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Cranly is Stephen’s (now estranged) friend from A Portrait of an Artist as a Young Man.

ACCEPTED COMMENT: This is a memory of physical closeness that did not end well for Stephen.

ACCEPTED COMMENT: (See Portrait chapter 5)

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Faithfull Place, off Lower Tyrone Street, where this chapter is located. Image via The National Archives of Ireland.

CIRCE

TIME: 12.00 midnight.
SCENE: Bella Cohen’s Brothel, Tyrone Street in the red-light district, or ‘Nighttown’.
ORGAN: Locomotor apparatus
ART: magic
COLOURS: None
SYMBOL: Whore

TECHNIQUE: Hallucination

CORRESPONDENCES: Circe-Bella (The Beasts, Telemachus, Ulysses, Hermes. Zoology, personification, pantheism, magic, poison, antidote reel. Sense: L'Orca Antropofoba [man-eating or a morbid fear in the presence of other people??]).

HOMERIC PARALLELS: After visiting the LESTRYGONIANS, in book 10 of The Odyssey Odysseus tells of landing on Circe’s isle. On the island the crew splits into two groups, one of which, upon finding the hall of the witch Circe, are transformed into hogs. One man escapes and warns Odysseus who approaches Circe alone. Odysseus is intercepted by Hermes who gives him a herb, moly (Molly??), which will protect him against Circe’s “witch’s tricks” which might “unman” him. Odysseus demands that Circe release his men. She not only releases them, but entertains the whole crew “until a year grew fat”. Eventually his men tell him to shake off this trance, and he departs from the isle, following Circe’s advice to consult the shades in HADES.

SUMMARY: A ‘realistic’ synopsis of this episode is difficult, but, broadly… Mabbot Street opens onto Nighttown, a strange and sordid place. Stephen and Lynch stagger in drunk and are mocked by the denizens of the place. Bloom follows, events and characters (Gerty, Molly, his father and mother) stimulating his mind and sense of guilt in an hallucinatory fashion. Bloom is arrested for committing a nuisance and undergoes a protracted Kafkaesque trial. His identity constantly changes as characters from his past and ‘personifications’ of perverse desires enter the court. Bloom speaks with one of the whores, Zoe Higgins, who knows where Stephen is. This stimulates scenes of an imaginary triumph for Bloom, who becomes an example of the “new womanly man”, gives birth, and is then farcically pilloried after the temper of the court changes. He returns to ‘reality’ and finds Stephen in the music room, while also becoming his own grandfather and thinking about his past loves. In a discussion on theology Stephen metamorphoses into Cardinal Dedalus. Meanwhile, Bella Cohen the madame of the place appears. She and Bloom change sex and ritual sado-masochistic humiliations of Bloom ensue. Stephen, in his drunkenness, is attempting to settle his bill. Bloom ensures that he isn’t cheated. The ghost of Stephen’s mother appears, he breaks the chandelier, and they end up on the street. A fight with some English privates (he has allegedly insulted the King) leaves Stephen prostrate on the pavement. The police appear, but Corny Kelleher and Bloom smooth things over. Bloom gazes at the unconscious Stephen, and experiences a vision of his dead son Rudy.

Notes on James Joyce’s Ulysses

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Breath is a notably short stage work by Samuel Beckett. An altered version was first included in Kenneth Tynan’s revue Oh! Calcutta!, at the Eden Theatre in New York City on June 16, 1969.

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Krapp’s Last Tape is one of Beckett’s most famous one-act plays. It was first performed as a curtain-raiser to Endgame (from 28 October to 29 November 1958) at the Royal Court Theatre, London, directed by Donald McWhinnie and starring Patrick Magee. It ran for 38 performances.

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James Tate is an American poet who has earned both a Pulitzer Prize and a Nation Book Award. His poems are often described as anti-poems for their lack of traditional poetic structure and decidedly playful and surreal bent.

For more of his work click here.

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With a bit of false humility, Puck calls the play just preformed (the play in which he was a character) “weak and idle.” In the same way Shakespeare is saying the same. But if the audience sees the line being about all stories, the narratives of life, Shakespeare is making a statement about the futility of life and our ability to understand it. The dream is perhaps more real than real.

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Though Stephen claims he is not thinking of “the offence” (not kneeling to pray with his mother at her deathbed) he in fact is and will throughout the day.

Stephen’s rejection of his mother’s dying wish to go through the simple motions of the Catholic orthodoxy is at the center of his longing for personal freedom.

There is a parallel to the story of Satan’s disobedience of God as well as Eve’s rebellion against God. Therefore the Fall of the Angels (when Satan was cast out of heaven) and the Fall of Man (Adam and Eve’s banishment from Eden) provide a cosmic background for Stephens story – he is banished from his father’s house and from Martello tower and must seek his way as an artist and a man.

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Mulligan sings Who Goes With Fergus?, the very song that Stephen sang for his mother on her deathbed. The song will recur later in the novel as Stephen’s guilt over his mother intrudes on his thoughts.

http://www.youtube.com/watch?v=Fzb5acxL5O8

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James Joyce’s Modernist masterpiece, considered by many critics to be the most groundbreaking novel ever written.

“It is the epic of two races (Israel-Ireland) and at the same time the cycle of the human body as well as a little story of a day (life)… It is also a kind of encyclopaedia. My intention is not only to render the myth sub specie temporis nostri but also to allow each adventure (that is, every hour, every organ, every art being interconnected and interrelated in the somatic scheme of the whole) to condition and even to create its own technique.”
-James Joyce

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This scene is played at the end of A Portrait of an Artist as a Young Man.

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