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code. Furthermore, the statue of Moses stood not in the

Vatican but in San Pietro in Vincoli (Gifford & Seidman, 1988:

146). As historically confused as Crawford, O’Molloy

recollects inaccurately what Bushe said during the trial, though

he does remember the periodic sentence clearly:

that stony effigy in frozen music, horned and terrible,

of the human form divine, that eternal symbol of

wisdom and of prophecy which, if aught that the

imagination or the hand of sculptor has wrought in

marble of soultransfigured and of soultransfiguring

deserves to live, deserves to live

. (Joyce, 1986: 115)

Obviously, O’Molloy is attracted to the polished period itself

rather than the argumentation. As Herr observes: “He appears

to respond to the periodic structure of Bushe’s phrasing

without regard to the adequacy of Bushe’s legal stance” (73).

Not only is O’Molloy more interested in effective rhetoric than

sound reasoning, but he pays great attention to the theatrical

performance given. Before reciting the periodic sentence on



of Michelangelo, he “took out his matchbox

thoughtfully and lit his cigar,” and then “resumed, moulding

his words,” and “said of it” at long last (115). After he finishes

his recitation begging mercy for the defendant, “[h]is slim hand

with a wave graced echo and fall” (115). While Lenehan acts as

more a jester than a journalist, O’Molloy behaves more like an

actor than a barrister. Osteen (1995: 208) suggests that by

quoting the more successful Bushe, O’Molloy attempts to

buttress his authority and to conceal his incipient bankruptcy.

Similarly, by resorting to a theatrical performance, he indicates

that he intends to hold the stage as if still a figure of great

weight, not a creature of no importance. His recitation of the

speech is therefore “not to invoke justice but merely to prop

him up in his friends’ eyes” (208). In so doing, however,

O’Molloy misses the point that a barrister is supposed to focus

on matters of law instead of rhetorical and theatrical