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Mulligan as Stephen’s Alter Ego in Ulysses
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This study examines how Mulligan can be Stephen’s alter ego in Ulysses, even though he appears to be exactly the opposite and an enemy of Stephen. For example, it is true that Stephen is angered by Mulligan’s charge of matricide, but in a sense Mulligan said what Stephen wanted to say but had repressed. Stephen himself feels that he is somehow to blame for his mother’s death; that is why he feels the pang of conscience and sees the ghost of his mother repeatedly. Similarly, Mulligan, in Stephen’s thought, derides Stephen’s fearfulness, and this is another way of saying that Stephen’s superego or other self is mocking his own cowardice. Mockery is Mulligan’s defining characteristic; he keeps mocking Stephen. However, Mulligan’s mocking words echo in Stephen’s mind and the former’s voice becomes indistinguishable from the latter’s voice. Therefore, Mulligan’s accusation toward Stephen comes to be Stephen’s own accusation toward himself. In their roles, Stephen and Mulligan foreshadow the emergence of Shem and Shaun in Finnegans Wake. It is worth noting that Shem and Shaun are also inseparable Doppelgängers, even if they are enemies. In this connection, it is significant that Stephen’s repeated thoughts of Cranly, Mulligan’s precursor, in association with Wilde’s unspeakable love shows his love for Cranly. Whenever Stephen thinks of Cranly, he remembers Cranly’s arm and that of Mulligan, and this part of the body carries a sexual charge. A male friend of man, according to Aristotle, is his alter ego. Interestingly, the inner dialogue in Stephen’s mind takes place between Philip Sober and Philip Drunk in the “Circe” episode. Stephen’s sober self and drunken self seem to reflect Bloom and Mulligan respectively, thus confirming the possibility that Mulligan can be Stephen’s alter ego.
Abstract
This study examines how Mulligan can be Stephen’s alter ego in Ulysses, even though he appears to be exactly the opposite and an enemy of Stephen. For example, it is true that Stephen is angered by Mulligan’s charge of matricide, but in a sense Mulligan said what Stephen wanted to say but had repressed. Stephen himself feels that he is somehow to blame for his mother’s death; that is why he feels the pang of conscience and sees the ghost of his mother repeatedly. Similarly, Mulligan, in Stephen’s thought, derides Stephen’s fearfulness, and this is another way of saying that Stephen’s superego or other self is mocking his own cowardice. Mockery is Mulligan’s defining characteristic; he keeps mocking Stephen. However, Mulligan’s mocking words echo in Stephen’s mind and the former’s voice becomes indistinguishable from the latter’s voice. Therefore, Mulligan’s accusation toward Stephen comes to be Stephen’s own accusation toward himself. In their roles, Stephen and Mulligan foreshadow the emergence of Shem and Shaun in Finnegans Wake. It is worth noting that Shem and Shaun are also inseparable Doppelgängers, even if they are enemies. In this connection, it is significant that Stephen’s repeated thoughts of Cranly, Mulligan’s precursor, in association with Wilde’s unspeakable love shows his love for Cranly. Whenever Stephen thinks of Cranly, he remembers Cranly’s arm and that of Mulligan, and this part of the body carries a sexual charge. A male friend of man, according to Aristotle, is his alter ego. Interestingly, the inner dialogue in Stephen’s mind takes place between Philip Sober and Philip Drunk in the “Circe” episode. Stephen’s sober self and drunken self seem to reflect Bloom and Mulligan respectively, thus confirming the possibility that Mulligan can be Stephen’s alter ego.
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