DOCSLIB.ORG

Final Draft Bloomsday

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Final Draft Bloomsday BLOOMSDAY: DUBLIN, 16 JUNE 1904 A stage adaptation of James Joyce’s Ulysses __________________________ A full-length play By Lary Opitz Contact: Lary Opitz 20 Clark Street Saratoga Springs, NY 12866 518-428-2707 lopitz@skidmore,edu © Lary Opitz 1994 CHARACTER LIST Actor 1 Narrator; Bella/Bello Cohen Actor 2 Stephen Dedalus Actor 3 Leopold Bloom Actor 4 Molly Bloom Actor 5 Blazes Boylan Actor 6 Malachi (Buck) Mulligan; John Menton; The Citizen; Dr. Mulligan; Diner Actor 7 Haines; Martin Cunningham; Thomas William Lyster; Private Compton Actor 8 Cyril Sargent; Mourner; Blind Stripling; Boy; Sailor; Bob Doran; Clerk Actor 9 Garret Deasy; Simon Dedalus; J. J. O’Molloy; Diner; John Eglinton; Dr. Dixon Actor 10 Bantam Lyons; Jack Power; Myles Crawford; Lenehan; Private Harry Carr Actor 11 Girl; Dilly Dedalus; Mina Kennedy; Gerty MacDowell Actor 12 Father Coffey; Joe Hynes; Davy Byrne; Lamppost Farrell; Lynch; The Watch; Archbishop Actor 13 Maggy Dedalus; Mourner; Lydia Douce; Zoe Higgins Actor 14 Miss Dunne, Mourner; Diner; Bawd; Mrs. Bellingham; May Dedalus Actor 15 Street Urchin; Mourner; Best; Shop Girl; Cissy Caffrey; Kitty Actor 16 Mrs. Sheehy; Edy Boardman; Mourner; Diner Mrs. Yelverton Barry; Florry Actor 17 Josie Breen; Mourner; Mrs. McGuinness; Nurse Callan; Mrs. Mervin Talboys Actor 18 Katey Dedalus; Mary Driscoll; Mourner 2 SCENE 1: TELEMACHUS A large rounded playing area. Curving staircases, each with a landing, on either side of the stage meet on an upper level upstage bridge above a large center opening. Entrances downstage left and right, under the bridge, and left and right on the upper level. A projection screen for titles and images hangs above the bridge. Under the right stairs is a countertop. Furniture is brought on below the bridge. PROJECTED TITLE: TELEMACHUS. Thursday, the sixteenth of June, 1904. The Martello Tower in Sandycove on Dublin Bay. 8:00 in the morning MULLIGAN and DEDALUS are atop the bridge. NARRATOR Stately, plump Buck Mulligan came from the stairhead, bearing a bowl of lather on which a mirror and a razor lay crossed. A yellow dressinggown, ungirdled, was sustained gently behind him by the mild morning air. He held the bowl aloft and intoned: MULLIGAN Introibo ad altare Dei. Come up, Kinch. Come up, you fearful Jesuit. For this, O dearly beloved, is the genuine Christine: body and soul and blood and wounds. Slow music, please. Silence all. DEDALUS Tell me, Mulligan… MULLIGAN Yes, my love? DEDALUS How long is Haines going to stay in this tower? MULLIGAN God, isn’t he dreadful? These bloody English. Bursting with money and indigestion. Because he comes from Oxford. You know, Dedalus, he can’t make you out. 3 DEDALUS He was raving all night about a black panther waving his gun. MULLIGAN A woeful lunatic. Were you in a funk? DEDALUS I was. You saved men from drowning. I’m not a hero, however. If he stays here I am off. MULLIGAN (looking for handkerchief) Scutter! Lend us a loan of your noserag to wipe my razor. The bard’s noserag. A new art color for our Irish poets: snotgreen. You can almost taste it, can’t you? The snotgreen sea. The scrotumtightening sea. She is our great sweet mother. The aunt thinks you killed your mother. That’s why she won’t let me have anything to do with you. DEDALUS Someone killed her. MULLIGAN You could have knelt down, damn it, Kinch, when your dying mother asked you. Think of your mother begging you with her last breath to kneel down and pray for her. There is something sinister in you. Even a jesuit education doesn’t allow for it. DEDALUS (voiceover) A bowl of white china had stood beside her deathbed holding the green sluggish bile which she had torn up from her rotting liver by fits of loud groaning vomiting. MULLIGAN Ah, poor dogsbody. I must give you a shirt and a few noserags. How are the secondhand breeches? I have a lovely pair with a hair stripe, grey. You’ll look spiffing in them. DEDALUS Thanks. I can’t wear them if they are grey. MULLIGAN He can’t wear them. Etiquette is etiquette. He kills his mother but he can’t wear grey trousers. Look at yourself, you dreadful bard. What have you against me now? Cough it up. DEDALUS Do you remember the first day I went to your house after my mother’s death? 4 MULLIGAN What? Where? I can’t remember anything. I remember only ideas and sensations. Why? What happened in the name of God? DEDALUS You were making tea and I went across the landing to get more hot water. Your aunt asked you who was in your room. MULLIGAN Yes? What did I say? I forget. DEDALUS You said, “Oh, it’s only Dedalus whose mother is beastly dead.” MULLIGAN Did I say that? Well? What harm is that? And what is death, you mother’s or your’s or my own. You saw only your mother die. I see them pop off every day in the dissecting room. It’s a beastly thing and nothing else. You wouldn’t kneel down to pray for your mother and yet you sulk with me. Absurd! I suppose I did say it. I didn’t mean to offend the memory of your mother. DEDALUS I am not thinking of the offense to my mother. MULLIGAN Of what, then? DEDALUS Of the offense to me. MULLIGAN Oh, an impossible person! HAINES Are you up there, Mulligan? MULLIGAN I’m coming. Don’t mope over it all day. Give up the moody brooding. Haines wants his breakfast. MULLIGAN goes down the stairs. 5 DEDALUS She wanted to hear my music. She was crying in her wretched bed. Her eyes on me to strike me down. Liliata rutilantium te confessorum turma circumdet... the prayer for the dying. No mother. Let me be and let me live! MULLIGAN and HAINES appear in inside the tower. There is a table and two chairs. DEDALUS joins them from above. MULLIGAN Kinch ahoy! Dedalus, come down like a good mosey. Breakfast is ready. (to DEDALUS) Touch him for a guinea, will you? He’s stinking with money. DEDALUS I get paid this morning. MULLIGAN From the school? How much, four quid? We’ll have a glorious drunk to astonish the druidy druids. Bless us, O Lord, and these thy gifts. Where’s the sugar? Oh, jay. There’s no milk. DEDALUS We can drink it black. There’s a lemon in the locker. MULLIGAN Oh, damn you and your Paris fads. (pouring) In nomine Patris et Filii et Spiritus Sancti. HAINES I say, Mulligan, you do make strong tea, don’t you? MULLIGAN “When I makes tay I makes tay,” as old mother Grogan said. “And when I makes water I makes water.” “Begob, ma’am,” says Mrs. Chahill, “God send you don’t make them both in the same pot!” That’s folk art. Put that in your book instead of Stephen’s ravings. Seriously, Dedalus. I’m stony broke. Hurry out to your school and bring us back some money. Today the bards must drink. Ireland expects that every man this day will do his duty. HAINES I have to visit your national library. MULLIGAN We must swim today. Is this the day for your monthly wash, Kinch? The unclean bard makes a point of washing once a month. 6 DEDALUS All Ireland is washed by the gulf stream. HAINES I intend to make a collection of your sayings if you’ll let me. DEDALUS Would I make money by it? HAINES I don’t know, I’m sure. MULLIGAN Wait till you hear his theory on Hamlet, Haines. HAINES Oh? MULLIGAN It’s quite simple. He proves by algebra that Hamlet’s grandson is Shakespeare’s grandfather and that he himself is the ghost of his own father. HAINES I read a theological interpretation of Hamlet somewhere. The Father and the Son idea. The Son striving to be atoned with the Father. MULLIGAN (sings to the tune of Sweet Betsy of Pike) I’m the queerest young fellow that ever you heard. My mother’s a Jew, my father’s a bird. With Joseph the joiner I cannot agree, So here’s to disciples and Calvary. If anyone thinks that I amn’t divine He’ll get no free drinks when I’m making the wine But have to drink water and wish it were plain That I make when the wine become water again. HAINES We oughtn’t to laugh, I suppose. He’s rather blasphemous. Still his gaiety takes the harm out of it somehow, doesn’t it? What did he call it? DEDALUS The Ballad of Joking Jesus. 7 HAINES You’re not a believer, are you? I mean in the narrow sense of the word. Creation from nothing and miracles and a personal God. I couldn’t stomach the idea of a personal God. You don’t stand for that, I suppose? DEDALUS You behold in me a horrible example of free thought. HAINES So you are your own master? DEDALUS I am the servant of two masters, and English and an Italian. The imperial British state and the holy Roman Catholic and apostolic church. HAINES I can quite understand. We feel in England that we have treated you Irish rather unfairly. It seems history is to blame. Of course, I’m a Britisher and I feel as one. I don’t want to see my country fall into the hands of the Jews. That’s our national problem, I’m afraid.
Load more

Recommended publications
  • The Snotgreen Sea: Water As Metaphor in Joyce's Ulysses 57
    FACTA UNIVERSITATIS Series: Linguistics and Literature Vol. 11, No 1, 2013, pp. 55 - 66 THE SNOTGREEN SEA: WATER AS METAPHOR IN JOYCE'S ULYSSES UDC 821.111.09-31 Joyce J. Danica Igrutinović Faculty for Media and Communication Studies, Belgrade, Serbia E-mail: [email protected] Abstract. This paper explores the metaphorical meanings of water in Joyce’s Ulysses within the mythology of water newly established in Modernism via interpretations of ancient myths by the first anthropologists and psychologists. Special regard is accorded to the symbolic journey over water, in which the hero is disintegrated, but then also regenerated by water. Water in Ulysses is associated with exile from home, sanity, and stability, towards all that is primitive, irrational, or otherwise disturbing. As Protean prime matter, water is animalistic and feminine, and connected with sexuality, procreation, and motherhood. The Hades of ‘Hades’ and the Hell of ‘Circe’ are entered through water and contain all the watery horrors of the material. Death by water, which might bring regeneration with it, is amply alluded to and linked with lustral waters and baptism. Treasure yielded and represented by water includes unity, art, and the waters of life. It is suggested in the novel that a middle way might be found between the extremes of spirit and matter, objectivity and subjectivity, Scylla and Charybdis. Key words: water, metaphor, Ulysses The era of Modernism commenced with an enhanced interest in the disturbing but fundamental 'others' – the material, the animalistic, the primitive, and the unconscious – opposed to the stable world of civilization and reason. These were seen as forming the dark, fluid, and chaotic basis of the world and humankind, and were commonly associated with water.
    [Show full text]
  • The Maternal Body of James Joyce's Ulysses: the Subversive Molly Bloom
    Lawrence University Lux Lawrence University Honors Projects 5-29-2019 The aM ternal Body of James Joyce's Ulysses: The Subversive Molly Bloom Arthur Moore Lawrence University Follow this and additional works at: https://lux.lawrence.edu/luhp Part of the Literature in English, British Isles Commons © Copyright is owned by the author of this document. Recommended Citation Moore, Arthur, "The aM ternal Body of James Joyce's Ulysses: The ubS versive Molly Bloom" (2019). Lawrence University Honors Projects. 138. https://lux.lawrence.edu/luhp/138 This Honors Project is brought to you for free and open access by Lux. It has been accepted for inclusion in Lawrence University Honors Projects by an authorized administrator of Lux. For more information, please contact [email protected]. THE MATERNAL BODY OF JAMES JOYCE’S ULYSSES: The Subversive Molly Bloom By Arthur Jacqueline Moore Submitted for Honors in Independent Study Spring 2019 I hereby reaffirm the Lawrence University Honor Code. Table of Contents Acknowledgements Introduction ................................................................................................................ 1 One: The Embodiment of the Maternal Character..................................................... 6 To Construct a Body within an Understanding of Male Dublin ................................................. 7 A Feminist Critical Interrogation of the Vital Fiction of Paternity ........................................... 16 Constructing the Maternal Body in Mary Dedalus and Molly Bloom .....................................
    [Show full text]
  • The Perils and Rewards of Annotating Ulysses
    University of Montana ScholarWorks at University of Montana Graduate Student Theses, Dissertations, & Professional Papers Graduate School 2013 Getting on Nicely in the Dark: The Perils and Rewards of Annotating Ulysses Barbara Nelson The University of Montana Follow this and additional works at: https://scholarworks.umt.edu/etd Let us know how access to this document benefits ou.y Recommended Citation Nelson, Barbara, "Getting on Nicely in the Dark: The Perils and Rewards of Annotating Ulysses" (2013). Graduate Student Theses, Dissertations, & Professional Papers. 491. https://scholarworks.umt.edu/etd/491 This Thesis is brought to you for free and open access by the Graduate School at ScholarWorks at University of Montana. It has been accepted for inclusion in Graduate Student Theses, Dissertations, & Professional Papers by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. GETTING ON NICELY IN THE DARK: THE PERILS AND REWARDS OF ANNOTATING ULYSSES By BARBARA LYNN HOOK NELSON B.A., Stanford University, Palo Alto, CA, 1983 presented in partial fulfillment of the requirements for the degree of Master of Arts in English The University of Montana Missoula, MT December 2012 Approved by: Sandy Ross, Associate Dean of The Graduate School Graduate School John Hunt, Chair Department of English Bruce G. Hardy Department of English Yolanda Reimer Department of Computer Science © COPYRIGHT by Barbara Lynn Hook Nelson 2012 All Rights Reserved ii Nelson, Barbara, M.A., December 2012 English Getting on Nicely in the Dark: The Perils and Rewards of Annotating Ulysses Chairperson: John Hunt The problem of how to provide useful contextual and extra-textual information to readers of Ulysses has vexed Joyceans for years.
    [Show full text]
  • The Transformative Energy of Children's Literature
    Notes 1 Breaking Bounds: The Transformative Energy of Children’s Literature 1. I do not recognise Karin Lesnik-Oberstein’s insistence that the majority of academics who write about children’s literature are primarily concerned with finding the right book for the right child (Children’s Literature: New Approaches, 2004: 1–24). 2. Although publishing for children includes many innovative and important non- fictional works, my concern is specifically with narrative fictions for children. 3. See Rumer Godden’s entertaining ‘An Imaginary Correspondence’ featuring invented letters between Mr V. Andal, an American publisher working for the De Base Publishing Company, and Beatrix Potter for an entertaining insight into this process. The piece appeared in Horn Book Magazine 38 (August 1963), 197–206. 4. Peter Hunt raises questions about the regard accorded to Hughes’s writing for children suggesting that it derives more from the insecurity of children’s literature critics than the quality of the work: ‘It is almost as if, with no faith in their own judgements, such critics are glad to accept the acceptance of an accepted poet’ (2001: 79–81). 5. See Reynolds and Tucker, 1998; Trites, 2000 and Lunden, 2004. 6. Although writing in advance of Higonnet, Rose would have been familiar with many of the examples on which Pictures of Innocence is based. 7. By the time she reaches her conclusion, Rose has modified her position to empha- sise that ‘children’s literature is just one of the areas in which this fantasy is played out’ (138), undermining her claims that the child-audience is key to the work of children’s literature in culture.
    [Show full text]
  • Ulysses, Episode XII, "Cyclops"
    I was just passing the time of day with old Troy of the D. M. P. at the corner of Arbour hill there and be damned but a bloody sweep came along and he near drove his gear into my eye. I turned around to let him have the weight of my tongue when who should I see dodging along Stony Batter only Joe Hynes. — Lo, Joe, says I. How are you blowing? Did you see that bloody chimneysweep near shove my eye out with his brush? — Soot’s luck, says Joe. Who’s the old ballocks you were taking to? — Old Troy, says I, was in the force. I’m on two minds not to give that fellow in charge for obstructing the thoroughfare with his brooms and ladders. — What are you doing round those parts? says Joe. — Devil a much, says I. There is a bloody big foxy thief beyond by the garrison church at the corner of Chicken Lane — old Troy was just giving me a wrinkle about him — lifted any God’s quantity of tea and sugar to pay three bob a week said he had a farm in the county Down off a hop of my thumb by the name of Moses Herzog over there near Heytesbury street. — Circumcised! says Joe. — Ay, says I. A bit off the top. An old plumber named Geraghty. I'm hanging on to his taw now for the past fortnight and I can't get a penny out of him. — That the lay you’re on now? says Joe.
    [Show full text]
  • James Joyce and Derek Walcott: Colonial Island Voices
    JAMES JOYCE AND DEREK WALCOTT: COLONIAL ISLAND VOICES by Sebastian Terneus A Thesis Submitted to the Faculty of The Dorothy F. Schmidt College of Arts & Letters in Partial Fulfillment of the Requirements for the Degree of Master of Arts Florida Atlantic University Boca Raton, Florida August 2011 JAMES JOYCE AND DEREK WALCOTT: COLONIAL ISLAND VOICES by Sebastian Terneus This thesis was prepared under the direction ofthe candidate's thesis advisor, Dr. Julieann Ulin, Department ofEnglish, and has been approved by the members ofhis supervisory committee. It was submitted to the faculty ofthe Dorothy F. Schmidt College ofArts & Letters and was accepted in partial fulfillment ofthe requirements for the degree ofMaster ofArts. Andrew Furman, Ph.D. Interim Chair, Department ofEnglish Heather Coltman, D.M.A. Interim Dean, The Dorothy F. Schmidt College ofArts and Letters ~~T~~ 5";l,/'t./U?II Date f· 11 ACKNOWLEDGMENTS The author wishes express to his sincere thanks and love to his parents, Joseph and Ximena, for their constant support and encouragement throughout the writing of this document. The author would also like to thank the efforts and guidance of his thesis committee members: Dr. Julieann Ulin, Dr. Elena Machado, and Dr. Raphael Dalleo. The help provided by these professors was essential in the development and completion of this document. iii ABSTRACT Author: Sebastian Terneus Title: James Joyce and Derek Walcott: Colonial Island Voices Institution: Florida Atlantic University Thesis Advisor: Dr. Julieann Ulin Degree: Master of Arts Year: 2011 When analyzing literatures that expose the effects of colonialism one can identify similarities between the lives of the oppressed.
    [Show full text]
  • Advertising and Plenty in Joyce's Ulysses
    Georgia Southern University Digital Commons@Georgia Southern Electronic Theses and Dissertations Graduate Studies, Jack N. Averitt College of Fall 2009 All the Beef to the Heels Were in: Advertising and Plenty in Joyce's Ulysses Mindy Jo Ratcliff Follow this and additional works at: https://digitalcommons.georgiasouthern.edu/etd Recommended Citation Ratcliff, Mindy Jo, "All the Beef to the Heels Were in: Advertising and Plenty in Joyce's Ulysses" (2009). Electronic Theses and Dissertations. 175. https://digitalcommons.georgiasouthern.edu/etd/175 This thesis (open access) is brought to you for free and open access by the Graduate Studies, Jack N. Averitt College of at Digital Commons@Georgia Southern. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of Digital Commons@Georgia Southern. For more information, please contact [email protected]. ―All the beef to the heels were in‖: Advertising and Plenty in Joyce‘s Ulysses by MINDY JO RATCLIFF (Under the Direction of Howard Keeley) ABSTRACT Privileging a historicist approach, this document explores the presence of consumer culture, particularly advertising, in James Joyce‘s seminal modernist novel, Ulysses (1922). It interrogates Joyce‘s awareness of how a broad upswing in Ireland‘s post-Famine economy precipitated advertising-intensive consumerism in both rural and urban Ireland. Foci include the late-nineteenth-century transition in agriculture from arable farming to cattle-growing (grazier pastoralism), which, spurring economic growth, facilitated the emergence of a ―strong farmer‖ rural bourgeoisie. The thesis considers how Ulysses inscribes and critiques that relatively affluent coterie‘s expenditures on domestic cultural tourism, as well as hygiene-related products, whose presence on the Irish scene was complicated by a British discourse on imperial cleanliness.
    [Show full text]
  • THE THEME of CLASS in JAMES JOYCE's DUBLINERS by David
    THE THEME OF CLASS IN JAMES JOYCE'S DUBLINERS by David Glyndwr Clee B.A., University of British Columbia, 1963 A THESIS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in the Department of ENGLISH We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA May, 1965 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that per• mission for extensive copying of this thesis for scholarly purposes may be granted by the Head of my Department or by his representatives. It is understood that copying or publi• cation of this thesis for financial gain shall not be allowed without my written permission. Department of FJlglish The University of British Columbia Vancouver 8, Canada Date June k, 1965 ABSTRACT There is evidence throughout the stories, and in Joyce's letters, to show that Dubliners should be considered as a single entity rather than as a series of unconnected short stories. This thesis examines Joyce's presentation of Dublin's middle class as a unifying principle underlying the whole work. Joyce believed that his city was in the grip of a life-denying "paralysis", and this thesis studies his attempt in Dubliners to relate that paralysis to those attitudes towards experience which his Dubliners hold in c ommon. The stories in Dubliners are grouped to form a progression from childhood through adolescence to maturity and public life.
    [Show full text]
  • Joyce's Dublin
    1 James Joyce Centre Mater Misericordiae NORTH CIRCULAR ROAD 2 Belvedere College Hospital A MAP OF 1904 MAP OF 3 St George’s Church 4 7 Eccles St BELVEDERE PLACE ROAD ECCLES STREET 5 Glasnevin Cemetery 6 Gresham Hotel R.C.Ch Joyce’sRICHMOND PLACE 7 The Joyce Statue 4 8 O’ConnellCharleville Bridge Mall 3 Free 9 Night Town Ch. Dublin St. George’s 10 Cabman’s shelter Nelson St. STREET Church Upr. Rutland St. 11 North Wall Quay BLESSINGTON STREET 12 Clarence St. Temple St. PORTLAND Sweny’s ROW Chemist PHIBSBOROUGH 13 The National Maternity MOUNTJOY SQUARE Hospital D O R S E T Wellington St. 14 Finn’s Hotel BUCKINGHAM FREDERICK STREET 2 ERHILL 15 The National Library Hardwicke St. Hill St. 16 Davy Byrnes T MID. GARDIN E 17 UCD Newman House E Nth.Gt.George’s St. SUMM R STREET 18 The Volta Cinema T Grenville St. S 19 Barney Kiernan’s Pub Y GREAT DENMARK STREET O 20 Ormond Hotel J STREET T CAVENDISH ROW 1 Empress Place N E R S T. 21 The Dead House L B R O A D S T O N E U L 22 Sandymount Strand S T A T I O N I DOMINICKO 19 H M Cumberland St. 23 Sandycove Tower SEVILLE PLACE N G R A N B Y R O W O 24 The School I T RUTLAND NORTH STRAND Oriel St. MARLBOROUGH ST. Tramlines in 1904 U Granby Lane SQUARE LWR. GARDINER ST. T GLOUCESTER STREET I Henrietta St. STREET T Rotunda TYRONE STREET S M A B B O T S T.
    [Show full text]
  • 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.
    [Show full text]
  • UC Berkeley Berkeley Undergraduate Journal
    UC Berkeley Berkeley Undergraduate Journal Title Joyce’s Comedic Self-Revision in “Cyclops” Permalink https://escholarship.org/uc/item/4qr647tt Journal Berkeley Undergraduate Journal, 20(1) ISSN 1099-5331 Author Derk, George Publication Date 2008 DOI 10.5070/B3201007653 Peer reviewed|Undergraduate eScholarship.org Powered by the California Digital Library University of California 1 When considering James Joyce’s penchant for self-parody, the jacket portrait of Joyce on the Modern Library’s 1992 edition of Ulysses seems appropriate. Wearing a patch over his left eye due to his severe ocular ailments, he bears the image of the one-eyed Cyclops, an Odyssean figure that Joyce modernizes into a jingoistic Irishman known as the Citizen. While it is hard to imagine Joyce as the overly-zealous Irish nationalist of the “Cyclops” episode, perhaps the monocular parody is not too far from one Joyce would have concocted for himself. In Jocoserious Joyce , Robert Bell cites examples of Joyce’s mocking self-revisions: Bloom’s pun on Chamber Music turns Joyce’s book of verse into the sound of Molly urinating, the bird-girl in Portrait of the Artist as a Young Man becomes Gerty to whom Bloom masturbates, Ulysses itself is called “usylessly Blue Book of Eccles” in Finnegans Wake , and even Joyce could possibly be spoofed as Shem with writing scrawled over his body (213). Joyce seems to create these parodic revisions when there is a danger of an excessive amount of sincerity, as seen in the previous examples where he mocks one of his first published works, the climactic moment of Portrait , his epic novel Ulysses , and himself as an author.
    [Show full text]
  • Music in Dubliners
    Colby Quarterly Volume 28 Issue 1 March Article 4 March 1992 Music in Dubliners Robert Haas Follow this and additional works at: https://digitalcommons.colby.edu/cq Recommended Citation Colby Quarterly, Volume 28, no.1, March 1992, p.19-33 This Article is brought to you for free and open access by Digital Commons @ Colby. It has been accepted for inclusion in Colby Quarterly by an authorized editor of Digital Commons @ Colby. Haas: Music in Dubliners Music in Dubliners by ROB ERTHAAS AM ES JOY e E was a musician before he ever became a writer. 1 He learned music as a child~ perfonned it for his family, friends~ and the public as a young Jman, and loved the arthis whole life long. The books ofHodgart and Worthington and of Bowen have traced how deeply and pervasively its role is felt throughout Joyce's fiction. 2 The great novels ofhis maturity, Ulysses and Finnegans Wake. contain more than a thousand musical episodes, incidents, and allusions. If Joyce's early fiction has less than this profusion~ it is perhaps simply because at the time he was not yet so bold an experimenter in literary style. The early works were~ nevertheless, produced by a man who was actively studying music, who was near his peak as a musical performer, and who still at times contemplated making music his life ~s career. When Joyce introduces music in his writing~ it is with the authority and significance ofan expert; and it is surely worth OUf while as readers to attend to it. In the present essay I would like to focus on the music inJoyce's early volume ofshort stories, Dubliners.
    [Show full text]