Paota Pucuixrrt “WERE THERE SCHEMES OF WIDER SCOPE?”: OR, WHY SO MANY HATS IN “HADES”? Intuitions about the particularly high occurrence of certain words or linguistic forms in a text should always be statistically substantiated. The fact that in the sixth episode of Uijses a high number of hats is dissem- inated is part of one of the possible reading intuitions of the episode, an intuition which arouses che curiosity of the habitual reader of Joyce's works, constantly in search of those interpretative keys which may hide themselves behind what appears to be simple play. Once the peculiarity hhas been remarked, one may resort to instruments which may either con- firm or disconfirm the impression. In this case, the Usyses handlist (A Handlist so James Joyce’ ‘Ubsses,’1986) seems to confirm our reading intu iow he won ha hin “Had eee de bight ar of occurrences if compared to the other seventeen episodes, in “Penelope ‘hat occurs 13 times, in “Eumeus” 9 times, and so on. Unfortunately, however, the same handlist tells us that in “Circe” ‘hat’ occurs only on six occasions but ‘haf has no less than 37 occurrences. Obviously, such num- bers do not constitute a reliable statistics: what is lacking, in fact, is the ba- si ‘of each chapter’ length. I will therefore add this datum. In the Penguin Annotated Students’ edition of Uses, “Hades” occupies 40 pages, “Penelope” 60, “Eumeus” 70 and “Circe” 142 pages. Roughly (but I know that statistics are not something to be done ‘roughly’), in spite of the very high number of ‘hat? in “Circe,” numbers should stil speak in favour of “Hades.” Indced, the 43 occurrences in “Circe” make up 2 num- ber which is little less than one third the number of occurrences in “Hades,” but the length of “Circe” is more than threc times the length of the sixth episode. Sure, one should consider the fact thae the 142 pages of “Circe” are not 142 full pages owing to the graphic disposition of the whole episode. But how much, in terms of number of words should we subtract from each page? Besides, we should recommence our statistics 4the plural and maybe also consider other kinds of headdress and start searching fr is hes li, Bor a aa and of those kinds of hats, at least, sppea ales.” Finally, we shotld ask ourselves how to value the italics (Aats) in “Circe” which, since they ap Pear in the ‘stage directions, seem to simply mark the gesture of putting ‘one’s hat on or taking it off. “Sometimes a hat .. is just a hat” Benstock rightly remarked in an art- icle on hats in Finnegans Wake published in 1994 (Benstock, 1994: 167), and those we find in the stage directions of “Circe” might well be ‘just hats.’ Those discussed by Benstock, instcad, arc obviously not ‘just hats.” Reflecting on the whole text of Finnegans Wate, Benstock selects, high lights and discusses those hats which he believes may be read as symbols ~ cor figurative equivalents - of male and female genitals. He therefore identifies, through the reading of that element, one of the many red threads, or paradigms, which run through the text, or better, one of the ways in which that paradigm is developed. Ie is possible that a similar procedure, if applied to the whole of Ulysses, as Benstock does for Finnegans Wake, might reveal the presence of relevant paradigms or connotations. However, the simple intuition which initially suggested my notes, namely chat hats in “Hades” are not ‘just hats,’ isto me more alluring chan the idea of going through the whole text; indeed, Usses readers know quite well that there are many ways in which ‘one may travel through Joyce's text and that for instance coincidences, cor- respondences, associations and repetitions are scattered through the whole text but thar they also present different combinations and compounds when considered in the context of each episode, Iwill therefore choose the latter way, starting from two texts which 1 consider ~ using the informatic analogy — as my search engines. The first is an English dictionary, the second is a text by Andrew Gurr on hats in ‘Shakespeare. ‘Any English dictionary will show for the entry ‘hat’ an unusual num- ber of idioms. The recent Grande Disionario Hoepli (1999), for instance, lists 16 idioms. Independently from the meaning of each of the idioms listed, the very amount of their number communicates an interesting piece of information: hats are probably, among all dress items, the ones which, in the cultute expressed by the English language, are considered the fiteest in the construction of metaphors. These may be ofa communicational kind (like “to keep something under one's har,” “to talc through one’s hat,” “to 2throw one’s hat into che ring”) or of a social-behavioural kind (like “to raise ‘one’s hat,” “to take off one’s hat to somebody,” “wearing somebody's hat,” “o pull one out of the hat,” “to wear two hats,” and so on). One among these (“to send round the hat”) means ‘to collect money in favour of some- body.’ Maybe it is only a matter of chance, but one cannot but recall that in “Hades” Martin Cunningham is collecting money in order to help Dig rams family, even though the idiom used by Joyce (“get up a whip,” p. 129)" is different. In passing, I will say that I have checked whether other dress items (like ‘glove’ or ‘shoe,’ for instance) are used in idiomatic metaphors and I realised that none is used with the frequency and the se- mantic variety with which ‘har’ is used. One of the idioms in which the word ‘hat’ appears, no longer listed in dictionaries because obsolete owing to the disappearance of the habie of wearing hats, appears in the episode: ‘As decent a little man as ever wore a hat’ (see fragment 11 in the list at the ‘end of the article): an idiom which even identifies the very existence of per- sons with their wearing hats: in other words, | wear a hat, ergo sum. ‘The second search engine tells us things which are even more inter- esting, At the beginning of his Shakespeare! Hats, Andrew Gutr relates a story. On 5 August, 1600, James V1, King of Scotland, while he was in the tower room of Gowrie House in Fife, was involved in what he thought hhad been an artempe on his life. The alleged attempt ended with the death of the evo Gowrie heirs, his host's sons, while James was not even scraped by the killer’ dagger. He survived and produced the only report we have of the scene. Gurr remarks that one of the peculiarities of that report is James's reading of the body language of the killer, young Alexander, brother to the Earl of Gowrie. In particular, James draws his conviction that Alexander was on the point of killing him from the fact that, when he aimed his dagger ar him, he did not take off his hat: “[..] having such cruelty in his looks,” James writes, “and standing so irreverently covered with his hat on, which forme of rigorous behaviour, could pronosticate nothing to his majestie, but present extremity” (Gurr, 1993: 7, quoted from The Earle of Gowries conspiracie against the Kings Majeste of Scotland, London, 1600). ‘Gurr introduces this anecdote in order to start his discussion on the highly ceremonial quality of body language and apparel codes in Shake- "All quotations are taken fiom Uljsts Annotated Students Edicion, Harmondwort: Penguin, 1992, Page numbers in parentheses afer the pasage quoted refer to this edition. 3speare’ time; he then complains about the fact that modern productions of Elizabethan plays disregard the use of hats, thereby withholding from the audience significant hints concerning the definition of interpersonal relationships. On the other hand, that apparel constitutes a code — a sign system capable of transmitting messages of various kinds — not only has been authoritatively shown by Roland Barthes (1967) in his Systéme de la ‘mode, but is also pare of everyone's daily experience. It is true that the sign value of that particular dress item was much more complex and ritualised in Shakespeare's time (particularly in the high steps of the social ladder) than it was in Joyce's bourgeois Dublin; it is a fact, however, chat many early wencieth-century photographs, particularly those which reproduce street scenes, show people wearing hats: more standardised those worn by men and more fanciful those worn by women. ‘We have, then, made two points: at the level of apparel code, the cere- ‘monial and ritual character of hat wearing (and it is also to be stressed that a har is the ‘crowning’ or ‘summie’ of a person); at the level of language use, the versatility and high occurrence of the term in the English language as 2 marker of socal relationships and of communicational behaviour. One ‘must also acknowledge that those two elements clearly describe the main ‘motives which are developed in “Hades’: at a narrational level, the main vent of the episode is the ritual or ceremony of Dignam’s funeral and in- termeng; at a deeper level, the paradigm which goes through the whole episode is the definition of Bloom's social position: his difficulty in being accepted by others, his communicational mistakes and interactional faults but also other people's interactional faults towards him. In the episode, hats define roles and social kierarchies and they func- tion as an objective correlative of personal charactetistics (Boylan’s pert straw hat, Stephen's mournful broad-brimmed hat, his “Latin Quarter hat,” Bloom’ ordinary bowler hat and so on); tkey connote diversity and are introduced as markers of the ritual; besides, some headgear are clearly ‘meant as signs of something else: briefly appearing as in an epiphany (and ‘one of the episode's characteristics is precisely the fleetingness of the im- ages, which reflects the fletingness of life), they show, through their phys- ical aspect, a whole living condition The episode is divided into two parts: the fist part takes place inside the narrow space of the coach which takes Simon Dedalus, Martin Cun- rningham, Jack Power and Leopold Bloom to Glasnevin cemetery; the se- cond part takes place inside che cemetery where the mourners attend Dig- 44. nam’s funeral service and his interment. The closing scene takes the char- acters outside the graveyard gate, leaving behind the theme of death which is the leit-motif of the whole chapter. The social configurations are different in the two parts of the episode: what prevails in the first part is the dimension of verbal communication and of face-to-face interaction, in which are highlighted the mutual rela- tionships between che four occupants of the coach, their interactional ini- tiative and skill, the choice of conversational topics each of them makes and, through their conversation, some of their personal characteristics. In the second part, the collective dimension of ritual and ceremony prevails; the elements on which the attention has been focused in the first part are considerably thinned down, emerging only briefly, as in a speech of which the ear only perceives a few fragments. Also the narrative techniques vary as the situation varies: we have mainly dialogue in the first part and de- scription in the second, in both cases interspersed with passages of Blooms interior monologue. “Hades” is the first episode in which we see Bloom in a situation of social interaction. Together with “Cyclops,” it is one of the episodes in which Bloom is put into contact with a fragment of Dublin society; as in “Cyclops,” though in a less violent way, Bloom is tolerated with irritation, made the object of slanderous allusions, hushed up, seen with some dis- dain or altogether ignored; as in “Cyclops,” in the most awkward moments he is ‘saved’ by Martin Cunningham. In the first part of the cpisode, Joyce displays @ punctilious naming strategy which serves as a means to reveal the mutual relationships which the characters entertain and the degree of familiarity which exists between them: Dedalus calls Cunningham “Martin;” Power calls Cunningham “Martin” and Dedalus “Simon;” they all call Bloom “Bloom.” ‘The signs of Bloom's isolation are evident both in the first and in the second part of the episode (once he gets off the coach, Bloom will attend the ceremony by himself and only a couple of times will he be spoken to by someone, but never by his travelling companions). During their ride to the cemetery, those signs of isolation are materialised through a series of blunders to which Bloom reacts in different ways. Shortly after the coach has started, Martin Cunningham and Mr Power wave to someone whom they see from the coach window: it is Boylan, who answers their wave (fragment 9); a mental sentence ("Just that moment I was thinking”) makes us perceive Bloom’s embarrassment, which is soon after expressed 45by the narrator: “Mr Bloom reviewed the nails of his left hand, then those of his right hand” (p. 115); then follows another fragment of monologue in which Bloom concentrates his attention on Boylan and on his after- noon date with Molly, which is followed in cum by another of the nar- rators descriptions: “He clasped his hands between his knees and, satisfied, sent his vacane glance over their faces” (ibid.). The crisis seems to be over but Mr Power, not minding the effect of the immediate association which the appearance of Boylan has produced, asks Blom about Molly's concert tour. Bloom answers with manifest unease. Shortly after, the figure of Reuben J. Dodd appears through the coach window. Dodd is a Jew who manages a pawnbroker’s shop, a man towards whom Bloom's companions show a hostile atticude. Martin Cunningham comments on his apparition saying “Of the tribe of Reuben” and Dedalus curses him exclaiming “The devil break the hasp of your back!” (p. 117). Bloom's reaction is at first sight surprising: by telling a story which is cur- rently rumoured about Dodd, he compounds che blame and the ridicule which his companions had showered upon the Jew. Bloom’s story indeed prompts a final insult ftom Dedalus: “Drown Barabbas!” (p. 118). It is evident that Bloom is here trying to make himself accepted by the group of friends who are excluding him and that in order to succeed in this he is even ready to disown his jewishness. Immediately after, we witness the third moment of embarrassment, which this time is perceived also by Martin Cunningham who had also tried to mitigate Powers’s and Dedalus’ injurious expressions towards che Jews. It is again Mr Power who intervenes, this time touching on the theme of suicide: “But the worst of all, Mr Pover said, is the man who takes his own life;” Martin Cunningham tries ce sofien his ftiend’s stare- ment: “Temporary insanity, of course, Martin Cunningham said decisively. ‘We must take a charitable view of it;” Dedalus, however, worsens the situ- ation by saying: “They say the man who does itis a coward.” Again, Mar- tin Cunningham tries to mitigate Bloom's embar-assment, concluding “It is not for us to judge” (p. 120). This time, Bloom's embarrassment is not visible, but he starts to rehearse in his thoughts the afternoon in which the body of his suicide father had been found. ‘Many times Bloom’s sentences are interrupted and Dedalus unkindly refuses his attempt to render a service by offering the newspaper in order to let him read the political speech of which the others ate speaking; often the other three engage in discussions from which he is excluded: he there- 46fore has plenty of time to devote to his musings, connecting his thoughts to fragments of the conversation or, more often, withdrawing into himself or concentrating on the images which run through the coach window, al- ways suspended between the wish co please his three companions and the need to isolate himself inside his mental word, But the extreme outrage is that caused by a raindrop: when Bloom leans out of the window, che nar- rator tells us that (p. 112; my italics). To get out of the coach will be a relief for him: he will finally be able to change the position of the soap he has got in his pocket and which has been tor- menting him all the time, a powerful objective correlative of his extreme embarrassment (“Change that soap now,” p. 126) ‘Ar the cemetery, apart from a few exchanges with Mr Kernan and with Hynes, Bloom is left alone, and often slackens his pace out of discre- tion in order not to overhear other people's conversation. We always find him following the others. “he followed his companions” (p. 126); “Mr Bloom stood behind near the font” (p. 130); “Mr Bloom came last” (p. 132); “Mr Bloom stood back, his hat in his hand” (p. 139); he is pointed out by John Henry Menton as “that chap behind” (p. 134); or it is said that “Mr Bloom, chapfallen, drew behind a few paces, so as not to over~ hear” (p. 147). Ata given moment, the narrator assumes the point of ‘of someone who doesn’t know Bloom and says: “a face with dark thinking eyes followed” (pp. 127-28). Bloom speaks very litle and only when he is spoken to; instead, he concentrates on attending the ceremony punctili- ously and, at the end of the episode, he is obliged co suffer yet another humiliation from pompous character towards whom once again he has tried to be helpful. Let us now see in what way hats are involved in the texture of the themes expounded above, themes which, in a few cases, are set in motion precisely by the apparition of a hat. Incidentally, I wish to say that, apart from the lexical occurrences of that’ and ‘hats,’ I have also taken into con- sideration terms like ‘cap,’ ‘bonnet, ‘strawhat,‘silkhat and also verbal forms like ‘cover’ and ‘uncover,’ obviously when these clearly refer to the covering or uncovering of one’s head. The episode opens with the complex ritual of the getting into the coach, which immediately establishes a hierarchy of roles among the four men. The frst to gee in is Martin Cunningham, who is presented through his “silkhacted head.” The silkhat is the most dignified of all the male headdresses which were worn at the time. Later in the episode we will find 47out that also Dedalus and Power are wearing silkhats (fragment 20) and that Bloom instead is wearing what seems to be an ordinary bowler hat (fragment 14), The ritual proceeds. The second one to get in is Mr Power who, by inviting Dedalus to follow him, establishes in which order the last ‘two are to enter. Incongruously, given Mr Power's invitation, Bloom in- vites Dedalus to get in saying “After you.” Without reciprocating, Dedalus enters putting on his hat (fragment 2); getting in last, Bloom “sat in che vvacant place” (p. 108): for him is let che lac sea. Shortly after, we have the third mention of hats, which establishes the paradigm of the tribute paid to the dead; this paradigm will be farther ex: ploited later, during the Funeral service, when we witness che complex ce- remonial gestures of head covering and uncoveting according to the vari- cous phases of the ritual. Ic is in fragment 3 char the meaning of uncover- ing in connection with funeral liturgy is established, when the gesture is commented upon by a statement from Dedalus: “That's a fine old custom +» Tam glad to see it has not died out” (p. 109) and described — with a term which seems to belong to Bloom's monologue ~ as “Respect” (ibid). The same paradigm of the tribute paid to the dead is also exploited iri fragments 7, 12, 16, 17 and 18 (in the last fragment the gesture is quali- fied as “homage”), 19, 22, 24, 25, 26 and 27. Fragment 16, which is a monologic passage, again shows Bloom's insecurity: he is compelled to watch the others in order to know in which phases of the rieual itis possi- ble (or necessary?) to cover or uncover one’s head: afterall, he may not be familiar with the directions of a ceremony which does not belong to his culture. Shortly after, we encounter two passages in which hats, through their shape but also through the use that their owners make of them, connote the characters who wear them. Fragment 4 introduces Stephen, “a lithe young man, clad in mourning, a wide hat.” It is the Hamlet figure that, also elsewhere in Ulysses, constitutes the most immediate literary reference for Stephen, As theatregoers who have scen modern Hamlets on the stage, wwe may find it incongruous that a “wide hae” may recall Hamlee; bur Gurt tightly reminds us that, on che contrary, a hat must have been in Shake- speare’s time a sce fitting for the young prince if Ophelia, describing his ex- travagant bearing, mentions, among other things, the face that he appeared to her bareheaded (Gurr, 1993: 14). We know that only Bloom sees Stephen, but we do not know whether Stephen perceives that a funeral corcege is passing. Surely nothing is said about his nor observing the “fine 48old custom” of showing respect to the dead by taking off one’s hat: after all, the reader knows that even at his mother’s deathbed Stephen refused to comply with a ritual which he disavows, Immediately after the coach has passed beyond Plasto’, not by chance, I believe, a hat shop (fragment 8), Boylan appears, and he is nois- ily hailed by Martin Cunningham, Mr Power and Mr Dedalus. Boylan an- wets by taking off his hat (“There he is, airing his quiff,” Mr Power says; p. 115). A mental phrase from Bloom tells us that precisely in chat mo- ment he was thinking of Molly’s appointmene in the afternoon (“Just that ‘moment I was thinking;” p. 115); unlike the three friends, the narrator seems to be willing to respect Bloom’ feelings by avoiding to pronounce Boylan’s name and introducing him, as elsewhere in the book, through one of the items of his dress: his hat, in this case (see fragment 9, where “the white disc of a straw hat” synechdochically represents the person who wears that headdress). Ac this point, an old man is seen from the coach window: it is “Tweedy, Crown solicitor for Waterford” (p. 116), who time before had been struck off the solicitors’ register and who now lives by selling shoc- strings in the street: another outcast, who seems to be seen only by Bloom who produces a comment in his monologue: “Has that silk hat ever since. Relics of old decency” (fragment 10). Again, the sik hat is preseneed as mark of distinction, a mark which, however, this time evokes and sh the story of a whole life, of a fall from past “decency” to 2 condition of grotesque poverty. Another fleeting apparition, another epiphany, stimulates the fantasy of Bloom. The mourners who are getting into the cemetery meet other ‘mourners who are getting out of it. Bloom observes a woman and a young gitl and, through their physical aspect, he imagines their life of squalor and privations. The girl is characterised by the marks chat mourning has left on her face: “Girl's face, stained with dirt and ears ... Fish’s face, bloodless and livid.” The woman appears to him as a “leanjawed harpy;” but, above all, the rather far-fetched idea that she is a “hard woman at a bargain’ seems to be suggested to him by the way in which she wear her beret (*her bonnet awry:” fragment 13). Only a few occur In fragment 20 we a wld tar “hepa de lla ia ease Ibe a Bloom's travelling companions, who have been approached in a friendly way by Mr O'Connell, the caretaker. O’Connell announces that he wishes 49to tell them a funny story and the three “silk hats” bend towards him to listen to it. The gesture, which is performed “in concert,” connotes famili- arity among okt friends, again highlighting that interactional complicity from which, as we have seen, Bloom is excluded. Once O'Connell has fin- ished telling his story, the reader is again reminded of Bloom’: isolation by the fact that he can only look at the group from a certain distance, with- out taking part in the interaction: “Mr Bloom admired che caretaker's prosperous bulk” (p. 135). Fragments 14 and 21 concern Bloom's attitude during the ceremony. Fragment 14, beside hinting at a further trait which shows Blooms divers- ity (his wearing a “black hat" instead of the “silk hac" which the others seem (0 wear), reveals his circumspection in the a:titude he shows during the funeral service. His body language seems to show embarrassment for he is attending a ritual to which he, at least in par, is alien. Let us see the whole passage: ‘The mourners knele here and chere in praying desks. Mr Bloom stood be- hind near the font and, when all had knelt, dropped carefully his unfolded ‘newspaper from his pocket and knele his right kace upon ie. He ficeed his black hat gently on his left knee and, holding ies brim, bent over piously. (U, p. 130) ‘The narrator's punctilio is not without reason: as has alreadyhap- pened in other moments of the ceremony, Bloom has waited for thRSh- ers to perform the gesture prescribed at that particular stage of the ritual; besides, once again he ‘stood behind,” probably in order to conform his movements to those of che others. However, having come in last, he cannot kneel on the praying desks, for these have already been taken: once again, he is the last, and therefore he carefully unfolds the newspaper on the floor, stoops and puts his tight knee on it. His hat, which cannot at this stage be worn, becomes the objective correlative of his embarrassment: he finds nothing better than to lay it down on his left knee, but he must hold its brim. The three adverbs which appear in the passage, “carefully,” “gently,” and “piously.” characterise a body language which reveals areas of deep discomfort. Fragment 21 is probably less revealing. Again “far back,” his hat in his hand, Bloom counts up how many heads are uncovered: probably a way of keeping contact with reality. 50My attempe to show that hats in “Hades” are not “just hats has yet one last card to play, for the episode, which opens with Marcin Cunningham's sill hat, closes with a mishap ~ the most unpleasant for Bloom - which once again involves a hat: a mishap provoked by Bloom's faux pas and determined by what from his point of view is again a manifestation of his desire co be helpfal and kind but which, from the point of view of the group of people to which he does not belong, appears as an expression of his interactional in- competence, cactlessness, unrequited excess of zeal or even wish co offend (fragments 29-31). Indeed Bloom picks out the most influential and the most conceited among the mourners, Mr Henry Menton, barrister, who had pointed to Bloom as “that chap behind” (p. 134), and brings to his attention a crease in his hat. “Your hat isa litle crushed” (fragment 29) he tells Men- ton; the grand man’s reaction confirms chat hats are meant as a person's crowning, for he “stares at him for an instant without moving,” probably surmising that he is being insulted. At this point, as will happen in “Cy- clops,” Martin Cunningham comes to Blooms aid (che narrator highlights Blooms faux pas by saying: “Martin Cunningham helped;” p. 146). Cun- rningham simply confirms what Bloom has just said for he knows that what ‘would not be accepted if coming from Bloom may be allowed if validated by him. Cunningham's help, in short, only confirms Bloom's exclusion. ‘The chapter closes with a dry “Thank you” on the part of Menton, who straightens his hat and puts it on again. For the first time in the episode, Bloom seems to perceive that somebody is behaving offensively, ‘or at least conceitedly, rowards him, even though, in his mental word, he comments on Menton's reaction by drawing a conclusion which is mani- festly wrong for he imagines that when the man will recollect the episode he will be sorry 10 have been offensive (“Be sorry after pethaps when it dawns on him;” p. 147). True, he also adds an evaluation of Menton’s hauteur (“Thank you. How grand we are this morning,” ibid), with which the episode closes. But by now we are out of Hades, and Bloom is ready to plunge into the world of the living, Afterall, his long day has hardly begun Fragments quoted 1. Martin Cunningham, first, poked his silkhatted head into the creak- ing carriage (107) 5115. 16. 17. 18. 19. 20. 21 22. 23, 25. 26. 27. 28, 52 Mr Dedalus covered himself quickly and got in (107) Al watched awhile through their windows caps and hats lifted by passers. Respect. (109) ‘Mr Bloom at gaze saw a lithe young man, dad in mourning, a wide hat. (109) Ignatius Gallaher on a Sunday morning, the landlady’s two hats pinned on his head (110) A raindrop spat on his hat, (112) ‘The jarveys raised their hats. (114) Plasto’. (114) From the door of the Red Bank the white disc of a straw hat flashed reply: passed. (115) Has thar silk hat ever since. Relics of old decency. (116) a As decent a lice man as ever wore a hat. (119) . He lifted his strawhar, saluting Paddy Dignan. (124) Leanjawed harpy, hard woman at a bargain, her bonnet awry. (127) . The mourners knelt here and there in praying desks. Mr Bloom stood bbchind near the font and, when all had knelt, dropped carefully his unfolded newspaper from his pocket and knee his right knee upon it. He ficted his black ha gently on his left knee and, holding its brim, bent over piously (130) He fitted his black hae gently on his left knee (130) The others are putting on their hats (132) ‘They covered their heads (132) A portly man, ambushed among the grasses, raised his hat in homage. (134) The gravediggers touched their caps. (134) They [Cunningham, Dedalus ¢ Power] bene their sillkhats in concert (135) Mr Bloom stood far back, his hat in his hand (139) ‘They struggled up and out: and all uncovered. Twenty. (139) Gentle sweet air blew round the bared heads (139) ‘The mourners took heart of grace, covering themsclves without show. (41) Mr Bloom put on his hat (141) All uncoverd again for a few instants (142) The gravediggers put on their caps (142) Got a dinge in the side of his hat. Carriage probably. (146)29. Your hat is a lice crushed, Mr Bloom said, pointing. (146) 30. John Henry Menton took off his hat (146) 31. He clapped the hat on his head again. (146) University of Florence Works Cited Barthes, Roland, Systeme de la mode, Pais: Seuil, 1967. Benstock, Bernard, “Old Josser’s Book of Practical Hass,” The Abiko Quar- terly with James Joyce Seudies 13, 1-2, Spring 1994, 166-170. Gurr, Andrew, Shakespeare Hats, Roma: Bulzoni, 1993. A Handlis: to James Joyces ‘Ulysses, ‘prepared by Wolfhard Steppe with Hans Walter Gabler, New York: Garland, 1986. Grande dizionario inglese-italiano italiano-inglese, Milano: Hoepli, 1999. 53