A Selection from Dubliners

Total Page:16

File Type:pdf, Size:1020Kb

A Selection from Dubliners Step Five B2.2 KEY TO THE ACTIVITIES James Joyce Page 19 – exercise 5 Page 31 – exercise 5 1 his 2 between 3 for Open answers. 4 about / of 5 in 6 little / no Page 32 – exercise 6 7 in 8 it Possible answers: ‘Eveline’ Good things: She has a home. / Her Page 20 – exercise 1 father is sometimes nice. A Selection from 1 d 2 c 3 e 4 b 5 a Bad things: She has to go buy food and other stuff. / She doesn’t like Page 20 – exercise 2 her job. / Her manager isn’t nice. 1 treat 2 argues 3 reprimands Possible future: People will respect Dubliners 4 isolated 5 looking forward her. / She will have a new life. Page 20 – exercise 3 Page 32 – exercise 7 KEY TO THE ACTIVITIES Some possible answers: 1 in / by 2 an 3 too 4 who / that You might have to learn a new 5 of 6 their 7 to 8 of Page 17 – exercise 2 James Joyce and Dubliners language. Page 33 – exercise 8 1 shouldn’t have followed / should It might be difficult to find the way Open answers. Page 7 – exercise 1 not have followed 2 might have to places. found 3 must have forgotten You have to learn how to be polite ‘The Boarding House’ (other answers with the same 4 must have known 5 should have in that country. information are possible for some Page 34 – exercise 1 caught 6 might have been It might be difficult to make friends questions) with people. 1 A 2 A 3 A 4 A 1 Ulysses. Page 18 – exercise 3 It might be difficult to use public Page 34 – exercise 2 2 A career as a doctor. 1 c 2 d 3 e 4 a 5 b transport. 3 1904. 1 a 2 b 3 a Page 19 – exercise 4 It might be difficult to find a job. 4 Fifteen. You might not like the food. Page 43 – exercise 1 5 They were shocked (by its A possible answer: 1 B 2 B 3 B 4 A 5 A 6 A realism). Page 29 – exercise 1 Hi Jim, 7 B 8 A 6 This is the day when the story of 1 B 2 B 3 A 4 B 5 A 6 A I’m sorry that I haven’t bought you Ulysses takes place. 7 B 8 A Page 43 – exercise 2 a present at the bazaar. I went 7 He was given asylum in Mrs Mooney: a, e, i, n there after school to buy you a Page 29 – exercise 2 Switzerland because the Nazis Jack: c, f, k, o special box of chocolates. On the had invaded France. 1 Eveline’s father 2 Miss Gavan Polly: d, g, j, p way, the train broke down and we 3 Frank 4 Eveline’s mother Araby Mr Doran: b, h, l, m had to wait for the next train for an 5 Eveline 6 Frank Page 8 – exercise 1 hour. I arrived too late. They had Page 44 – exercise 3 Page 30 – exercise 3 a, c, e, f sold all the chocolates. 1 wish I had 2 only Jack were not / I promise that I’ll buy you a present 1 h 2 d 3 a 4 g 5 b 6 e 7 f 8 c weren’t 3 only I lived in a 4 that I Page 8 – exercise 2 from the next bazaar. Anyway, I Page 31 – exercise 4 left my husband 5 that she lived Open answers. hope you enjoyed your weekend. 1 had run / would have criticised Page 45 – exercise 4 Let’s meet again soon. Page 17 – exercise 1 2 would have tried / had known With best wishes, This is an open activity. During 3 had asked / might not have 1 a 2 c 3 a 4 d 5 a Sue discussion, these points might wanted arise: 4 had told / would have realised 5 had been / would have gone 2 KEY TO THE ACTIVITIES KEY TO THE ACTIVITIES 1 Mrs Mooney had had a violent I look forward to hearing from you, Page 61 – exercise 1 Dear Tessa, husband. Perhaps this changed Yours sincerely, 1 c 2 a 3 a 4 b 5 d Something terrible happened last her character. Roberta Sinclair week. You know that I had signed a Page 62 – exercise 2 2 The reader can easily imagine Page 46 – exercise 6 contract to play the piano in a what happens next. It isn’t Chandler: f, g, j, l, n, o series of four concerts. Well, my necessary for Joyce to describe 1 surprised 2 exciting Gallaher: a, b, c, d, e, h, i, k, m mother arranged everything with 3 disgusting 4 terrified it. Page 62 – exercise 3 the men who organised the 3 Attitudes to women’s roles in 5 threatening 6 thrilled concerts. In fact, they aren’t very 1 indecisively 2 Adventurous society and to marriage have 7 embarrassing 8 amazing professional and my mother didn’t 3 sensitive 4 pleasure-loving changed greatly. Page 46 – exercise 7 trust them. 5 extraverted 6 confident 4 All the characters have faults. The first two concerts were 1 a 2 d 3 b 4 b 5 d 6 c 7 c 8 a 7 insensitive Joyce is very honest about terrible. Some of the singers forgot human nature. Page 47 – exercise 8 Page 63 – exercise 4 the words and the violinist played Open answer. Page 45 – exercise 5 1 his 2 living 3 other 4 by very badly. The third concert was 5 been 6 Does 7 making 8 great cancelled but on Saturday Example letter: The Easter Rising everything seemed fine. ‘A Mother’ Page 51 – exercise 1 However, my mother wanted the Dear Mrs Mooney, Page 64 – exercise 1 fee for all four concerts before she A friend has recommended your Example answers: Open answers. would let me play. The organisers boarding house to me. She stayed 1 There was a failed rebellion in refused to pay me. She and the with you last summer and enjoyed 1798. In 1801, the Act of Union Page 64 – exercise 2 men argued for a long time while it very much. Perhaps you increased the power of the 1 b 2 c 3 a the audience were waiting. I played remember her; her name was British in Ireland. Page 73 – exercise 1 during the first half but Mum Maggie Harris. 2 There are many reasons. These insisted that I came home without I am a professional singer and I am include the Irish famine, 1 a 2 b 3 d 4 d 5 b taking part in the second half. Dad performing in Dublin at the Abbey religious differences and Page 74 – exercise 2 was there but he didn’t say Theatre from September 15th to violence against the Irish by the Possible answers: 1, 4, 6, 7 anything. It was very October 7th. If you have a room British. embarrassing! that is free between those dates, I 3 Because it began on Easter Page 74 – exercise 3 I really want to play in more would be interested in reserving it. Monday. Open answers. concerts in the future. But next I would be grateful if you could 4 They were imprisoned and then Page 75 – exercise 4 time, I’ll organise it myself without give me some information. How shot. my mother. Mr Holohan: d, j, l, possibly also ‘m’ much do you charge for a single 5 The rebels were defeated but See you soon, Mrs Kearney: a, b, c, e, k, m, n room with a bathroom? My friend they succeeded in encouraging love Kathleen told me that you provide breakfast Irish nationalism. Kathleen: f, g, h, i and dinner. Do you serve ‘A Little Cloud’ Page 75 – exercise 5 Features of life vegetarian meals? 1 obedient 2 sarcastically I sometimes need to practise Page 52 – exercise 1 in Ireland. Ireland & Britain 3 unreliable 4 inefficient singing in my room in the 1 e 2 b 3 c 4 a 5 d Page 81 – exercise 1 afternoons. I hope that this is not a Page 75 – exercise 6 Page 52 – exercise 2 Sample answers: problem. Otherwise, I am a very Open answers. 1 She would probably have quiet person. I can send you letters 1 conceals / concealed 2 boasts / boasted 3 seized 4 desires / Page 76 – exercise 7 supported the Easter Rising. She from other places where I have believed in Irish nationalism and desired 5 considers / considered 1 c 2 a 3 c 4 d 5 b 6 d 7 d 8 a stayed to show that I have been a the importance of Gaelic culture, good guest. Page 52 – exercise 3 Page 77 – exercise 8 so she wanted independence for Open answers. Example answer: Ireland. However, she might not 3 4 KEY TO THE ACTIVITIES KEY TO THE ACTIVITIES have believed in violence as a way ‘The Dead’, Part Two ‘The Dead’, Part Three Still 2 to achieve this. Page 96 – exercise 1 Page 109 – exercise 1 1 The man is Gabriel. He is making 2 A country’s past is very a speech to the people at the important because we can learn Possible answers: Open answers. dinner table. from history and we can build on True: 1, 3, 5 Page 109 – exercise 2 2 It takes place in the middle of Not likely: 2, 4 the achievements of our ancestors. Open answers. the party at the aunts’ house on However, it can also create Page 96 – exercise 2 Usher Island.
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 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]
  • 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]
  • 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]
  • 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.
    [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]
  • Romantic Desires Gone Berserk: a Reading of 'A Mother' in Dubliners
    岡山大学大学院社会文化科学研究科紀要第34号(20 2.) Romantic Desires Gone Berserk: A Reading of ‘A Mother’ in Dubliners YOSHIOKA Fumio I Romance lurks in the east in the world of Dubliners. It stays in its hideout in so far as it is cherished and aspired to. Once searched or pursued, the ephemeral object for Joyce’s hapless Dubliners swiftly fades away into illusion or disillusionment. The Irish novelist’s first work of fiction compiles fifteen sketches of thwarted desires and prematurely terminated dreams of his fellow citizens under circumscribed, morally paralyzed conditions of being. The characters chase what seems to them a gateway to freedom or a path to independence and abruptly find themselves stranded in a spiritual moorland with or without a bitter epiphany as their only reward. The boy in ‘Araby’, for instance, braves a nocturnal trip on a deserted train across the city and heads for an ‘Oriental’ bazaar in his attempt to find something worthwhile for Mangan’s sister. His solitary adventure, activated by his vaulting puppy love, brings him face to face with his own folly and vanity. The home-bound Eveline’s assignation with her seafaring lover in her eponymous story takes her ‘eastward’ to the port of Dublin but fizzles out even before her westward voyage of love commences. Day in and day out, Mr. Duffy in ‘A Painful Case’ assiduously traverses the city he vehemently loathes from west to ‘east’ to make his living. A rendezvous with Mrs. Sinico extends his journey further ‘eastward’ to her abode until her inadvertent gesture of passion sends his soul instantly and instinctively back to its indigenous, barren sobriety.
    [Show full text]
  • Introduction James Joyce (1882 - 1941) Is Arguably One of the Most Prominent Western Authors of the 20Th Century
    Introduction James Joyce (1882 - 1941) is arguably one of the most prominent Western authors of the 20th century. This essay will explore how we are to account for Joyce’s legacy and for his impact on writing and reading, an impact that can be assessed primarily in the form of interpretive practice. Joyce’s contributions to literature and to interpretive practice coalesce along the lines of three trajectories: 1) the narrator’s point of view, 2) the role of language in meaning making, and 3) the role of the feminine in language. Understanding how Joyce developed these tragectories throughout his literary career is a key component to understanding not only Joyce’s works as a whole, but to an understanding of his contributions to literature as well. It is through the concerns of interpretive practice that many critics find Joyce’s greatest contributions, particularly post-structuralists. In Joyce’s ability to liberate lines of force from the polarity of the binary (and the hegemony of the “objective,” monovocal or single point of view) into the equivocity of the many (Joyce’s mamafesta) he appeals to feminist theorists as well. This essay will examine a range of Joyce’s works as meditations on the role of the narrator, the use of language, and the role of the feminine in langauge, as these concerns are all intimately involved in foregrounding one’s expectations with regard to what language does (and does not) do. The texts of Dubliners (’14), (such as “Evelyn,” “Clay,” “Two Gallants” and the “The Dead”), Portrait of the Artist as a Young Man (’16), Ulysses (’22), and Finnegans Wake (’39) all partake in this foregrounding of the role of truth (who makes it and how truth is made) in language.
    [Show full text]
  • Place and Space in English Modernist Children's Literature and Its French Translations Barai, Aneesh
    Modernist Repositionings of Rousseau's Ideal Childhood: Place and Space in English Modernist Children's Literature and Its French Translations Barai, Aneesh For additional information about this publication click this link. http://qmro.qmul.ac.uk/jspui/handle/123456789/7903 Information about this research object was correct at the time of download; we occasionally make corrections to records, please therefore check the published record when citing. For more information contact [email protected] 1 Modernist Repositionings of Rousseau‘s Ideal Childhood: Place and Space in English Modernist Children‘s Literature and Its French Translations Submitted in partial fulfillment of the requirements of the Degree of Doctor of Philosophy Aneesh Barai Queen Mary, University of London 2 Abstract It is a little-known fact that several modernists wrote for children: this project will focus on T. S. Eliot‘s Old Possum‟s Book of Practical Cats, James Joyce‘s The Cat and the Devil, Gertrude Stein‘s The World is Round and Virginia Woolf‘s Nurse Lugton‟s Curtain. While not often thought of as a modernist, I contend that Walter de la Mare‘s short stories for children, especially The Lord Fish, take part in this corpus of modernist texts for children. These children‘s stories, while scarcely represented in critical circles, have enjoyed a wide popular audience and have all been translated into French. Modernism is often considered an elitist movement, but these texts can contribute to its reassessment, as they suggest an effort towards inclusivity of audience. The translation of children‘s literature is a relatively new field of study, which builds from descriptive translation studies with what is unique to children‘s literature: its relation to pedagogy and consequent censorship or other tailoring to local knowledge; frequently, the importance of images; the dual audience that many children‘s books have in relating to the adults who will select, buy and potentially perform the texts; and what Puurtinen calls ‗read- aloud-ability‘ for many texts.
    [Show full text]
  • Introduction
    Introduction A. Nicholas Fargnoli and Michael Patrick Gillespie As the one-hundredth anniversary of the composition of Exiles ap- proaches, it provides a timely retrospection of James Joyce’s only extant play. We thought a fitting tribute to Joyce’s work and a useful addition to existing scholarship would be to produce a critical edition, with a text of the play prepared by John MacNicholas, who has spent his academic ca- reer writing about Exiles. This critical edition also contains a selection of some of the most insightful writing that has appeared on the play and an interview with Richard Nash, one of the more recent directors of the play. The idea of an extended study of Exiles may strike some Joyceans as a daunting enterprise.proof Both its form and its content have created many interpretive issues for readers and theater audiences seeking something like the deep pleasure that one derives from Joyce’s major works—Dublin- ers, A Portrait of the Artist as a Young Man, Ulysses, and Finnegans Wake. Lines from the play quoted in isolation seem to have melodramatic ten- dencies and claustrophobic constructions when set in contrast to passages from any of these works, and that overall effect threatens to overwhelm any sense of the play’s value. Sampling passages in such a disconnected fashion, however, only dis- torts a true sense of the work. Taken separately, they minimize the inter- pretive challenges that one expects to enliven Joyce’s canon. That in turn contributes to an unwarranted bias that springs from the very fact that Exiles is drama and not another fictional work.
    [Show full text]
  • Dubliners Author · James Joyce Type of Work
    James Joyce, Dubliners Key Facts full title · Dubliners author · James Joyce type of work · Collection of short stories genre · Realist fiction; urban literature language · English (with some Irish and Hiberno-English sayings) time and place written · Early 1900s, Ireland and Italy date of first publication · 1914 publisher · Grant Richards narrator · The first three stories are narrated by the main character of each story, which in all three cases is a young, unnamed boy. The rest of the stories are narrated by an anonymous third person who pays close attention to circumstantial detail though in a detached manner. point of view · The first three stories, told from the first person, focus on the thoughts and observations of the narrators. In the stories told from the third person, the narrators detail objective information and present characters as they would appear to an outsider, but also present thoughts and actions from the protagonists’ points of view, giving the reader a sense of what the characters are feeling. tone · Though told mainly by an anonymous narrator, the stories of Dubliners form a self-conscious examination of Joyce’s native city in Ireland. Because the narrator maintains a neutral and distant presence, detecting Joyce’s attitude toward his characters is not always easy. The abundance of details about the grim realities of the city and the focus on hardships, however, create a tragic tone and offer a subtle critique. tense · Past tense setting (time) · Early 1900s setting (place) · Dublin major conflict · Various figures
    [Show full text]