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Ulysses in Paradise: Joyce's Dialogues with Milton by RENATA D. MEINTS ADAIL a Thesis Submitted to the University of Birmingh

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Ulysses in Paradise: Joyce's Dialogues with Milton by RENATA D. MEINTS ADAIL a Thesis Submitted to the University of Birmingh Ulysses in Paradise: Joyce’s Dialogues with Milton by RENATA D. MEINTS ADAIL A thesis submitted to the University of Birmingham for the degree of DOCTOR OF PHILOSOPHY English Studies School of English, Drama, American & Canadian Studies College of Arts and Law University of Birmingham October 2018 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT This thesis considers the imbrications created by James Joyce in his writing with the work of John Milton, through allusions, references and verbal echoes. These imbrications are analysed in light of the concept of ‘presence’, based on theories of intertextuality variously proposed by John Shawcross, Hans Ulrich Gumbrecht, and Eelco Runia. My analysis also deploys Gumbrecht’s concept of stimmung in order to explain how Joyce incorporates a Miltonic ‘atmosphere’ that pervades and enriches his characters and plot. By using a chronological approach, I show the subtlety of Milton’s presence in Joyce’s writing and Joyce’s strategy of weaving it into the ‘fabric’ of his works, from slight verbal echoes in Joyce’s early collection of poems, Chamber Music, to a culminating mass of Miltonic references and allusions in the multilingual Finnegans Wake. ACKNOWLEDGEMENTS To my wonderful supervisors – Deborah Longworth and Hugh Adlington. A huge thank you for believing in the potential of my work during that first interview via Skype from Brazil, and for encouraging and pushing me when I thought I was not going to be good enough, or when times were difficult. Thank you for all the advice and fruitful discussions. To my examiners, Daniel Moore and Finn Fordham, for an invigorating discussion regarding this thesis during my viva, as well as their invaluable feedback. To my sponsor, CAPES-Brasil (Coordenação de Aperfeiçoamento de Pessoal de Ensino Superior), which provided me with the financial means to develop my research, as well as to the University of Birmingham for the generous grant of a scholarship in those four years. To my friends – the ones I already had and the ones I made here. Thank you for your continuous support, the laughs, lunches and coffees together and multiple Facebook memes shared. To my beloved mom and sis, whose unwavering support helped me take the focus out of the 9 thousand miles of separation for four years and just enjoy the ride on this bumpy road. Dad is probably very proud of us from up there. You are always here with me. Finally, this is for the uncredited author and hero of the process, my husband Willians. It is for you, by you and with you that this dream turned into reality. Thank you for supporting me on that evening I decided I was going to go for a scholarship abroad. I am not even able to put into words how thankful I am for your companionship and courage to leave everything behind. Plus, thank you for being such a loving and dedicated father to Mathias, our little Brummie. Now, with the blessing of Milton, the world is all before us, where to choose our place of rest, so hand in hand we take our adventurous way. ‘I just found out there’s no such thing as the real world Just a lie you’ve got to rise above’ John Mayer, No Such Thing LIST OF ABBREVIATIONS James Joyce: CM – Chamber Music, Pomes Penyeach, & Occasional Verse: A Facsimile of Manuscripts, Typescripts & Proofs, ed. by A.W. Litz. (New York; London: Garland Publishing, 1978) D – Dubliners, ed. by Jeri Johnson. (New York, Oxford University Press, 2000) SH – Stephen Hero (Bungay, Suffolk: Granada Publishing Press, 1981) P – A Portrait of the Artist as a Young Man: Text, Criticism, and Notes, ed. by Chester Anderson (Harmondsworth; New York: Penguin Books, 1977) U – Ulysses, ed. by Hans Walter Gabler (London, New York: Bodley Head, Random House, 1986) FW – Finnegans Wake, ed. by Robbert-Jan Henkes, Erik Bindervoet and Finn Fordham. (Oxford: Oxford University Press, 2012) (All citations are accompanied by page number) John Milton: PL – Paradise Lost, ed. by Alastair Fowler (London: Longman, 2007) 2nd ed, rev. (All citations are accompanied by PL, book and line number) L – ‘Lycidas’, in Complete Shorter Poems ed. by John Carey (London: Longman, 1997) (citations are accompanied by L and line number) The Bible The Bible – Oxford World’s Classics with notes by Robert Carroll and Stephen Prickett (Oxford: Oxford University Press, 2008) CONTENTS Abstract ................................................................................................................................................... ii Acknowledgements ................................................................................................................................ iii List of Abbreviations ............................................................................................................................. iv Contents .................................................................................................................................................. v I. Introduction ......................................................................................................................................... 1 I.i The Insufficiency of ‘Influence’ .................................................................................................... 2 I.ii Presence Rather than Influence .................................................................................................... 8 I.iii Milton and Joyce: Unexpected Companionship ........................................................................ 16 I.iv Conjoining Milton and Joyce .................................................................................................... 18 I.v Chapter Breakdown ................................................................................................................... 19 1. Joyce’s Shorter Works and Milton .................................................................................................... 22 1.1 The Edenic Atmosphere of Chamber Music ............................................................................... 24 1.1.2 The Poems ................................................................................................................................ 26 1.2 Dubliners: Milton’s Presence in the Everyday Life of Dublin ................................................... 37 1.2.2 The Stories ............................................................................................................................... 39 2. Stephen Hero and A Portrait of the Artist as a Young Man .............................................................. 52 2.1 A Portrait of [Joyce] the Artist? .................................................................................................. 52 2.2 Milton in Joyce’s Education ....................................................................................................... 54 2.3 Stephen and Satan Hero - Presence Created in Words ............................................................... 58 2.4 Hell - Milton through Pinamonti in Joyce’s Eyes ....................................................................... 67 2.5 Stephen Dedalus and Satanic Pride ............................................................................................. 71 2.6 Scornful Stephen and a hiss as he falls into darkness ................................................................. 84 3. Ulysses – The Fall of Common Man ................................................................................................ 96 3.1 A Portrait of the Artist as a Satanic Man .................................................................................... 96 3.2 The Place of ‘Lycidas’, and Milton Through Blakean Lenses .................................................... 99 3.3 Ulysses, Paradise Lost, and the Epic Tradition ........................................................................ 108 4. Finnegans Wake: Introduction to a strange subject ........................................................................ 122 4.1 Book 1: The Book of the Parents .............................................................................................. 128 4.1.2 The Fall and the Fallen – Satan, Adam, Eve. ......................................................................... 131 4.2 Book 2: The Book of the Children ............................................................................................ 148 4.2.1 Mick, Nick, and the Maggies: The Mime of Adam, Eve, Satan, Michael, and Lilith ........... 149 4.3 Book 3: ‘Watches of Shaun’ ..................................................................................................... 165 4.4 Book 4: ‘Ricorso’ ...................................................................................................................... 167 5. The Thunder – The Voice from the Great Beyond ......................................................................... 173 5.1 Book 1: In the Beginning was the Thunder .............................................................................
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