Paternity in 4-8
The idea of Fatherhood and of original creation comes into play in chapters 4-8 more as a way for Joyce to develop other themes, allude to creative works, and to build his own creative work, wordplay and thematic tracing. In Calypso, Molly’s shrewd businessman Major Tweedy father has expensive furniture, rose in the ranks of the military. Bloom might feel pressured by this overhanging idea of fatherhood, what makes a good man. Don’t women look for their father when they look for a husband? Molly and Milly are confounded in Bloom’s mind He acts as a father to Molly, his wife, (makes breakfast, like Mulligan for Dedalus) and acts as… something else to his daughter Milly. An absent father, a man, worried about a woman’s sex life, not like a father there.
In Lotus Eaters, Bloom thinks about the suicide of his father and his father’s theater tastes, giving Joyce an excuse to bring up Leah, and the wordplay with Bloom’s last name (Virag to Bloom to Flower). Bloom also thinks about the advertisement he puts in the paper, describing himself as a “gentleman” doing “literary work” and that is how he begins his unsubstantial affair with Martha. His part with Martha is definitely an unproductive, not only does the relationship not become “real,” but he creates nothing out of it. We don’t see any of his writing to her (though we hear about it) and their relationship is not consummated. How can he father anything on this path? At the very end of The Lotus Eaters, Bloom is again shown as a useless father, his “limp father of thousands, a languid floating flower” could be the father of thousands if he could get it up, but he’s been cuckolded by his wife, his son has died, he can’t create in an original way, he can’t consummate a relationship with a mistress, he has no creative juices flowing through him, only calculating economical juices, not enough to really produce!
In Hades, Bloom thinks on his Father’s suicide and the note he wrote, leaving Bloom his faithful dog, Athos. Bloom thinking about his father here allows Joyce to work with dogs as a motif, and also as a way to bring more genres of writing into the story. The 6-word-will and suicide note. Also in Hades, the story of Reuben J Dodd figures into the father-son relationship because his son almost drowns (purely because he is sending him away from his lady-love) and the Dodd pays the man who saves him 2 shillings and the joke is that it is one and eight pence too much. There is also the scene of the dead bastard child. All-around there is a feeling of fathers not being around and also being inefficient as fathers. Dignam’s boy is now without a father, he is only just food for rats and can’t be there for his son. Bloom feels that he is an unrealized father too, since Rudy has been dead 11 years and Bloom never got a chance to really be his father.
In Aeolus, Bloom recalls his father reading the hagadah book on passover, backwards… Blooms father gives Joyce a medium to create more codes, more traces of ideas… a reason to mention opera, a way to talk about reading backwards. A way for Joyce to draw his own creative conclusions, produce his own progeny of word-play. Stephen wonders whether he could write propaganda, write for his father country… Submit to Ireland, the way Ireland is submitting to England. He feels that writing propaganda wouldn’t be fostering his productive capacity.
In Lestrygonians, Bloom sees Simon Dedalus as being a poor father when he sees Dilly Dedalus, undernourished, and thinks that with so many children and the mother gone, how can Simon provide for all of those mouths and clothe all those bodies? Bloom briefly contemplates how vegetarianism begets poetic creativity. Saying that one “couldn’t squeeze a line of poetry “ out of “policemen sweating Irish stew,” but that “only weggebobbles and fruit” “was that kind of food you see produces the like waves of the brain the poetical.” Bloom takes the “blind stripling” as being somewhat of a child when he leads the youth across the street, but this thought isn’t thoroughly followed through. According to the Bloomsday book, Stephen is the son that Bloom is searching for, and the blind man provides a momentary substitution. I didn’t get much of a chance to obsess over my obsession while reading chapters 7 and 8.
Generally, we’ve seen perverse father-figures in the book: Buck is superficially jocose. Laughs at death etc. while Bloom is sexually perverse, why? He’s amoral and he sees through various lenses. Obsessed with word “parallax” because he sees parallaxically. When it comes to creative fatherhood, Bloom is a maker: he poops, he makes food, he collects Molly’s words on his “cuffs.” His originality is in borrowing? Isn’t all originality? Stephen, however, never creates because he is constantly in a negative feedback loop with other’s words. He allows the words to drag him down instead of build his ideas up, like Bloom does.
If I were to rewrite this post, I would start with the title: “Ideas of Fatherhood as Medium for Joyce’s own Creative Expression”