Having finished his song, Mulligan runs down to the sea, where he and Haines will bathe.

Haines lingers behind with Stephen, trying to figure out how to react to Mulligan’s funny, if blasphemous song.  By doing so, he is also probably trying to learn something about an Irish intellectual’s relationship to religion generally and the Catholic church specifically.  A Hibernophile Englishman, Haines plays the role of an amateur anthropologist, absorbing everything he can about the peculiar habits of the natives.  Mulligan both encourages him and mocks him for this — Stephen keeps it at a distance.

There’s a conspicuous classical reference here–Mulligan’s flapping hands are associated with “Mercury’s hat.”  Just a few moments ago, Mulligan referred to himself as “Mercurial Malachi.”  When I first noticed this, I thought it was a direct link back to the Odyssey, imagining that Mercury visited Telemachus in Ithaca… but it’s Athena who visits him.

Mercury is the god of travellers, businessmen, messengers and the like. He’s not a bad match for Mulligan, as he is also associated with trickery and deception, particularly around money. Joyce’s schema for the chapter doesn’t say anything about Mercury, but he seems to be here anyway. Joyce’s first readers didn’t really know how closely the parallel to the Odyssey was built, though the title gives a pretty big clue. References like this one would have provided other reminders to the reader to keep Homer in the back of your mind as you read.

So if Mulligan is being associated with Mercury… what of it?  What message is he bringing here?

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Reader’s Guide for I: Telemachus

Dramatis Personae for I: Telemachus

Haines has been trying to get Stephen’s Hamlet theory out of him, but Stephen isn’t interested in telling it, and Mulligan is running interference, trying to get at least a pint out of the deal.

Haines’ wants to prove his intellectual mettle with Stephen. He’s eager to show that he knows something about Hamlet, that he can even quote a line or two. [Elsinore is the castle where the action happens in Shakespeare's play].

Back in December, when these pages were first posted, we got an email from a reader reminding us that we had left out a line of internal dialog here at this point. Just after Haines says “that beetles o’er his base into the sea,” the next line is “Buck Mulligan turned suddenly for an instant towards Stephen but did not speak.”  We don’t really use this, but the reader felt it was a critical moment, because it showed (he felt) Mulligan having a flash of anxiety about Stephen killing himself.  I was skeptical — I thought it more likely that Mulligan was having a flash of anxiety about Stephen further ridiculing the meal ticket Haines. But upon looking at the context of the “beetles o’er his base” quotation, I can see the possibility of the reading.

See this Hamlet vid. [The relevant line comes up around 2:50]

In any event, when Stephen sees himself in “dusty mourning” next to their “gay attires,” he’s clearly thinking of himself as Hamlet. Whether his two companions are Horatio and Marcellus or Rosencrantz and Guildenstern… that’s another question.

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Reader’s Guide for I: Telemachus

Dramatis Personae for I: Telemachus

By pushing Haines about how much he might be paid for his clever sayings, Stephen has apparently screwed up the deal.  Mulligan is annoyed, and asks Stephen why he can’t just play along for the sake of making a little money.

Stephen explains that they have to get money from somewhere, and given the options of getting money from the milkwoman or from Haines, the Englishman seems to be the more likely source.

Mulligan’s response–”From me, Kinch” — is one of those moments in the book that I had not really given much thought to until seeing Rob’s interpretation.  And now, it seems to be the turning point in Mulligan’s and Stephen’s relationship.   What I now think Mulligan means is that he’s figured out that in Stephen’s mind, he is the real source of any money, and that Stephen has basically torpedoed a perfectly good grift of Haines out of petulance and the underlying belief that Mulligan’s own money will come through.  While he doesn’t come out and say it, this does seem to be the moment where Mulligan is officially done with Stephen, and vice versa.

There’s a lot that could be said here about Joyce’s own relationship to money and the means of literary production.  Joyce struggled for much of his life to realize any income from his writings, partly because he was always unwilling to compromise his artistic integrity for the sake of getting things printed, partly because he never had great business sense.  Over time, however, he became the beneficiary of very generous patrons and friends, and by the end of his life had managed to earn a small fortune through his benefactors and publishers. He also managed to spend pretty much everything he earned…

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Reader’s Guide for I: Telemachus

Dramatis Personae for I: Telemachus

Haines suggests that he might publish a collection of Stephen’s sayings, but Stephen impertinently suggests he’ll participate if he stands to make any money by it.  He thinks to himself how Mulligan’s and Haines’ habit of bathing is an attempt to cleanse themselves of more than just dirt.

In the first panel of this page, there’s a kind of exchange between Haines’ dialogue and Stephen’s internal monologue.  Of course, what Stephen is thinking to himself (in the dark boxes) is harder to understand than what Haines is saying out loud.  ”They wash and tub and scrub” refers back to Mulligan’s teasing about Stephen’s infrequent bathing (check the last page), which Stephen also associates with Lady Macbeth’s scrubbing.

“Agenbite of Inwit” is a little more obscure.  It’s a Middle English phrase that means (again according to Professor Gifford) “remorse of conscience.”    When you think about it, it makes wonderful sense.  Your inner wits bite  you.  again.

The kick under the table is Mulligan kicking Stephen, so as to get him to perform his Shakespeare theory and close the deal on Haines’ support. Or at least to get Haines to buy a few round of drinks.  But Stephen does not want to play–apparently he’s in no mood, and since he’s getting paid today he doesn’t need Haines’ help. So he does a decidedly un-English thing and puts his desire to be paid for his work out in plain view.

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Reader’s Guide for I: Telemachus

Dramatis Personae for I: Telemachus