By Richard Ellmann
A critique of the narrative, moral and aesthetic strands in Joyce's masterpiece, Ulysses.
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Additional resources for Ulysses on the Liffey
Example text
But, after rejecting lotophagous temptations, he is less indulgent towards Lyons's betting mania, which comes at the chapter's end: 'Regular hotbed of it lately', he complains. Bloom feels throughout the chapter a morning torpor, nowhere to go and nothing to do, floating mentally from the Dead Sea to his anticipated bath. 'This is my body', he thinks of the latter image, and the Christlike words point up how Bloom has translated a miracle into a natural 'phenomenon' (a favourite word with him).
She is reading a book, however surely this is an intellectual act, we might presume — but no, it's a pornographic book, and it lies next to the orangekeyed chamberpot, and close to her warm body, the weight of which disturbs the quoits of the bed when she moves. She asks for another book, specifying it should be by Paul de Kock, a further contribution to the episode's bodiness. The chapter is also one of solids, planted on the solid earth. There are allusions to heat, to weight, to the sunlight and shadow which warm or cool them.
In the first part Stephen, after creating or at least recreating the material world, observes two midwives with a bag, and these make him ponder his own creation, then the creation of Adam and Eve, and then the 23 ULYSSES ON THE LIFFEY conception and birth of Christ. The mystery of paternity, because so remote from the act of giving birth, occupies him more than motherhood, and he ruminates on true fathers, ghostly fathers, church fathers, and father priests who in chalices throughout the world bring God once more to birth.