Line 17: "Setting in the die-room now she chews over her toast, raised two old tines, and wanders if he ova reilly and tooralee was her brooder."
Non-Lucy-Lips Version: "Sitting in the dining room now, she eats her toast, raises her fork, and wonders if he ever really and truly was her brother."
"Setting"
Lucia is sat in the dining room but sitting becomes setting, as in stage dressing with the actor doctors running about. None of this is real.
"die-room"
The asylum is where Lucia will live out the rest of her life. If she doesn't die in this room, it will be one of the few she is able to visit.
"chews over her toast"
Chews is the act of eating but also of thinking deeply about something. Here, Lucia is involved in a deep dive, a real wander of old times, over breakfast.
"raised two old tines"
Hints at "to old times." Lucia is sat thinking about the past in the room she'll probably die in.
"wanders"
Lost in memory.
"ova"
Along with "brooder" later, and following on the Fertile Crescent reference of the last sentence, we have hints that perhaps a pregnancy happened from this union. She never had a child so this is major speculation. The imagery can simply be more suggestions of copulation.
"reilly and tooralee"
Sounds like names but being that I'm unfamiliar with James Joyce's works (making me an idiot for even bothering with this project. Maybe I should dive into Joyce first? No, no. No time! No time!), it's unlikely I'll make too many connections if they don't stand out in the wikis I'm willing to read. It's only going to get worse as I get further in. At least I've previously read and thought about the first few pages of this chapter. But the rest? I've never read them at all!
"brooder"
Suggests both "breeder" and "brooding." This could indicate her brother was a brooding figure but also suggestive of Lucia involved in brooding right at this moment, wrapped up in unhappy memories (no matter how she tries to paint them to herself; the truth comes out in the strange language) while chewing over her toast.
Non-Lucy-Lips Version: "Sitting in the dining room now, she eats her toast, raises her fork, and wonders if he ever really and truly was her brother."
"Setting"
Lucia is sat in the dining room but sitting becomes setting, as in stage dressing with the actor doctors running about. None of this is real.
"die-room"
The asylum is where Lucia will live out the rest of her life. If she doesn't die in this room, it will be one of the few she is able to visit.
"chews over her toast"
Chews is the act of eating but also of thinking deeply about something. Here, Lucia is involved in a deep dive, a real wander of old times, over breakfast.
"raised two old tines"
Hints at "to old times." Lucia is sat thinking about the past in the room she'll probably die in.
"wanders"
Lost in memory.
"ova"
Along with "brooder" later, and following on the Fertile Crescent reference of the last sentence, we have hints that perhaps a pregnancy happened from this union. She never had a child so this is major speculation. The imagery can simply be more suggestions of copulation.
"reilly and tooralee"
Sounds like names but being that I'm unfamiliar with James Joyce's works (making me an idiot for even bothering with this project. Maybe I should dive into Joyce first? No, no. No time! No time!), it's unlikely I'll make too many connections if they don't stand out in the wikis I'm willing to read. It's only going to get worse as I get further in. At least I've previously read and thought about the first few pages of this chapter. But the rest? I've never read them at all!
"brooder"
Suggests both "breeder" and "brooding." This could indicate her brother was a brooding figure but also suggestive of Lucia involved in brooding right at this moment, wrapped up in unhappy memories (no matter how she tries to paint them to herself; the truth comes out in the strange language) while chewing over her toast.
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