Page:Ulysses, 1922.djvu/116

Rh —Just cut it out, will you? Mr Bloom said, and I’ll take it round to the Telegraph office.

The door of Ruttledge’s office creaked again. Davy Stephens, minute in a large capecoat, a small felt hat crowning his ringlets, passed out with a roll of papers under his cape, a king’s courier.

Red Murray’s long shears sliced out the advertisement from the newspaper in four clean strokes. Scissors and paste.

—I’ll go through the printing works, Mr Bloom said, taking the cut square.

—Of course, if he wants a par, Red Murray said earnestly, a pen behind his ear, we can do him one.

—Right, Mr Bloom said with a nod. I’ll rub that in.

We.

Red Murray touched Mr Bloom’s arm with the shears and whispered:

—Brayden.

Mr Bloom turned and saw the liveried porter raise his lettered cap as a stately figure entered between the newsboards of the Weekly Freeman and National Press and the Freeman’s Journal and National Press. Dullthudding Guinness’s barrels. It passed stately up the staircase steered by an umbrella, a solemn beardframed face. The broadcloth back ascended each step: back. All his brains are in the nape of his neck, Simon Dedalus says. Welts of flesh behind on him. Fat folds of neck, fat, neck, fat, neck.

—Don’t you think his face is like Our Saviour? Red Murray whispered.

The door of Ruttledge’s office whispered: ee: cree. They always build one door opposite another for the wind to. Way in. Way out.

Our Saviour: beardframed oval face: talking in the dusk Mary, Martha. Steered by an umbrella sword to the footlights: Mario the tenor.

—Or like Mario, Mr Bloom said.

—Yes, Red Murray agreed. But Mario was said to be the picture of Our Saviour.

Jesus Mario with rougy cheeks, doublet and spindle legs. Hand on his heart. In Martha.