ULYSSES

Ludamassy! Pore piccaninnies! Thou’ll no be telling me thot, Pold veg! Did ums blubble bigsplash crytears cos fren Padney was took off in black bag? Of all de darkies Massa Pat was verra best. I never see the like since I was born. Tiens, tiens, but it is well sad, that, my faith, yes. O, get, rev on a gradient one in nine. Live axle drives are souped. Lay you two to one Jenatzy licks him ruddy well hollow. Jappies? High angle fire, inyah! Sunk by war specials. Be worse for him, says he, nor any Rooshian. Time all. There’s eleven of them. Get ye gone. Forward, woozy wobblers! Night. Night. May Allah the Excellent One your soul this night ever tremendously conserve.

Your attention! We’re nae tha fou. The Leith police dismisseth us. The least tholice. Ware hawks for the chap puking. Unwell in his abominable regions. Yooka. Night. Mona, my true love. Yook. Mona, my own love. Ook.

Hark! Shut your obstropolos. Pflaap! Pflaap! Blaze on. There she goes. Brigade! Bout ship. Mount street way. Cut up! Pflaap! Tally ho. You not come? Run, skelter, race. Pflaaaap!

Lynch! Hey? Sign on long o’ me. Denzille lane this way. Change here for Bawdyhouse. We two, she said, will seek the kips where shady Mary is. Righto, any old time. Laetabuntur in cubilibus suis. You coming long? Whisper, who the sooty hell’s the johnny in the black duds? Hush! Sinned against the light and even now that day is at hand when he shall come to judge the world by fire. Pflaap! Ut implerentur scripturae. Strike up a ballad. Then outspake medical Dick to his comrade medical Davy. Christicle, who’s this excrement yellow gospeller on the Merrion hall? Elijah is coming! Washed in the blood of the Lamb. Come on you winefizzling, ginsizzling, booseguzzling existences! Come on, you dog-gone, bullnecked, beetlebrowed, hogjowled, peanutbrained, weaseleyed fourflushers, false alarms and excess baggage! Come on, you triple extract of infamy! Alexander J Christ Dowie, that’s my name, that’s yanked to glory most half this planet from Frisco beach to Vladivostok. The Deity aint no nickel dime bumshow. I put it to you that He’s on the square and a corking fine business proposition. He’s the grandest thing yet and don’t you forget it. Shout salvation in King Jesus. You’ll need to rise precious early you sinner there, if you want to diddle the Almighty God. Pflaaaap! Not half. He’s got a coughmixture with a punch in it for you, my friend, in his back pocket. Just you try it on.

Episode 15, Circe

* (The Mabbot street entrance of nighttown, before which stretches an uncobbled tramsiding set with skeleton tracks, red and green will-o’-the-wisps and danger signals. Rows of grimy houses with gaping doors. Rare lamps with faint rainbow fans. Round Rabaiotti’s halted ice gondola stunted men and women squabble. They grab wafers between which are wedged lumps of coral and copper snow. Sucking, they scatter slowly, children. The swancomb of the gondola, highreared, forges on through the murk, white and blue under a lighthouse. Whistles call and answer.)

THE CALL

Wait, my love, and I’ll be with you.

THE ANSWER

Round behind the stable.

(A deafmute idiot with goggle eyes, his shapeless mouth dribbling, jerks past, shaken in Saint Vitus’ dance. A chain of children’s hands imprisons him.)

THE CHILDREN

Kithogue! Salute!

THE IDIOT

(lifts a palsied left arm and gurgles) Ghahute!

THE CHILDREN

Where’s the great light?

THE IDIOT

(gobbling) Ghaghahest.

(They release him. He jerks on. A pigmy woman swings on a rope slung between two railings, counting. A form sprawled against a dustbin and muffled by its arm and hat snores, groans, grinding growling teeth, and snores again. On a step a gnome totting among a rubbishtip crouches to shoulder a sack of rags and bones. A crone standing by with a smoky oillamp rams her last bottle in the maw of his sack. He heaves his booty, tugs askew his peaked cap and hobbles off mutely. The crone makes back for her lair, swaying her lamp. A bandy child, asquat on the doorstep with a paper shuttlecock, crawls sidling after her in spurts, clutches her skirt, scrambles up. A drunken navvy grips with both hands the railings of an area, lurching heavily. At a corner two night watch in shouldercapes, their hands upon their staffholsters, loom tall. A plate crashes: a woman screams: a child wails. Oaths of a man roar, mutter, cease. Figures wander, lurk, peer from warrens. In a room lit by a candle stuck in a bottleneck a slut combs out the tatts from the hair of a scrofulous child. Cissy Caffrey’s voice, still young, sings shrill from a lane.)

CISSY CAFFREY

I gave it to Molly

Because she was jolly,

The leg of the duck,

The leg of the duck.

(Private Carr and Private Compton, swaggersticks tight in their oxters, as they march unsteadily rightaboutface and burst together from their mouths a volleyed fart. Laughter of men from the lane. A hoarse virago retorts.)

THE VIRAGO

Signs on you, hairy arse. More power the Cavan girl.

CISSY CAFFREY

More luck to me. Cavan, Cootehill and Belturbet. (she sings)

I gave it to Nelly

To stick in her belly,

The leg of the duck,

The leg of the duck.

(Private Carr and Private Compton turn and counterretort, their tunics bloodbright in a lampglow, black sockets of caps on their blond cropped polls. Stephen Dedalus and Lynch pass through the crowd close to the redcoats.)

PRIVATE COMPTON

(jerks his finger) Way for the parson.

PRIVATE CARR

(turns and calls) What ho, parson!

CISSY CAFFREY

(her voice soaring higher)

She has it, she got it,

Wherever she put it,

The leg of the duck.

(Stephen, flourishing the ashplant in his left hand, chants with joy the introit for paschal time. Lynch, his jockeycap low on his brow, attends him, a sneer of discontent wrinkling his face.)

STEPHEN

Vidi aquam egredientem de templo a latere dextro.