http://news.rapgenius.com/Patrick-henry-give-me-liberty-or-give-me-death-annotated

http://news.rapgenius.com/United-states-congress-the-bill-of-rights-annotated

http://news.rapgenius.com/Seneca-falls-convention-declaration-of-sentiments-annotated

http://news.rapgenius.com/Winston-churchill-the-sinews-of-peace-annotated

http://news.rapgenius.com/George-w-bush-post-9-11-annotated

http://news.rapgenius.com/George-w-bush-the-axis-of-evil-annotated

http://news.rapgenius.com/George-w-bush-mission-accomplished-speech-annotated

http://news.rapgenius.com/William-jennings-bryan-cross-of-gold-annotated#note-3333075

The narrator continues his struggle with language—here, with old Cotter’s unfinished sentences. His struggle here is different than as previously introduced; while he had problems with the specific word, “paralysis” haunting him, for example, here his problem lies within the subtext. Old Cotter is hinting things about the priest, but the boy cannot understand what he means.

Here is an invitation, perhaps, to fill in the blanks.

Following the Dublin interpretation, this meaning from unfinished sentences could be the work that Joyce produced throughout his life in his meticulous obsession with describing the city.

PROPOSED SUGGESTION: The narrator is a “he”. Also, one could note that he is not angry because Old Cotter said unpleasant things about the priest, but because of the part in which he calls him a child (what he certainly is though)

Here, “brown” is repeated to describe the boy’s target of affection – however, her description changes dramatically. In their earlier interaction, she is all white, curves catching light. Now, her figure is clad in brown by a “dark house”. She is still “touched” by light, but along with the boy’s optimism, much of it has left her.