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without the female sex. It is noteworthy that Deasy has the

relationship muddled when referring to the first

Anglo-Norman invasion of Ireland: the faithless wife was

wedded to O’Rourke, the prince, not MacMurrough, the

seducer (Gifford & Seidman, 1988: 39). A headmaster, he

muddles up history as Crawford, O’Molloy, and MacHugh do.

Encountering such an educator, Stephen feels stifled: “The

same room and hour, the same wisdom: and I the same. Three

times now. Three nooses round me here” (Joyce, 1986: 25).

This money-loving, anti-Semitic, and misogynistic educator,

very likely, ruins rather than illuminates the younger


V. Conclusion: Joyce’s Rethinking of the


Intellectuals, admittedly, have dominated central parts in

the pages of modern Irish history, and Joyce incorporates a

diverse array of intellectuals into his texts. The “Aeolus”

episode depicts members of the intelligentsia in the professions

of journalism, law, and education. Many of these characters,

however, are representatives of disappointment rather than

talent. Kiberd comments that the episode “is filled with a sense

of missed opportunities” (2009: 121). Indeed, we observe that

Crawford works unenthusiastically for a newspaper on the

decline; O’Molloy is down on his luck and defeated by life;

MacHugh fails to profess the language he adores, and so on. As

Platt remarks, the “OMNIUM GATHERUM” in the


office is in fact “a gathering of failure and unfulfillment,”

where underachievers, not outstanding talents, assemble (1998:

735-736). These characters’ underachievements notwith-

standing, Kershner notes that “the newspaper office becomes

the arena for performances,” permeating which is “a sense of

expectant nostalgia and a regret for great times past”; the