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)
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)
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)
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)
By deaf Pat in the doorway straining ear Bloom passed." (U11.1126)
[Geneva barracks are in Waterford Co. Until I find their picture, this is the Griffith Barracks, in Dublin.]
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)
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.
Big Benaben Dollard. Big Benben. Big Benben.
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)
— Ben machree, said Mr Dedalus, clapping Ben's fat back shoulderblade.
Fit as a fiddle only he has a lot of adipose tissue concealed about his person.
— Fat of death, Simon, Ben Dollard growled.
Richie rift in the lute alone sat: Goulding, Collis, Ward. Uncertainly he waited. Unpaid Pat too." (U11.1159)