Ulysses - Gabler Edition [320]
Felix Bartholdy Mendelssohn (composer), Baruch Spinoza (philosopher), Mendoza (pugilist), Ferdinand Lassalle (reformer, duellist).
What fragments of verse from the ancient Hebrew and ancient Irish languages were cited with modulations of voice and translation of texts by guest to host and by host to guest?
By Stephen: suil, suil, suil arun, suil go siocair agus suil go cuin (walk, walk, walk your way, walk in safety, walk with care).
By Bloom: kifeloch, harimon rakatejch m’baad l’zamatejch (thy temple amid thy hair is as a slice of pomegranate).
How was a glyphic comparison of the phonic symbols of both languages made in substantiation of the oral comparison?
By juxtaposition. On the penultimate blank page of a book of inferior literary style, entituled Sweets of Sin (produced by Bloom and so manipulated that its front cover came in contact with the surface of the table) with a pencil (supplied by Stephen) Stephen wrote the Irish characters for gee, eh, dee, em, simple and modified, and Bloom in turn wrote the Hebrew characters ghimel, aleph, daleth and (in the absence of mem) a substituted qoph, explaining their arithmetical values as ordinal and cardinal numbers, videlicet 3, 1, 4, and 100.
Was the knowledge possessed by both of each of these languages, the extinct and the revived, theoretical or practical?
Theoretical, being confined to certain grammatical rules of accidence and syntax and practically excluding vocabulary.
What points of contact existed between these languages and between the peoples who spoke them?
The presence of guttural sounds, diacritic aspirations, epenthetic and servile letters in both languages: their antiquity, both having been taught on the plain of Shinar 242 years after the deluge in the seminary instituted by Fenius Farsaigh, descendant of Noah, progenitor of Israel, and ascendant of Heber and Heremon, progenitors of Ireland: their archaeological, genealogical, hagiographical, exegetical, homiletic, toponomastic, historical and religious literatures comprising the works of rabbis and culdees, Torah, Talmud (Mischna and Ghemara), Massor, Pentateuch, Book of the Dun Cow, Book of Ballymote, Garland of Howth, Book of Kells: their dispersal, persecution, survival and revival: the isolation of their synagogical and ecclesiastical rites in ghetto (S. Mary’s Abbey) and masshouse (Adam and Eve’s tavern): the proscription of their national costumes in penal laws and jewish dress acts: the restoration in Chanah David of Zion and the possibility of Irish political autonomy or devolution.
What anthem did Bloom chant partially in anticipation of that multiple, ethnically irreducible consummation?
Kolod balejwaw pnimah
Nefesch, jehudi, homijah.
Why was the chant arrested at the conclusion of this first distich?
In consequence of defective mnemotechnic.
How did the chanter compensate for this deficiency?
By a periphrastic version of the general text.
In what common study did their mutual reflections merge?
The increasing simplification traceable from the Egyptian epigraphic hieroglyphs to the Greek and Roman alphabets and the anticipation of modern stenography and telegraphic code in the cuneiform inscriptions (Semitic) and the virgular quinquecostate ogham writing (Celtic).
Did the guest comply with his host’s request?
Doubly, by appending his signature in Irish and Roman characters.
What was Stephen’s auditive sensation?
He heard in a profound ancient male unfamiliar melody the accumulation of the past.
What was Bloom’s visual sensation?
He saw in a quick young male familiar form the predestination of a future.
What were Stephen’s and Bloom’s quasisimultaneous volitional quasisensations of concealed identities?
Visually, Stephen’s: The traditional figure of hypostasis, depicted by Johannes Damascenus, Lentulus Romanus and Epiphanius Monachus as leucodermic, sesquipedalian with winedark hair.
Auditively, Bloom’s: The traditional accent of the ecstasy of catastrophe.
What future careers