Unformatted text preview: Ulysses
Annotated NOTES FOR
JAMES JOYCE'S Ulysses From David A. C hart, The SlOry o f Dublin (London, 1907) Ulysses
Annotated
NOTES FOR
JAMES JOYCE'S Ulysses D on Gifford WITH
ROBERT J . SEIDMAN SECOND EDITION,
REVISED AND ENLARGED
BY DON GIFFORD University of California Press
Berkeley Los Angeles London T his v olume is u r evised a nd e xpanded e dition
o f N otes f or J oyce: A ll A llllOl<l(ioll (!f Jame.1 J oyn:'s
"U1YHt'5," b y D on G iffnrd \ vith R obert]. S eidman
( New York: E. P. D Ulton, I Q (4). T he m aps w ere d rawn by B eth C avri!!es.
U niversity o f C alifornia P ress
B erkeley a nd L os A ngeles, C alifornia
U niversity o f C alifornia P ress, L td.
L ondon, E ngland
l I 0RR b y
T he R egents n f t he U niversity o f C alifornia
F irst p aperback p rinting 1 980
S econd p aperback p rinting 2 008
L ibrary o f C ongress C at;lloging-in-Publication l),Ha G ifford, D on.
" Ulysses" A nnotated.
Rev. c d. of: N otes f or j oyce. 1 97'l.
I ncludes i ndex.
1. j oyce, j ames, 1 882--1941. U lysses. 1. S eidman,
R obert]. II. G ifford, D on. N otes f or J oyce. I II. T itle.
P R6019.09lJ6471988
8 23'.912
I SBN 9 78-0-520-25197-1 8 5-22262 P rinted in t he U nited S tales o f A merica
14 11 12 11 10 09 OR 765412 T he p aper u sed in this p ublication m cets t he m inimum
r equin:mcnts ()r f \NSl/NISO Z 39.·1,s-1992 ( R 1 9(7)
(FI.-'I"J!/ilJh'IICt' 0 / H lper) , t~3 l 've put in so many enigmas and
puzzles that it will keep the professors
busy for centuries arguing over what
I meant, and that's the only way o f
insuring one's immortality_
JAMES JOYCE PREFACE TO THE SECOND EDITION
PREFACE AND ACKNOWLEDGMENTS ( 1974)
THE NOTES AND T HEIR USE ix
X liI XV INTRODUCTION NOTES FOR JOYCE'S PART I . Ulysses T he Telemachiad CONTENTS
9 EPISODE 1. EPISODE 2 . NeslOr 11
29 EPISODE 3· Proteus 43 PART I I. Telemachus T he Wanderings o f Ulysses EPISODE 4· Calypso EPISODE 5· Lotus-Eaters
6. H ades EPISODE
EPISODE
EPISODE 7· Aeolus
8. Leslrygonians 67
69
83
103
127
155
191 9· Scylla and Charybdis
EPISODE 1 0. T he Wandering R ocks 259 EPISODE 1 I . Sirens 289 EPISODE EPISODE 1 2. Cyclops 313 EPISODE 14. O xen o f the S un 383
407 EPISODE 1 5. Circe 451 EPISODE 1 3. N ausicaa PART I II. The Homecoming 531 EPISODE 1 7. Ithaca 533
565 EPISODE 1 8. Penelope 609 EPISODE 1 6. E umaeus APPENDIX:
INDEX Rhetorical Figures in Aeolus 635
645 S ince publication o f the first edition o f these annotations in 1974, responses
from colleagues, s tudents, c orrespondents, and
i nnumerable critics have made i t d ear t hat, even
with the able collaboration of R. J. Seidman
and the assistance of many others, I had as~
sembled something less than a definitive work~
iog annotation o f Ulysses. H ugh K enner sums
u p the first edition succinctly: " By no means
impeccable, b ut a good place to look first. 'l '
T his revised and enlarged second edition is still,
o f course, b y no means impeccable, b ut I hope
it is a b etter place t o look first.
Some o f t he revisions report new discoveries
that add t o t he excitement o f Joyce's text. Oth~
ers expand information in the previous edition-providing, for example, plot summaries
o f operas, plays, a nd novels frequently alluded
t o i n Ulysses. A nd t here remains the indigestible
mass o f notes identifying inert things, " street
furnishings" t hat r equire annotation to ensure
that they remain inert, t hat t hey are overlooked
instead o f over-exploited. Vico Road, for instance, is i n Dalkey, where Stephen teaches in
the morning; a single mention o f Vico Road as
the place where one o f S tephen's students resides does n ot necessarily introduce Giambattista Vico a nd the " rosary o f h istory" t o preside
over the whole o f Ulysses.
Twenty years ago I began this work o f annotating Joyce s purred by the pedagogical frustration described in the Preface to the first edition, reprinted below. Now, as I am about not
to finish, b ut t o " abandon" (as Paul Valery
would say) these revised notes for publication,
there is a nother sort o f frustration: over one
thousand additions and corrections since 1974,
and still they c ome-as i f from the fabled pot
o f lentils or, more appropriately, from that inexhaustibly hospitable ancient Irish soup pot, the
caulderon o f M anannan Mac Lir, the god o f
the sea.
Richard M. Kain, in his review o f the first
edition o f these notes, quite appropriately
quotes Dr. Johnson's sage words: " Notes are
often necessary, b ut they are necessary evils."Z
T he a nnotator's role in accumulating those evils
reminds me o f Swift's Gulliver in Glubbdubdrib, Offered t he opportunity t o s peak with the
I H ugh Kenner, Ulysses ( London: George Allen
and Unwin, 1980) p. 176.
2 ] ames]oyce Quarterly I I, no. 4 [1974]: 423. PREFACE TO T HE
SECOND EDITION x Preface to the Second Edition ghosts o f antiquity, Gulliver is so crippled in
imagination that he can think only to ask for
mob scenes: Alexander the Great at the head o f
his army, " Hannibal passing the Alps," a nd, as
a sort o f a fterthought, Homer and A ristotlenot t o speak t o them (heaven forbid), but to see
them with their commentators; a mob scene
that produces not enlightenment, but a crowd
the palace o f G lubbdubdrib cannot contain.
Robert J. Seidman, who assisted me t o the point
of co-authorship in the 1974 edition, had to step
toward the wings during preparation o f this revised and enlarged edition. T he demands on his
time would simply have been too great; even so,
he turned up additional notes, reviewed the accumulation o f new and revised notes several
times, and was prompt with support throughout.
This new edition obviously had to be keyed
to the text o f the Critical and Synoptic Edition
o f Ulysses (New York, Garland, 1984). T he general editor o f the Critical Edition, Professor
Hans Walter Gabler o f the Institute for English
Philology at the University o f M unich, has been
a model o f generosity and cooperation during
the past four years. H e supplied me with the
new reading text as it became available, including a collation with the 1961 Random House
text to help me spot changes. With admirable
patience and skill, his editorial associate, Claus
Melchior, renumbered my lemmata and cross
references in accordance with the new edition
of Ulysses.
Since publication o f the first edition o f these
notes, I have received invaluable corrections
and suggestions from colleagues, friends, and
correspondents. T he desire to list them fills me
with trepidation that I might fail to thank all
who have offered help or to give t o each credit
due. Particularly gratifying was help I received
from correspondents who volunteered information o ut o f the blue: Edward Stewart o f
Auckland, New Zealand, who helped considerably with the matter o f D ublin from a Dubliner's perspective; and Joan Glasser Keenan o f
Wellesley, Massachusetts, whose meticulous
and voluminous correspondence was an enormous help, as acknowledgments in the notes
will attest.
Roland McHugh interrupted the project of
revising his monumental Annotations to Finnegans Wake ( London, 1980) t o forward over one
hundred suggested emendations to this volume.
I can only hope that my far less searching commentary on his project has been some compen- sation. Correspondence with Vincent Deane,
editor-compiler o f A Finnegans Wake Circular,
resulted in eighty-plus emendations and additions.
O ther correspondents and commentators deserve my thanks: Professor Bernard Benstock,
University of Miami; Professor Richard EHmann, Emory University; Professor H ugh Kenner, T he Johns Hopkins University; Tom Mac
Intyre, Irish writer and playwright; Mary T.
Reynolds, Yale University; and Professor Nathan Suskind. R. J. Seidman adds to this list:
Professor Dorothy Bilik, University o f Maryland; Dr. Vivian B. Mann, T he Jewish Mu~
seum, New York; and Syrl Silberman, Media
Producer/Consultant.
Williams College is a "small college," and my
colleagues there coped admirably with my
preoccupations, nagging questions, and progress reports. Many o f t hem I thanked in the
Preface to the first edition; many I m ust add,
and many I must thank again. T he first edition
was only a few weeks old when Clara and David
Park (Department o f English and Physics Department, respectively) presented me with a
pack o f fifty-odd 3 x 5 cards (pink slips, they
were) to launch me toward this second installment. And so many others in the interim: from
Classics, Professors Maureen Meaney Dietze,
Charles Fuqua, and Meredith Hoppin; from
German, Professor Edson Chick; from Russian
(with asides in Italian), Professor Nicholas Fersen; from Philosophy, Professors Nathaniel
Lawrence and Laszlo Versenyi (who helped
with the Hungarian as well as with Plato); from
English, Professors Robert Bell, Peter Berek,
Arthur Carr, Stephen Fix, Lawrence Graver,
Sherron Knopp, and John Reichert; from the
Sawyer Library, the former librarian Lawrence
Wikander and the present librarian Phyllis Cutler as well as that splendidly cooperative research staff, Lee Dalzell, Faith Fleming, Nancy
Hanssen, Sarah McFarland, Barbara Prentice,
and the assistant librarian Elizabeth Scherr. I
m ust also include Robert Volz, custodian o f the
Chapin (rare book) Library; Carl Johnson, Associate Curator o f the Paul Whiteman Collection; and Paula McCarthy Panczenko, who
made field trips to Dublin.
I wish to thank my Joyce c lasses-all those
generations o f Williams College students who
have used the notes and helped me t o develop
them. Particular thanks go t o Theoharis C.
Theoharis, Williams College 1977, who, in the
years since his experience o f that course, has
come t o function as a regular contributor t o this Preface to the Second Edition
revision. D uring t he final months o f prepara~
rion, Susan Reifer (1985) and William Galloway
(1984) helped by reviewing the manuscript;
Robin Lorsch (1986) and Thomas Lydon (1986)
checked the references to The Odyssey. I am also xi grateful t o Anne Geissrnan Canright for her
skillful editing.
Throughout the project Williams College
has been most generous with research funding
assistance. W ork on the present volume began i n 1962-63 as a continuation o f t he projects
that resulted i n t he annotations o f Dubliners a nd A Portrait o f the Artisl as a Young Man, pub~
lished as Notes for Joyce (New York: E. P. D utron, 1967),1 As with those earlier projects, the
decision to annotate Ulysses was a function o f
t he somewhat frustrating and unrewarding experience o f t rying t o teach the book. I felt that
far too much classroom time was given t o a parade o f e rudition, far too little to the actual pro- cess of t eaching-the discussion that comes to
grips w ith the forms and textures o f the book
itself. I was in effect encouraging my students
to be overdependent on my information and
t herefore on my readings. As I l aunched the annotations with a m imeographed and fragmentary set o f notes for t he first three episodes o f
Ulysses i n 1 962-63, two things became clear:
my students were able t o u ndertake independent readings o f those episodes; and my own
grasp o f t he book was s potty-very spotty indeed-because I h ad relied on a fairly thorough
reading o f isolated passages t o suggest what
m ight be (but clearly was not) a thorough reading o f t he book as a whole.
I n 1966 R obert J. Seidman, a former student, joined me in the enterprise. We declared
a moratorium on writing and undertook t o complete the factual research. This approach enabled us to develop the basis for the annotations
and to identify that wide variety o f things we
knew we d id not know. T he actual writing began early in 1967, a nd in the academic year
1 967-68 we photocopied a draft o f t he notes to
the first eight episodes for use with classes at
Williams College. T hat exposure o f the notes
gave us valuable information; students made
helpful contributions t o the notes themselves
and also helped us clarify what a thorough and
essentially pedagogical annotation might ultimately be. T he s tudents made i t q uite clear, for
example, that the context from which a literary
allusion or a historical moment is taken should
not just be cited, b ut s hould be briefly described
I A second edition, revised and enlarged, was
published as Joyce Annotated: Notes for "Dubliners"
a nd "A Portrait o f the Artist as a Young M an" (Berkeley
and Los Angeles: University o f California Press, 1982). PREFACE AND
ACKNOWLEDGMENTS (I974) XlV Preface a nd Acknowledgments (1974) a nd summarized so the reader could be oriented
without consulting the original sources.
T he p reparation o f t his volume has naturally
involved considerable reliance on the body o f
Joyce scholarship, Where the annotations are
m atters o f fact from reasonably public realms,
we have n ot t ried to identify the original discoverer-in p art because there have been i nnumerable simultaneous and overlapping discoveries,
and in part because such identification and the
comment it entails would imply a scholarly
compilation (an annotation o f critical commentaries o n Ulysses), which has not been the p oint
o f t his work (an annotation o f t he text itself).
W hen Weldon Thornton's Allusions in "Ulysses"
(Chapel Hill, N .C., 1968) was published, it
seemed at first that what we had u ndertaken h ad
already been accomplished. Indeed, Thornton's
work and ours do overlap t o a considerable ex~
tent) b ut t he differences implied b y the terms
" allusion" a nd " annotation" do suggest two dif~
f erent approaches a nd two different end products. Thornton's book has informed us on many
p oints and has helped us immeasurably. At the
same time our own questions and investigations
have carried us i nto fields other than those Thornton has defined as "allusions/' and the
hope is t hat the two books can be regarded as
complementary attempts at different approaches to Ulysses r ather t han as m utually exclusive attempts at the same approach.
I t is a challenge to try to acknowledge here
o ur wide~ranging indebtedness to friends and
associates and correspondents for their assist~
ance. We would like to thank the following for
their varied contributions to this compendium:
Theodore Albert, Williams College, 1963; Stephen Arons, Harvard Law School, 1969; M.
Amr Barrada, Professor o f English, Williams
College; M urray Baumgarten, Professor o f E n·
glish, University o f California at Santa Cruz; A rthur Carr, Professor o f English, Williams
College; Loring Coes I II, Williams College,
1971; James M. Cole, Williams College, 1968;
Padraic Colum, Irish poet and critic; Thomas
Foster, Williams College, 1969; John Garvin,
Dublin City Commissioner; Marin Hay the;
Mathew J. C. H odgart, University o f Sussex,
co~author o f S ong in the Works o f J ames Jtryce;
Sarah Hudson; J. Clay H unt, Professor o f En~
glish, Williams College; Nathaniel Lawrence,
Professor o f Philosophy, Williams College;
Nancy MacFayden, Library Assistant, Wil~
Iiams College; Roger McHugh, Professor o f Anglo-Irish Literature, University College, Dub~
lin; Holly McLennan; Benedict R. Miles (d.
1970), editor and proprietor o f the Gibraltar D irectory a nd Guide Book; Kathleen A. O'Connell,
Secretary t o the President, Williams College;
Daniel O'Connor, Professor o f Philosophy, Wil~
liams College; Ulick O'Connor, D ublin Man o f
Letters; Robert O'Donnell, Professor o f English, Hofstra University; Iona Opie, co~author
o f The Oxford Dictionary o f Nursery R hymes and
The Language and Lore o fChildhood; Clara Park,
Berkshire Community College, Pittsfield, Massachusetts; Eric Partridge, English authority on
slang and unconventional language; Anson Pi~
per, Professor o f Romance Languages, Williams
College; Christopher Ricks, Professor o f English, University o f Bristol; Kenneth Roberts,
Professor o f M usic, Williams College; R obert
M. Ross, Professor o f English, University o f
Pennsylvania; Charles Schweighauser, Williams
College Center for Environmental Studies; Patti
Seidman; Juanita Terry, Research Librarian,
Williams College; Mabel P. Worthington, co~
author o f S ong i n the Works o fJ ames Jtryce.
I would also like t o t hank the Williams Col ~
lege 1900 F und for grants in aid o f this project.
D .G. p nmary intention of these
annotations is p edagogical-to provide a specialized encyclopedia t hat will inform a reading
o f Ulysses. T he r ule o f t humb I have followed is
t o a nnotate aU i tems not available in standard
desk dictionaries. As they now stand, the notes,
even with the revisions, are not complete. Many
of the incornpletions I know I do not know;
there are undoubtedly other incoffipletions of
which I am unaware; and some o f the complete
notes are bound to prove inaccurate or inadequate. To t he e xtent t hat t hese flaws arc p art o f
the formal traditions o f history, theology, philosophy, science, literature, and the arts, they
s hould prove correctable. B ut o ther limitations
derive from a central problem in annotating
Ulysses: Joyce depended heavily for his vocabularies on the vernacular a nd oral worlds o f 1904
D ublin. T hose w orlds o f slang and gossip, anecdotal (as against formal) history, a nd p opular
literature and culture are rapidly passing o ut o f
living memory. T he effort to catch the nuances
o f t hose informal vocabularies before they are
lost is consequently o f critical importance.
I have tried to balance o n t he knife-edge o f
factual annotation and to avoid interpretive remarks. T his d istinction is something o f a legal
fiction, since i t c an hardly be said that the notes
d o not i mply i nterpretations o r t hat they do not
derive from interpretations; but the intention
has b een to keep t he n otes " neutral" so t hat t hey
will inform rather than direct a reading o f the
novel. T he ideal o f neutrality, however, has its
drawbacks and has tended to overweight the annotations. Joyce was fascinated by what he
called " Dublin street furniture," a nd he included vast amounts o f it in Ulysses. F or the
most part that furniture is detail with no suggestive dimension beyond the f actual-streets,
bridges, buildings, pubs, and shops are there:
period. But occasionally something transfactual
occurs: when Bloom twice places Wisdom Hely's, where he once worked, at nonexistent addresses (literally wishing Hely's out o f existence); or when Stephen passes Henry and
James Clothiers and thinks o f H enry James; or
when Stephen places the physics theater of
Jesuit University College in the palace o f the
archbishop of the Church o f Ireland. These oc~
casions and many less obvious ones seemed t o
me t o require that all the " street furniture" be
annotated, if only t o demonstrate, rather than
to assert, that in most cases it is factual and in~ THE NOTES
AND T HEIR USE XVI The Notes and Their Use e rt, as in life most such furniture inevitably is.
O n a nother level, the catalogues, such as those
o f I rish heroes and saints i n Cyclops, p resent a
similar problem. Most o f the heroes at the be~
ginning o f the list are just t hat, I rish heroes who
make one appearance i n the novel; b ut at least
two o f t hem a re w hat S tephen would call the
" indispensable informer," so the whole list
seemed to require annotation. Similarly, the
saints are saints, b ut t he list also includes ringers, such as Molly Bloom a nd t he dog Garryowen; so all were t o be included. Because
even the well~informed r eader needs to know
only that the street f urniture is there a nd in
place, t hat t he heroes are heroes, the saints,
saints, t he n otes may a ppear to labor an abun~
d ance o f t he obvious i n o rder t o r ender a few
grains o f t he s ubtle a nd suggestive. Yet I c ould
see no way a round s imply accepting the overweighting as a p roblem i nherent from the outset
i n " neutral" a nnotations.
T he a nnotated passages are presented in order o f o ccurrence-not u nlike the notes at the
foot o f t he pages o f an edition o f S hakespeare o r
Milton. T he n umerals before each annotat...
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