The Governed City
DIMENSION 3 · TYPE I, INVENTORY · DIAGRAM REGISTER · THE UNIT: THE INSTRUMENT OF RULE
Thirteen instruments of rule — Castle, police, garrison, informers, courts, the language question and the rest — as they surface in the 1922 text. The reference maps held no tenement because the protagonists never enter one (catch C-03): rule here is ambient, not a place the plot visits. The device below shows it — the instruments spread thin across nearly every hour of the day, thickening only where the book itself turns on power. Quotes are verbatim from the public-domain text; states follow anchor A3.
The Dublin Metropolitan Police — the constable on his beat
POLICE
The uniformed force is ambient regulation rather than event: it feeds and marches, salutes priest and viceroy, swaps gossip with undertakers, and is known by number like street furniture. Its one arrest of the day happens only in hallucination; at the real street violence it arrives late and is talked around by Corny Kelleher, while Bloom indicts it as perjured and class-serving, Gerty fears its station, and Molly imagines it being told on her.
| Hour | Episode | State | What it does | The text, 1922 |
|---|---|---|---|---|
| ~8:15 a.m. (marked approximate, hours per doc 03) | 4 · Calypso | recalled | At Dlugacz's counter Bloom mentally pairs the nextdoor servant girl with an off-duty constable — the policeman as courting presence in kitchens and lanes (classification of the vignette as Bloom's mental image: inferred, A5). | “a constable off duty cuddling her in Eccles’ Lane. They like them sizeable.” |
| ~11:45 a.m. | 6 · Hades | present | At Glasnevin Bloom reads Corny Kelleher's body as police-built — the undertaker who serves as the force's civilian friend (the police connection is Bloom's inference, A5; Kelleher himself present). | “He looked on them from his drawling eye. Policeman’s shoulders.” |
| ~1 p.m. | 8 · Lestrygonians | present | A fed squad leaves the College street station for its beats; Bloom notes the force at its most corporeal — soup-heated, truncheon-patting, best attacked at dinner. | “A squad of constables debouched from College street, marching in Indian file. Goosestep. Foodheated faces, sweating helmets, patting their truncheons.” |
| ~1 p.m. | 8 · Lestrygonians | recalled | Bloom remembers the mounted-police charge at the 1899 anti-Boer-War protest — the force as crowd-control violence he personally fled, with G men and bridewell beatings in the same breath. | “That horsepoliceman the day Joe Chamberlain was given his degree in Trinity he got a run for his money.” |
| ~3 p.m. | 10 · Wandering Rocks | present | A beat constable and Father Conmee exchange salutes — the two governing uniforms acknowledging each other on the north side. | “A constable on his beat saluted Father Conmee and Father Conmee saluted the constable.” |
| ~3:15 p.m. | 10 · Wandering Rocks | present | Constable 57C passes the time of day with Corny Kelleher and drops confidential information — the beat as an information channel between force and undertaker. | “—I seen that particular party last evening, the constable said with bated breath.” |
| ~4 p.m. | 10 · Wandering Rocks | present | The episode's closing frame: policemen exist chiefly to salute the Crown as the cavalcade drives out of the Park. | “The viceregal cavalcade passed, greeted by obsequious policemen, out of Parkgate.” |
| ~4:30 p.m. | 11 · Sirens | recalled | In Bloom's taxonomy of trades and their sounds, the constable is reduced to his instrument — the whistle heard in Sirens' acoustic city. | “Shepherd his pipe. Pwee little wee. Policeman a whistle.” |
| ~4:45 p.m. | 12 · Cyclops | present | The episode opens with the nameless narrator chatting with a retired D.M.P. man and considering using the law on a sweep — the force as street furniture and first resort. | “—Old Troy, says I, was in the force. I’m on two minds not to give that fellow in charge for obstructing the thoroughfare” |
| ~5 p.m. | 12 · Cyclops | recalled | The narrator's anecdote of Constable 14A blind drunk in a Bride street shebeen — the constable known by number like a lamppost, and no better than his charges after closing time. | “Paddy Leonard knew the bobby, 14A. Blind to the world up in a shebeen in Bride street after closing time” |
| ~5:15 p.m. | 12 · Cyclops | hallucinated | In the execution-parody interpolation the whole force crowd-manages a public hanging — textual fantasy of the Cyclops narration, not any character's vision (assignment of 'hallucinated' to parody interpolations: inferred, A5). | “A posse of Dublin Metropolitan police superintended by the Chief Commissioner in person maintained order in the vast throng” |
| ~8:30 p.m. | 13 · Nausicaa | recalled | In Gerty's thought the police station is the machine that processes fallen women — respectability defined by which side of the constable you stand. | “coarse men with no respect for a girl’s honour, degrading the sex and being taken up to the police station. No, no: not that.” |
| ~10:30 p.m. (recalling a night years past) | 14 · Oxen of the Sun | recalled | In Bloom's memory of his first night with Bridie Kelly, the night watch's tread passes over the hidden couple — the force as the sound respectability makes above the illicit. | “together they hear the heavy tread of the watch as two raincaped shadows pass the new royal university” |
| ~12 midnight | 15 · Circe | present | Real Nighttown at the episode's threshold: two night watch loom at the corner, hands on staffholsters — the force tolerating Monto while standing at its edge. | “At a corner two night watch in shouldercapes, their hands upon their staffholsters, loom tall.” |
| ~12:20 a.m. | 15 · Circe | hallucinated | The Watch materialise, arrest Bloom and convene the trial of The King versus Bloom — the day's accumulated guilt staged as police procedure; strictly hallucinated against the real watch at the episode's close (A3). | “THE WATCH: Bloom. Of Bloom. For Bloom. Bloom. ... FIRST WATCH: Caught in the act. Commit no nuisance.” |
| ~12:25 a.m. | 15 · Circe | hallucinated | Inside the trial Bloom flatters the force as the empire's guardians — the accused reciting the official theory of the police back at them. | “our own Metropolitan police, guardians of our homes, the pluckiest lads and the finest body of men, as physique, in the service of our sovereign” |
| ~1 a.m. | 15 · Circe | present | After Carr's blow the real raincaped watch arrive with notebook and 'name and address' — and are steered away from arresting Stephen by Corny Kelleher's fixing, the force's discretion working through its civilian friend. | “CORNY KELLEHER: Leave it to me, sergeant. That’ll be all right. ... FIRST WATCH: (Laughs.) I suppose so.” |
| ~1 a.m. | 16 · Eumaeus | present | The C division station is built into the night walk's route — the force as fixed geography between Nighttown and the cabman's shelter. | “in due course turned into Store street, famous for its C division police station” |
| ~1:15 a.m. | 16 · Eumaeus | recalled | Bloom's spoken indictment, recalling A-division cases: constables perjure themselves for the Crown, are absent where needed and posted where the property is — the day's plainest statement about the instrument. | “a lot of those policemen, whom he cordially disliked, were admittedly unscrupulous in the service of the Crown” |
| ~2:30 a.m. | 17 · Ithaca | recalled | In the catechism's list of hypothetical occupations for Molly the force surfaces as a charity brand — knitting for the police-aided clothing society; rule domesticated into philanthropy (classification of hypothetical catalogue as recalled: inferred, A5). | “embroidery, darning or knitting for the policeaided clothing society” |
| no hour (Joyce's schema); deep night after ~2:45 a.m. | 18 · Penelope | recalled | Molly, imagining a Belfast trip with Boylan, imagines denunciation — the police as the instrument a watching town might set on an adulteress (imagined-future scenario classed as recalled: inferred, A5). | “they might bell it round the town in their papers or tell the police on me but theyd think were married” |
The garrison — barracks, regiments, navy and the army as career
BARRACKS-GARRISON
Present in every episode, the garrison is empire at its most ordinary: landlord (the Martello tower), employer and career (Tweedy, Seymour, Gardner, Bannon's cornetcy), spectacle (recruiting posters, Highland bands, sailor suits on four-year-olds), and sexual economy (the soldiers' walk, Monto beside the barracks). It frames the whole book — a War Office gun-tower at eight in the morning, Molly's Gibraltar of bugles and sentries at the end — and it delivers the only violence that actually lands all day: Private Carr's fist.
| Hour | Episode | State | What it does | The text, 1922 |
|---|---|---|---|---|
| ~8 a.m. | 1 · Telemachus | present | The book opens on the gun-platform of a Martello tower — the scene physically stands on military fortification, and Mulligan's clowning speaks the garrison's idiom. | “—Back to barracks! he said sternly.” |
| ~8:40 a.m. | 1 · Telemachus | recalled | At the Forty Foot, news of Seymour: the army as the ordinary next move for a Dublin medical student — career, not conquest. | “—Seymour’s back in town, the young man said... Chucked medicine and going in for the army.” |
| ~10 a.m. | 2 · Nestor | recalled | Stephen reads Armstrong's comfortable Dalkey family through its service pride — the navy as the respectable ornament of well-off unionist households. | “Welloff people, proud that their eldest son was in the navy. Vico Road, Dalkey.” |
| ~11 a.m. | 3 · Proteus | recalled | In Stephen's self-mocking memory, an invented general-uncle was his boyhood social currency at Clongowes — army rank as class credential even in a nationalist family's boasting. | “You told the Clongowes gentry you had an uncle a judge and an uncle a general in the army.” |
| ~8:10 a.m. | 4 · Calypso | recalled | Bloom recalls his father-in-law Major Tweedy, the garrison's man in the family — Gibraltar, Plevna, promotion from the ranks; and again as an imagined city-gate sentry in Bloom's eastern reverie. | “Hard as nails at a bargain, old Tweedy. Yes, sir. At Plevna that was. I rose from the ranks, sir, and I’m proud of it.” |
| ~9:50 a.m. | 5 · Lotus Eaters | present | In the Westland Row post office a recruiting poster parades all arms while Bloom collects an adulterous letter; his riff runs uniform-as-seduction, Maud Gonne's campaign, and 'an army rotten with venereal disease' (recalled press-talk within the present sighting). | “he gazed at the recruiting poster with soldiers of all arms on parade ... Redcoats. Too showy. That must be why the women go after them. Uniform.” |
| ~11:15 a.m. | 6 · Hades | recalled | Inside Bloom's memory of the morning Rudy was conceived stands a grinning sergeant in the street — the garrison as casual street presence woven into the marriage's most private scene. | “she was at the window watching the two dogs at it by the wall of the cease to do evil. And the sergeant grinning up.” |
| ~1 p.m. (episode close) | 7 · Aeolus | present | Nelson's Pillar — the navy as the monument at the exact centre of the city — caps Stephen's Parable of the Plums; the professor relishes the demotion of the admiral to adulterer. | “peering up at the statue of the onehandled adulterer.” |
| ~1:30 p.m. | 8 · Lestrygonians | recalled | Pub talk in Davy Byrne's of Myler Keogh's bout with the Portobello barracks soldier — garrison and city meeting in the prize ring; earlier Bloom thinks the cheering students will pour 'into the army helterskelter' when war comes. | “Myler Keogh won again that soldier in the Portobello barracks.” |
| ~2 p.m. | 9 · Scylla and Charybdis | recalled | In the library Stephen's Shakespeare argument absorbs the Boer War — the army surfacing inside literary theory as the measure of English violence. | “Khaki Hamlets don’t hesitate to shoot. The bloodboltered shambles in act five is a forecast of the concentration camp” |
| ~3:30 p.m. | 10 · Wandering Rocks | present | A tram unloads Highland soldiers of a band under Grattan's statue — the garrison as the viceroy's travelling soundtrack, deployed for the cavalcade's afternoon. | “an Inchicore tram unloaded straggling Highland soldiers of a band.” |
| ~4:30 p.m. | 11 · Sirens | recalled | The Croppy Boy sung in the Ormond: the yeoman captain in the false priest's cassock — the garrison of 1798 present as a ballad every listener knows by heart. | “The false priest rustling soldier from his cassock. A yeoman captain. They know it all by heart. The thrill they itch for.” |
| ~5:15 p.m. | 12 · Cyclops | recalled | Barney Kiernan's debates the fleet after a flogging story — the navy as the empire's disciplinary machine, in the citizen's roaring version of it. | “—That’s your glorious British navy, says the citizen, that bosses the earth.” |
| ~5:20 p.m. | 12 · Cyclops | recalled | The Keogh–Bennett bout retold as sporting-press parody — sergeantmajor Bennett of Portobello standing in for the garrison in the ring against Dublin (real match recalled in talk; parody rendering, A5). | “The redcoat ducked but the Dubliner lifted him with a left hook, the body punch being a fine one.” |
| ~8 p.m. | 13 · Nausicaa | present | The Caffrey twins wear the navy on the beach — H.M.S. Belleisle printed on children's caps, empire as infant fashion on Sandymount Strand. | “dressed in sailor suits with caps to match and the name H. M. S. Belleisle printed on both.” |
| ~8:30 p.m. | 13 · Nausicaa | recalled | Gerty's map of disgrace runs along the garrison's sexual economy — the accommodation walk by the Dodder where women 'went with the soldiers'. | “the fallen women off the accommodation walk beside the Dodder that went with the soldiers” |
| ~11 p.m. | 14 · Oxen of the Sun | present | Bannon arrives at Holles street announcing his plan to buy a commission — the army as a purchasable career transacted in talk, in the room where a child is being born. | “his intention to buy a colour or a cornetcy in the fencibles and list for the wars.” |
| ~12:50 a.m. | 15 · Circe | present | Private Carr, drunk and king-invoking, knocks Stephen down in Beaver street — the garrison's only physically landed violence of the entire day, over an imagined insult to Cissy Caffrey and the king. | “He rushes towards Stephen, fist outstretched, and strikes him in the face. Stephen totters, collapses, falls, stunned.” |
| ~12:50 a.m. | 15 · Circe | hallucinated | As the real blow gathers, Major Tweedy rises in apparition opposite the Citizen — the family's dead soldier hallucinated into the street confrontation, barking parade-ground commands (strictly distinct from the flesh-and-blood Carr, A3). | “MAJOR TWEEDY: (Growls gruffly.) Rorke’s Drift! Up, guards, and at them! Mahar shalal hashbaz.” |
| ~1:30 a.m. | 16 · Eumaeus | recalled | The shelter keeper's irritable catechism claims the army's best troops as Irish, and Bloom privately notes Irish soldiers 'had as often fought for England as against her' — the garrison as Ireland's own contradiction, talked through at night. | “—Who’s the best troops in the army? the grizzled old veteran irately interrogated. And the best jumpers and racers?” |
| ~2:15 a.m. | 17 · Ithaca | recalled | The catechism itself marks the garrison's man as memory: Major Tweedy '(remembered)', his battle Plevna retrieved by mnemotechnic from Bloom's bookshelf — the army as the household's inherited past. | “frequently remembered by a decisive officer, major Brian Cooper Tweedy (remembered).” |
| no hour (Joyce's schema); deep night after ~2:45 a.m. | 18 · Penelope | recalled | Molly's Gibraltar is a garrison town remembered whole — reveille, drums, ranked spectacle ('the Black Watch with their kilts'), the sentry at the governor's house — the empire's soundscape as her girlhood. | “the same old bugles for reveille in the morning and drums rolling and the unfortunate poor devils of soldiers walking about” |
| no hour (Joyce's schema); deep night after ~2:45 a.m. | 18 · Penelope | recalled | Gardner, Molly's lieutenant, dead of the Boer War's fever — the army as the career that takes Irish lovers to South Africa and does not return them. | “Gardner lieut Stanley G 8th Bn 2nd East Lancs Rgt of enteric fever he was a lovely fellow in khaki” |
Dublin Castle and the offices of imperial administration
CASTLE
The Castle almost never appears as a building and constantly as a network: landlord of the ground the book opens on, employer of cousins, paymaster of informers, source of authoritative knowledge ('We know that in the castle') and of quiet fixes (Mallon's hint). It is reached not through doors but through patronage — rent, departments lobbied, babies named for office-holding relatives, scandals hushed — rule as an office, mostly invisible.
| Hour | Episode | State | What it does | The text, 1922 |
|---|---|---|---|---|
| ~8:15 a.m. | 1 · Telemachus | recalled | The tower's rent goes to the imperial administration — the office named aloud as landlord of the very ground the book opens on (the War Office property itself is physically present; the office only invoked). | “—To the secretary of state for war, Stephen added over his shoulder.” |
| ~10:30 a.m. | 2 · Nestor | recalled | Deasy lobbies the administration over cattle disease — 'the department' as the offstage power one works up influence with, while complaining of others' backstairs influence. | “I am trying to work up influence with the department. Now I’m going to try publicity. I am surrounded by difficulties, by... intrigues by... backstairs influence by...” |
| ~11:15 a.m. | 6 · Hades | recalled | Passing a Hume street house Bloom recalls its Crown lawyer — the law officer of imperial administration filed in his head beside Molly's namesake. | “Same house as Molly’s namesake, Tweedy, crown solicitor for Waterford.” |
| ~11:20 a.m. | 6 · Hades | present | From the funeral carriage the civil service college passes in the shopfront inventory of a dead street — the exam-route into administration as ordinary Dublin commerce. | “Dull business by day, land agents, temperance hotel, Falconer’s railway guide, civil service college, Gill’s, catholic club” |
| ~12 noon | 7 · Aeolus | recalled | In the newspaper building Bloom's professional mind touches the state's own paper — the official gazette 'published by authority', the Crown speaking in schedules of mules and jennets. | “the official gazette. Queen Anne is dead. Published by authority in the year one thousand and.” |
| ~1 p.m. | 8 · Lestrygonians | recalled | Thinking of the Purefoys, Bloom names the mechanism of respectability: a Castle cousin in every family — administration as kinship network. | “Theodore’s cousin in Dublin Castle. One tony relative in every family.” |
| ~1 p.m. | 8 · Lestrygonians | recalled | Bloom's suspicion of Corny Kelleher: the Castle as paymaster of informers, its secret-service money running through corporation men and plainclothes courtships (bridges to the informer instrument). | “Egging raw youths on to get in the know all the time drawing secret service pay from the castle. Drop him like a hot potato.” |
| ~3:30 p.m. | 10 · Wandering Rocks | present | Cunningham's party walks out of the Castleyard gate itself — Dignam-fund business transacted inside the Castle, a policeman saluting them out; the empty castle car then wheels through Exchange street. The one time all day the building is entered, it is for charity paperwork. | “as they passed out of the Castleyard gate. The policeman touched his forehead.” |
| ~5:45 p.m. | 12 · Cyclops | present | The castle car delivers Cunningham, Power and Crofton (a pensioner of the collector-general's) to Barney Kiernan's — Castle transport and Castle payroll rolling up to the nationalist pub. | “Sure enough the castle car drove up with Martin on it and Jack Power with him” |
| ~5:50 p.m. | 12 · Cyclops | recalled | Cunningham settles the pub's rumour about Bloom and the Hungarian system by citing the Castle's knowledge — the institution invoked as the city's final authority on who anyone really is. | “it was he drew up all the plans according to the Hungarian system. We know that in the castle.” |
| ~8:30 p.m. | 13 · Nausicaa | recalled | Bertha Supple's gentleman lodger 'out of the Congested Districts Board' — the administration physically lodging in Sandymount bedrooms, known to the girls by his office and his vices. | “the gentleman lodger that was staying with them out of the Congested Districts Board” |
| ~10:45 p.m. | 14 · Oxen of the Sun | recalled | The new Purefoy baby will be christened for the influential Castle cousin — patronage written into a child's name (reported inside the Dickens-parody peroration; the family patronage itself is the narrated fact, A5). | “christened Mortimer Edward after the influential third cousin of Mr Purefoy in the Treasury Remembrancer’s office, Dublin Castle.” |
| ~12:20 a.m. | 15 · Circe | hallucinated | In the trial hallucination the Castle becomes pursuer — Bloom's guilt speaks in the idiom of Castle wanted-notices (strictly hallucinated, A3). | “THE DARK MERCURY: The Castle is looking for him. He was drummed out of the army.” |
| ~1:30 a.m. | 16 · Eumaeus | recalled | Bloom's rumination on an aristocratic scandal managed by 'a strong hint to a blind horse' from the Castle's chief detective office — rule as discreet fixing, prosecution withheld by a word from Lower Castle Yard. | “spirited away by a few friends, after a strong hint to a blind horse from John Mallon of Lower Castle Yard” |
The viceregal cavalcade
CASTLE
The one daylight transit of the governing power through the governed city: announced by street placard at one, driven from Phoenix Park through the centre toward Ballsbridge at four while every citizen is catalogued by salute, snub or blindness, heard as ringing steel and a newspaper query at the Ormond, and burned off over Sandymount at nine as charity fireworks — then returning at midnight only as hallucination.
| Hour | Episode | State | What it does | The text, 1922 |
|---|---|---|---|---|
| ~1:15 p.m. (approx) | 8 · Lestrygonians | present | The cavalcade enters the day as advertisement: Bloom reads the placard announcing the Viceroy's bazaar opening, dated to this very day. | “Hello, placard. Mirus bazaar. His Excellency the lord lieutenant. Sixteenth. Today it is. In aid of funds for Mercer's hospital.” |
| ~3:15 p.m. (approx) | 10 · Wandering Rocks | present | The cavalcade intrudes as a cross-cut fragment into the Dedalus family's poverty scene — state procession spliced against Dilly begging coins. | “The viceregal cavalcade passed, greeted by obsequious policemen, out of Parkgate.” |
| ~3:30–4 p.m. (approx) | 10 · Wandering Rocks | present | The closing section: the procession itself sets out from the seat of the Crown in Ireland, named in full court style. | “William Humble, earl of Dudley, and lady Dudley, accompanied by lieutenantcolonel Heseltine, drove out after luncheon from the viceregal lodge.” |
| ~3:30 p.m. (approx) | 10 · Wandering Rocks | present | Kernan, fresh from relishing Emmet's execution site, misses his chance to salute — loyalty as farce, a hair too late. | “His Excellency! Too bad! Just missed that by a hair. Damn it! What a pity!” |
| ~3:45 p.m. (approx) | 10 · Wandering Rocks | present | The census of homage reaches the city's sewer: even the Poddle river is conscripted into the language of fealty, and the fealty is sewage. | “From its sluice in Wood quay wall under Tom Devan's office Poddle river hung out in fealty a tongue of liquid sewage.” |
| ~3:45 p.m. (approx) | 10 · Wandering Rocks | present | The one recorded refusal that the power cannot even perceive: Nolan's snub registered by the text alone, not by the Viceroy. | “John Wyse Nolan smiled with unseen coldness towards the lord lieutenantgeneral and general governor of Ireland.” |
| ~3:55 p.m. (approx) | 11 · Sirens | present | Sirens opens on the cavalcade passing the Ormond — rule reduced to a sound heard through a bar window by two barmaids. | “over the crossblind of the Ormond bar heard the viceregal hoofs go by, ringing steel.” |
| ~4:15 p.m. (approx) | 11 · Sirens | present | Minutes after it passes, the state procession is already only newsprint: a customer's idle question sends Miss Kennedy searching the paper. | “Did she know where the lord lieutenant was going? And heard steelhoofs ringhoof ring. No, she couldn't say. But it would be in the paper.” |
| ~5:30 p.m. (approx) | 12 · Cyclops | hallucinated | In the Cyclops execution parody the viceregal party attends a patriot's hanging as society entertainment — the cavalcade's grandstand version of itself. | “the viceregal ladies waving their handkerchiefs in their excitement” |
| ~8:30 p.m. (approx) | 13 · Nausicaa | present | The cavalcade's destination reaches Sandymount strand as spectacle: the bazaar the Viceroy drove to open now lights the sky Gerty and Bloom watch. | “—Come on, Gerty, Cissy called. It's the bazaar fireworks.” |
| ~9 p.m. (approx) | 13 · Nausicaa | present | The instrument's last real trace of the day: a single firework closing the arc the placard opened at one o'clock. | “A last lonely candle wandered up the sky from Mirus bazaar in search of funds for Mercer's hospital and broke, drooping” |
| ~12:30 a.m. (approx) | 15 · Circe | hallucinated | On trial in Nighttown, Bloom defends himself by claiming intimacy with the Castle's summit — the cavalcade internalized as social alibi. | “I was just chatting this afternoon at the viceregal lodge to my old pals, sir Robert and lady Ball, astronomer royal, at the levee.” |
| ~12:30 a.m. (approx) | 15 · Circe | hallucinated | At Bloom's hallucinated coronation the day's state fireworks return as obscene regalia of his own reign. | “Mirus bazaar fireworks go up from all sides with symbolical phallopyrotechnic designs.” |
| ~12:45 a.m. (approx) | 15 · Circe | recalled | Kitty Ricketts, in the flesh in Bella Cohen's, remembers the bazaar itself — the charity event's afterlife among the people it never addressed. | “O, they played that on the hobbyhorses at the Mirus bazaar!” |
The courts — bench, bar, coroner, writ and bailiff
COURT
English law as the city's working machinery and favourite theatre, running the whole day: coroners and famous trials furnish the morning's talk, writs and the subsheriff actually seize and menace at three, the bench is mimicked in the pub at five, retold at the hospital at ten, hallucinated at midnight — and by night the apparatus is fully internalized, as Bloom's magistrate fantasy and penal taxonomy and Molly's contempt for the legal class.
| Hour | Episode | State | What it does | The text, 1922 |
|---|---|---|---|---|
| ~11 a.m. (approx) | 3 · Proteus | recalled | Stephen imagines his uncle Richie Goulding at legal piecework — the law as a shabby family trade of costs and process. | “he drafts his bills of costs for the eyes of master Goff and master Shapland Tandy, filing consents and common searches and a writ of Duces Tecum” |
| ~10 a.m. (approx) | 5 · Lotus Eaters | recalled | M'Coy excuses himself from Dignam's funeral by anticipated coroner's duty — the inquest as routine municipal employment. | “There's a drowning case at Sandycove may turn up and then the coroner and myself would have to go down if the body is found.” |
| ~11:15 a.m. (approx) | 6 · Hades | recalled | Bloom relives the inquest on his father's suicide — the state's forensic gaze inside his most private grief; verdict: overdose, death by misadventure. | “That afternoon of the inquest. The redlabelled bottle on the table... The coroner's sunlit ears, big and hairy. Boots giving evidence.” |
| ~11:20 a.m. (approx) | 6 · Hades | recalled | The funeral carriage passes the Childs murder house and the trial is retold as men's talk — first of three retellings of Bushe's acquittal. | “—So it is, Mr Dedalus said. A gruesome case. Seymour Bushe got him off. Murdered his brother. Or so they said.” |
| ~12:30 p.m. (approx) | 7 · Aeolus | recalled | In the newspaper office the bar is Dublin's admired theatre: hawkers up before the recorder, and Bushe's Childs oratory savoured as pure style. | “One of the most polished periods I think I ever listened to in my life fell from the lips of Seymour Bushe.” |
| ~1:45 p.m. (approx) | 8 · Lestrygonians | present | Bloom sees the recorder of Dublin in the street and audits the bench from below — mercy, cronyism and power in one rumination. | “Sir Frederick Falkiner going into the freemasons' hall. Solemn as Troy... Power those judges have. Crusty old topers in wigs.” |
| ~2:30 p.m. (approx) | 9 · Scylla and Charybdis | recalled | In the library a sitting judge is cited as Shakespeare scholar — bench and letters as one governing class at leisure. | “So Mr Justice Madden in his Diary of Master William Silence has found the hunting terms” |
| ~3:30 p.m. (approx) | 10 · Wandering Rocks | present | The law at work as seizure: competing claims on Father Cowley's furniture, Ben Dollard playing amateur lawyer against a moneylender's writ. | “—Then our friend's writ is not worth the paper it's printed on, Ben Dollard said. The landlord has the prior claim.” |
| ~3:40 p.m. (approx) | 10 · Wandering Rocks | present | The subsheriff in the flesh, filling a doorway — the enforcement arm of the courts as a social fixture among the city's talkers. | “—Good day, Mr Subsheriff, Martin Cunningham said, as all halted and greeted. Long John Fanning made no way for them.” |
| ~3:45 p.m. (approx) | 10 · Wandering Rocks | present | The Four Courts itself stands in the cavalcade's path, a law clerk in its porch — the legal machine humming through Wandering Rocks. | “In the porch of Four Courts Richie Goulding with the costbag of Goulding, Collis and Ward saw him with surprise.” |
| ~4:30 p.m. (approx) | 11 · Sirens | recalled | Amid the Ormond music, Bloom's interior echoes the afternoon's writ business (ep 10 — the prior claim on Father Cowley's furniture, Long John Fanning the subsheriff, big Ben Dollard): the law surfacing as recollection under Cowley's playing, not the playing itself. | “The landlord has the prior. A little time. Long John. Big Ben.” |
| ~4:50 p.m. (approx) | 12 · Cyclops | present | The episode's whole ground is legal: a debt collector narrates, walking past the Green Street courthouse to a pub full of court hangers-on. | “So we went around by the Linenhall barracks and the back of the courthouse talking of one thing or another.” |
| ~5:15 p.m. (approx) | 12 · Cyclops | recalled | The bench as pub theatre: sir Frederick Falkiner's courtroom mercy mimicked to laughter in Barney Kiernan's. | “And he starts taking off the old recorder letting on to cry: —A most scandalous thing! This poor hardworking man!” |
| ~10:30 p.m. (approx) | 14 · Oxen of the Sun | recalled | The Childs case retold a third time, now in the hospital common room as medical-legal debate — the day's favourite trial fully absorbed into talk. | “the fratricidal case known as the Childs Murder and rendered memorable by the impassioned plea of Mr Advocate Bushe which secured the acquittal of the wrongfully accused” |
| ~12:30 a.m. (approx) | 15 · Circe | hallucinated | The day's glimpsed recorder returns as hanging judge: Falkiner dons the black cap and sentences Bloom in the Nighttown trial. | “Let him be taken, Mr Subsheriff, from the dock where he now stands and detained in custody in Mountjoy prison during His Majesty's pleasure” |
| ~1:15 a.m. (approx) | 16 · Eumaeus | recalled | Bloom reckons what the night nearly cost Stephen — the ordinary chute from street trouble into cell and morning court. | “he might have been a candidate for the accident ward or, failing that, the bridewell and an appearance in the court next day before Mr Tobias” |
| ~1:45 a.m. (approx) | 16 · Eumaeus | recalled | The Parnell talk turns on the divorce court's machinery — the legal instrument that broke Ireland's leader rehearsed step by procedural step. | “Then the decree nisi and the King's proctor tries to show cause why” |
| ~2:15 a.m. (approx) | 17 · Ithaca | recalled | Bloom's daydream of arrival tops out inside the system that snubbed him all day: himself as its rural bench. | “at the zenith of his career, resident magistrate or justice of the peace with a family crest and coat of arms” |
| ~2:30 a.m. (approx) | 17 · Ithaca | recalled | Weighing the adultery, Bloom reaches for a fully internalized penal code — the law's own taxonomy of crime as his private scale of calm. | “As less reprehensible than theft, highway robbery, cruelty to children and animals, obtaining money under false pretences, forgery, embezzlement” |
| no hour in schema (after ~2:45 a.m.) | 18 · Penelope | recalled | Molly's view of the legal class from below: a Four Courts man remembered as a jilter — the profession judged by its private conduct. | “not those long crossed letters Atty Dillon used to write to the fellow that was something in the four courts that jilted her” |
The gallows, the jail and the memory of state killing
COURT
The state's terminal instruments never operate in the flesh on 16 June: all day they enter as recalled wall and motto, sung ballad, printed last words, a hangman's letter and pub lore, then perform their killings for real only inside Circe's hallucinations — and the day closes with the jailer folded into Bloom's falling-asleep litany and Molly testing the gallows at its gender limit.
| Hour | Episode | State | What it does | The text, 1922 |
|---|---|---|---|---|
| ~11:15 a.m. (approx) | 3 · Proteus | recalled | Stephen remembers Kevin Egan's Fenian past — the attempt to blow open an English prison, the origin of his Paris exile. | “he prowled with colonel Richard Burke, tanist of his sept, under the walls of Clerkenwell and, crouching, saw a flame of vengeance hurl them upward in the fog” |
| ~11:15 a.m. (approx) | 6 · Hades | recalled | The Richmond bridewell's motto stands inside Bloom's tenderest memory — Rudy's conception happened against the prison wall. | “she was at the window watching the two dogs at it by the wall of the cease to do evil. And the sergeant grinning up.” |
| ~1:30 p.m. (approx) | 8 · Lestrygonians | recalled | Bloom, watching constables march, recalls what the bridewell does to those the police take in — routine violence behind the cell door. | “If a fellow gave them trouble being lagged they let him have it hot and heavy in the bridewell.” |
| ~1:30 p.m. (approx) | 8 · Lestrygonians | recalled | Bloom's cool audit of patriot careers: the same young rebels end as magistrates, soldiers — or on the gallows of the ballad. | “Few years' time half of them magistrates and civil servants. War comes on: into the army helterskelter: same fellows used to. Whether on the scaffold high.” |
| ~3:30 p.m. (approx) | 10 · Wandering Rocks | recalled | Kernan, passing the spot, relishes Emmet's 1803 execution — state killing remembered as connoisseurship on a street corner. | “Down there Emmet was hanged, drawn and quartered. Greasy black rope. Dogs licking the blood off the street when the lord lieutenant's wife drove by in her noddy.” |
| ~4:45 p.m. (approx) | 11 · Sirens | present | Ben Dollard sings The Croppy Boy to the Ormond bar: the 1798 hanging at Geneva barrack performed live as the room's shared emotion. | “At Geneva barrack that young man died. At Passage was his body laid.” |
| ~4:55 p.m. (approx) | 11 · Sirens | present | Emmet's speech from the dock hangs printed in a shop window; Bloom reads the scaffold-speech to the sound of his own flatulence. | “Bloom viewed a gallant pictured hero in Lionel Marks's window. Robert Emmet's last words. Seven last words.” |
| ~5 p.m. (approx) | 12 · Cyclops | present | The hangman enters the day as paperwork: Rumbold's letter touting for the job, physically read aloud in Barney Kiernan's. | “i hanged Joe Gann in Bootle jail on the 12 of Febuary 1900” |
| ~5:05 p.m. (approx) | 12 · Cyclops | recalled | Kilmainham lore at the bar: the Invincible Joe Brady's 1883 hanging retold via the head warder — the jail as source of pub anecdote. | “I heard that from the head warder that was in Kilmainham when they hanged Joe Brady, the invincible.” |
| ~5:30 p.m. (approx) | 12 · Cyclops | hallucinated | The parody interpolation stages a full public execution of a patriot as festive spectacle, Rumbold presiding — the gallows as national theatre. | “Quietly, unassumingly Rumbold stepped on to the scaffold in faultless morning dress and wearing his favourite flower” |
| ~5:45 p.m. (approx) | 12 · Cyclops | recalled | The citizen cites newspaper revelations of naval flogging — imperial corporal punishment as the pub's evidence against England. | “Read the revelations that's going on in the papers about flogging on the training ships at Portsmouth.” |
| ~10:50 p.m. (approx) | 14 · Oxen of the Sun | recalled | In the closing-time argot the jail is a live risk of ordinary life: Bannon's telegram dodge could land a man in 'chokeechokee'. | “Land him in chokeechokee if the harman beck copped the game.” |
| ~12:30 a.m. (approx) | 15 · Circe | hallucinated | The trial hallucination completes the machine: recorder, subsheriff, Mountjoy and noose all activated at once against Bloom. | “detained in custody in Mountjoy prison during His Majesty's pleasure and there be hanged by the neck until he is dead” |
| ~12:50 a.m. (approx) | 15 · Circe | hallucinated | The day's sung Croppy Boy is actually hanged in Circe — the ballad's death performed by Rumbold, the only execution the book stages. | “He jerks the rope. The assistants leap at the victim's legs and drag him downward, grunting: the croppy boy's tongue protrudes violently.” |
| ~1:15 a.m. (approx) | 16 · Eumaeus | recalled | The shelter prose reckons penal servitude the common man's near-universal desert — the prison as everyone's suspended sentence. | “if the man in the street chanced to be in the dock himself penal servitude with or without the option of a fine would be a very rara avis” |
| ~1:30 a.m. (approx) | 16 · Eumaeus | recalled | Bloom reads the sailor Murphy's body for a convict past — the prison's regime of oakum and treadmill as physiognomy. | “it required no violent stretch of imagination to associate such a weirdlooking specimen with the oakum and treadmill fraternity” |
| ~2:45 a.m. (approx) | 17 · Ithaca | hallucinated | The jailer is the day's last instrument of rule, folded hypnagogically into Bloom's falling-asleep litany. | “Sinbad the Sailor and Tinbad the Tailor and Jinbad the Jailer and Whinbad the Whaler” |
| no hour in schema (after ~2:45 a.m.) | 18 · Penelope | recalled | Molly tests hanging at its gender limit through the Maybrick poisoning case — sympathy for the condemned wife against the gallows itself. | “besides theyre not brutes enough to go and hang a woman surely are they” |
The informer and his reputation
INFORMER
Surveillance as ambient civic assumption: the day keeps a permanent ledger of who informed (Carey at his communion, the sham squire in his violet gloves, the hypothetical Dannyman), and reads every kitchen-door courtship, blotting-pad and pub acquaintance as a possible reporting channel to the Castle. Along that ledger one working figure, Corny Kelleher, hardens from flicker ('Policeman's shoulders') through rumour ('police tout') into demonstrated fact when his word squares the watch over Stephen's body at one in the morning.
| Hour | Episode | State | What it does | The text, 1922 |
|---|---|---|---|---|
| ~11:20 a.m. (approx., hours per doc 03) | 3 · Proteus | recalled | Kevin Egan's Paris talk, remembered on the strand: Fenian history rehearsed as a catalogue of betrayal and flight — the informer present as the structuring fact of every conspiracy Egan mourns. | “Of lost leaders, the betrayed, wild escapes. Disguises, clutched at, gone, not here.” |
| ~8:20 a.m. (approx.) | 4 · Calypso | recalled | In Dlugacz's, Bloom recalls the nextdoor girl's suitor: an off-duty constable courting a servant at the kitchen door — the same channel he will later name outright as intelligence-gathering in episode 8. | “For another: a constable off duty cuddling her in Eccles’ Lane. They like them sizeable.” |
| ~9:50 a.m. (approx.) | 5 · Lotus Eaters | recalled | Walking to the post office, Bloom attaches the label to Corny Kelleher for the first time in the day — rumour carried in the undertaker's own song rhythm. | “Corny. Met her once in the park. In the dark. What a lark. Police tout.” |
| ~10:20 a.m. (approx.) | 5 · Lotus Eaters | recalled | In All Hallows, watching communion, Bloom remembers Carey who turned queen's evidence on the Invincibles — the informer devout in the very church Bloom stands in, piety and betrayal in one body. | “That fellow that turned queen’s evidence on the invincibles he used to receive the, Carey was his name, the communion every morning. This very church.” |
| ~11:55 a.m. (approx.) | 6 · Hades | present | Corny Kelleher in the flesh at Glasnevin, falling into step with the mourners; Bloom's flicker of physiognomic suspicion — the tout read off a silhouette. | “He looked on them from his drawling eye. Policeman’s shoulders. With your tooraloom tooraloom.” |
| ~12:45 p.m. (approx.) | 7 · Aeolus | present | MacHugh greets the editor Myles Crawford with the nickname of Francis Higgins, the 'sham squire' who sold Lord Edward Fitzgerald in 1798 — the informer's name so current it works as newsroom banter a century on. | “—And here comes the sham squire himself! professor MacHugh said grandly.” |
| ~1:10 p.m. (approx.) | 8 · Lestrygonians | recalled | Bloom's walking dossier on Corny Kelleher: the Harvey Duff (stage informer) in his eye, linked to Carey and to paid provocation — reputation stated as economic fact, with the Castle as employer. | “Egging raw youths on to get in the know all the time drawing secret service pay from the castle. Drop him like a hot potato.” |
| ~1:10 p.m. (approx.) | 8 · Lestrygonians | recalled | Bloom names the mechanism: plainclothes men courting slaveys at back doors for household intelligence — 'And who is the gentleman does be visiting there?' Surveillance run through servant girls' courtships. | “Why those plainclothes men are always courting slaveys. Easily twig a man used to uniform.” |
| ~3:05 p.m. (approx.) | 10 · Wandering Rocks | present | The rumour demonstrated on stage: Corny Kelleher and Constable 57C trade information at O'Neill's doorway, the constable reporting on a watched 'party' — the only moment the tout's channel is shown working in daylight. | “—I seen that particular party last evening, the constable said with bated breath.” |
| ~3:50 p.m. (approx.) | 10 · Wandering Rocks | recalled | Tom Kernan's 1798 reverie near Watling street: the sham squire Higgins betraying Lord Edward Fitzgerald to Major Sirr — the city's streets remembered as the map of an informing. | “That ruffian, that sham squire, with his violet gloves gave him away.” |
| ~4:35 p.m. (approx.) | 11 · Sirens | recalled | Writing to Martha in the Ormond, Bloom blots his letter against the remembered detective-story trope of evidence read off a blotting-pad — surveillance so internalised it governs private correspondence as reflex. | “Blot over the other so he can’t read. There. Right. Idea prize titbit. Something detective read off blottingpad.” |
| ~5:00 p.m. (approx.) | 12 · Cyclops | present | In Barney Kiernan's, Alf Bergan reports Denis Breen's live errand: the G man (detective division) invoked as an ordinary public utility a citizen can go and fetch in Green street. | “now the bloody old lunatic is gone round to Green street to look for a G man.” |
| ~12:50 a.m. (approx.) | 15 · Circe | present | The reputation cashed: Corny Kelleher arrives in Beaver street and his standing with the two watchmen keeps Stephen's name off the ledger — the day's rumoured pull demonstrated as working fact. | “With thumb and palm Corny Kelleher reassures that the two bobbies will allow the sleep to continue for what else is to be done.” |
| ~1:30 a.m. (approx.) | 16 · Eumaeus | present | Beside the keeper reputed to be Skin-the-Goat Fitzharris of the Invincibles, Bloom applies his rule of survival: give reputed felons the go-by, because the informer (Dannyman, Carey) is a standing possibility. | “there always being the offchance of a Dannyman coming forward and turning queen’s evidence or king’s now like Denis or Peter Carey” |
| no hour (after ~2:45 a.m.) | 18 · Penelope | recalled | The informer's civilian cousin in Molly's own world: Burke of the City Arms hotel remembered as the domestic spy, watching for landlady and gossip — surveillance reproduced at the scale of the lodging house. | “that other beauty Burke out of the City Arms hotel was there spying around as usual on the slip always where he wasnt wanted” |
The Church as parallel government
CHURCH-AS-RULE
Stephen's second master governs alongside the Castle without needing a single soldier: named as an imperial power at 8 a.m., analysed by Bloom as an apparatus (confession as intelligence, doctrine ruling reproduction and the childbed), it walks the city in Conmee exchanging salutes with the police, absorbs the orphans of the dead, scores the evening on the strand with a litany, breaks Parnell when he crosses it, and keeps the day's hours at both ends with the bells of St George's.
| Hour | Episode | State | What it does | The text, 1922 |
|---|---|---|---|---|
| ~8:20 a.m. (approx., hours per doc 03) | 1 · Telemachus | present | Stephen names his rulers to Haines on the tower: two co-governing masters, the imperial British state and the holy Roman catholic and apostolic church — the dimension's charter stated aloud in the first hour. | “—I am a servant of two masters, Stephen said, an English and an Italian.” |
| ~11:05 a.m. (approx.) | 3 · Proteus | recalled | Stephen's strand meditation on the Church triumphant: the heresiarch Arius crushed and the mitred victor enthroned — ecclesiastical power imagined in the regalia of a monarch. | “With beaded mitre and with crozier, stalled upon his throne, widower of a widowed see, with upstiffed omophorion, with clotted hinderparts.” |
| ~8:45 a.m. (approx.) | 4 · Calypso | present | Beyond the census list: the bells of St George's toll the hour over Bloom in the garden — the Church keeping the city's time at the day's morning end (paired with the same peal at episode 17's night end). | “A creak and a dark whirr in the air high up. The bells of George’s church. They tolled the hour: loud dark iron.” |
| ~10:20 a.m. (approx.) | 5 · Lotus Eaters | present | Bloom at the back of All Hallows watches communion and analyses the institution as an outsider: confession as an intelligence apparatus more penetrating than any plainclothes man. | “Wonderful organisation certainly, goes like clockwork. Confession. Everyone wants to. Then I will tell you all. Penance. Punish me, please. Great weapon in their hands.” |
| ~11:40 a.m. (approx.) | 6 · Hades | present | At Glasnevin the Church's absorption of the ruined family is arranged in live talk: Dignam's insurance mortgaged, so the son goes to the O'Brien institute at Artane — orphanhood administered. | “But the policy was heavily mortgaged. Martin is trying to get the youngster into Artane.” |
| ~12:10 p.m. (approx.) | 7 · Aeolus | present | In the Freeman machine room the archbishop's letter commands priority and repetition across editions — episcopal text moving through the press with the authority of state copy. | “—Wait. Where’s the archbishop’s letter? It’s to be repeated in the Telegraph.” |
| ~1:05 p.m. (approx.) | 8 · Lestrygonians | present | Seeing a Dedalus daughter starving outside the auctionrooms, Bloom traces the fifteen children to doctrine enforced through the confessional: the Church ruling reproduction with absolution as its sanction. | “That’s in their theology or the priest won’t give the poor woman the confession, the absolution. Increase and multiply. Did you ever hear such an idea?” |
| ~2:40 p.m. (approx.) | 9 · Scylla and Charybdis | present | Stephen, mid-argument in the library, defines the Church's foundation as macrocosmic statecraft: an institution founded, like the world, on the void — power built on incertitude and holding. | “the church is founded and founded irremovably because founded, like the world, macro and microcosm, upon the void. Upon incertitude, upon unlikelihood.” |
| ~3:00 p.m. (approx.) | 10 · Wandering Rocks | present | Father Conmee's mild progress opens the episode the Crown's cavalcade closes: the two governments frame the city, and their instruments exchange professional courtesies on the beat. | “A constable on his beat saluted Father Conmee and Father Conmee saluted the constable.” |
| ~8:30 p.m. (approx.) | 13 · Nausicaa | present | The Benediction litany from Star of the Sea church runs audibly over Gerty's exposure on the strand — the Church scoring and framing the scene of the female body it legislates. | “spiritual vessel, pray for us, honourable vessel, pray for us, vessel of singular devotion, pray for us, mystical rose” |
| ~10:40 p.m. (approx.) | 14 · Oxen of the Sun | present | In the Holles street common room the mock-deacon Stephen delivers canon law over the childbed: even in blasphemous parody, the ecclesiastical ordinance is the ruling text on marriage and birth. | “the ecclesiastical ordinance forbidding man to put asunder what God has joined” |
| ~12:25 a.m. (approx.) | 15 · Circe | hallucinated | Beyond the census list: in Bloom's trial-and-degradation fantasy the Church's wards are his chorus — Artane orphans (the institution from episode 6) capering round the pillory. Hallucinated, per A3. | “_Artane orphans, joining hands, caper round him. Girls of the Prison Gate Mission, joining hands, caper round in the opposite direction.)_” |
| ~1:40 a.m. (approx.) | 16 · Eumaeus | recalled | The shelter talk turns to Parnell: the priests, his erstwhile adherents, destroying the national leader over the O'Shea divorce — the parallel government demonstrating its veto on Irish politics. | “very effectually cooked his matrimonial goose, thereby heaping coals of fire on his head” |
| ~2:30 a.m. (approx.) | 17 · Ithaca | present | As Stephen and Bloom part at the front door the bells of St George's peal the hour — the same church that opened Bloom's day closes it, the Church as the city's clock at both ends. | “The sound of the peal of the hour of the night by the chime of the bells in the church of Saint George.” |
| no hour (after ~2:45 a.m.) | 18 · Penelope | recalled | Molly remembers the confession box as interrogation: Father Corrigan pressing the girl for anatomical particulars — the 'great weapon' Bloom analysed at 10 a.m. shown from inside, applied to a woman's body. | “I hate that confession when I used to go to Father Corrigan he touched me father and what harm if he did where and I said on the canal bank” |
The schoolroom — from national school to Trinity
LANGUAGE
The teaching apparatus as rule's transmission belt, seen from both sides of the desk: Stephen is paid three twelve to drill imperial history into the sons of the comfortable while national-school rote ('Ahbeesee defeegee', 'joggerfry') drifts over Bloom's walks, and MacHugh confesses to teaching the conqueror's Latin. Above the rote sits the sorting machine — intermediate exhibition, Trinity's surly front, the crown-chartered royal university — which removes Reggy Wylie from Gerty's window, stamps Stephen's career in the Ithaca catechism, and survives in Molly as one verbatim grammar sentence.
| Hour | Episode | State | What it does | The text, 1922 |
|---|---|---|---|---|
| ~8:20 a.m. (approx., hours per doc 03) | 1 · Telemachus | recalled | Holding the shavingbowl, Stephen remembers serving at Clongowes — the Jesuit school as the first station of a servitude he recognises as continuous with his present one. | “So I carried the boat of incense then at Clongowes. I am another now and yet the same. A servant too. A server of a servant.” |
| ~9:50 a.m. (approx.) | 2 · Nestor | present | The one classroom shown working: Stephen drills Pyrrhus and Roman history into the sons of the comfortable at Deasy's Dalkey school, and measures his authority against their fathers' money. | “In a moment they will laugh more loudly, aware of my lack of rule and of the fees their papas pay.” |
| ~10:30 a.m. (approx.) | 2 · Nestor | present | The apparatus pays: Deasy counts out Stephen's wages — a sovereign and coins, three pounds twelve, the only money Stephen earns all day, handed over with unionist history lessons. | “—Three twelve, he said. I think you’ll find that’s right.” |
| ~11:10 a.m. (approx.) | 3 · Proteus | recalled | On the strand Stephen mocks his own schoolboy self at Clongowes: the education that taught him to claim rank — an uncle a judge, an uncle a general — before it taught him anything else. | “You told the Clongowes gentry you had an uncle a judge and an uncle a general in the army.” |
| ~8:15 a.m. (approx.) | 4 · Calypso | present | Bloom passes Saint Joseph's National school on Dorset street: the rote alphabet chanted through open windows, and his own remembered geography lesson answering it — the transmission belt audible from the street. | “He passed Saint Joseph’s National school. Brats’ clamour. Windows open. Fresh air helps memory. Or a lilt. Ahbeesee defeegee kelomen opeecue rustyouvee doubleyou.” |
| ~9:50 a.m. (approx.) | 5 · Lotus Eaters | recalled | A stray physics question dissolves into Bloom's memory of his own schooling: Vance at the high school, the 'college curriculum' — rote learning retained as gesture and jingle, not knowledge. | “Vance in High school cracking his fingerjoints, teaching. The college curriculum. Cracking curriculum.” |
| ~11:15 a.m. (approx.) | 6 · Hades | present | From the funeral carriage crossing the city, the national school registered among the fixtures of the route — the schoolroom as ordinary civic furniture between yard and cabstand. | “National school. Meade’s yard. The hazard. Only two there now.” |
| ~12:40 p.m. (approx.) | 7 · Aeolus | present | Professor MacHugh's confession in the Freeman office: the classics master naming his own subject as the conqueror's tongue — the teacher of empire aware of what he transmits. | “I teach the blatant Latin language. I speak the tongue of a race the acme of whose mentality is the maxim: time is money.” |
| ~1:10 p.m. (approx.) | 8 · Lestrygonians | present | Bloom walks past the apex of the sorting machine: Trinity College's blank facade shadowing his home-rule reverie — the Ascendancy university as architectural fact on the day's main street. | “His smile faded as he walked, a heavy cloud hiding the sun slowly, shadowing Trinity’s surly front.” |
| ~2:05 p.m. (approx.) | 9 · Scylla and Charybdis | present | In the library, Eglinton's laugh is classed by his education: the sizar — poor scholar working his way through Trinity — as a recognisable social type Stephen reads instantly. | “He laughed low: a sizar’s laugh of Trinity: unanswered.” |
| ~2:15 p.m. (approx.) | 9 · Scylla and Charybdis | recalled | Stephen's compressed memory of Clongowes discipline: the pandybat punishment and the rector's intervention — corporal rule and its clemency, both remembered in six words. | “A child Conmee saved from pandies.” |
| ~8:15 p.m. (approx.) | 13 · Nausicaa | recalled | The exam ladder removes Gerty's suitor: Reggy Wylie kept in to study for the intermediate exhibition, bound for Trinity like his brother — the sorting machine deciding a courtship from above. | “his father kept him in in the evenings studying hard to get an exhibition in the intermediate that was on and he was going to go to Trinity college” |
| ~8:50 p.m. (approx.) | 13 · Nausicaa | recalled | Bloom, reading the weather off the bay, reaches for his crown-branded schoolbook: the Royal Reader's phrases still supplying the categories forty years on. | “Mother Shipton’s prophecy that is about ships around they fly in the twinkling. No. Signs of rain it is. The royal reader.” |
| ~12:40 a.m. (approx.) | 15 · Circe | hallucinated | Beyond the census list: Lynch's slap conjures the pandybat and Father Dolan springs from the pianola with Conmee absolving — Clongowes discipline returning as nightmare furniture. Hallucinated, per A3. | “Any boy want flogging? Broke his glasses? Lazy idle little schemer. See it in your eye.” |
| ~1:45 a.m. (approx.) | 16 · Eumaeus | present | Deasy's school recirculates as the one asset Stephen can transfer: the usher's post offered to Corley, who answers with his own school record — stuck twice in the junior at the christian brothers. | “—There’ll be a job tomorrow or next day, Stephen told him, in a boys’ school at Dalkey for a gentleman usher. Mr Garrett Deasy. Try it.” |
| ~2:20 a.m. (approx.) | 17 · Ithaca | recalled | The catechism reviews both educational careers as parallel tracks of one crown-chartered sorting machine: Bloom's dame's school and high school against Stephen's graded ascent through the royal university. | “through the matriculation, first arts, second arts and arts degree courses of the royal university” |
| no hour (after ~2:45 a.m.) | 18 · Penelope | recalled | What the apparatus left in Molly: alongside her Gibraltar Spanish, a single verbatim scrap of English schooling — a grammar definition retained whole where everything else has worn away. | “I thought I had only for the grammar a noun is the name of any person place or thing” |
The King's English — anthem, placename and the language question
LANGUAGE
The instrument works by saturation, not decree: the day is lived in English, the anthem and its scraps are the day's small change (a sweets-warrant sign at 1 p.m., a maimed veteran's begged bar at 3, a soldier's oath at 12:50 a.m. that starts the only real violence), and Irish survives as an Englishman's hobby, a council row conducted in English, and a hallucinated password. From Deasy's schoolroom catechism to Molly's paid concert loyalism against her living Spanish, the language marks who belongs and prices loyalty — and the counter-speech (Taylor, Emmet, Sinn Fein amhain) is itself made in the ruler's tongue.
| Hour | Episode | State | What it does | The text, 1922 |
|---|---|---|---|---|
| ~8:10 a.m. | 1 · Telemachus | present | Mulligan caps the mock-Mass on the gun-tower with the Edward VII coronation street-song — Church, Crown and their parody in one opening hour | “O, won’t we have a merry time, Drinking whisky, beer and wine! On coronation, Coronation day!” |
| ~8:20 a.m. | 1 · Telemachus | present | Haines the Englishman addresses the old milkwoman in Irish; she does not recognise her own language and must ask | “—Is it French you are talking, sir? the old woman said to Haines.” |
| ~10:00 a.m. | 2 · Nestor | present | The rote lesson at Deasy's school runs on a royal renaming: Dun Laoghaire recited as Kingstown by the sons of the comfortable | “—A pier, sir, Armstrong said. A thing out in the water. A kind of a bridge. Kingstown pier, sir.” |
| ~10:30 a.m. | 2 · Nestor | present | Deasy catechizes Stephen with the Englishman's proudest word — 'The seas' ruler' — and Stephen supplies the imperial boast for him | “—That on his empire, Stephen said, the sun never sets.” |
| ~11:15 a.m. | 3 · Proteus | present | Stephen, alone on the strand, recites rogues' canting verse and weighs the outlaw's language against the Church's — the counter-tongues beneath official English | “Language no whit worse than his. Monkwords, marybeads jabber on their girdles: roguewords, tough nuggets patter in their pockets.” |
| ~8:15 a.m. | 4 · Calypso | present | Bloom savours Griffith's joke on the Freeman's masthead — nationalist wit reading the political weather off a newspaper emblem beside the Bank of Ireland (the old parliament house) | “a homerule sun rising up in the northwest from the laneway behind the bank of Ireland.” |
| ~9:50 a.m. | 5 · Lotus Eaters | present | At the thought of redcoats Bloom recalls the press war over the garrison's use of the streets — rule contested in letters to the papers | “Maud Gonne’s letter about taking them off O’Connell street at night: disgrace to our Irish capital.” |
| ~11:25 a.m. | 6 · Hades | present | The royal brand hangs even over the funeral talk: Bloom's father's suicide happened under the sign of the Queen's hotel, Ennis | “—His father poisoned himself, Martin Cunningham whispered. Had the Queen’s hotel in Ennis.” |
| ~12:45 p.m. | 7 · Aeolus | present | MacHugh recites (from memory — the speech itself is recalled oratory) Taylor's defence of Irish: Moses refusing Egypt, the law given in the despised tongue | “bearing in his arms the tables of the law, graven in the language of the outlaw.” |
| ~1:05 p.m. | 8 · Lestrygonians | present | A confectioner's royal-warrant sign breaks the anthem into sweets in Bloom's hungry mind — loyalty as a sales device | “Lozenge and comfit manufacturer to His Majesty the King. God. Save. Our. Sitting on his throne sucking red jujubes white.” |
| ~2:15 p.m. | 9 · Scylla and Charybdis | present | Stephen caps Best's French Hamlet with the title of Kipling's Boer-war recruiting song — empire's verse as library-room wit | “—The absentminded beggar, Stephen ended.” |
| ~3:10 p.m. | 10 · Wandering Rocks | present | The one-legged sailor begs through Eccles street with a growled scrap of 'The Death of Nelson' — the naval anthem as a licence to solicit alms | “He swung himself forward in vigorous jerks, halted, lifted his head towards a window and bayed deeply: —home and beauty.” |
| ~3:30 p.m. | 10 · Wandering Rocks | present | The assistant town clerk reports the corporation's Irish-language row — the revival debated, pettishly and in English, inside the city's own machinery | “Hell open to christians they were having, Jimmy Henry said pettishly, about their damned Irish language.” |
| ~4:55 p.m. | 11 · Sirens | present | Bloom reads Robert Emmet's last words in Lionel Marks's window and the episode ends on the outlaw's unfinished epitaph-speech | “Seabloom, greaseabloom viewed last words. Softly. When my country takes her place among.” |
| ~5:00 p.m. | 12 · Cyclops | present | The citizen opens his repertoire with the language question — revival as pub-test of authenticity, aimed at 'shoneens' | “So then the citizen begins talking about the Irish language and the corporation meeting and all to that and the shoneens that can’t speak their own language” |
| ~5:20 p.m. | 12 · Cyclops | present | The Gaelic counter-slogan hurled across the bar at Bloom's talk of love and nation | “—Sinn Fein! says the citizen. Sinn Fein amhain! The friends we love are by our side and the foes we hate before us.” |
| ~8:05 p.m. | 13 · Nausicaa | present | The Royal Navy's lettering printed on Dublin toddlers: the Caffrey twins wear a battleship's name on the beach | “dressed in sailor suits with caps to match and the name H. M. S. Belleisle printed on both.” |
| ~10:40 p.m. | 14 · Oxen of the Sun | present | In the students' blasphemous talk Stephen turns the history of English rule in Ireland into the bull allegory — conquest retold as a joke about naming | “Irish by name and irish by nature, says Mr Stephen, and he sent the ale purling about, an Irish bull in an English chinashop.” |
| ~12:05 a.m. | 15 · Circe | hallucinated | A hallucinated figure bars Bloom's way into nighttown demanding the password 'Sraid Mabbot' — Mabbot street in Irish; Bloom answers in tourist scraps and suspects the Gaelic League | “Haha. Merci. Esperanto. Slan leath. (He mutters.) Gaelic league spy, sent by that fireeater.” |
| ~12:50 a.m. | 15 · Circe | present | The loyal oath in the flesh: Private Carr's defence of the king's name is the trigger of the day's one real act of violence, Stephen knocked down | “I’ll wring the neck of any fucking bastard says a word against my bleeding fucking king.” |
| ~1:35 a.m. | 16 · Eumaeus | present | Bloom's shelter meditation naturalizes the imperial map — the phrase 'rule the waves' absorbed as plain geography | “it covered fully three fourths of it and he fully realised accordingly what it meant to rule the waves.” |
| ~1:40 a.m. | 16 · Eumaeus | present | Nelson's Trafalgar signal comes back with the country swapped — 'Ireland expects' — in Bloom's tribute to the coastguard service | “whatever the season when duty called Ireland expects that every man and so on” |
| ~2:20 a.m. | 17 · Ithaca | present | At the kitchen table the two suppressed old tongues meet: Stephen cites ancient Irish, Bloom ancient Hebrew, each translating for the other | “What fragments of verse from the ancient Hebrew and ancient Irish languages were cited with modulations of voice and translation of texts” |
| no hour (Joyce's schema); after ~2:45 a.m. | 18 · Penelope | recalled | Molly remembers her concert loyalism — Kipling's song sung for the Boer-war fund, a brooch for the British commander — and the 'not Irish enough' sneer it earned Bloom | “singing the absentminded beggar and wearing a brooch for Lord Roberts when I had the map of it all and Poldy not Irish enough” |
| no hour (Joyce's schema); after ~2:45 a.m. | 18 · Penelope | recalled | The anthem-scrap transaction of episode 10 seen from the payer's side: Molly's penny to the lame sailor singing for England | “when I threw the penny to that lame sailor for England home and beauty when I was whistling there is a charming girl I love” |
| no hour (Joyce's schema); after ~2:45 a.m. | 18 · Penelope | present | Against the day's official English, Molly's living Spanish surfaces in the bed now — a tongue rule never gave her and never took | “I wonder could I get my tongue round any of the Spanish como esta usted muy bien gracias y usted see I havent forgotten it all” |
The Crown in effigy — king, coin, flag and monument
OTHER
The sovereign rules the day entirely by reproduction — a tartan print on a schoolmaster's wall, initials on the mailcars, a queen's head on the coin every round of drinks passes through, a pillar at the tram terminus, a furled flag by Bloom's own hearth — furniture handled constantly and saluted almost never, its one consistent Dublin use being mockery (onehandled adulterer, old hag with the yellow teeth). The king appears in person only as a hallucination, levitating over the riot his soldiers cause; the real cavalcade of episode 10 passes under a Protestant king's stone horse while citizens salute or fail to.
| Hour | Episode | State | What it does | The text, 1922 |
|---|---|---|---|---|
| ~10:30 a.m. | 2 · Nestor | present | The unionist schoolmaster keeps the king over his mantelpiece and stares at him for reassurance while lecturing Stephen — rule as household icon | “shapely bulk of a man in tartan fillibegs: Albert Edward, prince of Wales.” |
| ~11:20 a.m. | 3 · Proteus | recalled | In Stephen's Paris memory the exiled Fenian circle handles the queen's image the only way it can — Drumont's insult, savoured in French | “Drumont, famous journalist, Drumont, know what he called queen Victoria? Old hag with the yellow teeth.” |
| ~11:20 a.m. | 6 · Hades | present | The funeral crosses the city's dead centre under the admiral's column, which the text pairs instantly with plum-hawkers — monument and market in one breath | “Nelson’s pillar. —Eight plums a penny! Eight for a penny!” |
| ~11:20 a.m. | 6 · Hades | recalled | Bloom, thinking of widows, replays Victoria's state mourning — the empire's template for grief measured against a Dublin widow's | “Widowhood not the thing since the old queen died. Drawn on a guncarriage. Victoria and Albert. Frogmore memorial mourning.” |
| ~12:00 noon | 7 · Aeolus | present | The episode of the city's circulation opens with the royal monogram on the post itself — every letter in Dublin moves under the king's initials | “His Majesty’s vermilion mailcars, bearing on their sides the royal initials, E. R., received loudly flung sacks of letters” |
| ~12:50 p.m. | 7 · Aeolus | present | Stephen's parable renames the pillar's admiral for the pressmen, who relish it — the monument's Dublin meaning is the joke made at its expense | “—Onehandled adulterer! the professor cried. I like that. I see the idea.” |
| ~1:10 p.m. | 8 · Lestrygonians | recalled | In Bloom's imagined procession of all Dublin the crown appears at its least imperial — the remembered image of the aged queen wheeled about | “lord mayor in his gingerbread coach, old queen in a bathchair. My plate’s empty.” |
| ~3:55 p.m. | 10 · Wandering Rocks | present | The viceregal cavalcade closes the episode passing King William's equestrian statue — living Crown under stone Crown — while the Breens dodge the outriders and Menton salutes | “Where the foreleg of King Billy’s horse pawed the air Mrs Breen plucked her hastening husband back from under the hoofs of the outriders.” |
| ~4:00 p.m. | 11 · Sirens | present | Boylan jaunts to his adultery down the avenue of official statuary — Nelson again 'onehandled' — the monuments now mere milestones on the way to Eccles street | “Jingle by monuments of sir John Gray, Horatio onehandled Nelson, reverend father Theobald Mathew, jaunted, as said before just now.” |
| ~5:10 p.m. | 12 · Cyclops | present | Joe pays for the round with the sovereign's head: the parody inflates the coin in his pocket into the full imperial style — every pub transaction passes through the queen | “the image of a queen of regal port, scion of the house of Brunswick, Victoria her name, Her Most Excellent Majesty” |
| ~12:20 a.m. | 15 · Circe | hallucinated | Bloom's fantasy of power can only imagine itself in the Crown's liturgy — the outsider crowned with the royal acclamation, Leopold the First | “God save Leopold the First!” |
| ~12:50 a.m. | 15 · Circe | hallucinated | As the real soldiers square up, the king himself materializes to preside over his own violence — the day's only royal appearance in person is a hallucination | “EDWARD THE SEVENTH: _(Levitates over heaps of slain, in the garb and with the halo of Joking Jesus, a white jujube in his phosphorescent face.)_” |
| ~2:15 a.m. | 17 · Ithaca | present | The catechism finds the empire's flag furled by Bloom's own fireside, noted as flatly as the sofa Boylan shifted beside it | “A sofa upholstered in prune plush had been translocated from opposite the door to the ingleside near the compactly furled Union Jack” |
| ~2:20 a.m. | 17 · Ithaca | present | In the locked drawer the queen consort is filed between an actress and a Christmas card — royalty kept as fading celebrity ephemera | “2 fading photographs of queen Alexandra of England and of Maud Branscombe, actress and professional beauty” |
| no hour (Joyce's schema); after ~2:45 a.m. | 18 · Penelope | recalled | Molly's Gibraltar memory carries the Prince of Wales planting trees in her birth-year — the Crown physically rooted in the colony that made her | “she felt honoured H R H he was in Gibraltar the year I was born I bet he found lilies there too where he planted the tree” |
| no hour (Joyce's schema); after ~2:45 a.m. | 18 · Penelope | recalled | The flag over the fleet in Gibraltar bay, remembered as the grievance of Mrs Rubio, the Spanish servant who never accepted the conquest | “she never could get over the Atlantic fleet coming in half the ships of the world and the Union Jack flying” |
The paperwork of rule — post, licence, rate, land and register
OTHER
The standardizing machinery beneath the visible instruments runs through the whole day without a uniform in sight: Bloom is dressed out of the lost property office at 8 a.m., letters drop into royal pillarboxes at 3, the pub talk at 5 is all muzzling orders, water rates, licences and deedpolls, the cattle economy ships itself to the Liverpool boats under a slaughter question, and a night watchman sleeps on the parish rates under the Custom House. Ithaca finally x-rays the system — committee, prosecution, pauper ration, 1901 census, ordnance survey, and the deedpoll that made Virag into Bloom — as the registers through which a life is legible to rule.
| Hour | Episode | State | What it does | The text, 1922 |
|---|---|---|---|---|
| ~8:05 a.m. | 4 · Calypso | present | Bloom leaves the house dressed partly by the state's clearing-house for the mislaid — his waterproof bought secondhand from the lost property office | “His hand took his hat from the peg over his initialled heavy overcoat and his lost property office secondhand waterproof.” |
| ~11:10 a.m. | 6 · Hades | present | The funeral is halted by a drove of cattle bound for the export boats — Ireland's produce administered toward England, priced per head in Bloom's mind | “Cuffe sold them about twentyseven quid each. For Liverpool probably. Roastbeef for old England. They buy up all the juicy ones.” |
| ~11:15 a.m. | 6 · Hades | present | The carriage's jolt sets the pauper-funeral jingle running in Bloom's head — the poor law's burial category as street rhyme | “Rattle his bones. Over the stones. Only a pauper. Nobody owns.” |
| ~1:30 p.m. | 8 · Lestrygonians | present | Bloom's walk through property values arrives at landlordism's immortal instrument — even the landlord is served the form when his turn comes | “Landlord never dies they say. Other steps into his shoes when he gets his notice to quit.” |
| ~3:00 p.m. | 10 · Wandering Rocks | present | The episode of the whole city opens with the imperial post absorbed into a priest's stroll — a letter handed to a child for the red pillarbox | “Father Conmee gave a letter from his breast to Master Brunny Lynam and pointed to the red pillarbox at the corner of Fitzgibbon street.” |
| ~5:00 p.m. | 12 · Cyclops | present | Even the citizen's dog stands under regulation — the narrator's remedy for Garryowen is the muzzling order, invoked pro bono publico | “ought to write a letter pro bono publico to the papers about the muzzling order for a dog the like of that” |
| ~5:15 p.m. | 12 · Cyclops | present | Pub gossip renders the rate-collector's call verbatim — Boylan's father's world of small municipal exaction, door to door | “I called about the poor and water rate, Mr Boylan. You what? The water rate, Mr Boylan.” |
| ~5:30 p.m. | 12 · Cyclops | present | The citizen's speech invokes the famine clearances — land administration's end point, the eviction machine — as live grievance in the bar | “Their mudcabins and their shielings by the roadside were laid low by the batteringram and the Times rubbed its hands” |
| ~5:45 p.m. | 12 · Cyclops | present | Cunningham explains Bloom to the room through a legal register — the name itself made and unmade by deedpoll | “His name was Virag, the father’s name that poisoned himself. He changed it by deedpoll, the father did.” |
| ~8:55 p.m. | 13 · Nausicaa | present | Bloom counts the Bailey lighthouse's timed flashes — the Irish Lights service ringing the bay, administration legible as rhythm from the beach | “Howth. Bailey light. Two, four, six, eight, nine. See. Has to change or they might think it a house.” |
| ~10:40 p.m. | 14 · Oxen of the Sun | present | The foot-and-mouth question reaches the hospital common room: Bloom, ex-cattlemarket man, asks after the slaughter order while the beasts he saw that morning ship out | “will they slaughter all? I protest I saw them but this day morning going to the Liverpool boats, says he.” |
| ~12:20 a.m. | 15 · Circe | hallucinated | Bloom's New Bloomusalem fantasy reproduces rule's own methods — administration as demolition and relocation, complete with government offices and falling paupers | “Government offices are temporarily transferred to railway sheds. Numerous houses are razed to the ground.” |
| ~1:30 a.m. | 16 · Eumaeus | present | Under the Custom House loop the two heroes pass rule's smallest functionary — Gumley asleep in the corporation sentrybox, kept off destitution by a rates-paid job | “none other in stern reality than the Gumley aforesaid, now practically on the parish rates, given the temporary job by Pat Tobin” |
| ~1:45 a.m. | 16 · Eumaeus | recalled | Bloom's Parnell meditation turns on the land war's administrative victims — the evicted tenants as the constituency that made and unmade the Chief | “his beloved evicted tenants for whom he had done yeoman service in the rural parts of the country” |
| ~2:05 a.m. | 17 · Ithaca | present | The water in Bloom's tap arrives trailing its whole bureaucracy — the catechism traces the flow through surveyor, committee and prohibition order | “the waterworks committee had prohibited the use of municipal water for purposes other than those of consumption” |
| ~2:05 a.m. | 17 · Ithaca | present | The same passage metes the poor by meter — the workhouse ration quantified and its guardians prosecuted for wastage, rule counting gallons per pauper | “their ration of 15 gallons per day per pauper supplied through a 6 inch meter, had been convicted of a wastage of 20,000 gallons per night” |
| ~2:30 a.m. | 17 · Ithaca | present | Bloom's daydream arithmetic runs on the state's count of every person in Ireland — the census as available fact of mind | “to be multiplied by 4,386,035, the total population of Ireland according to census returns of 1901.” |
| ~2:30 a.m. | 17 · Ithaca | present | The drawer holds the family's founding administrative act — the press record of the deedpoll that turned Rudolph Virag into Rudolph Bloom, filed with stock and burial dockets | “a local press cutting concerning change of name by deedpoll.” |
| ~2:30 a.m. | 17 · Ithaca | present | Even Bloom's fantasy of escape is mapped in the state's own instruments — the ordnance survey as the frame through which Ireland is attractive | “as represented in general geographical maps of polychrome design or in special ordnance survey charts by employment of scale numerals and hachures.” |
The absent parliament — College green extinguished, Westminster far away
OTHER
The instrument is a legislature that governs by not being there: the old house on College green stands in the day as a bank with pigeons and a statue bidding halt, while the real chamber sits in London — reachable only by mailboat, answering in the negative, and able to unmake an Irish leader by committee-room procedure. Every contact with it in the text is a journey out (Blackwood's ride, Nannetti's crossing), a dead paper (the 1886 bill, sealed and never unsealed), or a courtship promise no longer believed.
| Hour | Episode | State | What it does | The text, 1922 |
|---|---|---|---|---|
| ~10:30 a.m. (approx., Deasy's study) | 2 · Nestor | recalled | Deasy invokes his ancestor who rode from the Ards of Down to Dublin to vote the Act of Union — the founding journey that extinguished the College green parliament; Stephen silently pictures the topboots jogging to Dublin. Sourced: Deasy's spoken claim plus Stephen's interior elaboration. | “But I am descended from sir John Blackwood who voted for the union. We are all Irish, all kings' sons.” |
| ~12:10 p.m. (approx.) | 7 · Aeolus | present | Nannetti, physically present in his reading closet in the Freeman's Journal caseroom, is noted by Bloom as an MP whose seat sits in Westminster — an Irish-Italian printer holding a piece of the absent legislature from a Dublin machine room. Sourced: Bloom's interior monologue about a man on stage. | “Strange he never saw his real country. Ireland my country. Member for College green.” |
| ~12:15 p.m. (approx.) | 7 · Aeolus | present | Bloom pitches the Keyes advertisement to Nannetti: two crossed keys evoking the House of Keys, the Manx parliament — self-government reduced to an advertising innuendo, sold in the caseroom to a Westminster member. Sourced: spoken dialogue. | “The idea, Mr Bloom said, is the house of keys. You know, councillor, the Manx parliament. Innuendo of home rule.” |
| ~1:05 p.m. (approx., Westmoreland Street) | 8 · Lestrygonians | present | Bloom walks past the old Irish house of parliament on College green — since the Union the Bank of Ireland — and the building registers only as a door for pigeons to foul: the extinguished legislature as street furniture. Sourced: narration of Bloom's route; a squad of constables debouches from College street in the next sentence, rule ambient around the dead house. | “Before the huge high door of the Irish house of parliament a flock of pigeons flew.” |
| ~1:20 p.m. (approx.) | 8 · Lestrygonians | recalled | Seeing John Howard Parnell in the street, Bloom recalls Simon Dedalus's joke about his election to Westminster — the dead leader dragging his diminished brother out of the far-away Commons; the absent parliament surviving as men's mockery. Sourced: Bloom's memory of Simon's remark. | “Simon Dedalus said when they put him in parliament that Parnell would come back from the grave and lead him out of the house of commons by the arm.” |
| ~3:00 p.m. (approx.) | 10 · Wandering Rocks | present | While Stephen talks with Artifoni, a carful of tourists looks from Trinity to the old parliament house — now the Bank of Ireland, its porch 'blind,' windows walled up after the Union — with the same pigeons in residence: the extinguished legislature as a tourist sight. Sourced: narration. | “They looked from Trinity to the blind columned porch of the bank of Ireland where pigeons roocoocooed.” |
| ~3:00 p.m. (approx.) | 10 · Wandering Rocks | present | Grattan — orator of the independent parliament of 1782 — stands as a statue before his own dead house, his stone hand halting trams while a tram unloads Highland soldiers of the garrison beside him: the memory of legislative independence directing traffic. Sourced: narration. | “By the stern stone hand of Grattan, bidding halt, an Inchicore tram unloaded straggling Highland soldiers of a band.” |
| ~5:15 p.m. (approx., Barney Kiernan's) | 12 · Cyclops | present | Pub news: to raise the cattle-traders' grievance at all, Field and Nannetti must physically cross to London by the night mailboat — the distance to the legislature measured in sea miles, in present talk. Sourced: Joe Hynes's spoken report and Bloom's reply. | “Field and Nannetti are going over tonight to London to ask about it on the floor of the house of commons.” |
| ~5:15 p.m. (approx.) | 12 · Cyclops | hallucinated | A parodic interpolation stages Westminster question time — Mitchelstown telegram, Treasury bench, 'Don't hesitate to shoot' — with every Irish question deflected ('The answer is in the negative'). Not a character's vision but a text-level fantasy in Cyclops's gigantist mode: the only floor-of-the-house scene the book grants, and it is imaginary. Marked hallucinated per A3's strictest reading; inferred classification, since the parody belongs to the narration, not a mind. | “Has the right honourable gentleman's famous Mitchelstown telegram inspired the policy of gentlemen on the Treasury bench? (O! O!)” |
| ~1:30 a.m. (approx., cabman's shelter) | 16 · Eumaeus | recalled | The shelter's talk raises Parnell's return; committee room no 15 — the Westminster committee room where the party split unmade the uncrowned king by vote and procedure in December 1890 — surfaces as the day's shorthand for how the absent parliament destroys. Sourced: the cabman's and keeper's present talk of recalled events. | “He ought to have done away with himself or lain low for a time after committee room no 15 until he was his old self again” |
| ~1:45 a.m. (approx.) | 16 · Eumaeus | recalled | Bloom's own gloss on the fall: the parliamentary party's arithmetic — seventytwo constituencies turning — rendered as a stoning; procedure as execution, recalled in the exhausted prose of the hour. Sourced: Bloom's reflections in the Eumaeus narration. | “it was in fact a stoning to death on the part of seventytwo out of eighty odd constituencies that ratted at the time of the split” |
| ~2:30 a.m. (approx.) | 17 · Ithaca | recalled | The catechism's inventory of Bloom's political past: in 1885 he adhered to Parnell's constitutional agitation and Gladstone's programme — the young Bloom's politics were parliamentary politics, hope routed entirely through Westminster. Sourced: the catechist's answer. | “the constitutional agitation of Charles Stewart Parnell (M. P. for Cork City), the programme of peace, retrenchment and reform of William Ewart Gladstone (M. P. for Midlothian, N. B.)” |
| ~2:40 a.m. (approx., the drawer) | 17 · Ithaca | present | In Bloom's drawer, physically present and catalogued: his 1886 prophecy on the consequences of Gladstone's Home Rule bill, sealed and never unsealed because the bill never passed — eighteen years of parliamentary hope preserved as a dead letter in a Dublin drawer. Sourced: the catalogue of the drawer's contents. | “a sealed prophecy (never unsealed) written by Leopold Bloom in 1886 concerning the consequences of the passing into law of William Ewart Gladstone's Home Rule bill of 1886” |
| no hour in Joyce's schema (post-2:45 a.m., approx.) | 18 · Penelope | recalled | Molly remembers Bloom's courtship: the Doyles said he would stand for Parliament, and she believed his talk of home rule and the land league — the absent parliament's last appearance in the book is as a suitor's patter a wife has stopped believing. Sourced: Molly's monologue. | “O wasnt I the born fool to believe all his blather about home rule and the land league” |
What was left out
Deduplication folded recurring sightings into single instruments (Corny Kelleher's five appearances into the informer; Tweedy/Gibraltar into the garrison; Deasy's three surfacings split by function between schoolroom, Castle-administration and language). Deliberately excluded as instruments: the counter-city's own machinery — Fenian memory, Sinn Fein, rebel ballads, the nationalist statue gauntlet, the citizen — which the census recorded richly but which are instruments of resistance, not rule; they enter the selection only where rule touches them (the informer, the gallows, the anthem-language contest). Also excluded: foreign empires glimpsed in passing (the Turkish government of Agendath Netaim, the Austro-Hungarian viceconsulate, Bobrikoff's Russia, the French police of Stephen's Paris) as not governing Dublin; and singleton curios flagged in the census itself (the key to the tower, the lions couchant, the lost Armada) as emblems rather than instruments. Haines, the census's 'informal instrument,' is carried inside the language-of-rule entry (the collector of sayings) rather than given a slot. A3 registers (present / recalled / hallucinated) and A5 markings are preserved at census level and cited in the whys where load-bearing (Circe's Watch, Recorder, Rumbold and Edward VII are hallucinated; no execution or eviction is present-tense on 16 June 1904).
Caveats
Correction, 19 July 2026 (catch C-29). An earlier version of the matrix caption said the marks concentrate only at Cyclops and Circe. The matrix contradicted it. Recounted mark by mark: the 88 present sightings fall across all eighteen episodes with none empty, peaking at Wandering Rocks (11) and Cyclops (9), then Hades and Lestrygonians (8 each) — and Circe holds only four present marks. What Circe does hold is eight of the day’s ten hallucinated marks, which is where the impression came from and is a different claim about a different state (anchor A3). The caption and the chart’s description now say what the chart shows.
- An inventory is a reference, not an argument. Thirteen instruments group many more individual sightings; the grouping is stated in each case.
- The matrix marks presence, not weight: one constable and a whole viceregal cavalcade are each one dot. The dot says the instrument surfaced in that episode; the case tables below give the weight.
- States follow anchor A3 strictly — a constable on the street is present, the Castle named in talk is recalled, the trial in Circe is hallucinated. Sourced and inferred are marked separately (A5).
- Episode titles are schema scaffolding, not Joyce's (anchor A2). Hours are approximate.
- The held transcription marks italics with underscores (_…_); inside the quotation cells those markers are set as the italics they mean, the clearly foreign-language runs carrying their own language tag. Rendering a marker as what it means is not editing what it marks (A19); the words are untouched. Until 5 August 2026 the markers printed raw here — the closing audit set them, following the practice the passages layer already used.
- Every quote was adversarially verified against the 1922 text; corrections from that pass are recorded below.
- Nine corrections were made across the two dimensions after adversarial verification (four of the eleven trace groups had their verification interrupted by a service limit and were re-verified separately).
- Four quotes carried paraphrase or misquote inside quotation marks and were corrected against the episode files; one long quote (Milly's, in Penelope) had joined two verbatim fragments in reversed textual order and was restored to the book's actual sequence.
- Two appearances mislabelled memory were corrected to present-scene under anchor A3; one asserted a death date the text never gives (Mrs Riordan) and one claimed a woman is literally voiceless (the streetwalker, whose words survive in Bloom's memory) — both reframed to what the text supports (anchor A5).
- Only the named fields were touched; every correction was checked against the 1922 episode text before writing.
SOURCE — the 1922 text of Ulysses (public domain; Project Gutenberg #4300); hours from base document 03.