Nielson, David R. “’Cyclops,’ Sinn Féin, and ‘The Jew’: An Historical Reconsideration.” Journal of Modern Literature 19.2 (1995): 245-57. JSTOR. Web. 29 Nov. 2016.

Related topics:

Religion

Union and Division

Link to citation page: https://www.jstor.org/stable/3831591?seq=1#page_scan_tab_contents

Link to full text: https://www.jstor.org/stable/pdf/3831591.pdf

Nielson’s article inspects the various formulations of Irish nationalism and James Joyce’s personal experiences with both Irish republicanism and anti-Jewish European fervor in order to reinterpret the political motivations of the “Cyclops” episode and reassess its historical origins. Nielson claims that the scholarship regarding “Cyclops” has long emphasized the outward tension of Irish nationalism and the Orientalist tendencies of the Irish population, particularly in regards to Bloom’s Jewish lineage, but that academics have largely neglected to investigate deeper into “Joyce’s attitude toward either Arthur Griffith, the founder of Sinn Fein, or Michael Cusack, the main force behind the Gaelic Athletic Association” (245). Nielson’s analysis posits that a more nuanced understanding of the conflict between Irish nationalism and racialized others in “Cyclops” can be obtained if one is more aware of Joyce’s own political opinion and his relationship with Ireland’s national movement.

Despite Joyce’s self-imposed exile from Dublin, Nielson claims that the author still came into contact with Irish, anti-Jewish sentiment, through the disseminated political ideals of the prominent nationalist Arthur Griffith. Nielson offers many different examples of how the nationalism of Ireland influenced Joyce’s presentation of “Cyclops” and his characterization of Leopold Bloom. An especially glaring criticism of Bloom is uttered by the citizen who deems him “the bloody freemason” (U12.300). This easily looked over attack is actually an important historical allusion that ties “Cyclops” into the political reality of early 20^th Century Irish nationalism, “Since he perceives Bloom unequivocally as a Jew, the insult obviously refers to the kind of Jewish world-conspiracy rhetoric which Griffith invoked in his newspaper” (251). Freemasonry was often equated with Judaism as an underlying sociopolitical force intent on eroding the Irish way of life.

Not only does Nielson’s writing astutely explain the origins of Bloom’s prejudiced characterization, it also offers commentary on the contemptible bigotry of Irish Republicanism, tracing the ideologies it stemmed from. Not only is “Cyclops” influenced by the popular nationalist ideals of the era, but also by older, similarly chauvinistic, Catholic scrutiny, “the clergy itself in Ireland also disseminated similar economic myths about British and Irish Jews” (Nielson 252). The nativistic and intolerant nationalism of Griffith, his peers, and the Irish-Catholic Church manifests in “Cyclops” through exclusionary barbs and aggression, “I’ll brain the bloody jewman” (U12.1811-1812). According to Nielson, the violent behavior of the citizen is a visible distillation of all these anti-foreign ideologies, “the character represents the inane convolutions of bigotry and desperate republicanism” (253).

Citations and Related Sources:

Cheyette, Bryan. “”‘Jewgreek Is Greekjew’: The Disturbing Ambivalence of Joyce’s Semitic Discourse in Ulysses.” Joyce Studies Annual 3 (1992): 43. JSTOR. Web. 5 Dec. 2016

Holmes, Colin. Anti-semitism in British Society, 1876-1939. Holmes & Meier, 1979. Print.

Larkin, Emmet J. The Consolidation of the Roman Catholic Church in Ireland, 1860-1870. Chapel Hill: U of North Carolina, 1987. Print.

Related Topics:

Native and Foreign

Union and Division

Religion

Link to citation page: https://libweb.grinnell.edu/vufind/Record/.b1078472x

In The English Face of Irish Nationalism, Alan O’Day explicates on the history of Ireland’s national movement, particularly how it was shaped and given clout by an ascendant class of Anglo nobles. Starting with Gladstone’s liberal influence on the Irish question in the late 19^th Century, O’Day analyzes the multiple prominent figures and governmental channels that most thoroughly developed strains of Irish nationalism. The paramount politico Parnell, a recognized Anglo-Irish leader, stands out as one of O’Day’s most crucial profiles.

During Ireland’s struggle for national autonomy, Parnell played an integral role in motivating the Irish people and diplomatically maneuvering against Britain. While The English Face of Irish Nationalism is concerned with the entirety of Irish nationalism in the years preceding the Irish Free State, O’Day closely inspects the political moves of Parnell, how is Anglo affiliation framed his form of Irish nationalism, and how he both aligned with and differed from fellow nationalists, most importantly the leftist and ethnically Irish factions of Ireland’s national movement.

Citations and Related Sources:

MacIntyre, Angus. “The Anglo-Irish and the New Ireland.” The English Historical Review, vol. 92, no. 365, 1977, pp. 866–868.

O’Brien, C. C. (1968). Parnell and His Party, 1880-90. Oxford: Clarendon Press.

Pelling, Henry. Social Geography of British Elections London: Palgrave Macmillan, 1967. Print.

Obsessions and Themes:

Religion

Ethnicity

Questions

Segall, Jeffrey. “Between Marxism and Modernism, or How to Be a Revolutionist and Still Love ‘Ulysses.’”James Joyce Quarterly, vol. 25, no. 4, 1988, pp. 421–444.

Related Topics:

Politics and Media

Union and Division

Thought and Action

Creation and Making

Link to citation page: http://www.jstor.org/stable/25484900

Link to full text: http://www.jstor.org.grinnell.idm.oclc.org/stable/pdf/25484900.pdf

Segall provides an in-depth historical exposition on the modernistic experimentation of Joyce’s writing and how it both aligned with and complicated the political philosophies and literary theories of his Marxist and leftist contemporaries. In a mostly chronological progression, Segall addresses the artistic premises of socialist thinkers like Leon Trotsky, Edmund Wilson, Phillip Rahv, and others, and analyzes their critiques of Joyce’s modernist approach to literature and whether or not it is ideologically opposed to Marxism as high art bourgeois extravagance or if it furthers the socialist cause by offering complex literary devices and intricate characters that scrutinize capitalistic institutions and disrupt standard writing conventions. Segall’s article is particularly insightful in regards to framing the ideological divide between the purely political ideologues of the Stalinist camp and the proponents of Trotsky’s literary theory which suggested that even artwork born out of bourgeoisie culture could enlighten and enrich the proletariat class despite not being explicitly revolutionary in approach, “I resent violence and intolerance in any shape or form. It never reaches anything or stops anything. A revolution must come on the due instalments plan (U 16. 1099-1101).

According to Trotsky, “One cannot always go to the principles of Marxism in deciding whether to accept or reject a work of art” (qtd in Segall 425). This tolerance of Joyce’s modernism became the western leftist standard of critique as the 20^th Century progressed. Segall makes it clear that Joyce’s work, especially Ulysses, does not express outright political criticism, however, it also does not completely ignore issues of class, gender, nationality, and other injustices socialists would have been concerned with. While Ulysses is surely an advanced piece of fiction that is not explicitly leftist, Segall affirms, through explaining the Trotskyist tradition of accepting the educational capacities of meaningful art even from intellegentsia circles, that Joyce’s writings are integral works that can supplement the proletariat class.

Citations and Related Sources:

Max Eastman, Artists in Uniform (New York: Octagon Books, 1934), p. 37. 15 Leon Trotsky, Literature and Revolution (New York: RusseU and RusseU, 1957), p. 225

Edmund Wilson, “James Joyce,” in Axel’s Castle (New York: Charles Scribner’s Sons, 1931), p. 207.

Phillip Rahv, “Proletarian Literature: A Political Autopsy,” in Essays on Literature and Politics, pp. 299-300.

Mass

Forms

Mass, Massboy, Masstime

Related Terms

Amass, Massed, Masses, Massa, Massage

Explication

Due to the Roman Catholic homogeneity of Ireland in Ulysses, mass stands as a particularly prevalent and loaded term. The very first usage of the word, “The ring of bay and skyline held a dull green mass of liquid” encapsulates Joyce’s perception of the island with unsettled tone, a place of bleak prospects and affirmed cultural stereotypes as connoted by the descriptor “green” (U 1. 107-108). Mass manifests in Ulysses as a term that intersects and intertwines itself with the Irish population, in both the traditional Catholic and Celtic sense.

While mass, in the context of Ireland, most obviously denotes a Catholic service, slight variants of the word, including massboy and masstime, convey how colloquially commonplace Catholic ritual is in Irish society and how it is inexorably connected to identities of its people, “Yes. In his way. Choirboy style. Mass was the boy. Massboy” (U.11 611-612). The routine importance of mass is an acknowledged frame of time that both structures Irish daily life and looms as an austere moral reminder. In Ulysses, mass, massed, and all its lexical modifications, do not merely convey a typical religious ceremony, but rather a sociopolitical force that drives the Joycean expression of fitful Irish life.

Additionally, it’s important to consider mass in the physical sense, a solid object. Bloom’s contemplation during Paddy Dignam’s funeral expresses this denotation of the word. During the funeral service, Bloom’s mind goes off on many tangents of thought, several of which deal with science, physicality, matter, or earth in general as displayed by Bloom’s morbid observation of grave dirt, “Funerals all over the world everywhere every minute. Shovelling them under by the cartload doublequick. Thousands every hour. Too many in the world” (U 6. 514-516).

A final permutation of mass that visibly stands out occurs in Episode 14. As “Oxen of the Sun” stylistically progresses through the many voices of the English literary tradition, eventually African-American diction is incorporated into the plot and employed to praise the late Paddy Dignam, “Did ums blubble bigsplash crytears cos fren Padney was took off in black bag? Of all de darkies Massa Pat was verra best. I never see the like since I was born” (U 14. 1555-1557). The related term of massa is especially intriguing for its natural usage would have been far removed from the Irish context. Additionally, utilizing massa to praise the deceased Paddy Dignam suggests how the term complicates conceptions of Irishness. By marginally adding to the noun presentation of mass and reapplying it with a separate voice, the word no longer imparts a connotation of Irish religious culture. The racialized mode of massa asserts that the recently passed away Paddy Dignam is no longer apart of Ireland.

Definitions and Examples

mass, n.1 (OED 1.a)

1. The Eucharist, esp. (in post-Reformation use) as understood and celebrated in the Roman Catholic Church.
2. The liturgical celebration of the Eucharist; the Eucharistic service. Now usually without article: e.g. after mass, to go to mass, etc.to say mass: (of a priest) to officiate at the celebration of the Eucharist. to hear mass: to attend mass as a member of the congregation.

“Mr Bloom put his face forward to catch the words. English. Throw them the bone. I remember slightly. How long since your last mass?” (U 5. 421-422).

mass, v.2 (OED 1.b)

1.b. To collect, assemble, or come together in a mass or masses. Also with up.

“Their full slow eyes belied the words, the gestures eager and unoffending, but knew the rancours massed about them and knew their zeal was vain.” (U 2. 367-369).

mass, n.2 (OED I, 1.a)

1. A body of matter, and related senses.

1.a. A dense aggregation of objects having the appearance of a single, continuous body. Also fig.

“Maggy at the range rammed down a greyish mass beneath bubbling suds twice with her potstick and wiped her brow” (U 10. 261-262).

massa, n.1 (Merriam Webster)

1.a. Southern: Master

“the reverend Ananias Praisegod Barebones, tendered his best thanks to Massa Walkup and emphasised the cordial relations existing between Abeakuta and the British empire, stating that he treasured as one of his dearest possessions an illuminated bible, the volume of the word of God and the secret of England’s greatness, graciously presented to him by the white chief woman, the great squaw Victoria, with a personal dedication from the august hand of the Royal Donor” (U 12. 1520-1526).

Related Topics

Religion/Catholicism

Blackness

Bodies

Union and Division

Currently, I am in the process of developing a thesis for the short paper. Right now, I have multiple routes of analysis to take, but most regard the conflation of identity and religion in Ulysses.  I am very intrigued, however, by the possibilities of applying critical race and sexuality theory to the Circe episode.

The episode appears to me as the epitome of Bloom’s culture-less characterization. Bloom is apparently not truly Jewish as critically expressed in Circe’s dreamscape, “are you not my son Leopold, the grandson of Leopold? Are you not my dear son Leopold who left the house of his father and left the god of his fathers Abraham and Jacob?” (U 15. 261-262).

Furthermore, despite Bloom marrying Molly, he will never be considered a true Irish-Catholic. Bloom exists in a Dublin purgatory of sorts. This episode’s thorough assailing of Bloom’s character conveys the utmost dejection he feels.

As noted in a previous post, Bloom breaks free from the dreaminess of the Circe episode by finally confronting the nymph, a feminized entity. I believe there is much to be dissected in this interaction. How much is this nymph a reflection of Bloom’s own character? Is his reaction to the nymph a form of submission to projections of gender upon him, or does Bloom assert himself in his response?

There is much to be said regarding nationalism, religious associations intertwined with national identity, and gender in Ulysses, particularly Circe.

Mass

Forms

Mass, Massboy, Masstime

Related Terms

Amass, Massed, Masses, Massa, Massage

Explication

Due to the Roman Catholic homogeneity of Ireland in Ulysses, mass stands as a particularly prevalent and loaded term. The very first usage of the word, “The ring of bay and skyline held a dull green mass of liquid” encapsulates Joyce’s perception of the island with unsettled tone, a place of bleak prospects and affirmed cultural stereotypes as connoted by the descriptor “green” (U 1. 107-108). Mass manifests in Ulysses as a term that intersects and intertwines itself with the Irish population, in both the traditional Catholic and Celtic sense.

While mass, in the context of Ireland, most obviously denotes a Catholic service, slight variants of the word, including massboy and masstime, convey how colloquially commonplace Catholic ritual is in Irish society and how it is inexorably connected to identities of its people, “Yes. In his way. Choirboy style. Mass was the boy. Massboy” (U.11 611-612). The routine importance of mass is an acknowledged frame of time that both structures Irish daily life and looms as an austere moral reminder. In Ulysses, mass, massed, and all its lexical modifications, do not merely convey a typical religious ceremony, but rather a sociopolitical force that drives the Joycean expression of fitful Irish life.

A final permutation of mass that visibly stands out occurs in Episode 14. As “Oxen of the Sun” stylistically progresses through the many voices of the English literary tradition, eventually African-American diction is incorporated into the plot and employed to praise the late Paddy Dignam, “Did ums blubble bigsplash crytears cos fren Padney was took off in black bag? Of all de darkies Massa Pat was verra best. I never see the like since I was born” (U 14. 1555-1557). The related term of massa is especially intriguing for its natural usage would have been far removed from the Irish context. Additionally, it being utilized to praise the deceased Paddy Dignam suggests how the term complicates conceptions of Irishness. By marginally adding to the noun presentation of mass and reapplying it with a separate voice, the word no longer displays a connotation of Irish religious culture. The racialized mode of massa asserts that the recently passed away Paddy Dignam is no longer apart of Ireland.

Definitions and Examples

mass, n.1 (OED 1.a)

1. The Eucharist, esp. (in post-Reformation use) as understood and celebrated in the Roman Catholic Church.
2. The liturgical celebration of the Eucharist; the Eucharistic service. Now usually without article: e.g. after mass, to go to mass, etc.to say mass: (of a priest) to officiate at the celebration of the Eucharist. to hear mass: to attend mass as a member of the congregation.

“Mr Bloom put his face forward to catch the words. English. Throw them the bone. I remember slightly. How long since your last mass?” (U 5. 421-422).

mass, v.2 (OED 1.b)

1. To collect, assemble, or come together in a mass or masses. Also with up.

“Their full slow eyes belied the words, the gestures eager and unoffending, but knew the rancours massed about them and knew their zeal was vain.” (U 2. 367-369).

massa, n.1 (Merriam Webster)

1.a. Southern: Master

“the reverend Ananias Praisegod Barebones, tendered his best thanks to Massa Walkup and emphasised the cordial relations existing between Abeakuta and the British empire, stating that he treasured as one of his dearest possessions an illuminated bible, the volume of the word of God and the secret of England’s greatness, graciously presented to him by the white chief woman, the great squaw Victoria, with a personal dedication from the august hand of the Royal Donor” (U 12. 1520-1526).

Related Topics

Religion/Catholicism

Blackness

Bodies

Union and Division

As Ulysses concludes, we are finally introduced to the perspective of Molly Bloom, a character that has been at the forefront of Stephen’s mind for the entirety of the novel. Molly’s point of view is split into eight protracted sentences, each one detailing a separate, but usually sexual preoccupation.

For most of Ulysses, Molly and her extramarital sexual affair with Boylan is tacitly evaluated by a dejected and emasculated Bloom. Because Bloom’s voice progresses much of the plot, Molly’s image as solely a cheating spouse is maintained for nearly the whole novel. It is not until the final episode that Joyce complicates this depiction of Molly by presenting her observations and ponderings.

Molly’s internal dialogue regarding sex and her former lovers is very casual and somewhat cavalier, “why can’t you kiss a man without going and marrying him first you sometimes love to wildly when you feel that way” (18 U. 102-103). At first, it appears as if Molly is perhaps as disappointing as Bloom’s discouraged introspection suggests. However, as Episode 18 further develops, Molly reveals herself to be a sympathetic character, one that has had to navigate and deal with Bloom’s often overbearing nature and idiosyncrasies.

There is a noticeable likeness between Molly’s character as described in the eight sentences of Episode 18 and the eight Beatitudes of the Gospel of Matthew. While the two writings do not totally mirror each other in content, Episode 18 does convey to the reader Molly as a more unprofane persona.

The essential message of the Beatitudes is that the meek, the merciful, and the generally righteous will inherit the Kingdom of God.  While Molly is most definitely not a chaste character, she is far from the unfeeling type Bloom’s thoughts tend to illustrate her as. The final section of Ulysses humanizes Molly instead of utilizing her as a conflict instigating conception. In Episode 18, we realize that there was once a point in which Molly did truly love Stephen, “after that long kiss I near lost my breath yes he said I was a flower of the mountain yes so we are flowers all a womens body yes that was one true thing he said in his life” (18 U. 1576-1578). It becomes apparent that Molly has resorted to wanton  extramarital affairs as a method of coping with Stephen’s bizarre behaviors and the failings of their marriage, activity that calls to mind the 2nd Beatitude, “Blessed are they who mourn, for they shall be comforted.”

In the latter half of Circe, the reader witnesses the abject humiliation of Bloom and the full extent of his downtrodden, non-heroic status. Bella Cohen, or the acerbic and austere Bello, becomes a Circe like figure in the episode, ushering Bloom into an anxious series of hallucinations even more distressing and confusing than the imaginations from the previous lines.

Unlike the champion Odysseus who was able to combat Circe’s magical powers and ultimately best her, Bloom lacks fortuity and gumption and is utterly tyrannized by Bello’s chastisements, “Die and be damned to you if you have any sense of decency or grace about you” (15 U. 3202-3203). So far, much of this episode has conveyed Bloom’s hollow identity and various persecutions, however, his interaction with Bello proves to be a culmination of his condemnation.

Bloom’s truly dejected state of being is articulated through an obviously Catholic inspired language of confession and reverence. During Bello’s interrogation of Bloom, he insists, “Don’t ask me! Our mutual faith. Pleasants street. I only thought the half of the…I swear on my sacred oath…” (15 U. 3049-3050). Bloom’s miserable status is epitomized in his weak resistance to Bello’s criticisms. As previously established in our past discussions, Bloom is distanced from both Jewish and Irish identities and the religions inexorably connected to them. When Bloom swears on his sacred oath to withstand Bello’s lambastes, he is difficult to say what sacredness he has an actual relationship with.

Interestingly enough, Bloom is able to find some relief and alleviate Bello’s taunts by reverently confronting the nymph, “I was precocious. Youth. The fauna. I sacrificed to the god of the forest. The flowers that bloom in the spring” (15 U. 3351-3352). Christianity and Judaism have only offered Bloom internal crises of identity. By finally acknowledging the feminized presence of the nymph and its divinity, Bloom is able to pull himself out of the hallucinations. This occurrence could possibly be something ideal to parallel with his relationship with Molly as the plot progresses.

I, and I’m sure hundreds of others first exposed to Circe, found the episode to be thoroughly challenging due to the rambling and random nature of Bloom’s various dramatic hallucinations.

However, despite the section’s experimental strangeness, I was able to parse out some possible topics of discussion that relate to Bloom’s Judaism. Previously in class, we talked about how Bloom’s Jewishness distanced himself from much of the Irish populace despite the fact Ireland was his home. This episode once more taps into that conflict of identity, but in a more flustered and anxious manner, Bloom being affronted in multiple different hallucinated scenarios.

Even though Circe is an utterly unclear episode, I believe it allows a deeper inspection into Bloom’s character and some of the seeded insecurities that orient his position as an other in Ireland. Not only is Bloom not ethnically Irish, but he is also culturally removed from his Jewishness, “Are you not my son Leopold, the grandson of Leopold? Are you not my dear son Leopold who left the house of his father and left the god of his fathers Abraham and Jacob?” (15 U. 260-262).

Much of Circe’s hallucinations involve Bloom being accused of various unsavory behaviors and characteristics, a cuckold, an anarchist, even a woman according to Buck Mulligan. Based upon Joyce’s description of Bloom’s identity, these imagined persecutions seem to originate from Bloom’s abjectly diffident demeanor.

Mass

Forms

Mass, Massboy, Masstime

Related Terms

Amass, Massed, Masses, Massa, Massage

Explication

Due to the Roman Catholic homogeneity of Ireland in Ulysses, mass stands as a particularly prevalent and loaded term. The very first usage of the word, “The ring of bay and skyline held a dull green mass of liquid” encapsulates Joyce’s perception of the island with unsettled tone, a place of bleak prospects and affirmed cultural stereotypes as connoted by the descriptor “green” (U 1. 107-108). Mass manifests in Ulysses as a term that intersects and intertwines itself with the Irish population, in both the traditional Catholic, Celtic sense and also in regards to racialized others that similarly find themselves on the Emerald Isle.

While mass, in the context of Ireland, most obviously denotes a Catholic service, slight variants of the word, including massboy and masstime, convey how colloquially commonplace Catholic ritual is in Irish society and how it is inexorably connected to identities of its people, “Yes. In his way. Choirboy style. Mass was the boy. Massboy” (U.11 611-612). The routine importance of mass is an acknowledged frame of time that both structures Irish daily life and looms as an austere moral reminder, “Since Easter he had cursed three times. You bitch’s bast. And once at masstime he had gone to play. Once by the churchyard he had passed and for his mother’s rest he had not prayed. A boy. A croppy boy” (U. 11 1041-1043). In Ulysses, mass, and its lexical modifications, do not merely convey a typical religious ceremony, but rather a sociopolitical power that drives Irish life and expresses Irish identity.

Mass or Massed also imparts crowded imagery. Due to the term’s associations with homogenous Irish Catholicism and the connoted asperity of that religion, mass is utilized as a synecdochic word depicting the clamoring populace of Dublin, “Their full slow eyes belied the words, the gestures eager and unoffending, but knew the rancours massed about them and knew their zeal was vain. Vain patience to heap and hoard. Time surely would scatter all” (U 2. 367-369). The usage of mass as a verb continues with Joycean illustrations of 1904 Dublin as teeming, but still beleaguered.

A final permutation of mass that visibly stands out occurs in Episode 14. As “Oxen of the Sun” stylistically progresses through the many voices of the English literary tradition, eventually African-American diction is incorporated into the plot and employed to praise the late Paddy Dignam, “Did ums blubble bigsplash crytears cos fren Padney was took off in black bag? Of all de darkies Massa Pat was verra best. I never see the like since I was born” (U 14. 1555-1557). The related term of massa is especially intriguing for its natural usage would have been far removed from the Irish context. Additionally, it being utilized to praise the deceased Paddy Dignam suggests how the term complicates conceptions of Irishness. By marginally adding to the noun presentation of mass and reapplying it with a separate voice, the word no longer displays a connotation of Irish religious culture. The racialized mode of massa asserts that the recently passed away Paddy Dignam is no longer apart of Ireland.

Definitions and Examples

mass, n.1 (OED 1.a)

1. The Eucharist, esp. (in post-Reformation use) as understood and celebrated in the Roman Catholic Church.
2. The liturgical celebration of the Eucharist; the Eucharistic service. Now usually without article: e.g. after mass, to go to mass, etc.to say mass: (of a priest) to officiate at the celebration of the Eucharist. to hear mass: to attend mass as a member of the congregation.

“Mr Bloom put his face forward to catch the words. English. Throw them the bone. I remember slightly. How long since your last mass?” (U 5. 421-422).

mass, v.2 (OED 1.b)

 1.b To collect, assemble, or come together in a mass or masses. Also with up.

“(Massed bands blare Garryowen and God save the King.)” (U 15. 4630).

massa, n.1 (Merriam Webster)

1.a. Southern: Master

“the reverend Ananias Praisegod Barebones, tendered his best thanks to Massa Walkup and emphasised the cordial relations existing between Abeakuta and the British empire, stating that he treasured as one of his dearest possessions an illuminated bible, the volume of the word of God and the secret of England’s greatness, graciously presented to him by the white chief woman, the great squaw Victoria, with a personal dedication from the august hand of the Royal Donor” (U 12. 1520-1526).

Related Topics

Religion/Catholicism

Blackness

Bodies

Union and Division