On.
—You will say those names were already in the chronicles from which he
took the stuff of his plays. Why did he take them rather than others?
Richard, a whoreson crookback, misbegotten, makes love to a widowed Ann
(what’s in a name?), woos and wins her, a whoreson merry widow. Richard
the conqueror, third brother, came after William the conquered. The
other four acts of that play hang limply from that first. Of all his
kings Richard is the only king unshielded by Shakespeare’s reverence,
the angel of the world. Why is the underplot of _King Lear_ in which
Edmund figures lifted out of Sidney’s _Arcadia_ and spatchcocked on to
a Celtic legend older than history?
—That was Will’s way, John Eglinton defended. We should not now combine
a Norse saga with an excerpt from a novel by George Meredith. _Que
voulez-vous?_ Moore would say. He puts Bohemia on the seacoast and
makes Ulysses quote Aristotle.
—Why? Stephen answered himself. Because the theme of the false or the
usurping or the adulterous brother or all three in one is to
Shakespeare, what the poor are not, always with him. The note of
banishment, banishment from the heart, banishment from home, sounds
uninterruptedly from _The Two Gentlemen of Verona_ onward till Prospero
breaks his staff, buries it certain fathoms in the earth and drowns his
book. It doubles itself in the middle of his life, reflects itself in
another, repeats itself, protasis, epitasis, catastasis, catastrophe.
It repeats itself again when he is near the grave, when his married
daughter Susan, chip of the old block, is accused of adultery. But it
was the original sin that darkened his understanding, weakened his will
and left in him a strong inclination to evil. The words are those of my
lords bishops of Maynooth. An original sin and, like original sin,
committed by another in whose sin he too has sinned. It is between the
lines of his last written words, it is petrified on his tombstone under
which her four bones are not to be laid. Age has not withered it.
Beauty and peace have not done it away. It is in infinite variety
everywhere in the world he has created, in _Much Ado about Nothing_,
twice in _As you like It_, in _The Tempest_, in _Hamlet,_ in _Measure
for Measure_—and in all the other plays which I have not read.
He laughed to free his mind from his mind’s bondage.
Judge Eglinton summed up.
—The truth is midway, he affirmed. He is the ghost and the prince. He
is all in all.
—He is, Stephen said. The boy of act one is the mature man of act five.
All in all. In _Cymbeline,_ in _Othello_ he is bawd and cuckold. He
acts and is acted on. Lover of an ideal or a perversion, like José he
kills the real Carmen. His unremitting intellect is the hornmad Iago
ceaselessly willing that the moor in him shall suffer.
—Cuckoo! Cuckoo! Cuck Mulligan clucked lewdly. O word of fear!
Dark dome received, reverbed.
—And what a character is Iago! undaunted John Eglinton exclaimed. When
all is said Dumas _fils_ (or is it Dumas _père?)_ is right. After God
Shakespeare has created most.
—Man delights him not nor woman neither, Stephen said. He returns after
a life of absence to that spot of earth where he was born, where he has
always been, man and boy, a silent witness and there, his journey of
life ended, he plants his mulberrytree in the earth. Then dies. The
motion is ended. Gravediggers bury Hamlet _père_ and Hamlet _fils._ A
king and a prince at last in death, with incidental music. And, what
though murdered and betrayed, bewept by all frail tender hearts for,
Dane or Dubliner, sorrow for the dead is the only husband from whom
they refuse to be divorced. If you like the epilogue look long on it:
prosperous Prospero, the good man rewarded, Lizzie, grandpa’s lump of
love, and nuncle Richie, the bad man taken off by poetic justice to the
place where the bad niggers go. Strong curtain. He found in the world
without as actual what was in his world within as possible. Maeterlinck
says: _If Socrates leave his house today he will find the sage seated
on his doorstep. If Judas go forth tonight it is to Judas his steps
will tend._ Every life is many days, day after day. We walk through
ourselves, meeting robbers, ghosts, giants, old men, young men, wives,
widows, brothers-in-love, but always meeting ourselves. The playwright
who wrote the folio of this world and wrote it badly (He gave us light
first and the sun two days later), the lord of things as they are whom
the most Roman of catholics call _dio boia_, hangman god, is doubtless
all in all in all of us, ostler and butcher, and would be bawd and
cuckold too but that in the economy of heaven, foretold by Hamlet,
there are no more marriages, glorified man, an androgynous angel, being
a wife unto himself.
_—Eureka!_ Buck Mulligan cried. _Eureka!_
Suddenly happied he jumped up and reached in a stride John Eglinton’s
desk.
—May I? he said. The Lord has spoken to Malachi.
He began to scribble on a slip of paper.
Take some slips from the counter going out.
—Those who are married, Mr Best, douce herald, said, all save one,
shall live. The rest shall keep as they are.
He laughed, unmarried, at Eglinton Johannes, of arts a bachelor.
Unwed, unfancied, ware of wiles, they fingerponder nightly each his
variorum edition of _The Taming of the Shrew._
—You are a delusion, said roundly John Eglinton to Stephen. You have
brought us all this way to show us a French triangle. Do you believe
your own theory?
—No, Stephen said promptly.
—Are you going to write it? Mr Best asked. You ought to make it a
dialogue, don’t you know, like the Platonic dialogues Wilde wrote.
John Eclecticon doubly smiled.
—Well, in that case, he said, I don’t see why you should expect payment
for it since you don’t believe it yourself. Dowden believes there is
some mystery in _Hamlet_ but will say no more. Herr Bleibtreu, the man
Piper met in Berlin, who is working up that Rutland theory, believes
that the secret is hidden in the Stratford monument. He is going to
visit the present duke, Piper says, and prove to him that his ancestor
wrote the plays. It will come as a surprise to his grace. But he
believes his theory.
I believe, O Lord, help my unbelief. That is, help me to believe or
help me to unbelieve? Who helps to believe? _Egomen._ Who to unbelieve?
Other chap.
—You are the only contributor to _Dana_ who asks for pieces of silver.
Then I don’t know about the next number. Fred Ryan wants space for an
article on economics.
Fraidrine. Two pieces of silver he lent me. Tide you over. Economics.
—For a guinea, Stephen said, you can publish this interview.
Buck Mulligan stood up from his laughing scribbling, laughing: and then
gravely said, honeying malice:
—I called upon the bard Kinch at his summer residence in upper
Mecklenburgh street and found him deep in the study of the _Summa
contra Gentiles_ in the company of two gonorrheal ladies, Fresh Nelly
and Rosalie, the coalquay whore.
He broke away.
—Come, Kinch. Come, wandering Ængus of the birds.
Come, Kinch. You have eaten all we left. Ay. I will serve you your orts
and offals.
Stephen rose.
Life is many days. This will end.
—We shall see you tonight, John Eglinton said. _Notre ami_ Moore says
Malachi Mulligan must be there.
Buck Mulligan flaunted his slip and panama.
—Monsieur Moore, he said, lecturer on French letters to the youth of
Ireland. I’ll be there. Come, Kinch, the bards must drink. Can you walk
straight?
Laughing, he...
Swill till eleven. Irish nights entertainment.
Lubber...
Stephen followed a lubber...
One day in the national library we had a discussion. Shakes. After. His
lub back: I followed. I gall his kibe.
Stephen, greeting, then all amort, followed a lubber jester, a
wellkempt head, newbarbered, out of the vaulted cell into a shattering
daylight of no thought.
What have I learned? Of them? Of me?
Walk like Haines now.
The constant readers’ room. In the readers’ book Cashel Boyle O’Connor
Fitzmaurice Tisdall Farrell parafes his polysyllables. Item: was Hamlet
mad? The quaker’s pate godlily with a priesteen in booktalk.
—O please do, sir... I shall be most pleased...
Amused Buck Mulligan mused in pleasant murmur with himself,
selfnodding:
—A pleased bottom.
The turnstile.
Is that?... Blueribboned hat... Idly writing... What? Looked?...
The curving balustrade: smoothsliding Mincius.
Puck Mulligan, panamahelmeted, went step by step, iambing, trolling:
John Eglinton, my jo, John,
Why won’t you wed a wife?
He spluttered to the air:
—O, the chinless Chinaman! Chin Chon Eg Lin Ton. We went over to their
playbox, Haines and I, the plumbers’ hall. Our players are creating a
new art for Europe like the Greeks or M. Maeterlinck. Abbey Theatre! I
smell the pubic sweat of monks.
He spat blank.
Forgot: any more than he forgot the whipping lousy Lucy gave him. And
left the _femme de trente ans._ And why no other children born? And his
first child a girl?
Afterwit. Go back.
The dour recluse still there (he has his cake) and the douce youngling,
minion of pleasure, Phedo’s toyable fair hair.
Eh... I just eh... wanted... I forgot... he...
—Longworth and M’Curdy Atkinson were there...
Puck Mulligan footed featly, trilling:
I hardly hear the purlieu cry
Or a Tommy talk as I pass one by
Before my thoughts begin to run
On F. M’Curdy Atkinson,
The same that had the wooden leg
And that filibustering filibeg
That never dared to slake his drouth,
Magee that had the chinless mouth.
Being afraid to marry on earth
They masturbated for all they were worth.
Jest on. Know thyself.
Halted, below me, a quizzer looks at me. I halt.
—Mournful mummer, Buck Mulligan moaned. Synge has left off wearing
black to be like nature. Only crows, priests and English coal are
black.
A laugh tripped over his lips.
—Longworth is awfully sick, he said, after what you wrote about that
old hake Gregory. O you inquisitional drunken jewjesuit! She gets you a
job on the paper and then you go and slate her drivel to Jaysus.
Couldn’t you do the Yeats touch?
He went on and down, mopping, chanting with waving graceful arms:
—The most beautiful book that has come out of our country in my time.
One thinks of Homer.
He stopped at the stairfoot.
—I have conceived a play for the mummers, he said solemnly.
The pillared Moorish hall, shadows entwined. Gone the nine men’s
morrice with caps of indices.
In sweetly varying voices Buck Mulligan read his tablet:
_Everyman His Own Wife
or
A Honeymoon in the Hand
(a national immorality in three orgasms)
by
Ballocky Mulligan._
He turned a happy patch’s smirk to Stephen, saying:
—The disguise, I fear, is thin. But listen.