[Cf. 1922 5:20-27, Gabler 1:86-94]

We get an important glimpse of Stephen here, as we learn that he refused to pray for his mother at her deathbed. What kind of a**hole doesn’t obey his dying mother’s wish to pray with her? Discuss.

I mean, yes, Stephen is an Artist of Profound Integrity, who cannot compromise his belief in his unbelief. And yes, we are meant to think of him as kin with Hamlet, with Telemachus, with those who fight to leave behind their lives as boys to become men. And I even think that we are meant to pity Stephen more than a little, who has become so alienated through his extremism.

Mulligan refers to himself and Stephen as “hyperborean.” What does this mean? Gifford gives us the basics–it’s a classical allusion, to a kind of perfectly youthful master race who lived at the far ends of the earth. More specifically, Gifford pegs the reference to Nietzsche & a passage in The Will to Power, wherein the Ubermensch were described as hyperborean, as beyond the constraints of conventional morality, especially Christian morality.

Anyone out there have more to say about hyperborean? About Stephen’s refusal to submit and what we’re supposed to think about it?

I love the bottom panel here… Mulligan looking stately and plump indeed, beautifully framed and posed like he’s about to start shooting lasers out of his hands. Which would make things interesting. His pose, his position, his framing, all speak together with the authority of Mulligan’s perfectly reasonable criticism of Stephen. And Stephen knows it, but he doesn’t care.

<< previous | next >>

View this Page of the Comic

Reader’s Guide for I: Telemachus

Dramatis Personae for I: Telemachus

(cf. 1922, 5.31 – 6.6; Gabler, 1.100-11)

Stephen has just been accused by Mulligan of performing more than feeling his grief, of being the “loveliest mummer of them all” who prominently wears his mourning for his mother, but who refused to honor her final wish before she died. Stephen doesn’t rise to the bait, but continues acting the part.

This is one of the first pages where we see Stephen’s internal monologue placed in the context of external events. He remembers a dream he had shortly after his mother’s death, in which she appears as a ghost (remember Hamlet? we finally have our ghost!). We will see this dream in different variations throughout the novel. For now, a few things jumped out at me… first, note the emphasis placed on smells. Joyce is one of the great smell writers… “wetted ashes” has always struck me as an amazingly precise and familiar smell. Also the green of the bile and the green of the bay… just moments ago, Mulligan suggested that ’snotgreen’ be a new color for Irish art. We get a sense of what Stephen thinks of that idea here.

Finally, note how Rob has drawn Stephen’s pose here. Joyce writes that Stephen has his palm on his brow, but Rob has focused on how Stephen is looking at the bay “beyond the threadbare cuffedge,” a marvelous bit of framing.

hopes for further discussion from you, gentle reader:

–the color green
–parallax and visual framing
–ghosts
–motherhood