We are using the original 1922 First Printing by Shakespeare & Co. - section attached
"Kinch ahoy!" - to - "A server of a servant."
Kinch Ahoy!
In the silence, a thousand whispers weave their stories—an apt reflection of Joyce’s masterful work. At first glance, the scene might seem static, but draw back the curtains, and an entire universe unfurls before you.
Without such a revelation, Buck merely announces breakfast, requests some money, and Stephen, lost in thought, gazes absently at a shaving bowl. It seems like a fleeting pause before the narrative progresses.
But pause with me for a moment—let’s peer through that window and uncover the secrets lying just beyond.
A Symbol of Irish Art
We open this chapter amidst the lingering echoes of Stephen’s memories: his mother’s final moments and a haunting dream. Meanwhile, Buck’s persistent summons calls him down from his solitary perch in the tower. Joyce masterfully uses the environment to set the tone: “still trembling from his soul’s lament, Stephen hears the warm caress of sunlight and the gentle murmur of friendly voices behind him.”
Despite Buck’s blasphemous entreaties—“Do, for Jesus’ sake” and “For my sake and for all our sakes”—he eventually draws Stephen from his retreat. Buck’s theatrical remarks are accompanied by an enigmatic compliment, as he calls Stephen a “symbol of Irish art.” This cryptic designation hints at the depth and complexity within Stephen’s mind, offering a tantalizing glimpse into his role as a figure of profound cultural significance.
Touch Him For A Quid
A recurring theme begins to emerge in this passage. Buck, ever the opportunist, requests that Stephen hand over some cash for Haines. Stephen mentions he will be receiving his pay from the School today—a modest four quid. Buck’s demand for one of those pounds feels quite audacious, akin to asking for a quarter of one’s hard-earned wage.
As the prospect of this money dawns on Buck, his excitement intensifies—visions of drinking come alive in his eyes. With a raucous sense of anticipation, he bursts into a lively rendition of an English drinking song from the early 1900s, his enthusiasm bubbling over like the froth of a pint.
A Server of a Servant
This section of the narrative immerses us in Stephen’s deep contemplation. At the tower’s peak, Stephen encounters the shaving bowl left behind by Buck—an innocuous object that triggers a profound internal conflict. He questions whether leaving the bowl rather than bringing it down symbolizes a forsaken friendship. Ultimately, Stephen decides to retrieve it, and as he holds the bowl, a stark realization dawns on him: he is merely a servant. Once a servant at Clongowes, a Catholic school he attended, he finds himself in a similar role now.
In Joyce’s debut novel, A Portrait of the Artist as a Young Man, Stephen is not merely a character but an embodiment of Joyce’s alter ego. Stephen, and by extension Joyce, grapples with questions of identity. Overwhelmed by the imposition of religion and external influences, Stephen struggles to understand his true self. This quote from A Portrait illuminates his sentiment: “I am Stephen Dedalus. I am a servant of two masters, one is the imperial British state and the other is the Catholic church.”
Ireland, too, has long wrestled with its identity. Often perceived as a peripheral player on the global stage, its cultural image is frequently reduced to stereotypes like beer rather than a powerful or independent nation. Historically tied to Britain, Ireland has faced its own identity crises. The 2022 Census in Ireland revealed that while 1.9 million people (roughyl 40% of the population) reported some knowledge of Irish, only about 2% (around 115,000 people) use the language weekly. This gap highlights the disparity between cultural knowledge and everyday practice.
Religion and currency further complicate Ireland’s quest for identity. Before Saint Patrick’s arrival, Ireland practiced polytheism. During Joyce’s era, the British pound was the currency, but post-independence in 1922, Ireland adopted its own currency in 1928. These shifts reflect Ireland’s ongoing search for a distinct identity.
The philosophical question of identity has long been a concern: How does the external world shape who we are? From school days to interactions with family and society, we are constantly influenced by others’ expectations. The way we dress, act, and even how we spend our weekends can feel dictated by societal norms. Are we truly being ourselves?
I personally resonate with this struggle. For example, when asked about my weekend at work, I often downplay my activities, saying I did “nothing fun” and relaxed. I shy away from sharing my true routine—making breakfast, sipping coffee at a local café, reading, studying, gardening, and cooking dinner with my wife. This daily routine brings me joy, but it doesn’t fit the standard narrative most people expect. When I delve into these details or discuss theories I find intriguing, conversations often dwindle. Like Stephen, I find myself adjusting my narrative to fit others’ expectations, serving as a “server of a servant” in social contexts.
Returning to Joyce: Stephen’s struggles with identity in relation to the church and his servitude to Buck are central themes. As you explore the book, pay attention to how Stephen wrestles with societal pressures and expectations. What other aspects of his identity are challenged?
References:
“Press Statement Census 2022 Results Profile 8 - the Irish Language and Education.” CSO, 19 Dec. 2023, www.cso.ie/en/csolatestnews/pressreleases/2023pressreleases/pressstatementcensus2022resultsprofile8-theirishlanguageandeducation/.
Two Worlds Monthy - Pirarated First Chapter of Ulysses 1926 By Samuel Roth
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