University of Tulsa

The Key in "Ulysses" Author(s): Patrick White Reviewed work(s): Source: James Joyce Quarterly, Vol. 9, No. 1 (Fall, 1971), pp. 10-25 Published by: University of Tulsa Stable URL: http://www.jstor.org/stable/25486940 . Accessed: 18/01/2012 16:21
Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact support@jstor.org.

University of Tulsa is collaborating with JSTOR to digitize, preserve and extend access to James Joyce Quarterly.

http://www.jstor.org

Patrick White

The Key
There

in Ulysses
are several

reasons why it is surprising that no one has traced the key motif before. For one thing, the through Ulysses mass of Ulysses criticism is based upon the supposition that Joyce's is what he said it was, "two-plane,"1 and that though the language
dense to particularity some readers, of such his universe consummate may seem naturalism mere "bric-a-brac"2 functions simul

as "epic several critics have taneously symbolism."3 Yet, although taken note of key as one of the words which carry this especially no one has proceeded in far enough double burden of meaning, it to ask whether it may figure in an important in detail failure to examine the key motif symbolic pattern. in view of the wide of readings is all the more puzzling range One would based upon broader patterns, symbolic and otherwise. center of lead toward that every plausible that elusive suppose of This are resolved would all contradictions where have been it as another ignis fatuus. by this time, if only to verify it is surprising of keys to Ulysses the abundance amidst Finally, to consider that no one has thought have sup that Joyce might one himself with his "plan" ) and that, given the spe plied ( along a cork frame Irish wit, which cial nature of his punning supplied a for a landscape of Cork, he might well have employed key to it. The purpose is to suggest of this paper whatever that, carry a Joyce's intentions may have been, the key motif does constitute a symbolic pattern to which to the meaning views of Ulysses, key at might arrived be of the novel more discursively reasonably the novel pursued expected The to conform. of dominion. key is an everyday symbol of possession, alive. Like the key to the city is a ritual still very much Giving so many in takes place other everyday this ceremony things, in the brothel, In Bloom's hallucination "the keys of Dub Ulysses.
lin, crossed on a crimson cushion are given to him."4 But, as is

a consideration

the case with

all the other

everyday 10

things,

its frame

of reference

The

Key

in Ulysses

11

is not everyday life; the key can be defined only by the multi coordinates of the novel. The fact that the key is not dimensional lead symbol as well might only an everyday thing but an everyday is overlooked. to the fact that its peculiar in the novel function But this possibility is inherent in Joyce's method/' Instead of tak a cherry orchard or a sea gull or a a romantic like ing symbol, a correspondence wild between what and then evoking duck, to the characters, to it and what happens particu Joyce, happens are a surface naturalism ? so natural presents larly in Ulysses, the events that Arnold Bennett called June 16, 1904, "the dailiest ? and then infuses this "slice of life" with Levin's day possible"6 it operates in such a because "epic symbolism/ Joyce's meaning, indirect way, is easy to miss. A proper reading of Ulysses muted, the assumption that nothing is fortuitous although requires seems to be. everything of interest in the have taken varying degrees S. L. Goldberg has taken only passing notice of it, key previously. it as an emblem of possession which seeing Stephen voluntarily "when he feels and the centre up (home gives country) Several critics usurped."7 prominence M. Kain and Harry Levin have given greater to the key motif, both including it in than Goldberg in their books on Joyce.8 But Kain contents him chapter headings to carry his house that Bloom's failure self with observing key of modern man."9 Levin does not by "the keylessness symbolizes trace the key motif the novel, but he does any means through a view based more context its complete than provide fully upon anyone else up to this point. He has this to say about it: Richard an advertising his pro exercises canvasser, Joyce's Odysseus, a trade-mark in devising fessional wiles for the firm of Alex ander J. Keyes. He hits upon Saint Peter's symbol, a pair of crossed keys, also the insignia of the Isle of Man, and thus ? to follow the implications of a second pun if we are willing ? twin isolation. Together of human emblems they stand for and its the cross-purpose of the book, its epic symbolism one releases naturalistic The the myth-making atmosphere. a literal-minded fantasy of literary tradition; the other reveals see Stephen Dedalus compelled itinerary of daily business. We in a scuffle at tne Westland Row station to give up his key to at Sandycove fortification the Martello tower, the abandoned Buck Mulligan ? and Dr. where he has been lodging with

12

Patrick White

have us know that the actual key was a foot Gogarty would see the canvasser, and a half long. We Bloom, pro Leopold in his drunken wish-dream to the high estate of Lord moted of Dublin, and presented with the key to the city. Mayor And afterwards when, to in sad sobriety, he invites Stephen his home, we note as final evidence of Bloom's ineffectuality his and must that he has forgotten his latch-key introduce the areaway.10 guest through correct as far as they go ? and Kain are generally Goldberg to speak of the "keylessness of niodern man" is an over although do not go far enough. Levin, however, simplification?but they distorts We might ask why "human isola the key motif seriously. tion" should have twin emblems, that it should have, and, granted why out isolation. Levin keys should stand for human astutely points that the book contains and a "naturalistic "epic symbolism" but we may doubt that Joyce intended the keys to atmosphere," errs when he says that "we see Ste stand for these. Levin simply

in a scuffle at the Westland Row station phen Dedalus compelled to give up his key to the Martello tower." Stephen not only volun before parting with him in the tarily gives up the key to Mulligan on Sandymount strand that morning (p. 24) but decides while he "will not sleep there when this night comes/' (p. 45). It is true that during shelter Bloom the walk to the cabman's tells Stephen at Westland Row sta occurred that he 'won't get in after what that Stephen's break with Mul (p. 603) but this indicates not that it was is irrevocable, But there is little ligan involuntary. but that Levin is right when he sees in Bloom's forgetting question his latch-key "evidence of Bloom's ineffectuality." tion," at only a few appearances of the key at best, Gold Looking and Levin agree that the key does have symbolic value, berg, Kain, its complete but having failed to trace the key through itinerary in the novel, value vague that symbolic and incom they leave trace the key through If we the novel, we can test their plete. arrive at a clearer tentative and, more suppositions importantly, view of both the symbolic meaning of the key and the meaning of Ulysses itself.11 to Martello takes it with tower. him It as

The first key we encounter is the one is in the lock of the door. Stephen Dedalus

The Key he

in Ulysses

IS

leaves and a few minutes be it to Buck Mulligan later gives fore parting from him. This is the bare outline of the action which we shall examine so we shall see that, here, in detail. In doing out in the microcosm of Martello tower and environs, is a played in the of another "passing of order and order's coming" reflection macrocosm. strand was Whether shadow on Sandmount Stephen's cast to infinity is problematical, but here, certainly, are cast over the earth. of Dedalus and Mulligan the shadows

The reason why Stephen gives, the key gives, and voluntarily lies in the representative of Stephen, Mulligan and the character tower. These all have their individual in the real Martello identity order, A but they also have and symbolic representative meanings. of the character fact about important is a radi is that the Stephen Dedalus of Ulysses Dedalus Stephen cally different young man from that of A Portrait of the Artist as a Young Man. Although his intellect is that of the earlier Stephen, his will is not. The Stephen of Ulysses has lost his verve, his opti to create and in the goals mism. He no longer exults in his power remarkable from whom This Stephen is the earlier Stephen zest has oozed completely. The earlier Stephen held vain or obtuse pursuits, himself aloof from what he considered no one considered him to be stagnating. Buck Mulligan but points in his conversation with atop Martello up the change Stephen of his creation. the creative tower: That fellow I was with in the Ship last night, said Buck with says you have g. p. i. He's up in Dottyville Mulligan, Norman. General paralysis of the insane, (p. 8). Conolly will be clearer The full implications of Mulligan's accusation we pause case of paralysis to notice another in Joyce's work. if suffered Joyce's short story "The Sisters" tells of the priest who from and finally died ?f paralysis. He had dropped his chalice and in the dark confessional, later had been found at night laughing to himself. The chalice ?the in "Araby" carried his boy quietly chalice the streets ? is the symbol of the priestly safely through a chalice too, at the opening of Ulysses, office, of authority. Here, in conjunction with paralysis: figures prominently Stately, plump Buck Mulligan a bowl of lather on which bearing carne from the stairhead, a mirror and a razor lay

14 crossed.

Patrick White un girdled, was A yellow gown, dressing air. He held gently behind him by the mild morning aloft and intoned: Introibo ad altare Dei. (p. 5). sustained the bowl

the is the priest, he bears the person with authority: Mulligan Out of his the paralysis of Stephen Dedalus. This explains chalice. the chalice has passed. hands, though we do not see it passing, the chalice, in the short story, Stephen, the sym Like the priest out of his hands, bol of authority, is in the grip having passed is also, we might of paralysis. He note, like the priest, "insane." is radically different of Ulysses The reason why the Stephen from the Stephen of A Portrait of the Artist as a Young Man now he has a certain symbolic role to play. becomes clear. In Ulysses no longer young ?though in years barely older He is the artist, of the Portrait ? but mature of the conclusion than the Stephen and responsible. But the chalice of authority has passed out of the for this is a the mature, artist-philosopher, responsible of disintegration between Vichian period cycles.12 Stephen's hand of of the key to Buck Mulligan is the emblematic recognition ing a fait accompli. hands of nature of the key, the power of the keys, is The symbolic to us. In an shown in the manner in which it is first presented occurrence in the brothel, we which the Black Mass adumbrates first hear of it: In the gloomy domed of the tower Buck Mul livingroom to and form moved about the hearth ligan's gowned briskly its yellow glow. Two shafts of soft fro, hiding and revealing fell across the flagged floor from the high barbicans: daylight and at the meeting of their rays a cloud of coalsmoke and fumes of fried grease floated, turning. ? We'll be choked, Buck Mulligan said. Haines, open that door, will you? on the locker. A tall figure laid the shavingbowl Stephen rose from the hammock where to the it had been sitting, went and pulled open the inner doors. doorway ? Have you the key? a voice asked. ? Dedalus said. Janey Mack, I'm has it, Buck Mulligan choked.

The Key

in Ulysses without looking up from the fire:

15

He howled - Kinch! ?

It's in the lock, Stephen

said, coming

forward. and, when light and bright the air

The key scraped heavy door had been entered, (p. 13).

round harshly set ajar, welcome

twice

The "domed livingroom" suggests a temple; the "gowned form" a priest; and the hearth, an altar. An indication of the nature of s priesthood is given by the fruits of the sacri Malachi Mulligan the and fumes of fried grease." Then fice: "a cloud of coalsmoke turns it twice and power of the key is revealed. potential Stephen "welcome Not light and bright air" enters. of the keys: but who represents the Throughout to us in the ap reveal the power only does this episode it tells us more of the nature of Buck Mulligan, that to which the power of the keys has passed.

is presented opening chapter of Ulysses, Mulligan of in recognition of and performing the role of a priest pearance a burlesque of authority. But he is a priest-buffoon, his possession the altar of God with his priest. He, as we have seen, approaches held bowl he "made rapid aloft. On Dedalus shaving seeing in the air, gurgling crosses in his throat and shaking his head." those white he has "trouble with (p. 5). In his mock consecration are told he sings the ballad We of Joking corpuscles." (p. 5). "three times a day after meals." And after having Jesus (p. 21). made the burnt offering mentioned he even begins, previously, mockingly, The Stephen grace before difference himself. eating, (p. 13). and the is pointed Stephen by church and how early

between Stephen

Mulligan thinks of

disarmed and menaced her heresiarchs. the church militant A horde of heresies and awry: Photius fleeing with mitres was one, and Arius, of whom Mulligan the brood of mockers his life long upon the consubstantiality of the Son warring terrene with the Father, and Valentine, Christ's spurning and the subtle African heresiarch Sabellius who held body, that the Father was Himself His own Son, Words Mulligan to the stranger. Idle had spoken a moment since in mockery the wind: mockery. The void awaits surely all them that weave a menace, a disarming and worsting from those embattled

16

Patrick White her ever defend host, who angels of the church. Michael's in the hour of conflict with their lances and their shields,

(p. 22).
reflects was the this age on which philosophy, Stephen is aware that zeal and fervor and a divine age. Stephen previous conviction of certitude, made the early church He, triumphant. in achiev of these qualities realizes the necessity unlike Mulligan, is of the "brood of mockers." He order. Mulligan ing a permanent "of the wind," whom is a weaver the void awaits. In Vico's acter of the representative that we have seen something char of Stephen and Mulligan, the significance of let us amplify it unlocked the key. We have seen something of its power when of the door and let in "welcome light and bright air." Speaking Pitt had them built the Martello towers, Mulligan says, "Billy . . . when the French were on the sea. But ours is the omphalos." Now

as Stuart Gilbert points out, that the tower (p. 19). This means, does not have its expected phallic symbolism, but rather represents the navel, the center of the body, the Omphalos, symbolically, the center of life.13 The giving up of the key by Stephen, then, over that Me his admission that he has no authority represents out of which the more youthful "recreate life." Stephen would an to Mulligan of this key by Stephen is merely passing rec it is voluntary it admission of this lack of authority; because a fait accompli. The character of Stephen's ognizes voluntary is the one who is emphasized giving by the fact that Stephen The of the key when Mulligan, has possession and he leave Haines, the tower. Mulligan the key. he brought asks whether merely As they walk toward the shore, no more is said of the key, (p. 19). but Stephens thinks: He wants I eat his I paid the rent. Now the key. It is mine. salt bread. Give him the key too. All. He will ask for it. That was in his eyes. (p. 21). is reluctant to submit but powerless to withstand. When Stephen to enter the water: reach the shore, Mulligan strips they ? Give us that said, to keep key, Kinch, Buck Mulligan my chemise flat. Stephen handed him the key. Buck Mulligan his heaped clothes, (p. 24). laid it across

The Key

in Ulysses not sleep here tonight. Home also I cannot go,

17

I will

to him from A voice, sweetened called and sustained, the sea. Turning the curve he waved his hand. It called again. A sleek brown head, a seal's, far out on the water, round. Usurper. (p. 24 ).

as Levin says, lose his key in a scuffle at Stephen did not, Row station. He parts with Westland it, voluntarily, fully con con scious of what he is doing. He is the responsible, rational, in this period of disintegration scious, philosophical artist, but is not in the hands between Vichian of such cycles, authority in is in the hands artists. Authority of darkness, of the powers in the hands of Bohemianism. the hands of the Buck Mulligans, acts and thoughts succeeding are explicable in Dedalus Stephen only It is he and not Mulligan, divestment. sents that part of mankind which will All of (the entire character) the light of this symbolic the "usurper," who repre the period carry through

have of disintegration which the values, depressed, temporarily man to what But in this period, eminence he has. raised lacking a conviction of certitude about the form in which the values should the does not represent be cast, Dedalus is impotent. Mulligan a new cycle will be based; he, conviction of certitude upon which certitude, merely by the fact that he disregards by the fact that, is truth and does not stay for an like jesting Pilate, he asks what of disintegration, the logical, answer, is, in the period though to fructify the unable of the keys. Dedalus, usurping, keeper can human values which reach back into the "mistridden past," only mimic, knowledge with with the insanity his navel-cord of call a control a Hamlet, over to Edenville. (p. 39). this

even more The key motif is woven into the activi persistently ties of Leopold Bloom and Mulligan. than into those of Stephen Here the symbolism, remains all of a piece. Again from extended, use of the key, we shall learn much about his implicit Joyce's judgment of contemporary society. his this for

does not consciously unlike Bloom, part with Stephen, He simply forgets it ? just walks off without it. He does key. twice. The first time, when to get the kidney he is leaving

18 his breakfast, he remembers it at when the door he and

PatrickWhite
leaves the door

slightly ajar. (p. 56). Later, that day, he forgets his latchkey again it until he returns home that night. This reflects the dif forgotten is the philosopher and Bloom. ference between Stephen Stephen follower is the common man, the non-intellect?al artist; Bloom Bloom forgets (for all his luxuriant ratiocination). it. He is unaware does not know that he has forgotten is not his. The difference accounts tative dominion despair rected and doomed, This and for Bloom's optimism. (That is blissfully Bloom unaware.) his his

for good leaves his house and does not realize he has

key and that authori

for Stephen's is misdi optimism

accounts for the fact that the key appears more difference the course of the day in connection with Bloom than to himself has admitted his divorcement with Stephen. Stephen source of positive creation from the fructifying He has faced a ? often seeing the **day of the rabblement." Bloom, fait accompli the key, will remain blind to its implications. often during Bloom's first sight of a key comes in Glasnevin cemetery. He a group from the chapel, is walking with following Paddy Dig to the burial plot. They encounter the caretaker, nam's coffincart to all by Mr. Power. We who is then introduced John O'Connell, are told that the caretaker "walked on at Martin Cunningham's two keys at his back." although (p. 105). Now, at Mr. Deasy's school were reading "Lycidas" and pupils there are allusions to it scattered through the work, there although is nothing here to indicate specifically that these keys refer to the ... "two massy of metals twain." For our purposes it is keyes to note that it is the caretaker of the cemetery who is sufficient ? them. This ? and caretaker of the past, a past wearing puzzling side, puzzling Stephen's made the O'Connell, "puzzles" in the lies in the past, keys. the same sur previous Vichian (his having cycle. The caretaker name as the Liberator the apparent continuity of the symbolizes does not understand what in the "mistridden lies locked past) Real and dominion does past." Neither caretaker, reflects: Decent fellow, Bloom, of course. Bloom, walking behind the concrete in the statue not usurped of Daniel

John O'Connell,

real

good

sort. Keys:

like

The Key in Ulysses 19

Keyes's This ad: no fear of anyone getting out, no passout checks.

(p. 106).
of guess as to the meaning spirited but ludicrously wrong is characteristic of Bloom. Lacking the key the caretaker's keys His very to authoritative he continually misunderstands. knowing ? the in his wild of his not surmises confidence consequence at that he lacks certitude ? assures his never arriving knowing the right meaning. More married of the meaning of the key and of Bloom's own nature later in the course of this reflection. He thinks of the life of the O'Connells, living in the cemetery:

is revealed

"Still they'd kiss all right if properly (p. 106). keyed up." amiss here as everywhere, Bloom, again reveals his lack of the key. Bloom visits the office of the Evening Telegraph. He has a of an advertisement which Alexander clipping Keyes run in the Freeman's had previously Journal. He lays it on the desk of the foreman and says: him it changed. He wants the top. (pH9). The advertisement out the day. We Keys, you see. He wants two keys at Later

with

will be a continuing learn more about it:

concern

of Bloom

through

HOUSE OF KEY(E)S
here
chant.

? Like that, see. Two the name Alexander

So on.

crossed Keyes,

keys here. A circle. Then and spirit mer tea, wine

Better

not teach him his own business.

? You know just what he wants. Then yourself, councillor, round out the top in leaded: the house of keys. You see? Do you think that's a good idea? The foreman moved his and scratched there quietly. ? The scratching hand to his lower ribs

idea? Mr. Bloom said, is the house of keys. You of home the Manx Innuendo councillor, know, parliament. rule. Tourists, the you know, from the isle of Man. Catches eye, you see. Can you dc that? (p. 119).

20 foreman assures Bloom he can do As

Patrick White

Levin Harry crossed points out, Bloom has hit upon St. Peter's symbol,14 the comes device is, his eye-catching keys of the Papal arms. That to Vico, was from what, divine age, the the previous according (The it.) church. These keys to the kingdom, period of the early Christian the massy keys of the "pilot of the Galilean later taken lake," were the Isle of Man as its insignia, as Bloom of indicates. Bloom, by the course, does not realize just how appropriately they symbolize Isle of Man. He does not realize that they are the keys to what ever man has developed in the period in man. Now, humanity an ultimate of disintegration, state of debasement: they reach they adorn an advertisement of a merchant of "tea, wine and spirits." of journalism need not Joyce's portrait of the Aeolian winds be belabored. as they do, the blatancy, The headings, reflecting, are sufficient. Fit and shallowness of diurnal writing, obtuseness, as the voice of this age of Crawford, presiding tingly, Myles has the keys. As he is preparing to leave with Pro disintegration, fessor MacHugh to join the others and J. J. O'Molloy for a drink we are told: He walked the behind, parting jerkily into the office of his jacket, jingling his keys in his back pocket. They as he locked his desk jingled in the air and against the wood drawer, (p. 129). vent As befits his role, he walks later, again Stephen: slapping Ste those blasted jerkily and the keys jingle. His keys as he is to leave for a drink, preparing

are mentioned this time with ? phen

Chip off the old block! the editor cried, on the shoulder. Let us go. Where are

keys? (p. 142).

in the hands of Myles Crawford. Blasted indeed, are the keys When him later to ask that he give the "House Bloom approaches a "short par," he states and iterates unequivocally of Key(e)s" to do. (p. 145). Bloom, is to tell Keyes what Bloom the disen is beset by Myles Crawford, franchised the keeper of the keys, as Stephen another keeper of the is likewise beset by Mulligan, keys.

The Key

in Ulysses

21

Even Boylan's with Molly is involved in coming assignation the key motif. Bloom hums bits of an aria from Don Giovanni which, he thinks, Molly may sing for Blazes Boylan that night. But it Doesn't go properly.

two months if I get Nannetti to. That'll be two Keyes: owes me. pounds then, about two pounds eight. Three Hynes Two eleven. Prescott's fifteen. Five guineas about. ad. Two On the pig's back. Could buy one of her new garters. Today. Bloom's Today. of those silk petticoats for Molly, colour

Not

think,

(p. 177).

it is out of key. This does not "go properly;" humming to and the desperate mathematical leads him to Keyes attempt is How "not think" about Molly. unsuccessful this attempt was on Sandymount thinks: indicated later when Bloom, beach, not? AH a prejudice. Suppose he gave her money? Why a pound. What? I think so. She's worth ten, fifteen, more All that for nothing. Bold hand. Mrs. Marion, (p. 363).

Nothing That

goes

properly

for keyless

Bloom.

the bis forgetting latchkey really does have to it is indicated even which we are attaching symbolic at the brothel. more in the hallucination episode convincingly and Since the brothel both Stephen the subconscious, represents and honestly Bloom are here presented more than anywhere fully seen him else. Because Stephen knows himself, we have already in the course of our Our picture of him is not changed honestly. Bloom But because does not journey through his subconscious. our journey through his miasmic is know himself, subconscious At one point Bloom sees himself as a youth again. He is revealing. as wearing to his "blue Oxford suit" described (as an accessory a "gent's sterling silver waterbury and "Brown Alpine hat") key Bloom's meaning less watch." presented morning
key.

(p. 431). by the watch, is symptomatic

Bloom

is occupying his mortal time, re keyless. His having forgotten his key that and symbolic. Bloom has never had the

22

Patrick White

Bloom, in his hallucination, parodies his own misunderstanding of the meaning back and those to of the keys at the caretaker's on Keyes's advertisement. in ludicrous He brings them together go confusion. the Glasnevin caretaker, ap cemetery John O'Connell, pears and calls the name of 'Dignam, Patrick T., deceased." Dig nam recognizes his "master's letter House voice/' He is told by O'Connell: thousand. and one.

docket Burial seventeen. Field

number U. P. Eighty-five of Keys. Plot one hundred

(p. 465).
sent to Breen.) This is (The U. P. is from the insulting postcard con erroneous to absurdity of Bloom's the reduction egregiously of the key. ceptions of the meaning Still ing, citizens: later in his hallucination, as one of accepted Bloom themselves reveals by his deepest long fellow Dublin

to be

his

to him embodied in of the city is presented (The freedom a charter. The keys of Dublin, crossed on a crimson cushion, are given to him. He shows all that he is wearing green socks. )

(p. 475).
The of Bloom's of the power of the keys conception in his own words, to him. Alex it means later by what, ander J. Keyes asks: "When will we have our own house of keys?" of home rule.") This is Bloom's description of it: (The "innuendo shallowness is shown I stand for the reform of municipal morals and the plain ten New worlds for old. Union of all, jew, moslem commandments. and gentile. Three acres and a cow for all children of nature. Saloon motor hearses. Compulsory manual labor for all. All to the public day and night. Electric dish scrub parks open now must bers. Tuberculosis, and mendicancy lunacy, war cease. General with masked carnival, license, amnesty, weekly No more for all, esperanto bonuses the universal brotherhood. of barspongers and dropsical imposters. Free money, patriotism free love and a free lay church in a free lay state, (p. 480). of the This is a farrago of some of the visionary social programs turn of the century with some peculiarly It con twists. Bloomsian cludes with a reduction of them to their lowest common denomina tor: "Free money, in a free lay free love and a free lay church state/' Bloom, unlike Stephen, does not realize that a fear of God

The Key

in Ulysses

23

of wisdom. that he has is, indeed, the beginning Bloom, unaware not the power of the keys, imagines he has and in his very imagin ing proves his lack. Bloom throughout the whole that he is with day is unaware Street and out his latchkey. He and Stephen arrive at No. 7 Eccles Bloom inserts "his hand mechanically Into the back pocket of his trousers to obtain his latchkey/' Was it there?

It was in the corresponding pocket of the trousers which he had worn on the day but one preceding. Because he had that he had reminded What tatedly were

Why wa$ he doubly irritated?

and because he forgotten himself twice not to forget.

remembered

then

(respectively)

before the alternatives the, premedi and inadvertently, couple? keyless

What

or not to enter. To knock or not to knock? (p. 652). is particularly iterated here is that Bloom is keyless "inadver knows The fact that Stephen "premeditatedly." tently," Stephen, the power of the keys is not his and that Bloom does not is em To enter

phasized. a "stratagem." Bloom goes to enter the house They decide by a window in. Bloom still does not and then lets Stephen through are "stimulated'* realize his privation. His by the "cogitations" art of ad of the modern hitherto unexploited infinite possibilities in triliteral monoideal verti vertisement if condensed symbols, of maximum cally of maximum (divined), horizontally visibility to arrest in and of magnetizing (deciphered) efficacy legibility to interest, to convince, to decide. attention, voluntary Such as? K. II. Kino's House Bloom cuss various II / -Trousers. J. Keyes. (p. 667). "poles apart," dis to his wishes to

of Keys. Alexander and

sit in the kitchen and Stephen frustrations topics. Bloom has met

24 the evils which ameliorate for a superior intelligence." Did He proceeding

conscious

Patrick White beset He realizes it is a "task

humanity.

Stephen affirmed
rational

participate his

in his dejection? animal and a

as a conscious rational significance to the unknown from the known syllogistically

reagent between a microand

a macrocosm

ineluctably Was Not What That

constructed this affirmation

upon

the

incertitude

of the void.

apprehended

by Bloom?

verbally.

Substantially. his misapprehension?

comforted

as a competent ener citizen he had proceeded keyless to the known through the incertitude from the unknown getically of the void. (p. 682). is and Stephen's Bloom's keylessness the philosopher-artist who knows himself, again apparent. Stephen, "the conscious in rec rational reagent," gave up his key voluntarily a conviction of his lack of the of certitude. He knows ognition . . . from the known to the unknown" but, of "proceeding method for him, the unknown ineluct "the macrocosm remains unknown: un constructed of the void." Bloom, upon the incertitude ably The difference between of his keylessness, from himself for proceeding congratulates exterior of the house) to the known (the (the in of the void (the windows), the incertitude "as a terior) through citizen." competent keyless the unknown certain the unavoidable Making is an "imperfection" is competent really A provisional failure to obtain doubt which that Bloom Bloom keyless recalls: aware

renewal

of an advertisement,

(p. 714).
In view, then, of to speak of the key motif, Joyce's elaboration of the "keylessness of modern man" is an oversimplification. Some one has the Buck The "huge key" is held by the usurper, key. In the period of disintegration, the the denier of values, Mulligan. as we The caretaker, has dominion. scoffing Mulligan cynical, have that the past has had seen, also has the keys, signifying

The Key

in Ulysses

25

Crawford has "jingling keys" as dominion, though now defunct. And the keys from the spokesman for the period of distintegration. now participate the Papal arms of the previous for divine age in the religion of the period of distintegration, Alexander J. Keyes whose god isMammon. Eastern NOTES
1. Letter to Harriet Weaver, Time Nov.

Michigan

University

Dublin's
Press,

19,

1923. Man

Quoted

by

Hugh Mass.:

Kenner, Beacon

Joyce

(London: Chatto

and Windus,
and Western

1955),

p. 180.

2. Wyndham Lewis, p. 91. 1957),

(Boston,

3. Harry Faber and Faber, James 1944), p. 51. Levin, (London: Joyce suc 4. Ulysses York: The Modern p. 477. (New 1946), (All Library, to Ulysses are in pa in the text enclosed references ceeding incorporated rentheses. ) out 5. W. K. Wimsatt the danger of misunderstanding points Joyce's or stereotyped as a creative symbolism: symbolism technique "Formulary . . . This a contradiction. as Dante, is is not to say that such writers Chaucer, or James a wide who have had of formulated range Shakespeare, Joyce, a and quasi-symbohst at their suffered have meanings command, thereby is that to do with The knew what such knowledge. point they handicap. the The the turn, the the hidden transformation, twist, metaphor, illusory are their pervasive of Sym conversationalism, ("Two Meanings principles/' Renascence bolism," p. 18. (1955), in Levin, 6. Quoted 7. S. L. Goldberg, p. ]54. 1961), Press, James Joyce, The Classical p. 53. Temper (New York: Barnes and of Noble, Chicago

8. Richard Fabulous M. The Kain, Voyager 1947 ) and Levin, James Joyce. 9. Kain, The Fabulous p. 167. Voyager,

(University

10. Levin, James Joyce, pp. 51-&2. in Finnegans 11. The figures key prominently a dozen) in not only many but times least (at is described flashback, (or Harold) Humphrey

Wake significant in "prefall

jingling his turspike keys/'

Livia is told

(New York: The Viking Press, 1947), p. 31. As

ah>o. It appears contexts. In a . . . paradise

of the book, out to meet the sea in the concluding goes passage to take the keys again. ( Ibid., p. 628. ) to Giambattista Vico New Science 12. According [The of Giambattista Cornell York: trans. T. G. H. Fisch New and M. Vico, Bergin (Ithaca, in time is "an ideal eternal traversed there Press, 1948)3 history University nation In the course each the histories of all nations." of this history, by Each the heroic, and the human. three ages: the divine, age passes through an essential to civilization: the institution contributes the divine, religion; three these the human, After and burial. heroic, through marriage; passing an and nation then declines and and falls each stages maturity, reaching a a period era of barbarism until continues which of disintegration, ensues, anew. new to begin the process into existence divine age comes Anna Finn 13. Stuart Gilbert, James James Joyce, Joyce's "Ulysses" (New York: Vintage Books, p. 55. 1955), 14. Levin,

p. 51.