Buck Mulligan , a boisterous medical student, calls Stephen Dedalus a young writer encountered as the principal subject of A Portrait of the Artist as a Young Man up to the roof of the Sandycove Martello tower where they both live. There is tension between Stephen and Mulligan, stemming from a cruel remark Stephen has overheard Mulligan making about his recently deceased mother, May Dedalus , and from the fact that Mulligan has invited an English student, Haines , to stay with them. The three men eat breakfast and walk to the shore, where Mulligan demands from Stephen the key to the tower and a loan. Departing, Stephen declares that he will not return to the tower tonight, as Mulligan, the "usurper", has taken it over. Episode 2, Nestor [ edit ] Stephen is teaching a history class on the victories of Pyrrhus of Epirus.
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James Joyce delights in confounding expectations and shaking up his book every time he intuits the reader has found even a sliver of understanding. Not that this is evident at first.
The first half of the Nausicaa chapter owes to, of all things in this game-shifting tome, cheesy Harlequin Romance. The narration describes her with such effusive paeans to her beauty that I almost suspected the conceited, Irish-loving narrator from the previous chapter had left the pub and decided to start beatifying an Irish lass to cool off from his murderous thoughts about Bloom.
But beneath her "ivorylike" skin and rosy cheeks lies a far more complicated creature. The tone of the narration does not shift, but slowly she lets on a sexually active imagination, one splintered by intruding religious thoughts.
Joyce filled A Portrait of the Artist as a Young Man with this complex, which crippled Stephen by twisting his perception of women until they could only fit one or the other. Joyce knows that even the most virginal girl -- and Gerty is just that, still a teenager -- can entertain the same thoughts that drive men wild.
Pining for a boyfriend that neglects her, Gerty turns her attention to a gentleman watching her from behind a rock. The man, whom we later learn is Bloom, stares at her, and she begins to construct a tragic, romantic life story around this man and the face that is "the saddest she had ever seen. In romance is passion. She notices his stare and hikes up her skirt to tease Bloom. And what of Gerty, revealed to be more world-wise than the ornate, saintly prose would let on?
Is she getting out her own sexual repression? At last, Bloom climaxes as a Roman candle launches fireworks overhead. Alfred Hitchcock must have read this chapter as a lad and thought, "Shoulders of giants, Hitch. Shoulders of giants. But just as Gerty felt some degree of pity for Bloom, so too does he feel for her; he notices the limp she glossed over in her lofty self-portrait and feels bad for her.
Bloom goes on to meditate on women and sexuality. Yet the first thoughts we hear upon returning that skull of his are abhorrent. The second half is despairing and grimy. Bloom tucks his semen-soaked shirt back into his pants and his wet penis sticks uncomfortably to the inside of his trousers. He also notes past encounters with prostitutes, which begs the question: "Before or after marriage?
More than ever, Joyce defies us to press on and accept everything about the people in his books. Not so; he recognizes the multitude of contradictions inside each one of us, discrepancies and warring perspectives that expand further with joined with those of other people. Bloom may have reductive views on women, but he also displays a curiosity and sympathy for them. At the end of the chapter, Bloom takes a stick and draws "I AM A" in the sand but leaves the sentence unfinished, giving the audience the freedom to put in the word that best describes him.
But after this chapter, anyone who might have had a single-word summary of the man can no longer have so simplistic a view of the man. He outrageously blasphemes when he thinks that our body odor comes from sex and that women are thus attracted to celibate priests for having different scents, and he also compares the repetition in a Mass to that of an advertisement. Repetition makes the message stick in the mind more, helping pack simplistic slogans and jingles into a head until a potential customer blindly buys the product.
One step forward Posted by Jake Cole.
Far away in the west the sun was setting and the last glow of all too fleeting day lingered lovingly on sea and strand, on the proud promontory of dear old Howth guarding as ever the waters of the bay, on the weedgrown rocks along Sandymount shore and, last but not least, on the quiet church whence there streamed forth at times upon the stillness the voice of prayer to her who is in her pure radiance a beacon ever to the storm-tossed heart of man, Mary, star of the sea. The three girl friends were seated on the rocks, enjoying the evening scene and the air which was fresh but not too chilly. Many a time and oft were they wont to come there to that favourite nook to have a cosy chat beside the sparkling waves and discuss matters feminine, Cissy Caffrey and Edy Boardman with the baby in the pushcar and Tommy and Jacky Caffrey, two little curlyheaded boys, dressed in sailor suits with caps to match and the name H. Belleisle printed on both. For Tommy and Jacky Caffrey were twins, scarce four years old and very noisy and spoiled twins sometimes but for all that darling little fellows with bright merry faces and endearing ways about them. They were dabbling in the sand with their spades and buckets, building castles as children do, or playing with their big coloured ball, happy as the day was long.
Episode 13 - Nausicca
Joyce gains continuity with the previous episode, "The Cyclops," despite the time differential by continuing several motifs from that chapter, the most prominent of which is the arc. The rising and falling of the biscuit tin that was flung by the Citizen is reflected in the various ascents and declines in "Nausicaa! Also, the form of the episode is as simple as its style Joyce called it — perhaps knowingly — a "marmalady" style, a sticky style. The first part of the episode deals with Gerty; the second, with Bloom and his ruminations. Parallels with Homer are not difficult to recognize. Odysseus, washed ashore on the land of the Phaeacians, was awakened from sleep when he was struck by a ball misthrown by Princess Nausicaa and her friends; the resourceful and beautiful young girl had come to the shore to play and wash some clothing. Gerty knows exactly what she is doing in "seducing" Bloom — the dark and mournful foreign stranger — as she leads him to a moment of communication, albeit an ultimately unproductive one.
James Joyce delights in confounding expectations and shaking up his book every time he intuits the reader has found even a sliver of understanding. Not that this is evident at first. The first half of the Nausicaa chapter owes to, of all things in this game-shifting tome, cheesy Harlequin Romance. The narration describes her with such effusive paeans to her beauty that I almost suspected the conceited, Irish-loving narrator from the previous chapter had left the pub and decided to start beatifying an Irish lass to cool off from his murderous thoughts about Bloom.
Cissy and Edy tend to the babies and occasionally tease Gerty, who is sitting some distance away. The narrative sympathetically describes Gerty as beautiful, and outlines the commercial products she uses to maintain her looks. Gerty daydreams of marriage and domestic life with a silent, strong man. The toddlers kick their ball too far. Gerty tries to kick the ball to Cissy but misses.