With all the irregular movements of Nausicaa Gerty's limping walk, Bloom's masturbation, the jerky flight of a hovering bat, the sudden and erratic changes of scene and perspective, and finally the movement of the sea having seasickness. (1189; 1162, "Do fish sometimes get seasick?") - one cannot help but accumulate a feeling of "nausea" (1187) throughout the chapter. But if we can adjust to the offbeat events (and morals) of this chapter, we can begin to intuit that they are a portal to epiphany; The errata adopted by Joyce as a portal has become an “erratic eroticism” as a portal. Say no to plagiarism. Get a tailor-made essay on "Why violent video games should not be banned"? Get an original essay At the beginning of Nausicaa, we receive many signals that the scene to come is a special, radiant and (self-consciously) scene. “religiously” marked quality. Its events will take place at a "mysterious" hour (1), and will be presided over by the "pure radiance [of] a lighthouse... Mary, star of the sea" (7-8). Songs and incantations to Mary fill the beach; the narrative moves quickly to the evening incantations for her or the associated ecclesiastical ritual just before (289) and throughout the Bloom-Gerty meeting scene. We are given the slight impression that Gerty is the acting Mary in situ, the special avatar and representative of the famous virgin. A “child of Mary badge” (639) is found in her small drawer containing the most precious possessions as an object that associates her. directly with the virgin; she could carry it on her chest and press it against her flesh, thus linking her metonymically to this “goddess.” (It seems more appropriate to call Mary in Nausicaa "goddess" rather than "Mother of God/Jesus"; not once is Mary referred to with the latter description, and the Mary presented seems to be vaguely linked only to other deities/saints, such as “Our Lady of Loreto” (288) She is a “blessed virgin” figure to whom prayers are addressed in isolation; presides over all virgins” [and hence the three friends on the beach, two of whom are “virgin mothers” in some way. The mention of “Erin” further highlights the valences of the goddess, i.e. -say as a main and independent deity not needing to be linked to a male deity who" marks the chapter Erin, the mythical feminine name of the Irish nation, is a "higher power" invoked secondarily by the figure. and Gerty's presentation: "God's fair land of Ireland did not hold her equal" (121-122). She, like Erin, metaphorically “rules” all of Ireland. The entourage on the beach catches “Erin’s last glimpse” (625), fading as day turns to night. She, like Mary, is a temporal (moving) goddess of twilight, who chooses this moment of "moving twilight" (624) to manifest and be "seen.") The Virgin's epithet, "Mystical Rose" ( 374), plays out on Gerty’s body, linking her even more viscerally to this “goddess”. She blushed several times, “crimson to the roots of her hair” (454), once (she remembers) in front of a priest and also under Bloom's gaze. Her cheeks were stained with "pink" color, and the color of her face was "pink". Indeed, her face (and therefore her person) has made a chameleon-like transition to transmute itself into a potentially mystical rose: "a burning scarlet swept from throat to forehead until the beautiful color of her face became a glorious rose » (519-520), and “a deep pinkish red” (266). Indeed, Gerty, just afterorgasm, is described as having a “flower-like face” (764). “She rose” (759), Joyce writes, just as she rises to leave the lingering bloom and her “flower-like” face seems to possess a “strange luster” (763). This “brilliant” recalls both the halo of a saint, and an aura of sexual excitement. Because the rose with multiple petals could also allude to the female pubic area. (A perhaps complementary although more subtle reference - genital reference to that of Bloom and his "stick" (895); "My fireworks. Up like a rocket, down like a stick...". Bloom , moreover, later throws the stick into the sand (1270); "it got stuck"; indicating a successful and realized action of metaphorical "copulation" that he undertakes with the "virgin"). Bloom also notices that Gerty's period is coming and ruminates on it thoroughly, associating it with sexual excitement; this series of physiological reflections can similarly be related to the image of a blood-red rose, to the (sweet) but pungent smell of the rose, and to the passion for which the rose is a common symbol. As the avatar of the mystical rose, Gerty would not deny Bloom's attentions or desires: "...the power of intercession of the most pious Virgin has been recorded in any age but those who implored her powerful protection have ever been abandoned by her” (378-380) Gerty affirms in her mind that she will accept him and “love him” despite his sins (see passage beginning 431). not Bloom as petitioner because she possesses the compassion of the virgin: she is feminine (about to menstruate and in flow with lunar-cosmic forces) and acts on her "natural" sexual/passionate urges with emotion (com-passion). She is an impartial agent of sexual feelings, feelings of sadness, guilt and all others and more combined. Thus, the Bloom-Gerty tryst is linked to the pantheon of imagery and. of Catholic symbology When Bloom finally ejaculates, it is during the bursting of a phallic-shaped "Roman candle" - a firework with a nomenclature alluding to the "Roman Catholic" Church. recalls the candles of any Catholic church (or more precisely the menacing flower-candle in the service of Father Conroy (552-555)). We are left with the strange and scandalous suspicion that Bloom and Gerty are performing an illicit (but sacred) sacrament, juxtaposed with the eroticized, but "real" sacraments dedicated to Mary, which take place just above the beach and inside the building from which emanates odors. incense flows and fills the beach (371). But what is the nature and/or spiritual fruits of this unmonitored sacrament? On the central epithet “rose” and set of allusions, Joyce fills this chapter with the greatest density of floral references in the book thus far. Reading this chapter is like walking through a field of fragrant and exotic vegetation; we read "violets" (230), a "bouquet of flowers" (336), "a perfume of white rose" (641), "purple ink" (642), "purple garters" (800), " a heliotrope... a hyacinth... jessamine", (1009-1010), "sunflowers" (1089), "rhododendrons" (1098), as well as the flowers described in the various images of the church ritual (" flowers and blue banners of the blessed virgin." sodality": 448). And indeed, Henry Flowers/Bloom seems to experience a kind of intensified floral bloom: even when he opens his coat to try to smell a "human scent" , he is greeted by a floral scent (1041) The feminine has invaded every part of his being and flooded even his most personal physicality Bloom's earliest and most timely envoy (in terms of the unfolding of his). epic day) of the feminine epiphany-erotic/erotic,Martha, foreshadowed this moment. in his expansive but oblique letter. Henry, in this chapter, really strikes a timely blow in which he can "bloom" and "blossom" (ejaculate?); he is “damn glad” (786) not to have done “that” in the bath that morning because of Martha's letter and has saved his juice for this rare moment offered by a combination of circumstances. First, there are the distracting fireworks which give Bloom and Gerty some privacy from the spectators (they are also at first mistaken for sheet lightning - something which would indicate the sympathy of the cosmos; a pathetic error which Joyce circumvents replacing it with a “cosmic” event caused by man, but he still alludes to it). There are then the lines of force which radiate from the person of Gerty (view 949, about the balloon, perhaps relating more generally her pre-menstral lunar traction), and the specific influence of the evening which makes women “open like flowers” ​​(1089). It is strange "Chance" (1271) meeting on the long trajectory of "forever" (1254), in which Bloom must wrestle with the paradox of erotic return; couples in the rhododendrons and the fleeting uniqueness of a precise moment of meeting. “It never happens the same” (1277)). It is an encounter that unfolds and moves through the convergence of "different worlds" (those of Mary, Erin, the Church, Ireland and Gerty's old man and young daughter) that Martha (via her erotically nested errata) introduced; an ecstatic potential, previously only manifested by clues in “torn space,” comes to fruition. Martha planted the masturbatory seed, as did her earlier gaze at her lotus flower in the bathtub. Bloom was primed by distant, distant and seemingly randomly induced foreplay of an oblique nature on the part of elusive women... Indeed, a second foreshadowing and mildly exciting incident that frames the events of Nausicaa; this is the “compressed” story in the museum when he tries to “lift” the skirts of the stone goddesses, to see “if they…” in ch. 8. Bloom himself mentions this incident as one of the highlights of his "Long Day": "a museum with these goddesses" (1215). The scene with Gerty, where he peeks over her skirt, is a parallel (or extended) version of an earlier inspection of the marble goddess statues in the library. Sculptural imagery is applied to Gerty, "Greekly perfect...veined alabaster" (88-89), and in moving from pagan to Christian, we can also very well imagine a white effigy of the blessed virgin. In both incidents, Bloom gazes, from afar, at the skirt of an indifferent (or rather welcoming, in Gerty's case) goddess/woman. Even though Gerty is now a woman of living flesh (unlike Martha, who can only imagine, and the stone women of the library), there is still a distinctive phenomenon of distance between the two "lovers" (as is is the case between Bloom and his wife and daughter, the central women of his secular existence). Joyce spends a lot of (ironic) narrative time developing Gerty as an embodied "ideal" of Irish beauty and young womanhood in general, with all allusions to her reading of fashion magazines, to grace and goodness, etc. Thus, Bloom is directly connected to this ideal through the eyes alone, but, paradoxically, it is a highly sexualized encounter based on "looking but not touching": it is an "immaculate erection". One might begin to think that Bloom truly belongs to Catholicism. faith (although he is simply a convert): he embraces the invisible Mary perhaps more than the average Catholic. And, when he realizes that she is “lame”; the universe/chance designed a perfect sacrament for," (1277).