Ulysses: a first reading, and the apparatus built around it

By episode — where the day was read

EPISODE TITLES ARE SCHEMA SCAFFOLDING, NOT JOYCE'S — HE PRINTED NONE (ANCHOR A2).

This is not an episode companion. It is an index of the project's own work, set down where it falls in the day's text: the objects tracked through an episode, the women who enter there, the instruments of rule that mark it, the places where one first reading actually struggled. No entry summarises an episode. None carries reading guidance. Everything is derived from the dimensions and verified against the 1922 text at every build; empty is shown as empty.

Each section carries four more things now. The book's own words, wherever the record warrants them. The day that stretch was read, and the page of the record where the exchange starts. The hours and places base document 03 documents in that episode. And the one place the episode turns away from Homer.

A passage is shown only where something in the record warrants it, and exactly two things count. An exchange title from the study's own table of the sixteen exchanges, every row of which carries a page you can open. Or the reader's own words, where the study marks them as his and records the page he said them on — the record's own voice, and the stronger of the two. Each passage prints its warrant in full, so you can see how much it actually names rather than take this project's word for it. The choice of lines is always the project's.

And an exchange title is this project's own summary, not the reader's speech. It is admitted because it is fixed in the primary record, dated, and openable at its page — so you can check it and refuse it — while the answers in that record, which are also this project's, are refused outright below. That is a real line, and it is a narrower one than it looks: sixteen of the seventeen passages rest on titles this project wrote, and one rests on the reader's own words. The stronger warrant is the rarer one, and saying so here is better than leaving you to find it.

What does not count is this project's own prose about the reading — its episode-by-episode rows, its own address lines — however carefully those were made. Nor do the answers in the record, which are also this project's. That boundary has been drawn wrong twice and corrected twice; the corrections are catches C-53 and C-57.

Two more rules worth knowing before you read down. An exchange is placed in an episode only when the exchange's own title names that episode — no inference, which leaves three exchanges unplaced and listed below rather than assigned. And where nothing warrants a passage, the section says so and says what it searched: the record's shape is not a verdict on the episode, and a missing warrant is not a missing reading.

1 · Telemachus

—Tell me, Mulligan, Stephen said quietly.
—Yes, my love?
—How long is Haines going to stay in this tower?
Buck Mulligan showed a shaven cheek over his right shoulder.
—God, isn’t he dreadful? he said frankly. A ponderous Saxon. He thinks you’re not a gentleman. God, these bloody English! Bursting with money and indigestion. Because he comes from Oxford. You know, Dedalus, you have the real Oxford manner. He can’t make you out. O, my name for you is the best: Kinch, the knife-blade.

the 1922 text, episode 1 · as the held transcription prints it. Where that transcription marks italics with underscores they are set as italics here, and the French, Latin and Hebrew runs carry their own language — so the voice you already have says them as what they are, rather than reading the underscores at you (panel session 06)

WHY THESE LINES: THE NAMING TROUBLE AT THE TOP OF THE EPISODE, FROM STEPHEN'S QUESTION TO “KINCH, THE KNIFE-BLADE” — THE CHOICE IS THE PROJECT'S (A5).

The warrant is the study's exchange 1, 8 July 2026, titled “Beginning: the tower, and who is who” — the reading record at p.4. It names “the tower”, which is where these lines sit. The warrant does not name this episode — a place can sit in more than one, so naming one is not the same as naming the other. These lines are placed by the held 1922 text's own section markers, verified at every build, and not by any list of this project's (A2).

2 · Nestor

NO EXCHANGE TITLE NAMES THIS EPISODE, AND NONE OF THE READER'S OWN RECORDED WORDS THAT THIS STUDY MARKS NAMES IT OR ANYTHING IN IT, SO NO PASSAGE IS SHOWN.

The record is not silent here. The study places 0 questions in this episode, and what is missing is a warrant this project can check — not the reading. The reader's words reach this project only where the study quotes and marks them, and that selection is the study's, not the record's full extent.

What the study does say about this episode, in its own words: Zero questions placed here; Nestor was covered only inside the retrospective 'chapters 2 and 3' request at pdf page 6, which spans episodes and was left out of episode counts.

THIS EPISODE'S QUESTION COUNT IS ZERO, AND THE STUDY SAYS WHY IN ITS OWN WORDS:

The early book is undercounted: episodes 1–3 were partly read before the companion became a habit, and the single retrospective question covering episodes 2–3 (pdf 6) was left out of episode counts under the conservative-assignment rule — their zeros are an artifact of method plus timing, not proven ease.

3 · Proteus

A bloated carcass of a dog lay lolled on bladderwrack. Before him the gunwale of a boat, sunk in sand. Un coche ensablé Louis Veuillot called Gautier’s prose. These heavy sands are language tide and wind have silted here. And these, the stoneheaps of dead builders, a warren of weasel rats. Hide gold there. Try it. You have some. Sands and stones. Heavy of the past. Sir Lout’s toys. Mind you don’t get one bang on the ear. I’m the bloody well gigant rolls all them bloody well boulders, bones for my steppingstones. Feefawfum. I zmellz de bloodz odz an Iridzman.
A point, live dog, grew into sight running across the sweep of sand. Lord, is he going to attack me? Respect his liberty. You will not be master of others or their slave. I have my stick. Sit tight. From farther away, walking shoreward across from the crested tide, figures, two. The two maries. They have tucked it safe mong the bulrushes. Peekaboo. I see you. No, the dog. He is running back to them. Who?

the 1922 text, episode 3 · as the held transcription prints it. Where that transcription marks italics with underscores they are set as italics here, and the French, Latin and Hebrew runs carry their own language — so the voice you already have says them as what they are, rather than reading the underscores at you (panel session 06)

WHY THESE LINES: THE DOG'S CARCASS ON THE BLADDERWRACK, AND THE LIVE DOG CROSSING THE SAND — THE CHOICE IS THE PROJECT'S (A5).

No exchange title names this episode. The warrant is the reader's own words — “The beach scene is awesome.” — at p.6 of the reading record. It names “The beach scene”, which is where these lines sit. The warrant does not name this episode — a place can sit in more than one, so naming one is not the same as naming the other. These lines are placed by the held 1922 text's own section markers, verified at every build, and not by any list of this project's (A2).

THIS EPISODE'S QUESTION COUNT IS ZERO, AND THE STUDY SAYS WHY IN ITS OWN WORDS:

The early book is undercounted: episodes 1–3 were partly read before the companion became a habit, and the single retrospective question covering episodes 2–3 (pdf 6) was left out of episode counts under the conservative-assignment rule — their zeros are an artifact of method plus timing, not proven ease.

4 · Calypso

Dearest Papli
Thanks ever so much for the lovely birthday present. It suits me splendid. Everyone says I am quite the belle in my new tam. I got mummy’s lovely box of creams and am writing. They are lovely. I am getting on swimming in the photo business now. Mr Coghlan took one of me and Mrs. Will send when developed. We did great biz yesterday. Fair day and all the beef to the heels were in. We are going to lough Owel on Monday with a few friends to make a scrap picnic. Give my love to mummy and to yourself a big kiss and thanks. I hear them at the piano downstairs. There is to be a concert in the Greville Arms on Saturday. There is a young student comes here some evenings named Bannon his cousins or something are big swells and he sings Boylan’s (I was on the pop of writing Blazes Boylan’s) song about those seaside girls. Tell him silly Milly sends my best respects.

the 1922 text, episode 4 · as the held transcription prints it. Where that transcription marks italics with underscores they are set as italics here, and the French, Latin and Hebrew runs carry their own language — so the voice you already have says them as what they are, rather than reading the underscores at you (panel session 06)

WHY THESE LINES: THE LETTER AS PRINTED, FROM ITS SALUTATION TO “SENDS MY BEST RESPECTS” — THE CHOICE IS THE PROJECT'S (A5).

The warrant is the study's exchange 3, 9 July 2026, titled “The Bloom household: Milly's letter, and Bannon straightened out” — the reading record at p.10. It names “Milly's letter”, which is where these lines sit. The warrant does not name this episode — a place can sit in more than one, so naming one is not the same as naming the other. These lines are placed by the held 1922 text's own section markers, verified at every build, and not by any list of this project's (A2).

5 · Lotus Eaters

NO EXCHANGE TITLE NAMES THIS EPISODE, AND NONE OF THE READER'S OWN RECORDED WORDS THAT THIS STUDY MARKS NAMES IT OR ANYTHING IN IT, SO NO PASSAGE IS SHOWN.

The record is not silent here. The study places 2 questions in this episode, and what is missing is a warrant this project can check — not the reading. The reader's words reach this project only where the study quotes and marks them, and that selection is the study's, not the record's full extent.

What the study does say about this episode, in its own words: Two questions, one locating the episode's own closing image in the wrong chapter — the episode boundaries themselves were still being learned.

6 · Hades

The carriage climbed more slowly the hill of Rutland square. Rattle his bones. Over the stones. Only a pauper. Nobody owns.
—In the midst of life, Martin Cunningham said.
—But the worst of all, Mr Power said, is the man who takes his own life.
Martin Cunningham drew out his watch briskly, coughed and put it back.
—The greatest disgrace to have in the family, Mr Power added.
—Temporary insanity, of course, Martin Cunningham said decisively. We must take a charitable view of it.
—They say a man who does it is a coward, Mr Dedalus said.
—It is not for us to judge, Martin Cunningham said.
Mr Bloom, about to speak, closed his lips again. Martin Cunningham’s large eyes. Looking away now. Sympathetic human man he is. Intelligent. Like Shakespeare’s face.

the 1922 text, episode 6 · as the held transcription prints it. Where that transcription marks italics with underscores they are set as italics here, and the French, Latin and Hebrew runs carry their own language — so the voice you already have says them as what they are, rather than reading the underscores at you (panel session 06)

WHY THESE LINES: THE TURN IN THE CARRIAGE TALK TO THE MAN WHO TAKES HIS OWN LIFE, AND BLOOM NOT SPEAKING — THE CHOICE IS THE PROJECT'S (A5).

The warrant is the study's exchange 4, 9 July 2026, titled “Hades: the funeral carriage and the talk of the dead” — the reading record at p.14. It names this episode as “Hades”. It names “the funeral carriage”, which is where these lines sit.

7 · Aeolus

Sllt. The nethermost deck of the first machine jogged forward its flyboard with sllt the first batch of quirefolded papers. Sllt. Almost human the way it sllt to call attention. Doing its level best to speak. That door too sllt creaking, asking to be shut. Everything speaks in its own way. Sllt.
NOTED CHURCHMAN AN OCCASIONAL CONTRIBUTOR
The foreman handed back the galleypage suddenly, saying:
—Wait. Where’s the archbishop’s letter? It’s to be repeated in the Telegraph. Where’s what’s his name?
He looked about him round his loud unanswering machines.
—Monks, sir? a voice asked from the castingbox.
—Ay. Where’s Monks?
—Monks!
Mr Bloom took up his cutting. Time to get out.

the 1922 text, episode 7 · as the held transcription prints it. Where that transcription marks italics with underscores they are set as italics here, and the French, Latin and Hebrew runs carry their own language — so the voice you already have says them as what they are, rather than reading the underscores at you (panel session 06)

WHY THESE LINES: THE PRINTING-WORKS FLOOR: THE MACHINE'S “SLLT”, A HEADLINE STANDING MID-SCENE, AND THE CALL FOR MONKS — THE CHOICE IS THE PROJECT'S (A5).

The warrant is the study's exchange 5, 10 July 2026, titled “Aeolus and Lestrygonians: the newspaper office and the lunch” — the reading record at p.17. It names this episode as “Aeolus”. It names the episode and nothing narrower, so the scene is the project's choice as well as the lines.

8 · Lestrygonians

—And here’s himself and pepper on him, Nosey Flynn said. Can you give us a good one for the Gold cup?
—I’m off that, Mr Flynn, Davy Byrne answered. I never put anything on a horse.
—You’re right there, Nosey Flynn said.
Mr Bloom ate his strips of sandwich, fresh clean bread, with relish of disgust pungent mustard, the feety savour of green cheese. Sips of his wine soothed his palate. Not logwood that. Tastes fuller this weather with the chill off.
Nice quiet bar. Nice piece of wood in that counter. Nicely planed. Like the way it curves there.

the 1922 text, episode 8 · as the held transcription prints it. Where that transcription marks italics with underscores they are set as italics here, and the French, Latin and Hebrew runs carry their own language — so the voice you already have says them as what they are, rather than reading the underscores at you (panel session 06)

WHY THESE LINES: THE COUNTER AT DAVY BYRNE'S, THE GOLD CUP TALK CROSSING IT, AND THE SANDWICH EATEN — THE CHOICE IS THE PROJECT'S (A5).

The warrant is the study's exchange 5, 10 July 2026, titled “Aeolus and Lestrygonians: the newspaper office and the lunch” — the reading record at p.17. It names this episode as “Lestrygonians”. It names “the lunch”, which is where these lines sit.

9 · Scylla and Charybdis

—What is a ghost? Stephen said with tingling energy. One who has faded into impalpability through death, through absence, through change of manners. Elizabethan London lay as far from Stratford as corrupt Paris lies from virgin Dublin. Who is the ghost from limbo patrum, returning to the world that has forgotten him? Who is King Hamlet?
John Eglinton shifted his spare body, leaning back to judge.
Lifted.
—It is this hour of a day in mid June, Stephen said, begging with a swift glance their hearing. The flag is up on the playhouse by the bankside. The bear Sackerson growls in the pit near it, Paris garden. Canvasclimbers who sailed with Drake chew their sausages among the groundlings.

the 1922 text, episode 9 · as the held transcription prints it. Where that transcription marks italics with underscores they are set as italics here, and the French, Latin and Hebrew runs carry their own language — so the voice you already have says them as what they are, rather than reading the underscores at you (panel session 06)

WHY THESE LINES: STEPHEN'S “WHAT IS A GHOST?” AND THE BANKSIDE HE CONJURES STRAIGHT AFTER IT — THE CHOICE IS THE PROJECT'S (A5).

The warrant is the study's exchange 6, 11 July 2026, titled “Scylla and Charybdis, and into Wandering Rocks” — the reading record at p.22. It names this episode as “Scylla and Charybdis”. It names the episode and nothing narrower, so the scene is the project's choice as well as the lines.

10 · Wandering Rocks

Maggy poured yellow thick soup from the kettle into a bowl. Katey, sitting opposite Boody, said quietly, as her fingertip lifted to her mouth random crumbs:
—A good job we have that much. Where’s Dilly?
—Gone to meet father, Maggy said.
Boody, breaking big chunks of bread into the yellow soup, added:
—Our father who art not in heaven.
Maggy, pouring yellow soup in Katey’s bowl, exclaimed:
—Boody! For shame!
A skiff, a crumpled throwaway, Elijah is coming, rode lightly down the Liffey, under Loopline bridge, shooting the rapids where water chafed around the bridgepiers, sailing eastward past hulls and anchorchains, between the Customhouse old dock and George’s quay.

the 1922 text, episode 10 · as the held transcription prints it. Where that transcription marks italics with underscores they are set as italics here, and the French, Latin and Hebrew runs carry their own language — so the voice you already have says them as what they are, rather than reading the underscores at you (panel session 06)

WHY THESE LINES: THE CLOSE OF THE SOUP SCENE, AND THE UNATTACHED SKIFF SENTENCE THAT ENDS THE SECTION — THE CHOICE IS THE PROJECT'S (A5).

The warrant is the study's exchange 6, 11 July 2026, titled “Scylla and Charybdis, and into Wandering Rocks” — the reading record at p.22. It names this episode as “Wandering Rocks”. It names the episode and nothing narrower, so the scene is the project's choice as well as the lines.

11 · Sirens

Where bronze from anear? Where gold from afar? Where hoofs?
Rrrpr. Kraa. Kraandl.
Then not till then. My eppripfftaph. Be pfrwritt.
Done.
Begin!

the 1922 text, episode 11 · as the held transcription prints it. Where that transcription marks italics with underscores they are set as italics here, and the French, Latin and Hebrew runs carry their own language — so the voice you already have says them as what they are, rather than reading the underscores at you (panel session 06)

WHY THESE LINES: THE OVERTURE'S CLOSING LINES, SOUND WITH SENSE WITHDRAWN — THE CHOICE IS THE PROJECT'S (A5).

The warrant is the study's exchange 7, 11 July 2026, titled “Wandering Rocks and Sirens: the hour Boylan goes to Eccles Street” — the reading record at p.30. It names this episode as “Sirens”. It names the episode and nothing narrower, so the scene is the project's choice as well as the lines.

Bronze by gold heard the hoofirons, steelyringing.
Imperthnthn thnthnthn.
Chips, picking chips off rocky thumbnail, chips.
Horrid! And gold flushed more.
A husky fifenote blew.
Blew. Blue bloom is on the.
Goldpinnacled hair.

the 1922 text, episode 11 · as the held transcription prints it. Where that transcription marks italics with underscores they are set as italics here, and the French, Latin and Hebrew runs carry their own language — so the voice you already have says them as what they are, rather than reading the underscores at you (panel session 06)

WHY THESE LINES: THE OVERTURE'S OPENING SEVEN LINES — THE CHOICE IS THE PROJECT'S (A5).

The warrant is the study's exchange 7, 11 July 2026, titled “Wandering Rocks and Sirens: the hour Boylan goes to Eccles Street” — the reading record at p.30. It names this episode as “Sirens”. It names the episode and nothing narrower, so the scene is the project's choice as well as the lines.

12 · Cyclops

When, lo, there came about them all a great brightness and they beheld the chariot wherein He stood ascend to heaven. And they beheld Him in the chariot, clothed upon in the glory of the brightness, having raiment as of the sun, fair as the moon and terrible that for awe they durst not look upon Him. And there came a voice out of heaven, calling: Elijah! Elijah! And He answered with a main cry: Abba! Adonai! And they beheld Him even Him, ben Bloom Elijah, amid clouds of angels ascend to the glory of the brightness at an angle of fortyfive degrees over Donohoe’s in Little Green street like a shot off a shovel.

the 1922 text, episode 12 · as the held transcription prints it. Where that transcription marks italics with underscores they are set as italics here, and the French, Latin and Hebrew runs carry their own language — so the voice you already have says them as what they are, rather than reading the underscores at you (panel session 06)

WHY THESE LINES: THE EPISODE'S LAST PARAGRAPH, THE ASCENSION OVER LITTLE GREEN STREET — THE CHOICE IS THE PROJECT'S (A5).

The warrant is the study's exchange 8, 12 July 2026, titled “The end of Sirens, and Cyclops in Barney Kiernan's” — the reading record at p.37. It names this episode as “Cyclops”. It names the episode and nothing narrower, so the scene is the project's choice as well as the lines.

13 · Nausicaa

And then a rocket sprang and bang shot blind blank and O! then the Roman candle burst and it was like a sigh of O! and everyone cried O! O! in raptures and it gushed out of it a stream of rain gold hair threads and they shed and ah! they were all greeny dewy stars falling with golden, O so lovely, O, soft, sweet, soft!

the 1922 text, episode 13 · as the held transcription prints it. Where that transcription marks italics with underscores they are set as italics here, and the French, Latin and Hebrew runs carry their own language — so the voice you already have says them as what they are, rather than reading the underscores at you (panel session 06)

WHY THESE LINES: THE ROCKET-BURST SENTENCE — THE CHOICE IS THE PROJECT'S (A5).

The warrant is the study's exchange 9, 13 July 2026, titled ““Ireland. I was born here.” — Cyclops, and into Nausicaa” — the reading record at p.47. It names this episode as “Nausicaa”. It names the episode and nothing narrower, so the scene is the project's choice as well as the lines.

14 · Oxen of the Sun

Universally that person’s acumen is esteemed very little perceptive concerning whatsoever matters are being held as most profitably by mortals with sapience endowed to be studied who is ignorant of that which the most in doctrine erudite and certainly by reason of that in them high mind’s ornament deserving of veneration constantly maintain when by general consent they affirm that other circumstances being equal by no exterior splendour is the prosperity of a nation more efficaciously asserted than by the measure of how far forward may have progressed the tribute of its solicitude for that proliferent continuance which of evils the original if it be absent when fortunately present constitutes the certain sign of omnipollent nature’s incorrupted benefaction.

the 1922 text, episode 14 · as the held transcription prints it. Where that transcription marks italics with underscores they are set as italics here, and the French, Latin and Hebrew runs carry their own language — so the voice you already have says them as what they are, rather than reading the underscores at you (panel session 06)

WHY THESE LINES: THE EPISODE'S FIRST SENTENCE OF SUSTAINED LATINATE PROSE — THE CHOICE IS THE PROJECT'S (A5).

The warrant is the study's exchange 11, 14 July 2026, titled “Oxen of the Sun, and the descent into Circe” — the reading record at p.61. It names this episode as “Oxen of the Sun”. It names the episode and nothing narrower, so the scene is the project's choice as well as the lines.

15 · Circe

FIRST WATCH: The offence complained of? Did something happen?
MARY DRISCOLL: He surprised me in the rere of the premises, Your honour, when the missus was out shopping one morning with a request for a safety pin. He held me and I was discoloured in four places as a result. And he interfered twict with my clothing.
BLOOM: She counterassaulted.
MARY DRISCOLL: (Scornfully.) I had more respect for the scouringbrush, so I had. I remonstrated with him, Your lord, and he remarked: keep it quiet.
(General laughter.)
GEORGE FOTTRELL: (Clerk of the crown and peace, resonantly.) Order in court! The accused will now make a bogus statement.

the 1922 text, episode 15 · as the held transcription prints it. Where that transcription marks italics with underscores they are set as italics here, and the French, Latin and Hebrew runs carry their own language — so the voice you already have says them as what they are, rather than reading the underscores at you (panel session 06)

WHY THESE LINES: THE COURTROOM EXAMINATION — THE CHARGE, MARY DRISCOLL'S TESTIMONY, AND THE LAUGHTER — THE CHOICE IS THE PROJECT'S (A5).

The warrant is the study's exchange 12, 14 July 2026, titled “Circe: the trial, the transformations, the homecoming of the dead” — the reading record at p.69. It names this episode as “Circe”. It names “the trial”, which is where these lines sit.

16 · Eumaeus

—This morning (Hynes put it in of course) the remains of the late Mr Patrick Dignam were removed from his residence, no 9 Newbridge Avenue, Sandymount, for interment in Glasnevin. The deceased gentleman was a most popular and genial personality in city life and his demise after a brief illness came as a great shock to citizens of all classes by whom he is deeply regretted. The obsequies, at which many friends of the deceased were present, were carried out (certainly Hynes wrote it with a nudge from Corny) by Messrs H. J. O’Neill and Son, 164 North Strand Road. The mourners included: Patk. Dignam (son), Bernard Corrigan (brother-in-law), Jno. Henry Menton, solr, Martin Cunningham, John Power, eatondph 1/8 ador dorador douradora (must be where he called Monks the dayfather about Keyes’s ad) Thomas Kernan, Simon Dedalus, Stephen Dedalus B. A., Edw. J. Lambert, Cornelius T. Kelleher, Joseph M’C Hynes, L. Boom, C P M’Coy,—M’Intosh and several others.

the 1922 text, episode 16 · as the held transcription prints it. Where that transcription marks italics with underscores they are set as italics here, and the French, Latin and Hebrew runs carry their own language — so the voice you already have says them as what they are, rather than reading the underscores at you (panel session 06)

WHY THESE LINES: THE NEWSPAPER NOTICE AS BLOOM READS IT, DOWN TO THE MOURNER LIST — THE CHOICE IS THE PROJECT'S (A5).

The warrant is the study's exchange 13, 15 July 2026, titled “Out of Nighttown: the end of Circe, Eumaeus, and Ithaca begun” — the reading record at p.76. It names this episode as “Eumaeus”. It names the episode and nothing narrower, so the scene is the project's choice as well as the lines.

17 · Ithaca

Sinbad the Sailor and Tinbad the Tailor and Jinbad the Jailer and Whinbad the Whaler and Ninbad the Nailer and Finbad the Failer and Binbad the Bailer and Pinbad the Pailer and Minbad the Mailer and Hinbad the Hailer and Rinbad the Railer and Dinbad the Kailer and Vinbad the Quailer and Linbad the Yailer and Xinbad the Phthailer.
When?
Going to dark bed there was a square round Sinbad the Sailor roc’s auk’s egg in the night of the bed of all the auks of the rocs of Darkinbad the Brightdayler.
Where?
•

the 1922 text, episode 17 · as the held transcription prints it. Where that transcription marks italics with underscores they are set as italics here, and the French, Latin and Hebrew runs carry their own language — so the voice you already have says them as what they are, rather than reading the underscores at you (panel session 06)

WHY THESE LINES: THE SINBAD LITANY, THE ANSWER TO “WHEN?”, AND THE LAST “WHERE?” WITH ITS DOT — THE CHOICE IS THE PROJECT'S (A5).

The warrant is the study's exchange 15, 16 July 2026, titled “The close of Ithaca, the black dot, and Molly's first pages” — the reading record at p.99. It names this episode as “Ithaca”. It names “the black dot”, which is where these lines sit.

18 · Penelope

Gibraltar as a girl where I was a Flower of the mountain yes when I put the rose in my hair like the Andalusian girls used or shall I wear a red yes and how he kissed me under the Moorish wall and I thought well as well him as another and then I asked him with my eyes to ask again yes and then he asked me would I yes to say yes my mountain flower and first I put my arms around him yes and drew him down to me so he could feel my breasts all perfume yes and his heart was going like mad and yes I said yes I will Yes.

the 1922 text, episode 18 · as the held transcription prints it. Where that transcription marks italics with underscores they are set as italics here, and the French, Latin and Hebrew runs carry their own language — so the voice you already have says them as what they are, rather than reading the underscores at you (panel session 06)

WHY THESE LINES: THE CLOSING LINES, FROM “FLOWER OF THE MOUNTAIN” TO THE LAST YES — THE CHOICE IS THE PROJECT'S (A5).

The warrant is the study's exchange 16, 17 July 2026, titled “Penelope, Howth Head, and the last yes” — the reading record at p.108. It names this episode as “Penelope”. It names “the last yes”, which is where these lines sit.

The exchanges this index does not place

An exchange is placed in an episode when the exchange's own title contains that episode's scaffolding title. No aliases and no inference: three exchanges name no episode and are listed unplaced rather than assigned. They are reachable here, at the same pages, and nothing about them is hidden — only unasserted.

What is not here, and why

Some dimensions, built and building, do not key to episodes. They are not forced to (contradictions and refusals are shown, not resolved — anchor A4):