[1] "Nighttown" is the red-light district of Dublin

[2] The Secret of Ulysses by Roolf Loehrich is influential in this argument.

[3] "solving," "making clear"

[4] Eton is where he would have gone to school, had he lived.

[5] "I saw water coming forth from the temple on the right side, halleluiah!"

[6] line 1024.

[7] "These are made saved!"

[8] To harrow is to rob, plunder or to dig up, which you do with a harrow, a kind of big rake that breaks up and levels soil. Early harrows were logs with wooden (later metal) pegs stuck in them.  To be harrowed, obviously is to be significantly distressed; so Hamlet says "It harrows me with fear and wonder" [I,i,44].   The sense of rob turns into the plundering or the spoiling of hell when Christ takes all appropriate souls to heaven and obliterates every other thing, including time.

[9] See the "Book of Revelations in the Bible."

[10] Private Compton gives him the finger, jeering, "Way for the parson. "

[11] Italics mine.

[12] She "never liked it " (making love) since Rudy's death, Bloom says.  

[13] "Me.  And me now ." [bottom 173] shows the contrast between the lover he was, and himself this day.

[14]   As with the death of his son, Shakespeare wrote Hamlet.

[15] "you must know your father lost a father, that father lost, lost his" [1,ii,90]

[16] Because Hamlet is terribly upset before the ghost talks to him, more upset than anything in the play provokes him to be.  There is no "objective correlative" (T. S. Eliot) in the play equivalent to his intensity of distress.  Ernest Jones argues this brilliantly.

[17]   Ernest Jones puts it this way: Hamlet's fate and that of his uncle are bound together, for Hamlet unconsciously enjoys his uncle's incestuous relationship while consciously condemning it.  Thus while his moral conscience urges him to revenge, his unconscious pleasure stays his hand.  Hamlet is this tension.

[18]   This quotation comes from Roolf Loehrich's The Secret of Ulysses.  Leohrich argues that Joyce dramatized in Nighttown a kind of psychotherapy that he, Leohrich, later independently "invented". I'm indebted to him for much, including his idea of psychological role-playing, which I've used freely in this discussion.

[19] "He comes.  It is I " (that he comes for).  The words may come from Mulligan's warning in Scylla & Charybdis ("He knows you.  He knows your old fellow.  O I fear me, he is Dekker than the Greeks...")

[20] Gifford suggests that the three names stand for "a man of sin, a son of perdition, a man of impurity." Jesus was incarnate, a man, and hence "of sin."  Ingress (Robert G., 1833-89) was a noted agnostic, hence a son of perdition. Guatemala in his young manhood lived a life of excesses, of impurity.

[21] I'm indebted to Roolf Loehrich for this observation, as I am for much of the overall argument in this paper.

[22] Molly is a widow in the sense that she has had no real husband for 11 years.

23] This hiding is a structural aspect of dreams.  Freud calls it "displacement," putting the crucial symbol off in the corner, nearly out of sight.

[24] Badgers and foxes will sometimes live in each other's burrows.

[25] One of the four horsemen who announce the coming of the end of the world in Revelations. 

26] "Unsheathe your dagger definitions," Stephen has thought earlier in the day.  "Hoarseness the whatness of allhorse.... God: noise in the street."  Here we have the horse, the apotheosis of all horses, and God Himself, joined in the image. 

[27] These parallels come in considerable part from The Secret of Ulysses.

[28] William Blake, see his Prophetic Books.

[29] Stephen's walking stick, his "ashplant" is made from an ash tree descended from the one into which Wotan planted the sword, Needful.  Sigmund (the father) uses the sword, but Wotan withdraws the power from it, and Sigmund dies.  Siegfried (the son) knows no fear, uses the sword, restoring power to it. But this brings on the apocalypse or twilight of the gods, the end of an age.  The whole story comes from Wagner's Der Ring Des Nieblungen, and before that from the Niebelungenlied.  It is this magic stick that has kept Stephen from falling into the sea, like Gloucester (in Proteus), and that shatters the lamp.  Hence even Stephen's cane is metempsychotic

.

[30] C. G. Anderson, "The Sacrificial Butter" Accent XII, No. 1., Winter 1952, p. 3-13, reprinted in Twentieth-century Literary Criticism, Vol 16, p. 209ff.