"Miss Kennedy served two gentlemen with tankards of cool stout. She passed a remark. It was indeed, first gentleman said, beautiful weather. They drank cool stout. Did she know where the lord lieutenant was going? And heard steelhoofs ringhoof ring. No, she couldn't say. But it would be in the paper. O, she needn't trouble. No trouble. She waved about her outspread Independent, searching, the lord lieutenant, her pinnacles of hair slowmoving, lord lieuten. Too much trouble, first gentleman said. O, not in the least. Way he looked that. Lord lieutenant. Gold by bronze heard iron steel.
- ........... my ardent soul
I care not foror the morrow." (U11.542)
"In liver gravy Bloom mashed mashed potatoes. Love and war someone is. Ben Dollard's famous. Night he ran round to us to borrow a dress suit for that concert. Trousers tight as a drum on him. Musical porkers. Molly did laugh when he went out." (U11.553)
"Piano again. Cowley it is. Way he sits in to it, like one together, mutual understanding." (11.573)
"Tiresome shapers scraping fiddles, eye on the bowend," (U11.574)
"sawing the cello, remind you of toothache. Her high long snore. Night we were in the box. Trombone under blowing like a grampus, between the acts, other brass chap unscrewing, emptying spittle. Conductor's legs too, bagstrousers, jiggedy jiggedy. Do right to hide them.
Jiggedy jingle jaunty jaunty." (U11.575)
"Only the harp. Lovely gold glowering light. Girl touched it. Poop of a lovely. Gravy's rather good fit for a. Golden ship. Erin." (U11.580)
"The harp that once or twice." (U11.581)

From the song by Thomas Moore:
'The harp that once through Tara's halls
The soul of music shed,
Now hangs as mute on Tara's walls
As if that soul were fled.'
"Cool hands. Ben Howth, the rhododendrons. We are their harps. I. He. Old. Young." (U11.582)
"— Ah, I couldn't, man, Mr Dedalus said, shy, listless.
— Go on, blast you! Ben Dollard growled. Get it out in bits.
— M'appari, Simon, Father Cowley said." (U11.584)
"Down stage he strode some paces, grave, tall in affliction, his long arms outheld. Hoarsely the apple of his throat hoarsed softly. Softly he sang to a dusty seascape there: A Last Farewell. A headland, a ship, a sail upon the billows. Farewell. A lovely girl, her veil awave upon the wind upon the headland, wind around her.
Cowley sang:
- M'appari tutt'amor:
Il mio sguardo l'incontr..." (U11.588)
"She waved, unhearing Cowley, her veil to one departing, dear one, to wind, love, speeding sail, return.
- Go on, Simon.
- Ah, sure, my dancing days are done, Ben... Well..." (U11.596)
"Mr Dedalus laid his pipe to rest beside the tuningfork and, sitting, touched the obedient keys.
- No, Simon, Father Cowley turned. Play it in the original. One flat.
The keys, obedient, rose higher, told, faltered, confessed, confused.
Up stage strode Father Cowley.
- Here, Simon. I'll accompany you, he said. Get up." (U11.600)
"By Graham Lemon's pineapple rock," (U11.606)
"by Elvery's elephant jingle jogged.
Steak, kidney, liver, mashed, at meat fit for princes sat princes Bloom and Goulding. Princes at meat they raised and drank, Power and cider." (U11.606)

An advertisement for J.W. Elvery (Waterproofers) in a tourist pamphlet from 1902. They had stores at 46 & 47 Lower Sackville Street, and 18 1/2 Nassau Street.
"Most beautiful tenor air ever written, Richie said: Sonnambula. He heard Joe Maas sing that one night. Ah, what M'Guckin! Yes. In his way. Choirboy style." (U11.610)
"Maas was the boy. Massboy. A lyrical tenor if you like. Never forget it. Never." (U11.612)

Joseph Maas (1847 - 1886) was an English tenor. As a boy, he was for 5 years soloist in the choir of Rochester Cathedral. He studied under J. C. Hopkins and Mme Bodda-Pyne, then in Milan in 1869. He made his first appearance in London In 1871 at one of Henry Leslie's concerts; a little later, he made his stage debut in Boucicault's 'Babil and Bijou'. In 1877 he jointed the Carl Rosa Company, and in 1878 became its principal tenor. He had a beautiful voice and finished style (that more than compensated for somewhat poor acting skills). Maas achieved highest and widest renown as an oratorio and concert singer, mostly of sacred music. I found in 'The Musical World' reviews of his singing in Haendel's Messiah, Gounod's Messe Solennelle, Mendelssohn's Hymns of Praise etc
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