**due to formatting issues, I’ve also attached a word document to this blog post.

final-%22blind%22-lexicon-lrw

Forms

blind, blindly, blinder

Related Terms

Curious

Glass

Limp

Shell

Explication

Blind, and the ways in which the word relates to sight and the prevention of seeing, serves a few main purposes throughout Ulysses, mostly surrounding the function of sight. The first comes in the noun form of the word—an item that blocks out light or causes individuals to lose the ability to see. Throughout the novel, the image of a blind often comes up with reference to a character’s proximity to a window and the purpose it does or does not serve. One of the first interactions readers witness between Leopold Bloom and his wife, Molly, involves an inquiry about a physical blind: “—Do you want the blind up? / Letting the blind up by gentle tugs…” (U. 4.255-256). In this sense, the object of a blind operates a noun with a specific purpose: to prevent a certain capability (sight or light) from occurring.

The ways in which blind insinuates the prevention of sight and inability to see is a trend continued by the repetitive use of the adjective form of the word as well. Blind as an illustrative adjective reoccurs throughout the novel, often used to describe historical figures (i.e. “old blind Abraham” U. 5.201), as well as recurring characters (refer to U. 8.1075). As expected, this form of blind depicts images of those who cannot see. Throughout the novel this form is used to both describe characters that are actually incapable of sight, or simply those who show attributes that would label them as such (i.e. obliviousness). This less literal version of blind as an adjective comes about to describe a certain type of belief that appears at different moments throughout Ulysses. Because it is a novel filled with (often ironic) religious imagery, Joyce’s word choice of “blind faith” (U. 5. 377) must be evaluated with this tone in mind. In this way, blind comes up as a description of those who take comforts in religion without any worry or deeper understanding, a concept complicated throughout Ulysses.

The recurrent usage of the word blind persists as an involuntary situation of sorts when considering the use of the word as a verb. Although sparsely used throughout the novel, blind as a verb does come up to convey the action of causing a state characterized by the inability to see. Such a use seems to illuminate not only the repetition of the unfortunate state, but also the more harsh connotations that can come along with it. The first time the verb form of blind occurs is in reference to both an animal, and not actually carrying out the action: “it wouldn’t blind him” (U. 12. 700). Although this portrays an occurrence in which the verb wouldn’t actually happen, the repetitive use of the word throughout Ulysses makes such an instance stand out. The novel spends much time depicting characters (and animals) with reference to their ability to see, and their awareness of the space in which they inhabit. By reusing the word in its various forms, blind appears to describe multiple conditions characterized by lack of an attribute.

Definitions and Examples

1. Blind, n.
   I. Anything which obstructs the light or sight. (OED 1).

• “Letting the blind up by gentle tugs halfway” (U. 4.256)
• “The gay sweet chirping whistling within went on a bar or two, ceased. The blindof the window was drawn aside.” (U. 10.249-250) 
• “Miss Douce’s brave eyes, unregarded, turned from the crossblind smitten by sunlight. Gone. Pensive (who knows?), smitten (the smiting light), she lowered the drop blindwith a sliding cord.” (U. 11.460-462)

II. spec. A screen for a window, made of woven material mounted on a roller, of wire gauze,etc.; used to prevent the entrance of too much light, or to keep people from seeing in. Venetian blindsn. those made of light laths fixed on strips of webbing. (OED 2)

• “He passed an arm through the armstrap and looked seriously from the open carriagewindow at the lowered blindsof the avenue” (U. 6.10-12)
• “The room in the hotel with hunting pictures. Stuffy it was. Sunlight through the slats of the Venetian blind” (U. 6.360-361)

Special Uses: blind faith. belief or confidence (in a person or thing) without any evidence or proof. (OED)

• Blind faith. Safe in the arms of kingdom come. Lulls all pain. Wake this time next year. (U. 5.377-378)

2. Blind, adj. (and adv.).
   I. Literal
   a. Destitute of the sense of sight, whether by natural defect or by deprivation (OED 1.a).

• “The scene he was always talking about where the old blindAbraham recognises the voice and puts his fingers on his face” (U. 5.201-202)·
• “A blindstripling stood tapping the curbstone with his slender cane. No tram in sight. Wants to cross. –Do you want to cross? Mr Bloom asked. The blind stripling did not answer. His wallface frowned weakly. He moved his head uncertainly.” (U. 8.1075-1079)
• “You’re blinder nor I am, you bitch’s bastard!” (U. 1119-1120)

i. to go it blind: to act without previous investigation of the circumstances; to plunge without regard to the risks involved.

• “Phew! Dreadful simply! Child’s head too big: forceps. Doubled up inside her trying to butt its way out blindly, groping for the way out.” (U. 8.374-376)·

  d. absol. A blind person, esp. as pl. Those who are blind, as a section of the community. (OED 1.d)

  · “they did divers wonders such as casting out devils, raising the dead to life, multiplying fishes, healing the halt and the blind, discovering various articles which had been mislaid, interpreting and fulfilling the scriptures, blessing and prophesying” (U. 12.1723-1726)

IV. Combinations
15. General, as blind-born, blind-drunk (Sc. blin’-fou), so intoxicated as to see no better than a blind man (OED IV.15)

• “I had to laugh at the way he came out with that about the old one with the winkers on her, blind drunk in her royal palace every night of God” (U. 12.1393-1394)

3. Blind, v.
   I. trans. To make blind, deprive of sight (OED 1).
   a. permanently

• “I’d train him by kindness, so I would, if he was my dog. Give him a rousing fine kick now and again where it wouldn’t blind” (U. 12.698-700)

Related Topics

Science, Thought and Action, Ability, Medicine

White, Patrick. “The Key in ‘Ulysses.’” James Joyce Quarterly, vol. 9, no. 1, 1971, pp. 10-25.

Link to citation page: http://www.jstor.org/stable/25486940?Search=yes&resultItemClick=true&searchText=the&searchText=house&searchText=of&searchText=keys&searchText=in&searchText=ulysses&searchUri=%2Faction%2FdoBasicSearch%3FQuery%3Dthe%2Bhouse%2Bof%2Bkeys%2Bin%2Bulysses%26amp%3Bprq%3D%2522images%2Bin%2Bulysses%2522%26amp%3Bso%3Drel%26amp%3Bfc%3Doff%26amp%3Bhp%3D25%26amp%3Bacc%3Don%26amp%3Bwc%3Don&seq=1#page_scan_tab_contents

Link to full text: http://www.jstor.org/stable/pdf/25486940.pdf

Related Topics:

Power Dynamics, Relationships, Imagery

In “The Key to ‘Ulysses,’” Patrick White analyzes the use of the image of a key throughout the novel, specifically how it comes to define certain power dynamics between characters. White begins by first discussing the ways in which previous analyses have offered slight insights into the topic, but have rarely given readers an in depth look into the ways in which keys appear as a crucial “motif” (10) over the course of Ulysses. The author offers brief descriptions of the previous explorations of the key image by other critics such as S. K. Goldberg and Richard Kain, who discuss the recurring key imagery as an “emblem of possession” and “the keylessness of the modern man” (11) respectively. However, White asserts that a more detailed examination of the “key motif” allows for an understanding of the novel itself, in that the symbolism offers “a key to the meaning of Ulysses” (10).

For the majority of the article, White compares the ways in which images of a key comes about in the lives of Stephen and Bloom. White cites specific moments of importance when Stephen “voluntarily gives” (13) the keys in his possession away in the opening episode. White argues that such an action is formulated by Joyce with the goal of specifying the power dynamics between Stephen and Buck Mulligan (in that, by passing over the keys Stephen has acknowledged a weaker position). The article goes on to clarify how, for the analysis of the keys in Bloom’s life, it is crucial to recognize that he “does not consciously part with his key” instead “he simply forgets it” (17). As such, Bloom’s obliviousness to the loss of the key indicates his complete unawareness for the “authoritative dominion” (18) it would imply.

White finishes the article by exploring “Keyes’s ad” (19), prevalent throughout “Aeolus.” In discussing the rich imagery and meaning that comes along with the crossed keys that make up the symbol used by Bloom, the article illuminates how keys can represent authoritative positioning in a context wider than that of the text. White ends the piece by summarizing the characters’ respective statuses within the novel, all dependent on their relation to the possession (or lack thereof) of keys.

Relevant References:

Richard M. Kain, The Babulous Voyager (University of Chicago Press, 1947) and Levin, James Joyce

S. L. Goldberg, The Classical Temper (New York: Barnes and Noble, 1961), p. 154.

To assess beginnings and endings throughout the novel is to bring to light two distinct functions—the first is form, the second more based on topics. In terms of form, beginnings and endings often shape the ways in which we read the novel, and how clear (or not) certain episodes are. On the topics side of the subject, the themes within this category that seemed to reoccur quite frequently were life and death. Under the umbrella theme of life can be found subgenres such as birth, parentage, and origins, while discussions of death focus largely on relationships to the deceased and impacts of such deaths.

With regards to the form, beginnings and endings can be considered as both how each episode opens and closes, but also periodically how the episode is structured. In thinking about Ulysses, it is clear that each portion varies in some way, often very distinctly, from all the others. For example, Episode 15 (“Circe”) noticeably uses a theatrical form, a structure that allows for readers to understand when one speaker’s moment begins and subsequently ends. Such a form stands in contrast to less distinguishable portions such as episodes focused on inner thoughts of characters—Stephen in “Proteus” (Episode 3), where one thought often blurs into the next. Keeping track of beginnings and endings, with a focus on form and structure, allows for an understanding of the novel through different perspectives (narration). As such, beginnings and endings can function as indicators of speech (“Circe”), episode tone (i.e. “Sirens”), and clarity—or lack thereof (“Ithica”).

In assessing the obsession of beginnings and endings with a more thematic focus, the novel brings forth complications with regards to the topics of birth/life and death. While each can be broken down further into subcategories, it seems important to point them out as the most substantially recurring examples of beginnings and endings. Within the subject of births, Ulysses seems to focus largely on both origins and the actual concept of birth. From Molly: “My wife is, so to speak, Spanish, half that is. Point of fact she could actually claim Spanish nationality if she wanted, having been born in (technically Spain, I.e. Gibraltar” (16.876-79), to the fleetingly relevant character D.B. Murphy from, “Fort Camden and Fort Carlisle. That’s where I hails from” (16.418-20), it is apparent that Joyce puts a focus on the places or backgrounds people are from (i.e. Bloom’s complicated history with Judaism).

Ulysses often complicates readers’ understanding of the usually straightforward concept of birth. Not only does Joyce portray a moment in which Bloom is/could be pregnant: “He is about to have a baby” (15.1818), but also offers ponderings of the birth process through Stephen’s wondering, “One of her sisterhood lugged me squealing into life. Creation from nothing” (3.35). It is not uncommon for Joyce to cause readers to question what they know to be true, however his complications of such an established act truly epitomizes the misperceptions and confusions throughout the novel. Another very similar topic that Joyce makes sure to maintain as confusing is parentage. For example, the complication of a well known lineage: “”Moses begat Noah begat Noah begat Eunuch[…]” (15. 1855). While this is only one instance in which such confusion is brought to light, this theme seems to pop up quite often, and with more pertinence to the novel’s characters themselves.

Oppositely, death functions as the biggest reoccurring theme relevant to endings. Not only is Dignam’s death a constant topic of conversation, but the idea itself is often called upon to reference time or situations. While death is an important and contentious topic to Stephen (consider his mother): “He kills his mother but he can’t wear grey trousers” (1.122), it is also a significant subject in Bloom’s life when we consider Rudy: “When we left Lombard street west something changed. Could never like it again after Rudy” (8.609-610). Characters in Ulysses seemed to be riddled with images and hauntings from deaths, inherently endings of lives, throughout the novel—in ways that shape its course.

The online formatting was giving me some trouble, but below is my updated Lexicon entry. I’ve also attached a word document with more reliable formatting:

%22blind%22-lexicon-lrw

Forms

blind, blindly, blinder

Related Terms

Curious
Glass
Limp
Shell

Explication

Blind, and the ways in which the word relates to sight and the prevention of seeing, serves a few main purposes throughout Ulysses. The first comes in the noun form of the word—an item that blocks out light or causes individuals to lose the ability to see. Throughout the novel, the image of a blind often comes up with reference to a character’s proximity to a window and the purpose it does or does not serve. One of the first interactions readers witness between Leopold Bloom and his wife, Molly, involves an inquiry about a physical blind: “—Do you want the blind up? / Letting the blind up by gentle tugs…” (U. 4.255-256). In this sense, the object of a blind operates a noun with a specific purpose: to prevent a certain capability (sight or light) from occurring.

Another significant use of blind in the novel is as an illustrative adjective. Used to describe historical figures (i.e. “old blind Abraham” U. 5.201), as well as recurring characters (refer to U. 8.1075), it expectedly depicts images of those who cannot see. Throughout the novel this form is used to both describe characters that are actually incapable of sight, or simply those who show attributes that would label them as such (i.e. obliviousness). However, blind as an adjective also serves to describe a certain type of belief that comes up throughout the novel. Filled with (often ironic) religious imagery, Joyce’s word choice of “blind faith” (U. 5. 377) must be evaluated with this tone in mind. In this way, blind comes up as a description of those who take comforts in religion without any worry or deeper understanding, a concept complicated throughout Ulysses.

Although sparsely used throughout the novel, blind as a verb does come up to convey the action of causing a state characterized by the inability to see. The first time the verb form of blind occurs is in reference to both an animal, and not actually carrying out the action: “it wouldn’t blind him” (U. 12. 700). Although this portrays an occurrence in which the verb wouldn’t actually happen, the repetitive use of the word throughout Ulysses makes such an instance stand out. The novel spends much time depicting characters (and animals) with reference to their ability to see, and their awareness of the space in which they inhabit.

Definitions and Examples

1. Blind, n.
   I. Anything which obstructs the light or sight. (OED 1).

• “Letting the blind up by gentle tugs halfway” (U. 4.256)
• “The gay sweet chirping whistling within went on a bar or two, ceased. The blind of the window was drawn aside.” (U. 10.249-250) 
• “Miss Douce’s brave eyes, unregarded, turned from the crossblind smitten by sunlight. Gone. Pensive (who knows?), smitten (the smiting light), she lowered the drop blind with a sliding cord.” (U. 11.460-462)

  II. spec. A screen for a window, made of woven material mounted on a roller, of wire gauze,etc.; used to prevent the entrance of too much light, or to keep people from seeing in. Venetian blinds n. those made of light laths fixed on strips of webbing. (OED 2)

• “He passed an arm through the armstrap and looked seriously from the open carriagewindow at the lowered blindsof the avenue” (U. 6.10-12)
• “The room in the hotel with hunting pictures. Stuffy it was. Sunlight through the slats of the Venetian blind” (U. 6.360-361)

  Special Uses: blind faith. belief or confidence (in a person or thing) without any evidence or proof. (OED)

• Blind faith. Safe in the arms of kingdom come. Lulls all pain. Wake this time next year. (U. 5.377-378)

2. Blind, adj. (and adv.).
   I. Literal
    Destitute of the sense of sight, whether by natural defect or by deprivation (OED 1.a).

• “The scene he was always talking about where the old blindAbraham recognises the voice and puts his fingers on his face” (U. 5.201-202)·
• “A blind stripling stood tapping the curbstone with his slender cane. No tram in sight. Wants to cross. –Do you want to cross? Mr Bloom asked. The blind stripling did not answer. His wallface frowned weakly. He moved his head uncertainly.” (U. 8.1075-1079)
• “You’re blinder nor I am, you bitch’s bastard!” (U. 1119-1120)

  i. to go it blind: to act without previous investigation of the circumstances; to plunge without regard to the risks involved.

• “Phew! Dreadful simply! Child’s head too big: forceps. Doubled up inside her trying to butt its way out blindly, groping for the way out.” (U. 8.374-376)·

  d. absol. A blind person, esp. as pl. Those who are blind, as a section of the community. (OED 1.d)

• “they did divers wonders such as casting out devils, raising the dead to life, multiplying fishes, healing the halt and the blind, discovering various articles which had been mislaid, interpreting and fulfilling the scriptures, blessing and prophesying” (U. 12.1723-1726)

IV. Combinations
15. General, as blind-born, blind-drunk (Sc. blin’-fou), so intoxicated as to see no better than a blind man (OED IV.15)

• “I had to laugh at the way he came out with that about the old one with the winkers on her, blind drunk in her royal palace every night of God” (U. 12.1393-1394)

3. Blind, v.
   I. trans. To make blind, deprive of sight (OED 1).
   a. permanently

• “I’d train him by kindness, so I would, if he was my dog. Give him a rousing fine kick now and again where it wouldn’t blind” (U. 12.698-700)

Related Topics
Science, Thought and Action, Ability, Medicine

Within the topic of beginning and endings, a theme that seemed to pop up throughout Episode 16 was origins–specifically in reference to where people are from. Such a trend stands out considering the convoluted descriptions of characters’ backgrounds or unclear entrances that have filled many episodes to this point.

One blatant example of origins being made clear involves the mention of an origin in the context of an introduction (another inherent beginning): that of the sailor D. B. Murphy. The sailor introduces himself as: “D. B. Murphy of Carrigaloe” (16.415) and continues on to explain, “Fort Camden and Fort Carlisle. That’s where I hails from. I belongs there. That’s where I hails from. My little woman’s down there” (16.418-20). Not only does this moment afford readers a certain sense of clarity other episodes have withheld, it also offers up a moment of characterization–cluing readers into the nuances of this character’s life.

Another moment that gives more insight into a known character comes when Molly’s background is described: “My wife is, so to speak, Spanish, half that is. Point of fact she could actually claim Spanish nationality if she wanted, having been born in (technically Spain, I.e. Gibraltar” (16.876-79). Although Molly has been a significant character throughout the novel, it is not until this moment that audiences can truly understand where she comes from. In mentioning in this at this point in the novel, Molly as a character develops further as a autonomous character, as opposed to simply a character’s spouse.

In evaluating the beginnings and endings of Episode 17, they seem to play a more general role than those in Episode 16. Because of the structure of “Ithaca”–question and answer–each small section functions in a way that is a short ending/beginning. These questions serve a purpose similar to that of a pause, often taking content and clarifying it. Because of this set up, Episode 17 allows for one question to begin a small section, and for an answer to end it. For example, when the question is posed: “What reason did Stephen give for declining Bloom’s offer?” (17.236), a straightforward response follows, “That he was a hydrophobe, hating partial contact by immersion or total by submersion in cold water[…]” (17.237-38). In this short section, not only does it begin by describing an action of Stephen’s (“declining”), but it also gives a direct and clear answer (“he was a hydrophobe”) that leaves readers with a sense of clarity and completion. While this is only one of many moments in which Episode 17 clearly begins with a straightforward pondering and ends with a clarifying answer, it serves to represent how this formatting does more than simply drive the episode forward. It also allows for a significant amount of (uncommon) clarity.

Unlike many previous episodes, beginnings and endings in “Circe” are slightly less obvious. However, tracking these markers throughout the episode helps to decipher when one portion ends, and another begins. Due to the prevalence of hallucinations that take place throughout the episode, characters are not always introduced or blatantly described exiting. Instead, readers are sporadically given details that afford such information, but not reliably.

The beginning of the episode itself quickly brings to the forefront how this section of the novel will function. It becomes evident that this parenthetical portion serves a similar purpose to that of stage directions (and scene depictions) from theatrical scripts. As such, beginning the episode in this way immediately clues readers in to a change in perspective and writing form that will continue on throughout Circe.

Entrances and exits are presented in a similar parenthetical way, another clear marker of a beginning and/or ending. These moments of description such as, “He disappears into Olhausen’s” (15.155) and “He springs off into a vacuum” (15.2164), deliver certain contextual and characterizing details that describe the occurrences throughout this episode in clearer ways than have been seen formerly. In contrast to various previous episodes to this point, this feature specific to Episode 15 gives readers a slight upper hand in terms of understanding characters present and relevant. However, the unreliable nature of these indications nearly cancels out such an upper hand, in that keeping track of characters present is often more complicated than simply reading the parenthetical sections. This complication is epitomized by the periodic personification of objects such as “The Waterfall” (15.3347) or “The Fan” (15.2754), ‘characters’ that have no entrance (thus, no beginning) yet exist in speaking roles.

Similarly to other episodes, “Circe” complicates the understanding of parentage and fatherhood. In discussing such in the context of beginnings and endings, these themes inherently relate to the process of birth and new life. While various moments throughout this episode call this idea to mind, the discussion of Bloom as a mother specifically does so: “He is about to have a baby” (15.1818) and “I so want to be a mother” (15.1817). This scene continues on to complicate further the idea of lineage by stating, “Moses begat Noah begat Noah begat Eunuch[…]” (15. 1855). Not only is the lineage of Bloom’s family being complicated, but also beginnings and endings and middles of historically significant families as well.

A theme that has seemed particularly relevant to the exploration of beginnings and endings, is the ways in which this novel toys with the ideas of life (as the beginning of life) and death (as the ending of life). “Circe” is no exception to this trend, rather, it builds upon it. In contextualizing the amount of time until Bloom can be told a particular joke, Zoe uses references to moment of life (marriages) and death as a timespan: “Before you’re twice married and once a widower” (15.3833). In keeping with the idea of death as a significant life marker, this episode has continued using it an acceptable and specific way of keeping track of life. Similarly, in all the chaos of the last sections of this chapter, Stephen’s drunken ambitions are made surprisingly explicit: “it is I must kill the priest and the king” (15.4436-7). Stephen may not be able to get across much coherently, but this is a substantial exception.

Lastly, on the theme of death and endings, it seems incredibly important to point out the presence of Rudy. In an episode filled with hallucinations and improbabilities, it would not have been surprising if a deceased character returns (–in fact one does). However, there seems to be a certain emphasis put on the return of Bloom’s son, in that it comes at the end. While he has no ‘lines,’ this ending has almost served a oppositional dualistic purpose: it has restarted (new beginning) a life, and re-introduced Rudy as a ‘living’ character…at the end.

Forms

blind, blindly

Related Terms

Eyes, Window, See

Explication

Due to its ability to function as a noun, verb, and adjective, the use of the word blind serves a few main purposes throughout Ulysses. The first comes through the noun form of the word—something that blocks out light or the ability to see. Throughout the novel, the image of a blind often comes up with reference to a character’s proximity to a window and the purpose it does or does not serve. One of the first interactions readers witness between Leopold Bloom and Molly involves an inquiry about a physical blind: “—Do you want the blind up? / Letting the blind up by gentle tugs…” (U. 4.255-256). In this sense, the object of a blind operates a noun with a specific purpose: to prevent a certain capability (sight or light) from occurring.

Another significant usage of blind in the novel is as an illustrative adjective. Used to describe historical figures (i.e. “old blind Abraham” U. 5.201), as well as recurring characters (refer to U. 8.1075), it expectedly depicts images of those who cannot see. Throughout the novel this form is used to both describe characters that are actually incapable of sight, or simply those who show attributes that would label them as such (i.e. obliviousness). However, blind as an adjective also serves to describe a certain type of belief that comes up throughout the novel. Filled with (often ironic) religious imagery, Joyce’s word choice of “blind faith” (U. 5. 377) must be evaluated with this tone in mind. In this way, blind comes up as a description of those who take comforts in religion without any worry or deeper understanding, a concept complicated throughout Ulysses.

Although sparsely used throughout the novel, blind as a verb does come up to convey the action of causing a state characterized by the inability to see. The first time the verb form of blind occurs is in reference to both an animal, and not actually carrying out the action: “it wouldn’t blind him” (U. 12. 700). Although this portrays an occurrence in which the verb wouldn’t actually happen, the repetitive use of the word throughout Ulysses makes such an instance stand out. The novel spends much time depicting characters (and animals) with reference to their ability to see, and their awareness of the space in which they inhabit.

Definitions and Examples

I. Blind, n. Anything which obstructs the light or sight. (OED 1). spec. A screen for a window, made of woven material mounted on a roller, of wire gauze, etc.; used to prevent the entrance of too much light, or to keep people from seeing in. (OED 2).

• “Letting the blind up by gentle tugs halfway” (U. 4.256)
• “He passed an arm through the armstrap and looked seriously from the open carriagewindow at the lowered blinds of the avenue” (U. 6.10-12)“The room in the hotel with hunting pictures. Stuffy it was. Sunlight through the slats of the Venetian blind” (U. 6.360-361)
• “Miss Douce’s brave eyes, unregarded, turned from the crossblind smitten by sunlight. Gone. Pensive (who knows?), smitten (the smiting light), she lowered the dropblind with a sliding cord.” (U. 11.460-462)
• “The gay sweet chirping whistling within went on a bar or two, ceased. The blind of the window was drawn aside.” (U. 10.249-250) 

  II. Blind, adj. (and adv.). Destitute of the sense of sight, whether by natural defect or by deprivation (OED 1.a).

• “The scene he was always talking about where the old blind Abraham recognises the voice and puts his fingers on his face” (U. 5.201-202)·
• “Phew! Dreadful simply! Child’s head too big: forceps. Doubled up inside her trying to butt its way out blindly, groping for the way out.” (U. 8.374-376)·
• “A blind stripling stood tapping the curbstone with his slender cane. No tram in sight. Wants to cross. –Do you want to cross? Mr Bloom asked. The blind stripling did not answer. His wallface frowned weakly. He moved his head uncertainly.” (U. 8.1075-1079)

  III. Blind, v. To make blind, deprive of sight (OED 1).

• “I’d train him by kindness, so I would, if he was my dog. Give him a rousing fine kick now and again where it wouldn’t blind him.” (U. 12.698-700)

Related Topics

Vision, Health/Ability, Light/Dark

While episodes 11 and 12 were not necessarily filled with overt examples of and allusions to beginnings and endings, there were certainly moments in which they came about subtly and importantly. One such example occurs very early in “Sirens,” at the end of the chaotic assortment of words and phrases that starts off the episode. Although it is not completely evident why this section of the episode would end with “Begin!” (11.63), it seems important due to its attention-calling nature. One inclination would be to assume that this moment indicates to readers the beginning of a more familiar version of writing that follows, however it should not be overlooked that it is attached to the first section, not the more simplified language of the second. Moreover, this moment is doubly interesting for the study of beginnings and endings due to the word that directly precedes it: “Done” (11.62). Within the short span of two lines, moreover, two words, Joyce has both indicated an ending and called for a beginning.

Another moment that complicates the distinction between beginning and ending comes slightly later in Episode 11 in the form of song lyrics: “The bright stars fade…[…]…the morn is breaking” (11.320-22). Although such an image is not exactly out of the ordinary, it is simply night turning into day, the phrasing indicates how one ending sparks a beginning. This trend reappears throughout the novel, the convergence of beginning and endings.

Beginnings and endings in Episode 12 are even less overt than those of Episode 11. However, there is a more general theme that relates to beginnings throughout “Cyclops,” that comes in the form of origins. Characters are often speaking to their own, that of others, and the importance it carries, all aspects that emphasize the importance of where they (or their predecessors) are simply born. When discussing Bloom’s origins, the other men are seen frustratedly (and rudely) examining his background: “Is he a jew or gentile or holy Roman or a swaddler or what the hell is he?” (12.1631-32). While this novel can often be quite political, this moment points to the ways in which one’s beginning can make those politics quite personal.

An examination of beginnings and endings in today’s reading would not be complete without at least bringing up the end of Episode 12. The last image of the reading depicts Bloom as he starts to “ascend to heaven” (12.1911) as “Elijah”(12.1914), in a scene that can only be described as angelic. While this ending does not necessarily deviate from the images and references to religion we get both heavily throughout this episode (and the book in general), it seems important to recognize that this is not only the way Bloom is leaving this scene, but also how the episode is ending.

While there were three primary categories of the type of word “blind” can be (noun, adjective/adverb, and verb), what surprised me was how many sub-definitions there were for each category. In my initial thinking on exploring the word blind I thought it could be interesting due to its various forms, but there are actually many more than I could’ve anticipated. The following is just a subset of the multitude of definitions there are.

Noun:

“1. Anything which obstructs the light or sight.”

2. spec. A screen for a window, made of woven material mounted on a roller, of wire gauze, etc.; used to prevent the entrance of too much light, or to keep people from seeing in.

3. A blinker for a horse

4. Fortification. A blindage.

5. Any means or place of concealment. spec. a hiding-place in which a hunter conceals himself from the game. (U.S.).

6. fig. Any thing or action intended to conceal one’s real design; a pretence, a pretext. spec.

7. Naut. A spritsail  [= Dutch blinde] . Obs.

*1535 – Earliest noun form.

8. In Poker, a stake put up by a player before seeing his cards (see quots.); cf. Also attrib. in blind-money.

9. A blind baggage car on a train. U.S.

10. A drunken bout or orgy; a binge.

Adjective/Adverb:

I. Literal

1. a) Destitute of the sense of sight, whether by natural defect or by deprivation. In comparisons, as blind as a bat or †brickbat; also blind as a beetle, blind mole, blind stone (see the ns.); to turn a blind eye:

b. Temporarily deprived of sight, as when dazzled with a bright light.

c. Used punningly of a needle: Eyeless.

d. absol. A blind person, esp. as pl. Those who are blind, as a section of the community.

h. In Poker, to go blind: to put up a blind; hence to go (a specified stake) blind. Hence applied to forms of Poker in which this is done; so blind hand.

i. to go it blind: to act without previous investigation of the circumstances; to plunge without regard to the risks involved.

II. fig. Without perception.

2. a) Of persons, their faculties, etc.; also transf. of things: Lacking in mental perception, discernment, or foresight; destitute of intellectual, moral, or spiritual light.

b. Const. to (in obs.).

c. blind side  n. the unguarded, weak or assailable side of a person or thing, weakness; also, formerly, the unsightly or unpresentable side. Also, the side on which the view is obstructed from sight. In Rugby Football, the side of a scrum opposite to that on which the main line of the opponents’ backs is ranged.

3. a) Undiscriminating, for which no reason can be given; inconsiderate, heedless, reckless.

b) Purposeless; fortuitous, random.

4. Not possessing intelligence or consciousness; acting without discernment.

5. That blinds or misleads: false, deceitful. Obs.

III. Transferred.

…and much, much more.

Verb

1. trans. To make blind, deprive of sight.

a. permanently.

b. temporarily, e.g. by dazzling with a bright light, or by bandaging the eyes: To render insensible to light or colour.

c. Used in vulgar imprecations, as blind me!

3. b) To hide from the understanding, to obscure; to represent as obscure.

4. To come in the way of; to intercept. Obs.

*1303 – Earliest verb form.

…etc.

While my last post about Beginnings and Endings lacked any specific reference to the actual beginning or ending of each episode, this week it seemed particularly important to at least touch upon the beginning and ending of Episode 7 (Aeolus). Specifically, the item being discussed (tramcars), as well as the parallel nature of the beginning and ending of the episode, seemed to emphasize the overall concept of a beginnings and an endings (and often how similar they can be). Episode 7 begins by listing the different places these tramcars go as well as describing the audible exclamations of their destinations. If it wasn’t evident that there is a double emphasis of beginnings at the opening of this portion, the “timekeeper[‘s]” announcement of “Start, Palmerston Park!” (7.13) surely brings to the forefront of how this is the beginning of a journey (actually starting travelling somewhere). Correspondingly, the end of Episode 7 also brings up the image of tramcars, however at this point they are “motionless,” “all still,” and, “becalmed in short circuit” (7.1043-1047). While this portion of the novel began with references to movement and starts, the ending does an expected opposite.

Another aspect that tied in closely with my exploration of beginnings and endings was how characters entered and exited the room. Because the episode was largely theatric in terms of the constant dialogue and flow of characters, the fact that entrances were so prominent seemed to be an important contributor to characterization. For example, when Bloom enters the office of the “Evening Telegraph” (7. 235) it is explained as “He entered softly.” Although we know that he has a specific task to accomplish and a reasoning for being in this setting, the ways in which he enters a busy situation says a lot about his character–desire to avoid being any sort of bother upon entrance. Such characterization seems even more apparent when put in contrast to both the entrance and consequential characterization of J.J. O’Molloy: “The doorknob hit Mr Bloom in the small of the back as the door was pushed in” (7.280-281). Clearly, this ‘beginning’ (the beginning of our understanding of this character) is indicative of the kind of awareness O’Molloy has of his surroundings and others.

The last example is much less obvious but seems crucial to the examination of beginnings and endings. It is the moment during which Bloom is recounting the past and begins asking himself questions pertaining to the permanence of time (and death). First, death as an ending comes up again when the narration (Bloom) states: “When we left Lombard street west something changed. Could never like it again after Rudy” (8.609-610), thus reiterating the recurring theme of death as an ending in multiple ways. However, the permanence that comes along with the connotations death carries is complicated when Bloom ponders: “Would you go back to then?” In a discussion of beginnings and endings, the idea one or the other being less than a completely permanent concept is something to look out for moving forward in the novel.