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“Music behind the story: Ulysses”

LEIVA GARCIA, Silvia S.

Resumen El objetivo principal de esta ponencia es evidenciar la importancia de la música en la novela Ulises de James Joyce. Las canciones y las alusiones a la música de operas, conocidas por todos sus lectores contemporáneos han contribuido a una comprensión mucho más profunda de la novela. Es por eso que nos parece interesante explicar algunas de las canciones claves a través de sus letras. Joyce, quien fuera atraído por la carrera musical en su juventud, incorpora alusiones en forma compleja y continua. Algunas canciones se convierten en punto de definición de situaciones y personajes, otras intensifican la atmosfera y todas impregnan de música la novela. Palabras claves: música, atmosfera, personajes, Irlanda.

Abstract The main objective of this paper is to evidence the importance of music in James Joyce’s novel, Ulysses. Songs and allusions to opera music, known by all contemporary readers, have contributed to a more profound comprehension of the novel. It is for this reason that we found it interesting to explain some key songs through the lyrics. Joyce, who ha been attracted to the musical career at an early age, incorporates allusions in a complex and continual manner. Some songs become the point of definition of situations and characters, others intensify atmosphere and all of them impregnate the novel with music. Key words: music, atmosphere, characters, Ireland.

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“Music behind the story: Ulysses” LEIVA GARCIA, Silvia S.

James Joyce’s love for writing is shared with his love for music. From his childhood, Joyce was strongly influenced by his father. He grew admiring opera and music theatre, and so later in life he became a composer. James Joyce loved music and he let the sounds of music and songs enter his writings on almost every page and he incorporated music into his fiction whenever possible.

The purpose of this work is to prove how Joyce musical knowledge becomes an important feature displays throughout his work Ulysses in order to depict people and situations.

Music and musical allusions in Ulysses ( ) are complex and continuous. Music appears when people are singing or they quote songs in conversations. Some of the songs in the novel become points of definitions of the characters. Some songs are leitmotifs and so they are signal for further meaning and appearances. Songs are used to sharpen situations and to intensify moods. Therefore, it is not by chance that Joyce displays his interests in music by impregnating with music his work. He shows to the world that his personal passion could be merged with great ability. Joyce’s love for music comes from his early years and develops through the years. Music has always been a tradition with the Joyces. Sometimes, James annoys his neighbours since he spends long hours just singing, and for such a reason it is not surprising that his first book of poems is entitled Chamber Music. As a result, the father influences James who in turn influences his own son Giorgio, so “Music came before, during and after everything” (www.themodernworld.com). In fact, Giorgio follows his father left aside dream, and he becomes a singer, specially a bass. In this way, grandfather, father and son continue the musical line. In 1918, in a meeting with Frank Budgen, James Joyce gives his major reason why music is present in his works by saying that “writing a novel was like composing music”. He also says that music can be combined with writing and so to get such a writing work as it is Ulysses, which is sprinkled everywhere with famous pieces of music such as Mozart’s “La ci darem”. Joyce wants to prove with the use of songs that music is present in everyday things, being public or private. Although Joyce is acknowledged in the art world as an outstanding successful writer, the possibility of being a recognized musician is always in his mind, in his life environment. Thus, “the singer, the pianist, the composer, the entertainer, and the impresario” (www.themodernworl.com) are all aspects of the same man. Despite music is the most obvious facet in his life, in his writings it has come to be analyzes by scholars, who have made a list of the countless allusions to singers, composers, instruments, musical places and songs. Many

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of these allusions come to the necessary part for the comprehension of Joyce’s poems, short stories and novels. In Ulysses there is a line of relationships between the different elements by which the characters come to be known and understood, namely, their actions, words, thoughts, memories and their ways for showing and making themselves be noticed by their tastes in music, and the melodies which appear at different instances in their minds during the story. Thus, the songs emphasize different aspects of the story, and looking at the novel as a whole it can be appreciated Joyce’s musical compositional skilfulness in each chapter. For instance, the song “The Bloom is on the Rye or My Pretty Jane” has the particular effect to serve as “the musical signature or leitmotif”- a technique that Joyce has taken from Richard Wagner- for the character Leopold Bloom, especially when he appears in Sirens which is regarded the most musical chapter. In addition, Joyce reproduces in words the voices and sounds of the living and not living things. They are onomatopoeias of sounds of the world around him which emphasize and highlight the captured elements by the senses, specially the sense of hearing: ”Hooray! Ay! Whreeewe!” or “Mrgnkoao” among many others. They illustrated and colour the description of Joyce’s description of the world. Music in the novel is used in order to improve and draw the attention to situations and characters; it has the particular effect of being a link between the combinations of tunes with Joyce anti-romantic modernism. In the novel, Joyce plays with music, not only does he use it to share what is heard in his own time but also does he do in a way of showing love and charming. For instance, by going through “Martha” the reader is able to get caught by the special meaning which this song has for the characters since it is connected with their experience. The song is performed by Simon Dedalus in the pub, who involved himself in an attitude of being “a noble love-sick hero” (www.themodernworld.com) whose own good judgement is in danger. At the same time, this song reminds him of “Bloom’s own love-sickness” (www.themodernworld.com). Another example is the song “The Last Rose of Summer” with “Go sleep thou with them” expresses what in the novel comes to be related to Molly and Boylan’s affair, a fact that Bloom cannot escape from because it is part of his reality.

The Holy City Music by Stephen Adams; words by Frederick E. Weatherly

Song Lyrics Last night I lay a-sleeping There came a dream so fair, I stood in old Jerusalem Beside the temple there. CONFLUENCIAS - ABRIL 2009 Facultad de Humanidades – Universidad Nacional de Catamarca ISSN: 1852-3048

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I heard the children singing, And ever as they sang Methought the voice of angels From heaven in answer rang, Methought the voice of angels From heaven in answer rang.

Jerusalem! Jerusalem! Lift up your gates and sing, Hosanna in the highest! Hosanna to your King!

And then methought my dream was changed, The streets no longer rang. Hushed were the glad Hosannas The little children sang. The sun grew dark with mystery, The morn was cold and chill, As the shadow of a cross arose Upon a lonely hill, As the shadow of a cross arose Upon a lonely hill.

Jerusalem! Jerusalem! Hark! How the angels sing, Hosanna in the highest! Hosanna to your King!

And once again the scene was changed, New earth there seemed to be. I saw the Holy City Beside the tideless sea. The light of God was on its streets, The gates were open wide, And all who would might enter, And no one was denied. No need of moon or stars by night, Or sun to shine by day; It was the new Jerusalem That would not pass away, It was the new Jerusalem That would not pass away.

Jerusalem! Jerusalem! Sing for the night is o'er! Hosanna in the highest! Hosanna forevermore!

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Many songs are quoted by Joyce in Ulysses, and each of them attaches significance to the action of the story. The song “The Holy City” gains a great importance in Circe. In this chapter, Leopold Bloom begins imaging himself as being the person who controls and has all the power in a place called “New Bloomusalem” which can be described as “ a new celestial golden city” (www.themodernworld.com). Thus, while one of the female characters of the novel Bella Cohen plays the song in the record player, it takes place a funny and amusing parody, in which it is figured out Bloom’s larger building in an upright position. The Croppy Boy Words by Carroll Malone; air: Cailín Óg a Stór

Song Lyrics "Good men and true in this house who dwell, To a stranger bouchal* I pray you tell: Is the priest at home, or may he be seen? I would speak a word with Father Green."

"The Priest's at home, boy, and may be seen; 'Tis easy speaking with Father Green. But you must wait till I go and see If the Holy Father alone may be."

The youth has enter'd an empty hall; What a lonely sound has his light footfall! And the gloomy chamber's chill and bare, With a vested Priest in a lonely chair.

The youth has knelt to tell his sins: "Nomine Dei," the youth begins! At "mea culpa" he beats his breast, And in broken murmers he speaks the rest.

"At the siege of Ross did my father fall, And at Gorey my loving brothers all. I alone am left of my name and race; I will go to Wexford and take their place.

"I cursed three times since last Easter day; At mass time once I went to play; I passed the churchyard one day in haste, And forgot to pray for my mother's rest.

"I bear no hate against living thing, But I love my country above my king. Now, Father! bless me and let me go To die, if God has ordained it so."

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The priest said nought, but a rustling noise Made the youth look above in wild surprise; The robes were off, and in scarlet there Sat a yoeman captain with fiery glare.

With fiery glare and with fury hoarse, Instead of blessing, he breathed a curse: "'Twas a good thought, boy, to come here to shrive, For one short hour is your time to live.

"Upon yon river three tenders float; The Priest's in one — if he isn't shot! We hold his house for our Lord the King, And, amen say I, may all traitors swing!"

At Geneva Barrack that young man died, And at Passage they have his body laid. Good people who live in peace and joy, Breathe a pray'r and a tear for the Croppy Boy.

On the other hand, “The Croppy Boy” is considered to bear one of the central and main subjects being presented in many parts of the novel. This is so because it collects many different topics concerning, for example, one of the cruellest political phases of Ireland as well as Roman Catholicism, the divide loyalty and disloyalties, self sacrifice. These topics are grouped and carefully chosen and ordered by Joyce for their further production. The song dates to the rebellion of 1798, and how the most determined Irish men have their hair cut (i.e. cropped), and how eager they are for French support, as an indication of good faith towards the republican Romans. In the story, Stephen Dedalus resembles the song’s protagonist in the fact that he does not do what is expected when his mother is dying; he is unable to pray for her.

The Song of Fionnuala* Words by Thomas Moore, to the air "My Dear Eveleen"; musical arrangement by N. Clifford Page

Silent, oh Moyle, be the roar of thy water, Break not, ye breezes, your chain of repose, While, murmuring mournfully, Lir's lonely daughter Tells to the night-star her tale of woes. When shall the swan, her death-note singing, Sleep, with wings in darkness furl'd? When will heav'n, its sweet bell ringing, Call my spirit from this stormy world?

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Sadly, oh Moyle, to thy winter-wave weeping, Fate bids me languish long ages away; Yet still in her darkness doth Erin lie sleeping, Still doth the pure light its dawning delay. When will that day-star, mildly springing, Warm our isle with peace and love? When will heav'n, its sweet bell ringing, Call my spirit to the fields above?

Moreover, the song “Silent O Moyle” has its origin in the “Song of Fionnuala” which tells its own story: in the Irish mythology “Fionnuala, daughter of Lir, was by some supernatural power, transformed into a swan and condemned to wander a hundred years, over certain lakes and rives in Ireland, till the coming of Christianity, when the first sound of the mass bell was to be the signal of her release”- Thomas Moore’s note to the song- (www.themodernworld.com). More in detail, the myth relates that “Lir was the lord of the sea. According to the Oidead Clainne, Lir (The tragedy of the children of Lir), after the king’s four children were turned into swans by their wicked stepmother, Aoife, they retained the power of human speech, but also were possessed of the gift of music. They first went to Lake Derryvdragh, where they spend 300 years living peacefully. But they spend the next 300 years without shelter on the stormy Straits of Moyle (between Ireland and Scotland). Their final 300 years were passed near Inishglory, off the Straits of Erris, in the open Atlantic. Life here was specially harsh” (www.james-joyce-music.com). As the story tells, Fionnuala and the and her brothers’ curse is lifted when the loner Mo Caemóc gets to Inishglory and runs the Christian bells. The four siblings instantly become very old people who are baptized before dying to reach heaven, and all of them are buried together by the loner. In the novel, the song “Song of Fionnuala” is briefly mentioned in “Scylla and Charibdis”, in which certain meetings of a group of men take place in Dublin’s National Library. Among these men is Stephen Dedalus who painfully realizes and is conscious of his reality of not being part of this group or more pathetic, the feeling of not belonging to anyone. He does not belong to this close and selected group. Even more, the most outstanding feeling pressing his soul is that of feeling himself an outcast in his own environment, not to be regarded as someone valuable, which emphasizes his loneliness in this world, and so he has a thought which judges and summarises himself: “Cordelia- Cordoglio, Lir’s loneliest daughter” (www.james-joyce-music.com); Cordelia is the proud and straightforward but loyal daughter of Shakespeare’s king Lear, whereas Cordoglio is an Italian word meaning grief or anguish. Stephen matches himself with Fionnuala in that, .even though she completely changes her appearance into a swan and is confined to the condition of having a very difficult life moving around without any direction; she has the ability of speaking and singing extremely well. Then, in the National Library, everyone is talking about the Bard that brings the first allusion to the song. The situation is one in

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which the men find the alike rhyme between Shakespeare’s character Cordelia and the Italian word Cordoglio, and this helps to make references to Thomas Moore’s song, which later triggers the resemblance between the names “Lear” and “Lir”, and the parallels in their stories either. Consequently, the series of commentaries shows a very exact impression of both Stephen’s feelings and particular way of thinking.

Love's Old Sweet Song Music by J.L. Molloy; words by G. Clifton Bingham

Song Lyrics Once in the dear dead days beyond recall, When on the world the mists began to fall, Out of the dreams that rose in happy throng Low to our hearts Love sang an old sweet song; And in the dusk where fell the firelight gleam, Softly it wove itself into our dream.

Just a song a twilight, when the lights are low, And the flick'ring shadows softly come and go, Tho' the heart be weary, sad the day and long, Still to us at twilight comes Love's old song, comes Love's old sweet song.

Even today we hear Love's song of yore, Deep in our hearts it dwells forevermore. Footsteps may falter, weary grow the way, Still we can hear it at the close of day. So till the end, when life's dim shadows fall, Love will be found the sweetest song of all.

Just a song a twilight, when the lights are low, And the flick'ring shadows softly come and go, Tho' the heart be weary, sad the day and long, Still to us at twilight comes Love's old song, comes Love's old sweet song.

“Love’s Old Sweet Song” can also be considered the most mentioned song in the novel as well as one of the most recurrent allusions related to Molly, Leopold’s wife. Being a singer, the lyric is part of Molly’s repertoire which she sings in her concert tour with her lover Blazes Boylan. They use the deceiving reason of practicing songs, including this one, for continuing their sexual encounters. Even more, Leopold Bloom comes across that the song is part of the concert early in the morning. In this way, “Love’s Old Sweet Song” comes to

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be used in the novel as leitmotif of Molly’s adultery and to be considered as “the theme song of her potential reconciliation” (www.james-joyce-music.com). “Blumenlied” or “The Flower Song” is the song that Bloom pays for to his daughter Milly who is learning to play the piano. “The Flower Song” is the English name of the song, and it is closely connected to Bloom’s pen-name Henry Flower, which he keeps for his secret pen-relationship with Martha Clifford.

M'appari (or, "Martha, Martha, O Return Love!") Music by Friedrich von Flotow; translation by Charles Jeffereys; arranged by Charles W. Glover

Song Lyrics

From the Opera Martha

When first I saw that form endearing, Sorrow from me seem'd to depart: Each graceful look, each word so cheering, Charm'd my eye and won my heart.

Full of hope, and all delighted, None could feel more blest than I; All on earth I then could wish for, Was near her to live and die:

But alas! 'twas idle dreaming, And the dream too soon hath flown; Not one ray of hope is gleaming; I am lost, yes I am lost, for she is gone.

When first I saw that form endearing, Sorrow from me seem'd to depart: Each graceful look, each word so cheering, Charm'd my eye and won my heart.

Martha, Martha, I am sighing, I am weeping still for thee; Come thou lost one, come though dear one, Thou alone can'st comfort me:

Ah! Martha return! Come to me.

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“M’appari” or “Martha, Martha, Martha O Return Love” is the song for the Flotow’s musical play “Martha”. The song appears in “Sirens”, it is the Ormond Bar and Bloom hears Simon Dedalus singing the song while it is the worst moment of his day. This is so because Bloom knows that at that hour the secret meeting between his wife Molly and her lover Boylan is taken place. Then, Bloom is just starting to write a letter to Martha Clifford. Through Bloom’s thoughts can be paralleled what the song tells and what happens in Bloom’s and Molly’s lives. While writing, Bloom realizes the song words and finds a very close connection between, on the one hand, the song title and the name of his pen-friend, and, on the other hand, all of his love life with the words and music which coincidently is sung by someone in his same position of being a father, Simon Dedalus.

Seaside Girls Words and music by Harry B. Norris;

Song Lyrics Down at Margate looking very charming you are sure to meet Those girls, dear girls, those lovely seaside girls. With sticks they steer and promenade the pier to give the boys a treat; In piqué silks and lace, they tip you quite a playful wink. It always is the case: you seldom stop to think. You fall in love of course upon the spot, But not with one girl — always with the lot... Those girls, those girls, those lovely seaside girls, All dimples, smiles, and curls — your head it simply whirls! They look all right, complexions pink and white; They've diamond rings and dainty feet, Golden hair from Regent Street, Lace and grace and lots of face — those pretty little seaside girls.

There's Maud and Clara, Gwendoline and Sarah — where do they come from? Those girls, dear girls, those lovely seaside girls. In bloomers smart they captivate the heart when cycling down the prom; At wheels and heels and hose you must not look, 'tis understood, But every Johnnie knows: it does the eyesight good. The boys observe the latest thing in socks; They learn the time — by looking at the clocks*... Those girls, those girls, those lovely seaside girls, All dimples, smiles, and curls — your head it simply whirls! They look all right, complexions pink and white; They've diamond rings and dainty feet, Golden hair from Regent Street, Lace and grace and lots of face — those pretty little seaside girls.

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When you go to do a little boating, just for fun you take Those girls, dear girls, those lovely seaside girls. They all say, "We so dearly love the sea!" Their way on board they make; The wind begins to blow: each girl remarks, "How rough today!" "It's lovely, don't you know!" — and then they sneak away. And as the yacht keeps rolling with the tide, You'll notice, hanging o'er the vessel's side... Those girls, those girls, those lovely seaside girls, All dimples, smiles, and curls — your head it simply whirls! They look a sight, complexions GREEN and white; Their hats fly off, and at your feet Falls golden hair from Regent Street, Rouge and puffs slip down the cuffs — of pretty little seaside girls.

“Seaside Girls” is a short simple happy song which appears many a time throughout the novel. It first comes into consideration when during the morning, Leopold Bloom takes his daughter’s letter intended for him, which mentions the lyric as if they have been written by Blaze Boylan, but without the right information it is wrongly taken. Because of this misleading information, Bloom spends most of his time in the novel, relating it in his mind with Boylan. Thus, the song turns to be the regular repeating pattern representing the archetypal sexually attractive women dragging men to their inevitable final ruin. The song alludes to Bloom who himself is the one who is, at certain moments, up to the point of having the strong desire to behold or to be with a woman.

My Girl's a Yorkshire Girl Words and music by by C.W. Murphy and Dan Lipton

Song Lyrics Two young fellows were talking about Their girls, girls, girls — Sweethearts they'd left behind, Sweethearts for whom they pined. One said, "My little shy little lass Has a waist so trim and small. Gray are her eyes so bright, But best, best of all...

"My girl's a Yorkshire girl — Yorkshire through and through. My girl's a Yorkshire girl, Eh! by gum, she's a champion! Though she's a factory lass And wears no fancy clothes,

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Still I've a sort of a Yorkshire relish For my little Yorkshire Rose."

When the first finished singing the praise Of Rose, Rose, Rose, Poor number two looked vexed, Saying in tones perplexed: "My lass works in a factory too And has also eyes of gray; Her name is Rose as well, And strange, strange to say...

"My girl's a Yorkshire girl — Yorkshire through and through. My girl's a Yorkshire girl, Eh! by gum, she's a champion! Though she's a factory lass And wears no fancy clothes,

Still I've a sort of a Yorkshire relish For my little Yorkshire Rose."

To a cottage in Yorkshire they hied To Rose, Rose, Rose, Meaning to make it clear Which was the boy most dear. Rose, their Rose, didn't answer the bell, But her husband did instead. Loudly he sang to them As off, off they fled...

"My girl's a Yorkshire girl — Yorkshire through and through. My girl's a Yorkshire girl, Eh! by gum, she's a champion! Though she's a factory lass And wears no fancy clothes, Still I've a sort of a Yorkshire relish For my little Yorkshire Rose."

“My Girl’s a Yorkshire Girl” is the first song connected with Boylan in “Wandering Rocks”. He sings the part of the song he remembers aqs he walks quickly and with determination down the street. Secondly, the lyric is played in the player piano in Bella Cohen’s brothel. This second coming of the song takes place in the “Circe” episode, where two British soldiers, Privates Carr and

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Compton make Stephen Dedalus upset. He is too drunk and they have a strong argument. The song shows two young men talking about their girls. During their conversation, they realize that the girls they are talking about resemble each other to a great extent. This resemblance makes unavoidable for the two men get the conclusion that both of them are speaking about the same girl. Thus, they decide to go to see her. For their inconvenience, both are received at the door by her husband who scares them away. This part of the story is matched to what happens in the chorus of the song.

‘TIS THE LAST ROSE OF SUMMER By Thomas Moore Tis the last rose of summer, Left blooming alone, All her lovely companions Are faded and gone. No flow'r of her kindred No rosebud is nigh To reflect back her blushes, Or give sigh for sigh.

I'll not leave thee, thou lone one, To pine on the stern, Since the lovely are sleeping, Go, sleep thou with them

Thus kindly I'll scatter Thy leaves o'er the bed, Where thy mates of the garden Lie scentless and dead.

So soon may I follow When friendships decay; And from love's shining circle The gems drop away When true hearts lie wither'd And fond ones are flow'n Oh! Who would inhabit This bleak world alone?

Finally, the song that most identifies the female character of the novel is “The Last Rose of Summer” written by Thomas Moore, which has become a very famous and traditional Irish song. In 1847, the German composer Friederich von Flotow uses the song in his opera “Martha”. Joyce uses the tenor aria “Like a Dream” or “M’appari or Arch”, so “Fromm” in German and “The Last Rose of Summer” as background theme songs in “Sirens”. In the song the hero, is called Lionel which can be regarded as a pun with Bloom’s name Leopold since they are similar phonologically, what a song draws in

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