"A man in purple shirt and grey trousers, brownsocked, passes with an ape's gait, his bald head and goatee beard upheld, hugging a full waterjugjar, his twotailed black braces dangling at heels. Averting his face quickly Bloom bends to examine on the halltable the spaniel eyes of a running fox: then, his lifted head sniffing, follows Zoe into the musicroom."
"A shade of mauve tissuepaper dims the light of the chandelier."
"Round and round a moth flies, colliding, escaping. The floor is covered with an oilcloth mosaic of jade and azure and cinnabar rhomboids. Footmarks are stamped over it in all senses, heel to heel, heel to hollow, toe to toe, feet locked, a morris of shuffling feet without body phantoms, all in a scrimmage higgledypiggledy." (U15.2041)
"The walls are tapestried with a paper of yewfronds and clear glades. In the grate is spread a screen of peacock feathers. Lynch squats crosslegged on the hearthrug of matted hair, his cap back to the front. With a wand he beats time slowly. " (U15.2046)
"Kitty Ricketts, a bony pallid whore in navy costume, doeskin gloves rolled back from a coral wristlet, a chain purse in her hand,"
"sits perched on the edge of the table swinging her leg and glancing at herself in the gilt mirror over the mantelpiece. A tag of her corsetlace hangs slightly below her jacket."
"Lynch indicates mockingly the couple at the piano.)
(Coughs behind her hand.) She's a bit imbecilic. (She signs with a waggling forefinger.) Blemblem. (Lynch lifts up her skirt and white petticoat with his wand. She settles them down quickly.) Respect yourself. (She hiccups, then bends quickly her sailor hat under which her hair glows, red with henna.) O, excuse!"
More limelight, Charley. (she goes to the chandelier and turns the gas full cock.)
(peers at the gasjet) What ails it tonight?
(deeply) Enter a ghost and hobgoblins.
Clap on the back for Zoe." (U15.2062)
"(The wand in Lynch's hand flashes: a brass poker. Stephen stands at the pianola on which sprawl his hat and ashplant. With two fingers he repeats once more the series of empty fifths. Florry Talbot, a blond feeble goosefat whore in a tatterdemalion gown of mildewed strawberry, lolls spreadeagle in the sofacorner, her limp forearm pendent over the bolster, listening. A heavy stye droops over her sleepy eyelid.)
(hiccups again with a kick of her horsed foot) O, excuse!
(promptly) Your boy's thinking of you. Tie a knot on your shift."
"(Kitty Ricketts bends her head. Her boa uncoils, slides, glides over her shoulder, back, arm, chair to the ground. Lynch lifts the curled caterpillar on his wand. She snakes her neck, nestling. Stephen glances behind at the squatted figure with its cap back to the front.)
As a matter of fact it is of no importance whether Benedetto Marcello found it or made it. The rite is the poet's rest."
" It may be an old hymn to Demeter or also illustrate Coela enarrant gloriam Domini. It is susceptible of nodes or modes as far apart as hyperphrygian and mixolydian"
"and of texts so divergent as priests haihooping round David's that is Circe's or what am I saying Ceres' altar and David's tip from the stable to his chief bassoonist about the alrightness of his almightiness. Mais nom de nom, that is another pair of trousers. Jetez la gourme."
"Faut que jeunesse se passe.
(he stops, pointsat Lynch's cap, smiles, laughs) Which side is your knowledge bump?"
(with saturnine spleen) Ba! It is because it is. Woman's reason. Jewgreek is greekjew. Extremes meet. Death is the highest form of life. Ba!"
You remember fairly accurately all my errors, boasts, mistakes. How long shall I continue to close my eyes to disloyalty? Whetstone!
Here's another for you. (he frowns) The reason is because the fundamental and the dominant are separated by the greatest possible interval which ....
Which? Finish. You can't." (U15.2099)
(With an effort.) Interval which. Is the greatest possible ellipse. Consistent with. The ultimate return. The octave. Which.
(Outside the gramophone begins to blare The Holy City.)"