UlyssesFirst Reader’s Companion

Public reading companion

Episode 1 presentation · eleven shared slides

When does performance become possession?

The audience sequence follows one descending tower-to-road line. The presenter edition adds six evidence, dignity, comparative, and Q&A pages without changing the shared slides.

The presentation is a separate artifact from the accepted episode guide. Version, checksums, and exact public files must be shown after build.

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Verified and owner-accepted

R-021 accepts the exact E01 report, narration, presentation, semantic, source-note, and rights family. The eight downloadable v0.1 component files remain byte-identical to R-020 and retain their embedded creation-state metadata; current acceptance is governed by this route/family overlay.

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Audience edition

Eleven shared slides, in exact order

Every projected idea is repeated as text. Every visual plan has a description. Open each source panel to trace the governed E01 claims.

Shared audience slide 1

Telemachus

TELEMACHUS

When does performance become possession?

Hulki Okan Tabak Ulysses: First Reader’s Companion

Visual description

Minimal title slide naming E01 Telemachus, asking “When performance becomes possession?”, and stating seven movements from tower roof to handed-over key.

Presenter and source notes

This deck assumes the audience has completed “Telemachus.” It will discuss the episode’s ending but nothing later in Ulysses. The opening question is deliberately narrower than “What does the episode mean?” We will watch how ritual, wit, memory, language, and interpretation acquire consequences through shelter, labour, money, bodies, and objects. The deck offers one strong route through the morning and will later test that route against a counter-reading.

Evidence identities

TEL-READING-TEXTTEL-READING-INTERPSRC-E01-01

Shared audience slide 2

The morning begins in a shelter no one simply owns

THE MORNING BEGINS IN A SHELTER NO ONE SIMPLY OWNS

Who: Stephen focalizes; Mulligan commands attention; Haines unsettles; the milkwoman works; May remains absent yet ethically present.

Where: roof → living room → path → bathing cove → departure

When: after eight in represented speech; eight-to-nine in the Linati schema; exact minutes remain open.

Boundary: full E01 spoilers only.

Visual description

A horizontal literary line marks roof, room, and cove; beneath, three columns describe performance, domestic pressure, and departure, noting that place order is firmer than exact clock time.

Presenter and source notes

Stephen supplies the chapter’s principal focal pressure without becoming a neutral judge. The project separates bodily presence from report and memory. It also separates represented time from schema time and project reconstruction. Mulligan says that he told the milkwoman to come after eight. The Linati schema supplies an eight-to-nine convention. The project’s narrower orientation is not projected here because it remains a reconstruction. The place sequence is literary orientation rather than modern navigation.

Evidence identities

TEL-Q-WHO-TEXTTEL-Q-WHO-INTERPTEL-Q-WHEN-TEXTTEL-Q-WHEN-SCHEMATEL-Q-WHEN-WINDOWSRC-E01-01SRC-E01-03SRC-E01-05

Shared audience slide 3

Words keep becoming material

WORDS KEEP BECOMING MATERIAL

Ritual becomes authority. Report becomes injury. Language becomes collectible value. Labour becomes debt. Shelter becomes contested access. A judgment becomes a reason to leave.

Performance, possession, and allegiance are a useful route—not the episode’s hidden solution.

Visual description

Four grey cards read RITUAL → AUTHORITY, REPORT → INJURY, LANGUAGE → VALUE, and LABOUR → DEBT → EXIT; a limit note states that this is one interpretive route, not the episode’s hidden solution.

Presenter and source notes

The textual sequence places ritual speech, jokes, report, memory, food, payment, the key, and departure in one morning. The interpretive step is to read performance, possession, and allegiance as recurring pressures. We must keep those two statements separate. The episode demonstrates the sequence; the project proposes the relation among its parts. The strongest claim is not that speech is unreal. It is that speech becomes consequential when it changes who pays, carries, enters, owns, names, or leaves.

Evidence identities

TEL-READING-TEXTTEL-READING-INTERPTEL-Q-CHANGE-TEXTTEL-Q-CHANGE-INTERPSRC-E01-01SRC-E01-04

Shared audience slide 4

The roof performance creates the first asymmetry

THE ROOF PERFORMANCE CREATES THE FIRST ASYMMETRY

Mulligan chooses the morning’s register. Stephen enters a scene he did not frame.

ordinary shave × sacred parody × military architecture × shared shelter

Pleasure and command can coexist.

Visual description

Two columns contrast performance’s comic and social energy with Mulligan’s control of register and Stephen’s constrained response.

Presenter and source notes

Mulligan carries the shaving things to the roof and performs a mock liturgical opening while Stephen watches. The tower’s documented military history supplies context: an everyday domestic scene takes place inside a British defensive structure. The interpretation is that public voice and guarded response become unequal without reducing Mulligan’s performance to simple fraud. His theatrical energy can create companionship and social life while also directing the room.

Evidence identities

TEL-01-TEXTTEL-01-HISTTEL-01-INTERPSRC-E01-01SRC-E01-03SRC-E01-04SRC-E01-07

Shared audience slide 5

Grief enters through unequal reports

GRIEF ENTERS THROUGH UNEQUAL REPORTS

Mulligan reports May’s request. Stephen remembers, dreams, resists, and names the injury. Mulligan explains and apologises unevenly.

Continuation is not reconciliation.

May Dedalus remains a person beyond the men’s conflict.

Visual description

Two attribution fields distinguish Mulligan’s report from Stephen’s memory, dream, refusal, and judgment; neither supplies May’s mind.

Presenter and source notes

The key discipline here is attribution. Mulligan reports May’s request that Stephen kneel and pray. Stephen recalls Mulligan’s earlier words and says the offence was to him. Mulligan offers a defence and an uneven apology. The scene does not make religious obedience identical with love, medical language identical with understanding, or hurt identical with transparent authority. Most importantly, May must not become an instrument for deciding which man wins.

Evidence identities

TEL-02-MAY-TEXTTEL-03-TEXTTEL-03-INTERPTEL-LENS-MAYSRC-E01-01SRC-E01-04

Shared audience slide 6

Breakfast attaches language to labour

BREAKFAST ATTACHES LANGUAGE TO LABOUR

The milkwoman:

measures milk · waits · speaks · calculates · receives less than the bill

In the same room:

Irish becomes sound, shame, performance, collection, and possible publication.

Begin with the worker—not the allegory.

Visual description

Four cards follow the milkwoman’s labour and the men’s language: measuring the delivery, waiting and speaking, calculating partial payment, and asking who can turn speech into publishable value.

Presenter and source notes

The scene’s represented facts are bounded: the milkwoman delivers and measures milk, states a bill, receives a florin, and leaves two pennies unpaid. Haines speaks words that Mulligan identifies, and she recognizes by sound, as Irish; she says she does not speak the language. Haines proposes collecting Stephen’s sayings. The interpretive question is who can convert speech into cultural value. The deck refuses to begin by labelling the milkwoman as Ireland because that would repeat the symbolic appropriation it wants to examine.

Evidence identities

TEL-05-TEXTTEL-05-INTERPTEL-LENS-MILKWOMANTEL-R-04-TEXTTEL-R-04-INTERPSRC-E01-01SRC-E01-04

Shared audience slide 7

Institutions meet a body the sea has not returned

INSTITUTIONS MEET A BODY THE SEA HAS NOT RETURNED

church · empire · nation · university · medicine · literature · property

Then:

a boatman watches for a drowned man

Abstraction returns to bodily risk.

Visual description

Two columns juxtapose church, empire, nation, university, medicine, literature, and property with a boatman’s watch for a drowned man whose body has not returned.

Presenter and source notes

Stephen carries the key as the men discuss the tower, rent, Hamlet, belief, British rule, and the Catholic Church. Haines voices antisemitic fear; the deck attributes and paraphrases it rather than repeating a slur. Near the cliff edge, a boatman watches for the drowned man. The interpretive claim is not that the body symbolizes every institution. It is that embodied vulnerability interrupts the confidence of their abstractions.

Evidence identities

TEL-06-TEXTTEL-06-HISTTEL-06-INTERPSRC-E01-01SRC-E01-03SRC-E01-04SRC-E01-08

Shared audience slide 8

Five pressures cross the seven movements

FIVE PRESSURES CROSS THE SEVEN MOVEMENTS

  1. tower: shelter / stage / contested access
  2. ritual: authority / memory / injury
  3. care: food / apology / command
  4. money: labour / rent / collection
  5. sea: rescue / mother / threat / loss

They overlap. They do not resolve one another.

Visual description

Five labelled horizontal pressures cross seven numbered episode movements at governed points: tower uses ● at movements 1, 4, 6, and 7; ritual uses ■ at 1, 3, 4, and 6; care uses ◆ at 2, 3, 4, and 7; money uses × at 1, 5, 6, and 7; sea uses + at 2, 4, 6, and 7. Row labels and distinct symbols keep the matrix independent of colour. These are interpretive references, not quantitative weights.

Presenter and source notes

This is the deck’s one complex analytical visual. Its value is not density but recall: the audience can see which pressures return and where they differ. The visual does not rank movements, count thematic importance, or claim causality. It also prevents the key from carrying the whole interpretation alone. The tower, ritual, care, money, and sea are distinct relations that can pull against one another.

Evidence identities

TEL-R-01-TEXTTEL-R-01-INTERPTEL-R-02-TEXTTEL-R-02-INTERPTEL-R-03-TEXTTEL-R-03-INTERPTEL-R-04-TEXTTEL-R-04-INTERPTEL-R-05-TEXTTEL-R-05-INTERPSRC-E01-01SRC-E01-03SRC-E01-07

Shared audience slide 9

People must not collapse into roles

PEOPLE MUST NOT COLLAPSE INTO ROLES

Stephen: focal pressure ≠ neutral authority Mulligan: care + mockery + command Haines: curiosity + advantage + prejudice May: person beyond the men’s conflict Milkwoman: worker before emblem

Visual description

Four cards hold five distinct people lenses: Stephen, Mulligan, Haines, and a final paired card that keeps May and the milkwoman analytically separate.

Presenter and source notes

These are limits as much as descriptions. Stephen’s focal access does not make his judgments objective. Mulligan’s care does not cancel injury, and injury does not make every gesture empty. Haines’s courtesy and curiosity do not erase structural advantage or prejudice. May’s absence does not make her symbolically available. The milkwoman’s symbolic loading must not displace her work and incomplete payment. No lens supplies a diagnosis or a complete personality.

Evidence identities

TEL-LENS-STEPHENTEL-LENS-MULLIGANTEL-LENS-HAINESTEL-LENS-MAYTEL-LENS-MILKWOMANSRC-E01-01SRC-E01-04

Shared audience slide 10

The model must survive its counter-reading

THE MODEL MUST SURVIVE ITS COUNTER-READING

The chapter is also:

comic · improvisational · sensory · rhythmic · associative · unfinished

Mulligan is not only a usurper. Haines is not only an extractor. Stephen is not an impartial judge. The key is not a total allegory.

Visual description

Two columns test the model: it helps when speech’s practical effects, mixed care/coercion, and represented action remain visible; it fails when comedy masks force, objects become fixed symbols, Stephen becomes objective judge, or departure becomes victory.

Presenter and source notes

This is not a disclaimer slide; it changes the conclusion. Seven movements and five pressures can over-organize a chapter that depends on speed, comic pleasure, sensory association, and unfinished thought. The model fails if comedy becomes camouflage only, every object becomes a one-to-one symbol, Stephen’s thought becomes project verdict, or departure becomes victory. The model survives only as a useful, incomplete route.

Evidence identities

SRC-E01-01SRC-E01-04SRC-E01-06SRC-E01-08

Shared audience slide 11

Stephen leaves; the morning stays open

STEPHEN LEAVES; THE MORNING STAYS OPEN

He gives up the key. He cannot go home. He agrees to meet later.

Departure is agency without security.

On a second reading, watch who:

performs · reports · pays · carries · possesses

Visual description

Closing text slide states: “Departure is a movement, not a freedom already won,” followed by report, listening-edition, semantic-source-trail, and public-review version notes.

Presenter and source notes

The ending is decisive as movement and unresolved as condition. Stephen refuses to sleep at the tower, but he has no secure home. He walks away, yet agrees to a later meeting. His final charge belongs to his thought. The deck therefore closes with agency and dependence together. The five verbs are not a summary code; they are a practical invitation to return to the episode and notice how words and objects change each other.

Evidence identities

TEL-07-TEXTTEL-07-INTERPSRC-E01-01SRC-E01-06SRC-E01-08

Presenter edition

Six depth pages for evidence, dignity, context, and comparison

These pages extend the presenter file. They do not alter or renumber the eleven shared audience slides.

3P1Evidence hearing: what is demonstrated, and what is inferred?

3P1 · PRESENTER DEPTH

DEMONSTRATED

Ritual speech, reports, memory, food, payment, key handover, and departure occur in the episode.

INFERRED

Those acts form a pressure system around performance, possession, and allegiance.

OPEN

Complete motive, exact minute sequence, legal ownership, and future relationship.

Visual description

Two columns separate demonstrated episode acts from inferred pressure and open questions about motive, timing, ownership, and future relation.

Answered Q&A

If the interpretation is not demonstrable, why build the deck around it?

Because interpretation is the work of relating demonstrable acts. Its legitimacy comes from traceable evidence, explanatory yield, counter-reading, and visible limits—not from pretending to be a textual fact.

Does `OPEN` mean the project has failed to research the issue?

Sometimes it marks a research debt, but here it often marks an appropriate limit: the episode does not supply a full motive, exact legal arrangement, or minute-by-minute clock.

Presenter and source notes

The deck’s central safeguard is that an arrangement is not self-proving. The text demonstrates a morning sequence of speech and material acts. The project infers that these acts repeatedly join performance to possession and allegiance. Several matters remain open: no exact clock synchronizes the scene; use of the key does not establish legal title; and Stephen’s focal pressure cannot disclose every motive. This division is not academic decoration. It lets us make a strong argument without converting it into fact by visual confidence.

Evidence identities

TEL-READING-TEXTTEL-READING-INTERPSRC-E01-01SRC-E01-04
5P1Attribution protects the absent

5P1 · PRESENTER DEPTH

WHO SAYS WHAT?

  • Mulligan reports May’s request.
  • Stephen supplies represented memory, dream, refusal, and injury.
  • The episode supplies no May point of view.

DO NOT CONVERT

grief → diagnosis request → complete belief refusal → complete moral verdict absence → symbolic availability

Visual description

Two columns separate attributed speech and experience from four prohibited conversions: grief to diagnosis, request to complete belief, refusal to total verdict, and absence to symbolic availability.

Answered Q&A

Does refusing to judge Stephen’s deathbed refusal weaken the chapter’s ethical stakes?

No. It makes the stakes more exact. We can trace the request, refusal, guilt, and injury without claiming that one act exhausts love, belief, or duty.

Is Mulligan’s apology genuine?

The episode represents explanation and apology alongside renewed pressure. A complete private motive remains open, so the deck says “uneven apology” rather than issuing a psychological verdict.

Presenter and source notes

May’s absence is not a blank cheque for interpretation. We can describe the effect of her death on Stephen and the conflict it produces between the men. We cannot invent her private consciousness or use her as proof in their moral contest. The same restraint applies to diagnosis. The episode stages grief, guilt, religious conflict, memory, bodily disgust, and wounded friendship; it does not authorize a modern clinical label.

Evidence identities

TEL-02-MAY-TEXTTEL-02-INTERPTEL-03-TEXTTEL-03-INTERPTEL-LENS-MAYSRC-E01-01
6P1Who may collect a language?

6P1 · PRESENTER DEPTH

LANGUAGE CAN BE

lived ability lost inheritance social shame performed knowledge scholarly collection publishable value

QUESTION: who has access to conversion?

Visual description

Four cards ask who can speak, display knowledge, gather another person’s speech, and circulate what was gathered; a note says interest is not automatically theft and access is not neutral.

Answered Q&A

Is Haines’s interest in Irish necessarily exploitative?

No. The deck keeps curiosity and extraction as simultaneous possibilities. It grounds inequality only in the represented proposal, British identification, and the access implied by money and Mulligan’s reported Oxford connection.

Why not call the milkwoman a symbol of Ireland if the narration invites it?

Symbolic pressure can be discussed after her represented labour. Beginning with the emblem risks erasing the working person whose milk is consumed and whose bill is not fully paid.

Presenter and source notes

The deck must not claim that one English collector causes linguistic loss or that all scholarship is appropriation. The text gives a smaller but powerful arrangement: a British guest with cultural access proposes collecting sayings while a working Irish woman expresses shame at not speaking the language. The contrast supports a question about conversion—who can turn speech into a collection or publication—without pretending to resolve the whole political history of Irish.

Evidence identities

TEL-LENS-HAINESTEL-LENS-MILKWOMANSRC-E01-01SRC-E01-04
7P1Context changes resonance; it does not prove intention

7P1 · PRESENTER DEPTH

DOCUMENTED CONTEXT

Sandycove Martello Tower No. 11 belonged to a British coastal-defence system commissioned in 1804.

REPRESENTED SPEECH

The men discuss rent, British rule, church power, Hamlet, and national identity.

LIMIT

The building record does not validate every claim spoken by a character.

Visual description

Two separate fields distinguish documented Martello Tower history from represented discussion of rent, rule, church, Hamlet, nation, and prejudice; the building record does not validate character claims.

Answered Q&A

Isn’t the colonial interpretation obvious from the tower?

The architecture makes colonial context materially relevant, but “relevant” is not “exhaustive.” The chapter also uses the tower as shelter, breakfast room, stage, and contested access.

Does Haines’s acknowledgement of injustice mitigate his prejudice?

The scene places both in the same speaker. The deck preserves that contradiction rather than converting one statement into a moral cancellation of the other.

Presenter and source notes

The tower’s history matters because the domestic and comic scene occupies British defensive architecture. But historical context cannot certify a character’s politics or prove Joyce’s intention for every detail. The same rule governs Haines’s antisemitic claim: it is evidence about represented speech and ethical position, not documentary history. The deck should attribute prejudice calmly, paraphrase rather than repeat a slur, and avoid making fiction a demographic sample.

Evidence identities

TEL-01-HISTTEL-06-HISTTEL-06-TEXTTEL-LENS-HAINESSRC-E01-03SRC-E01-01
9P1Dignity is an analytical constraint

9P1 · PRESENTER DEPTH

DO NOT

  • diagnose Stephen or Mulligan;
  • turn May into evidence between men;
  • label the milkwoman “Ireland” before her labour;
  • make Haines a national essence;
  • make the drowned man a symbolic instrument.

DIGNITY DOES NOT STOP INTERPRETATION. IT MAKES IT ANSWERABLE.

Visual description

Four quadrants state: DO NOT DIAGNOSE, DO NOT INSTRUMENTALIZE, DO NOT ESSENTIALIZE, and BEGIN WITH LABOUR.

Answered Q&A

Does this caution make symbolic reading impossible?

No. It changes the order and scale of the claim. We can discuss symbolic pressure while keeping represented labour, attribution, and limited access visible.

Can we say Stephen is depressed or traumatised?

Not from this episode packet. We can describe represented fear, grief, guilt, memory, resistance, and dependence without assigning a modern diagnosis.

Presenter and source notes

The project’s first-reader promise is not satisfied by attaching a caution after a reductive visual. The architecture of the slide must resist reduction. That is why this deck uses no portraits to stand in for stable personalities and no national emblem to stand in for the milkwoman. It also keeps the drowned body outside the mechanism of allegorical proof. Interpretation remains possible because people and bodies exert pressure on the model rather than serving it.

Evidence identities

TEL-LENS-STEPHENTEL-LENS-MULLIGANTEL-LENS-HAINESTEL-LENS-MAYTEL-LENS-MILKWOMANTEL-06TEL-R-05SRC-E01-01SRC-E01-04
10P1Comparative lenses: transformation, not casting

10P1 · PRESENTER DEPTH

ODYSSEY, BOOK 1

household under pressure · mourning son · suitors · uncertain authority

HAMLET

mourning · inheritance · performance · displaced succession · uncertainty

USE: sharpen a pressure DO NOT: assign a fixed cast

Visual description

Two comparative columns name bounded household, mourning, inheritance, performance, and uncertain-authority pressures; the use is to sharpen a pressure without assigning a fixed cast.

Answered Q&A

Why call the episode “Telemachus” if the correspondence is not fixed?

A title can establish a comparative field without assigning every figure one role. Transformation, parody, displacement, absence, and multiplication are more useful than casting.

Does Stephen’s final word prove Mulligan is the suitor or Claudius figure?

It proves that Stephen’s thought charges him with usurpation. The companion retains that attribution and treats the comparative mapping as interpretation.

Presenter and source notes

The comparative sources matter because Joyce’s chapter invites Homeric and Shakespearean pressure. But the gain lies in transformation. Stephen is not simply Telemachus or Hamlet; Mulligan is not mechanically Antinous or Claudius; May is not Hamlet’s father; the tower is not a one-to-one Ithaca. Comparison helps explain mourning, household strain, performance, inheritance, and uncertain allegiance. It fails when difference is treated as noise.

Evidence identities

TEL-07-INTERPSRC-E01-06SRC-E01-08SRC-E01-01

Status and limits

A reading instrument, not a solved code

Every slide has a semantic text equivalent and a visual description below. PowerPoint and PDF accessibility metadata does not establish formal conformance. PDF/UA is not claimed.

Every diagram is project-authored from the governed E01 records. No third-party visual asset is used in version 0.1.

The seven movements, five pressures, and slide sequence are project-authored aids. They are not Joyce’s headings, a synchronized clock, a floor plan, a current route, or a fixed Homeric, Shakespearean, national, religious, or psychological cast list.

Trace the argument

Governed E01 source register

These links support checking. They do not transfer rights to reproduce an entire text, database, scan, or image.

  1. SRC-E01-01 · Project Gutenberg

    Ulysses, Project Gutenberg eBook 4300

    Searchable primary-text witness for Part I [1], checked from the opening through the transition to Part I [2]. This is the E01 alias of the repository-global witness SRC0007. TEL-01 through TEL-07 bind to seven exact, non-overlapping witness windows and unique opening/closing fingerprints in docs/audits/r017-e01-telemachus-source-anchor-matrix.json. The witness supports represented event order, attribution, setting, objects, the after-eight report, the milkwoman's transaction, the institutional conversation, the drowned-man watch, the key and coin handover, the proposed half-twelve meeting, and Stephen's closing thoughts.

    Rights and evidentiary limit

    Rights: Project Gutenberg identifies the ebook as public domain in the United States; readers elsewhere must check their jurisdiction. This companion publishes paraphrase and only tiny identifying phrases.

    Limit: Not a 1922 facsimile, critical edition, universal lineation, sole textual authority, or proof that character speech supplies documentary history.

  2. SRC-E01-02 · National Library of Ireland

    Ulysses first edition bibliographic record

    Bibliographic orientation to the 1922 Shakespeare and Company first edition.

    Rights and evidentiary limit

    Rights: Bibliographic link only; no scan, catalogue media, or record text is reproduced.

    Limit: A catalogue record does not verify this page's sequence, working time window, movement labels, source joins, or interpretations.

  3. SRC-E01-03 · James Joyce Tower and Museum

    The Martello Tower: The Tower, the Sea and a Beginning

    Historical context from the page sections on the tower's construction, literary connection, and museum history: Sandycove Martello Tower No. 11's 1804 commission within British coastal defence, later private tenancy, Oliver St John Gogarty's 1904 tenancy, and eventual museum use.

    Rights and evidentiary limit

    Rights: Linked institutional page. No page text, photograph, collection image, map, or other media is reproduced.

    Limit: Museum history contextualizes the surviving building; it does not verify fictional action, authorial intention, exact 1904 interiors, current access, route safety, or accessibility.

  4. SRC-E01-04 · The Joyce Project

    Telemachus annotated chapter

    Bounded secondary context from the line-by-line notes attached to the opening 'Introibo ad altare Dei,' the black-panther report, the cracked servant's mirror, 'beastly dead,' the Irish-language and milkwoman exchange, Haines's proposed collection of sayings, the man drowned nine days before, and the closing 'Usurper.' Every represented event and attribution was checked independently against SRC-E01-01; these notes are used to identify questions and test whether the first-reader frame overstates one interpretation.

    Rights and evidentiary limit

    Rights: Linked secondary resource. No annotation, page design, image, or extended text is reproduced.

    Limit: A rich but non-exclusive secondary account; it is not a critical edition, owner acceptance, or authority for treating every allusion as intentional or settled.

  5. SRC-E01-05 · The Joyce Project

    Schemas for Ulysses

    Context from the Linati schema's Telemachus row for Joyce's explanatory schemas, including the eight-to-nine morning convention. The schema evidence is kept separate from represented textual time and the project's narrower working window.

    Rights and evidentiary limit

    Rights: Linked secondary presentation of documented schema material. No manuscript image, table, or extended text is reproduced.

    Limit: Schemas are orientation aids rather than infallible master keys, exact internal clocks, or proof of a single Homeric structure.

  6. SRC-E01-06 · Theoi Classical Texts Library; translation first published 1919

    Homer, Odyssey, Book 1, translated by A. T. Murray

    Primary comparative context at Odyssey 1.96–421 for Telemachus in a household under pressure, Athena's intervention, Penelope, and the suitors.

    Rights and evidentiary limit

    Rights: Linked classical text. This release paraphrases only and does not republish a substantial translation.

    Limit: Supports a bounded comparative lens, not one-to-one assignment of Stephen, Mulligan, Haines, May, the milkwoman, or the tower.

  7. SRC-E01-07 · Catholic Church; Desclée, Lefebvre et Soc.; Harold B. Lee Library scan

    Missale Romanum, 1889

    Pre-1904 witness to the Roman Missal's preparatory altar dialogue at printed page 248 in the retained scan locator, used to contextualize Mulligan's opening liturgical imitation.

    Rights and evidentiary limit

    Rights: Linked 1889 scan only. No scan image, typography, music, or extended liturgical text is reproduced.

    Limit: This is an 1889 Desclée, Lefebvre et Soc. edition, not the 1570 first typical edition. The archive notes missing pages elsewhere in its copy; the witness does not make the episode a complete liturgical structure.

  8. SRC-E01-08 · Folger Shakespeare Library

    Hamlet: Entire Play

    Primary comparative context at Hamlet 1.2, 1.5, 2.2, and 3.2 for a mourning son, a dead father, a displaced inheritance, contested succession, performance, and uncertainty. These bounded locators frame the Hamlet lens invoked by the episode's characters and Stephen's later argument.

    Rights and evidentiary limit

    Rights: Linked digital edition. No Folger page design, apparatus, or extended play text is reproduced.

    Limit: The comparison remains INTERP. It does not make Stephen Hamlet, Mulligan Claudius, May a substitute for Hamlet's father, or every tower action a Shakespearean correspondence.