"By the chains the horse slowly swerved to turn, which perceiving, Bloom, who was keeping a sharp lookout as usual, plucked the other's sleeve gently, jocosely remarking:
- Our lives are in peril tonight. Beware of the steamroller.
They thereupon stopped. Bloom looked at the head of a horse not worth anything like sixtyfive guineas, suddenly in evidence in the dark quite near, so that it seemed new, a different grouping of bones and even flesh, because palpably it was a fourwalker, a hipshaker, a blackbuttocker, a taildangler, a headhanger, putting his hind foot foremost the while the lord of his creation sat on the perch, busy with his thoughts." (U16.1777)
"But such a good poor brute, he was sorry he hadn't a lump of sugar but, as he wisely reflected, you could scarcely be prepared for every emergency that might crop up. He was just a big foolish nervous noodly kind of a horse, without a second care in the world. But even a dog, he reflected, take that mongrel in Barney Kiernan's, of the same size, would be a holy horror to face." (U16.1786)
"But it was no animal's fault in particular if he was built that way like the camel, ship of the desert, distilling grapes into potheen in his hump. Nine tenths of them all could be caged or trained, nothing beyond the art of man barring the bees." (U16.1791)
"Exquisite variations he was now describing on an air Youth here has End by Jans Pieter Sweelinck, a Dutchman of Amsterdam where the frows come from." ([U16.1810])
"Even more he liked an old German song of Johannes Jeep about the clear sea and the voices of sirens, sweet murderers of men, which boggled Bloom a bit:
Von der Sirenen Listigkeit
Tun die Poeten dichten.
These opening bars he sang and translated extempore. Bloom, nodding, said he perfectly understood and begged him to go on by all means which he did." (U16.1812)
Johannes Jeep is a German composer and organist (1581 - 1644). He is especially known for his more than 100 hymn and psalm settings done mostly in four-part harmony. He also wrote an enduring set of student songs, pieces of popular music that are entirely homophonic and strophic. (Image courtesy of Harald Beck)
"A phenomenally beautiful tenor voice like that, the rarest of boons, which Bloom appreciated at the very first note he got out, could easily, if properly handled by some recognised authority on voice production such as Barraclough and being able to read music into the bargain, command its own price where baritones were ten a penny and procure for its fortunate possessor in the near future an entrée into fashionable houses in the best residential quarters, of financial magnates in a large way of business and titled people" (U16.1820)
"where with his university degree of B. A. (a huge ad in its way) and gentlemanly bearing to all the more influence the good impression he would infallibly score a distinct success, being blessed with brains which also could be utilised for the purpose and other requisites, if his clothes were properly attended to so as to the better worm his way into their good graces as he, a youthful tyro in- society's sartorial niceties, hardly understood how a little thing like that could militate against you." (U16.1827)
"But a step in the required direction it was, beyond yea or nay and both monetarily and mentally it contained no reflection on his dignity in the smallest and it often turned in uncommonly handy to be handed a cheque at a muchneeded moment when every little helped." (U16.1843)
"Besides, though taste latterly had deteriorated to a degree, original music like that, different from the conventional rut, would rapidly have a great vogue as it would be a decided novelty for Dublin's musical world after the usual hackneyed run of catchy tenor solos foisted on a confiding public by Ivan St Austell and Hilton St Just and their genus omne. Yes, beyond a shadow of a doubt he could with all the cards in his hand and he had a capital opening to make a name for himself and win a high place in the city's esteem where he could command a stiff figure and, booking ahead, give a grand concert for the patrons of the King street house, given a backerup, if one were forthcoming to kick him upstairs, so to speak, a big if however, with some impetus of the goahead sort to obviate the inevitable procrastination which often tripped -up a too much feted prince of good fellows." (U16.1847)
"In fact, he had the ball at his feet and that was the very reason why the other, possessed of a remarkably sharp nose for smelling a rat of any sort, hung on to him at all.
The horse was just then." (U16.1863)
"And later on at a propitious opportunity he purposed (Bloom did), without anyway prying into his private affairs on the fools step in where angels principle, advising him to sever his connection with a certain budding practitioner who, he noticed, was prone to disparage and even to a slight extent with some hilarious pretext when not present, deprecate him, or whatever you like to call it which in Bloom's humble opinion threw a nasty sidelight on that side of a person's character, no pun intended." (U16.1866)
"The horse, having reached the end of his tether, so to speak, halted, and, rearing high a proud feathering tail, added his quota by letting fall on the floor, which the brush would soon brush up and polish, three smoking globes of turds. Slowly, three times, one after another, from a full crupper, he mired. And humanely his driver waited till he (or she) had ended, patient in his scythed car." (U16.1874)
"but merely watched the two figures, as he sat on his lowbacked car, both black, one full, one lean, walk towards the railway bridge, to be married by Father Maher." (U16.1885)
'The Low-Backed Car' is a song written in 1846 by Samuel Lover (1797 - 1868). The tune is said to be a variant of the English folksong 'The Jolly Ploughboy.' This PC starts the last stanza, that continues:
"On a cushion made with taste,
While Peggy would sit beside me,
With my arm around her waist.
As we drove in the low-back'd car,
To be married by Father Maher,
Oh, my heart would beat high
At her glance and her sigh,
Tho' it beat in a low-back'd car."
"As they walked they at times stopped and walked again continuing their tête à tête (which, of course, he was utterly out of) about sirens enemies of man's reason, mingled with a number of other topics of the same category, usurpers, historical cases of the kind while the man in the sweeper car or you might as well call it in the sleeper car who in any case couldn't possibly hear" (U16.1888)
"because they were too far simply sat in his seat near the end of lower Gardiner street and looked after their lowbacked car." (U16.1893)