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Critical Companion to James Joyce : a Literary Reference to His Life and Work / A CRITICAL COMPANION TO James Joyce A Literary Reference to His Life and Work A. NICHOLAS FARGNOLI MICHAEL PATRICK GILLESPIE Critical Companion to James Joyce: A Literary Reference to His Life and Work Copyright © 2006 by A. Nicholas Fargnoli and Michael Patrick Gillespie This is a revised edition of James Joyce A to Z: The Essential Reference to His Life and Work. Copyright 1995 by A. Nicholas Fargnoli and Michael Patrick Gillespie All rights reserved. No part of this book may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage or retrieval systems, without permis- sion in writing from the publisher. For information contact: Facts On File, Inc. An imprint of Infobase Publishing 132 West 31st Street New York NY 10001 Library of Congress Cataloging-in-Publication Data Fargnoli, A. Nicholas. Critical companion to James Joyce : a literary reference to his life and work / A. Nicholas Fargnoli and Michael Patrick Gillespie.—[Rev. ed.]. p. cm. Rev. ed. of: James Joyce A to Z : The essential reference to his life and work. 1995. Includes bibliographical references and index. ISBN 0-8160-6232-3 (acid-free paper) 1. Joyce, James, 1882–1941—Handbook, manuals, etc. 2. Novelists, Irish— 20th century—Biography—Handbooks, manuals, etc. 3. Ireland—In literature—Handbooks, manuals, etc. I. Gillespie, Michael Patrick. II. Fargnoli, A. Nicholas. James Joyce A to Z. III. Title. PR6019.O9Z533376 2006 823’.912—dc22 2005015721 Facts On File books are available at special discounts when purchased in bulk quantities for businesses, associations, institutions, or sales promotions. Please call our Special Sales Department in New York at (212) 967-8800 or (800) 322-8755. You can find Facts On File on the World Wide Web at http://www.factsonfile.com Text design by Erika K. Arroyo Cover design by Cathy Rincon Charts by Dale Williams Printed in the United States of America VB Hermitage 10 987654321 This book is printed on acid-free paper. In Memory of Nick Fargnoli, Sr., and Vince Gillespie CONTENTS Acknowledgments vii Abbreviations ix Introduction and Guide to Use xi Part I: Biography 1 Part II: Works 19 Chamber Music 21 The Critical Writings of James Joyce 31 Collected Poems 44 Dubliners 44 Exiles 82 Finnegans Wake 90 Pomes Penyeach 129 A Portrait of the Artist as a Young Man 134 Stephen Hero 154 Ulysses 159 Miscellaneous Works 229 Part III: Related Persons, Places, and Ideas 237 Part IV: Appendices 379 Chronological Bibliography of Joyce’s Works and Adaptations 381 Ulysses 392 Finnegans Wake 397 Family Trees 402 Periodicals and Web Sites 404 Bibliographies 405 Chronology 425 Currency and Monetary Values 430 Index 431 ACKNOWLEDGMENTS e must acknowledge a deep gratitude to our We are grateful also to the University of Wmany colleagues and friends who aided us dur- Washington Press for permission to use Bernard ing the writing of Critical Companion to James Joyce, Benstock’s “A Working Outline of Finnegans Wake,” and we do so without deleting the names of those reprinted from Joyce-Again’s Wake: An Analysis of individuals who aided us during the writing of its Finnegans Wake (1965), pp. xv–xxiv; to Indiana predecessor, James Joyce A to Z: Anne Aicher, Megan University Press and Aitken, Stone & Wylie, Barnard, Morris Beja, John Boly, Zack Bowen, Linda London, for permission to use “The Plan of Ulysses,” Costa, Luca Crispi, Robert Adams Day, Elizabeth reprinted from Hugh Kenner, Dublin’s Joyce (1956), Doran, Roger Dupré, Diane Eckes, Jean Eylers, chapter 14; and to Indiana University Press for per- Charles Fanning, Ronan Fanning, Alessandro mission to use the list of Chamber Music composers, Fargnoli, Giuliana Fargnoli, Sidney Feshbach, Paula reprinted from Myra T. Russel’s James Joyce’s Gillespie, Warwick Gould, Al Gravano, Joel Chamber Music: The Lost Settings, pp. 113–114. Greenberg, Michael Groden, Ciceil Gross, Murray Special thanks to Ruth Moran of the Irish Gross, Silvia Happ, Ok-Sook Hong, Lorraine Tourist Board, 345 Park Avenue, New York, New Jackson, Li Ju, Carol Kealiher, Robert Kinpoitner, York 10154, for graciously providing so many of the Sean Latham, James LeBlanc, Philip Lyman, Sister illustrations, and to the reference departments of Maria Genevieve Lynch, O.P., Lucretia Lyons, Robert the Rockville Centre Public Library, Rockville Martin, Sister Grace Florian McInerney, O.P., Centre, New York, and the Great Neck Library, Elizabeth Murnane, Valerie Murrenus, Roger Great Neck, New York. Norburn, Anne O’Gorman, Christine O’Neil, A special acknowledgment of gratitude must be Michael O’Shea, Strother B. Purdy, Ruth F. given to Jeff Soloway, our editor at Facts On File, Quattlebaum, Jean-Michel Rabaté, Katharine who facilitated the revision of this book with pro- Reagan, Thomas Dillon Redshaw, Margaret Reiber, fessional ease and poise; to John Wright, our liter- Bernice Relkin, Albert Rivero, Joseph Roughan, ary agent; and to Lincoln P. Paine and Drew Silver, Myra T. Russel, Fritz Senn, Ruth Sherry, Sam Sloate, our former editors, who were instrumental in pub- Robert Spoo, Thomas Staley, Faith Steinberg, Patricia lishing the first edition. Sullivan, Tim Szeliga, Jack Wayne Weaver, Norman A. Weil, and Rosemary Wildeman. vii ABBREVIATIONS o simplify citations, we have at times used the SH Stephen Hero Tfollowing abbreviations for Joyce’s works. For SL Selected Letters of James Joyce complete publishing information, see the Joyce bib- U Ulysses liography at the end of this volume. We identify references to most of Joyce’s works CM Chamber Music simply through page numbers. For Ulysses we use CP Collected Poems the chapter/line format of the Gabler edition (for CW The Critical Writings of James Joyce example, 2.377 identifies a passage from chapter 2, D Dubliners line 377). For Finnegans Wake we have used the E Exiles page/line format commonly followed by Wake FW Finnegans Wake scholars (for instance, 169.5 indicates line five on GJ Giacomo Joyce page 169). We cite the Letters of James Joyce by vol- Letters Letters of James Joyce, vols. I, II, and III ume/page (for example, I.185 stands for volume I, P A Portrait of the Artist as a Young Man page 185). ix INTRODUCTION AND GUIDE TO USE he change in title of the original version of this The emphasis in Critical Companion to James Tvolume from James Joyce A to Z: The Essential Joyce is on providing contextual and critical infor- Reference to His Life and Work to its new title Critical mation of an introductory, wide-ranging, but not Companion to James Joyce is meant to signal an exhaustive, nature. We wish to offer in a single vol- extensively revised edition, with more than 40 per- ume an overview of Joyce’s work, and of material cent additional and updated material. The arrange- related to it, that will both give satisfaction to the ment of the material has also been reorganized to casual reader and provide encouragement for those expedite the retrieval of information. This new approaching Joyce’s work with a more ambitious organization focuses on each of Joyce’s works sup- study in mind. This guide provides enough back- plemented by annotations. Critical Companion to ground in its entries on a variety of specific topics James Joyce has the same ambitions and scope as the to enhance the immediate enjoyment of Joyce’s earlier volume. We still intend our book to be a works without burdening the reader with the super- kind of scholarly primer or reference tool that can abundance of detailed information necessary for both provide timely reminders to those familiar highly focused critical readings. We have, however, with Joyce’s oeuvre but whose immediate recollec- included detailed bibliographies to direct readers to tions of the canon need some refreshing and, at the biographical and critical studies offering more spe- same time, offer a useful introduction to those who cific accounts of aspects of Joyce’s life and work. wish to develop a more comprehensive understand- Joyce scholars, or Joyceans as they commonly des- ing of Joyce’s work and the wider world within ignate themselves, will find much of the information which he wrote and lived. in this book quite familiar. That familiarity comes in Critical Companion to James Joyce, like its prede- part from the generosity of a number of critics— cessor, is geared to the nonspecialist. It is our aim to whom we name in the acknowledgments—who have provide a clear and comprehensive companion to reviewed our work, corrected some errors, and great- Joyce’s work, offering information primarily to new ly supplemented our comments with their own readers. Over the course of the book, our entries insights. It also comes from our avid mining of the encompass explanations of expressions that occur in scholarly studies that have preceded and in many the works as well as terms whose elucidation can cases inspired this volume for information that will provide an indirect but significant understanding of enhance the reader’s understanding of Joyce’s work. particular works. Ultimately, we hope that our efforts We have also profited from comments made by contribute to an enrichment of the reader’s experi- reviewers of James Joyce A to Z and from the observa- ence of Joyce, but we specifically reject the notion tions offered by our Joycean colleagues and students. that this, or any other guide for that matter, can Like any writer in any age, Joyce wrote for his serve as anything but a supplement to that reading. time. Joyce, born in Dublin, became an expatriate xi xii Critical Companion to James Joyce at the age of 22 and lived from the Victorian era and students in need of specific glosses that they to the beginning of World War II.
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