![[hotel diagram]](../img/ormond.gif)
preliminary diagram (for explan of red lines see 11.74 below #)
[Prior: Ch10] [Up: Ulysses] [JAJportal] [Robot Wisdom home page]
As of Nov2000 these notes have been broken down into 18 separate pages, so some links will be broken (sorry). Basic skills intro.
Sun's path: Scylla WRocks
Lestry > Sirens <
Eolus Cyclops
Proteus Hades Nausikaa
Nestor LotusE OxenSun
Telemachus Calypso Circe
SD= Stephen Dedalus BM= Buck Mulligan LB= Leopold Bloom Eumeus
SiD= Simon Dedalus JAJ= James A Joyce BB= Blazes Boylan Ithaca
EB= EncycBritannica Cath= CatholicEncyc MB= Molly Bloom PenelopeThis is meant to supplement Gifford's "Ulysses Annotated" [Amazon], not replace it. Line numbers use Gabler's system. [Amazon]
11: Sirens
[etext]
Compare text and notes via frames
Linati schema: "The Sweet Cheat" [more]
Odyssey: Circe's advice, adventure (just 5 short pars) also Book V Leucothea
The best analysis I've seen of this chapter is Zack Bowen's "Bronzegold Sirensong" [ZB] reprinted in Bloom's Old Sweet Song [Amazon]
[map], [hotel webpage] ex-website? pic of hotel now, ditto, lo-res, pic of Ormond quay (lower?), of upper-but-beyond, pic of Bachelor's Walk (?) [history of quays] ('quay' is pronounced like 'key': dict)
360 degree Quicktime VR tour [aerial view]
Events:
3:38pm: cavalcade passes Ormond; LB on Wellington quay
# barmaids take teabreak (scheduled 3:45-4:00?)
# Simon enters bar (coming from greenhouse across street)
# Lenehan enters bar (coming from M'Coy)
# Simon to piano in saloon; Bloom in Daly's; Boylan passes
- Simon plays 'Goodbye, Sweetheart, Goodbye'
# Boylan enters bar; Bloom meets Goulding (coming from Four Courts)
- Kennedy-gold exits w/teatray
4pm? # Douce-bronze sonnez la cloche
- Boylan and Lenehan leave, Dollard and Cowley arrive
- Simon re-enters bar; LB & RG order drinks
# Dollard leads others to piano; Kennedy returns
- discussion of Dollard and Molly (Dollard vamping?)
# LB and RG order meals-- served immediately?
- Cowley takes piano, Dollard sings a few bars of 'Love and War'
# two gentleman arrive, Lidwell arrives
# Cowley gives piano to Simon, then takes it back
- - [halfway point of chapter] - -
# Simon sings 'M'appari' from 'Martha'; Pat cracks door for LB
# LB toys with Daly's rubberband
# Simon finishes; Goulding blathers about Simon's voice
# Kernan enters; Cowley vamps
# Bloom asks for pen, ink, blotter
# [Shakespeare intrusion]
- Lydia brings shell to Lidwell
# Cowley segues into Mozart minuet
- BB arrives at Eccles?; Kernan requests Ben's 'Croppy Boy'
# LB pays but lingers
# LB, untransported, watches Douce-bronze, transported?
# LB finally leaves; Dollard finishes
# smalltalk; stripling arrives at Daly's; LB 1/2 block west
# LB spots whore, dissembles windowshopping
- stripling enters bar; LB farts
4:30pm: LB's watch stops, around this point
(while many songs are mentioned or quoted or 'vamped', the only ones sung complete are 'M'appari' by tenor-Simon and 'Croppy Boy' by bass-Dollard)
preliminary diagram (for explan of red lines see 11.74 below #)
11.1 "Bronze by gold"
the Linati schema [qv] names two sirens, Parthenope and Leucothea, who seem to correspond to bronze-haired Lydia Douce and gold-haired Mina Kennedy (Leucothea = white goddess = fairhaired?)(I suspect Joyce perversely chose names that would suggest the wrong haircolors: 'Lydia Douce' seems to me sweet and light and blonde, 'Mina Kennedy' seems darker and more metallic)
11.1 "Bronze... gold... iron... steel"
Joyce in 1923 would use the four metals silver-gold-iron-steel to represent the four Old Masters Mamalujo and the four provinces of Ireland [more]
11.1 "Bronze by gold heard the hoofirons, steelyringing."
many of the ?60 leitmotifs in this 'overture' seem to correspond to specific musical instruments. Orchestral instruments are divided into four groups: woodwinds (piccolos, flutes, oboes, bassoons, clarinets), brass (English horns, trumpets, trombones, tubas), percussion (timpani, bells, xylophones, cymbals), and strings (violins, violas, cellos, double basses) [EB]the barmaids hear the hoofs of the viceregal cavalcade as a majestic sound like cymbals crashing?
11.2 "Imperthnthn thnthnthn."
perhaps a trumpet being tongued, or a reed instrument?the form is very simple: imper + thn-thn + thn-thn-thn. most of the rhetorical tricks in this episode involve repetition with rearrangements, of words and pieces of words. (also some homonyms, and onomatopoeia of course.) these are essentially non-verbal-- there's no sophisticated games with meanings and semantics, for example.
11.3 "Chips, picking chips off rocky thumbnail, chips."
percussion?the repellant-habits motif (cf SD's nosepicking [Proteus], LB's toenail: Ithaca)
11.4 "Horrid! And gold flushed more."
brass or string?
11.5 "A husky fifenote blew."
fife
11.6 "Blew. Blue bloom is on the."
oboe? (see 11.231 below # for source song)
11.7 "Gold pinnacled hair."
brass?
11.8 "A jumping rose on satiny breast of satin, rose of Castile."
strings?
11.9 "Trilling, trilling: Idolores."
piccolo? (see 11.226 below # for source song)
11.10 "Peep! Who's in the... peepofgold?"
piccolo?
11.11 "Tink cried to bronze in pity."
tuning fork being struck (percussion)
11.12 "And a call, pure, long and throbbing. Longindying call."
tuning fork's hum
11.13 "Decoy. Soft word. But look! The bright stars fade. Notes chirruping answer. O rose! Castile. The morn is breaking."
strings? (see 11.320 below # for source song)
11.15 "Jingle jingle jaunted jingling."
bells
11.16 "Coin rang. Clock clacked."
percussion (two different instruments)
11.17 "Avowal. Sonnez. I could. Rebound of garter. Not leave thee. Smack. La cloche! Thigh smack. Avowal. Warm. Sweetheart, goodbye!"
percussion? plucked string? (see 11.320 below # for source song)
11.19 "Jingle. Bloo."
two diff instruments
11.20 "Boomed crashing chords. When love absorbs. War! War! The tympanum."
drum (see 11.459 below # for source song)
11.21 "A sail! A veil awave upon the waves."
violin? (see 11.590 below # for source song)
11.22 "Lost. Throstle fluted. All is lost now."
flute (see 11.629 below # for source song)
11.23 "Horn. Hawhorn."
horn
11.24 "When first he saw. Alas!"
strings (see 11.587 below # for source song)
11.25 "Full tup. Full throb."
voice?
11.26 "Warbling. Ah, lure! Alluring."
voice?
11.27 "Martha! Come!"
??? (see 11.587 below # for source song)
11.28 "Clapclop. Clipclap. Clappyclap."
applause, handclaps as rhythm
11.29 "Goodgod henev erheard inall."
string bass?
11.30 "Deaf bald Pat brought pad knife took up."
???
11.31 "A moonlight nightcall: far: far."
clarinet? (see 11.850 below # for source song)
11.32 "I feel so sad. P.S. So lonely blooming."
??? (see 11.1176 below # for source song)
11.33 "Listen!"
???
11.34 "The spiked and winding cold seahorn. Have you the? Each and for other plash and silent roar."
seashell?
11.36 "Pearls: when she. Liszt's rhapsodies. Hissss."
??? (see 11.983 below # for source song)
11.37 "You don't?"
???
11.38 "Did not: no, no: believe: Lidlyd. With a cock with a carra."
???
11.39 "Black."
???
11.39 "Deepsounding. Do, Ben, do."
tuba? string bass?
11.40 "Wait while you wait. Hee hee. Wait while you hee."
viola?
11.41 "But wait!"
???
11.42 "Low in dark middle earth. Embedded ore."
tuba?
11.43 "Naminedamine. Preacher is he."
??? (see 11.991 below # for source song)
11.44 "All gone. All fallen."
??? (see 11.991 below # for source song)
11.45 "Tiny, her tremulous fernfoils of maidenhair."
violin?
11.46 "Amen! He gnashed in fury."
brass (see 11.991 below # for source song)
11.47 "Fro. To, fro. A baton cool protruding."
conductor?
11.48 "Bronzelydia by Minagold."
???
11.49 "By bronze, by gold, in oceangreen of shadow. Bloom. Old Bloom."
???
11.50 "One rapped, one tapped, with a carra, with a cock."
percussion
11.51 "Pray for him! Pray, good people!"
??? (see 11.991 below # for source song)
11.52 "His gouty fingers nakkering."
castanets (or kettledrum?)
11.53 "Big Benaben. Big Benben."
London clock-bell
11.54 "Last rose Castile of summer left bloom I feel so sad alone."
??? (see 11.1176 below # for source song)
11.55 "Pwee! Little wind piped wee."
piccolo
11.56 "True men. Lid Ker Cow De and Doll. Ay, ay. Like you men. Will lift your tschink with tschunk."
percussion? (see 11.1276 below # for source song)
11.58 "Fff! Oo!"
woodwind?
11.59 "Where bronze from anear? Where gold from afar? Where hoofs?"
???
11.60 "Rrrpr. Kraa. Kraandl."
wind?
11.61 "Then, not till then. My eppripfftaph. Be pfrwritt."
trumpet?
11.62 "Done."
???
11.63 "Begin!"
you'd expect Joyce to have chosen a numerologically appropriate number of items for this 'overture' (or inventory-of-leitmotifs)-- apparently 60-- but some editions make it 59, and my own 60 are broken differently than Gabler's 60 [details]ZB points out that if the chapter was truly a fuga per canonem as the schemata claim, it shouldn't have an overture. He counts 67 motifs, including 21 references to 11 songs which account for 32 of the 158 song-references (from 47 songs) he finds in the chapter.
Denis Donoghue: [comments]
11.74 "the backmost corner"
in the map above I've proposed an explanation of this, inspired by old photographs: some kind of protrusion (the red rectangle) blocks view #1, so she moves to view #2. but this required wrapping the bar along two walls, and moving the main door.
11.77 "He's killed looking back."
though his carriage has slipped past these sirens, they consider this sailor won over
11.86 "Bloowho"
cf 8.8 "Bloo...Me?" [Lestryg]
11.86 "Moulang's pipes"
Bloom is still across the river and a few blocks east of the hotel
11.86 "pipes... antiques... dusky battered"
this will be echoed at the end of the chapter as Bloom looks at melodeons in Marks' window: "oozing maggoty blowbags" (U11.1261) at that point he'll be bearing his sinful words to Martha.
11.89 "The boots"
boy who polishes boots in a hotel, and does other odd jobs
11.89 "to them, them in the bar, them barmaids"
(does this echo a musical device?)
11.93 "safe from eyes, low"
one of the primary motifs of this chapter is the contrast of attractive surface-appearances and unattractive hidden realities. cf "the Sirens enchant him with their clear song, sitting in the meadow, and all about is a great heap of bones of men, corrupt in death" [Homer]In some traditions the Sirens are mermaids-- attractive humans in their upper half (above the bar), fish in their lower (hidden behind the bar). [info]
11.96 "Your beau"
(does the boots know Douce is sweet on Lidwell?)
11.102 "Bloom."
if this were an opera, Bloom might be imagined making a very slow entrance from the back of the theatre, sticking in a note or two now and then to mark his slow approach
11.109 "their reef of counter"
sailors who attempt approach will be wrecked
11.112 "bronze from anear, by gold from afar"
so Lydia is sitting closer to the front window?
11.114 "awfully sunburnt"
the siren worries about the appeal of her 'singing'
11.115 "Miss bronze"
(my eye wants 'Miss Bronze' but no version has this)
11.120 "Miss Douce [par] --Those things only bring out a rash, replied"
musical device of interrupt-then-resume?
11.129 "plugged both two ears"
(siren becomes sailor?)
11.131 "--No, don't, she cried. [par] --I won't listen, she cried."
cf? musical device of a duet where one singer sometimes takes the other's turn?
11.133 "But Bloom?"
Mina plugs her ears to avoid an unpleasantness, but Bloom is (would be, will be) a more dispassionate witness
11.134 "in snuffy fogey's tone"
mimicry motif
11.138 "That night in the Antient Concert Rooms."
(i find this hard to picture-- two barmaids go to a concert together, and notice their neighborhood druggist there, doing something characteristically distasteful-- most likely ogling them lewdly?)
11.139 "her brew, hot tea, a sip"
a quick passage of short, feminine notes?
11.145 "that quivered imperthnthn like a snout in quest"
snout-in-quest supports the ogling idea... but who was accusing impertinence then?
11.148 "And your other eye!"
[info]
11.149 "Bloowhose dark eye"
this section judges (typically voyeuristic) Bloom unattractive to these women, by association with the unattractive druggist, and also using anti-semitic stereotypes
11.151 "Bluerobed, white under, come to me."
Bloom sees Bassi's statues of the Virgin Mary as seductive sirens (but as human underneath as the 'goddesses' in the Museum). cf 11.942 "Why do they hide their ears with seaweed hair? And Turks the mouth, why? Her eyes over the sheet, a yashmak. Find the way in. A cave. No admittance except on business."
11.154 "He might be Mulligan."
(is it realistic that Bloom would never have crossed paths with Mulligan/Gogarty? winning bike-races 1898-1901? the acrostic-poem in 1900? the prizes for poetry 1901-1903? the frequent medals for saving drowners? Joyce/Stephen's closest companion since returning from Paris? a friend of Griffith's who wrote often for the United Irishman? a widely-quoted wit among the literati? bio)
11.160 "signals to each other"
there's a 'signs' motif thruout the book [searchpattern]
11.176 "Greasy I knows"
Joyce unifies the siren Leucothea with the (pitying) punster of Homer's Book V [allusion]
11.177 "braided and pinnacled by glossycombed"
Mina's hair is blonde. pinnacled, and held with a comb in back-- so where is Lydia here?
11.180 "greaseabloom"
(though they're not laughing at Bloom, they might as well be? 'sympathetic suffering' is part of the toolkit of music-- here it's almost as if Bloom hears the druggist singing his sorrow, and identifies.)
11.181 "jumping rose"
Lydia wears a rose on her black satin blouse, jumping with breathlessness
11.183 "You horrid thing!"
(if 'other eye' refers to her genitalia, can 'wet' be horrid by association? this would imply a very modern immodesty, but it fits Joyce's themes.)
11.186 "Must see him for that par. Eat first. I want. Not yet."
having seen the old ad at the Library, Bloom ought to have gone straight back to Nannetti, but instead he's dawdling and will miss his chance when Nannetti heads off to London.Bloom's associations here are from Nannetti to Keyes' ad to earning money for Molly's frillies.
(and didn't he just eat a couple of hours/chapters back!?)
11.189 "Dolphin"
another hotel, one block SE of the Grattan bridge [pic]
11.189 "If I net five guineas with those ads. The violet silk petticoats."
Bloom seems to consider these a way to win back Molly's love
11.192 "Chips, picking chips off one of his rocky thumbnails. Chips."
Simon must represent one of the corrupt dead skeletons in Homer, who couldn't resist the Sirens
11.198 "Rostrevor"
[map]
11.205 "He was."
(narrator's voice?)FW49-50 [qv] uses this short sentence in several different languages as a motif: ei fu (italian), byl (Russian), han var (Danish), bhi she (Irish), fuit (Latin)
11.211 "whisky"
this is how Simon will spend the money he refused to give Dilly (at least 8p?) [WRocks]
11.212 "Jingle."
(so is Simon like Boylan... commiting adultery-with-alcohol?)
11.218 "I often wanted to see the Mourne mountains"
(he's been living in the Dublin area for over 20 years-- and they're just 50 miles north!)possible song reference [WAV]
11.220 "a long threatening comes at last, they say"
apparently a banality about patience or fate or weather (rarely cited on the web)
11.226 "Idolores"
the tune Douce lilts is from a light opera called 'Florodora' [info&pix] [missing?] sung by Frank as he parts from his lover in the Philippines, heading back to England: (the green highlighted section is echoed various places in the text)
There is a garden fair
Set in an Eastern sea,
There is a maid keeping her tryst with me
In the shade of the palm,
With a lover's delight,
Where 'tis ever the golden day,
Or a silvery night;
How can I leave her alone in this dream of sweet Arcadia--
How can I part from her for lands away?
In this valley of Eden,
Fairest isle of the sea,
Oh, my beloved, bid me to stay
In this fair land of Eden,
Bid me beloved to stay.There is an island fair,
Girt by a Western sea;
Dearest, 'tis there
One day thou'lt go with me.
'Neath the glorious moon
Hand in hand we will roam,
Hear the nightingale song of June,
In the dear Land of Home!
There, dearest heart, will the past but seem an idle vision
Nought but a dream that fadeth fast away,
And the songs we were singing, in Elysian vales
Seem but a carol of yesterday.
Happy songs we were singing,
Songs of a bygone day.Oh my Dolores Queen of the Eastern sea!
Fair one of Eden, look to the West for me!
My star will be shining, love, when you're in the moonlight calm,
So be waiting for me by the Eastern sea in the shade of the shelt'ring palm.perhaps by changing 'my Dolores' to 'Idolores' Lydia identifies herself as the abandoned lover/siren awaiting her man's return?
ZB sees Molly as Dolores, with Boylan singing the first verse (anticipating rendezvous) and Bloom the second (nostalgic for past)
11.227 "Lidwell"
on his last visit to Dublin, around 21Aug 1912, JAJ met the real George Lidwell (a Dublin lawyer) at the Ormond bar to discuss the legal risks in publishing Dubliners [e330]
11.231 "Blue Bloom is on the rye."
ZB sees this as a major musical motif that will announce Bloom's presence thruout the episode. the source-song is about a coming rendezvous to propose marriage, so ZB guesses it applies more to Martha than Molly. [GIF of lyrics] [MIDI]
My pretty Jane, my pretty Jane!
Ah! never, never look so shy,
But meet me, meet me in the ev'ning,
When the bloom is on the rye.
The Spring is waning fast, my love,
The corn is in the ear,
The summer nights are coming, love,
The moon shines bright and clear;
Then pretty Jane, my dearest Jane,
Ah! never look so shy,
But meet me, meet me in the ev'ning,
When the bloom is on the rye.But name the day, the wedding day,
And I will buy the ring,
The lads and maids in favors white,
And village bells shall ring.
11.232 "He was in at lunchtime"
(at 11.562 below we'll see that Lydia shouldn't know this-- Lidwell doesn't know yet she's back-- so presumably someone told her, implying there's a known interest. ...So does Simon also know there's something going on between them?)
11.243 "To mind her stops. To read only the black ones: round o and crooked ess."
Gifford says 'periods and question marks'???there's a 'typography motif' that seems relevant here, morphing punctuation into musical notation
11.260 "I didn't recognize him for the moment."
SiD's very dry wit (cf the barmaids' 'wet' humor)
11.268 "minstrel boy"
cf? Moore [John McCormack RealAud] [lyric&midi] [etext] [info] WAV [GIF of music] [info] lyric
11.268 "of the wild wet west"
cf? [lyric&midi] lyric
11.273 "mourning mountain"
cf [lyric&midi] ditto WAV
11.310 "Does that to all."
like a minor Odysseus, Bloom has allowed this Siren to tempt him, but seen thru the illusion and withstood her 'song'
11.320 "The bright stars fade"
from 'Goodbye, Sweetheart, Goodbye' [John McCormack RealAud] [GIF of lyric] [info]
The bright stars fade, the morn is breaking,
The dewdrops pearl each bud and leaf,
And I from thee my leave am taking,
With bliss too brief, with bliss, with bliss too brief.
How sinks my heart with fond alarms,
The tear is hiding in mine eye,
For time doth tear me from thine arms,
Goodbye, sweetheart, goodbye,
Goodbye, sweetheart, goodbye,
For time doth tear me from thine arms,
Goodbye, sweetheart, goodbye.The sun is up, the lark is soaring,
Loud swells the song of chanticleer,
Yet I am here, yet I, yet I am here.
For since night's gems from heav'n do fade,
And morn to floral lips doth hie,
I could not leave thee though I said
Goodbye, sweetheart, goodbye,
Goodbye, sweetheart, goodbye,
I could not leave thee though I said
Goodbye, sweetheart, goodbye.
11.321 "A voiceless song"
(I think this means piano alone-- Simon hasn't sung yet)
11.333 "Did she fall or was she pushed?"
(has he seen the title of her book-- a mystery? Wilkie Collins?)
11.340 "conquering hero"
[info&WAV] [libretto]
11.342 "The seat he sat on: warm."
the Exiles notes are explicit about the homosexual overtones between cuckold and cuckolder, but Bloom doesn't get much more explicit than this, I don't think. Exiles notes: "The bodily possession of Bertha by Robert, repeated often, would certainly bring into almost carnal contact the two men. Do they desire this? To be united, that is carnally through the person and body of Bertha as they cannot, without dissatisfaction and degradation-- be united carnally man to man as man to woman?" [qv]
11.351 "Wire in yet?"
the Gold Cup race [more] actually started at 2:35 Dublin time, so news is travelling very slow [timeline]
11.384 "Look to the west"
cf?? "The time had come for him to set out on his journey westward." [The Dead]
11.432 "horn"
[info]
11.444 "Power"
John Power & sons whiskey [label&info]
11.449 "Begone dull care"
[midi] [GIF of music]
11.458 "bluehued flowers"
the tables at 11.390 were called "ryebloom flowered". I can't find any rye that flowers blue, large enough to put on a table
11.459 "Love and War"
lyrics:
Lover (tenor):
When Love absorbs my ardent soul,
I think not of the morrow;
Beneath his sway years swiftly roll,
True lovers banish sorrow,
By softest kisses, warm'd to blisses,
Lovers banish sorrow,
By softest kisses, warm'd to blisses,
Lovers banish sorrow.Soldier (bass):
While war absorbs my ardent soul,
I think not of the morrow;
Beneath his sway years swiftly roll,
True Soldiers banish sorrow,
By cannon's rattle, rous'd to battle,
Soldiers banish sorrow,
By cannon's rattle, rous'd to battle,
Soldiers banish sorrow.Together:
Since Mars lov'd Venus, Venus Mars,
Let's blend love's wounds with battle's scars,
And call in Bacchus all divine,
To cure both pains with rosy wine,
To cure both pains with rosy, rosy wine.
And thus, beneath his social sway,
We'll sing and laugh the hours away.(alcohol = siren, again)
11.462 "She drew down... about her bronze, over the bar... slow cool dim seagreen sliding depth of shadow"
closing the blind = pulling down a shadowDouce-bronze here is the siren Parthenope, drowning herself after Boylan/Odysseus/Orpheus escapes
11.478 "the lost chord"
[RealAud] [RealAud vocal] lyrics WAV lyrics ditto
11.512 "Buccinator muscle is... What...? Bit rusty"
Joyce's 1910 Trieste notebook observes that JSJ couldn't draw a pipe (well) because of this problem (Latin for 'trumpeter') [info&pic] (it's entirely possible he was already thinking of a musical parallel to Homer at this early point, for Sirens... or Eolus?)along with the fingernail-chips above and the dancing-days just below, this confirms Simon's status as a Siren-wrecked skeleton
11.512 "Irish Molly"
[lyrics] [WAV]
11.517 "bronze by maraschino"
she's probably putting the sloegin back with the other cordials, incl maraschino
11.535 "his blunder huge"
he sang the words from the tenor (or soprano) part of a duet-- their ardent souls are absorbed alternately by love and war (presumably he was still singing the right tune)
11.562 "Yes, she was back."
(she knew already he'd been in at lunch, but he didn't know she was back, so apparently she's returned since then, and was told or asked about his being there-- ie, Mina also knows she's interested?)
11.569 "as said before"
[note]
11.578 "Do right to hide them"
appearance-reality motif
11.581 "harp"
cf Moore [lyric] info [GIF of music] [info]
11.587 "M'appari"
[singalong page][full 1906 Enrico Caruso RealAud version, 3:30] [short sample] [Italian lyrics] German lyrics WAV? (this piece was used in the movies 'Other Voices, Other Rooms' and 'The Grey Fox')
Simon sings substitute English lyrics by Charles Jeffreys:
When first I saw that form endearing
Sorrow from me seemed to depart:
Each graceful look, each word so cheering
Charmed my eye and won my heart.
Full of hope, and all delighted,
None could feel more blest than I;
All on Earth I then could wish for
Was near her to live and die:
But alas! 'twas idle dreaming,
And the dream too soon hath flown;
Not one ray of hope is gleaming;
I am lost, yes I am lost for she is gone.
When first I saw that form endearing
Sorrow from me seemed to depart:
Each graceful look, each word so cheering
Charmed my eye and won my heart.
Martha, Martha, I am sighing
I am weeping still, for thee,
Come thou lost one,
Come thou dear one,
Thou alone can'st comfort me:
Ah Martha return! Come to me!
11.590 "A Last Farewell"
[lyric&midi]
We weighed our anchor to our bow,
Likewise our maintop sail,
Away down the Firth and away we went,
With a soft and pleasant gale;
Away down the Firth and away we went,
For our decks had all been clear,
'Twas then I took the last farewell
Of the girl I loved so dear.G11.590 cites a similar poem by John Willis, and ZB quotes Grieg's 'Epilogue' (which seems quite wrong).
11.591` "her veil awave"
cf Leucothea's veil that saves drowning Odysseus [Homer]may echo the opening of Verdi's 'Otello' [outline] (vela = sail)
11.599 "dancing days"
[info&WAV] lyric
11.611 "McGuckin"
[info&pic]
11.617 "Down among the dead men"
[lyric&midi] [GIF of music] [info]
11.617 "Sweets"
cf Hamlet [etext]
11.629 "All is lost now"
in Bellini's Italian [qv] Tutto è Sciolto (a title Joyce used in Pomes Penyeach: qv)
All is lost now,
By all hope and joy am I forsaken.
Nevermore can love awaken
Past enchantment, no, nevermore.
11.634 "Echo"
Moore [lyric]
11.644 "harping"
cf Hamlet [etext]
11.651 "lingering"
[note]
11.659 "heart bowed down"
Balfe [GIF of music] [info]
11.670 "hard of hearing"
cf Odysseus's crewmen's deafened ears.except for the overture, this is the first reference to Pat's hearing, I think-- surprisingly late
11.673 "sorrow"
WAVs and more
11.681 "love's old sweet song"
[lyric w/decent autostart-midi] lyric {RealAud Nelson Eddy] [RealAud female vocal] [RealAud violin] [GIF of music] [info]
11.699 "Jenny Lind"
[memoir]
11.708 "pour o'er sluices"
ZB cites this passage as an example of the musical/poetic device 'onomatopoeia'
11.725 "Waiting"
lyrics:
The stars shine on his pathway,
The trees bend back their leaves
To guide him to the meadow
Among the golden sheaves
Where I stand longing, loving
And listening as I wait
To the nightingale's wild singing,
Sweet singing to its mate,
Singing, singing, sweet singing to its mate.The breeze comes sweet from heaven,
And the music in the air
Heralds my lover's coming,
And tells me he is there,
Come for my arms are empty!
Come for the day was long!
Turn the darkness into glory,
The sorrow into song.
I hear his footfalls' music,
I feel his presence near.
All my soul responsive answers
And tells me he is here.O stars-- shine out your brightest!
O night-- ingale, sing sweet
To guide-- him to me, waiting
And speed his flying feet,
To guide-- him to me, waiting
And speed his flying feet.ZB cites these less-likely lyrics:
I look from my window upon the dull street,
The wind and the rain on the marketplace beat;
I sigh from my heart for my love tarries long,
With his sheep, and his goats, and his cattle so strong.
My love in the mountains I'm waiting for thee,
O that from this bondage my poor heart were free!My love to the market his cattle will bring,
And then 'neath my window a song he will sing;
A song which will tell me the time has now come,
To go with my love to his wild mountain home.
I care not for guardian, nor sister, nor friend,
But by my love's side I my footsteps will wend.
11.727 "in old Madrid"
[GIF of music] lyric excerpts:
Long years ago, in old Madrid,
Where softly sighs of love the light guitar,
Two sparkling eyes a lattice hid,
Two eyes as darkly bright as love's own star!
There on the casement ledge, when day was o'er,
A tiny hand was lightly laid;
A face look'd out, as from the river shore,
There stole a tender serenade.
Rang the lover's happy song,
Light and low from shore to shore,
But ah, the river flowed along
Between them evermore,
Come my love, the stars are shining,
Time is flying, love is sighing,
Come, for thee a heart is pining,
Here alone I wait for thee.Far, far away from old Madrid,
Her lover fell, long years ago, for Spain;
A convent veil those sweet eyes hid,
And all the vows that love had sigh'd were vain!
But still, between the dusk and night, 'tis said,
Her white hand opes the lattice wide,
The faint sweet echo of that serenade
Floats weirdly o'er the misty tide!
11.750 "endlessnessnessness"
ZB cites this word as an example of the musical device 'sustained'
11.752 "Siopold!"
words taking on musical qualities [cite]
11.754 "Well sung."
Joyce family legend claimed that when JSJ was around 25 (1874) the famous tenor Barton McGuckin (see 11.611 above) heard him singing at the Antient Concert Rooms and privately judged him the best tenor in Ireland [j&c74]
11.762 "John Gray"
[pic]
11.762 "onehandled"
[note]
11.763 "Mathew"
[pic]
11.765 "Rotunda"
[pic]
11.779 "'Twas rank and fame"
from Balfe's 'Rose of Castile':
'Twas rank and fame that tempted thee,
'Twas empire charmed thy heart...
But love was wealth, the world to me,
Then, false one, let us part;
The prize I fondly deem'd my own,
Another's now may be;
For ah! with love, life's gladness flown,
Leaves grief to wed, to wed with me;
With love, life's gladness flown,
Leaves grief alone to me.'Tho lowly bred, and humbly born,
No loftier heart than mine;
Unlov'd by thee my pride would scorn
To share the crown that's thine;
I sought no empire save the heart,
Which mine can never be;
Then false one, we had better part,
Since love lives not, lives not in thee,
Since love lives not in thee;
Yes! false one, better part,
Since love lives not in thee.
11.788 "We never speak"
lyric:
The spell is past, the dream is o'er,
And tho' we meet, we love no more,
One heart is crushed to droop and die,
And for relief must heavenward fly.
The once bright smile has faded, gone,
And given way to looks forlorn!
Despite her grandeur's wicked flame,
She stoops to blush beneath her shame.[chorus] We never speak as we pass by,
Altho' a tear bedims her eye;
I know she thinks of her past life,
When we were loving man and wife.In guileless youth I sought her side,
And she became my virtuous bride,
Our lot was peace, so fair so bright,
One summer day, no gloomy night,
No life on earth more pure than ours
In that dear home midst field and flowers
Until her tempter came to Nell,
It dazzled her, alas! she fell. [chorus]In gilded hall, midst wealth she dwells,
How her heart aches, her sad face tells,
She fain would smile, seem bright and gay,
But conscience steals her peace away,
And when the flatt'rer cast aside,
My fallen and dishonored bride,
I'll close her eyes in death, forgive,
And in my heart her name shall live. [chorus]
11.789 "Rift in the lute"
Tennyson "It is the little rift within the lute, That by and by will make the music mute" [etext]
11.795 "He drew and plucked. It buzzed, it twanged."
Gabler favors the ms version "He drew and plucked. It buzz, it twanged." Rose rewrites it as 'It buzzed. He drew and plucked. It twanged.' [Senn]
11.798 "retrospective"
[note]
11.806 "Corncrake croaker"
ZB cites this passage as an example of the musical/poetic device 'alliteration'
11.808 "Big spanishy eyes goggling at nothing."
(is this Bloom's sole expression of anger at Molly?!)
11.809 "wavyavyeavyheavyeavyevyevyhair"
words taking on musical qualities [cite]
11.810 "too much happy bores"
Odysseus sees thru the Sirens
11.817 "First gentleman told Mina that was so."
we don't know what they're discussing, but it harmonises with Douce and Lidwell
11.819 "Miss Dou did not"
ZB cites this passage as an example of the musical device 'staccato'
11.828 "Grandest number"
[note]
11.830 "Numbers it is"
ZB sees this episode as "a tour de force of Bloom's opinions on nearly all aspects of music"-- here, origins and definition.(cf also Tom Rochford's number-machine at 10.465: WRocks)
11.835 "seven times nine minus x is thirtyfive thousand"
x = -34,937
11.844 "Queer because we both"
Bloom will question his own paternity again at 17.868 "a blond born of two dark" [Ithaca]
11.850 "barcaroles"
[def] [RealAud] [MIDI]
11.851 "Queenstown harbour full of Italian ships"
around 1860 11yo JSJ grew sickly at boarding school and (supposedly) spent some time on harbor-boats to (successfully) restore his health
11.857 "Callan"
this is the key to Patrick Hogan's argument about the identity of Martha Clifford [more]
11.861 "dear Mady"
rare nickname for Martha [eg]
11.866 "Five Dig. Two about here. Penny the gulls. Elijah is com. Seven Davy Byrne's. Is eight about. Say half a crown."
prudent Bloom even flirts with a budget! 7 shillings eightpence plus 2/6 = 10/2 = just over a half-pound a day? (postponing the violet petticoats, clearly)
11.893 "minor"
[note]
11.904 "Music hath charms"
ZB sees this passage as Bloom's theory of the effects of music
11.905 "To be"
cf Hamlet [etext]
11.907 "In Gerard's rosery of Fetter lane he walks, greyedauburn. One life is all. One body. Do. But do."
cf 9.651 "Do and do. Thing done. In a rosery of Fetter Lane of Gerard, herbalist, he walks, greyedauburn. An azured harebell like her veins. Lids of Juno's eyes, violets. He walks. One life is all. One body. Do. But do." [Scylla]
11.916 "waiter who waits"
ZB cites this passage as an example of the musical/poetic device 'phrase repetition'
11.938 "ear too is a shell"
ZB sees this passage as Bloom's theory of the physiology of perception of music
11.949 "wild waves"
[GIF of music] [info]
11.964 "music everywhere"
ZB sees the next few pages as Bloom's theory of sounds and instruments
11.983 "rhapsodies"
[RealAud]
11.990 "Qui sdegno"
[note&lyric&WAV]
11.991 "The Croppy Boy"
lyric:
"Good men and true! in this house who dwell,
To a stranger bouchal I pray you tell
Is the priest at home? or may he be seen?
I would speak a word with Father Green.""The Priest's at home, boy, and may be seen:
'Tis easy speaking with Father Green;
But you must wait, till I go and see
If the holy father alone may be."The youth has entered an empty hall--
What a lonely sound has his light foot-fall!
And the gloomy chamber's still and bare,
With a vested Priest in a lonely chair.The youth has knelt to tell his sins;
"Nomine Dei," the youth begins:
At "mea culpa" he beats his breast,
And in broken murmurs he speaks the rest."At the siege of Ross did my father fall,
And at Gorey my loving brothers all.
I alone am left of my name and race,
I will go to Wexford and take their place.""I cursed three times since last Easter day--
At mass-time once I went to play:
I passed the churchyard one day in haste,
And forgot to pray for my mother's rest."I bear no hate
against living thing;
But I love my country above my King.
Now, Father bless me, and let me go
To die in battle, if God has ordained it so."The Priest said nought, but a rustling noise
Made the youth look above in wild surprise;
The robes were off, and in scarlet there
Sat a yeoman captain with fiery glare.With fiery glare and with fury hoarse,
Instead of blessing, he breathed a curse:
"'Twas a good thought, boy, to come here and shrive,
For one short hour is your time to live.""Upon yon river
three tenders float,
The Priest's in one, if he isn't shot--
We hold this house for our Lord and King,
And, Amen! say I, may all traitors swing!"At Geneva Barrack that young man died,
and joy,
And at Passage they have his body laid.
Good people who live in peace
Breathe a prayer and a tear for the Croppy boy.[info] [2Mb WAV] [partial lyric&midi] ditto; partial WAVs and more and more and more [lyric] ditto ditto
this was a song Joyce often sang, eg at the 27Aug 1904 concert-fiasco that inspired "A Mother" (where he had to accompany himself) [cpc45]
11.1041 "bitch's bast"
[note]
11.1046 "best side"
[note]
11.1050 "Michael Gunn"
[memoir]
11.1051 "home sweet home"
[RealAudio] [lyric&midi] [GIF of music] [info]
11.1059 "Hypnotised"
[note]cf? Exiles notes: [qv] "Bertha's state when abandoned spiritually by Richard must be expressed by the actress by a suggestion of hypnosis. Her state is like that of Jesus in the garden of olives. It is the soul of woman left naked and alone that it may come to an understanding of its own nature. She must appear also to be carried forward to the last point consistent with her immunity by the current of the action and must show even a point of resentment against the man who will not hold out a hand to save her. Through these experiences she will suffuse her own reborn temperament with the wonder of her soul at its own solitude and at her beauty, formed and dissolving itself eternally amid the clouds of morality."
11.1063 "boys of Wexford"
[lyrics] ditto
11.1076 "Want to keep your weathereye open. Those girls, those lovely. By the sad sea waves."
Rose rewrites this as 'Moonlight walks by the sad sea waves. Want to keep your weathereye open. Those girls, those lovely.' [Senn]
11.1077 "girls"
[lyrics]
11.1078 "By the sad sea waves"
[GIF of music] [info]
11.1086 "Blank face. Virgin should say"
Joyce identifies Douce-bronze with the siren Parthenope, whose name means 'virgin' or 'maiden face'
11.1112 "beerpull"
[pic]
11.1122 "Get out before the end. Thanks, that was heavenly."
(hilarious, if spoken by Odysseus!)
11.1126 "Waaaaaaalk"
words taking on musical qualities [cite]
11.1171 "doll he was"
if Mina is Leucothea, then this must correspond to Leucothea's pun on 'Odysseus' in Book V [allusion]
11.1176 "last rose of summer"
[lyric&midi] ditto? [RealAud] ditto?? sheetmusic [etext] [essay] info short WAV [note] [GIF of music] [info]
11.1198 "Seated"
[note]
11.1225 "wonderworker"
[note]
11.1237 "Instruments"
ZB sees this passage as Bloom's theory of the production of music
11.1243 "Waken the dead."
[lyric&midi]
11.1263 "oozing maggoty blowbags"
ZB cites this as the musical/poetic device 'assonance'
11.1263 "Bargain"
the Evening Telegraph for 16 June 1904 lists a range of new melodeons between 4/11 and 15 shillings, so this is only a bargain if it's top quality
11.1271 "Lid, De, Cow, Ker, Doll"
words taking on musical qualities [cite] WAV
11.1275 "Emmet's"
[info]
11.1276 "True men"
cf [lyric&midi] lyriccf also '32 Counties' [lyric]
11.1290 "Tram"
the tramline crossed Essex bridge and ran up Capel street behind him [map:Or]