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"Paris and back." (U3.953) |
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"Lapwing. Icarus. Pater, ait. Seabedabbled, fallen, weltering. Lapwing you are. Lapwing be." (U9.953) |
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The back of the Ogden's card reads: "Lapwing (Vanellus Vulgaris). The Lapwing or Peewit, is essentially a moorland bird, being found all the year round on the bare heathery uplands. Its weird cry of "pee-wit" heard echoing over the bare moorlands at close of day strikes a remarkable sense of loneliness to the hearer. Its flight is much like that of the gull, swinging with slow beat of wing in wide circles. At times it rises rapidly in the air, and suddenly doubles back to earth, recovering itself before reaching the ground." This last characteristic, I think, is of relevance to Stephen. |
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"John Eglinton touched the foil. - Come, he said. Let us hear what you have to say of Richard and Edmund. You kept them for the last, didn't you? - In asking you to remember those two noble kinsmen nuncle Richie and nuncle Edmund, Stephen answered, I feel I am asking too much perhaps." (U9.970) |
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"Lapwing." (U9.980) |
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"I am tired of my voice, the voice of Esau. My kingdom for a drink. On." (U9.981) |
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"- You will say those names were already in the chronicles from which he took the stuff of his plays. Why did he take them rather than others? Richard, a whoreson crookback, misbegotten, makes love to a widowed Ann (what's in a name?), woos and wins her, a whoreson merry widow. Richard the conqueror, third brother, came after William the conquered. The other four acts of that play hang limply from that first. Of all his kings Richard is the only king unshielded by Shakespeare's reverence, the angel of the world. Why is the underplot of King Lear in which Edmund figures lifted out of Sidney's Arcadia and spatchcocked on to a Celtic legend older than history?" (U9.983) |
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"- That was Will's way, John Eglinton defended. We should not now combine a Norse saga with an excerpt from a novel by George Meredith. Que voulez-vous? Moore would say. He puts Bohemia on the seacoast and makes Ulysses quote Aristotle. - Why? Stephen answered himself. Because the theme of the false or the usurping or the adulterous brother or all three in one is to Shakespeare, what the poor are not, always with him." (U9.993) |
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"It is in infinite variety everywhere in the world he has created, in Much Ado about Nothing, twice in As You Like It, in The Tempest, in Hamlet, in Measure for Measure -- and in all the other plays which I have not read. He laughed to free his mind from his mind's bondage. Judge Eglinton summed up. - The truth is midway, he affirmed. He is the ghost and the prince. He is all in all. - He is, Stephen said. The boy of act one is the mature man of act five. All in all." (U9.1012) |
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"In Cymbeline, in Othello he is bawd and cuckold. He acts and is acted on. Lover of an ideal or a perversion, like José he kills the real Carmen. His unremitting intellect is the hornmad Iago ceaselessly willing that the moor in him shall suffer." (U9.1021) |
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"- Cuckoo! Cuckoo! Cuck Mulligan clucked lewdly. O word of fear! Dark dome received, reverbed." (U9.1025) |
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"- And what a character is Iago! undaunted John Eglinton exclaimed. When all is said Dumas fils" (U9.1027) |
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"(or is it Dumas père?) is right. After God Shakespeare has created most." (U9.1028) |
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"Gravediggers bury Hamlet père and Hamlet fils. A king and a prince at last in death, with incidental music. And, what though murdered and betrayed, bewept by all frail tender hearts for, Dane or Dubliner, sorrow for the dead is the only husband from whom they refuse to be divorced. If you like the epilogue look long on it:" (U9.1034) |
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"Maeterlinck says: If Socrates leave his house today he will find the sage seated on his doorstep. If Judas go forth tonight it is to Judas his steps will tend." (U9.1042) |