Book Two Episode Twelve: Cyclops

It's a man's world
Violence, heroism, machismo, nationalism, anti-Semitism, misogyny, homophobia, everything you love to hate about the male of the species is here, and all wrapped up in a big box o' funny. "Cyclops" is where Joyce compacts all of what he sees as wrong with his country and his people into an aesthetic thesis statement of sorts. It is also where we get to see Joyce's humor in full throttle, from the virtuoso use of local language and color, to the outlandish parodies which tussle with the unnamed narrator for the reader's attention. It is one of my absolute favorite episodes. The parodies in particular are killer.

Taking place in Barney Kiernan's public house this is clearly a mens only affair. Not that the rest of Ulysses isn't. If one took Ulysses at face value as an indicator of Dublin city life, they'd be left to conclude that there were five men for every woman. Yes, Ulysses is a sausagefest (as the kids like to say nowadays), but then I suppose that at the turn of the century Dublin public life was the domain of men. And because it was primarily the men who determined the course and fate of the city and the nation, it is the men of Ireland who bear the brunt of Joyce's satirical scorn.

I imagine the only thing which might cause you some difficulty in reading this episode is the narrative arm wrestling match that takes place between the unidentified narrator of the happenings in Barney Kiernan's -- the "I" of "Cyclops" (pun intended?) -- and the apparent myriad of voices that intervene out of the blue. Undoubtedly, if you have not had prior warning before starting the episode, your first encounter with this sudden style shift would be confusing. But I suppose (hope) you'd eventually figure out Joyce's little game and just continue on as if nothing was amiss. What purpose these narrative intrusions serve, I cannot say for sure, but they should not be skipped, ignored, or blown through without regard. If only for their sheer humor you should read them in full. They are hilarious. And of course, they provide necessary content and give us valuable pieces to our puzzle as we try to put together broader meanings of the story.

For instance, the final parody which begins "When, lo, there came about them all a great brightness..." is both a description of Bloom's narrow escape from being brained by a biscuit tin -- a modern reenactment of Odysseus' escape from the leader of the Cyclops's, Polyphemus in Homer's Odyssey -- and a direct correlation of Bloom as both Christ (ascending to heaven) and Elijah the heralding prophet. Note also Joyce's virtuoso and economy at work in this passage as he compacts a number of symbols into one tight paragraph while simultaneously doing justice to Homer's original. We see the Citizen (Polyphemus) blinded by fire, "Mercy of God the sun was in his eyes...," hurling his stone at the fleeing ship (tin and coach respectively), while Odysseus-Bloom baits him with insults. And remember, all of the Bloomian associations (Odysseus, Christ, Elijah) have been pre-established before this point. That's craftsmanship people!

The episode's narrator himself, the unidentified "I", is a bit of a mystery. Some random Dubliner, a collector of bad debts and a barfly (what male Dubliner isn't a barfly in Ulysses?), he has been empowered by Joyce to take the reins and continue the tale of Bloom's wanderings. This is a departure from the other episodes where the story (when it's not presented in interior monologue) is given to us via a third-person omniscient narrator. If I haven't mentioned it before, this third person narrator is often referred to as the "Arranger" by many scholars. I only mention it now because some of those same scholars believe the voice(s) jostling with the nameless I is this same Arranger. I am not convinced this is the case, and I suppose for our purposes it doesn't matter one way or the other. Just thought I'd put it out there as some extra information.

In any event, the nameless I's narration is very easy to follow, which should be a relief to you as it makes the episode proceed with relative ease. On top of this he's a hoot (to quote the state of Minnesota). This episode should provide you with some much needed entertainment as we slowly make our way toward the homestretch of Ulysses.


Raw Notes

Violence, heroism, machismo, nationalism, anti-Semitism, misogyny, homophobia.


"Jesus, I had to laugh at the little jewy getting his shirt out."

"You saw his ghost then, says Joe, God between us and harm."

"...I'm told those jewies does have a sort of a queer odour coming off them for dogs..."

"The fat heap he married is a nice old phenomenon with a back on her like a ballalley."

"Pity about her, says the citizen. Or any other woman marries a half and half."

"A dishonoured wife, says the citizen, that's what's the cause of all our misfortunes."

"The strangers, says the citizen. Our own fault. We let them come in."

"Boylan plunged two quid on my tip Sceptre for himself and a lady friend."

"But, says Bloom, isn't discipline the same everywhere. I mean wouldn't it be the same here if you put force against force?"