　　　In structure this episode is a series of imitations
　　　of prose styles presented in chronological sequence
　　　from Latin prose to fragments of modern slang. Joyce
　　　remarked (jocoseriously?) in a letter to Frank Bugden,
　　　20 March 1920, that "Bloom is the spermatozoon,
　　　hospital the womb, the nurses the ovum, Stephen the
　　　embryo." In effect, the sequence of imitations is a sus-
　　　tained metaphor for the process of gestation; Joyce
　　　would have assumed that in that process ontogeny (the
　　　development of the individual organism) recapitulates
　　　phylogeny (the evolutionary history of the species)—
　　　what Joyce called "the periods of faunal evolution in
　　　general" [Letters 1:140J); thus the development of the
　　　embryonic artist's prose style recapitulates the evolu-
　　　tion of prose style in literary history. The stylistic im-
　　　itations are noted below as "Style" with a brief de-
　　　scription of the style being imitated.

Style 1: 14.1-6 (383:1-8). *Deshil Holles Eamus . . . boyaboy hoopsa
- Stuart Gilbert (James Joyce's "Ulysses" [New York, 1952], p. 296)
says that this episode "begins with a set of three incantations, in
the manner of the Fratres Arvales." The Arval Brethren were a Roman
company of priests, twelve in number, whose principal function was
to conduct public ceremonies in honor of the Roman goddess of plenty
and fertility. An integral part of these ceremonies was the "Arval
Hymn" (c. 218 A.D., discovered late nineteenth century). Each of the
first five lines of the hymn was repeated three times; the final
Triumphe ("Hurrah," "Hoopsa") was repeated six times. Translation:
"Aid us, Lares / Nor suffer pestilence or destruction to come upon
the people. / Be thou satiate, fierce Mars. / Leap over the Thres-
hold! Halt! Beat [the ground)! / Call alternately the heroes all. I
Aid us Mars. / Hurrah!"

Style 2: 14.7-32 (383:9-39). Universally that person's . . . ever ir-
revocably enjoined? - An imitation of the Latin prose styles of the
Roman historians Sallust (86-34 B.C.) and Tacitus (c. 1555-120 A.D.).
The manner of this passage suggests a literal translation, without
Anglicization of word usage and syntax.

Style 3: 14.33-59 (383:40-384:31). It is not why therefore . . . had
been begun she felt - After the style of medieval Latin prose chron-
icles, again with the effect of a literal translation that does not
Anglicize word usage and syntax.

Style 4: 14.60-106 (384:32-386:4). Before born babe bliss had . . .
sorrowing one with other - Imitates the style of Anglo-Saxon rhythmic
alliterative prose, a style associated with Aelfric (c. 955-1022),
the leading prose writer of his period. In his stylistic effects Ael-
fric was following a fashion of his time, one established in Latin
prose in the tenth century and then carried over into Anglo-Saxon
composition. The alliteration was also associated with Anglo-Saxon
poetry, in which it was the dominant sound effect.

Style 5: 14.107-22 (386:5-386:22). Therefore, everyman, look to that
. . . chiding her childless - Middle English prose. The opening par-
agraph echoes the opening speech of the medieval morality play Ever-
yman (c. 1485). The Messenger announces the play's action and message:
"The story saith: Man, in the beginning / Look well, and take good
heed to the ending, / Be you never so gay. / You think sin in the
beginning full sweet, / Which in the end causeth the soul to weep, /
When the body lieth in clay. / Here shall you see how fellowship and
jollity, / Both strength, pleasure, and beauty, / Will fade from
thee as a flower in May. / For ye shall hear how our Heaven-King /
Calleth Everyman to a general reckoning" (lines 1020).

Style 6: 14.123-66 (386:23-387:34). And whiles they spake . . .
Thanked be Almighty God - Imitates the Travels of Sir John Mande-
ville (c. 1336-71), a medieval compilation of fantastic travel sto-
ries, apparently composed at Liege, Belgium, by one John of Burgundy
or John with the Beard. The earliest manuscripts of English trans-
lations of the French original, and of a Latin translation of that
original, date from the beginning of the fifteenth century.

Style 7: 14.167-276 (387:35-391:2). This meanwhile this good . . . mur-
dered his goods with whores - Imitates the fifteenth-century prose style
of Sir Thomas Malory's (d. 1471) compilation of Arthurian legend, Morte
d'Arthur (printed 1485).

Style 8: 14.277-333 (391:3-395:15). About that present time . . . rest
should reign - Imitates Elizabethan prose chronicles.

Style 9: 14.334-428 (392:27-395:15). To be short this passage . . . of a
natural phenomenon - A composite imitation of late-sixteenth and sev-
enteenth-century Latinate prose styles, including those of John Mil-
ton (1608-74), Richard Hooker (1554-1600), Sir Thomas Browne(1605-
82), and Jeremy Taylor (1613-67).

Style 10: 14.429-73 (395:16-396:27). But was Boasthard's . . . bring brenn-
ingly biddeth - An imitation of the style of John Bunyan (1628-88), a rad-
ical English preacher whose allegories, notably Pilgrim's Progress (1675),
make extensive and successful use of proper names similar to Joyce's
"Boasthard" and "Calmer."

Style 11: 14.474-528 (396:28-398:9). So Thursday sixteenth . . . queerities
no telling how - After the style of the seventeenth-century diarists (and
friends) John Evelyn (1620-1706) and Samuel Pepys (1633-1703), or rather
after what Joyce thought to be Pepys's style, since he was working from a
heavily edited selection; see J. S. Atherton, "Oxen of the Sun," in James
Joyce's "Ulysses": Critical Essays, ed. Clive Hart and David Hayman (Ber-
keley, Calif., 1974), p. 324.

Style 12: 14.529-81 (398:10-399:31). With this came up . . . sent the ale purl-
ing about - After the style of the English journalist, pamphleteer, and novel-
ist Daniel Defoe (c. 1661-1731).

Style 13: 14.581-650 (399:31-401:30). An Irish bull in an . . . A man's a man
for a' that - After the style of Jonathan Swift (1667-1745), particularly that
of A Tale of a Tub (1704), Part IV, in which Swift lampoons Peter's (allegor-
ically, the Roman Catholic church's) use of "papal bulls" in a rousing bur-
lesque of the Church and its history.

Style 14: 14.651-737 (401:31-404:10). Our worthy acquaintance . . . larum in
the antechamber In the style of Joseph Addison (1672-1719) and Richard
Steele's (1672-1719) periodical essays in the Taller (1709-11) and the
Spectator (1711-12).

Style 15: 738-98 (404:11-405:42). Here the listener who . . . of our store of
knowledge - After the style of the Irish-born English novelist and cleric
Laurence Sterne (1713-68), particularly his Sentimental journey Through
France and Italy (1768).

Style 16: 14.799-844 (406:1-407:14). Amid the general vacant . . . on with a
loving heart - After the style of the Irish-born man of letters (dramatist, poet,
novelist, essayist) Oliver Goldsmith (1728-74).

Style 17: 14.845-79 (407:15-408:14). To revert to Mr Bloom . . . of the Su-
preme Being - After the style of Edmund Burke (1729-97), the Irish-born po-
litical philosopher who combined in his "conservatism" a practical and scho-
larly empiricism with a consistent veneration for and appeal to "the wisdom of
our ancestors." Atherton also identifies traces of Dr. Johnson and the earl of
Chesterfield (1694-1773) ("Oxen of the Sun," in James Joyce's "Ulysses,"
eds. Clive Hart and David Hayman [Berkeley, Calif., 1974], pp. 327-28).

Style 18: 14.880-904 (408:15-409:3). Accordingly he broke his mind . . . fea-
ther laugh together - After the style of Dublin-born Richard Brinsley Sheri-
dan (1751-1816), who, after a brief career as a successful dramatist (1775-
79), had a distinguished career as a witty and resourceful member of Parlia-
ment. The style of this passage is closer to that of Sheridan's political orato-
ry than it is to that of his plays.

Style 19: 14.905-41 (409:4-410:6). But with what fitness . . . acid and inopera-
tive - After the style of the savage eighteenth-century satirist Junius; see
12.1633n.

Style 20: 14.942-1009 (410:7-412:4). The news was imparted . . . what God has
joined - After the style of the English skeptical, anticlerical, and philosophical
historian Edward Gibbon (1737-94).

Style 21: 14.1010-37 (412:5-39). But Malachias' tale began . . . Murderer's
ground - After the style of Horace Walpole's (1717-97) Gothic novel The Castle
of Otranto (1764). In this brief passage, Haines plays the part of Manfred, the
bloodstained usurper in Walpole's novel. The passage also owes a debt of parody
to a later Gothic novel, The House by the Churchyard (1863), by the Irish writer
Joseph Sheridan Le Fanu (1814-73), as well as to the dialogue of Synge's plays.

Style 22: 14.1038-77 (412:40-414:2). What is the age . . . Leopold was for Ru-
dolph - After the style (gentle pathos and nostalgia) of the English essayist
Charles Lamb (1775-1834).

Style 23: 14.1078-1109 (414:3-41). The voices blend and fuse . . . the forehead
of Taurus - After the style of the English romantic Thomas De Quincey (1785-
1859), particularly The English Mail Coach (1849), Part I' and Part III, "Dream-
Fugue Founded on the Preceding Theme of Sudden Death." The dream-fugue expands on kaleidoscopic visions of death and resolves on a note of "golden
dawn" and "the endless resurrections of [God's] love."

Style 24: 14.1110-73 (414:42-416:34). Francis was reminding . . . from the
second constellation - After the style of Walter Savage Landor (1775-1864).
The form of essay particularly associated with his name is characterized by
the title of a series of volumes that appeared 1824-53, Imaginary Conversa-
tions. The conversations are between figures from classical literature and
history. They do not attempt to recreate the historical past but rather to
use that past to develop perspectives on the social, moral, and literary
problems of Landor's own time.

Style 25: 14.1174-1222 (416:35-418:8). However, as a matter of fact . . .
ages yet to come - After the style of the English essayist and historian
Thomas Babington Macaulay (1800-59), a master of somewhat impetuous and
unreliable history. He treated history with energy and verve to make it come
out less sordidly and more reasonably than it does in the hands of most
other historians.

Style 26: 14.1223-1309 (418:9-420:29). It had better be stated . . . in which
it was delivered - After the style of the English naturalist and comparative
anatomist Thomas Henry Huxley (1825-95). Huxley is particularly noted for his
contributions to and defense of the theory of evolution. He had an extraordi-
nary ability to embody a disciplined scientific skepticism in a lucid expository
prose.

Style 27: 14.1310-43 (420:30-421:28). Meanwhile the skill and . . . good and
faithful servant! - After the style of Charles Dickens; chapter 53, "Another
Retrospect," of David Copperfield (1849-50) is particularly relevant.

Style 28: 14.1344-55 (421:29-421:42). There are sins or . . . silent, remote,
reproachful - After the style of the famous English convert to Roman Catholic-
ism John Henry Cardinal Newman (1801-90).

Style 29: 14.1356-78 (422:1-28). The stranger still regarded . . . in her glad
look - After the style of the English aesthetician and essayist Walter Pater
(1839-94); cf. particularly the imaginary portrait of his childhood in The
Child in the House (1894). For the occasion Bloom recalls, see 6.1008-14
(115: 14-20).

Style 30: 14.1391-1439 (423:1-424:18). Burke's! Outflings my lord . . . nunc
est bibendum! - After the style of the Scottish man of letters Thomas Carlyle
(1795-1881).

Style 31: 14.1440-end (424:19-end). All off for a buster ... Just you try it
on - The style "disintegrates" into fragments of dialect and slang (including
revival-preacher's rhetoric). As Joyce described it, "a frightful jumble of
pidgin English, nigger English, Cockney, Irish, Bowery slang and broken dog-
gerel" (Letters 1:138-39, 13 March 1920).