#76

“I dont want to ruin the clean sheets the clean linen I wore brought it on too damn it damn it and they always want to see a stain on the bed to know youre a virgin fir them thats all thats troubling them theyre such fools too you could be a widow or divorced 40 times over a daub of red ink would do or blackberry juice no thats too purply” (id, 914).

#75

“I must stretch myself I wished he was here or somebody to let myself go with and come again like that I fell fire inside me or if I could dream it when he made me spend the 2nd time tickling me behind with his finger I was coming for about 5 minutes with my legs around him I had to hug him after O Lord I wanted to shout out all sorts of things fuck or shit or anything at all only not to look ugly or those lines from the strain” (id, 893-894).

#74

“(...) and the infinite possibilities hitherto unexploited of the modern art of advertisement if condensed in triliteral monoideal symbols, vertically of maximum visibility (divined), horizontally of maximum legibility (deciphered) and of magnetising efficacy to arrest involuntarily attention, to interest, to convince, to decide” (id, 799).

#73

“Sounds are impostures (...) Like names, Cicero, Podmore, Napoleon, Mr Goodbody, Jesus, Mr Doyle. Shakespeares were as commons as Murphies. What's in a name?” (id, 717).

#72

“Ocularly woman's bivalve case is worse. Always open sesame. The cloven sex. Why they fear vermin, creeping things. Yet Eve and the serpent contradict. Not a historical fact. Obvious analogy to my idea. Serpents too are gluttons for woman's milk. Wind their way through miles of omnivorous forest to sucksucculent her breast dry. Like those bubblyjocular Roman matrons one reads in Elephantuliasis” (id, 632-633).

#58

“What is the age of the soul of man? As she hath the virtue of the chameleon to change her hue at every new approach, to be gay with merry and mournful with the downcast, so too is her age changeable as her mood” (id, 540).

#57

“Every life is many days, day after day. We walk through ourselves, meeting robbers, ghosts, giants, old men, young men, wives, widows, brothers-in-love. But always meeting ourselves” (id, 273).

#56

“As we (...) weave and unweave our bodies (...) from day to day, their molecules shuttled to and fro, so does the artist weave and unweave his image” (id, 249).

#55

“A man of genius makes no mistakes. His errors are volational and are the portals of discovery” (id, 243).

#47

“People do not know how dangerous love songs can be (...) The movements which work revolutions in the world are born out of the dreams and vision's in a peasant's heart on the hillside. For them the earth is not an exploitable ground but the living mother” (id, 238-239).

#46

“Art has to reveal to us ideas, formless spiritual essences. The supreme question about a work of art is out of how deep a life does it spring. The painting of Gustave Moreau is the painting of ideas. The deepest poetry of Shelley, the words of Hamlet bring our mind into contact with the eternal wisdom, Plato's world of ideas. All the rest is the speculation of schoolboys for schoolboys” (id, 236).

#45

“Never know whose thoughts you're chewing” (id, 217).

#44

“We were always loyal to lost causes (...) Success for us is the death of the intellect and of the imagination. We were never loyal to the successful. We serve them” (id, 169).

#43

“The priest bent down to put it into her mouth, murmuring all the time. Latin. The next one. Shut your eyes and open your mouth. What? Corpus. Body. Corpse. Good idea the Latin. Stupefies them first. Hospice for the dying. They don't seem to chew it; only swallow it down. Rum idea: eating bits of a corpse why the cannibals cotton to it” (Joyce, 2000: 99).

#37

“But the authentic liberationistic wistfully observes that the cracked looking-glass, which is all he has been left with by the colonizer, renders not a single but a multiple self” (Kiberd, 2000: lxxviii).

JOYCE, James (2000). Ulysses. London: Penguin Books.