man who wrote out of spite, jealousy, and sexual frustration, then his art becomes a tool for survival.
* Personal Parallel: Joyce himself lived in “scortatory” exile, had a complex relationship with “home” (Ireland/Stratford), and felt he was a “lord of language” who was socially marginalized. By proving Shakespeare was a “coistrel” and a “gombeen,” Joyce is essentially saying: “If this messy, insulted man could be the greatest poet in history, then so can I.”
2. The “Legal Fiction” of Fatherhood
Since you noted we’ve touched on his theory of paternity, look at how the insults serve that specific logic:
If fatherhood is a “legal fiction” (as Stephen claims), then Shakespeare’s identity is not found in his biological children, but in his creative sons. Stephen is “begetting” a new version of Shakespeare in this room. He is “killing” the old, respectable Shakespeare to give birth to a new, tormented one who looks exactly like Stephen Dedalus.
3. Etymological & Thematic Notes
| Term | Context |
|—|—|
| Exegesis | From Greek exēgeisthai (“to interpret/lead out”). Usually used for explaining the Bible. Stephen treats Shakespeare like a secular Bible, applying “holy” methods to “unholy” rumors. |
| Bardolatry | Coined by George Bernard Shaw. Bard + Idolatry. The worship of Shakespeare as a divine being rather than a playwright. |
| Atonement | At-one-ment. Stephen is seeking a “reconciliation” with the father through his theory, trying to bridge the gap between himself and the greatness of the past. |

After all the fireworks, the “swansong,” and the insults, Stephen is finally cornered. The “sturdy” John Eglinton delivers the killing blow to the performance:
> —You believe your own theory?
> —No, Stephen said promptly.
>
It is a stunning moment of intellectual honesty. After 26 pages of “brilliancies,” he admits it was all a performance—a way to flex his “lord of language” muscles and to psychologically deal with his own father-complex.
1. The “Legal Fiction” Finalized
The purpose of the theory was never “truth”; it was displacement. By “proving” Shakespeare was a tormented exile, a cuckold, and a ghost, Stephen was actually describing himself.
* The Father-Son Loop: If he doesn’t believe the theory, he remains “sundered” from the tradition. He is still a son without a father, wandering Dublin without a home.
* The “Art of the Lie”: This aligns with Oscar Wilde’s idea (which Mr. Best brought up earlier) that the artist doesn’t tell the truth; the artist creates a “mask” that is more real than the truth.
2. Etymologies of the Exit
| Term | Origin & Etymology | Context/Meaning |
|—|—|—|
| Atonement | From “At-one-ment” (being at one). | Stephen is looking for a way to be “at one” with his identity, but his “No” shows he hasn’t found it yet. |
| Paternoster | From Latin Pater noster (“Our Father”). | Mentioned as Stephen watches the “fatherly” librarian. It reinforces the theme of seeking a spiritual father. |
| Apologia | From Greek apo (away) + logos (speech). | A formal defense of one’s opinions or conduct. This entire library scene is Stephen’s apologia for his own existence. |
3. The End of the “Scylla and Charybdis”
As Stephen and Mulligan leave the library, they pass a “patient silhouette” waiting in the doorway. It is Leopold Bloom.
Stephen doesn’t know it yet, but he has just walked past the man who—for one night, at least—will act as the “father” he has been trying to invent through Shakespeare. The “God-like stature” of the playwright is replaced by the “human stature” of a Jewish advertisement-canvasser with “pale Galilean eyes.”

In this passage, Stephen connects Shakespeare’s financial ruthlessness to the political gore of the Elizabethan era. He paints the “Bard” not as a soaring spirit, but as a man with a “sense of property” who profited from famine and state executions.
1. Shakespeare the “Cornjobber”
Stephen cites historical records of Shakespeare hoarding grain during a famine to prove he was a “gombeenman” (as discussed earlier).
* The “Pound of Flesh”: Stephen argues that Shylock wasn’t just a character; he was a reflection of Shakespeare’s own business practices. He sued people for small amounts (like the price of malt) while people were starving.
* Lopez and the “Jew’s Heart”: He references Rodrigo Lopez, Queen Elizabeth’s physician (of Jewish descent), who was executed on thin charges of treason. Stephen suggests Shakespeare wrote The Merchant of Venice to capitalize on the “jewbaiting” (antisemitism) that followed this public butchery.
2. The “Philosophaster” and the Witchroaster
* King James I: When Queen Elizabeth died, James VI of Scotland became James I of England.
* Witchroasting: James was obsessed with demonology and wrote a book on it. Stephen argues Macbeth (with its witches) was essentially “fan-service” for the new king.
* Philosophaster: A “pretender to philosophy.” Stephen’s insult for James I, who fancied himself an intellectual.
3. Etymologies & Difficult Terms
| Term | Origin & Etymology | Meaning in Context |
|—|—|—|
| Tod | From Middle English todde. | An old weight unit for wool or grain, usually 28 pounds. 10 tods is a massive hoard. |
| Leech | From Old English læce (“healer”). | An archaic term for a doctor or physician (like Lopez). |
| Equivocation | From Latin aequus (equal) + vocare (to call). | Telling a lie that is technically a truth. A major theme in Macbeth and the trial of the Jesuits. |
| Buckbasket | From Middle English bouken (“to wash”). | A large laundry basket. In The Merry Wives of Windsor, Falstaff is hidden in one. |
| Sufflaminandus sum | Latin: “I must be stepped on/restrained.” | Ben Jonson famously said this of Shakespeare’s runaway talking. Stephen applies it to his own rambling performance. |
| Mingo… Mingere | Latin verb paradigm. | “I urinate.” Mulligan is mocking Stephen’s “theolologicophilolological” (theology + philology) jargon by reducing it to bodily functions. |
4. Patsy Caliban & Our American Cousin
* The Sea Venture: A ship wrecked in Bermuda (the inspiration for The Tempest).
* Patsy Caliban: Stephen views the “monster” Caliban as a prototype for the colonized Irishman or the “American cousin”—the “primitive” seen through the eyes of the European colonizer.

Stephen responds to the challenge with his signature mix of linguistic gymnastics and historical cynicism. To “prove” Shakespeare’s religion or ethnicity is, for him, another way to show how the artist absorbs everything—the money, the politics, and the blood of his time—to build his “sense of property.”
1. The “Holy Roman” vs. The Jew
The Dean of Studies’ claim that Shakespeare was a “Holy Roman” (Catholic) refers to the theory that Shakespeare’s father, John, was a recusant Catholic. Stephen, however, is more interested in the economic “Jewishness” he just described.
* The Argument: Stephen isn’t arguing that Shakespeare was ethnically Jewish, but that he was “Shylockian” in his soul. He suggests that Shakespeare’s “uprightness of dealing” was merely the shrewdness of a man who knew how to “exact his pound of flesh” from a fellow player.
* The Convergence: By linking the execution of Lopez (the “sheeny” doctor) to the writing of The Merchant of Venice, Stephen argues that Shakespeare’s “religion” was simply opportunism. He wrote what the “Mafeking enthusiasm” (the jingoistic crowd) wanted to hear.
2. Theolologicophilolological Jargon
Mulligan’s mockery (“Mingo, minxi…”) highlights the absurdity of Stephen’s method. Stephen is blending:
* Theology: The nature of the father and son (the “consubstantial” argument).
* Logic: The “burden of proof” and legalistic evidence.
* Philology: The study of how words (like “William the Conqueror” or “Shylock”) carry the weight of history.
3. Key Etymologies & Terms
| Term | Origin & Etymology | Meaning in Context |
|—|—|—|
| Philosophaster | Latin philosophus + -aster (diminutive suffix meaning “ersatz” or “bad”). | A “pretender” to philosophy. A sharp jab at King James I’s intellectual vanity. |
| Maltjobber | Malt + Jobber (one who buys/sells for profit). | Someone who buys grain to resell at a higher price during a shortage. Stephen uses it to label Shakespeare a famine profiteer. |
| Equivocation | (See below) | Specifically refers to the Jesuit doctrine of mental reservation, used during the trials of the Gunpowder Plot. |

Posted on by dancinglightofgrace

Horseness is the whatness of allhorse

This passage is a dense weave of references from the “Scylla and Charybdis” episode of James Joyce’s Ulysses. Set in the National Library of Ireland, it captures a debate on Shakespeare and mysticism.
Here is an elaboration on the figures and terms you highlighted:
The Key Figures (The Initials)
* A.E. (George Russell): A major figure in the Irish Literary Revival, a poet, painter, and committed theosophist. Joyce uses the initials “A.E.” because Russell famously used them as a pen name (derived from “Aeon”). In this scene, he represents the spiritual, mystical side of the Irish intellect, which the protagonist, Stephen Dedalus, views with some skepticism.
* K.H. (Koot Hoomi): In Theosophy, Koot Hoomi is believed to be one of the “Masters of the Ancient Wisdom” or Mahatmas. These are high-level spiritual beings who supposedly oversaw the development of the Theosophical Society. Adepts believed he lived in the Himalayas and communicated via “precipitated” letters.
* H.P.B. (Helena Petrovna Blavatsky): Mentioned at the end of your excerpt, she was the co-founder of the Theosophical Society. The “elemental” mentioned refers to a spirit or supernatural entity that followers claimed she could manifest.
Linguistic & Mystical Terms
Hiesos Kristos
This is a stylized, “esoteric” transliteration of Jesus Christ. By using “Hiesos,” Joyce is mimicking the way theosophists of the era tried to link Christian figures back to Greek, Egyptian, or Sanskrit roots to emphasize a “universal” hidden religion. Stephen describes him as a “magician of the beautiful,” viewing the religious figure through an aesthetic, artistic lens.
The “Allfather” and the “Logos”
Stephen is mentally cycling through various heresies and mystical definitions of God:
* Logos: The “Word” from the Gospel of John, but here mixed with the idea of a suffering universal spirit.
* The Fire/Sacrificial Butter: These are direct echoes of the Bhagavad Gita (specifically Chapter 9, Verse 16), where Krishna says, “I am the ritual, I am the sacrifice… I am the butter.”
The “O.P.” (Ordinary Person)
This is a bit of dry, elitist humor within the mystical circle. The “Life Esoteric” is reserved for the enlightened; the “Ordinary Person” (O.P.) is stuck in the cycle of Karma and cannot yet access the higher “plane of buddhi” (the plane of pure divine intellect).

This section of Ulysses continues the sharp intellectual sparring between Stephen Dedalus and the Dublin literati. The tone shifts from the “esoteric” mysticism of the previous passage to a clash between Platonic idealism and Aristotelian realism.
Definitions & References
“Pfuiteufel!” and the “Elemental”
The opening is Stephen’s internal mockery of the Theosophists. “Pfuiteufel” is a German exclamation of disgust (literally “Fie, devil!”). He is poking fun at the anecdote about H.P. Blavatsky’s “elemental” spirit—suggesting that looking at such a supernatural entity is as scandalous as looking at a lady’s private undergarments.
“Horseness is the whatness of allhorse”
This is Stephen’s simplified, slightly mocking take on Aristotle’s quidditas (whatness).
* Plato would argue that a physical horse is just a poor shadow of the “Ideal Horse” existing in a higher realm.
* Aristotle (the “model schoolboy”) argued that the essence of a horse exists within the horse itself.
   Stephen side-steps the “eons” and “spiritual streams” of the Theosophists to focus on the concrete reality of the “here” and “now.”
“God: noise in the street”
This is one of Stephen’s most famous (and cynical) definitions. To him, God isn’t a mystical “Allfather” or an “Ineffable Name”; God is simply a random, loud event in the physical world—a shout in the street—emphasizing his move away from religious dogma toward sensory experience.
“Jubainville and Hyde”
The characters mention real-world figures of the Irish Literary Revival:
* H. d’Arbois de Jubainville: A French historian who studied Celtic mythology.
* Douglas Hyde: The author of Love Songs of Connacht and later the first President of Ireland.
* Haines: The Englishman from the first episode. His departure to buy Hyde’s book shows his “tourist” interest in Irish culture, which Stephen finds somewhat superficial.
The “Lean Unlovely English”
The rhyming quatrain at the end is a parody of the Victorian “Celtic Twilight” style of poetry. It mocks the self-conscious, overly precious way the Irish poets of the time (like A.E. or W.B. Yeats) tried to translate Gaelic sentiments into English.

This passage highlights the tension between the “mystical” Irish nationalists (represented by A.E.) and the “aesthetic” modernists (Stephen and Mr. Best).
The Verse: “Bound thee forth, my booklet…”
The verse is a bit of an internal doggerel by Stephen, mocking the style of the Irish Literary Revival.
* Interpretation: Stephen is parodying the self-deprecating, archaic tone used by Irish writers who were trying to create a “national” literature. By using words like “ween” (think/believe) and “thee,” he mocks the artificiality of their style.
* “Lean unlovely English”: This is a direct jab at the struggle of Irish writers to express Gaelic concepts in the language of their “oppressor.” Stephen implies that the result is often clunky and ungraceful.
* “Peatsmoke is going to his head”: John Eglinton suggests that the romantic, rural obsession with “peasant visions” is making these writers (or perhaps Haines) lose their grip on intellectual reality.
Etymology: Connacht
The name Connacht (or Connaught) has deep roots in Old Irish.
* Connachta: The word originally referred to a group of people, the “descendants of Conn.”
* Conn Cétchathach: This refers to “Conn of the Hundred Battles,” a legendary High King of Ireland.
* Suffix “-acht”: This indicates a collectivity or the territory belonging to the descendants of Conn.
In the context of this passage, Connacht represents the “wild West” of Ireland—the spiritual home of the “peasant on the hillside” that A.E. (George Russell) views as the source of true Irish revolution.
Key Concepts in the Dialogue
The “Auric Egg” of Russell
Stephen mocks A.E. by calling him an “auric egg.” In Theosophy, the “auric egg” is the energy field or aura surrounding a person. It suggests Russell is so wrapped up in his spiritual “bubble” that he speaks “occultly” rather than practically.
Mallarmé and the “Book of Himself”
Mr. Best brings up the French symbolist poet Stéphane Mallarmé.
* “Il se promène, lisant au livre de lui-même”: (He walks, reading the book of himself).
* This is a famous description of Hamlet. To the French symbolists, Hamlet wasn’t just a prince in a play; he was the ultimate intellectual, looking inward at his own soul rather than outward at the world.
Hamlet ou Le Distrait
The French title literally means “Hamlet, or the Distracted One.” Stephen’s witty translation—”The absentminded beggar”—is a pun on a very famous poem by Rudyard Kipling about British soldiers. He is essentially deflating the high-brow French aestheticism with a low-brow British military reference.

You’re absolutely right—in a nautical context, “to conn” (or cond) means to direct the steering of a ship. It comes from the Middle English conne, meaning “to know” or “to guide,” related to the word “conduct.”
However, in the context of the Irish province Connacht, the word has a completely different linguistic lineage. It’s a classic case of homonyms (words that sound the same but have different roots).
The Linguistic Split
| Word | Origin | Meaning |
|—|—|—|
| Conn (Nautical) | Anglo-French / Latin (conduite) | To direct the helm; to know the way. |
| Conn (Irish) | Old Irish (Conn Cétchathach) | A proper name meaning “Chief” or “Intellect.” |
Why the distinction matters in Ulysses
While the nautical “conn” isn’t the etymology of the province, the idea of “steering” and “knowing” is very “Joycean.”
* Intellect vs. Ocean: Stephen Dedalus is obsessed with language. He often plays with the fact that the Irish name Conn also translates to “sense,” “reason,” or “head.” * The Irony: A.E. and the others are talking about Connacht as a place of “peasant dreams” and “visions.” Stephen, the intellectual, likely sees the irony in a place named after “Reason” or “Headship” being used as a symbol for mystical, unthinking fog.
So, while you’re correct about the naval term, the Irish province is strictly the “Land of the Descendants of Conn.”

In this passage, Stephen Dedalus is performing a “cinematic” reconstruction of Elizabethan London, trying to make the ghost of Shakespeare feel tangible to his listeners.
Chivying
Chivying (or chivying) means to harass, nag, or persistently urge someone to move.
In this context, the “pen” (a female swan) is “chivying her game of cygnets” (her baby swans). Joyce is painting a vivid picture of a mother swan nipping at or nudging her babies toward the rushes of the riverbank.
It also serves a double purpose:
* The Literal: A natural scene on the Thames as Shakespeare walks by.
* The Figurative: It reinforces the “Swan of Avon” nickname for Shakespeare, suggesting even the wildlife in his vicinity reflects his identity, though he is too preoccupied with his own thoughts to notice them.
Key Allusions & Context
“The absentminded beggar”
This is Stephen’s sharpest joke here. It was a hugely popular poem by Rudyard Kipling, written to raise money for soldiers in the Boer War. By calling Hamlet an “absentminded beggar,” Stephen is dragging the high-brow French “Distrait” down into the muddy reality of British imperialism.
“The concentration camp sung by Mr Swinburne”
This is a chillingly prophetic line. Joyce (through Stephen) is referring to the internment camps used by the British during the Boer War. He links the “bloodboltered” (blood-matted) violence of Hamlet’s finale to the modern horrors of war, suggesting that Shakespeare’s “butcher” instincts (as a supposed butcher’s son) foresaw modern brutality.
“Sackerson” and “Canvasclimbers”
* Sackerson: A famous bear used for bear-baiting at the Paris Garden near the Globe Theatre.
* Canvasclimbers: Sailors. Stephen is populating the scene with the “groundlings”—the rough, sausage-eating sailors who sailed with Sir Francis Drake and then stood in the pit of the theatre.
“The Huguenot’s house in Silver Street”
This is a factual historical detail. Shakespeare actually lodged with a Huguenot (French Protestant) family named Mountjoy on Silver Street in London. Stephen is using “local colour” to prove his mastery of the subject to the older scholars.

In the vivid world of Ulysses, Stephen Dedalus populates his historical imagination with these rougher elements of Elizabethan life to contrast the “pure” philosophy of Plato and Aristotle.
Sir Francis Drake (c. 1540–1596)
Drake was a legendary (and, to the Spanish, notorious) English sea captain, privateer, and explorer.
* Global Explorer: He was the first Englishman to circumnavigate the globe (1577–1580) in his ship, the Golden Hind.
* Military Leader: He was second-in-command of the English fleet when it defeated the Spanish Armada in 1588.
* The “Canvasclimbers”: When Stephen mentions “canvasclimbers who sailed with Drake,” he is referring to the hardened sailors who had seen the edges of the known world and were now standing in the “pit” of the Globe Theatre, eating sausages and watching Shakespeare’s plays.
Bear-Baiting
Bear-baiting was a popular, albeit incredibly violent, blood sport in 16th and 17th-century England. It was the “action movie” of the Elizabethan era.
* The Setup: A bear (like the famous Sackerson mentioned by Stephen) would be chained to a stake in the center of a pit.
* The Action: A pack of specially bred hunting dogs (usually mastiffs) would be released to attack the bear. The “sport” was watching how many dogs the bear could fend off or kill before being overcome.
* The Location: In London, this happened mostly in the Bankside district (the Southwark side of the Thames), often in the same neighborhoods as the theaters.
Stephen mentions the bear Sackerson growling in the Paris Garden (a famous baiting arena) to emphasize that Shakespeare’s high art existed right next door to literal slaughter and animal screams. It grounds the play Hamlet in a world of raw, physical violence.

You’ve hit on exactly why Stephen Dedalus brings it up. He is trying to strip away the “polite” academic view of Shakespeare and remind his audience that the plays were written for a public that enjoyed watching a bear get torn apart by dogs.
To Stephen, the “bloodboltered shambles” of Hamlet’s final act—where almost every main character dies on stage—wasn’t just high tragedy; it was the theatrical version of a trip to the baiting pits.
Bear-Baiting vs. Modern Blood Sports
You’re right that modern sensibilities (and laws) have largely pushed these spectacles out, but the comparison of “goriness” is fascinating:
* Bear-Baiting: This was uniquely visceral because of the size of the animals. It wasn’t just a quick kill; it was a prolonged, noisy struggle involving heavy chains, snapping mastiffs, and a massive predator. It took place in a circular “arena” very similar to the layout of the Globe Theatre.
* Bullfighting: While still very controversial and bloody, it follows a strict, almost balletic ritual. In Elizabethan bear-baiting, there was no “art” to the kill—only the raw endurance of the bear.
* Cockfighting: As you noted, this persists in shadows today. It’s “less gory” perhaps only in the volume of blood, but the intensity and the gambling culture surrounding it are direct descendants of the Elizabethan pits.
The “Sackerson” Connection
Stephen mentions Sackerson by name because he was a real, “celebrity” bear of the time. Shakespeare even gives him a shout-out in The Merry Wives of Windsor, where a character brags about having seen Sackerson “loose twenty times.”
By mentioning him, Stephen is proving that Shakespeare lived in a world where humans and beasts were constantly pitted against one another. It supports his argument that Shakespeare isn’t just a “philosopher” like Plato—he’s a man who understands the “shallows” of the butcher’s shop and the bear pit.

You’ve zeroed in on the exact “nerve center” of Stephen’s argument. By noting the distinction between “I am thy father” and “I am thy father’s spirit,” you are touching on the core of Stephen’s theory about paternity.
In Stephen’s view, paternity is a legal and social “fiction”—an invisible bond that can only be proven by faith or word of mouth, whereas maternity is a physical, undeniable fact. By saying “I am thy father’s spirit,” the ghost confirms he is an absence, a memory, and a shadow.
The Theory: Shakespeare as the Ghost
Stephen’s grand “theology” of Shakespeare hinges on a few shocking claims:
* The Casting: Shakespeare (the actor) supposedly played the part of the Ghost, while the great Richard Burbage played Hamlet.
* The Real Son: Shakespeare’s only son, Hamnet, died at age eleven. Stephen argues that by playing the Ghost, Shakespeare is addressing his dead son through the living actor. He is “the murdered father” (denied his legacy) addressing “the dispossessed son.”
* The Betrayal: Stephen suggests the “Guilty Queen” (Gertrude) is actually Ann Hathaway. He believes Ann was unfaithful to Shakespeare with his brothers (Richard or Edmund), and that the plays are Shakespeare’s way of processing his domestic shame.
Key References & Terms
“As for living our servants can do that for us”
A.E. (George Russell) quotes Villiers de l’Isle-Adam, a French symbolist. This represents the “Scylla” side of the debate—the idea that art should be pure and detached from the “greenroom gossip” of the artist’s real life. A.E. thinks Stephen’s focus on Shakespeare’s debts and wife is “prying.”
“Agenbite of Inwit”
This is one of the most famous phrases in the book.
* Etymology: It is Middle English for “Remorse of Conscience” (literally: the again-biting of the inner-wit).
* Context: Stephen is feeling guilty because he borrowed a pound from A.E. and hasn’t paid it back. He spent it on a prostitute (“Georgina Johnson”).
“Molecules all change… I am other I now”
Stephen tries to use a scientific excuse to avoid his debt. Since the cells in our bodies are constantly replaced, he argues he is literally not the same physical person who borrowed the money five months ago.
“Entelechy, form of forms”
Immediately after the “molecule” joke, Stephen’s conscience snaps back. He uses the Aristotelian term Entelechy (the soul or the “vital principle” that stays the same even as the body changes). He realizes that even if his molecules change, his “I”—his memory and his sins—remains the same.
“A.E.I.O.U.”
This is a brilliant triple pun:
* The vowels of the alphabet.
* A.E., I Owe Unto: A reminder that he owes George Russell (A.E.) money.
* The motto of the Habsburg Emperors (Austriae est imperare orbi universo), mocking his own grand intellectual ambitions while he can’t even pay back a pound.

You’ve hit on a profound philosophical distinction. In the world of Ulysses, and specifically in Stephen’s Aristotelian framework, the Ghost serves as the bridge between memory and the present. If the Ghost is an “archive,” it is a dynamic and demanding archive, not a passive one. Here is how that “otherness” functions:
1. The Ghost as “The Memory of the Tribe”
For Stephen, the Ghost is the “spirit” of the past that refuses to stay buried. It represents the transmission of trauma. It is aware it is not alive, which gives it a terrifying authority: it possesses the “truth” of the past that the living (Hamlet, Gertrude, Claudius) are trying to forget or overwrite.
2. The Ghost as the “Image of the Creator”
theory. He argues that:
* The Father (The Ghost/Shakespeare): Is the “spectre” who has already lived, suffered, and been betrayed. He is the archive of experience.
* The Son (Hamlet/Burbage): Is the “action”—the one who must act upon that memory in the physical world.
By having the Ghost say “I am thy father’s spirit,” Joyce suggests that paternity itself is a ghost-story. A father is only a “father” because of a story told to the son. The Ghost is the archive of that legal and spiritual claim.
3. The “Entelechy” of the Play
Earlier, Stephen muses on Entelechy—the soul that stays the same while the body’s molecules change.
The Ghost functions as the Entelechy of the Danish Court. The bodies in the castle have changed (Claudius is now King, Gertrude is remarried), but the spirit of the true Kingdom remains in the Ghost. It is the “form” of the past that remains “by memory because under everchanging forms.”
4. The Mirror of the Artist
Finally, the Ghost is an archive for Shakespeare himself. By playing the Ghost, Shakespeare “archives” his own life—his grief for his dead son Hamnet and his resentment toward his wife Ann Hathaway. He stands on stage as a “ghost by absence” (since he is away from Stratford) and “a ghost by death,” speaking his own life’s secrets into the “ear” of the public.

This passage is a masterclass in Joyce’s ability to weave personal trauma into historical debate. Stephen is defending Ann Hathaway not because he likes her, but because he sees her as the physical reality that “made” Shakespeare—just as his own mother made him.
Here are the etymologies and definitions for the difficult terms in this section:
1. Liliata rutilantium
This is a truncated version of a Latin prayer from the Ordo Commendationis Animae (the Recommendation of a Soul to God).
* Etymology: Liliata (lilied) + rutilantium (of the shining/glittering ones).
* Context: The full phrase is “Liliata rutilantium te confessorum turma circumdet” (May the lilied throng of shining Confessors surround thee). Stephen is haunted by the prayer he heard at his mother’s deathbed, which he refused to recite.
2. Xanthippe
* Etymology: Greek Xanthos (yellow/blonde) + hippos (horse).
* Background: She was the wife of Socrates. History (largely written by men) has painted her as a “shrew” or a nagging wife. John Eglinton uses her to mock Stephen’s defense of Ann Hathaway, suggesting a nagging wife is a burden, not a “portal of discovery.”
3. Dialectic
* Etymology: Greek dialektikē (the art of debate), from dia- (across) + legein (to speak).
* Context: Stephen wittily argues that Socrates learned how to argue (dialectic) by dealing with his difficult wife.
4. Epipsychidion (and Socratididion)
* Etymology: Greek epi- (upon) + psukhē (soul/spirit). It literally means “about the little soul.”
* Context: Epipsychidion is a famous poem by Percy Bysshe Shelley about the idealization of a beloved. Stephen creates the mock-Greek name “Socratididion” (Little Socrates) to poke fun at the idea of Socrates having a “soulmate” wife in addition to his “nagging” one.
5. Absit nomen!
* Etymology: Latin. Absit (let it be absent) + nomen (the name).
* Meaning: “Far be the name!” It is a variation of absit omen (may there be no ill omen), used here because the historical existence of Socrates’ second wife, Myrto, is debated and “scandalous.”
6. Caudlelectures
* Etymology: Caudle (a warm drink for the sick/new mothers) + lecture.
* Meaning: A “curtain lecture”—a private scolding given by a wife to her husband in bed.
* Context: Stephen is saying that despite everything Socrates learned from women (his mother’s “midwife lore” and his wife’s “scoldings”), it didn’t save him from being executed by the state.
7. Archons of Sinn Fein
* Etymology: Archon (Greek for “ruler/magistrate”) + Sinn Féin (Irish for “Ourselves”).
* Context: This is a sharp, anachronistic joke. Stephen is comparing the ancient Greek judges who sentenced Socrates to the radical Irish Nationalists of his own day. He is calling the nationalists narrow-minded executioners of genius.
“Errors are the portals of discovery”
This is one of the most famous lines in the novel. Stephen is arguing that for a “man of genius,” there is no such thing as an accident. If Shakespeare married Ann Hathaway “by mistake,” that mistake was necessary to provide the “material” for his greatest tragedies.

You’ve hit on the absolute truth of Ulysses. Stephen’s “theory” is widely considered a vehicle for Joyce’s own obsession with the “human” Shakespeare. Joyce famously disliked the image of Shakespeare as a detached, god-like creator (the “Platonic” view); he preferred to see him as a man who suffered the indignities of a messy marriage, financial debt, and exile.
Here are the etymologies and the hidden logic behind Stephen’s (and Joyce’s) wordplay:
1. “Ann hath a way”
This is the most famous pun in the chapter. It’s a play on Ann Hathaway’s name.
* The Source: It actually echoes a poem attributed to Shakespeare (or his era) called “A Lover’s Complaint,” which contains the line “To teach it guide, and give it way… My Anne hath a way.”
* The Meaning: Stephen is arguing that Shakespeare didn’t “choose” his wife. She “had a way” of getting what she wanted. He was a 18-year-old boy; she was a 26-year-old woman. In Stephen’s eyes, she was the “greyeyed goddess” (Venus) who seduced the “boy Adonis” (Shakespeare) in a cornfield.
2. Etymologies & Archaic Terms
* Lollard costard:
   * Lollard: (Middle Dutch lollaerd, “one who mumbles”) A follower of John Wycliffe; a heretic.
   * Costard: (Old French coste, “rib”) A large type of apple, but in Elizabethan slang, it meant a person’s head.
   * Meaning: Stephen is calling the bald, pink-headed librarian a “heretic head” in a playful, mock-Elizabethan way.
* Romeville: * Etymology: “Rome” (cant/slang for “great/fine”) + “ville.”
   * Meaning: This was thieves’ cant (slang) for London. By using this, Stephen suggests Shakespeare arrived in the capital not as a scholar, but as a rough-and-tumble traveler with “a memory in his wallet.”
* Doxy:
   * Etymology: Likely from Middle Dutch docke (doll).
   * Meaning: A lover or mistress, often implying a woman of low virtue.
* Comether:
   * Etymology: A contraction of “come hither.”
   * Meaning: To “put the comether” on someone is an Irish idiom for using charm or persuasion to entice or “catch” them.
3. The “Boywomen” Theory
This is a crucial bit of literary criticism. Stephen (and Joyce) notes that Shakespeare’s women are often “the women of a boy.” * Historical Reality: In Shakespeare’s time, women were forbidden from the stage; young boys played the female parts.
* Stephen’s Interpretation: He argues that Shakespeare’s female characters feel “lent” their life by males. This supports his theory that Shakespeare never truly “knew” or understood women—except perhaps for the one woman who “tumbled” him in the cornfield and left him permanently scarred.
4. “If others have their will…”
This is another double-pun. Will refers to:
* William Shakespeare himself.
* Shakespeare’s Sonnet 135, where he puns on the word “Will” repeatedly (meaning desire, the name Will, and the future).
   Stephen is saying that while other men have their “will” (desire), Shakespeare simply has his “Ann,” who has her “way.”

The alliteration you noticed—”Peter Piper pecked a peck of pick of peck of pickled pepper”—is a classic English tongue-twister with a long history, though Joyce playfully mangles it here to mimic Mr. Best’s “piping” voice.
History of “Peter Piper”
The rhyme first appeared in print in 1813 in a book titled Peter Piper’s Practical Principles of Plain and Perfect Pronunciation, published by John Harris in London.
* The Purpose: It was originally a pedagogical tool—an exercise to help children master the letter P.
* The Legend: Some folklorists believe “Peter Piper” was based on a real person: Pierre Poivre, an 18th-century French horticulturalist and “spice pirate” who stole cloves and nutmeg from the Dutch to grow them on his own plantation. (The “pickled peppers” in the rhyme might be a corruption of the various spices he “pecked” or pinched).
Interpretation of the Passage
Joyce uses this nursery rhyme to contrast the “quintessential triviality” of the Dublin literati with the heavy, mystical “Yogibogeybox” (Stephen’s mocking term for Theosophy) that follows.
1. “Yogibogeybox in Dawson chambers”
Stephen is mocking the Theosophical Society’s meetings. He lists their interests with total disdain:
* Isis Unveiled: A foundational book by H.P. Blavatsky.
* Mahamahatma / Aztec logos: He’s mocking their hodgepodge of Eastern and Western mysticism.
* Pineal glands aglow: A reference to the “third eye.” To Stephen, these people are just “hesouls and shesouls” swirling in a spiritual vacuum.
2. “Aristotle’s Experiment”
Stephen performs a physical trick with his index fingers on his hat (caubeen).
* The Experiment: If you cross your middle finger over your index finger and touch a small object (like a pea or the rim of a hat), it feels like there are two objects instead of one.
* The Logic: Stephen uses this to ground himself in reality. Aristotle argued that a thing is what it is (Necessity). Despite the mystical “shoals of souls” Russell talks about, Stephen asserts: “Argal (Therefore), one hat is one hat.”
Title Suggestions for your Article
Based on this latest section of Ulysses and your previous draft, here are a few titles that bridge the two:
* “Argal, One Hat is One Hat: Teaching in the Yogibogeybox” (Captures the chaos of the students and the grounding of the tutor).
* “Between the Acres of the Rye and the Bus Service Game” (Contrasts the poetic Shakespearean world with the modern student).
* “The Pineal Glands of Chhatarpur” (A witty nod to the “glowing” energy of your tutoring sessions).

This passage continues the “Scylla and Charybdis” episode, where Stephen Dedalus navigates the petty gossip and high-flown mystical talk of the Dublin intellectual elite.
1. “As in wild earth a Grecian vase”
This is a line from a poem titled “A Drover” by the Irish poet Padraic Colum.
* The Imagery: The “Grecian vase” represents classical, perfect form, while the “wild earth” represents the rugged, unpolished reality of Ireland.
* The Context: Yeats admired this line because it captured the essence of the Irish Literary Revival: the attempt to take raw, folk elements (the “wild earth”) and elevate them to the level of high art (the “Grecian vase”). It’s a direct parallel to what we discussed earlier—the struggle to find beauty in “lean unlovely English.”
2. “That Moore is Martyn’s wild oats?”
This is a sharp, witty jab involving two leaders of the Irish Literary Theatre: George Moore and Edward Martyn.
* The Metaphor: To “sow one’s wild oats” usually refers to a young man living a dissolute, rebellious, or promiscuous life before settling down.
* The Joke: Susan Mitchell (a real-life Dublin wit) suggested that George Moore—who was boisterous, scandalous, and loud—was the “wild oats” of the very pious, conservative, and Catholic Edward Martyn. It implies that Moore is the personification of all the fun and trouble Martyn was too “proper” to have himself.
* Don Quixote and Sancho Panza: The librarian further mocks them by comparing them to Cervantes’ famous duo—Moore as the delusional knight (Quixote) and Martyn as the earthy, long-suffering squire (Sancho).
Key Terms & Etymologies
* Cordoglio:
   * Etymology: Italian cuore (heart) + doglia (pain/grief).
   * Context: Stephen associates Cordelia (King Lear’s daughter) with the word “Cordoglio.” He is playing with the sounds of their names to link the character to deep, heartfelt sorrow. This connects back to your article’s theme of mothers and grief—Lir’s daughter in Irish myth (the Children of Lir) suffered for 900 years.
* Nookshotten:
   * Etymology: An old English term (used by Shakespeare in Henry V). Nook + shotten (projected or spawned).
   * Meaning: It refers to something with many corners, angles, or “nooks.” Stephen is likely using it to describe the “cornered” or fragmented nature of the conversation he is trapped in.
* Argal:
   * Etymology: A corruption of the Latin ergo (therefore), famously used by the gravedigger in Hamlet. Stephen uses it to mock the “logic” of the men around him.
* Bullockbefriending:
   * This is Stephen’s private nickname for Mr. Deasy (from the second episode), whom he is currently trying to help by getting a letter published in the newspaper (the “pigs’ paper”). Deasy is obsessed with foot-and-mouth disease in cattle.
Title Recommendation for your Article
Since you mentioned the “wild oats” and the contrast between your “wild” students and your academic research, a title like “Wild Earth and Grecian Vases: A Chhatarpur Tutoring Log” would be a perfect literary nod to this passage.