If we examine Ulysses for the use of animals, we quickly realize that Joyce draws on an extensive bestiary that includes basilisks, wrens, pigs, eagles, hyenas, panthers, pards, pelicans, deer, unicorns, dogs, bats, whales and snakes, among others. All of the beasts included in Ulysses carry symbolic meaning closely related to the characters themselves and the circumstances in which they find themselves. Interestingly, little has been written about Joyce's imagery as it relates to animals. There are some interesting journal articles, but they do not go beyond analyzing images of pigs, cattle, and horses in Ulysses. Rather than covering a wide range of animals and their meanings, this article will focus on analyzing the canine imagery throughout the book and attempt to uncover its significance in the story. Say no to plagiarism. Get a tailor-made essay on “Why Violent Video Games Should Not Be Banned”? Get an original essay The first obvious observation when dealing with images of dogs is the recurring use of the word dog and its derivatives throughout the book. Take for example chapter 1 (Telemachus) where Buck Mulligan, who is shaving, kindly calls Stephen “dog body” (112) before asking him how the second-hand panties fit him. According to Gifford, this was a colloquial use of the term to refer to a person who performs odd jobs, usually in an institution. Joyce also plays with the inversion of the word God/dog in chapter 15 when in Bloom's hallucinations the voice of all the damned says "Htengier Tnetopinmo Dog Drol eht rof, Aiulella!" (4708), Adonai utters “Doooooooooog!” (4710) and then the voice of all the blessed pronounces the phrase in the correct way "Hallelujah, for the Lord God Almighty reigns!" (4712) and Adonai calls “Gooooooooood”. The word dog is also used in expressions such as the one Rudolph uses when he scolds his son in chapter 15. He tells Bloom, "One night they bring you home drunk as a dog after spending your good money ." (267). Bloom himself uses the expression "Christian dog" when, in his dream, he orders the shooting of Leopold M'Intosh (1563). There are so many examples like those mentioned above that no list can be exhaustive. However, the aim of the present work is not to deal with the use of the word dog, but rather with dogs "in the flesh", their effects on the characters and their effects. their possible meaning and contribution to history In order to begin to analyze their meaning in Ulysses, I will first refer to what the Dictionary of Symbolic and Mythological Animals says about the subject of my study. evidence that the dog was domesticated in 7,500 BC. It is not only humanity's oldest animal companion, but also has the widest range of uses in friendship, guarding, hunting, and herding. Despite its use in symbolism and myth, it is ambivalent, revered and a close companion in some societies and despised and loathed in others. It can also be a solar or lunar animal. The solar dogs hunt the Winter Boar. They are fire bringers and firebenders, destroying the enemies of light. Lunar dogs are associated with Artemias, goddess of the Moon and the hunt. They are intermediaries between the lunar deities. Apuleius says that "the dog... designates the messenger going from one side to the other between the higher and infernal powers." He's a keeperfrom the underworld, he takes care of the dead and then leads them to the other world. Plutarch says that dogs symbolize "the conservative and vigilant philosophical principle of life." They embody qualities of loyalty, vigilance and nobility; they are also attributed with psychic powers and the dog is often a cultural hero or a mythical ancestor. In Sumero-Semitic symbolism, the meaning of the dog varies. It's evil and demonic. Semitic antipathy towards the dog spread into Judaism where, except in Tobias, where Tobias had a pet dog, the dog was despised as unclean and a scavenger and was ritually taboo (Matthew 7:6) , associated with whoremongers (Deuteronomy 23:18) and sorcerers, fornicators and idolaters (Revelation 22:15) In Greco-Roman myth, the dog is once again ambivalent, the term "cynical" - that is saying "dog-like" - is derogatory and implies impudence and flattery. Homer says the dog is shameless, but on the other hand he is associated with Aesculapius or Asclepius, the physician and skilled healer, and the dog also heals by being reborn to life. His faithfulness survives death. He also accompanies Hermes/Mercury as messenger god – president of the wind and the Good Shepherd. The dog is important in Celtic myth and frequently appears with the hunting gods. Dogs are associated with healing waters. They are also psychic animals linked to divination and are frequently shapeshifting people in Celtic tradition. In Christianity, the dog represents fidelity, vigilance and marital fidelity. He is also represented with the Good Shepherd as guardian of the flock and, in this aspect, can also symbolize a bishop or priest. In bestiaries, dogs symbolize sagacity, fidelity and priests as guard dogs because they chase away the intruding devil and protect treasures. of God. Dogs appear frequently in heraldry, esp. in England (greyhounds, bloodhounds and foxhounds) The black dog, an enormous shaggy ghost dog with fiery eyes, is a frequent theme in hauntings and is usually an omen of death; it may be harmless if not touched, but to touch it is to die. With this background information in mind, we will observe that Joyce attached symbolism from more than one culture to Ulysses' dogs. In chapter 3 (Proteus), the first real dog appears. In fact, the first dog Stephen notices is a dead dog: “A bloated carcass of a dog lay on a fucus tree. » (286) He observes his surroundings, noticing "the gunwale of a sunken boat in the sand." He draws a parallel between the sand and the tongue and realizes the importance that lies beneath: "These heavy sands are the tongue, the tide and the wind have silted up here.(...). Hide there gold. Try it. Sands and stones of the past. Thus, this first dead dog seems to symbolize the metaphorical death of the beauty of language which, although precious, is hidden in the past. As Gifford points out in his note 9.953, according to Robert Graves, in Celtic mythology, the epithet for the dog is "Keep it a secret." Therefore, this dead dog could have been the faithful guardian of language. Stephen soon sees another dog: “A dot, a live dog, appeared running across the sand. »(294) This dog does not trigger meditation; on the contrary, Stephen is rather afraid of him: “Lord, will he attack me? (295) He seems to receive God's response in no time: "Respect his freedom. You will neither be the master of others nor their slave."(296) Such a response brings him no comfort. He checks his staff and remains seated until he runs back to the two figures walking along the shore. Stephen notes that “thetwo brides made him safe among the rushes” (298). He witnessed something he wasn't supposed to see. Then the dog, keeper of the women's secret, discovers that Stephen was watching. “The barking dog ran towards him, stopped, ran back.” (310) In this case, Stephen “just stood pale, silent, barking. Terribilia meditans. »(311) It is at this moment that he begins to think of the man who had drowned nine days before and he imagines himself in that state. situation and reflects on such a terrible death. Gifford suggests that Stephen thinks of himself as Actaeon who, because he interrupted Diana while she was bathing, was transformed into a stag or deer. It is also a traditional symbol of the hidden secret of oneself. In Celtic mythology, its epithet is “Hide the secret”. Likewise, Stephen will not reveal the secret to the reader. Then a woman and a man's dog approach, called Tatters. He “was wandering on a diminishing sandbar, trotting, sniffing all sides. Looking for something lost in a past life. » (331) Then, “the man's shrieking whistle struck his soft ears. He turned, jumped, came closer, trotted on glittering shanks. “On a field, one tenney per male, trippy, properly speaking, undressed” (337) tenney: orange or fawn; trippy applied to a deer while walking; properly speaking: without outfit: without antlers (unusual in heraldry because it would imply) impotence). The dog then “stopped with its front hooves stiff, its ears pointed toward the sea.” Its raised muzzle barked at the sound of the waves..." (243) He, as a messenger, seems attentive to any message coming from the ocean. It was after this moment that Tatters discovered the dead dog. "The carcass lay on his way. He stopped, sniffed, strode around, brother, poking closer, circled around, sniffing quickly like a dog at the scruffy fall of the dead dog. Dogskull, dogsniff, eyes on the ground, moves toward a great goal." (248-249) The dog seems very interested in his discovery; this dog is humanized and he calls the dead dog "brother." He inspects it up close and shows sympathy towards him. He adds: "Ah, poor dog! Here lies the body of the poor dog's body." If we remember what Mulligan called Stephen in the first chapter, we can assume that Stephen has almost transmuted himself to shreds and is looking at the dead dog as his own carcass. So much so that the quote says "sniffing quickly like a dog." (248) This can be the burial of himself and the beginning of something new since he has "eyes on earth", that is to say he inspects the territory, examines its past, and that it “moves toward a great goal.” (249) Perhaps a new Stephen will be born from his deep meditation. Joyce may be employing Celtic symbolism of metamorphosis here. Tatter's owners call him back and kick him for smelling the old dog. Stephen was not discovered by the dog this time. Tatter's 'hind legs then scattered the sand: then his front legs splashed and searched. Something he buried here. his mother's funeral. In Chapter 6 (Hades), we are first shown the image of Mr. Bloom's dog. He takes her to the Dog and, on the way, he thinks about poor children, illnesses and death. said: "The dog's house there. Poor old Athos! To be good to Athos, Leopold, is my last wish. Thy will be done. We obey them in the grave. A dying scribble. He took it to heart and languished. Quiet brute The dogs of old men generally are." (125-128) Gifford explains that the dog's house was maintained by the Dublin Society for the Prevention of Cruelty to Animals. The house hasannounced his interest in stray dogs and proclaimed: "The sick are destroyed without pain." He adds that Bloom's father's dog was apparently named after one of the three musketeers (Aramis, Athos and Porthos) from Alexandre Dumas père's (1802 - 70) popular novel "The Three Musketeers (Paris, 1844). According to Gifford, we can draw a comparison with The Odyssey since when Odysseus first approaches his mansion, he cries at the sight of his old dog Argos, "abandoned" on a dunghill in front of the gates. . The dog struggles to greet his master, "but death and darkness in there" closed the eyes of Argos, who had seen his master/Ulysses, after twenty years" Joyce, in this case, not only shows Athos as being respected and honored by his owner, but also the intimate bonds that human beings are capable of creating with animals. After dealing with the image of a dead dog, we move on to one. another death when we read of Paltry's funeral which is linked to dog imagery through the use of the word "dog biscuits." The narrator describes the funeral by saying, "It's all the same. Bearers, golden reins, golden reins, requiem mass, firing of a volley. Pumping death. Beyond the back car, a peddler stood by his cart of cakes and fruit. Simnel the cakes are stuck together: cakes for the dead. Who ate them? (499-503) Gifford clarifies the meaning of dog biscuits, stating that they are called so not only because simnel cakes are hard, but also after the Aeneid, when the sibyl guiding Aeneas into the underworld throws "a sleepy piece of honey and drugged meal.” to the three-headed dog Cerberus. This canine imagery is reinforced by the fact that Father Coffey is described as “a tyrant with a muzzle” (596) and “with a belly on him like a poisoned puppy” (599) as if he were Cerberus. Joyce may be employing Christian symbolism in this case. In chapter 12 (The Cyclops), the reader meets a large dog named Garryowen. This dog is more threatening to Bloom, and what's worse, Garryowen is loyal to Citizen, who, despite not being her owner, feeds the dog biscuits. He is an intimidating dog who inspires no pity among the pub employees: “That damn bastard letting a grouse out would give you goosebumps. Be a corporal work of mercy if someone took that damn dog's life. I am told with certainty that he ate a good portion of the pants of a Santry police officer who once came with a blue paper concerning a license (124-127). In fact, they want to get rid of him. The simple name, according to Gifford, has many connotations since Garryowen is a suburb of Limerick famous for its squalor and for the crudeness and brutality of its inhabitants. Such characteristics can easily be applied to this dog which, even if it does nothing, scares men. who are in the pub. Garryowen is also the title of an Irish drinking song and also a famous Irish setter who in turn belonged to Old Giltrap: Gerty McDowell's maternal grandfather. There may therefore be a distant link between. the dog and the “bond” between Bloom and Gerty in the sense that this dog, with the psychic power attributed to its species, can know in advance Bloom's intention in seeing Gerty. This may also provide an explanation for Bloom's fear of the dog and the dog's growling toward Bloom. The citizen, on the other hand, befriends this dog and is described as his master: “A spear lying in acuminate granite rested on him while he was at his feet. rested a wild animal of the canine tribe whose strorous panting announced that it was plunged into an uneasy sleep, a supposition confirmed byhoarse grunts and spasmodic movements which his master suppressed from time to time with tranquilizing blows from a powerful club crudely fashioned from Paleolithic stone. ". (200-205) When Bloom enters the pub, Old Garryowen begins to growl at Bloom again. The citizen mocks Bloom and says: "Come in, come on, said the citizen. He won't eat you." (399) Bloom enters but the dog keeps smelling him all the time. He has no feelings of mercy towards the dog, he thinks the citizen should "get a new dog. A bully mangy and ravenous sniffling and sneezing everywhere and scratching his scabs And he walked over to Bob Doran who was standing, Alf a half sucking for what he could get (284 -289) Bloom even disapproves. Alf for "trying to keep him from falling off the bloody stool on top of that damn old dog and he's talking all sorts of nonsense about training by kindness and the thoroughbred dog and the smart dog: give it to you bloody glitch.” (291) Even when Garryowen eats the cookies, we can hear Bloom complaining "Gob, he galloped down him like old boots and his tongue was hanging out of him a yard long for more. He almost ate the can and everything, you bloody hungry bastard.” (294-295) He is even more irritated when "the old dog, seeing that the box was empty, begins to mouse around Joe and me. I would drag him out of kindness, so I would, if he were my dog. Give him an enthusiastic kick from time to time where it would not blind him." (698-699) Bloom's negative side is seen when the dog is near him. The Citizen still makes fun of him. : "Afraid he'll bite you? Said the citizen, mocking." (700) Bloom tries to justify himself by telling him that the dog "could mistake (his) paw for a lamppost." (702) There is such intimacy, such communion between the Citizen and Garryowen that when he calls the dog, he "begins to pull and maul and speak to him in Irish and the old tug growls, allowing himself to be answered, like a duet in the. "opera. You never heard such a growl when they were raging among themselves." (705-706) Bloom instead thinks the dog should be muzzled and describes him as "snarling and rasping and his eye all bloodshot from the dryness is in and the hydrophobia is falling from his jaws." (709-710) Bloom then imagines the dog as "moving from one pub to another, relying on your own honor, with old Giltrap's dog and being fed up with the taxpayers and the corporations. Entertainment for men and beasts.(252-253)When the citizen leaves the pub, he throws an empty can at Bloom and says: "- Did I kill him, he said, or what? And he shouts to the damn dog: - After him, Garry! After him, my boy!" (1903-1905) This is the last time they see the Citizen and the dog. However, something astonishing happens just after the departure of the evil characters: "When, behold, a great light surrounded them all, and they saw the chariot in which he stood ascending into heaven, and they saw him in the chariot, clothed with glory... And they saw him himself, ben Bloom Elijah. amid the clouds of angels ascend to the glory of brilliance (1910-1917) One possible interpretation of this is that once evil, represented by Garryowen as the black dog mentioned above, disappears, Bloom. is able to rise to a higher level All his aggression will be left behind and we will see a more tolerant Bloom when he meets dogs in chapter 15. In Circe, David Hayman says that Joyce seems to have taken the whole book, having mixed it in a giant blender, then rearranged its contents into elements of a monstrous pantomime that includes every form of madness imaginable but could well be. »., 1982.