"Letters read out for breach of promise. From Chickabiddy's own Mumpsypum. Laughter in court. Henry. I never signed it. The lovely name you.
Low sank the music, air and words. Then hastened." (U11.1078)
"The false priest rustling soldier from his cassock. A yeoman captain. They know it all by heart. The thrill they itch for. Yeoman cap.
Tap. Tap." (U11.1081)
"Thrilled, she listened, bending in sympathy to hear.
Blank face. Virgin should say: or fingered only. Write something on it: page. If not what becomes of them? Decline, despair. Keeps them young. Even admire themselves. See. Play on her. Lip blow. Body of white woman, a flute alive. Blow gentle. Loud. Three holes all women. Goddess I didn't see." (U11.1086)
"They want it: not too much polite. That's why he gets them. Gold in your pocket, brass in your face. Say something. Make her hear. With look to look: songs without words. Molly, that hurdygurdy boy. She knew he meant the monkey was sick. Or because so like the Spanish. Understand animals too that way." (U11.1090)
"Solomon did. Gift of nature.
Ventriloquise. My lips closed. Think in my stom. What?
Will? You? I. Want. You. To.
With hoarse rude fury the yeoman cursed, swelling in apoplectic bitch's bastard. A good thought, boy, to come. One hour's your time to live, your last.
Tap. Tap." (U11.1092)
"Thrill now. Pity they feel. To wipe away a tear for martyrs that want to, dying to, die. For all things dying, for all things born. Poor Mrs Purefoy. Hope she's over. Because their wombs." (U11.1101)
"A liquid of womb of woman eyeball gazed under a fence of lashes, calmly, hearing. See real beauty of the eye when she not speaks. On yonder river. At each slow satiny heaving bosom's wave (her heaving embon) red rose rose slowly, sank red rose. Heartbeats: her breath: breath that is life." (U11.1104)
"And all the tiny tiny fernfoils trembled of maidenhair.
But look. The bright stars fade. O rose! Castile. The morn.
Ha. Lidwell. For him then not for. Infatuated. I like that? See her from here though. Popped corks, splashes of beerfroth, stacks of empties." (U11.1108)
"On the smooth jutting beerpull laid Lydia hand lightly, plumply, leave it to my hands. All lost in pity for croppy. Fro, to: to, fro: over the polished knob (she knows his eyes, my eyes, her eyes) her thumb and finger passed in pity: passed, reposed and, gently touching, then slid so smoothly, slowly down, a cool firm white enamel baton protruding through their sliding ring." (U11.1112)
"With a cock with a carra.
Tap. Tap. Tap.
I hold this house. Amen. He gnashed in fury. Traitors swing.
The chords consented. Very sad thing. But had to be." (U11.1118)
"Get out before the end. Thanks, that was heavenly. Where's my hat. Pass by her. Can leave that Freeman. Letter I have. Suppose she were the? No. Walk, walk, walk. Like Cashel Boylo Connoro Coylo Tisdall Maurice Tisntdall Farrell. Waaaaaaalk." (U11.1122)
"Well, I must be. Are you off? Yrfmstbyes. Blmstup. O'er ryehigh blue. Ow. Bloom stood up. Soap feeling rather sticky behind. Must have sweated: music. That lotion, remember. Well, so long. High grade. Card inside, Yes
By deaf Pat in the doorway straining ear Bloom passed." (U11.1126)
"At Geneva barrack that young man died. At Passage was his body laid. Dolor! O, he dolores! The voice of the mournful chanter called to dolorous prayer." (U11.1131)


[Geneva barracks are in Waterford Co. Until I find their picture, this is the Griffith Barracks, in Dublin.]
"By rose, by satiny bosom, by the fondling hand, by slops, by empties, by popped corks, greeting in going, past eyes and maidenhair, bronze and faint gold in deepseashadow, went Bloom, soft Bloom, I feel so lonely Bloom." (U11.1134)
"Tap. Tap. Tap.
Pray for him, prayed the bass of Dollard. You who hear in peace. Breathe a prayer, drop a tear, good men, good people. He was the croppy boy.
Scaring eavesdropping boots croppy bootsboy Bloom in the Ormond hallway heard growls and roars of bravo, fat backslapping, their boots all treading, boots not the boots the boy. General chorus off for a swill to wash it down. Glad I avoided.
- Come on, Ben, Simon Dedalus cried. By God, you're as good as ever you were.
- Better, said Tomgin Kernan. Most trenchant rendition of that ballad, upon my soul and honour it is." (U11.1138)
"Ben Dollard bulkily cachuchad towards the bar, mightily praisefed and all big roseate, on heavyfooted feet, his gouty fingers nakkering castagnettes in the air.
Big Benaben Dollard. Big Benben. Big Benben.
Rrr.
And deepmoved all, Simon trumping compassion from foghorn nose, all laughing they brought him forth, Ben Dollard, in right good cheer.
- You're looking rubicund, George Lidwell said." (11.1151)
"Lablache, said Father Cowley." (U11.1151)

From Wikipedia: Luigi Lablache (1794 – 1858) was an Italian opera singer of French and Irish heritage. He possessed a powerful and agile bass voice, a wide range, and adroit acting skills. A physically imposing man, his voice was at all times extraordinarily powerful; but he could produce comic, humorous, tender, or sorrowful effects with equal ease and mastery. As an actor he excelled equally in comic and tragic parts. His chief rôles were Leporello (his signature role) in Mozart's Don Giovanni, Geronimo in La gazza ladra, Dandini in La Prova d' un' Opera Seria, Henry VIII in Anna Bolena, the Doge in Marino Faliero, and Oroveso in Norma. He created the title role in Donizetti's Don Pasquale in 1843. In 1836-37 he taught singing to Princess Victoria of the United Kingdom, the later Queen Victoria.