#007.0 - Telemachus - Agenbite of Inwit

We are using the original 1922 First Printing by Shakespeare & Co. - section attached

"He turned to Stephen and said:" - to - "And going forth he met Butterfly"

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I'm Stony

After the milkwoman departs, we transition seamlessly into another moment of witty banter. Buck Mulligan, ever the sharp-tongued usurper, turns to Stephen and quips:

“I’m stony. Hurry out to your school kip and bring us back some money.”

Curious about the phrase “stony,” I turned to the Oxford English Dictionary, which defines “stony broke” as a common 20th-century expression for being completely penniless. This bit of slang fits perfectly with Buck’s cheeky, cavalier attitude.

Continuing with the theme of the usurper, Buck directs Stephen to go to his workplace—a school, as the dialogue suggests—to fetch some money for their shared benefit. It’s a subtle power move, underscoring the dynamic where Buck asserts control, even in the smallest of matters.

Buck then elevates the scene with playful grandeur, referring to what we assume is their trio as “bards” and declaring they must “junket.”

Intrigued, I delved deeper into these terms. Historically, bards were highly regarded poets and storytellers, known for reciting epic tales and preserving cultural memory. Meanwhile, junket—a less familiar term—refers to a feast, often indulgent and celebratory.

The imagery becomes clear: Buck is humorously positioning them as modern-day bards, needing sustenance and drink to fuel their creative pursuits—or perhaps just their revelry. In his typically irreverent fashion, Buck casts Stephen in the role of provider, while painting their mundane needs as part of a noble, almost mythical tradition.

In short, Buck is urging Stephen to bring back money so they can feast and drink like the “bards” they aspire—or pretend—to be. It’s a moment that blends humor, irony, and the constant tension between high ideals and earthly appetites, a hallmark of Ulysses.

Ireland Expects That Every Man This Day Will Do His Duty

The next line had me diving into a bit of research, as I wanted to trace its historical origins. I was vaguely familiar with phrases like “every dog has its day,” and I had a sense I’d heard this one before, but I wasn’t sure where it came from. As it turns out, this saying originates from none other than Admiral Horatio Nelson, who famously signaled his fleet before the Battle of Trafalgar in 1805 with the rousing words:

“England expects that every man will do his duty.”

This battle was apart of the Napoleonic Wars Britain vs France and Spain.

Nelson’s proclamation was a call to heroism, steeped in patriotism and valor. Buck Mulligan, however, flips this noble sentiment on its head, cheekily adapting it to Ireland:

“Ireland expects that every man this day will do his duty.”

In true Buck fashion, the lofty ideal of national duty is repurposed to fit the decidedly less grandiose moment in Ulysses. Rather than rallying troops to battle, Buck’s version serves as a playful jab at Irish stereotypes, invoking the image of a tipsy, carefree Ireland rather than a nation called to arms.

This reimagined slogan reflects Mulligan’s irreverent approach to tradition, poking fun at the weighty expectations placed on individuals while exposing the absurdity of such high-minded language in their mundane, distinctly unheroic circumstances. With a flick of wit, Buck turns a call to greatness into a toast to irony, a gesture that encapsulates his role in the novel as a playful yet incisive critic of cultural and historical norms.

The Unclean Bard

Buck Mulligan casually remarks to Haines that they need to head to the National Library. For a brief moment, Buck appears practical—an unusual occurrence, wouldn’t you say, Joyce?

But, of course, there’s a detour. Buck insists they must swim first. Then comes an offhand comment that sheds light on Stephen: Buck, ever the provocateur, claims that Stephen only bathes once a month.

If you haven’t read A Portrait of the Artist as a Young Man, this might seem like a throwaway jab. But for those familiar with Stephen’s earlier struggles, this detail resonates. In Portrait, we see Stephen avoiding swimming with his classmates, underscoring his preference for intellectual and imaginative pursuits over physical, communal activities. His reluctance to engage with water symbolically aligns with his inner struggles and his detachment from the visceral aspects of life.

Joyce’s decision to tie Stephen’s character to water—both its presence and his avoidance of it—is a masterful touch. The element becomes a reflection of Stephen’s intellectual isolation, a philosophical representation of his tendency to dwell in the abstract rather than the tangible. It’s not just about Stephen disliking water; it’s about water as a metaphor for immersion in life itself, something Stephen resists in favor of his cerebral, artistic pursuits.

All Ireland is Washed by the Gulfstream

Before diving headlong into the web of Stephen’s intellectual musings, let’s pause to rinse off a few lines that ripple through Telemachus. As always, Stephen’s words come layered with both literal meaning and deeper implications, while Buck Mulligan, ever the collector of wit, sees profit in Stephen’s mind.

The lines in question are:

• “All Ireland is washed by the Gulf Stream.”

• “The cracked looking glass of a servant being the symbol of Irish art.”

• And, naturally, a nod to Hamlet.

As these lines surface, we’re drawn into Stephen’s internal stream of thought, where he adds:

“Speaking to me. They wash and tub and scrub. Agenbite of inwit. Conscience. Yet here’s a spot.”

These seemingly scattered reflections echo the restless, spiraling thoughts of a hyperactive mind—or perhaps they’re the breadcrumbs of deeper connections yet to be uncovered. For now, let’s tether ourselves to Stephen’s first comment: “All Ireland is washed by the Gulf Stream.”

Deciphering the Gulf Stream

Stephen rarely utters anything without a submerged meaning, and this line is no exception. On a literal level, it’s a geographical truth: the Gulf Stream flows across the Atlantic, bringing warmth and influencing Europe’s climate, including Ireland. But metaphorically? There’s something richer to explore.

Stephen’s remark could reflect his view of Ireland as a nation that is influenced but not transformed, much like being washed by the Gulf Stream without fully diving in. It suggests Ireland’s potential—its cultural greatness—being diluted or “washed out,” much as Stephen feels his own intellectual depth is undervalued. Perhaps, too, there’s a tinge of resentment here: Ireland, like Stephen, is stagnant, failing to rise above its circumstances while others, like Buck (with his aspirations to become a doctor), move forward with ease. That’s my take, at least.

Holdfast of the Hammock

Joyce doesn’t let us forget the physical details of the Martello Tower, grounding us in its peculiar atmosphere:

• Stephen drizzles honey over his bread.

• Haines dons a scarf over his tennis shirt and soft grey hat.

• A hook holds a hammock in place—a small but telling glimpse of the tower’s lived-in character.

• Buck fusses with his stiff collar, rebellious tie, and dangling watch chain.

• And Stephen, ever the artist, wears his signature Latin Quarter hat.

These details, woven subtly into the narrative, remind us of their shared yet distinctly different existences within the tower’s stone walls.

A Server of a Servant

Money (or the lack thereof) is a constant itch for Stephen. He asks Haines if he plans to make money off the sayings he collects, a veiled jab at how others profit from intellectual labor. Meanwhile, Buck admonishes Stephen for his gloom, claiming he’s damaging his own credibility in front of Haines. Buck, with his paternal touch, lays a hand on Stephen’s arm, positioning himself as the mentor Stephen supposedly needs.

But in a rare moment of resonance, Buck offers advice that feels oddly sincere: “Why don’t you play them as I do?” Buck’s pragmatic worldview stands in sharp contrast to Stephen’s brooding intellectualism, urging him to feign optimism to get what he wants. It’s a small bridge between their divergent philosophies, though Buck soon reverts to his carefree self, shedding garments for a dip in the sea.

From Her or From Him

Stephen’s cryptic thoughts here demand some unpacking. The “her” likely refers to the milkwoman, a maternal symbol of Ireland, while “him” suggests Haines, the British usurper. Stephen’s frustration with relying on others—whether the nurturing Ireland or the colonial power of Britain—seeps into this line. He’s tired of being a freeloader, of grasping for wealth or opportunity from either side, knowing neither can truly provide what he seeks.

This moment captures Stephen’s disillusionment: with Ireland, with Britain, and with his own stagnant circumstances. It’s a longing for independence that’s both economic and intellectual, a cry to break free from the systems and relationships that tether him.

Agenbite of Inwit

Ah, the luminous phrase that has captivated many a Joycean: “Agenbite of Inwit.” It translates to “remorse of conscience” and takes its roots from a 14th-century Middle English text titled Ayenbite of Inwyt. Joyce appears to use it as an ode to this archaic phrase, embedding it in Stephen’s internal musings to reflect his relentless self-awareness and guilt.

For Stephen, this phrase becomes a refrain in moments of regret or overanalysis. Here, his inner dialogue takes center stage, revealing a pattern of nervous self-reflection. It feels almost like a tick—a mental loop he can’t escape, endlessly dissecting his thoughts, decisions, and interactions. Perhaps it’s even his way of acknowledging this obsessive overthinking, a subtle nod to his own intellectual and emotional traps. At least, that’s my take.

As Stephen spirals inward, Buck Mulligan, in sharp contrast, announces his desire to leave the tower, breaking the mood with his characteristic energy. The others follow, drawn along in Buck’s wake, leaving the introspective Stephen to wrestle with his thoughts as the physical world moves forward without pause.

References:

Gifford, Don, and Robert J Seidman. Ulysses Annotated. Univ. California P., 1992

“The Joyce Project : Ulysses : Telemachus:. M.Joyceproject.Com, http://m.joyceproject.com/chatpers/telem.html.

References: “Stony-broke, adj.” Oxford English Dictionary, Oxford University Press, https://www.oed.com/dictionary/stony-broke_adj. Accessed 17 Dec. 2024.

“Bard.” Merriam-Webster.com Dictionary, Merriam-Webster, https://www.merriam-webster.com/dictionary/bard. Accessed 15 Dec. 2024.

“Junket.” Merriam-Webster.com Dictionary, Merriam-Webster, https://www.merriam-webster.com/dictionary/junket. Accessed 17 Dec. 2024.

“Nelson’s Signal at Trafalgar.” The National Museum of the Royal Navy, https://www.nmrn.org.uk. Accessed 17 Dec. 2024.

Adkin, Mark. The Trafalgar Companion: A Guide to History’s Most Famous Sea Battle and the Life of Admiral Lord Nelson. Aurum Press, 2005.

“Battle of Trafalgar.” Wikipedia, Wikimedia Foundation, https://en.wikipedia.org/wiki/Battle_of_Trafalgar. Accessed 17 Dec. 2024.

“Gulf Stream.” Britannica, Encyclopaedia Britannica, 14 Nov. 2024, https://www.britannica.com/place/Gulf-Stream. Accessed 17 Dec. 2024.