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Episode 13: Nausicaa
Themes
Key
LitCharts assigns a color and icon to each theme in Ulysses, which you can use to track the themes throughout the work.
Alienation and the Quest for Belonging
Literature, Meaning, and Perspective
Love and Sex
Fate vs. Free Will
Religion, Atheism, and Philosophy
Irish Identity and Nationalism
Summary
Analysis
This famously difficult episode of Ulysses moves through a series of different narrative voices that each represents a different period in the history of English writing. The episode opens with three mysterious Pagan Roman chants, each repeated three times. The first is “Deshil Holles Eamus” (“Let us go South to Holles Street”). The second is a fertility prayer to the Sun (and the obstetrician Dr. Horne), “Send us bright one, light one, Horhorn, quickening and wombfruit.” The last, “Hoopsa boyaboy hoopsa!,” is a reference to a midwife declaring that a baby is a boy.
In the Odyssey, Odysseus learns that he must not interfere with the sun god Helios’s sacred cattle, who are grazing on the island of Thrinacia. But his men slaughter and eat them anyway, causing Zeus to strike them with lightning and kill everyone except Odysseus. This episode of Ulysses echoes that myth by showing how the group of men at its center drunkenly disrupt and disrespect the sacred ritual of childbirth. (The exception is the sober and respectful Bloom.) However, this episode is far better known for its audacious style than for its content. Every few paragraphs, the authorial voice totally changes, which can make this episode nearly incomprehensible to the unprepared reader. These changes happen in chronological order, starting with these Pagan chants. Joyce uses the different voices to set up an enormous extended metaphor: the development of a human fetus is like the historical development of the English language. The episode is subtly divided into three sections (trimesters), nine subsections (months), and forty paragraphs (weeks). Each of the voices represents a particular stage in the formation of modern English style (usually a specific influential writer). By copying all of these great writers’ styles in meticulous detail, Joyce puts himself on a pedestal alongside them—or, more precisely, above them. He suggests that he can do everything they have done and more. According to the gestation metaphor, this novel is the fully-formed human being who emerges from the womb after nine months of development (or several centuries, in the case of language). The episode’s first lines establish its setting, the Irish National Maternity Hospital on Holles Street in Dublin. These chants introduce the theme of fertility and tie it to the sun god, who is Helios in the Greek myth and is Dr. Horne (the head of the hospital) in 20th century Dublin.
Themes
The next three paragraphs are written in the excessively complex and confusing style of poorly-translated Latin prose. The first argues that respectable people understand that procreation is a necessary and important goal for the human race. The second and third paragraphs praise the Irish for making maternal care widely available, thereby honoring expectant mothers.
These paragraphs are practically unreadable because Joyce was careful to follow the precise syntax of Latin (which doesn’t render very well into English). Their focus on the importance of fertility suggests a link to both Bloom and Stephen’s obsession with their families—and especially the male bloodline. By making a point about fertility in this ancient idiom, Joyce suggests that reproduction is one of humankind’s most primordial and unchanging needs.
Themes
The next several paragraphs imitate alliterative Old English prose. The novel describes midwives caring for mothers and newborns, and then notes a Jewish wayfarer (Bloom) wandering into the hospital. He knows the nurse who lets him inside (Nurse Callan) and asks her to forgive him for once failing to salute her “in townhithe” (at the docks). Nurse Callan reports that Dr. O’Hare died of “bellycrab” (a stomach problem) years ago.
Themes
The next several paragraphs are modeled on Middle English. The novel implores people to think of their own deaths, and then Bloom asks about the woman he has come to see (Mrs. Purefoy). Nurse Callan says that Purefoy has been in painful labor for three days, but will be giving birth soon. Bloom feels sorry for Callan, who does not have children. Dixon, a “young learningknight” (medical student) comes into the hospital and offers for Bloom to “make merry with” him and his friends in “a marvellous castle” within the hospital. “The traveller Leopold” agrees, and he joins Dixon and some other medical students at their table, where they are eating canned sardines and bread. They pour him a beer, but Bloom doesn’t want any, so he secretly empties it into someone else’s glass.
Themes
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The next three long paragraphs imitate the 15th century knight and writer Sir Thomas Malory, who is best known for compiling Arthurian legends. Nurse Callan tells the drinking students to “leave their wassailing” (stop drinking) because a woman (Mrs. Purefoy) is giving birth. There’s a cry upstairs, and Bloom wonders if it’s Purefoy or her child. He tells Lenehan that he hopes she will be done soon, and they toast to Purefoy’s health and drink. In attendance are the “scholars of medicine” Dixon, Lynch, and Madden, plus Lenehan, Crotthers, Stephen Dedalus, Punch Costello, and “the meek sir Leopold [Bloom].” They are still waiting for “young Malachi [Mulligan].”
Themes
The “right witty scholars” are discussing whether doctors should save the mother or the baby, when they have to choose between them. They generally agree that it’s better to save the mother, and “the world was now right evil governed” as doctors prefer to save the baby. Stephen jokes that Catholics prefer this because this sends the child to Limbo and the mother to Purgatory, and he quips that Catholics oppose birth control because they think people are just means to reproduction, and they oppose abortion because the fetus acquires a soul in the second month.
Themes
Bloom is busy thinking about Mrs. Purefoy, and when the younger men ask his opinion on the matter, he jokes that the church chooses to let the mother die because it makes money from both birth (baptism) and death (funerals). He remembers Rudy’s birth and death, and the lambswool vest Molly knitted for his burial. The sonless Bloom feels sorry for Stephen, who is “living in wasteful debauchery.”
Themes
The style subtly shifts, beginning to resemble a 16th century chronicle. Stephen fills everyone’s glasses and offers a satirical prayer to the Pope, shows off his little remaining money, and then gives a sermon about the meaning of history, birth, and creation. He jokingly states that people cycle from word to flesh through birth, and back from flesh to word through the Lord. He asks whether the Virgin Mary knew God (making her the son of her son) or whether she didn’t (making her a blasphemer). Essentially, he asks whether Jesus is consubstantial or transubstantial to God. Punch Costello starts belting out a jolly drinking song, and Nurse Quigley opens the door again and asks the men to quiet down. The other drunk men try to stop Costello.
Themes
The narrative voice progresses to the turn of the seventeenth century in an imitation of writers like John Milton. Dixon and Lenehan start discussing how Stephen abandoned the priesthood and commits “nefarious deeds” with women. Stephen embarks on a long monologue, quoting bawdy jokes from 17th century plays. He jokes about men sharing their wives with their friends, which he uses as a metaphor for Ireland’s betrayal to foreigners. He contrasts this with the “land of milk and money [sic]” that the Israelites were promised in the Bible. He discusses the cycle of life, in which people return to the beginning at the end, with a burning desire to understand the past that has brought him there.
Themes
Costello interrupts with another exuberant song, but a crack of thunder silences him. Lynch jokes that God is angry at Stephen for his blasphemy. Stephen is secretly desperate and afraid. To cover it up, he jokes that God is drunk and doesn’t really care what he says. But Bloom understands Stephen’s feelings and tries to comfort him.
Themes
The novel’s tone shifts to resemble John Bunyan’s allegorical novel The Pilgrim’s Progress. Bloom’s words of comfort fail to help Stephen. The narration comments that Stephen lacks the grace to believe in God—the thunder merely made him fear death. Instead, Stephen should strive to reach the delightful kingdom of “Believe-on-Me” (heaven). Unfortunately, Stephen and his friends have sold out their souls to “a certain whore of an eyepleasing exterior,” named “Bird-in-the-Hand.” This voice repeats that the thunder indeed represented God speaking out against the young men’s debauchery.
For one long paragraph, the narrative shifts into the voice of 17th century English diarists like Samuel Pepys. After describing the thunderstorm over Dublin in depth, this paragraph shows Buck Mulligan meet Alec Bannon and chat about “a skittish heifer” he met (Milly Bloom). Mulligan and Bannon then make their way to the maternity hospital, which the narrative describes in colorful detail, with commentary on Mrs. Purefoy going into labor for the twelfth time.
Themes
Lenehan mentions Mr. Deasy’s letter in the paper on foot and mouth disease. In a new voice that recalls the dynamic political writings of Daniel Defoe, the narrative comments that Lenehan is a well-meaning gentleman who unfortunately spends his time “hanker[ing] about the coffeehouses and low taverns” looking for women. Frank Costello comments on the cows, and the narrative goes on a long tangent about his privileged life and his inability to keep a job, while his government administrator father supports him. Bloom comments on the cattle he saw getting shipped out to England, and the narrative describes his experience working with cattle at the stockyards. Stephen affirms that Dr. Rinderpest is coming to treat the cows.
Themes
Lynch and Dixon launch into a long, satirical allegory about an Irish bull. In a slightly different voice, now modeled after satirist Jonathan Swift, Lynch and Dixon discuss the way this bull—which represents the Irish Church—gets flattered and pampered in Ireland. The farmer Nicholas and the lord Harry fight over it, but then Harry starts acting like a bull, too, and befriends the Irish bull. At the end of this story, Stephen Dedalus comments, Irishmen give up on their leaders and leave for America.
Themes
Buck Mulligan and Alec Bannon arrive in the hospital, and the narrative switches to the style of the eighteenth-century political essayists Addison and Steele. Buck offers everyone present business cards that list his occupation as “Fertiliser and Incubator.” He jokes that he considers it tragic that so many men are sterile or unworthy of their beautiful wives, and he proposes establishing “a national fertilizing farm to be named Omphalos” and offering himself to any willing woman, no matter her social class. He sprinkles in a fake Latin quote about the inadequacy of modern erections. In jest, Buck asks Bloom if he needs any help, and Bloom explains that he’s actually at the hospital for Mrs. Purefoy. Dixon asks the big-bellied Buck whether he’s there to give birth, too.
Themes
In a paragraph influenced by the satirical novelist Laurence Sterne, Bannon pulls out a picture of his sweetheart—who is no other than Milly Bloom. He sings her praises and makes a joke out of pleading with God about why he forgot to bring his cloak, to prevent her from getting wet. The other men joke about how (and whether) to protect women from dancing in the rain, although it’s clear that they’re really talking about contraception.
Themes
A section in the style of the Irish writer Goldsmith begins with a ringing bell, after which Nurse Callan enters and whispers something to Dixon. Costello and Lynch joke derisively about the nurse’s looks and her relationship to Dixon, who then prepares to run out, because Mrs. Purefoy has just given birth to her baby boy. But first, he admonishes the others for talking ill of Nurse Callan.
Themes
In a moralistic paragraph modeled after the conservative philosopher Edmund Burke, Bloom deplores the young men’s distasteful jokes, but tolerates them since they’re essentially just “overgrown children.” But he thinks that Punch Costello is the worst of the lot, a truly deplorable bastard. Even though he’s learned to control his emotions, he thinks men who denigrate women are the lowest of the low. He’s also happy that Mrs. Purefoy has finally given birth.
Themes
In a shorter paragraph that takes after the style of Dublin playwright and political orator Richard Sheridan, Bloom remarks that he feels relieved that Mrs. Purefoy has given birth. But Crotthers starts to speculate about whether the elderly Mr. Purefoy is really the father. If he is, the other students comment, they’re impressed by his virility. But Crotthers thinks the father is more likely a clerk or wandering salesman. Bloom is astonished that these vulgar boys will become esteemed doctors as soon as they get their degrees.
Themes
In a flowery passage imitating eighteenth century political satire, the narrative questions whether Bloom, an ungrateful immigrant, has a right to censor and criticize the students. He’s morally unfit, the narrative suggests: he tried to sleep with a servant, he has left his wife’s “seedfield […] fallow for the want of the ploughshare,” and he’s a debaucherous masturbator.
Themes
In the serious tone of historians like Edward Gibbon, the narrative ironically presents the joyful occasion of Mrs. Purefoy giving birth as though it were a serious political event. The medical students are described as delegates, and although Bloom tries to quiet them down, they end up prattling on about different medical procedures, birth defects, modes of insemination, and obstetrics research questions. They start discussing whether women can really have intercourse with mythical beasts, and Mulligan declares that “a nice clean old man” is the best thing to desire. Madden and Lynch start arguing about Siamese twins.
Themes
In a parody of gothic horror, Haines suddenly appears as a ghost, holding a book of Irish literature and a vial of poison. He confesses to the Childs murder and declares that he’s being haunted by his victim’s spirit, then vanishes (and briefly reappears to ask Buck to meet him at the train station).
Themes
In a nostalgic, thoughtful paragraph modeled after the essayist Charles Lamb, the novel shows Bloom reflecting on his younger self. He remembers going to high school with his bookbag and traveling to sell trinkets for the family business. Looking at the young men around him, he feels like a paternal figure. He remembers losing his virginity with Bridie Kelly, a prostitute, and laments the fact that he still doesn’t have a son.
Themes
In a section parodying the romantic writer Thomas De Quincey’s accounts of drug-induced hallucinations, Bloom has a grand vision of infinite space and silence, and he sees his soul flying towards the Dead Sea, surrounded by a herd of moaning beasts in parallax. He sees a “wonder of metempsychosis,” a radiant figure who is both Martha and Milly.
Themes
The novel shifts radically in tone, becoming a friendly dialogue among Stephen Dedalus and his friends, in the style of Walter Savage Landor’s Imaginary Conversations (which stages such dialogues between figures from classical Greece and Rome). Stephen and Punch Costello start reminiscing about school, and Stephen claims that he can bring “the past and its phantoms […] into life” through poetry. But Vincent Lynch says that Stephen hasn’t “father[ed]” enough work yet to justify this boastfulness. Adding insult to injury, Lenehan brings up Stephen’s mother’s memory, leaving Stephen distraught.
Themes
Conversation suddenly turns to the Ascot Gold Cup: Madden complains that Sceptre was about to win, but Throwaway pulled ahead at the last minute. Then, Lynch starts talking about having a “mad romp” with his girlfriend in the bushes and nearly getting caught by Father Conmee, who said a blessing for them. Lenehan grabs for a bottle of wine, but Buck stops him because “the stranger” (Bloom) is staring at it, as though having a vision. In reality, the novel reports in a roundabout and opinionated style, Bloom is thinking about business. When he realizes that the others see him staring at the bottle, he has a drink. The narrative voice reports that the men get into a lively debate, then describes all nine of them in detail.
Themes
A new narrative voice begins to explain why Stephen’s transcendental philosophy “runs directly counter to accepted scientific methods.” This voice asks several complicated questions about embryology and outlines the assembled students’ different views on infant mortality. While Buck Mulligan blames poor hygiene, for instance, Crotthers blames abuse and neglect, and Lynch attributes it to some unknown natural law. This voice then speculates that nature promotes infant mortality if and when it’s evolutionarily advantageous. It comments favorably on Stephen’s notion of “an omnivorous being” eating babies and corpses.
Themes
In an imitation of Dickens, the novel narrates Mrs. Purefoy giving birth and enjoying her first moments with her baby boy. The only thing missing is her husband Doady, whom the narration praises as a noble old man who has “fought the good fight.” After this voice bids Doady good night, another takes over, parodying the theologian Cardinal Newman. This voice speaks of the way people struggle to confront the “evil memories” that lurk in the backs of their minds.
Themes
Another new voice depicts Bloom listening to Stephen’s calm but resentful talk. Stephen’s expression gives Bloom a kind of déjà vu: it reminds him of a game of lawn bowling several years before, when he saw a young lad with the same frown gazing up at his mother. An imitation of the art critic John Ruskin narrates how one word ends the brief period of calm and quiet in the hospital, much like swollen storm clouds suddenly yield thunder: “Burke’s!”
Themes
In the style of conservative Scottish writer Thomas Carlyle, the men rush out the hospital door, following Stephen to Burke’s pub. Bloom chats with Nurse Callan on his way out, sending his best to Mrs. Purefoy and asking her when it’s her turn for a visit from “the storkbird.” The narration describes the humid Dublin air and praises Theodore Purefoy in increasingly absurd terms for successfully getting his wife pregnant for the twelfth time.
Themes
The narration has clearly reached the 20th century, and a chaotic, slang-filled jumble of the revelers’ voices takes over the remainder of this episode. The men stumble over to Burke’s, order their drinks, chatter for ten minutes, and get kicked out at closing time. Although most of the dialogue is jumbled, it’s possible to distinguish a few plot points. The men drink absinthe, Bannon appears to learn that Bloom is Milly’s father, and the man in the macintosh seems to make an appearance. Someone starts vomiting and someone else declares their love for a woman named Mona. Stephen and Lynch look for a brothel and notice the Dowie pamphlet that Bloom threw into the River Liffey: “Elijah is coming! Washed in the blood of the Lamb.” The episode ends with several vulgar jokes about religion.
Themes
