Chapter9 Scylla and Charybdis

URBANE, TO COMFORT THEM, THE QUAKER LIBRARIAN PURRED:

-- And we have, have we not, those priceless pages of Wilhelm Meister? A great poet on a great brother poet. A hesitating soul taking arms against a sea of troubles, torn by conflicting doubts, as one sees in real life.

He came a step a sinkapace forward on neatsleather creaking and a step backward a sinkapace on the solemn floor.

A noiseless attendant, setting open the door but slightly, made him a noiseless beck.

-- Directly, said he, creaking to go, albeit lingering. The beautiful ineffectual dreamer who comes to grief against hard facts. One always feels that Goethe's judgments are so true. True in the larger analysis.

Twicreakingly analysis he corantoed off. Bald, most zealous by the door he gave his large ear all to the attendant's words: heard them: and was gone.

Two left.

-- Monsieur de la Palisse, Stephen sneered, was alive fifteen minutes before his death.

-- Have you found those six brave medicals, John Eglinton asked with elder's gall, to write Paradise Lost at your dictation? The Sorrows of Satan he calls it.

Smile. Smile Cranly's smile.

-- I feel you would need one more for Hamlet. Seven is dear to the mystic mind. The shining seven W. B. calls them.

Glittereyed, his rufous skull close to his greencapped desklamp sought the face, bearded amid darkgreener shadow, an ollav, holyeyed. He laughed low: a sizar's laugh of Trinity: unanswered.

He holds my follies hostage.

Cranly's eleven true Wicklowmen to free their sireland. Gaptoothed Kathleen, her four beautiful green fields, the stranger in her house. And one more to hail him: ave, rabbi. The Tinahely twelve. In the shadow of the glen he cooees for them. My soul's youth I gave him, night by night. Godspeed. Good hunting.

Mulligan has my telegram.

Folly. Persist.

-- Our young Irish bards, John Eglinton censured, have yet to create a figure which the world will set beside Saxon Shakespeare's Hamlet though I admire him, as old Ben did, on this side idolatry.

-- All these questions are purely academic, Russell oracled out of his shadow. I mean, whether Hamlet is Shakespeare or James I or Essex. Clergymen's discussions of the historicity of Jesus. Art has to reveal to us ideas, formless spiritual essences. The supreme question about a work of art is out of how deep a life does it spring. The painting of Gustave Moreau is the painting of ideas. The deepest poetry of Shelley, the words of Hamlet bring our mind into contact with the eternal wisdom, Plato's world of ideas. All the rest is the speculation of schoolboys for schoolboys.

A. E. has been telling some yankee interviewer. Wall, tarnation strike me!

-- The schoolmen were schoolboys first, Stephen said superpolitely. Aristotle was once Plato's schoolboy.

-- And has remained so, one should hope, John Eglinton sedately said. One can see him, a model schoolboy with his diploma under his arm.

He laughed again at the now smiling bearded face.

Formless spiritual. Father, Word and Holy Breath. Allfather, the heavenly man. Hiesos Kristos, magician of the beautiful, the Logos who suffers in us at every moment. This verily is that. I am the fire upon the altar. I am the sacrificial butter.

Dunlop, Judge, the noblest Roman of them all, A. E., Arval, the Name Ineffable, in heaven hight, K. H., their master, whose identity is no secret to adepts. Brothers of the great white lodge always watching to see if they can help. The Christ with the bridesister, moisture of light, born of an ensouled virgin, repentant sophia, departed to the plane of buddhi. The life esoteric is not for ordinary person. O. P. must work off bad karma first. Mrs Cooper Oakley once glimpsed our very illustrious sister H. P. B's elemental.

O, fie! Out on't! Pfuiteufel! You naughtn't to look, missus, so you naughtn't when a lady's ashowing of her elemental.

Mr Best entered, tall, young, mild, light. He bore in his hand with grace a notebook, new, large, clean, bright.

-- That model schoolboy, Stephen said, would find Hamlet's musings about the afterlife of his princely soul, the improbable, insignificant and undramatic monologue, as shallow as Plato's.

John Eglinton, frowning, said, waxing wroth:

-- Upon my word it makes my blood boil to hear anyone compare Aristotle with Plato.

-- Which of the two, Stephen asked, would have banished me from his commonwealth?

Unsheathe your dagger definitions. Horseness is the whatness of allhorse. Streams of tendency and eons they worship. God: noise in the street: very peripatetic. Space: what you damn well have to see. Through spaces smaller than red globules of man's blood they creepycrawl after Blake's buttocks into eternity of which this vegetable world is but a shadow. Hold to the now, the here, through which all future plunges to the past.

Mr Best came forward, amiable, towards his colleague.

-- Haines is gone, he said.

-- Is he?

-- I was showing him Jubainville's book. He's quite enthusiastic, don't you know, about Hyde's Lovesongs of Connacht. I couldn't bring him in to hear the discussion. He's gone to Gill's to buy it.

The peatsmoke is going to his head, John Eglinton opined.

We feel in England. Penitent thief. Gone. I smoked his baccy. Green twinkling stone. An emerald set in the ring of the sea.

-- People do not know how dangerous lovesongs can be, the auric egg of Russell warned occultly. The movements which work revolutions in the world are born out of the dreams and visions in a peasant's heart on the hillside. For them the earth is not an exploitable ground but the living mother. The rarefied air of the academy and the arena produce the sixshilling novel, the musichall song, France produces the finest flower of corruption in Mallarmé but the desirable life is revealed only to the poor of heart, the life of Homer's Ph&Aelig;acians.

From these words Mr Best turned an unoffending face to Stephen.

-- Mallarmé, don't you know, he said, has written those wonderful prose poems Stephen MacKenna used to read to me in Paris. The one about Hamlet. He says: il se promène, lisant au livre de lui-même, don't you know, reading the book of himself. He describes Hamlet given in a French town, don't you know, a provincial town. They advertised it.

His free hand graciously wrote tiny signs in air.

He repeated to John Eglinton's newgathered frown:

-- Piéce de Shakespeare, don't you know. It's so French, the French point of view. Hamlet ou...

-- The absentminded beggar, Stephen ended.

John Eglinton laughed.

-- Yes, I suppose it would be, he said. Excellent people, no doubt, but distressingly shortsighted in some matters.

Sumptuous and stagnant exaggeration of murder.

-- A deathsman of the soul Robert Greene called him, Stephen said. Not for nothing was he a butcher's son wielding the sledded poleaxe and spitting in his palm. Nine lives are taken off for his father's one, Our Father who art in purgatory. Khaki Hamlets don't hesitate to shoot. The bloodboltered shambles in act five is a forecast of the concentration camp sung by Mr Swinburne.

Cranly, I his mute orderly, following battles from afar.

Whelps and dams of murderous foes whom none

But we had spared...

Between the Saxon smile and yankee yawp. The devil and the deep sea.

-- He will have it that Hamlet is a ghoststory, John Eglinton said for Mr Best's behoof. Like the fat boy in Pickwick he wants to make our flesh creep.

List! List! O List!

My flesh hears him: creeping, hears.

If thou didst ever...

-- 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.

Local colour. Work in all you know. Make them accomplices.

-- Shakespeare has left the huguenot's house in Silver street and walks by the swanmews along the riverbank. But he does not stay to feed the pen chivying her game of cygnets towards the rushes. The swan of Avon has other thoughts.

Composition of place. Ignatius Loyola, make haste to help me!

-- The play begins. A player comes on under the shadow, made up in the castoff mail of a court buck, a wellset man with a bass voice. It is the ghost, the king, a king and no king, and the player is Shakespeare who has studied Hamlet all the years of his life which were not vanity in order to play the part of the spectre. He speaks the words to Burbage, the young player who stands before him beyond the rack of cerecloth, calling him by a name:

Hamlet, I am thy father's spirit

bidding him list. To a son he speaks, the son of his soul, the prince, young Hamlet and to the son of his body, Hamnet Shakespeare, who has died in Stratford that his namesake may live for ever.

-- Is it possible that that player Shakespeare, a ghost by absence, and in the vesture of buried Denmark, a ghost by death, speaking his own words to his own son's name (had Hamnet Shakespeare lived he would have been prince Hamlet's twin) is it possible, I want to know, or probable that he did not draw or foresee the logical conclusion of those premises: you are the dispossessed son: I am the murdered father: your mother is the guilty queen. Ann Shakespeare, born Hathaway?

-- But this prying into the family life of a great man, Russell began impatiently.

Art thou there, truepenny?

-- Interesting only to the parish clerk. I mean, we have the plays. I mean when we read the poetry of King Lear what is it to us how the poet lived? As for living, our servants can do that for us, Villiers de l'Isle has said. Peeping and prying into greenroom gossip of the day, the poet's drinking, the poet's debts. We have King Lear: and it is immortal.

Mr Best's face appealed to, agreed.

Flow over them with your waves and with your waters,

Mananaan, Mananaan MacLir...

How now, sirrah, that pound he lent you when you were hungry?

Marry, I wanted it.

Take thou this noble.

Go to! You spent most of it in Georgina Johnson's bed, clergyman's daughter. Agenbite of inwit.

Do you intend to pay it back?

O, yes.

When? Now?

Well... no.

When, then?

I paid my way. I paid my way.

Steady on. He's from beyant Boyne water. The northeast corner. You owe it.

Wait. Five months. Molecules all change. I am other I now. Other I got pound.

Buzz. Buzz.

But I, entelechy, form of forms, am I by memory because under everchanging forms.

I that sinned and prayed and fasted.

A child Conmee saved from pandies.

I, I and I. I.

A.E.I.O.U.

-- Do you mean to fly in the face of the tradition of three centuries? John Eglinton's carping voice asked. Her ghost at least has been laid for ever. She died, for literature at least, before she was born.

-- She died, Stephen retorted, sixtyseven years after she was born. She saw him into and out of the world. She took his first embraces. She bore his children and she laid pennies on his eyes to keep his eyelids closed when he lay on his deathbed.

Mother's deathbed. Candle. The sheeted mirror. Who brought me into this world lies there, bronzelidded, under few cheap flowers. Liliata rutilantium.

I wept alone.

John Eglinton looked in the tangled glowworm of his lamp.

-- The world believes that Shakespeare made a mistake, he said, and got out of it as quickly and as best he could.

-- Bosh! Stephen said rudely. A man of genius makes no mistakes. His errors are volitional and are the portals of discovery.

Portals of discovery opened to let in the quaker librarian, softcreakfooted, bald, eared and assiduous.

-- A shrew, John Eglinton said shrewdly, is not a useful portal of discovery, one should imagine. What useful discovery did Socrates learn from Xanthippe?

-- Dialectic, Stephen answered: and from his mother how to bring thoughts into the world. What he learnt from his other wife Myrto (absit nomen!) Socratididion's Epipsychidion, no man, not a woman, will ever know. But neither the midwife's lore nor the caudlectures saved him from the archons of Sinn Fein and their noggin of hemlock.

-- But Ann Hathaway? Mr Best's quiet voice said forgetfully. Yes, we seem to be forgetting her as Shakespeare himself forgot her.

His look went from brooder's beard to carper's skull, to remind, to chide them not unkindly, then to the baldpink lollard costard, guiltless though maligned.

-- He had a good groatsworth of wit, Stephen said, and no truant memory. He carried a memory in his wallet as he trudged to Romeville whistling The girl I left behind me. If the earthquake did not time it we should know where to place poor Wat, sitting in his form, the cry of hounds, the studded bridle and her blue windows. That memory, Venus and Adonis, lay in the bedchamber of every light-of-love in London. Is Katharine the shrew illfavoured? Hortensio calls her young and beautiful. Do you think the writer of Antony and Cleopatra, a passionate pilgrim, had his eyes in the back of his head that he chose the ugliest doxy in all Warwickshire to lie withal? Good: he left her and gained the world of men. But his boywomen are the women of a boy. Their life, thought, speech are lent them by males. He chose badly? He was chosen, it seems to me. If others have their will Ann hath a way. By cock, she was to blame. She put the comether on him, sweet and twentysix. The greyeyed goddess who bends over the boy Adonis, stooping to conquer, as prologue to the swelling act, is a boldfaced Stratford wench who tumbles in a cornfield a lover younger than herself.

And my turn? When?

Come!

-- Ryefield, Mr Best said brightly, gladly, raising his new book, gladly brightly.

He murmured then with blonde delight for all:

Between the acres of the rye

These pretty countryfolk would lie.

Paris: the wellpleased pleaser.

A tall figure in bearded homespun rose from shadow and unveiled its cooperative watch.

-- I am afraid I am due at the Homestead.

Whither away? Exploitable ground.

-- Are you going, John Eglinton's active eyebrows asked. Shall we see you at Moore's tonight? Piper is coming.

-- Piper! Mr Best piped. Is Piper back?

Peter Piper pecked a peck of pick of peck of pickled pepper.

-- I don't know if I can. Thursday. We have our meeting. If I can get away in time.

Yogibogeybox in Dawson chambers. Isis Unveiled. Their Pali book we tried to pawn. Crosslegged under an umbrel umbershoot he thrones an Aztec logos, functioning on astral levels, their oversoul, mahamahatma. The faithful hermetists await the light, ripe for chelaship, ringroundabout him. Louis H. Victory. T. Caulfield Irwin. Lotus ladies tend them i'the eyes, their pineal glands aglow. Filled with his god he thrones, Buddh under plantain. Gulfer of souls, engulfer. Hesouls, shesouls, shoals of souls. Engulfed with wailing creecries, whirled, whirling, they bewail.

-- They say we are to have a literary surprise, the quaker librarian said, friendly and earnest. Mr Russell, rumour has it, is gathering together a sheaf of our younger poets' verses. We are all looking forward anxiously.

Anxiously he glanced in the cone of lamplight where three faces, lighted, shone.

See this. Remember.

Stephen looked down on a wide headless caubeen, hung on his ashplanthandle over his knee. My casque and sword. Touch lightly with two index fingers. Aristotle's experiment. One or two? Necessity is that in virtue of which it is impossible that one can be otherwise. Argai, one hat is one hat.

Listen.

Young Colum and Starkey. George Roberts is doing the commercial part. Longworth will give it a good puff in the Express. O, will he? I liked Colum's Drover. Yes, I think he has that queer thing, genius. Do you think he has genius really? Yeats admired his line: As in wild earth a Grecian vase. Did he? I hope you'll be able to come tonight. Malachi Mulligan is coming too. Moore asked him to bring Haines. Did you hear Miss Mitchell's joke about Moore and Martyn? That Moore is Martyn's wild oats? Awfully clever, isn't it? They remind one of don Quixote and Sancho Panza. Our national epic has yet to be written, Dr Sigerson says. Moore is the man for it. A knight of the rueful countenance here in Dublin. With a saffron kilt? O'Neill Russell? O, yes, he must speak the grand old tongue. And his Dulcinea? James Stephens is doing some clever sketches. We are becoming important, it seems.

Cordelia. Cordoglio. Lir's loneliest daughter.

Nookshotten. Now your best French polish.

-- Thank you very much, Mr Russell, Stephen said, rising. If you will be so kind as to give the letter to Mr Norman...

-- O, yes. If he considers it important it will go in. We have so much correspondence.

-- I understand, Stephen said. Thanks.

Good ild you. The pigs' paper. Bullockbefriending.

-- Synge has promised me an article for Dana too. Are we going to be read? I feel we are. The Gaelic league wants something in Irish. I hope you will come round tonight. Bring Starkey.

Stephen sat down.

The quaker librarian came from the leavetakers. Blushing his mask said:

-- Mr Dedalus, your views are most illuminating.

He creaked to and fro, tiptoing up nearer heaven by the altitude of a chopine, and, covered by the noise of outgoing, said low:

-- Is it your view, then, that she was not faithful to the poet?

Alarmed face asks me. Why did he come? Courtesy or an inward light?

-- Where there is a reconciliation, Stephen said, there must have been first a sundering.

-- Yes.

Christfox in leather trews, hiding, a runaway in blighted treeforks from hue and cry. Knowing no vixen, walking lonely in the chase. Women he won to him, tender people, a whore of Babylon, ladies of justices, bully tapsters' wives. Fox and geese. And in New Place a slack dishonoured body that once was comely, once as sweet, as fresh as cinnamon, now her leaves falling, all, bare, frighted of the narrow grave and unforgiven.

-- Yes. So you think.

The door closed behind the outgoer.

Rest suddenly possessed the discreet vaulted cell, rest of warm and brooding air.

A vestal's lamp.

Here he ponders things that were not: what Caesar would have lived to do had he believed the soothsayer: what might have been: possibilities of the possible as possible: things not known: what name Achilles bore when he lived among women.

Coffined thoughts around me, in mummycases, embalmed in spice of words. Thoth, god of libraries, a birdgod, moonycrowned. And I heard the voice of that Egyptian highpriest. In painted chambers loaded with tilebooks.

They are still. Once quick in the brains of men. Still: but an itch of death is in them, to tell me in my ear a maudlin tale, urge me to wreak their will.

-- Certainly, John Eglinton mused, of all great men he is the most enigmatic. We know nothing but that he lived and suffered. Not even so much. Others abide our question. A shadow hangs over all the rest.

-- But Hamlet is so personal, isn't it? Mr Best pleaded. I mean, a kind of private paper, don't you know, of his private life. I mean I don't care a button, don't you know, who is killed or who is guilty...

He rested an innocent book on the edge of the desk, smiling his defiance. His private papers in the original. Ta an bad ar an tir. Taim imo shagart. Put beurla on it, littlejohn.

Quoth littlejohn Eglinton:

-- I was prepared for paradoxes from what Malachi Mulligan told us but I may as well warn you that if you want to shake my belief that Shakespeare is Hamlet you have a stern task before you.

Bear with me.

Stephen withstood the bane of miscreant eyes, glinting stern under wrinkled brows. A basilisk. E quando vede l'uomo l'attosca. Messer Brunetto, I thank thee for the word.

-- As we, or mother Dana, weave and unweave our bodies, Stephen said, from day to day, their molecules shuttled to and fro, so does the artist weave and unweave his image. And as the mole on my right breast is where it was when I was born, though all my body has been woven of new stuff time after time, so through the ghost of the unquiet father the image of the unliving son looks forth. In the intense instant of imagination, when the mind, Shelley says, is a fading coal, that which I was is that which I am and that which in possibility I may come to be. So in the future, the sister of the past, I may see myself as I sit here now but by reflection from that which then I shall be.

Drummond of Hawthornden helped you at that stile.

-- Yes, Mr Best said youngly, I feel Hamlet quite young. The bitterness might be from the father but the passages with Ophelia are surely from the son.

Has the wrong sow by the lug. He is in my father. I am in his son.

-- That mole is the last to go, Stephen said, laughing.

John Eglinton made a nothing pleasing mow.

-- If that were the birthmark of genius, he said, genius would be a drug in the market. The plays of Shakespeare's later years which Renan admired so much breathe another spirit.

-- The spirit of reconciliation, the quaker librarian breathed.

-- There can be no reconciliation, Stephen said, if there has not been a sundering.

Said that.

-- If you want to know what are the events which cast their shadow over the hell of time of King Lear, Othello, Hamlet, Troilus and Cressida, look to see when and how the shadow lifts. What softens the heart of a man, Shipwrecked in storms dire, Tried, like another Ulysses, Pericles, prince of Tyre?

Head, redconecapped, buffeted, brineblinded.

-- A child, a girl placed in his arms, Marina.

-- The leaning of sophists towards the bypaths of apocrypha is a constant quantity, John Eglinton detected. The highroads are dreary but they lead to the town.

Good Bacon: gone musty. Shakespeare Bacon's wild oats. Cypherjugglers going the highroads. Seekers on the great quest. What town good masters? Mummed in names: A. E., eon: Magee, John Eglinton. East of the sun, west of the moon: Tir na n-og. Booted the twain and staved.

How many miles to Dublin?

Three score and ten, sir.

Will we be there by candlelight?

-- Mr Brandes accepts it, Stephen said, as the first play of the closing period.

-- Does he? What does Mr Sidney Lee, or Mr Simon Lazarus, as some aver his name is, say of it?

-- Marina, Stephen said, a child of storm, Miranda, a wonder, Perdita, that which was lost. What was lost is given back to him: his daughter's child. My dearest wife, Pericles says, was like this maid. Will any man love the daughter it he has not loved the mother?

-- The art of being a grandfather, Mr Best gan murmur. L'art d'être grand...

-- Will he not see reborn in her, with the memory of his own youth added, another image?

Do you know what you are talking about? Love, yes. Word known to all men. Amor vero aliquid alicui bonum vult unde et ea quae concupiscimus …

-- His own image to a man with that queer thing genius is the standard of all experience, material and moral. Such an appeal will touch him. The images of other males of his blood will repel him. He will see in them grotesque attempts of nature to foretell or repeat himself.

The benign forehead of the quaker librarian enkindled rosily with hope.

-- I hope Mr Dedalus will work out his theory for the enlightenment of the public. And we ought to mention another Irish commentator, Mr George Bernard Shaw. Nor should we forget Mr Frank Harris. His articles on Shakespeare in the Saturday Review were surely brilliant. Oddly enough he too draws for us an unhappy relation with the dark lady of the sonnets. The favoured rival is William Herbert, earl of Pembroke. I own that if the poet must be rejected, such a rejection would seem more in harmony with - what shall I say? - our notions of what ought not to have been.

Felicitously he ceased and held a meek head among them, auk's egg, prize of their fray.

He thous and thees her with grave husbandwords. Dost love, Miriam? Dost love thy man?

-- That may be too, Stephen said. There is a saying of Goethe's which Mr Magee likes to quote. Beware of what you wish for in youth because you will get it in middle life. Why does he send to one who is a buonaroba, a bay where all men ride, a maid of honour with a scandalous girlhood, a lordling to woo for him? He was himself a lord of language and had made himself a coistrel gentleman and had written Romeo and Juliet. Why? Belief in himself has been untimely killed. He was overborne in a cornfield first (ryefield, I should say) and he will never be a victor in his own eyes after nor play victoriously the game of laugh and lie down. Assumed dongiovannism will not save him. No later undoing will undo the first undoing. The tusk of the boar has wounded him there-where love lies ableeding. If the shrew is worsted yet there remains to her woman's invisible weapon. There is, I feel in the words, some goad of the flesh driving him into a new passion, a darker shadow of the first, darkening even his own understanding of himself. A life fate awaits him and the two rages commingle in a whirlpool.

They list. And in the porches of their ears I pour.

-- The soul has been before stricken mortally, a poison poured in the porch of a sleeping ear. But those who are done to death in sleep cannot know the manner of their quell unless their Creator endow their souls with that knowledge in the life to come. The poisoning and the beast with two backs that urged it king Hamlet's ghost could not know of were he not endowed with knowledge by his creator. That is why the speech (his lean unlovely English) is always turned elsewhere, backward. Ravisher and ravished, what he would but would not, go with him from Lucrece's bluecircled ivory globes to Imogen's breast, bare, with its mole cinquespotted. He goes back, weary of the creation he has piled up to hide him from himself, an old dog licking an old sore. But, because loss is his gain, he passes on towards eternity in undiminished personality, untaught by the wisdom he has written or by the laws he has revealed. His beaver is up. He is a ghost, a shadow now, the wind by Elsinore's rocks or what you will, the sea's voice, a voice heard only in the heart of him who is the substance of his shadow, the son consubstantial with the father.

-- Amen! responded from the doorway.

Hast thou found me, O mine enemy?

Entr'acte.

A ribald face, sullen as a dean's, Buck Mulligan came forwards then blithe in motley, towards the greeting of their smiles. My telegram.

-- You were speaking of the gaseous vertebrate, if I mistake not? he asked of Stephen.

Primrosevested he greeted gaily with his doffed Panama as with a bauble.

They make him welcome. Was Din verlachst wirst Du noch dienen.

Brodd of mockers: Photius, pseudomalachi, Johann Most.

He Who Himself begot, middler the Holy Ghost, and Himself sent himself, Agenbuyer, between Himself and others, Who, put upon by His fiends, stripped and whipped, was nailed like bat to barndoor, starved on crosstree, Who let Him bury, stood up, harrowed hell, fared into heaven and there these nineteen hundred years sitteth on the right hand of His Own Self but yet shall come in the latter day to doom the quick and dead when all the quick shall be dead already.

Glo—o—ri—a in ex—cel—sis De—o.

He lifts hands. Veils fall. O, flowers! Bells with bells with bells aquiring.

-- Yes, indeed, the quaker librarian said. A most instructive discussion, Mr Mulligan, I'll be bound, has his theory too of the play and of Shakespeare. All sides of life should be represented.

He smiled on all sides equally.

Buck Mulligan thought, puzzled:

-- Shakespeare? he said. I seem to know the name.

A flying sunny smile rayed in his loose features.

-- To be sure, he said, remembering brightly. The chap that writes like Synge.

Mr Best turned to him:

-- Haines missed you, he said. Did you meet him? He'll see you after at the D. B. C. He's gone to Gill's to buy Hyde's Lovesongs of Connacht.

-- I came through the museum, Buck Mulligan said. Was he here?

-- The bard's fellowcountrymen, John Eglinton answered, are rather tired perhaps of our brilliancies of theorising. I hear that an actress played Hamlet for the fourhundredandeighth time last night in Dublin. Vining held that the prince was a woman. Has no-one made him out to be an Irishman? Judge Barton, I believe, is searching for some clues. He swears (His Highness not His Lordship) by saint Patrick.

-- The most brilliant of all is that story of Wilde's, Mr Best said, lifting his brilliant notebook. That Portrait of Mr W. H. where he proves that the sonnets were written by a Willie Hughes, a man all hues.

-- For Willie Hughes, is it not? the quaker librarian asked.

Or Hughie Wills. Mr William Himself. W. H.: who am I?

-- I mean, for Willie Hughes, Mr Best said, amending his gloss easily. Of course it's all paradox, don't you know, Hughes and hews and hues the colour, but it's so typical the way he works it out. It's the very essence of Wilde, don't you know. The light touch.

His glance touched their faces lightly as he smiled, a blond ephebe. Tame essence of Wilde.

You're darned witty. Three drams of usquebaugh you drank with Dan Deasy's ducats.

How much did I spend? O, a few shillings.

For a plump of pressmen. Humour wet and dry.

Wit. You would give your five wits for youth's proud livery he pranks in. Lineaments of gratified desire.

There be many mo. Take her for me. In pairing time. Jove, a cool ruttime send them. Yea, turtledove her.

Eve. Naked wheatbellied sin. A snake coils her, fang in's kiss.

-- Do you think it is only a paradox, the quaker librarian was asking. The mocker is never taken seriously when he is most serious.

They talked seriously of mocker's seriousness.

Buck Mulligan's again heavy face eyed Stephen awhile. Then, his head wagging, he came near, drew a folded telegram from his pocket. His mobile lips read, smiling with new delight.

-- Telegram! he said. Wonderful inspiration! Telegram! A papal bull!

He sat on a corner of the unlit desk, reading aloud joyfully:

-- The sentimentalist is he who would enjoy without incurring the immense debtorship for a thing done. Signed: Dedalus. Where did you launch it from? The kips? No. College Green. Have you drunk the four quid? The aunt is going to call on your unsubstantial father. Telegram! Malachi Mulligan, the Ship, lower Abbey street. O, you peerless mummer! O, you priestified kinchite!

Joyfully he thrust the message and envelope into a pocket but keened in querulous brogue:

-- It's what I'm telling you, mister honey, it's queer and sick we were, Haines and myself, the time himself brought it in. 'Twas murmur we did for a gallus potion would rouse a friar, I'm thinking, and he limp with leching. And we one hour and two hours and three hours in Connery's sitting civil waiting for pints apiece.

He wailed!

-- And we to be there, mavrone, and you to be unbeknownst sending us your conglomerations the way we to have our tongues out a yard long like the drouthy clerics do be fainting for a pussful.

Stephen laughed. Quickly, warningfully Buck Mulligan bent down:

-- The tramper Synge is looking for you, he said, to murder you. He heard you pissed on his halldoor in Glasthule. He's out in pampooties to murder you.

-- Me! Stephen exclaimed. That was your contribution to literature.

Buck Mulligan gleefully bent back, laughing to the dark eavesdropping ceiling.

-- Murder you! he laughed.

Harsh gargoyle face that warred against me over our mess of hash of lights in rue Saint-André-des-Arts. In words of words for words, palabras. Oisin with Patrick. Faunman he met in Clamart woods, brandishing a winebottle, C'est vendredi saint! Murthering Irish. His image, wandering, he met. I mine. I met a fool i' the forest.

-- Mr Lyster, an attendant said from the door ajar.

-- ... in which everyone can find his own. So Mr Justice Madden in his Diary of Master William Silence has found the hunting terms... Yes? What is it?

-- There's a gentleman here, sir, the attendant said, coming forward and offering a card. From the Freeman. He wants to see the files of the Kilkenny People for last year.

-- Certainly, certainly, certainly. Is the gentleman?...

He took the eager card, glanced, not saw, laid down, unglanced, looked, asked, creaked, asked:

-- Is he?... O there!

Brisk in a galliard he was off and out. In the daylit corridor he talked with voluble pains of zeal, in duty bound, most fair, most kind, most honest broadbrim.

-- This gentleman? Freeman's Journal? Kilkenny People? To be sure. Good day, sir. Kilkenny... We have certainly...

A patient silhouette waited, listening.

-- All the leading provincial... Northern Whig, Cork Examiner Enniscorthy Guardian, 1903... Will you please?... Evans, conduct this gentleman... If you just follow the atten... Or please allow me... This way... Please, sir...

Voluble, dutiful, he led the way to all the provincial papers, a bowing dark figure following his hasty heels.

The door closed.

-- The sheeny! Buck Mulligan cried.

He jumped up and snatched the card.

-- What's his name? Ikey Moses? Bloom.

He rattled on.

-- Jehovah, collector of prepuces, is no more. I found him over in the museum when I went to hail the foamborn Aphrodite. The Greek mouth that has never been twisted in prayer. Every day we must do homage to her. Life of life, thy lips enkindle.

Suddenly he turned to Stephen:

-- He knows you. He knows your old fellow. O, I fear me, he is Greeker than the Greeks. His pale Galilean eyes were upon her mesial groove. Venus Kallipyge. O, the thunder of those loins! The god pursuing the maiden hid.

We want to hear more, John Eglinton decided with Mr Best's approval. We begin to be interested in Mrs S. Till now we had thought of her, if at all, as a patient Griselda, a Penelope stayathome.

-- Antisthenes, pupil of Gorgias, Stephen said, took the palm of beauty from Kyrios Menelaus' brooddam, Argive Helen, the wooden mare of Troy in whom a score of heroes slept, and handed it to poor Penelope. Twenty years he lived in London and, during part of that time, he drew a salary equal to that of the lord chancellor of Ireland. His life was rich. His art, more than the art of feudalism, as Walt Whitman called it, is the art of surfeit. Hot herringpies, green mugs of sack, honeysauces, sugar of roses, marchpane, gooseberried pigeons, ringocandies. Sir Walter Raleigh, when they arrested him, had half a million francs on his back including a pair of fancy stays. The gombeen woman Eliza Tudor had underlinen enough to vie with her of Sheba. Twenty years he dallied there between conjugal love and its chaste delights and scortatory love and its foul pleasures. You know Manningham's story of the burgher's wife who bade Dick Burbage to her bed after she had seen him in Richard III and how Shakespeare, overhearing, without more ado about nothing, took the cow by the horns and, when Burbage came knocking at the gate, answered from the capon's blankets: William the conqueror came before Richard III. And the gay lakin, Mistress Fitten, mount and cry O, and his dainty birdsnies, Lady Penelope Rich, a clean quality woman is suited for a player, and the punks of the bankside, a penny a time.

Cours-la-Reine. Encore vingt sous. Nous ferons de petites cochonneries. Minette? Tu veux?

-- The height of fine society. And sir William Davenant of Oxford's mother with her cup of canary for every cockcanary.

Buck Mulligan, his pious eyes upturned, prayed:

-- Blessed Margaret Mary Anycock!

-- And Harry of six wives' daughter and other lady friends from neighbour seats, as Lawn Tennyson, gentleman poet, sings. But all those twenty years what do you suppose poor Penelope in Stratford was doing behind the diamond panes?

Do and do. Thing done. In a rosery of Fetter Lane of Gerard, herbalist, he walks, greyedauburn. An azured harebell like her veins. Lids of Juno's eyes, violets. He walks. One life is all. One body. Do. But do. Afar, in a reek of lust and squalor, hands are laid on whiteness.

Buck Mulligan rapped John Eglinton's desk sharply.

-- Whom do you suspect? he challenged.

-- Say that he is the spurned lover in the sonnets. Once spurned twice spurned. But the court wanton spurned him for a lord, his dearmylove.

Love that dare not speak its name.

-- As an Englishman, you mean, John sturdy Eglinton put in, he loved a lord.

Old wall where sudden lizards flash. At Charenton I watched them.

-- It seems so, Stephen said, when he wants to do for him, and for all other and singular uneared wombs, the holy office an ostler does for the stallion. Maybe, like Socrates, he had a midwife to mother as he had a shrew to wife. But she, the giglot wanton, did not break a bedvow. Two deeds are rank in that ghost's mind: a broken vow and the dullbrained yokel on whom her favour has declined, deceased husband's brother. Sweet Ann I take it, was hot in the blood. Once a wooer twice a wooer.

Stephen turned boldly in his chair.

-- The burden of proof is with you not with me, he said, frowning. If you deny that in the fifth scene of Hamlet he has branded her with infamy, tell me why there is no mention of her during the thirtyfour years between the day she married him and the day she buried him. All those women saw their men down and under: Mary, her goodman John, Ann, her poor dear Willun, when he went and died on her, raging that he was the first to go, Joan, her four brothers, Judith, her husband and all her sons, Susan, her husband too, while Susan's daughter, Elizabeth, to use granddaddy's words, wed her second, having killed her first.

O yes, mention there is. In the years when he was living richly in royal London to pay a debt she had to borrow forty shillings from her father's shepherd. Explain you then. Explain the swansong too wherein he has commended her to posterity.

He faced their silence.

To whom thus Eglinton:

You mean the will.

That has been explained, I believe, by jurists.

She was entitled to her widow's dower

At common law. His legal knowledge was great

Our judges tell us.

Him Satan fleers,

Mocker:

And therefore he left out her name

From the first draft but he did not leave out

The presents for his granddaughter, for his daughters,

For his sister, for his old cronies in Stratford

And in London. And therefore when he was urged,

As I believe, to name her

He left her his Secondbest

Bed.

Punkt

Leftherhis

Secondbest

Bestabed

Secabest

Leftabed.

Woa!

-- Pretty countryfolk had few chattels then, John Eglinton observed, as they have still if our peasant plays are true to type.

-- He was a rich countrygentleman, Stephen said, with a coat of arms and landed estate at Stratford and a house in Ireland yard, a capitalist shareholder, a bill promoter, a tithefarmer. Why did he not leave her his best bed if he wished her to snore away the rest of her nights in peace?

-- It is clear that there were two beds, a best and a secondbest, Mr Secondbest Best said finely.

-- Separatio a mensa et a thalamo, bettered Buck Mulligan and was smiled on.

-- Antiquity mentions famous beds, Second Eglinton puckered, bedsmiling. Let me think.

-- Antiquity mentions that Stagyrite schoolurchin and bald heathen sage, Stephen said, who when dying in exile frees and endows his slaves, pays tribute to his elders, wills to be laid in earth near the bones of his dead wife and bids his friends be kind to an old mistress (don't forget Nell Gwynn Herpyllis) and let her live in his villa.

-- Do you mean he died so? Mr Best asked with slight concern. I mean...

-- He died dead drunk, Buck Mulligan capped. A quart of ale is a dish for a king. O, I must tell you what Dowden said!

-- What? asked Besteglinton.

William Shakespeare and company, limited. The people's William. For terms apply: E. Dowden, Highfield house...

-- Lovely! Buck Mulligan suspired amorously. I asked him what he thought of the charge of pederasty brought against the bard. He lifted his hands and said: All we can say is that life ran very high in those days. Lovely!

Catamite.

-- The sense of beauty leads us astray, said beautifulinsadness Best to ugling Eglinton.

Steadfast John replied severe:

-- The doctor can tell us what those words mean. You can not eat your cake and have it.

Sayest thou so? Will they wrest from us, from me the palm of beauty?

-- And the sense of property, Stephen said. He drew Shylock out of his own long pocket. The son of a maltjobber and moneylender he was himself a cornjobber and moneylender with ten tods of corn hoarded in the famine riots. His borrowers are no doubt those divers of worship mentioned by Chettle Falstaff who reported his uprightness of dealing. He sued a fellowplayer for the price of a few bags of malt and exacted his pound of flesh in interest for every money lent. How else could Aubrey's ostler and callboy get rich quick? All events brought grist to his mill. Shylock chimes with the jewbaiting that followed the hanging and quartering of the queen's leech Lopez, his jew's heart being plucked forth while the sheeny was yet alive: Hamlet and Macbeth with the coming to the throne of a Scotch philosophaster with a turn for witchroasting. The lost armada is his jeer in Love's Labour Lost. His pageants, the histories, sail fullbellied on a tide of Mafeking enthusiasm. Warwickshire jesuits are tried and we have a porter's theory of equivocation. The Sea Venture comes home from Bermudas and the play Renan admired is written with Patsy Caliban, our American cousin. The sugared sonnets follow Sidney's. As for fay Elizabeth, otherwise carroty Bess, the gross virgin who inspired The Merry Wives of Windsor, let some meinherr from Almany grope his life long for deephid meanings in the depth of the buckbasket.

I think you're getting on very nicely. Just mix up a mixture of theolologicophilolological. Mingo, minxi, mictum, mingere.

-- Prove that he was a jew, John Eglinton dared, expectantly. Your dean of studies holds he was a holy Roman.

Sufflaminandus sum.

-- He was made in Germany, Stephen replied, as the champion French polisher of Italian scandals.

-- A myriadminded man, Mr Best reminded. Coleridge called him myriadminded.

Amplius. In societate humana hoc est maxime necessarium ut sit amicitia inter multos.

-- Saint Thomas, Stephen began...

-- Ora pro nobis, Monk Mulligan groaned, sinking to a chair.

There he keened a wailing rune.

-- Pogue mahone! Asushla machree! It's destroyed we are from this day! It's destroyed we are surely!

All smiled their smiles.

-- Saint Thomas, Stephen, smiling, said, whose gorbellied works I enjoy reading in the original, writing of incest from a standpoint different from that of the new Viennese school Mr Magee spoke of, likens it in his wise and curious way to an avarice of the emotions. He means that the love so given to one near in blood is covetously withheld from some stranger who, it may be, hungers for it. Jews, whom christians tax with avarice, are of all races the most given to inter-marriage. Accusations are made in anger. The christian laws which built up the hoards of the jews (for whom, as for the lollards, storm was shelter) bound their affections too with hoops of steel. Whether these be sins or virtues old Nobodaddy will tell us at doomsday leet. But a man who holds so tightly to what he calls his rights over what he calls his debts will hold tightly also to what he calls his rights over her whom he calls his wife. No sir smile neighbour shall covet his ox or his wife or his manservant or his maidservant or his jackass.

-- Or his jennyass, Buck Mulligan antiphoned.

-- Gentle Will is being roughly handled, gentle Mr Best said gently.

-- Which Will? gagged sweetly Buck Mulligan. We are getting mixed.

-- The will to live, John Eglinton philosophised, for poor Ann, Will's widow, is the will to die.

-- Requiescat! Stephen prayed.

-- She lies laid out in stark stiffness in that secondbest bed, the mobled queen, even though you prove that a bed in those days was as rare as a motor car is now and that its carvings were the wonder of seven parishes. In old age she takes up with gospellers (one stayed at New Place and drank a quart of sack the town paid for but in which bed he slept it skills not to ask) and heard she had a soul. She read or had read to her his chapbooks preferring them to the Merry Wives and, loosing her nightly waters on the jordan, she thought over Hooks and Eyes for Believers' Breeches and The most Spiritual Snuffbox to Make the Most Devout Souls Sneeze. Venus had twisted her lips in prayer. Agenbite of inwit: remorse of conscience. It is an age of exhausted whoredom groping for its god.

-- History shows that to be true, inquit Eglintonus Chronolologos. The ages succeed one another. But we have it on high authority that a man's worst enemies shall be those of his own house and family. I feel that Russell is right. What do we care for his wife and father? I should say that only family poets have family lives. Falstaff was not a family man. I feel that the fat knight is his supreme creation.

Lean, he lay back. Shy, deny thy kindred, the unco guid. Shy supping with the godless, he sneaks the cup. A sire in Ultonian Antrim bade it him. Visits him here on quarter days. Mr Magee, sir, there's a gentleman to see you. Me? Says he's your father, sir. Give me my Wordsworth. Enter Magee Mor Matthew, a rugged rough rugheaded kern, in strossers with a buttoned codpiece, his nether stocks bemired with clauber of ten forests, a wand of wilding in his hand.

Your own? He knows your old fellow. The widower.

Hurrying to her squalid deathlair from gay Paris on the quayside I touched his hand. The voice, new warmth, speaking. Dr Bob Kenny is attending her. The eyes that wish me well. But do not know me.

-- A father, Stephen said, battling against hopelessness, is a necessary evil. He wrote the play in the months that followed his father's death. If you hold that he, a greying man with two marriageable daughters, with thirtyfive years of life, nel mezzo del cammin di nostra vita, with fifty of experience, is the beardless undergraduate from Wittenberg then you must hold that his seventyyear old mother is the lustful queen. No. The corpse of John Shakespeare does not walk the night. From hour to hour it rots and rots. He rests, disarmed of fatherhood, having devised that mystical estate upon his son. Boccaccio's Calandrino was the first and last man who felt himself with child. Fatherhood, in the sense of conscious begetting, is unknown to man. It is a mystical estate, an apostolic succession, from only begetter to only begotten. On that mystery and not on the madonna which the cunning Italian intellect flung to the mob of Europe the church is founded and founded irremovably because founded, like the world, macro- and microcosm, upon the void. Upon incertitude, upon unlikelihood. Amor matris, subjective and objective genitive, may be the only true thing in life. Paternity may be a legal fiction. Who is the father of any son that any son should love him or he any son?

What the hell are you driving at?

I know. Shut up. Blast you! I have reasons.

Amplius. Adhuc. Iterum. Postea.

Are you condemned to do this?

-- They are sundered by a bodily shame so steadfast that the criminal annals of the world, stained with all other incests and bestialities, hardly record its breach. Sons with mothers, sires with daughters, lesbic sisters, loves that dare not speak their name, nephews with grandmothers, jailbirds with keyholes, queens with prize bulls. The sun unborn mars beauty: born, he brings pain, divides affection, increases care. He is a male: his growth is his father's decline, his youth his father's envy, his friend his father's enemy.

In rue Monsieur-le-Prince I thought it.

-- What links them in nature? An instant of blind rut.

Am I father? If I were?

Shrunken uncertain hand.

-- Sabellius, the African, subtlest heresiarch of all the beasts of the field, held that the Father was Himself His Own Son. The bulldog of Aquin, with whom no word shall be impossible, refutes him. Well: if the father who has not a son be not a father can the son who has not a father be a son? When Rutlandbaconsouthamptonshakespeare or another poet of the same name in the comedy of errors wrote Hamlet he was not the father of his own son merely but, being no more a son, he was and felt himself the father of all his race, the father of his own grandfather, the father of his unborn grandson who, by the same token, never was born for nature, as Mr Magee understands her, abhors perfection.

Eglintoneyes, quick with pleasure, looked up shybrightly. Gladly glancing, a merry puritan, through the twisted eglantine.

Flatter. Rarely. But Flatter.

-- Himself his own father, Sonmulligan told himself. Wait. I am big with child. I have an unborn child in my brain. Pallas Athena! A play! The play's the thing! Let me parturiate!

He clasped his paunchbrow with both birthaiding hands.

-- As for his family, Stephen said, his mother's name lives in the forest of Arden. Her death brought from him the scene with Volumnia in Coriolanus. His boyson's death is the deathscene of young Arthur in King John. Hamlet, the black prince, is Hamnet Shakespeare. Who the girls in The Tempest, in Pericles, in Winter's Tale are we know. Who Cleopatra, fleshpot of Egypt, and Cressid and Venus are we may guess. But there is another member of his family who is recorded.

-- The plot thickens, John Eglinton said.

The quaker librarian, quaking, tiptoed in, quake, his mask, quake, with haste, quake, quack.

Door closed. Cell. Day.

They list. Three. They.

I you he they.

Come, mess.

STEPHEN: He had three brothers, Gilbert, Edmund, Richard. Gilbert in his old age told some cavaliers he got a pass for nowt from Maister Gatherer one time mass he did and he seen his brud Maister Wull the playwriter up in Lunnon in a wrastling play wud a man on's back. The playhouse sausage filled Gilbert's soul. He is nowhere: but an Edmund and a Richard are recorded in the works of sweet William.

MAGEEGLINJOHN: Names! What's in a name?

BEST: That is my name, Richard, don't you know. I hope you are going to say a good word for Richard, don't you know, for my sake.

(Laughter.)

BUCK MULLIGAN: (Piano, diminuendo.)

STEPHEN: In his trinity of black Wills, the villain shakebags, Iago, Richard Crookback, Edmund in King Lear, two bear the wicked uncles' names. Nay, that last play was written or being written while his brother Edmund lay dying in Southwark.

BEST: I hope Edmund is going to catch it. I don't want Richard, my name.

(Laughter.)

QUAKERLYSTER: (A tempo.) But he that filches from me my good name...

STEPHEN: (Stringendo.) He has hidden his own name, a fair name, William, in the plays, a super here, a clown there, as a painter of old Italy set his face in a dark corner of his canvas. He has revealed it in the sonnets where there is Will in overplus. Like John O'Gaunt his name is dear to him, as dear as the coat of arms he toadied for, on a bend sable a spear or steeled argent, honorificabilitudinitatibus, dearer than his glory of greatest shakescene in the country. What's in a name? That is what we ask ourselves in childhood when we write the name that we are told is ours. A star, a daystar, a firedrake rose at his birth. It shone by day in the heavens alone, brighter than Venus in the night, and by night it shone over delta in Cassiopeia, the recumbent constellation which is the signature of his initial among the stars. His eyes watched it, lowlying on the horizon, eastward of the bear, as he walked by the slumberous summer fields at midnight, returning from Shottery and from her arms.

Both satisfied. I too.

Don't tell them he was nine years old when it was quenched.

And from her arms.

Wait to be wooed and won. Ay, meacock. Who will woo you?

Read the skies. Autontimerumenos. Bonus Stephanoumenos. Where's your configuration? Stephen, Stephen, cut the bread even. S. D.: sua donna. Già: di lui. Gelindo risolve di non amar. S. D.

-- What is that, Mr Dedalus? the quaker librarian asked. Was it a celestial phenomenon?

-- A star by night, Stephen said, a pillar of the cloud by day.

What more's to speak?

Stephen looked on his hat, his stick, his boots.

Stephanos, my crown. My sword. His boots are spoiling the shape of my feet. Buy a pair. Holes in my socks. Handkerchief too.

-- You make good use of the name, John Eglinton allowed. Your own name is strange enough. I suppose it explains your fantastical humour.

Me, Magee and Mulligan.

Fabulous artificer, the hawklike man. You flew. Whereto? Newhaven-Dieppe, steerage passenger. Paris and back. Lapwing. Icarus. Pater, ait. Seabedabbled, fallen, weltering. Lapwing you are. Lapwing he.

Mr Best's eagerquietly lifted his book to say:

-- That's very interesting because that brother motive, don't you know, we find also in the old Irish myths. Just what you say. The three brothers Shakespeare. In Grimm too, don't you know, the fairytales. The third brother that marries the sleeping beauty and wins the best prize.

Best of Best brothers. Good, better, best.

The quaker librarian springhalted near.

-- I should like to know, he said, which brother you... I understand you to suggest there was misconduct with one of the brothers... But perhaps I am anticipating?

He caught himself in the act: looked at all: refrained.

An attendant from the doorway called:

-- Mr Lyster! Father Dineen wants...

-- O! Father Dineen! Directly.

Swiftly rectly creaking rectly rectly he was rectly gone.

John Eglinton touched the foil.

-- Come, he said. Let us hear what you have to say of Richard and Edmund. You kept them for the last, didn't you?

-- In asking you to remember those two noble kinsmen nuncle Richie and nuncle Edmund, Stephen answered, I feel I am asking too much perhaps. A brother is as easily forgotten as an umbrella.

Lapwing.

Where is your brother? Apothecaries' hall. My whetstone. Him, then Cranly, Mulligan: now these. Speech, speech. But act. Act speech. They mock to try you. Act. Be acted on.

Lapwing.

I am tired of my voice, the voice of Esau. My kingdom for a drink.

On.

-- You will say those names were already in the chronicles from which he took the stuff of his plays. Why did he take them rather than others? Richard, a whoreson crookback, misbegotten, makes love to a widowed Ann (what's in a name?), woos and wins her, a whoreson merry widow. Richard the conqueror, third brother, came after William the conquered. The other four acts of that play hang limply from that first. Of all his kings Richard is the only king unshielded by Shakespeare's reverence, the angel of the world. Why is the underplot of King Lear in which Edmund figures lifted out of Sidney's Arcadia and spatchcocked on to a Celtic legend older than history?

-- That was Will's way, John Eglinton defended. We should not now combine a Norse saga with an excerpt from a novel by George Meredith. Que voulez-vous? Moore would say. He puts Bohemia on the seacoast and makes Ulysses quote Aristotle.

-- Why? Stephen answered himself. Because the theme of the false or the usurping or the adulterous brother or all three in one is to Shakespeare, what the poor is not, always with him. The note of banishment, banishment from the heart, banishment from home, sounds uninterruptedly from The Two Gentlemen of Verona onward till Prospero breaks his staff, buries it certain fathoms in the earth and drowns his book. It doubles itself in the middle of his life, reflects itself in another, repeats itself, protasis, epitasis, catastasis, catastrophe. It repeats itself again when he is near the grave, when his married daughter Susan, chip of the old block, is accused of adultery. But it was the original sin that darkened his understanding, weakened his will and left in him a strong inclination to evil. The words are those of my lords bishops of Maynooth: an original sin and, like original sin, committed by another in whose sin he too has sinned. It is between the lines of his last written words, it is petrified on his tombstone under which her four bones are not to be laid. Age has not withered it. Beauty and peace have not done it away. It is in infinite variety everywhere in the world he has created, in Much Ado about Nothing, twice in As you like It, in The Tempest, in Hamlet, in Measure for Measure, and in all the other plays which I have not read.

He laughed to free his mind from his mind's bondage.

Judge Eglinton summed up.

-- The truth is midway, he affirmed. He is the ghost and the prince. He is all in all.

-- He is, Stephen said. The boy of act one is the mature man of act five. All in all. In Cymbeline, in Othello he is bawd and cuckold. He acts and is acted on. Lover of an ideal or a perversion, like José he kills the real Carmen. His unremitting intellect is the hornmad Iago ceaselessly willing that the moor in him shall suffer.

-- Cuckoo! Cuckoo! Cuck Mulligan clucked lewdly. O word of fear!

Dark dome received, reverbed.

-- And what a character is Iago! undaunted John Eglinton exclaimed. When all is said Dumas fils (or is it Dumas père?) is right. After God Shakespeare has created most.

-- Man delights him not nor woman neither, Stephen said. He returns after a life of absence to that spot of earth where he was born, where he has always been, man and boy, a silent witness and there, his journey of life ended, he plants his mulberrytree in the earth. Then dies. The motion is ended. Gravediggers bury Hamlet pére and Hamlet fils. A king and a prince at last in death, with incidental music. And, what though murdered and betrayed, bewept by all frail tender hearts for, Dane or Dubliner, sorrow for the dead is the only husband from whom they refuse to be divorced. If you like the epilogue look long on it: prosperous Prospero, the good man rewarded, Lizzie, grandpa's lump of love, and nuncle Richie, the bad man taken off by poetic justice to the place where the bad niggers go. Strong curtain. He found in the world without as actual what was in his world within as possible. Maeterlinck says: If Socrates leave his house today he will find the sage seated on his doorstep. If Judas go forth tonight it is to Judas his steps will tend. Every life is many days, day after day. We walk through ourselves, meeting robbers, ghosts, giants, old men, young men, wives, widows, brothers-in-love. But always meeting ourselves. The playwright who wrote the folio of this world and wrote it badly (He gave us light first and the sun two days later), the lord of things as they are whom the most Roman of catholics call dio boia, hangman god, is doubtless all in all in all of us, ostler and butcher, and would be bawd and cuckold too but that in the economy of heaven, foretold by Hamlet, there are no more marriages, glorified man, an androgynous angel, being a wife unto himself.

-- Eureka! Buck Mulligan cried. Eureka!

Suddenly happied he jumped up and reached in a stride John Eglinton's desk.

-- May I? he said. The Lord has spoken to Malachi.

He began to scribble on a slip of paper.

Take some slips from the counter going out.

-- Those who are married, Mr Best, douce herald, said, all save one, shall live. The rest shall keep as they are.

He laughed, unmarried, at Eglinton Johannes, of arts a bachelor.

Unwed, unfancied, ware of wiles, they fingerponder nightly each his variorum edition of The Taming of the Shrew.

-- You are a delusion, said roundly John Eglinton to Stephen. You have brought us all this way to show us a French triangle. Do you believe your own theory?

-- No, Stephen said promptly.

-- Are you going to write it? Mr Best asked. You ought to make it a dialogue, don't you know, like the Platonic dialogues Wilde wrote.

John Eclecticon doubly smiled.

-- Well, in that case, he said, I don't see why you should expect payment for it since you don't believe it yourself. Dowden believes there is some mystery in Hamlet but will say no more. Herr Bleibtreu, the man Piper met in Berlin, who is working up that Rutland theory, believes that the secret is hidden in the Stratford monument. He is going to visit the present duke, Piper says, and prove to him that his ancestor wrote the plays. It will come as a surprise to his grace. But he believes his theory.

I believe, O Lord, help my unbelief. That is, help me to believe or help me to unbelieve? Who helps to believe? Egomen. Who to unbelieve? Other chap.

-- You are the only contributor to Dana who asks for pieces of silver. Then I don't know about the next number. Fred Ryan wants space for an article on economics.

Fraidrine. Two pieces of silver he lent me. Tide you over. Economics.

-- For a guinea, Stephen said, you can publish this interview.

Buck Mulligan stood up from his laughing scribbling, laughing: and then gravely said, honeying malice:

-- I called upon the bard Kinch at his summer residence in upper Mecklenburgh street and found him deep in the study of the Summa contra Gentiles in the company of two gonorrheal ladies, Fresh Nelly and Rosalie, the coalquay whore.

He broke away.

-- Come, Kinch. Come, wandering &Aelig;ngus of the birds.

Come, Kinch, you have eaten all we left. Ay, I will serve you your orts and offals.

Stephen rose.

Life is many days. This will end.

-- We shall see you tonight, John Eglinton said. Notre ami Moore says Malachi Mulligan must be there.

Buck Mulligan flaunted his slip and panama.

-- Monsieur Moore, he said, lecturer on French letters to the youth of Ireland. I'll be there. Come, Kinch, the bards must drink. Can you walk straight?

Laughing he...

Swill till eleven. Irish nights' entertainment.

Lubber...

Stephen followed a lubber...

One day in the national library we had a discussion. Shakes. After his lub back I followed. I gall his kibe.

Stephen, greeting, then all amort, followed a lubber jester, a wellkempt head, newbarbered, out of the vaulted cell into a shattering daylight of no thoughts.

What have I learned? Of them? Of me?

Walk like Haines now.

The constant readers' room. In the readers' book Cashe Boyle O'Connor Fitzmaurice Tisdall Farrell parafes his polysyllables. Item: was Hamlet mad? The quaker's pate godlily with a priesteen in booktalk.

-- O please do, sir... I shall be most pleased...

Amused Buck Mulligan mused in pleasant murmur with himself, selfnodding:

-- A pleased bottom.

The turnstile.

Is that?... Blueribboned hat... Idly writing... What? Looked?...

The curving balustrade; smoothsliding Mincius.

Puck Mulligan, panamahelmeted, went step by step, iambing, trolling:

John Eglinton, my jo, John.

Why won't you wed a wife?

He sputtered to the air:

O, the chinless Chinaman! Chin Chon Eg Lin Ton. We went over to their playbox, Haines and I, the plumbers' hall. Our players are creating a new art for Europe like the Greeks or M. Maeterlinck. Abbey theatre! I smell the public sweat of monks.

He spat blank.

Forgot: any more than he forgot the whipping lousy Lucy gave him. And left the femme de trente ans. And why no other children born? And his first child a girl?

Afterwit. Go back.

The dour recluse still there (he has his cake) and the douce youngling, minion of pleasure, Phedo's toyable fair hair.

Eh... I just eh... wanted... I forgot... he...

-- Longworth and M'Curdy Atkinson were there...

Puck Mulligan footed featly, trilling:

Jest on. Know thyself.

Halted below me, a quizzer looks at me. I halt.

-- Mournful mummer, Buck Mulligan moaned. Synge has left off wearing black to be like nature. Only crows, priests and English coal are black.

A laugh tripped over his lips.

-- Longworth is awfully sick, he said, after what you wrote about that old hake Gregory. O you inquisitional drunken jew jesuit! She gets you a job on the paper and then you go and slate her drivel to Jaysus. Couldn't you do the Yeats touch?

He went on and down, mopping, chanting with waving graceful arms:

-- The most beautiful book that has come out of our country in my time. One thinks of Homer.

He stopped at the stairfoot.

-- I have conceived a play for the mummers, he said solemnly.

The pillared Moorish hall, shadows entwined. Gone the nine men's morrice with caps of indices.

In sweetly varying voices Buck Mulligan read his tablet:

Everyman His own Wife

or

A Honeymoon in the Hand

(a national immorality in three orgasms)

by

Ballocky Mulligan

He turned a happy patch's smirk to Stephen, saying:

-- The disguise, I fear, is thin. But listen.

He read, marcato:

-- Characters:

TOBY TOSTOFF (a ruined Pole)

CRAB (a bushranger)

MEDICAL DICK

and (two birds with one stone)

MEDICAL DAVY

MOTHER GROGAN (a watercarrier)

FRESH NELLY

and

ROSALIE (the coalquay whore)

He laughed, lolling a to and fro head, walking on, followed by Stephen: and mirthfully he told the shadows, souls of men:

-- O, the night in the Camden hall when the daughters of Erin had to lift their skirts to step over you as you lay in your mulberrycoloured, multicoloured, multitudinous vomit!

-- The most innocent son of Erin, Stephen said, for whom they ever lifted them.

About to pass through the doorway, feeling one behind, he stood aside.

Part. The moment is now. Where then? If Socrates leave his house today, if Judas go forth tonight. Why? That lies in space which I in time must come to, ineluctably.

My will: his will that fronts me. Seas between.

A man passed out between them, bowing, greeting.

-- Good day again, Buck Mulligan said.

The portico.

Here I watched the birds for augury. &Aelig;ngus of the birds. They go, they come. Last night I flew. Easily flew. Men wandered. Street of harlots after. A creamfruit melon he held to me. In. You will see.

-- The wandering jew, Buck Mulligan whispered with clown's awe. Did you see his eye? He looked upon you to lust after you. I fear thee, ancient mariner. O, Kinch, thou art in peril. Get thee a breechpad.

Manner of Oxenford.

Day. Wheelbarrow sun over arch of bridge.

A dark back went before them. Step of a pard, down, out by the gateway, under portcullis barbs.

They followed.

Offend me still. Speak on.

Kind air defined the coigns of houses in Kildare street. No birds. Frail from the housetops two plumes of smoke ascended, pluming, and in a flaw of softness softly were blown.

Cease to strive. Peace of the druid priests of Cymbeline, hierophantic: from wide earth an altar.

-------------------------------------------

[1]公谊会(参看本章注[436])，基督教的一个教派。不设神职，没有教会组织或圣事仪式，所办学校着重科学教育。 这里的公谊会教徒指爱尔兰国立图书馆馆长托马斯・威廉・利斯特(1855一1920)。他译过邓斯特尔所著《歌德传》(1883)。

[2]“珍贵的篇章”指歌德的《威廉・迈斯特的学习时代》(1824)第4部第l3章至第5部第12章，写威廉怎样翻译、 改编并参加《哈姆莱特》的演出(他本人扮演哈姆莱特王子)。利斯特等人认为歌德是借威廉之口阐述自己对《哈姆莱特》一剧的见解。

[3]“挺身反抗人世无边的苦难”，见《哈姆莱特》第3幕第1场中哈姆莱特的独白。在《威廉・迈斯特的学习时代》第4部第13章末尾，威廉说：“莎士比亚要描写的正是：一件伟大的事业担负在一个不能胜任者身上。……他是怎样的徘徊、辗转、恐惧、进退维谷……最后几乎失却他当前的目标……”

[4]“脚踏牛皮鞋”，见《尤里乌斯・恺撒》第1幕第l场中市民乙所说的话。

[5]、[6]五步舞，见《第十二夜》第1幕第3场中托出对安健鲁所说的话。

[5]、[6]五步舞，见《第十二夜》第1幕第3场中托出对安健鲁所说的话。

[7]“充满……涂地”是威廉・迈斯特对哈姆莱特的评论。

[8]“踩着‘科生多'舞步”，见《第十二夜》第l幕第3场中托比对安德所说的话。

[9]德・拉帕利斯(1400一1452)，法国著名将军，原名杰克・德・查邦尼斯。他是骑士团首领，精力非常充沛，受重伤后，一直活跃到咽气前一刻钟。部下为了纪念他，作了一首通俗歌曲。其中有“直到死前一刻钟还活跃”句，后来讹传为“还活着”，因此，“德・拉柏利斯的真理”便成了废话的代用语。

[l0]约翰・埃格林顿，原名威廉・柯克柏特里克・马吉(1868一1961)，爱尔兰文艺复兴运动中敏锐的批评家，是神秘派作家之一。

[11]《失乐园》(1667)是弥尔顿晚年双目失明后，口授给女儿们完成的。

[12]《魔鬼之烦恼》(1897)是玛利・科雷利(玛利・麦凯的笔名，1855一1924)所著小说。这里，约翰・埃格林顿是借此来挖苦斯蒂芬竟然想重写《失乐圆》， 并把魔鬼描绘成支持人类与耶和华开展斗争的浪漫主义英雄。

[13]克兰利，参看第一章注[29]。据艾尔曼的《詹姆斯・乔伊斯》(第118页)，下面的诗引自戈加蒂(见本书第一章注[1])的一首未发表的淫诗《医科学生迪克 和医科学生戴维》。

[14]根据希伯来、希腊、埃及和东方传统，"七"被认为体现着完美与统一，而早期的基督教作家也把"七"当作完美的数字。威・巴・即诗人威廉・巴特勒・叶芝。“灿烂的七”见他的《摇篮曲》(1895年版)。

[15]奥拉夫是基督教传来之前，古爱尔兰的博学大师兼诗人。这里指爱尔兰文艺复兴运动的领导人之一拉塞尔。

[16]靠服侍院士们并做些杂务以取得免费待遇的学生。他们的标志是头戴红色便帽。

[17]“魔鬼痛哭”与“淌下了天使般的眼泪”，系模仿《失乐园》卷l中的诗句。

[18]原文为意大利文，出自《神曲・地狱》第21篇末句。

[19]克兰利是以乔伊斯的朋友J・F・伯恩为原型而塑造的人物(参看第一章注[29])。克兰利曾说，在威克洛(爱尔兰伦斯特省一郡，东临爱尔兰海)找得到包括他本人在内的十二个有志之士，就足以拯救爱尔兰。

[20]在叶芝的剧本《豁才子凯思林》(1902)中，凯思林这个贫穷的老姻象征着失去自由的爱尔兰。她说她那四片美丽的绿野(指爱尔兰的四省，阿尔斯特、伦斯特、芒斯特、康诺特)都被夺走了。“家里的陌生人”，指英国入侵者。

[21]原文为拉丁文。这是犹大出卖耶稣后，为了让他带来的人逮捕耶稣而对耶稣所说的话。见《马太福音》第26章第49节。拉比是犹太教中对老师的尊称。也指犹太教教士，犹太法学家。

[22]蒂那依利市在威洛克郡。

[23]这里，斯蒂芬转念想到爱尔兰文艺复兴运动的另一领导人，诗剧家约翰・米林顿・辛格(1871一1909)的独幕剧《狭谷的阴影》(1903年首演)。 女主角诺拉嫌丈夫对她太冷淡，丈夫连声“祝你一路平安”都没说，就把她赶出家门。诺拉和她所爱的一个好猎手一道投入大自然的怀抱中，寻求自由自在的生活去了。

[24]这里，斯蒂芬想起他给穆利根打电报事。电文参看本章注[282]及有关正文。

[25]指本・琼森(约1572一1637)，英国剧作家、诗人及评论家。他曾赞誉莎士比亚为“时代的灵魂”，但又批评他缺少“艺术”。

[26]詹姆斯一世(1568一1625)，英国斯图亚特王朝第一代国王(1603一1625在位)。

[27]指埃塞克斯伯爵三世(1591一1646)，英国军人，伊丽莎白一世的宠臣。

[28]“无形的精神真髓”是爱尔兰诗人(笔名A・E・)拉塞尔喜用的语汇。例如在《宗教与爱》(1904)中，他就用此词来称赞叶芝写诗的才华。

[29]古斯塔夫・莫罗(1826――1898)，法国象征主义画家，被认为是抽象表现主义的先驱。

[30]这里，斯蒂芬想起了当天中午杰・杰・奥莫洛伊告诉他的事。参看第七章“高风亮节之士”一节。

[31]通神学以“父、道、圣息”为三位一体。道和“万灵之父”均指三位一体的第二位，即基督。见《约翰福音》第1章。天人指亚当。

[32]原文为希腊语，即耶稣・基督。

[33]逻各斯是希腊哲学、神学用语。《约翰福音》第1章说，耶稣基督是道(逻各斯)成了肉身。指蕴藏在宇宙之中、支配宇宙并使宇宙具有形式和意义的绝对 的神圣之理。

[34]英国社会改革家贝赞特夫人(1847一1933)，一度为费边社会主义者， 后改信海・佩・勃拉瓦茨基的学说，成为神智学者。她曾在印度居住多年，在《古代智慧》(伦敦，1897)一书中对祭燔的戒律也做了研究。斯蒂芬在这里套用了印度史诗《摩诃婆罗多》第6篇《钵迦伏诛记》中的话。

[35]丹尼尔・尼科尔・邓洛普，爱尔兰通神论者。曾主编《爱尔兰通神论者》(约1896一1915)，并用阿雷塔斯这一笔名发表文章。

[36]威廉・Q・贾奇(1851一1896)，爱尔兰裔美国通神论者，曾协助海・佩・勃拉瓦茨基建立通神学会。

[37]见《尤利乌斯・恺撒》第5幕第5场。这原是安东尼对勃鲁托斯的评语。

[38]原指古罗马的祭司团阿尔瓦尔弟兄会。其职责是每年主持献祭以祈祷土地肥沃。成员共十二人，从最高阶层选出。从事通神论者运动的也有十二人， 并起名密教派或阿尔瓦尔。

[39]指西藏人库特・胡米大圣。他是海・佩・勃拉瓦茨基的两位大师之一。

[40]大白屋支部，参看第七章注[194]，信奉神秘主义的拉塞尔等人均为其成员。

[41]按天主教的说法，修女在精神上已嫁给基督，故终生保持独身。

[42]原文作sophia。按照通神论的说法，系指人格化了的神之智慧。此外即指耶稣基督。

[43]库珀・奥克利夫人(1854一？)的教名是伊莎贝尔。不论在印度(1884年起)还是伦敦(1890年起)，均为海伦娜的得力助手。

[44]“哼！哼!。和“呸！呸！”分别套用《哈姆菜特》第1幕第2场和第2幕第2场中哈姆莱特的独白。

[45]原文为德语。

[46]理查德・欧文・贝斯特(1872一1959)，爱尔兰国立图书馆副馆长，曾把法国教授玛利・亨利・达勃阿・德・朱班维尔(1827一1910)的 《爱尔兰神话始末与凯尔特神话》译成英文，一九0三年在都柏林出版。

[47]柏拉图的《理想国》末尾，既有对现世劳苦的回顾，又有关于来世的冥想。而哈姆莱特在第3幕第1场的独白中，表示既不愿再肩负生活的重担，对不可知的来世又顾虑重重。

[48]指柏拉图。亚理斯多德的《诗学》被视力对诗人的肯定。柏拉图在《理想国》第10卷“诗人的罪状”中，借苏格拉底之口说“从荷马起， 一切诗人都只是摹仿者”，并在后面提及“为什么要把诗从理想国驱逐出去”。 这些话被视力讥讽，但人们常认为那直接表达了柏拉图的想法。

[49]升降流和伊涌均为诺斯替教(融合多种信仰的通神学和哲学的宗教，盛行于2世纪)用语。诺斯替教义主要讲人和人在宇宙中的位置。 升降流指宇宙行星的运行，伊涌指至高神所溢出的一批精灵。下文中的“神：街上的喊叫”，参看第二章注[78]及有关正文。

[50]逍遥学派即亚理斯多德学派。因古希腊哲学家亚理斯多德在学园内漫步讲学而得名。

[51]这里套用但丁的《神曲・地狱》和威廉・布莱克的《弥尔顿》。在《地狱》第34篇末尾，维吉尔背着但丁，下降到恶魔的臀部，又掉转来向上爬， 从地狱返回人间。威廉・布莱克的《弥尔顿》第1篇：“比人血中的红血球还小的每个空间/通向永恒/这个植物世界仅只是其一抹阴影。”

[52]套用圣奥古斯丁(353一430)所著《论灵魂之不朽》中的“行动的意志属于现在，未来经由这里涌入过去”一语。

[53]参看本章注[46]。

[54]这是道格拉斯・海德(参看第三章注[169])的一首诗的第一节。第二行的“麻木”，原诗中作“有教养”。此诗收入其所著《早期盖尔文学的故事》(伦敦，1894)中。海德于一八九三年创立盖尔语联盟，另外还著有《爱尔兰文学史》(1899)。

[55]这是海恩斯在当天早晨前往海湾的路上对斯蒂芬所说的话。见第一章末尾。

[56]窃贼指英国人。

[57]这是约翰・菲尔波特・柯伦(1750――1817)所写《我的心在跳动》一诗的第二句。绿宝石象征爱尔兰。首句是：“好爱琳，你的绿胸起伏，多么诱人。”

[58]原文作auricegg，是通神学名词，指卓绝的思想家。见波伊斯・霍尔特所编《通神论术语辞典》(伦敦，1910)。

[59]斯蒂芬・马拉梅(1842――1898)，法国象征派诗人、理论家。他认为完美形式的真谛在于虚无之中，诗人的任务就是去感知那些真谛并加以凝聚、再现。

[60]灵性贫乏者，见《马太福音》第5章第3节。下文中的腓依基人，见《奥德修纪》卷6中庙西卡公主的故事。腓依基人的岛上四季都有水果，男人擅长驾船，女人善于纺织，王侯十分富有。

[61]斯蒂芬・麦克纳(1872一1954)，爱尔兰新闻记者、语言学家、哲学研究者。

[62]指马拉梅的散文诗《哈姆莱特与福廷布拉》(1896)。

[63]原文为法语。《哈姆莱特》第2幕第2场有哈姆莱待王子边读着一本书上场的场面。詹姆斯・乔伊斯的“内心的独白”的写作技巧可以追溯到莎士比亚笔下的独白。评论家斯图尔特・吉尔伯特认为，就像马拉梅对哈姆莱待所做的评述那样，一部《尤利西斯》所记录的就是布卢姆和斯蒂芬“边读着自己心灵的书边漫步”的情景。马拉梅暗示说，假装发疯的哈姆莱特所读的正是“自己心灵的书”，这一点引起了贝斯特先生的兴趣。

[64]以上四行的原文为法语。

[65]、[66]原文为法语。

[65]、[66]原文为法语。

[67]《心神恍惚的乞丐》是英国小说家、诗人拉迪亚德・吉卜林(1865一1936)作词、阿瑟・沙利文配曲的一首歌(“恳请你掷入我的小铃鼓一先令，/为了奉调南方穿土黄军服的先生们。”)，在南非战争期间演唱，曾为英国士兵募集二万五干英镑。这里，斯蒂芬是站在爱尔兰人反对英国扩张主义的立场来引用此词的。

[68]“优秀的民族”指法国民族、含有挖苦意味。指《哈姆莱特》本来是一出包含深邃哲理的戏，马拉梅却把哈姆莱特王子看作是“心神恍惚的男子”。

[69]“豪华……凶杀剧”一语，出自《哈姆莱特与福廷布拉》(见本章注[62]。

[70]罗伯特・格林(1558一1592)，英国小说家、戏剧家、小册子作者，也是散文作家之一。莎士比亚的《冬天的故事》(1610)直接取材于格林的田园诗《潘多斯托》(1588)。他在自传性小册子《百万忏悔换取的四便士的智慧》(1592)里说，贪婪乃是“灵魂的刽子手”。这个小册子附有致三个同时代戏剧家的信，其中攻击莎士比亚是“一只自命不凡的乌鸦，用我们的羽毛美化他自己”。

[71]屠夫的儿子指莎士比亚。他父亲约翰(?一1601)做过鞣皮手套工匠。英国文物家约翰・奥布里(1629一1697)是头一个提出他当过屠夫的。

[72]原文作“wieldingthesleddedpoleaxe”。《哈姆莱特》第1幕第1场中，霍拉旭曾说他脸上的那副怒容，活像有一次在谈判决裂后他把那些乘雪橇的波兰人击溃在冰上时的神情。这是双关语。Poleaxe是宰牛斧，而Pole则为波兰人;sledded原为“乘雪橇”，这里解作“磨得锃亮”。

[73]事实上，《哈姆菜特》一剧中先后共死掉八个人。

[74]《天主经》首句为:“我们在天上的父亲”，这里把“天上”改成了“炼狱”。在《哈姆莱特》第1幕第5场中，哈姆莱特父王的鬼魂曾向他描述自已在炼狱中所受火焰烧灼的情景。

[75]这里把《哈姆莱特》一剧末尾的流血惨剧比作南非战争中的杀戮。当时英国士兵均穿土黄色制服。一八八七年在科克郡的一场骚乱 (参看第十三章注[265])中，有个叫普伦基特的上尉喊出“毫不迟疑地开枪”的口令。从那以后，这便成为爱尔兰人反对英国高压政策的口号。

[76]《哈姆莱待》第5幕以埋葬奥菲利娅开头，以哈姆莱特等众人惨死告终。

[77]斯温伯恩(见第一章注[12])曾写过一首十四行诗《哀悼本森上尉》(1901)向死在布尔俘虏营中的本森上尉致哀，并赞扬英军为包括妇孺在内的布尔市民建立了集中营。有人立即撰文批评了他。他反驳说，既然布尔人虐待了英国战俘，把他们关入集中营也是应该的。

[78]在狄更斯的第一部长篇小说《匹克威克外传》(1836一1837)第8章中，胖小子乔(沃德尔先生的仆人)向沃德尔太太报告他看见沃德尔小组怎样和匹克威克派的一个成员愉情。他劈头就说：“我想把你吓得毛骨悚然。”

[79]“听着，听着，啊，听着！”一语出自《哈姆菜特》第1幕第5场里鬼魂对哈姆莱特王子所说的台词。

[80]这是鬼魂接上一句所说的话，全句是：“要是你曾经爱过你亲爱的父亲――”

[81]莎士比亚的故乡埃文河畔斯特拉特福镇位于伦敦西北，展沃里克郡。

[82]原文为拉丁文。据天主教的神学，指《旧约》中的长老和先知的灵魂被幽禁的地方。作为伊丽莎白时代的俚语，则指牢狱。见莎士比亚的历史剧《亨利八世》第5幕第4场。

[83]巴黎园指十六世纪至十八世纪之间坐落于环球剧场附近的熊园。萨克逊大熊是该园的一头著名的熊。参看《温莎的风流娘儿们》 第1幕第1场末尾斯兰德的台词。弗朗西斯・德雷克爵士(约1540－1596)，英国航海家，一五八八年他曾率领舰队击溃西班牙无敌舰队。按：当时池座里的观众都站着看戏，并向小贩买各种零食。

[84]“埃文河的天鹅”即指莎士比亚。这是本・琼森在《莎士比亚戏剧全集》(1623)的序诗中，对莎士比亚的称誉。

[85]“场子的构图”一语出自依纳爵・罗耀拉的《圣功》(1548)。

[86]伊丽莎白时代的舞台全靠日光照明，没有灯光。靠近后台处有个顶棚，叫作暗处，便于上演幽灵出没的场面。

[87]“是国王，又不是国王”，见弗朗西斯・鲍蒙特(1584－1616)与约翰・弗莱彻(1579－1625)合写的同名悲喜剧(1611)。

[88]英国诗人、戏剧家尼古拉斯・罗(1674－1718)查明，莎士比亚曾扮演过《哈姆莱特》中的幽灵这一角色。

[89]蜡布是裹在遗体上防腐用的。“隔着……蜡布”指幽灵在冥界。

[90]理查德・伯比奇(约1567－1619)，英国演员，莎士比亚戏剧主要角色扮演者，善于饰演悲剧角色(尤其是哈姆莱特)。莎士比亚在伦敦时间他交往密切，并在遗嘱中给他留下了一件纪念品。

[91]这是鬼魂对哈姆莱特王子所说的话，见《哈姆莱特》第1幕第5场。

[92]莎士比亚的妻子于一五八五年二月二日生下一对双胞胎，儿子名叫哈姆奈特，一五九六年八月，十一岁上夭折，女儿名朱迪斯。

[93]“身穿……的丹麦先王的服装”，套用霍拉旭对鬼魂说的话，参看《哈姆莱特》第1幕第1场。

[94]参看第七章注[187]。

[95]“你在……人?”哈姆莱特正要求霍拉旭等人对见到先王鬼魂一事宣誓严加保密时，听见鬼魂在地下帮腔说：“宣誓!”于是朝着地下说了这句话。见《哈姆莱特》第1幕第5场。

[96]维利耶・德利尔－阿达姆(1838－1883)，法国诗人、剧作家、短篇小说家。“我们的仆人们可以替我们活下去”出自他的遗作《阿克塞尔《(1890)。 主人公阿克塞尔子爵与美人萨拉一见钟情。他建议二人一道自杀，并且说了这句话。 叶芝在《秘密的玫瑰》(1897)中以此话作为引语，并献给了拉塞尔。

[97]这两句诗出自拉塞尔的三幕诗剧《迪尔德丽》(1902年初次上演，1907年出版)。马南南・麦克李尔，参看第三章注[31]。

[98]按斯蒂芬欠了拉塞尔一英镑，迄未偿还。

[99]诺布尔是英国古金币(用到1461年为止)，一诺布尔相当于旧制六先令八便士。

[100]在后文中，斯蒂芬对林奇提及乔治娜。参看第十五章注[689]。

[10l]拉塞尔生在位于爱尔兰东北角上的阿尔斯特郡。

[102]这是哈姆莱特对波洛涅斯说的话，表示他向自己报告的消息已经陈旧了。见《哈姆莱特》第2幕第2场。

[103]生命原理是亚理斯多德的术语，表示使纯系潜在之物变为现实。灵魂(或生命机能)是亚理斯多德在其《论灵魂》中所说的有生命机体的生命原理。 关于形态，参看第二章注[24]。

[104]斯蒂芬小时在克朗戈伍斯森林公学读书期间，曾因打碎了眼镜，未能写作文，因而被教导主任多兰神父用戒尺打了手心。他向校长康米神父提出申诉，才得以免除进一步的惩罚。参看《艺术家年轻时的写照》一书第1章。下文中的A・E・I・O・U・是英文中的五个元音字母。英大打借条常用IOU(即Ioweyou)。这里，就含有“A・E・我欠你”之意。

[l05]这里，“她”指莎士比亚的妻子安・哈撒韦。莎士比亚是十八岁时绪婚的，安生于一五五六年，比他大八岁。莎士比亚死于一六一六年，而安一直活到一六二三年。

[106]原文为拉丁文。

[107]“萤光”，参看第八章注[179]。

[108]“犯了错误”指莎士比亚与安结婚;“脱了身”指莎士比亚于一五八六年左右把妻儿留在家乡，只身出走伦敦。

[109]据说苏格拉底的妻子赞蒂贝是个有名的泼妇。

[110]指苏格拉底的方法和目的就是要通过争辩来发现真理。

[111]据说苏格拉底的母亲是个产婆。苏格拉底接二连三地向同他交谈的人提问题，迫使对方承认自己的无知，然后引导对方认识真正的美德。换言之，帮助思想的产生(即“助产术”)。

[112]据说默尔托(阿里斯泰得斯之女)是苏格拉底的第一个妻子。

[113]原文是拉丁文。

[114]原文作Socratididion，为苏格拉底的爱称，也可译为“亲爱的苏格拉底”。

[115]《灵魂的分身》(1821)是雪莱一首诗的题目，原文作Epipsychidion，系希腊文的复合词。

[116]闺训，原文作caudlelectures。caudle是供病人饮用的滋养饮料。英国剧作家道格拉斯・杰罗尔德(1803－1857)的连载作品《幕训》(1846)中的女主人公考德尔(Caudle)夫人整夜整夜地在闺房中教训丈夫，乔伊斯便据此造了这个词。

[117]这里，新芬党指判处苏格拉底死刑的古希腊民主政体。

[118]公元前三九九年苏格拉底被控为“不敬神”。苏格拉底不服，进行申辩，然而法庭仍以微弱的多数票判处他死刑。友人劝他逃跑，但他说，判处虽违背事实，但这是合法法庭的判决，遂服下狱卒交给他的毒药死去。

[119]罗拉德派是英人对威克里夫一派人的谑称，意为喃喃祈祷者。威克里夫(约1330－1384)是英国神学家， 他倡导的非正统教义和社会理论是十六世纪宗教改革运动的先声。一二八0年左右， 威克里夫与牛津大学的一些同事成立了最早的罗拉德派。 一三九九年曾被当作异端分子镇压。这里指托马斯・威廉・利斯特(见本章注[l])。他是个罗拉德派和公谊会教徒，不信天主教，因而公众对他存着戒心。

[120]《我撇下的姑娘》是爱尔兰小说家、歌词作家塞缪尔・洛弗(1797－1868)所作歌曲。

[121]指伦敦，参看第三章注[161]。

[l22]莎士比亚最早的长诗《维纳斯与阿都尼》(1593)第一0四六至一0四八行有关于地震的描绘。一五八0年英国发生过大地震，当时莎士比亚年十六岁。

[123]“可怜的小兔”(第697行)、“镂饰的缰绳”(第87行)、“蓝色的窗户”(指眼睛，第482行)均见《维纳新与阿都尼》。

[124]指莎士比亚在家乡与安・哈撒韦谈情说爱的事。

[125]凯瑟丽娜是莎士比亚的喜剧《驯悍记》中的女主人公，霍坦西奥是她的妹妹比恩卡的求婚者。

[126]《热情的香客》(1599)是一部诗集，共二十首(或二十一首诗)，其中四、五首系莎士比业所写。

[127]“男人的世界”一语出自罗伯特・布朗宁(1812－1889)的双诗《相逢在夜间/分手在清晨》(1845)中的后者。

[128]伊丽莎白时代的舞台上，女角概由男童扮演。莎士比亚死后四十四年(1660)，英国舞台上才初次由女演员扮演(奥瑟罗)中的苔丝狄蒙娜。

[129]男童指年轻时代的莎士比亚。

[130]据丹麦文学史家、文学批评家乔治・布兰代斯(1842－1927)的《威廉・莎士比亚》(伦敦，1898)第10页，安未婚先孕，所以女方急于成婚。她与莎士比亚结婚后不足六个月就生了大女儿苏姗。

[131]“从心所欲”，见《十四行诗》第143首末行。

[132]“安自有她的办法”，原文作Annhathaway，与莎士比亚妻子的姓名安・哈撒韦(AnnHathaway)是双关语。

[133]“的的确确，他们该受责难”是奥菲利亚发疯后所唱的歌词中的一句，这里把原歌中的“他们”改成了“她”。见《哈姆莱特》第4幕第5场。

[134]“二十岁的甜姐儿”原出自小丑唱的歌词。由于安与莎士比亚结婚时是二十六岁、这里把原歌中的“二十”改成了“二十六”。见《第十二夜》第2幕第3场。

[135]“好比是美妙的开场白”是麦克白的一句独白，见《麦克白》第一幕第3场。

[136]“灰眼女神”指维纳斯。在伊丽莎白时代，灰眼睛(grayeyes)的gray，指blue(蓝)。《维纳斯与阿都尼》第140行有“我两眼灰亮，转盼多风韵”之句。

[137]“比自己年轻的情人”，套用《第十二夜》第2幕第4场中公爵对薇奥拉所说的话。

[138]见《皆大欢喜》第5幕第3场的歌第1段：“一对情人并着肩，走边了青青麦田。”

[139]见《皆大欢喜》第5幕第3场的歌词第2段。

[140]帕里斯(参看第二章注[69])与巴黎拼法相同，故与第三章注[100]有关正文形成双关语。

[141]高个子指拉塞尔(A・E・)他是《爱尔兰家园报》的主编。

[142]乔治・奥古斯塔斯・穆尔(1852－1933)，爱尔兰小说家，一九0一年迁居都柏林，为筹建阿贝剧院做出贡献。

[143]原文作Piper。当时美国波士顿有个女通神学家，名利奥诺拉・派珀夫人。但据阿尔夫・麦克洛赫莱因考证，这里的PiPer系指威廉・J・斯坦顿・派珀(Pyper，1868－1941)。他热衷于复兴爱尔兰语，并对通神学有兴趣。

[144]一首儿童绕口令的头一句。

[145]据乔伊斯的弟弟斯坦尼斯劳斯回忆说，“喻伽魔室”是戈加蒂对会议厅或公共设施的叫法。

[146]伊希斯是古埃及神话中的重要女神。《揭去面纱的伊希斯――古今科学与通神学奥秘诠释》(1876)一书系海・佩・勃拉瓦茨基所撰，被她的门徒们视力通神学的经典著作。

[147]巴利语起源于北印度，公元前一世纪，成为标准的国际佛教语言。海・佩・勃拉瓦茨基的很多活动是和奥尔科特(参看第七章注[197])共同开展的，所以这里用复数(“他们”)。“我们”则指乔伊斯和戈加蒂(见艾尔曼著《詹姆斯・乔伊斯》第174页)。

[148]海・佩・勃拉瓦茨基在《揭去面纱的伊希斯》一书中说， 墨西哥人与古代巴比伦及埃及人的传统甚至所信仰的神明等都有共同之处。因此，阿兹特克族的逻各斯(参看本章注[33])是宇宙真理(“宇宙宗教”)的基础。阿兹特克族系操纳华特尔语的民族。十五世纪和十六世纪初，曾在今墨西哥中、南部延立帝国。

[149]超灵是由美国作家、十九世纪超验主义文学运动领袖拉尔夫・沃尔多・爱默生(1803－1882)创造的哲学用语。他认为真正的智慧是通过“自然”领会神旨，强调人可以通过道德本性和直觉认识真理，从而发展成为超验主义观点。

[l50]原文为梵语。在通神学中，指进入涅磐(佛教所指的最高境界。后世也称僧人逝世为“涅磐”)境界。

[151]路易斯・H・维克托里是十九世纪末叶的爱尔兰诗人，著有诗集《尘埃中的想象》(伦敦，1908)等。

[152]T・考尔菲尔德・艾尔温(1823－1892)，爱尔兰诗人、作家。

[153]“莲花……他们”一语套用爱诺巴勃斯对阿格立巴所作关于安东尼与克莉奥佩特拉初次见面的描述。参看《安东尼与克莉奥佩特拉》第2幕第2场。

[154]据通神学的说法，松果体(亦称松果腺，一种内分泌腺)原是人的“第三只眼睛”，能够透视心灵，后来退化为松果体。

[155]根据佛教传说，佛陀是坐在菩提树(并不是芭蕉树)下修行，断除烦恼而成佛的。

[156]吞入灵魂者，吞没者指普在超灵(即神)。通神学家认为万人灵魂与普在超灵本为一体，作为它的火花的每一灵魂反复投生，又被其吞没，轮回不已。

[157]原文作“Hesouls，shesouls，shoalsofsouls”。读音与下面这首民歌相近:She sells seashells by the seashore。意思是：“她在海滨卖海贝。”

[158]“他的幽魂……痛哭”使人联想到《神曲・地狱》第5篇中的“把成群的幽魂飘荡着，播弄着，颠之倒之……呼号痛哭……”之句。

[159]“万物……女魂栖”是路易斯・H・维克托里(见本章注[151])所作《震撼灵魂的模仿》(收入其诗集《尘埃中的想象》)一诗的头两句，是悼念一个四岁上夭折的娃娃的，作者引用时把“四年”改为“经年”。

[160]拉塞尔所编的这部《新诗集》出版于一九0四年五月。 拉塞尔在诗中沤歌爱尔兰传奇中的英雄和神，对其他同辈诗人影响颇大。诗集共收录了乔治・罗伯茨、帕德里克・科拉姆等九个诗人的诗作，但并没有选乔伊斯的作品。 见艾尔曼:《詹姆斯・乔伊斯》(第174页)。

[161]“必然……东西”一语模仿亚理斯多德所著《形而上学》中的论断。

[162]“必然性……所以……帽子”一语套用《哈姆莱特》第5幕第1场中掘墓者中的口气：“要是水来到他的身上把他淹死了，那就不是他自己把自己淹死; 所以，对于他自己的死无罪责的人，并没有缩短他自己的生命。”

[163]“听着”：紧接着的一大段，是斯蒂芬所听到的人们关于新筹办的杂志的对话。

[164]帕德里克・科拉姆(1881－1972)，爱尔兰诗人、剧作家、评论家。他的抒情诗保持了爱尔兰民间文学传统。其回忆录《我们的朋友乔伊斯》(1959)是与妻子玛丽(1887？－l957)合著的。他的诗《牲畜商》被收入《新诗集》。詹姆斯・斯塔基(1879－1958)，后易名修马斯・奥沙利文，爱尔兰抒情诗人、编辑。《新诗集》里收有他的五首诗。

[165]乔治・罗伯茨(?－1952)，爱尔兰文人，后来任蒙塞尔出版公司总编辑。

[166]欧内斯特・维克托・朗沃思(1874－1935)，《快邮报》编辑(1901－1904)。

[167]这是《新诗集》中的主诗《一幅肖像》(科拉姆作)中的一句;后易题为《四十年代的穷学者》(《荒漠》，都柏林，1907)。

[168]苏姗・米切尔(1866－1926)是受拉塞尔影响的女诗人，《新诗集》里收有她的诗作。爱德华・马丁(1859－1923)是爱尔兰戏剧家。苏姗在《乔冶・穆尔》(纽约，1916)一书中写道，穆尔是个“天生的文学强盗”，“对爱德华・马丁进行掠夺”(第103页)，将其剧本《一个镇子的故事》(1902)改写，易名《弯枝》。叶芝在《自传》(纽约，1958)中说穆尔是个“农民罪犯”，马丁是个“农民圣人”。这里的浪荡儿，原文作wild oats。Sow one's wild oats指年轻时生活放荡，尤其指婚前性关系混乱。苏姗使用这个譬喻则指马丁与穆尔交往会吃大亏。

[169]乔治・西格尔逊博士(1838-1925)，爱尔兰学者，他所从事的爱尔兰古代文学的翻译介绍，成为爱尔兰文艺复兴运动的端倪。

[170]愁容骑士是堂吉诃德的别称。

[171]托马斯・奥尼尔・拉塞尔(1828－1908)，语言学家，曾致力于复兴凯尔特语。

[172]当时有些爱尔兰民族主义者认为桔黄色百褶短裙是古代爱尔兰的标准衣着，然而近年来学者们认为，这并非爱尔兰的传统服装，这个印象主要是小说中的描写所造成的。

[173]杜尔西尼姬是堂吉诃德幻想的意中人。

[174]杰姆斯・斯蒂芬斯(1882－1950)，拉塞尔所发现的爱尔兰诗人・小说家。

[175]考狄利亚是李尔王最小的女儿。她是唯一孝顺老王的，却被她那黑心的姐姐害死。见《李尔王》。“李尔那最孤独的女儿”出自托马斯・穆尔的《菲奥纽娅拉之歌》。穆尔诗中的李尔指爱尔兰海神麦克李尔(见第三章注[31])，其女菲奥纽娅拉被后母用妖术变成一只天鹅。所以这是双关语。考德利奥是意大利语，发音与考狄利亚相近，含意为“深重的悲哀”。

[176]“偏僻荒蛮”出自法国人波旁公爵之口，见莎士比亚的历史剧《亨利五世》第3幕第5场，指的是英国式的粗俗与用法国磨光漆来象征的法国式典雅相对照。

[177]“天老爷符劳你”出自小丑试金石之口，见《皆大欢喜》第5幕第4场。

[178]指《爱尔兰家园报》(见第二章注[83])。前文中提到的哈里・费利克斯・诺曼(1868－1947)是该报主编(1899?－1905)。

[179]辛格，见本章注[23]。《达娜――独立思考杂志》是由约翰・埃格林顿和爱尔兰经济学家、新闻记者、编辑弗雷德・瑞安(1876－1913)合编的一份小杂志(1904－1905)。达娜见本章注[201]。

[180]十九世纪后半叶， 爱尔兰民族主义的崛起使人们重新对爱尔兰的语言、文学、历史和民间传说发生兴趣。 当时盖尔语(爱尔兰语)作为一种口语己经衰亡，仅在穷乡僻壤使用。盖尔语联盟于一八九三年成立，为维护盖尔语而进行斗争，直到一九二二年成立爱尔兰自由邦，承认爱尔兰语与英语同为官方语言为止。

[181]“鞋跟有多么厚，离天就靠近了多少”引自哈姆莱特对优伶所说的话，见《哈姆莱特》第2幕第2场。

[182]英国基督教公谊会创始人乔治・福克斯(1624－1691)把得自上帝的“内心之光”(灵感)置于教条和《圣经》之上。利斯特是公谊会教徒，所以才把他和福克斯扯在一起。

[183]原作这段十分隐晦，作者在这里把莎士比亚和乔治・福克斯联系起来了。基督狐：公谊会认为，基督作为“内心之光”存在于人的精神世界里，因而是一只神秘不可思议的狐狸。福克斯与狐狸拼法相同，故语意双关。福克斯喜欢穿爱尔兰与苏格兰高原地区的那种鞣皮紧身裤。他和他的追随者一向都不尊重官员，不起誓，不纳税，因而经常被捕。他本人曾八次入狱。为了逃避追捕者，有一次他曾藏在枯树杈里。莎士比亚也曾逃离家乡，去了伦敦。“没同母狐狸打过交道”，福克斯直到四十五岁才结婚，莎士比亚在伦敦过的是单身生活，利斯特终身未娶。“A得了女人们的心”，福克斯擅长于使人们――尤其是妇女(包括几个声名狼藉者)皈依宗教。他称那些严肃地为灵魂寻觅旧宿者为“温柔的人们”。巴比伦的娼妇一典出自《启示录》第17章第5节，她额上写着一个隐秘的名号：“大巴比伦―― 世上淫妇和一切可憎之物的母亲!”“法官夫人”：福克斯与兰开夏的法官费尔的遗婿玛格丽特结婚(1669)。“酒馆掌柜的娘儿们”： 风传莎士比亚曾在约翰・达维楠所开的皇冠客栈下榻，爱上了老板娘。她后来生下诗人、戏剧家威廉・达维楠爵士(1606－1668)。

[184]“狐入鹅群”是一种棋戏，由十五只鹅对付一只狐狸。鹅不得后退，狐狸却可以任意活动。

[185]“新地”大宅指莎士比亚于一五九七年在斯特拉特福镇买下的房产。他隐退后住在这里。

[186]维新太，参看第七章注[233]。

[187]在莎士比亚的《尤利乌斯・恺撒》第1幕第2场中，有个预言家警告恺撒要当心二月十五日。恺撒未加理睬，结果在这一天就遇刺身死(参看第二章注[16])。

[188]参看第二章注[17]。

[189]阿戏留是荷马史诗《伊里昂纪》中的英雄人物。他小时，母亲听了预言家的话，怕他死在未来的特洛伊战争中，故把他装扮成女孩子。“当阿戏留……名字呢？”这里套用英国医生、作家托马斯・布朗爵士(1605－1682)于一六五八年所写的一篇论文中的句子，并将原文中的“藏”改成了“生活”。

[190]透特是古埃及所奉的神，原是月神，后司计算及学问。据说他发明了语言和文字，并为诸神担任文书、译员及顾问。

[191]“听见那位埃及祭司长的声音”，见第七章“即席演说”一节的结尾处。

[192]“旁人经受我们的置疑”，出自马修・阿诺德的关于莎士比亚的一首十四行诗(见于他1844年8月1日写给简・阿诺德的信)。

[193]此语模仿哈姆莱特王子咽气前所说的最后一句话：“此外仅余沉默而已。”见《哈姆莱特》第5幕第2场。

[194]、[195]原文是爱尔兰语。

[194]、[195]原文是爱尔兰语。

[196]小个子约翰是乔治・穆尔给约翰・埃格林顿起的绰号。

[197]“原谅我”一语出自安东尼在恺撒的遗体前发表的演说，见《尤利乌斯・恺撒》第3幕第2场。

[198]小王是希腊神话中的一种怪物。据说它住在非洲沙漠上，凭借日光和呼出的气息就能使人丧命。它状似蛇、蜥和龙。美洲热带地区江河、溪流附近的树上至今还栖居着一种“王蜥”，因与小王相像而得名。

[199]原文为意大利文，引自拉蒂尼的《宝藏集》第1卷。

[200]布鲁涅托・拉蒂尼(l220－1294)，意大利佛罗伦萨著名学者。但丁在《神曲》中对他十分推崇。他曾用法文撰写过一部散文体百科全书《宝藏集》以及该书的意大利文简编。

[201]达娜，又名达努。从爱尔兰到东欧，都崇敬它为大地之母，即阴性之元，诸神都曾受她哺育。

[202]“一天天地……身子”，套用英国评论家沃尔特・佩特(1889－1894)所著《文艺复兴》(1873)中的“把我们不断地编织起来再拆散”一语。

[203]此句模仿《辛白林》第2幕第2场中阿埃基摩的台词：“在她的左胸还有一颗梅花形的痣……”

[204]雪莱在长篇论文《诗之辩护》(写于1821年，1840年出版)中写道：“从事创作的精神犹如即将燃尽的煤……”

[205]霍索恩登的威廉・德拉蒙德(1585－1649)是最早用英语写作的苏格兰诗人。因定居于霍索恩登的庄园，故名。收入他的诗集《锡安山之花》(1630)里的散文《丝柏丛》中有一段关于过去、现在和未来的反思。斯蒂芬关于“过去的我成为现在的我，还可能是未来的我”这段话，受其启发，所以这里说德拉蒙德帮助我度过了难关。

[206]《哈姆莱特》第5幕第1场中，掘基人(小丑甲)说他是“小哈姆莱特出世的那一天……开始干这营生”的，接着又说，他已干了三十年。所以哈姆莱特那时已三十岁了。

[207]这里的“痣”是指品性上的污点，或缺点的烙印，参看《哈姆莱特》第1幕第4场开头部分哈姆莱特的独白。

[208]欧内斯特・勒南(1823－1892)，法国哲学家及历史学家。他称赞莎士比亚晚年的戏剧(尤其是《暴风雨》)是“成熟的哲学剧”。

[209]尤利西斯是《特洛伊罗斯与克瑞西达》中的一个人物。布生代斯在 《威廉・莎士比亚》一书中说：“配力克里斯是个富于浪漫精神的尤利西斯”(见该书第585页)。

[210]这句话是写约翰・埃格林顿的，同时也影射船只失事后的尤利西斯和配力克里斯。

[211]玛丽娜是《泰尔亲王配力克里斯》中的女主人公，配力克里斯亲王的女儿。

[212]智者派见第七章注[254]。外典是不列入正典《圣经》的经籍。早期基督教会所称外典指真伪未辨、不宜在公共场合诵读的著作。本世纪初有些学者认为《泰尔亲王配力克里斯》是莎士比亚的外典，即怀疑它不是莎士比亚所写。见查尔斯・W・华莱士：《关于莎士比亚的新发现:人中之人莎士比亚》(1910)。

[213]英国诗人、思想家塞缪尔・泰勒・柯尔律治(1772－1834)称赞莎士比亚始终走在“人类感情的康庄大道上”(《柯尔律治的莎士比亚评论》，托马斯・米德尔顿・雷逊编，1930)。

[214]弗朗西斯・培根(1561－1626)，英国经验派哲学家，散文家。培根(Bacon)这个姓,与熏猪肉拼法一样。同时，培根在《新学问》(1603)第1部中劝人照《耶利米书》第6章第16节(“你们要站在路上察看，探问古道，那是善道，便行在其间，”)行事，所以这里说他思想旧得“已经发了霉”。

[215]十九世纪中叶有些学者认为莎剧艺术水平之高，非培根莫属。但莎剧是由莎士比亚剧团的两位演员收集成书的，同时代剧作家本・琼森还为这部全集写了献诗，因此怀疑派的观点不能成立。

[216]美国小说家、社会改革家伊格内修斯・唐纳利(1831－1901)在《大密码》(1887，芝加哥、伦敦)和《莎士比亚戏剧中的密码》(1900)二书中，曾试图论证莎剧系培根所作。

[217]A・E・，见第三章注[109]。马吉，见本章注[10]。

[218]彼得“克里斯琴”阿斯布琼逊所编、由G・W・达桑译成英文(1859)的一部北欧民间故事集(1842－1845)，以其中的一篇《太阳之东・月亮之西》为书名。

[219]长生不老国(原文为爱尔兰语)是爱尔兰神话中的国度，由安古斯神(掌管青春、美和诗的神)所统治。据爱尔兰传说，英雄、说唱诗人莪相曾旅居此地。后来他违反禁令，踏上故乡的土地，遂变成白发苍苍的老人，再也不能返回长生不老国了。

[220]这里把A・E・和马吉比作朝香者。

[221]这里把一首儿歌中的巴比伦这一地名换成了都柏林。

[222]布兰代斯，见本章注[l3O]。莎士比亚晚期的五个剧本为:《泰尔亲王佩里克利斯》(1608)、《辛白林》(1609)、《冬天的故事》(1610)、《暴风雨》(1611)、《亨利八世》(1612)。

[223]西德尼・李(1859－1926)，英国莎士比亚专家，著有《威廉・莎士比亚传》(伦敦，1898)等。

[224]配力克里斯之女玛丽娜是在风暴中诞生在海船上的。

[225]米兰达是《暴风雨》中的女主人公。那不勒斯王子腓迪南对她一见钟情，说:“哦，你是个奇迹!”见第1幕第2场。

[226]潘狄塔是《冬天的故事》中西西里国王里昂提斯的女儿，在襁褓中就被遗弃，由牧人扶养大。

[227]莎士比亚的大女儿苏珊娜与约翰・霍尔结婚，于一六O八年生了个女孩，起名伊丽莎白，刚好相当于他写作生涯末期的开始。

[228]这是配力克里斯对玛丽娜所说的话。见《泰尔亲王配力克里斯》第5幕第1场。

[229]布兰代斯说莎士比亚最宠爱苏珊娜(见《威廉・莎士比亚》第677页)，所以使她当了“主要继承人”(见第686页)。这里对此说予以反驳。

[230]《做爷爷的艺术》(1877)是法国诗人、小说家维克托・雨果(1802－1885)所著的一部儿童诗集。变得伟大的艺术，原文为法语。法语中，爷爷是“grandpere”。贝斯特只说到“grandp”，听上去就跟“grand"(伟大)同音了。

[231]当天早晨斯蒂芬在海滨上曾问过自已：“大家都晓得的那个字眼是什么来着?”参看第三章注[177]，下文“爱乃……满足”，原文为拉丁文。是摘录托马斯・阿奎那的《神学大全》第一卷第九十一章中的几个句子而成。

[232][]内的两段系根据海德一九八九年版(第161页第5至9行)补译。

[233]萧伯纳在喜剧《十四行诗和“黑夫人”》(1910)中描述了莎士比亚和“黑夫人”之间不幸的关系。戏里把“黑夫人”写成是玛利・菲顿，序言中却又驳斥了这一观点。玛利・菲顿(1578－约1647)自一五九五年起， 任英国女王伊丽莎白一世的侍从宫女。有人认为她是莎士比亚《十四行诗》中的神秘人物“黑夫人”的原型。

[234]弗兰克・哈里斯(1856－1931)，爱尔兰新闻记者、文学家。他编过好几种杂志，主要的是《星期六评论》(1894－1898)。他在一八五五年创刊的政治、文艺、科学周刊上发表了一系列关于莎士比亚的评论，后辑成一书： 《莎士比亚真人及其悲惨生涯》(伦敦，1898)。

[235]莎士比亚的《十四行诗》，开头写诗人对一贵族青年的友谊的升沉变化，是献给一位W・H・先生的(第1－126首)，其次写诗人对“黑夫人”的爱恋(第127－152首)，最后两首(第153－154首)收尾。

[236]威廉・赫伯特(约1506－1570)是第一代彭布罗克伯爵。他自一五六八年起任王室事务总管。

[237]指当时风行的一种说法，莎士比亚“热恋”着威廉・赫伯特(见布生代斯：《威廉・莎士比亚》，第714页)。

[238]海雀是北极的潜鸟，每逢产卵季节，只下一颗布满大理石彩纹的卵，一般视为罕物。这里是指利斯特的头所产生的思想像海雀卵一样斑斓多彩。

[239]米莉亚姆是希伯来语中的玛利。这里指玛利・菲顿。

[240]公谊会教徒喜用老式字眼。

[241]“年轻时的愿望，到了中年就会变为现实”是歌德的自传著作《诗与真》(1811－1814)第二卷开头部分的话。

[242]小贵族指彭布罗克伯爵。哈里斯(见本意注[234])认为，莎士比亚爱上了玛利・菲顿，并请彭布罗克给牵线。结果菲顿反倒和彭布罗克相好了。莎士比亚遂同时失去了意中人和朋友(见《莎士比亚其人及其悲惨生涯》第202页)。

[243]“花姑娘”，见《亨利四世》下部第3幕第2场中乡村法官夏禄的台词。

[244]“人人行驶的海湾”，见《十四行诗》(第137首第6行)。

[245]“少女时代声名狼藉”:哈里斯(第213页)写道，玛利・菲顿早在十六岁上就结婚，并和私通的男人生过三个孩子。

[246]“语言贵族”，见丁尼生的《致维吉尔》(1882)第2段。

[247]“笑而躺下”是伊丽莎白时代的一种纸牌游戏。

[248]唐璜是十四世纪左右西班牙传说中的一个人物，是浪荡子的典型。唐是西班牙语“先生”的译音，或译作堂。西班牙名字“璜”，相当于英语中的“约翰”。

[249]套用《维纳斯与阿都尼》(第1052、1056行):“野猪在他的嫩腰上扎的那个大伤口……无不染上他的血，像他一样把血流。”

[250]“毒……耳腔”，见第七章注[186]。

[251]“双背禽兽”，见第七章注[187]。

[252]“贫乏、寒伧的英语”，见本章注[54]及有关正文。

[253]“既愿意，又不愿意”，套用泽莉娜的唱词，见第四章注[51]、[52]及有关正文。

[254]“蓝纹……双乳”，见莎士比亚的长诗《鲁克丽丝受辱记》(1593－1594)第407行。

[255]“梅花形的痣”，见莎士比亚的戏剧《辛白林》(1609)第2幕第2场末尾。伊摩琴是英国国王辛白林的女儿，绅士波塞摩斯之妻。波塞摩斯的朋友阿埃基摩用卑鄙手段瞥见了伊摩琴胸脯上的痣，事后向波塞摩斯谎称伊摩琴曾委身于他。

[256]“他的脸……来了”，见《哈姆莱特》第1幕第2场。在原剧中，霍拉旭对哈姆莱特王子讲述自己所看到的哈姆莱特王的鬼魂的情况，这里的“他”，则指莎士比亚。

[257]“各遂所愿”是《第十二夜》的副标题。

[258]“我的……了吗?”见《旧约全书・列王纪上》，第21章第20节。

[259]原文为法语。

[260]斯蒂芬所打的电报，参看本章注[282]及有关正文。

[261]“没有实质的脊椎动物”指方才斯蒂芬所谈论的“与父同体的儿子”，即耶稣。

[262]德国谚语，原文为德语。

[263]佛提乌，见第一章注[113D。玛拉基是纪元前五世纪的小先知，同时又是勃克・穆利根的第二个名字。这是双关语，也可理解为“骗子玛拉基”。

[264]约翰・莫斯特(1846－1906)，德裔美国装订工人，无政府主义者。因主张对凤凰公园凶杀案的参加者处理从宽而深得爱尔兰人心。

[265]据外典(见本章注[212])，耶稣被钉死在十字架上后，一度前往地狱，解救被囚在那里的善人的灵魂。

[266]“自我……生死者”，此段系谐谑地模仿天主教《使徒信经》的文体，纳入了瓦伦廷(见第一章注[115])、撒伯里乌(见第一章注[116])等人的非正统见解。

[267]这是天主教《荣福经》中的第一句，见《路加福音》第2章第14节。

[268]叶芝曾称誉当时的爱尔兰戏剧家辛格为埃斯库罗期(古希腊三大悲剧家之一)再世，这里穆利根故意说得比叶芝更加夸大，把辛格比作莎士比亚。

[269]女演员指班德曼・帕默夫人(见第五章注[24])。海报上说那是她在都柏林第四百零五(不是8)次演《哈姆莱特》。

[270]爱德华・佩森・维宁(1847－1920)在《哈姆莱持之谜――试图解决一个老难题》(费城，1881)一书中说，哈姆莱特原是个女儿身，为了继承丹麦国的王位而装扮成男子。

[271]邓巴・普伦凯特・巴顿(1853－1937)自一九00年起曾任爱尔兰最高法院审判官。当时正在查寻线索，最后出版了《爱尔兰与莎士比亚的联系》(都柏林，1919)。尽管他并未说哈姆莱特是爱尔兰人，却在第五章中指出，哈姆莱特当王子的时候适值丹麦人统治爱尔兰的时期(弦外之音是，哈姆莱特有可能是爱尔兰的丹麦王子)。在序言中，他说自己曾受了审判官马登(见本章注[292])的一篇文章的启迪。

[272]鬼魂消失后，哈姆莱特曾对霍拉旭说：“不，凭着圣帕特里克的名义……”见《哈姆莱特》第1幕第5场。

[273]王尔德在《威・休・先生的肖像》(伦敦，1889)中提出，《十四行诗》是献给一个叫作威利・休斯(Wil1ieHughes)的少年演员的(见《十四行诗》第20页第 7行:“充满美色的男子，驾御着一切美色”)。最初这是由英国学者托马斯・蒂里特(1730－1786)提出来的。

[274]休依・威尔斯(HughieWills)、威廉先生本人(Mr.Wil1iamHimself)的首字均为W・H・W・H・即威廉・莎士比亚本人一说原是德国人巴伦斯特尔夫提出来的。

[275]休斯(Hughes)、砍伐(hews)、色彩(hues)，在原文中都是谐音字。

[276]王尔德(Wilde)与粗犷(wild)谐音。他因同性恋问题栽跟头(见第三章注[187])后不久，《笨拙》杂志上刊载了一首题为《斯温伯恩论王尔德》的讽刺诗，其中有“诗人名叫王尔德，但其诗是柔顺的”之句。

[277]贝斯特和斯蒂芬在同一座学校教书，这一天他们都从迪希校长手里领了薪水。

[278]“青春的华服”见《十四行诗》第2首第3行；“五种机智”见第9行，意指所有的机智。

[279]“欲望……面貌”，见布莱克的小诗。头一句是：“男人对女人有何要求?”

[280]“天神……吧”是福斯塔夫对福德大娘所说的话。作者引用时，把“我”改成了“他们”。见《温莎的风流娘儿们》第5幕第5场开头部分。

[281]参看斯蒂芬关于夏娃的冥想(第三章注[19]、[2O]和有关正文)，以及《创世记》第3章第1至6节中蛇怎样引诱夏娃吃果子的故事。

[282]这句话引自英国诗人、小说家梅瑞狄斯(1828－1909)的《理查・弗维莱尔的苦难》(伦敦，1859年初版，乔伊斯引自1875年德国托奇尼兹版)。该书描写弗维莱尔男爵按照贵族的传统教育儿子，表现人的自然本性与社会要求之间的冲突。

[283]康纳里是“船记”酒馆老板。

[284]原文为爱尔兰语。穆利根这几段话模仿辛格剧本语言的特殊风格。威克洛郡(辛格的出生地)以及爱尔兰西部的方言是把爱尔兰句法和古英语结合而成。辛格根据它来创造了富于诗意的戏剧语言。

[285]辛格经常称自己为流浪汉。他自一八九四年起留学德国、意大利和法国。以后又五次前往阿兰群岛，从岛民的生活中汲取写作素材。他和乔伊斯是一九O三年二月在巴黎结识的(见艾尔曼:《詹姆斯・乔伊斯》，第123页)。

[286]这里，斯蒂芬在回忆他和辛格在巴黎相聚的情景，并把辛格的脸比作哥特式古典建筑檐口的怪兽形排水装置。

[287]原文为西班牙语。

[288]据爱尔兰传说，莪相(参看本章注[219])一直活到五世纪，曾与帕特里克相遇，并告以结束于三世纪的英雄时代的事。

[289]克拉玛尔森林在巴黎西郊。辛格说他在那儿的森林里有个奇遇，可与莪相和帕特里克的邂逅相比拟。

[290]“我在林……傻子”是杰奎斯对公爵说的话，见《皆大欢喜》第2幕第7场。

[291]参看本章注[1]。

[292]在《亨利四世》下篇第3幕第2场中，乡村法官夏禄提到一个未出场的人物――在牛津读书的威廉・赛伦斯。爱尔兰高等法院审判官道奇森・汉密尔顿・马登(1840－1928)在《威廉・赛伦斯少爷日记――莎士比亚与伊丽莎白时代戏剧研究》中认为，莎士比亚有着丰富的野外运动的知识，对拉特兰伯爵(1576-1612)和夏禄的家乡了如指掌，从而揣测拉特兰伯爵曾替莎士比亚代笔。

[293]见第七章注[243]。

[294]见本章注[5]。

[295]公谊会教徒喜戴宽边黑帽，故有此绰号。

[296]《北方辉格》是贝尔法斯特的一家日报。《科克观察报》是科克的一家日报。《恩尼斯科尔西卫报》是恩尼斯科尔西(威克斯福德的一个市镇)的一家周报，每逢星期六出版。

[297]艾克依・摩西是十九世纪末叶爱尔兰人对试图挤进中产阶级的犹太人的蔑称。

[298]包皮的搜集者耶和华，见第一章注[61]。

[299]“生命的……火焰”，见雪莱的诗剧《解放了的普罗米修斯》(完成于1820，出版于1839)。

[300]“他”指布卢姆。加利利位于古代巴勒斯坦最北部地区(相当于今以色列北部)。“淡色的加利利”出自斯温伯恩的《普罗瑟派恩赋》(1866)。

[301]美臀，原文为希腊文。 美臀维纳斯是从罗马的尼禄金殿遗址发掘出来的一尊大理石雕像，收藏于那不勒斯国立美术馆。

[302]“天神……躲藏”，见斯温伯恩的长诗《阿塔兰忒在卡吕冬》(1866)。

[303]莎指莎士比亚。

[304]克丽雪达是意大利作家乔瓦尼・卜伽丘(1313－1375)的《十日谈》中的一个逆来顺受的女子。英国诗人杰弗里・乔叟(约1343－1400)在《坎特伯雷故事集》中引用过她的故事。

[305]潘奈洛佩，见第七章注[255]。

[306]戈尔吉亚(纪元前约488－前约375)，希腊哲学家。安提西尼，见第七章注

[307]在特洛伊战争中，尤利西斯等英雄藏在巨大的木马中潜入伊利昂城。后从里面跳出来，将该城攻陷。这里把引起这场战争的海伦比作母木马。

[308]他指莎士比亚。

[309]“封建主义艺术”，见美国诗人沃尔特・惠特曼(1819－1892)为诗集(十一月的枝桠)(1888)所写的前言《回顾曾经走过的道路》。

[310]沃尔特・雷利爵士(1554－1618)，英国探险家。他曾两度被捕，关入伦敦塔。

[311]伊丽莎白(伊丽莎为昵称)一世是英国都锌王朝的最后一个君王。

[312]示巴女王(活动时期公元前l0世纪)以富有著称。传说示巴王国位于阿拉伯半岛西南。据《旧约・列王纪上》第10章记载，所罗门王在位期间，示巴女王曾亲自率领驼队，满载金钱财宝香料前往拜见。

[313]迪克是理查德的简称。见本章注[90]。

[314]原文为“without more ado About Nothing”。莎士比亚的早期喜剧《Much Ado About Nothing)(中译为《无事生非》)这里是反过来说的。

[315]阉鸡指妻子跟别人私通的丈夫。

[316]布兰代斯的《威廉・莎士比亚》(第19页)一书全文引用了约翰・曼宁汉姆在一六0一年三月十三日的日记中对此所作的记载。曼宁汉姆听爱德华・柯尔说，有个市民的妻子看了迪克・伯比奇扮演的理查三世，便邀他当夜到自已家来。莎士比亚却抢先前往幽会，并按照那两人约好的那样，通报自己是“理查三世”。及至伯比奇来叫门，莎士比亚便派人这样向伯比奇回话。征服者威廉指英格兰第一位诺曼人国王威廉一世(约1028－1087)。他和莎士比亚同名。这里是莎士比亚自况，并把伯比奇比作同名的理查三世。

[317]菲顿，参看本章注[233]。

[318]这是波塞摩斯听信阿埃基摩的谎言(参看本章注[255])，对白己的妻子伊摩琴所作的猜疑。见《辛白林》第2幕第5场。

[319]以东拉德・梅西(1828－1907)为代表的几位英国十九世纪学者认为潘奈洛佩・里奇(见第七章注[259])乃是莎士比亚《十四行诗》中的“黑夫人”的原型。

[320]这是乔伊斯在巴黎王后大道(塞纳河右岸的闹市)所听到的娼妇拉客套话。原文为法语。苏是法国旧铜币，二十苏合一法郎。

[321]威廉・戴夫南特爵士(1606－1668)，英国诗人、剧作家和剧院经理。 其母在牛津经营皇冠客栈。莎士比亚在往返伦敦途中总在这里下塌。有人认为她是“黑夫人”的原型。戴夫南特是莎士比亚的教子，也可能是他的儿子。他曾于一六六七年与批评家、剧作家德莱顿(1631－1700)一道改编莎剧《暴风雨》。

[322]加那利(Canary)是一种白葡萄酒，产于大西洋北部的加那利群岛。此字与“金丝雀”拼法相同。

[323]安尼科克的原文是Anycock。Any的意思是“任何”，cock原指公鸡，与其他动物名连用时则指雄性。所以此词就含有“只要是公的”之意。 法国有个圣女叫玛格丽特・玛丽・阿拉科克(1647－1690)。穆利根把她的姓略加改动，就成了俏皮话。

[324]哈利指英国国王亨利八世(1491－1547)，他曾结过六次婚。他死后，接连由他的三个子女(爱德华六世、玛丽一世、伊丽莎白一世)继承王位。这里指女王伊丽莎白一世(1533－1603)。

[325]“附近……女友”一语出自草地・丁尼生(见第三章注[2O4])的《公主，杂录》(1847)一诗的序。

[326]这里把莎士比亚的妻子比作潘奈洛佩。

[327]“干吧，干吧。”套用《麦克白》第1幕第3场中女巫甲的话。

[328]约翰・杰勒德(1545－1612)，英国植物学家。他在离伦敦霍尔本的住所不近的费特小巷(毗邻舰队街)拥有一座花园。

[329]“像……风信子”，引自阿维拉古斯所说的话，见《辛白林》第4幕第2场。引用时将“你”改成了“她”。

[330]“朱诺……紫罗兰”，引自西西里国王里昂提斯的女儿潘狄塔对波希米亚王子弗罗利泽所说的话，见《冬天的故事》第4幕第8场。

[331]语出自关于老夫少妻的一个笑话。牛津某学究对朋友说，他的年轻妻子告诉他，自己怀孕了。朋友说：“天哪，你猜疑谁呢？”参看第十三章注[545]。

[332]参看本章注[242]。

[333]“不敢说出口的爱”，指同性恋。

[334]查伦顿是距巴黎东南五英里的一座小镇。

[335]“未被……的胎”，参看《十四行诗》第3首，梁宗岱译为：“因为哪里会有女人那么淑贞――她那处女的胎不愿被你耕种?”

[336]“水性扬花的女子”指苏格拉底之妻。“撕毁床头盟”出自《十四行诗》第152首。

[337]指哈姆莱特王子的亡父的鬼魂。

[338]玛丽指莎士比亚的母亲玛丽・阿登(死于1608)，约翰指莎士比亚的父亲(死于1601)。

[339]威伦是威廉的爱称，指莎士比亚(死于1616)，其妻安死于一六二三年。

[340]琼(1558－1646)是莎士比亚的姐姐。除了莎士比亚，她还有三个弟弟：爱德蒙(1569－1607)、理查德(1584－1613)、吉尔伯特(1566－?)。吉尔伯特也和琼一样长寿，只比她死得略早一点。

[341]朱迪斯是莎士比亚的二女儿。

[342]苏姗是苏珊娜的爱称，莎士比亚的大女儿。她死于一六四九年，她丈夫约翰・霍尔死于一六三五年。

[343]莎士比亚的外孙女伊丽莎白于一六四七年居孀，后再嫁给鳏夫约翰・伯纳德。这里借用哈姆莱特王子指责他母亲的话：“简直就跟杀了一个国王再去嫁给他的兄弟一样坏。”见《哈姆菜特》第1幕第4场。

[344]自从安嫁给莎士比亚(1582)，直到丈夫去世，关于安唯一的记载是她曾向过去替她父亲牧过羊的托马斯・惠廷顿借过四十先令。

[345]“天鹅之歌”见《鲁克丽丝受辱记》(1593一1594)第1613行至1649行。作者把鲁克丽丝比作天鹅。她受辱后，嘱丈夫为自己报仇雪恨，并愤而举刀自刎。

[346]莎士比亚于一六一六年三月二十五日要求他的律师起草第二份遗嘱，其中写道：“我把我次好的床和全部家具留给我妻子。”

[347]“要点”，原文为德语。从这一行到“喔啊！”可以用德国作曲家、音乐戏剧家理查德・瓦格纳(18l3一1883)的《莱茵黄金》中少女合唱的曲调来唱。

[348]参看本章注[139]及有关正文。

[349]参看本章注[2O]、[23]。

[350]原文作Mr・Secondbest Best。贝斯特(Best)这个姓，与“最好的”拼法相同。

[351]原文是拉丁文，指分居。根据一八五七年修订的婚姻法，离婚之前必须经历分居的过程。

[352]这里，古人指迪奥杰尼斯・莱厄蒂尤斯(活动于公元前3世纪)。他在《哲学家传记》一书中写道，亚理斯多德在遗嘱中曾提出与自已的妻子合葬，让妾赫皮莉斯终生住在他的一幢房子里。亚理斯多德是斯塔基莱特人，顽童和异教贤人均指的是他。内尔・格温・赫尔派利斯(1650一1687)，英国女演员，是英王查理二世(1630一1685)的情妇。他的遗言是:“不要让可怜的内尔饿肚子。”

[353]语出自流氓奥托里古斯所唱的歌，见《冬天的故事》第4幕第2场。

[354]爱德华・多顿(1843一1913)，爱尔兰评论家、传记作者、诗人。他的《莎士比亚:关于他的思想和艺术的评论研究》(伦敦，1875) 是第一部全面和系统地研究和介绍莎士比亚的英语专著。

[355]原文作Besteglinton。贝斯特和约翰・埃格林顿是两个人。这里把两个人的姓连在一起。也可译为贝斯特・埃格林顿。

[356]《尤利西斯》初版本系于一九二二年由西尔薇亚・毕奇(1887一1962)在巴黎所开的莎士比亚书店出版。

[357]多顿常说莎士比亚是人民的诗人，为人民而写作的诗人。他住在都柏林郡拉思加尔海菲尔德路的海菲尔德寓所。

[358]多顿在《莎士比亚》(1877)一文中写道:“十六世纪末叶，英国的生活中充满了欣喜欢乐。”

[359]博士指西格蒙德・弗洛伊德(1856一1939)，奥地利心理学家，精神分析学派的创始人。“既吃了……手里”：英国谚语，指凡事不能两头都占着。

[360]美的棕榈枝，参看第七章注[255]、[258]及有关正文。这里把艺术家(我们)比作美丽的海伦，把道德家比作贞节的潘奈洛佩。

[361]长口袋指吝啬的富人。

[362]托德是英国重量单位。一托德合二十八磅。

[363]约翰・奥布里(1626一1697)，英国文物研究者、作家，以替同时代人撰写传记小品而闻名。

[364]一五九四年二月，女王侍医、犹太人洛德利格・洛佩斯被控接受了西班牙间谍的贿赂，企图毒死女王和西班牙叛教者安东尼奥・佩雷斯。在证据不足的情况下，他就当众被处以绞刑，因双脚着地，被肢解时尚未咽气。三年后，莎士比亚写成《威尼斯商人》。

[365]伪哲学家指詹姆士一世(1566一1625)，他曾在苏格兰发表论文《恶魔研究》(1597)，表述对精神世界感到恐惧的想法。 一六0三年伊丽莎白一世逝世后，他继承英国王位，在时间上与《哈姆莱特》(1601)和《麦克白》(1606)的写作日期接近。

[366]无敌舰队(见第三章注[63])，原文作Almada。《爱的徒劳》(1594)中有个名叫亚马多的西班牙怪人。西德尼・李在《威廉・莎士比亚传》一书中认为，作者写此剧时显然联想到了无敌舰队的溃败。剧名中的lost一词，亦作“溃败”解。

[367]马弗京是南非开普省北部城镇，英国要塞所在地。在布尔战争(英国为一方、布尔人的德兰士瓦共和国和奥兰治共和国为另一方的战争)中，当被围困七个多月的英军于一九00年五月迫使布尔军队撤退后，英国曾举国欢腾。“马弗京的狂热”指对令人难以首肯的事所表示的过度狂热。

[368]耶稣会士指英格兰的耶稣会隐修院院长亨利・加尼特(1555一1606)。他因参加“火药阴谋”(企图在1605年国会开会时杀死信仰新教的英王詹姆斯一世，以报复当局对天主教徒施加酷刑)，被捕处死。在法庭上， 他曾作一套暖昧含糊的理论替自己辩护。西德尼・李在《威廉・莎士比亚传》(第239页)中认为， 莎士比亚写《麦克白》一剧中门房的下述独白时，曾联想到加尼特：“一定是什么讲起话来暖昧含糊的家伙。……他那条暖昧含糊的舌头却不能把他送上天堂去。”(见第2幕第3场)

[369]西德尼・李(第252页)认为，《暴风雨》(1611)的写作受到了“海洋冒险”号船员们经历的启发。该船于一六0九年开往美国弗吉尼亚州。途中，在百慕大遇难。一六一0年，船员们历尽风险始得生还，在英国引起轰动。勒南，见本章注[208]。

[370]“我们的美国堂弟”，参看第七章注[179]。凯列班为《暴风雨》中野性而丑怪的奴隶。为了纪念十九世纪爱尔兰移民扮演这个角色， 人们在凯列班前加上帕齐(爱尔兰人常用的帕特里克一名的别称)这个教名。

[371]英国作家弗朗西斯・梅尔斯(1565一1647)在所著文摘《帕拉迪斯・塔米亚》(1598;现代版本1938)一书中称誉莎士比亚的十四行诗组诗为“馨美的十四行组诗”。

[372]仙女见于爱德蒙・斯宾塞的长诗《仙后》，影射英国女王伊丽莎白一世。她是红头发，所以绰号叫“红毛贝斯”。“胖处女”指的也是她。英国评论家、剧作家约翰・丹尼斯(1657一1734)曾把莎士比亚的《温莎的风流娘儿们》(1598)改写一遍，易名《滑稽的情郎》。他在题辞中重述了莎士比亚当年是根据女王授意而写《温》剧的说法。女王想要看到福斯塔夫在一出戏中堕入情网。在《温》剧第3幕第3场中，福斯塔夫藏进一只洗衣筐，被人连同脏衣服扔迸泰晤士河。

[373]原文为拉丁文“尿”字的四种变格，与英语“掺合”一词拼法相近。

[374]都柏林大学学院院长约瑟・达林顿(1850一1939)在《莎士比亚戏剧中的天主教信条》(见1897一1898年度《新爱尔兰评论》)一文中曾说莎士比亚是个天主教徒。

[375]原文为拉丁文。关于罗马雄辩家哈帖里乌斯，古罗马皇帝奥古斯都(公元前63一公元14)曾说：“他应该受到抑制。”英国评论家本・琼森在其遗著、 评论文集《木材，又名关于人与物的发现》(1641)中，曾引用此语来评述莎士比亚。这里，把“他”改成了“我”。

[376]这是双关语：一方面暗喻十九世纪末叶德国产品开始泛滥于欧洲市场，同时又讽刺德国学者喜用“我们的莎士比亚”一词。

[377)法国磨光漆，参看本章注[176]。

[378]塞缪尔・泰勒・柯尔律治(1772一1834)，英国湖畔诗人、思想家。 他把莎士比亚看成是完美无缺的作家。“拥有万众之心的人”是他在《文学传记》(1817)第15章中对莎士比亚的称誉。

[379]、[380]原文为拉丁文。

[379]、[380]原文为拉丁文。

[381]原文为爱尔兰语。

[382]“从今天起，……毁灭啦！”出自辛格(见本章注[23])的独幕悲剧《骑马下海的人》(1904年上演)，写老妇莫尔耶的丈夫和六个儿子全溺死在大海中。

[383]弗洛伊德(见本章注[359])和个体心理学理论的创始人艾尔弗雷德・阿德勒(1870一1937)均为奥地利人，所以这里称之为新维也纳学派。

[384]“用钢圈……上”，这里套用波洛涅斯对雷欧提斯所说的话。原话是：“用钢圈箍在你的灵魂上”。见《哈姆莱特》第l幕第3场。

[385]神老爹是布莱克在同名的诗中所塑造的凶恶的神明形象。

[386]“笑眯眯的邻居”出自里昂提斯的独白，见《冬天的故事》第l幕第2场。

[387]“不可贪……公驴”，套用《摩西十诫》，原话作：“不可贪图别人的房屋；也不可贪爱别人的妻子、奴婢、牛驴，或其他东西。”见《出埃及记》第20章第17节。

[388]本・琼森在《莎士比亚戏剧全集》(1623)前面的序诗中，曾两次用“温和的莎士比亚”一词。这里把莎士比亚改为威尔(威廉的简称)。

[389]威尔(WiII)如作为人名，首字应大写。小写则可作愿望、意志及遗嘱解。

[390]原文为拉丁文。

[391]这是拉塞尔的《小路上唱的歌》(《诗集》，伦敦，1926)一诗的头两句。

[392]“那蒙面皇后”是剧中剧里伶甲的台词，皇后指伶后，见《哈姆莱特》第2幕第2场。

[393]尿盆的原文作jordan(俚语)，与《圣经》里经常提到的约旦河拼法相同，而water既指水，又暗指尿。有些清教徒把约旦河的水视为圣水，装瓶带走，用于施行洗礼时。

[394]《信徒长裤上的钩子和扣眼》(伦敦，约1650)是清教徒的一个论慈善事业的小册子;后者则是根据清教徒的另一个小册子《 使灵魂虔诚地打喷嚏的神圣的鼻烟盒》(伦敦，1653)的题目略作改动。

[395]原文为拉丁文。Chronolologos(史学家)是把一个希腊字加以拉丁化了。

[396]这里套用《马太福音》第10章第36节中耶稣的话:“人的仇敌就是自己家里的人。”

[397]参看《罗密欧与朱丽叶》第2幕第2场中，朱丽叶的话:“ 否认你的父亲，抛弃你的姓名吧。”这里指约翰・埃格林顿放弃自己原来的姓(马吉)，并背叛新教，参加神秘主义者的团体。参看本章注[l0]。

[398]原文为苏格兰方言，套用彭斯的《致自命清高的人》一诗的标题。

[399]在《亨利四世上篇》第3幕第3场中，福斯塔夫抱怨说，“那些坏朋友”(指亲王哈尔等人)害得他好久没进教堂了，并控告他们“偷酒杯”。

[400]安特里姆是北爱尔兰东北部一郡。

[401]埃格林顿在《关于硕果仔存者的两篇短论》(1896)中，对华兹华斯给予了很高评价。这里把来自农村的埃格林顿之父(一个新教牧师)比作华兹华斯。

[402]“人”，原文为爱尔兰语。这里把大马吉(即埃格林顿之父，参看本章注[397])比作华兹华斯早期诗歌里的人物马修，一个头发花白的乡村教师。

[403]蓬头乱发的庄稼汉，见《理查二世》第2幕第1场。

[404]短裤，见《亨利五世》第3幕第7场。

[405]布袜子，见《亨利四世上篇》第2幕第4场。

[406]“十座树林的泥污”，套用叶芝的戏剧《凯瑟琳伯爵夫人》(1895)第l场中谢姆斯的妻子的台词。

[407]“手执野生苹果木杖”，出自华兹华斯的《四月里的两个早晨》(1799、1800)的末段。这是以马修为主人公的诗中的一首。

[408]这里，斯蒂芬回忆起穆利根所说的话。见本章注[300]及有关正文。

[409]鲍勃・肯尼是北都柏林济贫法联合医院的一位外科大夫。斯蒂芬的母亲生前曾在这里接受施诊。

[410]莎士比亚的父亲约翰・莎士比亚于一六0一年去世，《哈姆莱特》是在这之后数月内写成并上演的。

[411]莎士比亚是一五八二年结婚的。在一六0一年，他的两个女儿苏珊娜和珠迪丝分别为十八岁和十六岁。

[412]原文为意大利文。见《神曲・地狱》第1篇首句。当时认为人的平均寿命为七十岁。

[413]大学生指哈姆莱特王子。父王遇害时，他正在德国威登堡大学读书。

[414]在《哈姆莱特》第1幕第5场中，父王的幽灵对哈姆莱特王子说，他的“灵魂……被判在夜晚到处徘徊……”

[415]“一小时……烂下去”，见《皆大欢喜》第2幕第7场中杰奎斯对公爵所说的话。引用时，将“我们”改成了“它”。

[416]神秘的遗产指天才。

[417]卡拉特林是《十日谈》第九天第三个故事中的主人公。他的两个朋友串通大夫哄骗他说，他怀了孕，他竟信以为真。

[418]原文为拉丁文。参看第二章注[38]。

[419]“母爱……东西”，是克兰利对斯蒂芬所说的话，参看《艺术家年轻时的写照》第5章。

[420]原文为拉下文。

[421]希腊神话中的克里特统治者弥诺期触怒了海神波寒冬。作为报复，波寒冬使弥诺斯之妻帕西淮爱上一头白公牛，遂生下半人半牛怪物弥诺陶洛斯。

[422]原文为法语。本世纪初巴黎红灯区的一条街。

[423]撒伯里马，参看第一章注[116]。

[424]斗犬阿奎那指托马斯・阿奎那，参看第一章注[88]。

[425]拉特兰指第五代拉特兰伯爵罗杰・曼纳斯(1576一1612)。有人认为莎剧是他或培根所写(见本章注[214])。也有人认为是莎士比亚的保护人、南安普敦伯爵三世(1573一1624)所写。这里，原文把他们的名字连到一起。参看本章注[215]。

[426]莎士比亚的喜剧《错误的喜剧》中有两对同名的孪生兄弟，所以闹出一连串误会和笑话。

[427]“大自……的”一诗出自埃格林顿的《小河中的卵石》(都柏林，1901)一书。

[428]这是文字游戏。野蔷薇(egIantine)和埃格林顿(Eglintone)拼音相近。“盘绕……薇”一词，出自弥尔顿的短诗《快乐的人》(1632)。

[429]“他……父亲”，参看第一章注[116]。

[430]在希腊宗教里，雅典娜是城市的保护女神和明智女神。她没有母亲，是从宙斯的前额中跳出来的。品达罗斯还说，是赫菲斯托斯用斧头劈开宙斯的头，便她出生的。

[431]“关键……戏！”是哈姆莱特的一句独白，见《哈姆莱特》第2幕第2场。

[432]莎士比亚的母亲名叫玛丽・亚登，而《皆大欢喜》一剧是以亚登森林为背景的。

[433]伏伦妮姬是《科利奥兰纳斯》(1607)的主人公科利奥兰纳斯的母亲。

[434]埃及肉锅的典故，见第三章注[81]。埃及女王克莉奥佩特拉秀色可餐，所以这里把她比作肉锅。

[435]克瑞西达是《特洛伊罗斯与克瑞西达》中的女主人公，系向希腊投降的特洛亚祭司之女。

[436]作者这里是利用“公谊会”(音译为贵格会)作文章。“贵格”(quake)原意为“震动”。 此会创始人乔治・福克斯于一六四八年在基督教内部闹过一次革命，反对一系列教条，自称“震动派”(Quaker，即造反之意)， 因而备受迫害。此会反对一切战争，两次大战均拒服兵役。参看本章注[1]。

[437]参看本章注[340]。

[438]伍尔(WulI)是威廉的俗称。西德尼・李(参看本章注[223])在《威廉・莎士比亚传》(第42页)中转述了莎士比亚在《皆大欢喜》一剧中扮演仆人亚当的故事。

[439]吃香肠说明吉尔伯特拿到的是池座里的站票。参看本章注[83]。

[440]“姓名有什么意义?”出自朱丽叶的独白，见《罗密欧与朱丽叶》第2幕第2场。

[441]()内的音乐术语均为意大利文，下同。

[442]这两句诗出自奥利弗・圣约翰・戈加蒂(参看第一章注[l])的未出版的黄色小诗《医学生迪克和医学生戴维》。作者在都柏林三一学院学医时， 与乔伊斯同学。毕业后行医之余写了几本书。

[443]《李尔王》是一六0六年圣诞节期间在宫廷上演的；次年年底，爱德蒙・莎士比亚逝世，下葬于萨瑟克郡。

[444]“可是谁……名声”是旗官伊阿古在摩尔族贵胄奥瑟罗面前诽谤奥瑟罗的副将凯西奥而说的话。见《奥瑟罗》第3幕第3场。

[445]指《十四行诗》第135、136首。

[446]冈特・欧・约翰(1340一1399)是英格兰亲王，兰开斯特公爵。在《理查二世》第2幕第1场中，年老多病的他念念不忘自已的姓氏，说了不少俏皮话。

[447]盾面的纹章上自右上至左下的右斜线。

[448]原文为拉丁文，引自乡人考斯塔德对侍童毛子说的话。见《爱的徒劳》第5幕第l场。

[449]见本章注[440]。

[450]丹麦天文学家布拉赫・第谷(1546一1601)于一五七二年十一月十一日发现仙后座中出现了一颗比金星还亮的新星，起名第谷新星。按莎士比亚出生于一五六四年四月二十三日，当时是八岁半。

[451]喷火龙见于北欧神。

[452]仙后座内的五颗亮星，如以线联接，形似拉丁字母W。那是“威廉”的第一个字母。

[453]肖特利是安・哈撒韦的娘家所在的沃利克州一村庄。

[454]一五七四年三月以后，第谷新星不再能用肉眼看到。当时莎士比亚是九岁十个月。

[455]“求爱”和“占有”，摘引自萨福克的旁白，原话是：“她既美如天仙，就该向她求爱;她既是个女人，就能将她占有。”见《亨利六世》第5幕第3场。 此处反过来，改成男人被女人求爱和占有。

[456]见《驯悍记》第2幕第l场中彼特鲁乔的台词。

[457]原文为希腊语。

[458]原文(BousStephanoumenos)为学生们所杜撰的希腊语。在《艺术家年轻时的写照》第4章中，当立志做艺术家的斯蒂芬向海滨走去时，同学们一遍遍地这么朝他喊叫。

[459]原文为意大利语。杰林多是男子名。文中最后的S・D，是双关语。既是斯蒂芬、迪达靳斯的首字，又是意大利语“suadonna”(“他的情妇”)的缩写。

[460]参看《出埃及记》第13章第22节。原典作“白天有云柱，夜间有火柱”。

[461]原文作Stephanos，系希腊文，意思是王冠、花环。

[462]参看第一章注[9]。

[463]纽黑文是英格生东萨塞克斯郡的港口城镇。濒临英吉利海峡，与巴黎西北的海港迪耶普遥遥相望。

[464]原文作lapwing，又名田凫。在《哈姆莱特》第5幕第2场中，霍拉旭说：“这一只风头麦鸡顶着壳儿逃走了。”从语源上来看，这是由lap(跳跃的过去式)和wing(飞行)组成的复合词。wing又作“翼”解，故联系到下文中伊卡洛斯的蜡翼。

[465]伊卡洛斯是希腊神话中迪达勒斯之子。他借助于蜡翼飞上天空，随父逃离克瑞特。但因违背父嘱，飞得过高，蜡翼为太阳融化，遂坠海而死。

[466]原文为拉丁文。在《艺术家年轻时的写照》第五章末尾，斯蒂芬也曾以伊卡洛斯自况，呼吁道：“老父亲，古老的巧匠，现在请尽量给我一切帮助吧。”

[467]格林指德国民间文学研究者雅科布(1785一1863)和威廉(1786一1859)。他们合编的童话集里有以弟兄为题材的故事，但以睡美人为女主人公的《白雪公主》里，并没有这样的情节。

[468]贝斯特弟兄是本世纪初在都柏林开业的两个著名的爱尔兰律师。贝斯特和“最好”(best)，拼法相同。

[469]帕特里克・S・迪宁神父(1860一1934)，爱尔兰作家、翻译家、编辑及语言学家。

[470]这里套用约翰・弗莱彻(1579一1625)所写《两位高贵的亲族》一剧的题目。有些学者认为，莎士比亚也多少参与了该剧的写作。

[471]据艾尔曼的《詹姆斯・乔伊斯》(第144页)，乔伊斯的胞弟斯坦尼斯劳斯曾一度在药剂师的店里当店员。

[472]在《皆大欢喜》第1幕第2场中，西莉娅曾说：“傻瓜的愚蠢往往是聪明人的砺石。”这里，斯蒂芬把他弟弟斯坦尼斯劳斯、克兰利和穆利根都当成是促使自己思考问题的人。

[473]据《创世记》第25至27章，以扫和雅各是双胞胎。以扫生就浑身是毛，雅各用一碗红豆汤从以扫那里换来了长子的权利。他们的父亲以撒双目失明后，雅备冒充哥哥去接受祝福。以撤觉得那声音像是雅各的，但因雅各用山羊毛裹住双手和脖子，以撒摸了摸，以为站在自己面前的真是长子，就祝福了他，让他统治所有的弟兄。

[474]这里把理直三世的一句台词略加改动。原话是：“用我的王位换一匹马！”见《理查三世》第5幕第4场。

[475]“世界上的天使”，这里指国王。语出自《辛白林》第4幕第2场中贵族培拉律斯袒护王子的台词。

[476]莎士比亚在英国史学家拉雯尔・霍林希德(?一约1580)所著《英格兰、苏格兰、爱尔兰编年史》(1857年，第二版)中找到了一个史前世纪的故事(写一个首领宠爱坏儿子，歧视好儿子)，把它与菲利普・锡德尼的牧歌传奇《阿卡迪亚》(1590)第2卷第10章中的一个境遇凄凉的国王的末路糅合在一起，写成了《李尔王》(1606)。

[477]原文为法语。

[478]莎士比亚的《冬天的故事》(1610)一剧直接取材于英国散文家罗伯特・格林(1558?一1592)的田园诗《潘多斯托》(1588)，“把波希尼亚搬到海边” 这个错误即由此而来。

[479]在《特洛伊罗斯与克瑞西达》(1602)第2幕第2场中，赫克托(不是尤利西斯)曾说，“正像亚理斯多德所说的那种……”按亚理斯多德(公元前384一前322)的年代迟于赫克托(公元前十二、三世纪)将近一千年。

[480]这里反用《马太福音》第26章第ll节的话。原话是：“常常会有穷人跟你们在一起。”意思是莎士比亚的剧本中很少写穷人。

[481]普洛斯彼罗是《暴风雨》中的旧米兰公爵，精通魔术。他的兄弟篡了位，并把他和他的女儿米兰达一道放逐到海岛上。杖指魔杖，书指魔术书。

[482]这里把人生比作古希腊悲剧的四个阶段。

[483]西德尼・李在《威廉・莎士比亚传》(第266一267页)中写道，莎士比亚曾支持自己的女儿苏珊娜于一六一三年向宗教法庭控告莱恩以诽谤罪，因为莱恩首先控告已婚的苏珊娜与一个叫作拉尔夫・霍尔的人通奸。届时莱恩未出庭，因而被教会开除。

[484]梅努斯是爱尔兰基尔代尔郡一镇，位于都柏林东北十五英里。当地的圣帕特里克学院是不列颠诸岛中最大的天主教神学院。斯蒂芬这句话套自《梅努斯教义问答集》(都柏林，1882)。

[485]莎士比亚的墓志铭中写着：不得掘开这块碑石，移动遗骨。因而，死在他后面的妻子安就无法与他合葬了。

[486]关于克莉奥佩特拉，爱诺巴勃斯曾说：“年龄不能使她衰老，习惯也腐蚀不了她那变幻无穷的伎俩……”见《安东尼与克莉奥佩特拉》第2幕第3场。这里套用时把“她”改成“它”，用以指原罪。

[487]“他是圣灵”，参看第十五章注[409]，“他什么都是”引自哈姆莱待对霍拉旭说的话。原指哈姆莱特的亡父。见《哈姆莱特》第l幕第2场。

[488]在《辛白林》中，阿埃基摩靠谎言促使伊摩琴的丈夫怀疑她与阿埃基摩私通。在《奥瑟罗》中，伊阿古欺骗奥瑟罗，说其妻子苔丝狄蒙娜与凯西奥私通。这里把他们比作凌辱妇女者。而伊阿古还毫无根据地猜疑自己的妻子与奥瑟罗和凯西奥私通。见《奥瑟罗》第l幕第3场和第2幕第l场。

[489]荷西是法国小说家普罗斯柏・梅里美(1803一1870)的中篇小说《嘉尔曼》(1845)中的一个纯真的青年。他为了爱吉卜赛女郎嘉尔曼而堕落成为强盗， 最后将嘉尔曼杀死，自己也被处绞刑。法国作曲家乔治・比才(1838一1875) 据此改编的同名歌剧，一直脍炙人口。

[490]摩尔大指奥瑟罗。

[491]“咕咕！咕咕！啊，可怕的声音！”是《爱的徒劳》第5幕第2场末尾《春之歌》中的一行。下一行是“害得做丈夫的肉跳心惊”。咕咕在英文中既是布谷鸟，又指布谷鸟的啼声。Cuckold(奸妇的本夫)一词便是由cuckoo引伸而来，而cuckoo也含有“傻子”或“做了王八的丈夫”意。

[492]原文作“reverbed”。此词曾出现于《李尔王》第1幕第l场肯特的台词中:“那些声音低沉的人，发不出空洞的回响，然而并非无情无义。”

[493]小仲马(1824一1895)是大仲马(1802一1870)的私生子。父子均名亚历山大，并且都是法国作家。“小”和“大”，原文都是法语。

[494]“男人……喜悦”是哈姆莱特王子对朝臣所说的话。见《哈姆莱特》第2幕第2场。两个“他”，原剧中均作“我”，是哈姆菜特自指。引用时改为“他”，以指莎士比亚。

[495]“从小到大”，见《哈姆莱特》第5幕第1场中掘墓者甲的台词。

[496]据莎士比亚在“新地”大宅的庭园里栽下一棵桑树，以便让后世知道他被埋葬在什么地方。

[497]在《罗密欧与朱丽叶》第3幕第2场中，当朱丽叶误以为罗密欧在决斗中被提伯尔特杀死后，她巴望自己“赶快停止呼吸，……去和罗密欧同眠在一个墓穴里”。

[498]“大”、“小”，原文为法语。

[499]在英文中，富裕、兴旺的(prosperous)与普洛斯彼罗(Prospero)拼音相近。

[500]指莎士比亚的头一个外孙女伊丽莎白・霍尔。她是苏珊娜之女，生于一八0八年。

[501]美国作曲家斯蒂芬・福斯特(1826一1864)所作歌曲《内德大叔》中有“好黑人注定去的地方”之句，这里把“好”改成了“坏”。

[502]比利时象征主义诗人和剧作家莫里斯・梅特林克(1862一1949)在《明智和命运》(巴黎，1899)中写道:“我们永远不要忘记， 与我们的本性不相符的事是不会发生在我们身上的……倘若犹大今晚外出，他就会走向犹大，从而有了出卖的机会;然而倘若苏格拉底打开自己的门，他会发现苏格拉底睡在门口的台阶上， 从而就有了变得聪明起来的机会。”乔伊斯引用时做了改动。

[503]当晚斯蒂芬反用了“从自我内部穿行”一语，参看第十五章注[408]。下文中的“恋爱中的弟兄们”，原文作brothers一in一love，与brother一in一law(姻兄弟)拼法相近。这是文字游戏。

[504]据《创世记》第1章，天主在第一天创造了光，相隔两天又创造了太阳。

[505]原文为意大利语。

[506]参看本章注[487]。

[507]这一段套用哈姆莱特对奥菲利娅所说的话(“再不要结什么婚了”。见《哈姆莱特》第3幕第l场)和耶稣的一段训话(“他们要跟天上的天使一样，也不娶也不嫁”，见，《马太福音》第22章第30节)。

[508]原文为希腊文。古希腊理论力学创始人阿基米德(约公元前287一约前212)奉命测定王冠含金的纯度，他洗澡时看到澡水溢出，从而发现了阿基米德浮力定理。这句是他当时所说的话。

[509]这里，他以与自己同名的先知玛拉基自况，参看第一章注[l0l]。《玛拉基书》第1章第1节有“上主交代玛拉基转告以色列人民的信息”语。

[510]“己经……再结婚”引自哈姆莱特对奥菲利娅所说的一段话。见《哈姆莱特》第3幕第l场。

[511]这里，把Eglinton改为Eclecticon，以表示约翰・埃格林顿的观点是把当时流行的观点加以折衷(eclectic)汇集而成。

[512]爱德华・多顿(见本章注[345])在《莎士比亚:关于他的思想和艺术的评论研究》一书(第126页)中写道：莎士比亚把哈姆莱特塑造得很神秘， “永远不可能完全解释清楚。”

[513]卡尔・勃莱布楚(1859一1928)，德国诗人、评论家、戏剧家。他在《莎士比亚问题解答》(柏林，1907)中提出拉特兰(见本章注[425]) 是真正的莎剧写作者。比在他之前提出这一论点的马登(参看本章注[292])较有说服力。“先生”，原文为德语。

[514]“我信……我！”这原是求耶稣给自己的儿子治病的父亲所说的话。见《马可福音》第9章第24节。

[515]原文为希腊文。

[516]《达娜》第4期(1904年8月)上刊有乔伊斯的一首题名《歌》的诗，后收入《室内乐集》(伦敦，1907)。

[517]见本章注[179]。下文中的弗莱德琳是指弗雷德・瑞安咬字不清，把自己的姓名念成那个音调。

[518]这是奥利弗・圣约翰・戈加蒂(见本章注[442])所搜集的两篇民间故事中的人物。其中“新手内莉”还曾出现在戈加蒂的《诗集》(纽约，1954)里。

[519]《反异教大全》是圣托马斯・亚奎那的著作。

[520]安古斯・奥格神是爱尔兰神话中掌管青春、美和诗的神。他发现经常出现在梦境中的理想伴侣原来是一只白天鹅，自已便也变成白天鹅，与她比翼腾空而去。

[521]这里，斯蒂芬想起了当天早晨离开圆形炮塔之前穆利根对他说的那番话。参看第一章。

[522]、[523]原文为法语。

[522]、[523]原文为法语。

[524]原文作shakes，是双关语。既可作莎士比亚的简称，又作“摇晃不定”解。

[525]这里把《哈姆莱特》第5幕第l场中哈姆莱特对掘墓工甲所说的话略作了改动。原话是：“庄稼汉的脚趾头和朝廷贵人的脚后跟挨得那么近，足以磨破那上面的冻疮了。”原文作“gall his kibe”，转义为:触及他的痛处。

[526]原文作“aII amort”，是伊丽莎白时代的用语，见《驯悍记》第4幕第3场中彼特鲁乔对凯瑟丽娜所说的话：“不要这样垂头丧气的……”

[527]这里，穆利根把谈兴正浓的利斯特比作《仲夏夜之梦》中那个戴着驴头和仙后提泰妮娅谈情说爱的织工波顿。

[528]“明契……如镜”引自弥尔顿曲《利西达斯》一诗。明契乌斯河在意大利，流经罗马诗人维吉尔的家乡安第斯。

[529]迫克(Puck)是中世纪英格兰民间传说牛的顽皮小妖，系《仲夏夜之梦》的主角之一。勃克(Buck)也喜欢搞恶作剧，两个名字拼音又相近，所以这么称呼他。

[530]这里把罗伯特・彭斯的《约翰・安德森，我的乖》(1789一1790)一诗中的“安德森”改成了“埃格林顿”。安德森和埃格林顿都是秃头。

[531]“没……林唐”，套用《艺妓》(见第六章注[62])中的歌词，略作改动。

[532]管子工会会馆是机工协会会馆的俗称。一九0四年夏季， 该会馆被改建成阿贝剧院。该剧院可以说是爱尔兰文艺复兴运动的摇篮，以叶芝为首的爱尔兰国民戏剧协会即设在这里。“我……臭味”一语暗指僧侣们曾竭力制止在该剧院上演新剧作。

[533]关于一五八六年左右莎士比亚离开家乡的原因，传说最多的是他偷了附近的乡绅托马斯・路希的鹿，挨了一顿鞭子，因而逃往伦敦。

[534]原文为法语。巴尔扎克有一部小说也题名为《三十岁的女人》(1831)。

[535]这句话与本章注[359]的“你不能既吃了点心又还拿在手里”相互呼应。

[536]见《十四行诗》第126首第9行：“可是你得怕她，你，她的小乖乘!”

[537]柏拉图在《菲多篇》中写道，苏格拉底抚摩着弟子菲多的头发说：“我想，菲多，当你明白过来，就会把这头秀发剪掉啦。”意思是说，菲多那套血气方刚的争辩也将随之而去。

[538]在第十五章中，醉汉非利普说:“他不姓阿特金森。”(见该章注[515])那儿指阿贝剧院。

[539]这首打油诗的文体模仿叶芝的《贝尔和艾琳》(19O3)一诗第1段。

[540]“继续嘲弄吧”，参看本章注[262]。“认识自己”是坐落于德尔斐的古希腊阿波罗神殿所标出的警句，另一句是“适可而止”。

[541]这里，勃克・穆利根在挖苦为亡母戴孝的斯蒂芬。

[542]格雷戈里夫人(1852一1932)，爱尔兰剧作家。原名伊萨贝拉・奥古斯塔・佩尔斯。她于一八九二年丧失后，开始文学生涯，一九0四年任阿贝剧院经理。 乔伊斯写过一篇批评其《诗人与梦想家》的文章，刊载在朗沃思主编的《每日快报》(1903年3月26日)上。叶芝曾称赞格雷戈里夫人的书为“当代爱尔兰首屈一指的”， 下文中的“令人想起荷马”，系穆利根添加的。

[543]“九个……舞”，见《仲夏夜之梦》第2幕第l场这是英国乡村的一种由九个男人组成的民间舞蹈，通常在五朔节时表演。此词源于“莫里斯科”(morisco)，意力“摩尔人”的。

[544]《出埃及记》第34章第29节有“摩西带着十诫的法版从西奈山下来”之语，前文(见第一章注[101])中提到穆利根与先知同名，所以这里把他手中的纸片说成是法版。

[545]意译就是“睾丸的穆利根”。

[546]原文为意大利语。

[547]在英国大学里，托比和克雷布这两个名字均含有猥亵意。

[548]坎姆顿会堂原是卡姆登街的一座货栈，爱尔兰国民剧院协会迁入阿贝戏院之前曾设于此。

[549]爱琳是爱尔兰的古称，参看第七章注[46]。

[550]这里，斯蒂芬回忆起他曾站在门廊前的台阶上看鸟的飞翔，试试鸟占(古罗马时期开始的一种占卜办法。通过观察鸟的飞翔情况以判断神的旨意)的往事。参看《艺术家年轻时的写照》第5章。

[551]参看第三章注[158]及有关正文。

[552]指刚刚从二人当中穿过去的布卢姆。

[553]“我怕你，老水手”，出自柯尔律治的《老水手》(1798)一诗。

[554]这是常见于中世纪城堡的一种结实的铁格子吊门。下端有一排倒刺。门卡在两边的承溜当中，可以上下移动。

[555]“让我们……鼻孔”，出自《辛白林》第5幕第5场末尾。