. . . each contemplating the other in
both mirrors of the reciprocal flesh of theirhisnothis fellowfaces.
(See Important Quotations Explained)
Summary
Episode Seventeen is narrated in the third person through
a set of 309 questions and their detailed
and methodical answers, in the style of a catechism or Socratic
dialogue.
Bloom and Stephen walk home chatting about music and
politics. Arriving home, Bloom is frustrated to find that he forgot
his key. He jumps over the fence, enters through the kitchen, and
re-emerges at the front gate to let Stephen in. In the kitchen,
Bloom puts the kettle on. Stephen declines Bloom’s offer to wash,
as Stephen is a hydrophobe. The contents of Bloom’s kitchen are reviewed,
including those that betray Boylan’s presence earlier in the day—a
gift basket and betting tickets. The latter remind Bloom of the
Gold Cup, and the misunderstanding between himself and Bantam Lyons
(in Episode Five) dawns on him.
Bloom serves cocoa for them both, and they drink in silence. Bloom,
watching Stephen think, considers his own youthful forays into poetry.
The narrative reveals that Bloom and Stephen have met twice before—once
when Stephen was five, and another time when he was ten. On the
latter occasion, Stephen invited Bloom to dinner at the Dedalus’s,
and Bloom politely declined. Their personal histories are compared,
as well as their temperaments—Stephen’s is artistic, while Bloom’s
tends toward applied science through his interest in invention and
advertising.
The two men trade anecdotes, and Bloom considers the
possibility of publishing a collection of Stephen’s stories. They
recite and write Irish and Hebrew for each other. Stephen senses
the past in Bloom, and Bloom senses the future in Stephen. Stephen
goes on to chant the anti-Semitic medieval story of “Little Harry
Hughes,” in which a Christian boy is beheaded by a Jew’s daughter.
Stephen’s exposition of the story suggests that he could see both
himself and Bloom as the Christian child of the story. But Bloom
has mixed feelings and immediately thinks of his own “Jew’s daughter,”
Millicent. Bloom remembers moments from Milly’s childhood and, thinking of
a potential union between Stephen and Milly (or Molly), invites Stephen
to stay the night. Stephen gratefully declines. Bloom returns Stephen’s
money to him, rounded up one pence, and suggests a variety of future
interactions. Stephen seems noncommittal, and Bloom becomes pessimistic.
Stephen seems to share Bloom’s sense of dejection.
Bloom shows Stephen out, and they urinate together in
the yard while looking at the night sky, where a shooting star suddenly appears.
Bloom lets Stephen out, and the two shake hands as the church bells
ring. Bloom listens to Stephen’s footsteps and feels alone.
Bloom goes back in. Entering the front room, he bumps
his head on furniture that has been moved. He sits down and begins
to disrobe. The contents of the room and Bloom’s budget for the
day (omitting the money paid to Bella Cohen) are catalogued. Bloom’s ambition
to own a simple bungalow in the suburbs is described. Bloom deposits
Martha’s letter in his locked cabinet drawer and thinks pleasantly
about his favorable interactions today with Mrs. Breen, Nurse Callan,
and Gerty MacDowell. The contents of the second drawer include several
family documents, including Bloom’s father’s suicide note. Bloom
feels remorseful, mostly because he has not upheld his father’s
beliefs and practices, such as keeping kosher. Bloom is grateful
for his father’s monetary legacy, which saved him from poverty—here
Bloom daydreams of his unrealized vagrant self, traveling all over
the globe, navigating by the stars.
