"Jiggedy jingle jaunty jaunty." (U11.579)
"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.'
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.
Strongly.
— Go on, blast you! Ben Dollard growled. Get it out in bits.
— M'appari, Simon, Father Cowley said." (U11.584)
Strongly.
— 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)
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)
- 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)
- 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.
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
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
"Tenderly Bloom over liverless bacon saw the tightened features strain. Backache he. Bright's bright eye. Next item on the programme. Paying the piper. Pills, pounded bread, worth a guinea a box. Stave it off awhile. Sings too: Down among the dead men. Appropriate. Kidney pie. Sweets to the. Not making much hand of it. Best value in. Characteristic of him. Power. Particular about his drink. Flaw in the glass, fresh Vartry water. Fecking matches from counters to save. Then squander a sovereign in dribs and drabs." (U11.614)
"And when he's wanted not a farthing. Screwed refusing to pay his fare. Curious types." (U11.621)
"Never would Richie forget that night. As long as he lived: never. In the gods of the old Royal with little Peake. And when the first note.
Speech paused on Richie's lips.
Coming out with a whopper now. Rhapsodies about damn all. Believes his own lies. Does really. Wonderful liar. But want a good memory.
— Which air is that? asked Leopold Bloom.
— All is lost now." (U11.623)
Speech paused on Richie's lips.
Coming out with a whopper now. Rhapsodies about damn all. Believes his own lies. Does really. Wonderful liar. But want a good memory.
— Which air is that? asked Leopold Bloom.
— All is lost now." (U11.623)
"Richie cocked his lips apout. A low incipient note sweet banshee murmured: all. A thrush. A throstle. His breath, birdsweet, good teeth he's proud of, fluted with plaintive woe. Is lost. Rich sound. Two notes in one there." (U11.630)