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LINGUISTIC BASIS OF STREAM OF IN

BY Annette Briones THE LINGUISTIC BASIS OF

STREAM OF CONSCIOUSNESS IN

JAMES JOYCE'S ULYSSES

by

Annette Briones

A thesis submitted to the Faculty of Graduate Studies

and Research in partial fulfilment of the

requirements for the degree of

Master of Arts

Department of English

McGil1 University,

Montreal, Canada March 1973

o Annette briones 1973 ABSTRACT

James Joyce's Ulysses re~resented a vast change in the form and presented many problems of inter~retation. Attemnts to describe this highly unconventional work re­ sulted in the literary category of "", a term borrowed from psychological theories and adapted to account for the characteristics of works like Ulysses, which were felt to be primarily different from traditional because they depicted a wider range of consciousness. In­ corporated into this theory were analogies with music and the cinema to expIa in how such range of consciousness could be presented in a literary forme In short, extra-linguistic theories were being used to de scribe the art of language. Although Ulysses undoubtedly makes statements about areas like psychology and music, it is not appropriate to use the processes it describes to exnIain the way in which they are described. On this basis, this thesis tries. 1. to show how the established stream of consciousness the ory rails to account for the unconventional characteris­

tics of Uly~ and 2. to show how an analysis of the text based on how it relates to the general linguistic system results in more accurate explanations. RESUME"

Le roman de James Joyce, Ulysses, reprp.sente un vaste changement dans le roman traditionnel et présente des prob­ lémes d'interprétation. L'effort ~our interpréter cette oeuvre hautement originale avait abouti à la création d'une nouvelle catégorie de critique littéraire, le "stream of consciousness" , expression empruntée des théories psycho­ logiques et adaptée pour expliquer les caractéristiques d' oeuvres du genre d'Ulysses. Ces oeuvre~ avaient eté con­ sidérp.es comme ptant fondamentalement différentes des_romans traditionnels parcequ'elles traitent plusiers niveaux du psychisme. On avaient inclus dans cette théorie des analo­ gies avec la musique et le cinéma pour expliquer comment les différents niveaux du psychisme pouvaient ~tre representés dans une forme littéraire. En d'autres mots, des théories extralinguistiques avaient eté utilisées pour expliquer l'art du langage.

Même s'il est évident que l'auteur fait des allusions ~

la ~sychologie et à la musique, il n'est pas juste d'utilser les processus dont il parle pour expliquer la façon dont ils sont décrits. Suivant cette forme de raisonnement, cette

th~se veut prouver que 1. la thp.orie bien établie du "stream of consciousness" ne reussit pas à expliquer convenablement les caractéristiques uniques d'Ulysses; 2. l'analyse du texte littpraire baspe sur ses rapports avec le système linguistique offre des explications plus précises. TABLE OF CONTENTS

l INTRODUCTION •• 0 ••••••••••••••••••••••••••••• iii 1. Description of the established stream of consciousness theory •• ~..... iv

2. Description of the theoretical framework underlying the analysis of Ulysses in Part II...... ix

II TEXT ANALYSIS •••••••••••••••••••••••••• o •••• 2

Selection of passages from Ulysses chosen for discussion by Stream of Consciousness critics and discussed in the order of the episodes in which they appeara Telemachus...... 2

Proteus •••• 0 •••••••• • • • • • • • • • • • • • • • 11 Lotus Eaters...... 19 Aeolus.o...... 22

Lestrygonians •••••••••••••••••• oo.. 26 Wandering Rocks...... 29 Sirens. • • • • • • • • • • • • • • • • • • • • • • • • • • • • 45 Nausicaa. , ••••••• , ••••• ~ ••• , •• a , , • • 56 Penelope, •••••••••••••••••••••••• o. 62

III CONCLUSION ••• 0 D ••••••••• 0 •••••••• D ••••••••• 70

APPENDIX ·.0 •• 0 •••••••••••••••••••••••••••••••••• 77 BIBLIOGRAPHY ••••••••••••••••••••••••••••••••••••••• 82

ii PART l

INTRODUCTION

iii The publication of James Joyce's Ulysses signalled a vast change in techniques from traditional novels. Theories or methods already in use for describing the novel form did not seem applicable to this new form of narrative which was considered by many readers and cri tics as incoherent, chaotic and generally unintelligible. GraduaI attempts by commentators on Ulysses to interpret it more precisely re- sulted in a new literary category called "stream of consciousness". Although many critics have discussed the concept of stream of consiousnessl in relation to works like Ulysses2 , the two books to date that have dealt most comprehensively and specifically with the,subject are Robert Humphrey's Stream of Consciousness in the Modern Nove1 3 and Stream of Consciousnessl A Study of a Literary Method4 by Melvin J. Friedman. It is the theory as it has been outlined by these two authors that will be considered as the "established" stream of consciousness theory in this paper. The term "stream of consciousness" (hereafter referred to as SC) was originally suggested by in his Principles of Psychology:

ISee for example the works by Erich Auerbach, David Daiches, Alan Friedman and Ian Watt, cited in the bibliography. 2Similarly unconventional novels such as 's and 's As l Lay Dying were also included in this category. 3Second printin5 (University of California Press, 1955) 4(Yale University Press, 1955)

iv

" Consciousness ••• does not appear to itse1f chopped up in bits. Such words as 'chain' or 'train' do not de scribe it fitly as it presents itself in the first instance. lt is nothing jointed; it flows. A 'river' or a 'stream' are the by which it is most natura1ly described ••• let us call it the stream of thou,ht, of consciousness or of objective life. But as James' idea became incorporated into a it was combined with Freud's theory of the unconsciousl lt is probably following the appearance of F~eud's psychoanalytic study of ••• Jensen's Gravida in 1907 that the preconscious and un­ consciou~ became the legitimate domain of . Both Humphrey and Friedman maintain that the feature which primarily differentiates SC novels from traditional novels is its subject matter which is the exploration of human consciousness. But at the same time they acknow1edge that many earlier novels a1so dealt with the human psyche. How­ ever, they feel that these do not properly come under the heading of SC because they do not depict consciousness in the same "flowing" way that was described by James. Therefore they could not traverse as wide an area of the psyche as the SC nove1. In distinguishing the SC novel from earlier psycho- logical fiction, Friedman goes so far as to sayl

1 (N.Y., 1904), l, p. 239. 2Me1vin J. Friedman, OP. cit., p. 7 - However, Friedman does point out that "although recent 1iterature tends to re1y on many of the same devices as psychoanalytic inter­ pretations ••• one must be careful not to identify these novelists as the inheritors of Freud, though the tempta­ tion is often strong". (p. 102).

v The novel of , attempting communication by means of conventional syntax, is troublesome and exhaustive; the stream of consciousness novel, on the con~ary, carries on uninterruptedly without difficulty, working spontaneously, with reminiscences and anti­ cipations.l Such distinction is very difficult to accept when we consider the many difficulties in interpretation that a work like Ulysses presents (difficulties that will be made explicit in the text analysis to follow in Part II). Although Humphrey and Friedman both exercise caution in the wholesale application of psychological theories to fiction, they fre- quently describe the unconventional passages in Ulysses solely in such terms as "margin of attention", "pre-speech level", " thinking" and "subconscious", and differ- entiate passages from one another in accordance with the areas of consciousness supposedly being represented. Since there is no evidence in the field of psychology for the existence of such levels, any attempts' .to describe li terary texts in these terms results in vagueness. But even if such areas of consciousness did prove to exist, there is no reason to assume that their existence could account for the characteristics of so-called SC novels that differentiate them from other kinds of verbal art or other kinds of discourse in general. While Joyce is obviously making certain statements about human thinking in Ulysses and it is there­

fore appropria~e to comment on these statements, it is not

useful or even 'appropria~e to use the processes being described as a means of text analysis.

lIbid., p. 4. vi Humphrey and Friedman see literary SC as being essentially a genre within which various techniques are possible and often necessary for depicting the many levels of hum an consciousness it seeks to de al with. Although the techniques and devices described by each for depicting SC, differ in details, there are a few general ones regardect by both as being common to thlS kind of narrative. These are:

1. s~ppressed intervention of the author; 2. the use of musical elements such as the and the fugal form; 3. the use of cinematic techniques, particularly montage. "Suppressed" intervention of the author as opposed to the "omniscient" author in conventional narrative is felt to render Ul',rsses more "realistic". Again, considering the difficulties of interpretation that most readers are confronted with in reading this work it is not easy to regard it as "realistic" in the sense of conforming more to the way we normally express ourselves. Moreover, to say that the author does not "intervene" in the description of his characters, in terms of offering explanation or commentaryl, is to suggest that the exists empirically outside the nove12 • But the fact is that characters are literary devices just as such elements as rhyming and alliteration are, the difference being that the latter are phonological devices, while

lIbid., p. l 2But even in cases where exact recording of behavior is strived for (for example psychiatrie interviews) it is doubtful whether such non-intervention is ever possible.

vii

-.-.----... -.. ------::J is a semantic device. It is therefore impossible to separate the author from his characters in this way. It will also become evident in the discussion of the text that Joyce uses many commentary and explanatory devices in describing his characters. In making analogies between SC fiction and music, both

Humphr~and Friedman are careful not to carry the analogies too far as they seem to be aware of the essential distinction between language and musicl

°Leitmoti~ is a term borrowed from music ••• Transferred to literary terms it may be defined as a recurring image, symbol, word or phrase which carries a static association with a certain idea or . Beyond the relation explicit in these definitions, musical motifs and Joyce's literary motifs have little in common, and an analogy should not be carried further. l

There is no exact correspondence between the written word and the musical chord.2

Indeed one is justified in speaking of "analogy" with musical form, for the connection is purely external, having to do with a parallel rather than a direct imitation. Joyce succeeds only in modelling his plo~ in the Sirens episode after the fugue, and not his composition or language.3 However, we will see in the discussion of the Sirens episode that both these critics describe the language primarily in musical terms and make little attemptto.examine Joyce's linguistic presentation of the subject of music.

lRobert}! ump h rey, op. Cl.,'t p. 91 • 2Melvin J. Friedman, op. cit., p. 124. 3Ibid., p. 135. viii Concerning the analogy with filmic montage, the dis­ cussion of the "Wandering Rocks" episode will that the established SC theory needlessly relies on cinematic methods to account for aspects of the episode that can be more pre­ cisely described in terms of the linguistic devices employed.

Whatever el se literary art might be, it is first and foremost the art of language. It follows that a linguistic theory is a necessary prerequisite for the analysis of literary texts.

'Poetics deals primarily with the question, What makes a verbal message a work of art? Be­ cause the main subject of poetics is the differentia specifica of verbal art in relation to other arts and in relation to other kinds of verbal behavior, poetics is entitled to the leading place in literary studies. 'Poetics deals with problems of verbal structure, just as the analysis of painting is concerned with pictorial structure. Since linguistics is the global science of verbal structure, poetics may be regarded as an integral part of linguistics .1

Il'he theory that will provide much of the rationale for the kind of analysis carried out in this thesis, is the linguistic-poetic theory of the Prague Linguistic Circle developed in the 1930's and translated into English in 19552 •

IHoman Jakobson, "Linguistics and Poetics", Style in Langua.ge, ed. 11'. A. Sebeok (Cambridge, Masso, 1960), p.350. 2A Pra School Reader on Esthetics Literar Structure, and Style, trI by Paul Garvin (Washington, D.C., 1935 •

ix However many of its concepts were also introduced into American by former members of the Circle such as Roman Jakobson and Rene Wellekl • This the ory pre­ ceeded the more powerful transformational-gener~tive grammar linguistic theory2. But many aspects of it can be translated easily into the terms of the latter theory, especially insofar as it offers similar possibilities for explaining the special use that verbal art makes of language in general. The main difference between the Prague linguistic­ poetic ~heory and those that have recently been developed within the framework of the transformational-generative grammar theory, is that i t talŒs into account only the "surface structure" of literary texts while the others account for the "deep structure" as wel13 • But for the purposes of

lRene Wellek and Austin Warren, Theory of Literature (N.Y., 1956). This work discusses many of the ideas of the Prague School as they relate to traditional American and British literary theories. 2Noam Chomsky, Language and Mind (N.Y., 1968). See also other works by and about Chomsky cited in the bibliography. JChomsky's theory accounts for the two levels of structure involved when two sentences are very similar superficially (surface structure) but express very different underlying logical relationships (deep structure).

x the kind of analysis carried out in this paper a considera­ tion of the surface structure alone proves to be sufficient. Also, formulations of literary texts based on the trans­ formational-generative grammar the ory are still tentative for the most part and have not as yet been widely applied to specifie literary texts.l The Prague theory divides language according to its different functions. For example when we write a formal essay, we make quite a different use of the language than when we have a conversation with a close personal friend. Similarly language is used in quite a different way in a scientific treatise and a journalistic essay even though in aIl cases the same rules are applied. However, we adapt the rules to suit the needs of the particular function of

lAn example of one such literary theory is found in Manfred Bierwisch's essay on "Poetics and Liguistics" in Lin uistics and Literar St le, ed. Donald C. Freeman, N.Y., 1970. Based on the transformational-generative grammar concepts, Bierwisch suggests that just as human beings are equipped with a mechanism that enables us to intuitively differentiate between grammatical and non­ grammatical utterances of the language, we also possess a similar mechanism by which we can differentiate poetic (artistic) utterances from other kinds. This intuition is based on a set of poetic rules that allow for extensions of the finite set of rules in operation in normal language (cf. Chomsky). Obviously the set of rules included in this mechanism would vary from one work of verbal art to another. It would be quite conceivable in such a system to have for example a device that would produce only iambic pentameter strings of words, or only those that contained rhyming patterns.

xi the language being carried out, and therefore different resources of the language will be focused on from one function to the nextl • The Prague School defines verbal art as the esthetic function of the language, the primary goal of which is to focus on the of language itself by drawing ·attention to the resources of the language which go unnoticed in its other functions where the primary goal is communication. To call attention to language in this way necessitates using it in out-of-the-ordinary ways. A work of verbal art may take any aspect of the language at large, semantic, syntactiû or phonological, and manipulate it in a consistent way throughout the work2 • In doing so, literary works may extend the rules of normal language to the point where they seem to be absent altogether. We will see later in the discussion of the text of Ulysses that it is the absence of certain features of normal language that causes apparent incoherency in many passages. But Joyce compensates for these absences by focusing on other linguistic devices that aid in interpreting such difficult passages.

lB. Havranek, "The Functional Differentiation of the Standard Language", A Prague School Reader, op. cit. 2Jan Mukarovsky, "Standard Language & Poetic Language". Ibid.

xii

-~---~ --~~------When we use language prirnarily to communicate we are not usually very aware of the devices in operation. But when these devices are presented in striking or novel ways they stand out and our attention is drawn to them. A similar process takes place between one work of yerbal art and another. When a certain poetic device becomes very weIl established it becomes "automatized" because it no longer reveals anything new about linguistic structure.

Because of this, new lit~rary forms may corne into being which are different Krom, or extend, both ordinary language and established literary convention.l An obvious example of this is unrhymed or "free" verse, the verse form being a manipulation of how we ordinarily use language, and the unrhymed aspect being a manipulation of the literary con­ vention of rhyrned ,,"erse. Mukarovsky calls these rnanipulated elements "fore­ grounded" units, and the background against which they stand out as the "automatized" portion of the work. Thus,

in literary texts, as explained aTh~ve, there is dual automatization, 1) other uses of the language and 2) literary conventions. At the sarne tirne other functions of the language rnay contain foregrounded elements, for example in everyday conversation puns or rhymes often pop up which are always reacted to as being unusual. The difference

xiii between that kind of foregrounding and the kind that takes place in the esthetic function of the language is that the latter is systematic, i.e. it usually follows certain patterns. This theory has the advantage of being able to account for different kinds or genres of verbal art within the same general schema. For example, a so-called "realistic" novel can be described in the same terms as a poem, the essential difference being the particular aspect of the language that each focuses on. Generally, novels are often concerned with manipulating the semantic resources of the language while poems usually focus on phonological and syntactic resources. l What oftenpresents difficulties in reading Ulysses is that Joyce makes unusual demands on our memories to reconstruct over large stretches of discourse, patterns that are more usually found in poems where they occur~ within a much shorter space and are therefore easier to reconstruct.

lBierwisch, (oP. cit) p.p. 112 - 113 1 working within the transformational-generative grammar framework makes a similar point but in different terms. .'. He refers to the kind of devices primarily used in poems as the textual "microstructure" which the reader can reconstruct by rely­ ing on his short-term memory. Elements or patterns which can only be reconstructed by relying on long-term memory such as the construction of and the interrelation- ship of episodes in a novel, he refers to as "macrostructure". Although both may be used together in either genre, micro­ structure plays a crucial role in poems while the macro­ structure plays the essential role in novels.

xiv

------~ In doing this he is at the same time manipulating an established literary convention. It is this kind of manipulation that has led Humphrey and Friedman to often refer to " entering fiction" in Ulysses. In doing so they seem to be assuming that the language used in poems is quite different from that used in novels. But according to the linguistiè-poetic theories outlined above, this difference is more quantitative than qualitative. It will become evident in our discussion of the text of Ulysses that both Humphrey and Friedman are often aware of the linguistic manipulation being carried out. However, since they are not primarily discussing the text from a linguistic point of view, but rather concentrate on trying to account for such manipulation in terms of extra-linguistic theories, they tend to minimize these kinds of insights.

The goals of the discussion to follow are twofold: 1) to examinehow the established SC theory fails to account adequately enough for certain irregularities that occur in Ulysses; 2) to suggest more precise methods of analysis in terms of how the text of Ulysses relates to the general linguistic system and earlier narrative conventions. The passages that will be discussed in the following section are generally those that have been selected by Humphrey and Friedman to illustrate their theory. In sorne

xv cases, where l felt that their selections were not representa­ tive enough of the point they were making, l have made alternate selections. Sometimes l have added to their examples by choosing passages l felt were directly related to the ones they had discussed. The 'order in which the examples are presented is the same as that of the episodes in which they appear in the novel.

* * * * *

Besides the principle works that provide the framework of this thesis, and which are fully acknowledged in the footnotes, l would like to express my debt to stuart Gilbert's work on Ulysses which l have relied on heavily for many of the semantic interpretations of the text, particularly the liomeric parallels. l would also like to thank my thesis supervisor, Dr. Irwin Gopnik, my debt to whom gaes much beyond the help he has extended with this thesis •. He first introduced me to the linguistic-poetic theories which l have come to regard as being crucial in analysing literary texts. He has given me many opportunities to share in the work of his own research along the se lines and in doing so has consistently provided me with encouragement and helpful criticism in developing my own ideas.

xvi PART II

TEXT ANALYSIS

1 2

A cloud began to cover the sun slowlyv shadowing the bay in deeper green. It lay behind him, a bowl of bitter waters. Fergus' song: l sang it alone in the house, holding down ~he long dark chords. Her door was open: she wanted to hear my music. Silent with awe and pity, l went to her bedside. She was crying in her wretchedlbed. For those words, Stephen: love's bitter mystery.

Friedman comments on this passage taken from IITelemachusll2 , the first,episode in Ulvsses:

••• here the reader finds the realistic of the opening of the episode oddly distorting itself and is astonished by the introduction of voices which appear to belong neither to the characters nor to the author •••• ,It is almost impossible, upon opening Ulvsses for the first time, to decide that this voice could only belong to Stephen Dedalus, and that the remarks are intended to be unspolŒn. One learns this only from an increasing acquaintance with the text and through an elaborate system of cross references. We learn only later that Stephen's remorse of conscience is due to his refusal to kneel before his mother's deathbed. Without this •••• reference, the reade5 cannot hope to penetrate his interior monologue.

While this passage is clearly a distortion of conventional narrative technique, the irregularities can be explained on the basis of manipulations of the conventions. The passage begins with, as Friedman has already pointed out, two fairly

lJames Joyce, Ulysses, (Great Britain, Penguin Books, 1968) p. 15. 2stuart Gilbert, James Joyce's Ulysses, (N.Y., 1952). The names applied to Joyce's episodes throughout this paper are all extracted from Gilbert's study. 3Melvin Friedman, op. cit., pp. 222-223 :3 conventiona1 third' person sentences but "the introduction of voices which appear to belong neither to the characters nor to the author", can be accounted for more precisely by the fact that there is an immediate switch into the presented in first person narrative. Although con­ ventional indications as to who this first person refers to

are missing, there is information provided in the foregoi~g passages that clarifies, in the absence of the conventiona1 indicators, that these remarks indeed be10ng to Stephen and are specifica11y related to his guilt surrounding his mother's death. The circumstances surrounding her death are first referred to in Buck Mu11igan's words to Stephen severa1 pages earlier:

- The aunt thinks you ki11ed your mother ••• - You could have kne1t down, damn it, Kinch [Stephen) when your dying mother asked you ••• l'm hyperborean as much as you. But to think of your rnother begging you with her last breath to knee1 down and pray for her. And Y2u refused. There is something sinister in you ••••

Again on page 14 Buck criticizes Stephen's refusa1 to knee1 at his mother's request but Stephen's reaction is only superficial1y hyperborean: "Stephen, shie1ding the gaping wounds which the words had left in his heart, replied very c01dly ••• ,,2 The fol1owing passage occurs short1y after:

Stephen, 8.n elbow rested on the jagged granite, leaned his palm against his brow and gazed at the fraying edge of his shiny black coat sleeve.

1James Joyce, op. cit., p. 11.

2Ibid ., p. 15. Pain, that was not yet the pain of love, fretted his heart. Silently, in a dream she had come to him after her death, her wasted body within its loose brown graveclothes giving off an odour of wax and rosewood, her breath that had bent upon him, mute, reproachful, a faint odour of wetted ashes. Across the threadbare cuffedge he saw the sea hailed as a great sweet mother by the wellfed voice [Buck's] beside him. The ring of bay and skyline held a dull green mass of liquid. 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.l

This passage, which makes explicit that Stephen is concerned wi th his mother' s death, helps to expl.icate the passage quoted by Friedman through its connections with it. Both passages refer to the bay described in terms of a green color. In the passage just quoted we find: "The ring of bay and sky­ line held a dull green mass of liquid", and in the other: "A cloud began to cover the sun slowly, shadowing the bay in deeper green." In the paragraph just quoted, the "ring of bay and skyline" is analogous to the white china bowl, because of the juxtaposition of the two ideas in the passage as well as their both being described as recepticles of a green liquid: "dull green ma.ss of liquid"; "green sluggish bile". Thus when the phrase lia bowl of bitter waters" occurs in a later passage we can immedia.tely relate it to the former because of this semantic parallel. This is a good illustration of the point made in the introduction concerning the difficulties raised in having to remember the relationship between devices

lIbido pp.11-12. 5 used over fairly long stretches of discourse. Such parallelisms in poems occur in much great& proximity to one another and can therefore be related more readily.

1J.' he paragraph beginning wi th "A cloud began to coyer the sun ••• " selected for comment by Friedman, actually forms an integral part of a much longer passage extending over approximately eight paragraphs. AlI of these para­ graphs may be viewed together as one continuous passage because they share more or less the same style of writing described by Humphrey and Friedman as employing SC tech- niques. This extended passage represents the longest stretch of unconventional narrative in the Telemachus episode. It ,paves the way for the third episode of the novel "Proteus", where this style takes over to the point that the use of conventional narrative becomes striking. In the first episode just the reverse occurs, i.e. the unconven- tional style stands out. Without going into adetailed analysis of each of the paragraphs of this extended uncon- ventional passage, it seems useful to make a few selected comments about it in terms of the difficulties it raises as to who is the narrator. The first paragraph is perhaps the most interesting since the identity of the narrator is the most ambiguousi

Woodshadows floated silently by through the morning peace from the stairhead seaward where he gazed. Inshore and further out the mirror of water whitened, spurned by lightshod hurrying feet. White breast of the dim'sea. The twining stresses, two by two. A hand 6

plucking the harp strings merging their twining chords. Wavewhite wedded words shimmering on the dim tide. l

This paragraph directly preceeds the passage selected by Friedman "A cloud began to coyer the sun ••• etc.", and also begins in a fairly conventional narrative style but this time there is a sudden change to syntactically incomplete sentences with no use of a pronoun at aIl, thus making the identity of the narrator almost impossible to determine. It is to this passage that Friedman's comments would have been more appropriate. Here, two third person complete narrative sentences, the first referring to Stephen, the second to his surroundings, are followed abruptly by descriptive phrases, without complete verbs, but presented typographically as sentences. However, we can determine that aIl these phrases are describing the sea because of their various relationships to one another. While "white breast of the dim sea" is a clear enough reference to the sea, the irregular "sentences" following it are much more difficult to understand but we may interpret them as descriptions of the sea because of their connections to less ambiguous parts of the passage that de- fine what Stephen "saw" when he gazed "seaVl8.rd" • "Wavewhi te wedded words shimmering on the dim tide" bears certain semantic parallels to the 2nd sentence of the paragraph: wavewhite - water whitened; shimmering - mirror; as well as

l James Joyce, op. cit., p. 15. 7 to the phrase, "white breast of the dim sea", a clear reference to the sea; wavewhite - white sea; dim sea - dim tide. It also has the same kind of relationship to the other phrases, so that once this final phrase can be thus interpreted as describing the sea the other ambiguous phrases become clarified through their relationship with this phrase: wedded words -twining stresses; twining stresses - twining chords; wedded - two by two - twining. Here, in the absence of more conventional syntactico­ narrative links, such as explicit comparisons, complete sentences, and exp1icit identification of the narrator, we find numerous other parallels, of the kinds more usually found in poems, that compensate for them. However, it never becomes as clear as in the paragraph that follows it whether these verbless "sentences" are meant to represent the subjective directly expressed thoughts of Stephen, or the thoughts of the fictional narrator about the sea, or the expression by the narrator of Stephen's thoughts about the sea. However, relying on what usually occurs throughout this episode, these remarks would seem to be representing the directly presented unspolcen thoughts of Stephen; un­ spoken because everywhere else speech is indicated by a dash (except in the case where Stephen is remembering the words of someone else, and an example of this deviation will be discussed later); and directly presented thoughts because most of the other first person monologue passages 8

contain the same kind of ~erbless or syntactically incom- plete sentences. Another device used to link all the parts of the paragraph quoted above, is aIIiteration, the most significant recurrence being the sounds of "w" and "s"; wood siIentIy where stairhead water seaward whitened spurned white sea wavewhite stresses wedded words Although alliteration is used in more regular paragraphs in Ulysses it does l'lot seem to be used with the same frequency. Looking now towards the end of the extended passage under discussion, we find a short paragraph that has com­ pletely regular syntax, and seems to serve the function of tying together the Iess reguIar, 'more ambiguous paragraphs that preceed and follow it. It also makes absolutely clear that Stephen's thoughts are being represented throughout the entire passage. Although Stephen's l'lame is not mentioned in this paragraph, it is an almost exact repetition of part of a paragraph already quoted which makes direct reference to Stephen:

Silently, in a dream she had come to him after her death, her wasted body within its loose brown graveclothes giving off an odour of wax and rosewood, her breath that had bent upon him, mute, reproachful, a faint odour of wetted ashes.

Here is its repetition in the passage under discussion: 9

In a dream, silently, she had come to him, her wasted body within its loosegraveclothes giving off an odour of wax and rosewood, her breath bent over him with mute~ secret words, a faint odour of wetted ashes. (The underlined parts indicate the changes). While the first change indicated above, a simple reversal of order, does not seem very significant in that it changes very little, if at all, the meaning, the addition of "after her death" is more in keeping with the greater explicitness of the first paragraph as compared to the second. The change in "that had tent upon him" in the first paragraph, to "bent over him" in the second, malŒs the latter memory somewhat more immediate and points to the differences or variations in meaning that may Dre achieved through playing around with tenses. The expression of a more immediate memory tends to make this third person narrative paragraph more in keeping with the first person passages that surround it. Also the first sentence of the more irregular paragraph immediately following it acts as a grammatical continuation of itz " ••• her wasted body ••• giving off an odour ••• , her breath bent over him ••• , her glazing eyes, staring out of death". In his discussion of "rrelemachus", Humphrey selects the passage already quoted above: "Stephen, a.n elboVi rested on the jagged granite ••• etc." While recognizing such elements

lJames Joyce, op. cit., p. 16. 10 as the relationship between the phrases "dnll green mass of liquid" and "green sluggish bile", he does not show how they function as explanatory devices for the later passage which includes "bowl of bitter waters". Instead, he describes these phrases only as repetitive "images" occurring in an "image-ridden passage", which expresses Stephen's remorse of consciences

... a remorse Joyce cannot express in words but which he canlexpress in the symbolic force of images.

It is perhaps dealing with the point too simplistically to question how verbal images can possibly be differentiated from words. It seems that what Humphrey is actually aware of here is the fact that Joyce achieves a certain similarity with the way human consciousness may experience guilt (given certain characteristics like those described in Stephen). When Humphrey makes a statement like the following:

[This passage isJan example of what in consciousness cannot be expressed by direct communication, but must be expressed impression­ istically or symbolically, [re-inforcinf.[] the privacy and ~ctuality of the mind being presented •••

he can only mean that certain passages in Ulysses seem to resemble more the way we think than the way we use language.

lRobert Humphrey, op. cit., p. 83 11

But the fact remains that Joyce has expressed these passages linguistically and instead of overlooking this fact it would seem more profitable to look for the linguistic manipuJations that create the effect of leading a reader to feel he is no longer dealing with language, if indeed any reader actually ever feels this.

The following passage is selected for analysis by Friedman under his discussion of the third episode of the novel, "Proteus":

They came down the steps from Leahy's terrace prudently, Frauenzimmer: and down the shelving shore flabbily their splayed feet sinking in the silted sand. Like me, like Algy, coming down to our mighty mother. Number one swung lourdily her midwife's bag, the other's gamp poked in the beach. From the liberties, out for the day, Mrs. Florence MacCabe, relict of the late Patk MacCabe, deeply lamented, of Bride Street. One of her sisterhood lugged me squaling into life. C~eation from nothing. What has she in that bag? A misbirth with a trailing navelcord hushed in ruddy wool. The cords of all link back, strandentwining cable of all flesh. That is why mystic monks. Will you be as gods? Gaze in your. omphalos. Hello, Kinch here. Put me on ta Edenville. Aleph, Alpha, naught, naught, one. l

lJames Joyce, op. cit., p. 43. 12

Friedman's description of this passage is an example of defining an unconventional passage from Ulysses in terms of alleged human levels of consciousness without examining what linguistic manipulations render it unusual in terms of earlier forms of literature:

In this monologue one may observe the ,slow dissolution of consciousness, from the margin of attention - which registers objective detail - to an area close to the subconscious, in which fantasy thinking, guided by the caprices of the imagination, prevails.

But this passage may be described more precisely by examin- ing it in terms of its deviations from more familiar narrative techniques. First we will comment on the examples given by Friedman in support of his "levels of consciousness" description:

Here we see the tendency of the sub­ conscious mind to link words together ~strandentwining'), to keep sentences to their syntactical minimum ('Kinch here') and to force the use of foreign words ('aleph' and 'alpha', the first letter of the Hebr~w and Greek alphabets respectively).l

Apart from the fact thatthere is no real evidence to suggest that any of these are tendencies of the subconscious mind, these three examples can easily be accounted for by a com­ parison with how we normally use language and with how language has been used conventionally in literature. The first of these is the literary convention of the port-manteau

IMelvin Friedman, op. cit., p. 224. 13

word, while the second example belongs to ordinary telephone conversation idiom, appropriately used here to effectively carry the comparison of a navel-cord as a telephone wire linking aIl humanity. The particular foreign words used in this passage re-inforce this linking of present with past humanity. AIso, a telephone number that includes the initial letters of the Hebrew and Greek alphabets is very fitting in terms of the entire novel with its Homeric parallels and its Jewish hero. However, the examples chosen .. by Friedman to support his view do not really represent the most significant characteristics of this passage. Perhaps the most striking feature of this paragraph is its ambiguous introductory reference to "they" occurring in the middle of what are very clearly Stehen's first person reflections, making us aware of a very definite shift. When Friedman says that "the first sentence presents no problem" he seems to mean because it is fairly regular syntactically, i.e. it at least contains aIl the necessary elements that normally constitute a complete sentence in comparison to sorne of the other parts of the passage. However, the difficulty arises in trying to determine whether this paragraph is: a con­ tinuation of the previous paragraphs (which have been clearly indicated on the first page of the episode as representing the first person contemplation of Stephen), or an instance of interjections of a third person narrator (the passage contains several normal third person sentences) intermingling

- 14 with lst person narration remarks. Since there is no way of determining this absolutely, we can perhaps assume that it is not essential to solve this ambiguity. Instead, the ambiguity itself can be looked upon as the author's way of questioning whether there can be any differentiation in a worl~ of verbal art between a character being described in the third, or in the first person. Can the same ideas be presented through the use of either? Perhaps, although the results are undoubtedly different in each case and it is this difference that seems to have led the critics to single out certain passages of Ulysses as being strange, incoherent or ev en expressing thoughts that are inaccessible to language. When Friedman malcesthe differentiation in this passage between "objective detail" and "fantasy thinking" he seems to mean the difference between what Stephen observes out­ side his consciousness, i.e. the two rnidwives coming down the steps, and what seeing them reminds hirn of, (the trailing navelcord, etc.) However, this distiction is also rather untenable as it is hard to regard the descri.ption of two midwives walking down "the shelving shore flabbily their splayed feet sinking in the silted sand" as objective detail. What we see can often be a result of our associations upon looking. 15

Humphrey also selects a passage from "Proteus" as an example of SC techniques. He discusses the opening paragraphs from the episode in terms of an attempt to achieve "l'he and texture of private consciousness".l His concept of "privacy" derives from his comparison be- tween SC writing and more traditional forms of narrative which employ the convention of "author ominiscience". While Humphreyrecognizes that the consciousness of the characters are necessarily creations of the author, he still insists that because the SC writer is presenting the in- ternal world of psychic activity, he must represent the privacy of his character's consciousness as if they existed apart from him. Humphrey feels tha.t if the SC wri ter does not convey this "tone of privacy", then he will lose reader­ confidence, but that having to convey the privacy of con- sciousness while still communicating to the reader:

••• presents a dilemma to the writer, because the nature of consciousness involves a private sense of values, private associations and private relationships peculiar to that con­ sciousness: therefore it is enigmatic to an outside consciousness. 2

According to Humphrey, one of the devices used by SC writers to solve the dilemma of conveying privacy, is a "representation of discontinuity and compression by standard rhetorical figures". 3 It is wi th this device in mind that

lRobert Humphrey, op. cit., p. 72. 2Ibid • pp. 63-64 3Ibid • p. 6L~ 16 he analyzes the following passage: Ineluctable modality of the visible:[epigramJ at least that if no more, thought through my eyes [metaphorJ Signatures of aIl things l am here to read [hyperbaton] seasprawn and seawrack, the nearing tide, that rusty boot. Snotgreen, bluesilver, rust: colored signs. Limits of the diaphane. But he adds: in bodies. 'rhen he was aware of them bodies before of them colored. [anastropheJ ,How? By knocking his scone against them, sure. [dialect] Go easy. Bald he was and a millionaire maestro di color che sanno. Limit of the diaphane in. Why in? Diaphane, adiaphane [euphony] If you can put your five fingers through it, it is agate, [enthymemeJ if not a door. Shut your eyes and see! This use of rhetorical figures, is a feature, then, of stream of consciousness writing which stems naturally from the attempt to reproduce the broken, seemingly incoherent, disjointed texture of the processes of consciousness when the y are l not deliberately screened for direct communication. r,(1o begin wi th, Humphrey' s defini tions of "rhetorical figures" are rather arbitrary. For example, hyperbaton, the unusual or unexpected ordering of words, can be said to characterize the entire passage. Therefore it is not really justified to define only the second sentence in this way. Also, an example lilŒ: "Then he was aware of them bodies before of them colored", while obviously a linguistic distortion, is not characterized at aIl adequately by calling it an anastrophe, i.e. an inversion of the usual order of words.

lIbid., p. 75 17

In fact there is no inversion here. What is unusual here, as will be pointed out below, is the absence of certain conven- tional elements. But leaving aside any further questioning of the accurracy of Humphrey's definitions, we are faced with the more important question of whether the Mere use of rhetorical fieures can be regarded as a distortion of narra- tive conventions. ln a passage as unconventional as this one, the use of rhetorical figures, which by definition are recognizable literary conventions, can be seen more as a background against which other linguistic manipulations are understood. What is MoSt significant about this passage is its deviations from ordinary written discourse and perhaps the best way to demonstrate these would be to reconstruct or paraphrase this passage in terms of how language is normally used:

Stephen thought: "At least that the modality of the visible, if no more, is thought through my eyes. Seasprawn and seawrack, the nearing tide, that rusty ~oot are signatures of all things l am here to read. Their coloured signs are snotgreen, bluesilver and rust. These are~limits of the diaphane, but he adds, 'ln bodies~. Then he was aware of them bodies before he was aware of them as coloured. How? l3y knocking his scone against them sure. 'Limit of the diaphane in'. Why in? Diaphane, adiaphane o If you can put your five fingers through it it is a gate, if not it is a door. Shut your eyes and see .'1

We know from the indication given at the beginning of the

~aragraph immediately followin~ this that the above remarks

- -,.... 18 are meant to represent Stephen's thoughts: IIStephen closed his eyes ••• 11 So by the initial insertion above plus the addition of quotation marks, both conventional indications, the ambiguity of the first person referent can be easily solved. However, what is not so easily solved is the determination of the third person referent encountered in the middle of the paragraphe This, it seems, can only be determined on the basis of the allusions surrounding it e.g. "limits of the diaphane: "in bodies and in colors", "bald", and millionaire". Readers who are familiar with these allusions will interpret the "he" as Aristotle. Those who are not will have more difficulties in understanding the passage, and will be forced to go through more or less the same process as when they come upon a word or phrase in anw type of discourse which is unfamiliar, that is, looking

u~ the meaning in sorne outside source. Apart from the ambiguities surrounding the pronoun referents in this passage, other deviations evident in the above reconstruction are: phrases or parts of sentences typographically presented as complete sentences which can also be seen as "verbless" sentences; reversals of the normal ordering of sentences; and the absence of such elements as noun subjects and comparative indicators. 19

In addition to the use of rhetorical figures, Humphry cites another method by which the SC writer conveys the privacy of a character's consciousness - the use of free association. He selects as an example a portion of the following paragraph from the "Lotus-Eaters". (rrhe entire paragraph will be quoted here since it cornes under the discussion below):

Mr. Bloom stood at the corner, his eyes wandering over the multicoloured hoardings. Cantrell & Cochrane' s Ging;er Ale (Aromatic). Clery's summer sale. No, he's going on st*iaght. Hello. Leah tonight: Mrs. Bandman Palmer. Like to see her in that again. Hamlet she played last night. Male impersonator. Perhaps he was a woman. Why Ophilia committed s~icid8? Poor Papa! How he used to talk about Kate Bateman in that! Outside the Adelphi in London waited aIl the after­ noon to get in. Year before l was born that wast ir sixty-five • l And Ristori in Vienna. What is this the right name is? By Mosenthal it is. Rachel, is i t? No. 'l'he scene he was always talking about where the old blind Abraham recognizes the voice and puts his fingers on his face. 2 Here, the purely private association of "papa" with Ophilia is, as Most readers would guess, the fact that Leopold Bloom's father also committed suicide.3

In this passage, the only direct information we are given concerning a connection between Ophilia and Bloom's father

1* _ * marks the portion quoted by Humphrey 2James Joyce, op. cit., p. 77. 3Robert Humphrey, op. cit., p. 70 20 is that the father liked Kate Bateman playing the role. In this case the juxtaposition of "Why Ophilia committed suicide?" with "Poor papa!" only hints at what is made mOJre explicit later on. (Up to this point there has been no reference to the suicide of Bloom's father.) It is therefore impossible for the reader to "guess" this re­ lationship on a first reading of Ulysses, The only level on which this can be considered in any way a "private" association is that something that is presented in the passage becomes significant when we are presented with additional information later on in the novel. But again, this feature is not unique to what has been labelled as Sc writing. Even the most simple detective story operates in this 'manner. As for Humphrey' s calling this juxtapostion "free association" it is difficult to see why it is more so than other such juxtapositions of Bloom's or Stephen's thoughts in passages that we have already discussed. However, this passage does contain other features which render it different from conventional narrative, but at the same time different from some similarly unconventional passages discussed above. Here is another instance of a paragraph that opens with a third person narrative sentence and switches abruptly into first person unspoken thoughts characterized by irregular syntaxe But in this case there is a sudden shift back to the third person. However, we 21 can conclude that this third pers on does not refer to Mr. Bloom butinstead forms part of his monologue when we con­ sider the following factors. frhe sentence "No, he' s going straight on" is a contradiction of the first statement made about Bloom standing at the corner, which implied no question but was a straight declarative sentence. AIso, this third person sentence is in the present tense in contra­ distinction to the opening sentence. The foregoing examina­ tion of similar passages revealed that such a shift in tense went along with shift from third person narrative to third person monologue. Thus assuming that "No, he's going on straight" does not refer to Mr. Bloom but to someone he is observing or thinlcing about, we are led to explore further who is being referred tohere. Within the paragraph itself this is impossible ta determine, but it becomes readily apparent when we recall sorne of the information presented in preceeding paragraphs. There we are told that Bloom runs

into Mr. McCoy and after takj.ng leave of hi~,thinks, in the

line directly preceeding th~ paragraph under discussion: "Wonder is he pimping after me?" If the "No, he's going on straight" is interpreted as Bloom's answer to his previous question it becomes quite intelligible. Our analysis of earlier passages also permits us to assume that the rest of this paragraph, even the part that does not use the first person pronoun, is a monologue of the character referred to 22 in the opening narrative sentence because of the incomplete- ness of the sentences. In this passage it is perhaps even a little more clear because of the hesitations, questioning, and contradictions such as: "Perhaps he was a woman"; "What is this the right name is? •• Rachel is it? No." Such elements are not normally included in straight third person narrative discourse without the insertion of speech indicators such as quotation marks.

Both Humphrey and Friedman discuss the Aeolus episode in terms of the device of the newspaper headings it employs throughout. Humphrey regards these headings as a "function of typographical devices for controlling the movement of stream of consciousness fiction."

In the Aeolus episode ••• Joyce's penchant for using montage is evident; for the entire episode consists of a series of brief events, physical and mental, which are connected only by their relation to the milieu of the press and editorial rooms of the newspaper. About half of the scenes are interior monologue passages. Joyce's device for knitting these passages together and for pro­ viding the reader with a key to them is a typographical one; it consists of newspaper headlines to introduce each one. l

He uses the following passage as an example:

IIbid., pp. 59-60. 23

AND IT WAS THE FEAST OF THE PASSOVER

He stayed in his walk to watch a typesetter neatly distributing type. Reads it baclcwards first. Quickly he does it. Must require sorne practice that. mangiD kcirtaP. Poor papa with his hagadah book, reading backwards with his finger to me. Passach. Next year in Jerusalem. Dear, 0 dear! All that long business about that brought us out of the land of Egypt and into the house of bondage alleluia. Shema Israel Adonai Elohenu. No, that's the other. Then the twelve brothers, Jacob's sons. And then the lamb and the cat and the dog and the 'stick and the water and the butcher and th en the angel of death kills the but cher and he kills the ox and the dog kills the cat, Sounds a bit silly till you come to look into it well. Justice it means but its everybody eating everyone else. That's what life is after aIl. How quickly he does that job. Practice makes perfecto Seems to see with his fingers. l Humphrey maintains that in this passage: The contemplation of Hebrew lore has no connection with the rest of the episode. It is merely another of the glimpses the reader gets into Bloom's consciousness, unified and made to seem logical by the device of the headline and the logic of the central association, the name Patrick Dignam spelled right to left like Hebrew ••••• 2

If we compare this passage wi th one ci ited above for example the passage from the Telemachus'episode where Stephen re­ members his mother's death (see page l ), we can say that both work in the same way in many respects. The headline doesn't really change the essential style of this paragraph where again there is a shift from third person narration to first person monologue, from past to present tense, and

IJames Joyce, op. cit., p. 124 2 Robert Humphrey, op. cit., p. 60 from normal to irregular syntaxe We don't really need the headline as a key to Bloom's memories here; we are given the Hebrew word for Passover, as well as the name of the book and excerpts from the prayers traditionally read at this feast. The headline is a re-inforcement of, rather than a prerequisite to the interpretation of this passage. However, the headlines do function on the level of the whole episode in satirizing newspaper reportage of events. But as suggested above this has little to do with the characteristics that have been generally described as SC writing because it operates independently of these characteristics. Friedman's view concerning this episode is that

Newspaper headings announcing the incident in the narrative give a sense of something bîyond the specifie minds of the characters.

Although he never attempts to be more specifie about what this "something beyond" is, it seems that his statement could only be valid if he meant it in the sense

referred to above, i.e. that ~he headlines are working on a separate level from so-called SC devices. However since he discusses this point as part of his general de­ scription of SC, it is doubtful that this is what he means. In terme of the "Passover" passage, Friedman suggests that here:

looelvin Friedman, op. cit., p. 225. 25

Bloom's consciousness is very near the margin of attention ••• the reader can easily trace the steps in the digression; there is no con­ fusion by any of the other abuses of the less conscious regions of the mind. l

If we compare this with his comments on the "Frauenzimmer" passage (p. Il ) we can see that Friedman differentiates these two passages in terms of the different levels of

consciou~ness he feels are being depicted. But a comparison of the two passages reveals that the essential distiction between them lies in the difference between the linguistic manipulations being carried out. Both involve a shift from

the description of a specif~object that the character is observing at a given moment, to the thoughts, memories or associations that this observation provokes in him. But in the "Passover" passage, while the phrases towards the end do not as explicitly refer to the typesetter Bloom is observing as does the opening of the passage, there is a clear return to the object initially referred to through the device of repeti tion. rrhe phrases: "Quickly he does. i t. Must re­ quire some practice that ••• ", partially repeat "How quickly he does that job. Practice makes perfect." The end of the "Frauenzimmer" passage does not refer back so clearly, if at all, to the opening of the paragraphe Perhaps this is the kind of cohesion Friedman actually is aware of when he talks about "margin of attention" and "no confusion of less conscious regions". Otherwise we cannot regard Stephen's analogy between the contents of the midwife's bag and a

lIbido-'- , p. 227. 26 telephone cord as beine; less conscious or more fantasy-like than Bloom's analogy between the typesetter's reading back­ wards and his father reading backwards.

Friedman attempts to define another aspect of SC style by examining the fOllowing passage from the Lestrygonian episode:

Aware of their greed and cunning he shook the powdery crumb from his hands. They never expected that. Manna. Live on fishy flesh they have to, all sea bird, gulls, seagoose. Swans from Anna Liffey swim down here some­ times to preen themselves. No accounting for tastes. Wonder what kind is swanmeat. Robinson Crusoe had to live on them. 'rhey wheeled, flapping weakly. l' m not going to thrnw any more. Penny qui te enough. Lots of thanks l get. Not even a caw. They spread foot and mouth disease too. If you cram a turkey, say, on chestnut Meal it tastes like that. Eat pig like pige But then why is it that saltwater fish are not salty? How is that?l

Using Gilbert's definition of "peristaltic technique" for this episode2 - where the rhythm is intended to approxi­ mate that of the digestive organs - Friedman calls this passage:

lJames Joyce, op. cit., p. 152. 2stuart Gilbert, op. cit., p. 199 27

... an example of how the quality and tone of the stream of consciousness varies in accordance with the time of day; heret~e move­ ment of Bloom's mind is ruminative ••••

It is difficult indeed, if not impossible to equate on any level the rhythm of linguistic discourse with the rhythm of digestive processes. However, Friedman attempts the analogy here by saying that the passage is "heavily rhythmical" and contains a lot of "laggard vowel sounds and consonant repetitions. 1I But he fails to give examples. In any case it would be difficult. If there is such a thing as a

''lae;gardll vowel sound, it would seem to depend on an indivi­ dual's particular pronunciation rather than on any inherent linguistic feature. As for consonant repetition it is hard to know whether Friedmanmeans that there is a frequent use of consonants or that one or several particular consonants are significantly repeated. In either case his suggestion is not very useful: if it means the former, this would hold for any stretch of discourse in English, given the fact that there are 21 consonants; if he is referring to the latter he is wrong - there is no consistent repetition of any particular consonants in this passage.

Essentiall~, Friedman seems to have in mind here Gilbert's definition of the technique of this episode even though he applies it somewhat differently:

lMelvin Friedman, op. cit., p. 227. 28

The technique •••• is based on a process of nutrition; pcristalsis, 'The automatic muscular movcmcnt consisting of wormlike contractions in successive circles by which nutritive matter is propelled along the alimentary canal'. This process is symbolized by Mr. Bloom's pauses bafore various places of refreshment, the in­ complete movements he makes towards satisfaction of the pangs of hunger which spasmodically ïrge him onward, and their ultimate appeasement. The only way in which we can say there is sorne analogy between Bloom's movements and the movements of the digestive process, is on the level of the semantic component, i.e. there are many references to eating and feeding and the organizing semantic principle of the episode is Bloom's looking for a place to eat. HOVlever, as for Friedman's contention that the passage quoted above is an example of "how the quality and tone of stream of consciousness varies in accordance with the time of day" , if we compare it with another passage that de­ scribes a different hour of the day, we can see there is no real basis for this view. 'l'he passage quoted on p. 19: where Bloom is watching the advertisements as he stands on the corner, also opens with a third person narrative sentence, has a subtle swith to the first person even though a third person is still involved, and contains incomplete sentences with a speechlike quality (i.e. they follow the idiom of how we speak in everyday conversation.) Bloom's thoughts are no more "ruminative" in the "seagulls" passage than these are in ithe "Billboard" passage. 'l'he essential difference seems

IStuart Gilbert, op. cit., p. 208. 29 seems to be in the subject matter. In the seagulls passage the semantic emphasis is on eating and feeding although ev en this does not seem to be dependent on the time of day Joyce is dealing with. This theme of eatine in the passage just quoted which refers to seagulls eating fish and Robinson Crusoe eating swan, repeats part of the "Passover" passage which describes an earlier part of Bloom's day: "Justice it means but its everybody eating everyone else." The anal ogy made here by Friedman can be argued against on the same basis that the psychological analogies were argued against in the introduction. While it is valid to discuss what Joyce says about such phenomena as eating and digestion, it is unjustified to use descriptions of ~nese processes to describe the linguistic features involved in their presentation.

The most significant characteristic of the next episode "The Wanderine Rocks" which consists of nineteen short "scenes", is the recurrence of certain descriptive sentences, which seems to be the basis on which various critics of Ulysses have made a.nalogies of i t wi th extra-linguistic arts. Friedman lilcens it to music and Humphrey to the cinematic technique of montage. While it is true that sorne musical composition and sorne films also rely on the recurrence of 30

certain elements o a close look at the kinds of repetitions used in this episode reveal that they can be defined solely on the basis of how language can be used and there is no apparent need to rely on extra-linguistic factors for their definition. The present discussion will deal only with the cine­ matie analogy since the musical anal ogy will be discussed in some detail in describing the "Sirens" episode. Humphrey, in describing the technique of thé "Wandering Rocks" episode. uses Daiches' definition of two methods of "montage" that can be used in fiction,

1 •••• the subject can remain fixed in space and his consciousness can move in time - the result is time - montage on the superimposition of images or ideas from one time on those of another. 2 •••• time remains fixed and •• the spatial element changes ,which results in space - montage •• referred to variously as the °camera-eye' or 'multiple view,.l

But if we compare this definition to the way we normally indicate time or space. it cannot really serve as a useful description of verbal art since it can as easily be applied to any type of verbal discourse. An ordinary sentence likel "While sitting there, he thought about what he did yesterday, and wondered how it would effect his plans for tomorrow." is a simple expression of the concept of a subject remaini~g

lRobert Humphrey, op. cit., p. 50. 31 fixed in space while his consciousness moves in time. Just as simply, the sentence "When it is six o'clock in Montreal, it is midnight in London" expresses spatial movement while time remains fixed. In fact it is possible to express lineuistically any movement in time - past, present or future - even in the same sentence by simply changing the verb tense. It is much more difficult to achieve this in a medium like film, where if possible at aIl to accomplish, it can only be done as a result of certain not very well understood filmic conventions. But, what is interesting about the Wandering Rocks episode, is that Joyce uses none of the normal linguistic ways of indicating temporal or spatial relationships of the parts of the episode with one another. Instead, he replaces these conventional indications by the repetition of certain elements thereby calling attention to, or foregrounding normal usage. Each scene contains at least one reference to a charaeter or object that is repeated with varying degrees of

exaetness in one O~· more of the other scenes. The degree of exactness to which each repetition is carried out depends on its function in the particular scene in which it oecurs, the function being to locate the scene either in time or space as it relates temporally or spatially to the other scenes in which the reference occurs. In so functioning, the

changes that occur when references are repeate~usually concern their spatial location, which, as shall be 32

illustrated a~hough the examples below, serve as temporal indicators. However, other changes occur as well, changes that have nothing to do with indicating either time or space, but instead draw attention to the resources of the language that enable us to say the same things in different ways. These changes will be evident in all the examples quoted t'elow. The first repetition we come across in the episode occurs in scene l, and is somewhat different from all the others in that it occurs in such close proximity to the reference it is repeating. (Only one sentence spearates these two)s

On Newcomen bridge, the very reverend John Conmee, S. J. of st. Francis Xavier's Church, upper Gardiner street, stepped onto an outward bound tram. At Newcomen bridge, Father John Conmee stepped into an outward bound tram for he disliked to traverselon foot the dingy way past mud island. The close proximity of these two sentences seems to serve the function of introducing or pointing to the many similar repetitions that will occur throughout the episode. How- ever within the scene the repetition serves only as a re­ inforcement of the original statement, but wh en it occurs in scene 2 it serves the function of indicating a time relation- ship between the first two scenes. It would be useful to

lJame s Joyce, op. Cl.. t ., p. 221 33

quote this repetition in the context in which it appears in scene 2, first of all to show how it stands out or is strilüng because of the absence of more conventional links, and secondly because the sentences surrounding it contain partial repetitions of another reference given in scene l, which function in a similar way: Corny Kelleher closed his long daybook and glanced with his drooping eye at a pine coffinlid sentried in a corner ••• Chewing his blade of hay, he laid the coffinlid by and came to the doorway •••• Father John Conmee stepped into the Dollymount tram on Newcomen bridge. Corny Kelleher locked his largefooted boots and gazed, his hat downtilted, chewing his blade of hay.l In scene l, before Father Conmee boards the tram: He passed H. J. O,Neill's funeral establishment where Corny Kelleher totted figures in the daybook while he chewed a blade of hay.2 The repetition in scene 2 of the description of Father Conmee boarding the tram is different from the repeated reference to Corny Kelleher because it describes the 'exact same moment in time, and i s the author' s unconvention- al way of indicating that "at the same time" Corny Kelleher closed his daybook and came to the doorwa;w, Father Conmee was boarding the tram. This sets up a temporal simulta- nei ty between scene 2 and part of scene 1. On the other hand, the repeated descritpion of the actions of Corny

IJames Joyce, op. cit., p. 224. 2 lbid., p. 220. Kelleher in scene 2 indicates a time progression from the initial reference to him in scene 1. Whi1e the same "" of the chewing of a blade of hay is used, his actions are different. In more conventional narrative, a time re1ationship between these two events may have been described without the intervention of fairly long stretches of unrelated dis- course. Also, certain other linguistic indicators would be employed such as, "while", "later" or "at the same time". Atranslation or paraphrase of these portions of the text into normal narrative chronological sequence will show more clearly how Joyce has manipulated the conventions:

Father Conmee passed H. J. O,Neill's funeral establishment where Corny Kelleher totted figures in the daybook while he chewed a blade of hay. [Then he walked along until he came to] Newcomen bridge, [where he] stepped into an outward bound tram for he disliked to traverse on foot the dingy way past mud island. rAs J Father Conmee stepped into the Dolly­ mount tram on Newcomen bridge, Corny Kelleher closed his long daybook ••• Chewing his b1ade of hay, he laid the coffinlid by and carne to the doorway, etc .••..

In the examples discussed above, therd is sorne adherence to conventional narrative chronology in that a reference that is repeated somewhere e1se is made fair1y explicit before we encounter it in a new contexte However, Joyce inserts other references in the midd1e of an unrelated scene which are not 35 made explicit until they are repeated further on in another scene. In the middle of scene 5 for example, which describes Boylan buying fruit for , occurs this rather sur- prising sentence:

1\ darkbacked fiGure under Merchant's arch scanned books on the hawker's car.! This is nqt explained until scene 9 where Lenehan and McCoy are walking together:

They went up the steps and under Merchant's arch. 1\ darkbacked figure scanned books on the hawlŒr' s cart. - There he is, Lenehan said. - Wonder what he is buying, McCoy said, glancing behind •. - Leopol~o or the Bloom is in the Rye, Lenehan said.

Then they continue on ridiculing Bloom, mak.ing jokes about hi8 wife's sexual infidelity. In retrospect, this reference has an obvious nantie link with the scene in which it first appears, as soon as we discover that the "darlÇ.backed fieure" describes Bloom. Both scenes in which it occurs deal directly or indirectly with Molly's infidelity. But in the following example of the same kind of repetition, no such semantic link is evident. In the middle of Mr. Kernan's monologue in scene 12 there appears: - Hello Simon, Father Cowly said, how are things? - Hello Bob, old man, Mr. Dedalus answered stopping. J

l p. 227. 2Ibid • p. 233. 3Ibid • p. 239 36

Scene 14 opens with an exact repetition of these lines but they are more coherent in their repetition because they are followed by a conversation hetween the two men. Again, both of these examples serve the purpose of indicating that the scene in which the repetitionoccurs is taking place at the same time as the scene in which the initial reference was made.' But while sometimes other semantic relationships exist as weIl, sometimes they do note Another kind of repetition used in the epi80de is the description of a fixed object which doesn't function as a temporal indicator. Instead it seems to locate the characters observing it in the same location at one time or another. thereby linking the scenes in which they observe it. The most obvious example of this i8 the repeated references to the poster of Marie Kendall: Sc. 7 - Then [Miss Dunne] stared at the large poster of Marie Kendall, charming sQubrette ••• mustard hair and dauby cheeks. She's not nice looking is she?l The way she is holding up her bit of a skirt. Sc. 9 - [McCey & 1enehan] passed Dan Lawrey's music hall where Marie Kendall, charming soubrette, srniled at them from a poster a dauby smile. 2

lIbid., p. 228 2Ibid., p. 232 37

Sc. 18 - Master Dignam turned, his cap awry, his collar sticking up. Buttoning it down, his chin lifted, he saw the image of Marie Kendall'lcharming soubrette, beside the two puckers. Sc. 19 - A charming soubrette, great Marie Kendall, with dauby eheeks and lifted skirt, smiled daubily from her poster upon William HUmble earl of Dudley and upon lieutenant colonel H. G. H~sseltine[(members of the viceregal cavalcade)J.... - The underlined parts indicate the exact repetitions of the descriptions of the poster from seene to scene, and are re- presentative of the device used throughout the episode of the same descriptive phrases aecompanying characters or objects as repeated references are made to them. Other examples of the consistent recurrence of descriptive phrases applied to a particular object or character are:

A skiff, acrumpled throwaway, El' jab j8 coming, rode lightly down the Liffey, under Loop­ I1ne bridge, shooting the rapids where water chafed around the bridgepiers, sailing eastward past hulls and anchor chains, between the custom- house dock and George's quay.3 North wall and Sir John Rogerson's Quay, with hulls and anehorehains, sailing westward, sailed by a skiff, a crumpled throwa~ay, rocked on the ferry-wash, Elijah is coming. Elijah, skiff, light crumpled throwaway, sailed e8~~tward by flanlŒ of ships and trawlcrs ••• 5

IIbid. , p. 250. 2Ybid. , p. 252. 3Ibid • , p. 226. 4Ibid • , p. 239.

5Ibid • , p. 2L~9 • 38

A one-legged sailor, swinging himself onward by lazYljerks of his crutches, growled sorne notes .••• A one-legged sailor crutched himself around MacConnell's corner ••• and jerked himself up Eccles street .•• he growle;d unaimiably... 'llhe sailor grumbled thanks apd •.. swung himself forward four strides .••• 2 The one-legged sailor growled at the area 14 Nelson Street •••• 3 Mr. Dennis J. Maginni, professor of dancing &c., in silk hat, slate frockcoat with si1k facings, white kerchief tie, tight lavender trousers, canary gloves and pointed patent boots, walking with grave deport'lient, most respectfully took the curbstone. On O,Connell Bridge many persons observed the grave deportment and ~ay apparel of Mr. Dennis J. Maginni, professor of dancing &c.,5

Opposite Pigott's mùsic warerooms, Mr. Dennis J. Maginni, professor of dancing &c., gaily apparrelled, grave1y w~lked, outpassed by a viceroy and unobserved.

Irbid., p. 218. 2Ibid ., p. 224. 1:bid'., p. 248.

L~ • IbId. , P. 219. 5Ibid • , p. 235. 6Ibid • , p. 253. 39

These phrases, even though repeated with varying degrees of exactness help to make the numerous characters and objects referred to in this episode easier to remember. l The final scene of the episode, describing the observations of the viceregal cavalcade, acts as a kind of summing up orbringingtogether of all the preceeding scenes. It contains the most repetitions of the kinds discussed above. However, the function of summation is not quite so clear-cut as it appears initially. Many of the repetitions of other scenes are not included here, while quite a number of characters are introduced for the first time. One character missing from the scene is Father

Conmee who is striking b~ his absence, which Friedman perceptively explains illustrates the striking contrast between the first scene where he is the central figure representing the Catholic Church and the final scene which is oiganized around the representatives of British rule. 2 An example of a character introduced for the first time in the episode in scene 19 i8 that of Gerty McDowell. This reference is interesting because in relation to the rest of the novel, it works the same way as the reference

lA fairly complete list of aIl the similar kinds of repetitive phrases accompanying objects and characters that are referred to consistently throughout the Wander­ ing Rocks episode, did not reveal any significant pattern in terms of the number of times each was repeated. See Appendix.

2Melvin Friedman, ~o~p~.~c~i~t., p. 231 40

to the "darkbacked figurelt at the "hawker's cart" works, i.e. it is not made explicit until it is repeated. But the reference to Gerty is not repeated again until several episodes later where it will become central to the Nausicaa episode which rRpeats not only the reference to Gerty but the style which is used in referrinc; to her (which will be examined under the discussion of that particular episode). While acknowledging that SC technique is used to pre­ sent other characters in the episode besides Stephen and Bloom, Humphrey feels that only whereit is used in pre­ senting these two main characters does it carry on the SC function of the novel. l However it can be argued that the technique, used in this episode to de scribe characters other than Stephen or Bloom, calls attention to the device, which is used in five scenes of this episode other than those revolving around the novel's two main characters. When we see it being used to present these minor characters, it becomes more clear that it is a linguistic manipulation rather than a device which relies on a certain kind of consciousness, or even one that can only be used over long stretches of discourse. .Joyce uses i t here even to describe rather superficially, characters in passing. The following is an example:

lRobert Humphrey, op. cit., p. 53. lVIr. Kernan glanced in farewell at his image. High color, of course. Grizzled mous­ tache. Returned lndian officer. Bravely he bore his stumpy body forward on spatted feet, squaring his shoulders. ls that Lambert's brother over the way, Sam? What? Yeso He's as like it as damn it. No. The windscreen of that motorcar in the sun therî. Just a flash like that. Damn like him.

This passage shares many of the characteristics of the other so called SC technique used to present the thoughts of the main characters: an introductory third person narrative sentence followed by incomplete sentences combined with complete; and questioning and hesitation and mistakes in judgement which often accompany ordinary speech. In the same way that the use of "SC technique" in this episode relates to the use of the technique in the rest of the novel, the repetitive patterns used here are in themselves repetitions of the same device used throughout the novel, although over much longer stretches of narrative discourse. There are repeated references in the episode to things that have occurredmuch earlier on in the novel, so that, depending on the reader's memory span,this is not the first time he encounters them. An example of this is the reference made to two women in scenes 13 and 19:

IJames Joyce, op. cit., p. 239. 42

Two old women fresh from their whiff of the briny trudged through Irishtown along London hridge road, one with a sanded umbrella, one wit~ a midwife's bag in whi~h elsven cockles rolled.

At Haddington road corner two sanded women halted themselves, an umbrella and a bag in which eleven cockles rolled to view with wonder the lord mayo~ and lady mayoress without his golden chain.

The underlined parts of the following passage indicate where the above passages repeat it. This passage comes from the third episode of the novel and has already been discussed from another point of view:

They came down the steps •.•• Frauenzimmer; and down the shelving shore flabbily their splayed feet sinking in the siltcd sand ••• Number one swung lourdily her midwife's bag. The other's gamp poked in the beach.3 One of the most interesting differences between the third quote and the other two found in the "Wandering Rocks", is the description of the contents of the midwife's bag which differ in accordance to whether it forms a part of Stephen's interior monologue or is presented through third person objective narrative.

Irbid. , p. 2~,1. 2Ibid • , p. 254. 3Ibid • , p. 43 A similar lcind of repetition occurs in the Wandering Rocks but while it has not occurred in previous episodes it will become central to the Sirens episode immediately following:

Bronze by gold, Miss Kennedy's head by Miss Doucets head, appeare~ above the cross­ blind of the Ormond Hotel.

Above the crossblind of the Ormond Hotel go Id by bronze, Miss Kennedy's head by Miss Douce's head watched and admired. 2

These help to make more explicit the rather incoherent opening sentence of the Sirens episode, Bronze by gold heard the hoofers, steely­ ringing Imperthnthnthnthnthn.3

Later on in the Siren's episode when aIl the ambiguities and incoherencies of the opening passage are explained more fully, an almost exact repetition of the passages quoted from the "Wandering Rocksuoccurs:

Bronze by gold, Miss Douce's head by Miss Kennedy's head, over the crossblind of the Ormond bar hea!îd the viceregal hoofs go by, ringing steel. ~

lIbid., p. 245. 2Ibid • , p. 252. 3Ibid • , p. 254. 4J bid • , p. 256. 44·

While Humphrey seems to be aware of the repetitive patterns in the Wandering Rocks episode, he tends to minimize their significance in relation to the whole novel:

Joyce is careful to make cross references of minor details to indicate that the scenes take place at approximately the same time. Except for these minor and superficial details the scenes are unrelated.l

* * * * *

IRobert Humphrey, op. cit., p. 53. 45

The Sirens episode has been discussed by most commen- tators on Ulysses in terms of an analogy with a musical fugue. Friedman describes the "musical" technique of the episode as an illustration of "the most extreme possibilities of stream of consciousness". l He feels it is characterized by the device of "sensory impression", one of the technical

varia tions possible wi tmn SC wri tingo '11his device is described

as being different from "interior monologue" by which he characterized many of the first person passages encountered in previous episodes:

••• the great difference is one of area traversed. Sensory impression is concerned with the region furthest from the focus of attention, while interior monologue ranges throughout the entire consciousness. Sensory impression is the writer's nearest attempt at recording pure sensations and images. It marks the transposition of musical and poetical effects into fiction. 2 "Friedman regards the Sirens episode as the "first clear break with the desie;n of the whole work" because "the device of sensory impression replaces the inner monologue of the previous nine episodes··. 3 In these remarks he is setting up new psychological distinctions to describe linguistic de­ vices that are essentially further extensions of sorne of the linguistic manipulations carried out in previous episodes. Priedman is quite accurate in his awareness of differences between sorne of the "Sirens" monologues and those in earlier episodes. But these differences can be explained more simply

lMelvin Friedman, op. cit., p. 235.

2'[b"~_l_., d p. 6 • 3Ibid .• p. 234. 46

by regarding them as manipulations of devices already esta­ blished by Joyce in Ulysses, just as the earlier devices are manipulations of established ~iterary conventions and ordinary discourseo The following passage which presents 'Bloom's thoughts while listening to the singing of Martha in the bar and thinking of his relationship with Martha Clifford, represents the most extreme manipulation of earlier monologuesl

Bloorn. Flood of warm jimjam lickitup secretness flowed to flow in music out, in desire. dark to lick flow, invading. Tipping her tepping her tapping her topping her. Tup. Pores ·1;0 dilate dila ting. Tup. The joy the feel the warm the tup. To pour oger sluices pouring gushes. Flood, gush. flow, joygush, tupthrop. Nowt Language of love.l

In earlier passages that contained a sudden shift from third to first person narrative, the introductory third person sentence which identified the tirst persan narrator. was generally syntactically regular. Rere it is replaced solely by the name. Also this passage exploits the phonetic resources of the language ta a much greater degree than the monologues discussed earliero This is evidenced by the density of devices su ch as repetitions of sounds. port­ manteau words and word fragments presented ~s words in the same way that sentence fragments were presented as complete sentences

lJames Joyce, op. cit •• p. 273. 47

earlier. The strildng alliterative phrase that occurs in the passages "Tipping her, tepping her, tapping her. topping her" is an obvious attempt on Joyce's part to around with vowel sounds in order to achieve musical effects. In doing this h;e goes as far as maldng up new words such as Ittepping" which is based on the formation and sounds of the other participles in the string in which it occurs. This distortion of the insertion of a vowel into a string of letters in which it doesn't normally occur, works on the same principle by which poets frequently insert words into sen­ tences and phrases where they are not normally used. The other parts of this sequence are all semantically related to the rest of the episode. In Bloomos mind these sounds represent his preoccupation with the meeting to take place at four o'clock between Boylan and Molly. We are told fre­ quently throughout the episode that the thought of this meeting causes great anxiety in Bloom. "Tipping her" recalls the tip Boylan gave to the barmaid Miss Douce just before he le ft the bar for Eccles streeta

Miss Douce took Boylan's coin, struck boldly the cash registero It clanged.Clock clacked. Fair one of Egypt teased and sorted in the till and hummed and handed coins in change. Look to the west. A clack. For me. l

llbido, p. 264. 48

"Tapping her" anticipates the sound of Boylan ltnocking on Molly"s door, and replaces the "jingle" motif or variations of it (which will be discussed below), that represent Boylan on his way to Molly. The following lines de scribe his arrivaI at her door (in Bloom"s mind)a

One rapped on a door, one tapped with a knock, did he knock Paul a.e Kock. [author of a pornographie novel) with a loud proud knocker, with a cock carracarracarra cock. Coclccock. Tap.l

This "tap" keeps recurring throughout the remainder of the episode in the same way that "jingle" recurred up to now. After Boylan has entered Bloom"s house, it cornes to re­ present the sound made by the blind piano tuner with his cane as he returns to the bar for his forgotten tuning forks

Tap. Tap. Tap. Tape

•••••• - O. that must be the tuner, Lydia said to Simon­ lione1 first l saw, forgot it when he was here.2

"Topping her" is an obvious slang reference to Molly's and Boylan's sexual intercourse. While Friedman acknowledges that the emphasis is largely on sound in the passage under discussion , he dis­ regards the phonetic resources of the language and defines

vt it solely in terms of "musical dissonance •

IIbid., p. 281 2Ibid., p. 287 49

Of the first three pages which represent the most distorted lines of the episode, he remarksi

This curious writing p which resembles musical chords lifted from context, is only comprehensible in terms of the remainder of the episode. stuart Gilbert, whose analogy of the "Sirens" with music seems to have been the principle inspiration for the comments of Friedman and others, says of the opening pagesl

These fragmentary phrases ••• are like the overtures of some operas and operettas, in which fragments of the leading themes and refrains are introduced to prepare the hearer's , and also to give him, when these truncated themes are completed and de­ veloped in their proper place, that sense of familiarity which strangely enough, enhances for most hearers their enjoyment of a new tune.

But as a counterargument to his own remarks, Gilbert quotes the following passage from another commentator on Ulysses, Professor Curtius:

••• The literary technique here employed is an exac·t transposition of the musical treat- ment of the leitmotif, the Wagnerian method. But there is this difference, that the musical motif is complete in itself and aesthetically satisfying; ••• But the word-motif, unintelligible in itself, acquires a meaning only when l relate i t to i ts context ••• Joyce has deliberat'ely ignored this essential difference between sounds and words, and ••• his experiment is of question­ able value.2 .

IMelvin Friedman. op. cit., p. 233. 2stuart Gilbert. op. cit •• p. 243. .50

GilbertOs main objection to Professor Curtius'view is that the first notes of musical themes are equally fragmentary and their meaning and beauty can only be apprehended when the piece ls completedol But if we consider how language in general works and try to define how Joyce is using it here, we would have to agree with Curtius'basic distinction between music and languageo While a "syntax" and "semantlcs" of music may very well be found to exlst, there ls no reason to believe that it will have the formal properties of

language 0 However i t seems doubtful that Joyce ignor'ed the difference because the fragmentary phrases and the opening pages are completed by their repetition in the context of more familiar linguistic structures throughout the remainder of the episode. This implies that he was well aware that merely using fragments of language did not have the same' results as playing fragments of a musical piece. While language can be manipulated a great deal. as we have seen in the examples from previous episodes. there are limitations to the extent to which it can be manipulated while still retaining intelligibility. The reader must be able to rely ultimately on the rules of his language, and when these do not operate, other devlces have to be used in compensation. 51

In discussion of the previous episodes we gave Many examples of such "compensating" devices. In this episode the same thing occurs. the essential difference being the degree of manipulation. In foregoing passages we could solve am­ biguities either through the relationship of the ambiguous utterance to other parts of the paragraph in which it occurred, or by relying on sorne information provided earlier on. Here we are introduced to a series of incomprehensible phrases most of which do not become intelligible until we finish reading the episode. (The same thing occurred but on a much smaller scale in the Wandering Rocles episode. See for example, p. 35 ). Although Gilbert has perceptively pointed out many of the linguistic distortions evident in the episode, lilte Friedman, he does so entirely in terms of the musical analogy often carrying it to absurd extremesl

The devices of suspension and resolution are frequently employed, as in the passagel 'Upholding the lid he (who?) gazed in the coffin (coffin?) at the oblique tiple (piano!) wires·. (Intellection is suspended till the last word resolves the mystery.) Examples of the °hollow fifth' •• _ are such words as 'BlmstupU where the 'thirds', the letters 00 and ood (Bloom stood up) are omitted, and su~h sentences as 'why did she me?' and' 'Milly no tasteo, where the central verb is omitted between subject and objecte Thus the hearer of an 'empty fifth' instinctively fills up the gap with a major third ••• l 52

This kind of analysis provides very little towards a method for describing literary texts since it steers away from any discussion of the essential material of poetic discourse i.e. language. In keeping with our linguistic explanation of poetic texts, we can de scribe the first passage referred to above by Gilbert as Joyce's attempt to explicitly call attention to some of the ambiguities he has created through­

out the novel~

Upholding .the lid he (who?) gazed in the coffin (coffin?) at the oblique triple (pia.no!.) wires. He pressed (the same sho pressed indul­ gently rer hand) soft pedalling a triple of keys ••• Questions that are only implied in other passages are ex­ plicitly raised here. The first of these is - Who does the pronoun "he" refer toi Whoever is upholding the lid is the sarne who pressed indulgently her hand. "He" can finally be identified as Simon Dedalus from a line that occurred

two pages earliera Il - That was exceedingly naughty of you,

Mr. Dedalus told ~er and pressed her hand indulgently."2 The second question asked in this passage is - What does the coffin refer to? The answer is given in the next parenthesis where we discover that it is a figurative way of describing the piano in the bar.

lJames Joyce, op. cit., p. 262. 2Ibid., po 2600 53

Most of the linguistic devices that occur throughout the episode such as alliteration, rhyming, and fragmenting of words and phrases, are all introduced in the highly irregular opening lines. (The sentence fragments that occur here have been used so frequently throughout the previous episodes that by now they can be seen as a back­ ground to' the further manipulations that are evident in the "Sirens".) There is another device found in the opening passage which is used with striking frequency throughout this episode. It consists of the replacement of the names of some of the characters by a descriptive motif. Even in the Wandering Rocks episode where the naming of characters

was frequently ac~ompanied by particular m.otifs in each case, it was never used alone to stand for the character. For example each time Richie Goulding was referred to, it was with "the costbag of Goulding, Oollis and Ward". In the Sirens episode, the bag replaces the naming of Richie Gouldingl

Richie led on. Bloom followed bag.l The bag of Goulding, Oollis, Ward led Bloom ••• 2

Some of these motifs of the episode are easier to identify with the character they stand for than others. The exarnple

lIbido, p. 264. 2ill.Q.., p. 265. 54

just given represents perhaps the most straightforward or least ambiguous use of the device because we were already given the information in a previous episode and in both lines a part of the character's name is given. The follow­ ing example represents a slightly more complicated variation of the device, although still relatively straightforwardo In the first line of the episode two colors are personalizeda

Bronze by gold heard the hoofirons, steelyringing •••

This would be much more incoherent if we had not already encountered two unambiguous, straightforward sentences in the previous episode that indicated what "bronze" and "gold" referred tO!

Bronze by gold, Miss Kennedy's head by Miss Douce's head, appeared above the cross blind of the Ormond Hotel.l

Above the cross blind of the Ormond Hotel, gold by bronze, Miss Kennedy's head by Miss Doucets head watched and admired.2 But there is still no indication as to which color stands for which of the women because in the examples above, when Joyce reverses the order of the colors, he does not reverse the names accordingly. This information is given only

l~.t p. 245. 2Ibid •• p. 252. 55

later on in the "Sirens" by the references to Miss Kennedy's go ld hal.ro· 1 The next example is representative of perhaps the most complicated use of this device because the motif is repeated several times before the information as to which character it represents is provided. We are introduced to it in the first page of the episodea "Jingle jingle jaunted jingling"o Several pages later this phrase is partially repeated by the word "Jingle" placed in isolation in the Middle of a dialogue between Simon Dedalus and Miss Douce.2 On the next page "Jingle jaunty jingle" appears in the middle of a description of Miss Kennedyo) The next repetition of the phrase is ex­ licitly associated with Blazes Boylan&

With patience Lenehan waited for Boylan 4 with impatience. for jingle jaunty blazes boy.

It is only after this that the phrase or portions of it are

"personalized" in the same way that gold and bronze are 1

Jingling on supple rubbers is jaunted from the bridge to Ormond quay.5 Jingle jaunted by the curb and stopped. 6 Although all aspects of the language in general are foregrounded in the "Sirens". the one most obviously

lSee for example P. 256. 5~ •• p. 262. 2Ibid •• p. 260. 6l2if!. , p. 263. )Ibid •• p. 261. ( 4Ibid• , p. 262. 56 manipulated is the phonological aspect. But it must be emphasized that these manipulations are based on the linguistic system rather than on the techniques of music, even though they derive from the aspect of language that most closely resembles music. namely the sound system. However the episode contains many references to music which form part of its semantic componento But Joyce draws attention to the aspect of language that is closest to music in order to make certain statements about it. This is quite dif~rent from saying that Joyce abandons the resources of the language and applies rules of music to his verbal art.

The Nausicaa episode can be conveniently divided into two parts - approximately the first two thirds which has as i ts central charactel' Gerty Iv'lacDowell, and the remainder in which the main character is Leopold Bloom. These two

parts are also s~ylistically different because different devices are used in presenting the quite different thoughts of these two characters. Both Humphrey and Friedman describe the first part of the episode as an example of "indirect interior monologue". Friedman describes i t as "stream of c'onsciousness rendered by indirect discourse ...... 57

• •• wri tten in the r,lanner of an Ethel M. Dell type novel ••• a style of sentimental cliche appropriate to GertyOs thoughts, filled with romantic adoration bred from cheap fiction ••• l

Humphrey uses similar termsl

••• straight narrative but in the fanciful romantic idiom of the dreamy Gerty. Through the device of a parody of sentimental fiction p the author gives an apparent int~rpretation of Gert.y·' S' daydream consciousness a

Both these comments are accurate in that Joyce presents the character of Ger"ty in a linguistic style that we would most likely find used by the type of character being described. However neither author attempts to say precisely what makes this part of the episode different from the "direct interior monologuelt of the narrative dealing with Bloom. Friedman says only that Bloom's monologue is "realistic" in contrast to Gerty's. Presented below is a passage froID each part, the first selected by Humphrey as an illustration of the "pure" use of indirect interior monologue, 3 and the second by Friedman as an example of "the distorting faculty of the subconscious ••• which distorts meanings and associations" as opposed to "the distorting faculty of the unconscious (the Sirens) which distorts language and syntax as well".4

looelvin Friedman, 012- ci t. t p. 236. 2Robert Humphrey, 012- ci t o. pp. 30-31. 3.!J?ll. , p. 30. 400elvin Friedman, 012- ci t o. po 2370 58

000 Canon O'Hanlon handed the thurible back to Father Conroy and knelt down looking up at the Blessed Sacrament and the choir began to sing Tantum ergo and she just swung her foot in and out in time as the music rose and fell to the Tantumer gosa cramen tum. Three and eleven she paid for those stockings in Sparrow's of GeorgeOs street on the Tuesdayo no the Monday before Easter and there wasnOt a brack on them and that was what he was looking at, transparent, and not at her insignificant ones that had neither shape nor form (the cheek of her!) because he had eyes in his head to see the diff~rence for himself.l

(In this passage Gert~ is sitting on a rock listening to the evenlng services coming from a nearby church. Her friends are a short distance away on the beach playing baIl. tlnot at her insignificant ones" refera to the stockings of Ciss~ one of the friends whom Gerty. feels is vying with her for Bloom's attentions. Bloom is looking on at the scene.)

The following passage represents Bloomos mainly erotic thoughts as he is dozing off having just masturbated in re­ sponse to Gerty·s. seductionsl

o sweety aIl your little girlwhite up l saw dirty bracegirdle made me do love sticky we two naughty Grace darling she him half past the bed met him pike hoses frillies for Raoul to perfume your wife black hair heave under embon senorita young eyes Mulvy plump years dreams return tail end Agendath swoony lovey showed me her next year in 2 drawers return next in her next her next.

From a first reading of these two passages, it is obvious that they are differente The following is an attempt to show as precisely as possible what linguistic features contribute to this difference.

lJames Joyce, op. cito. pp. 357-358. 2Ibid., p. 379. 59

Al though the "Gerty" passage is presented entirely in the first person, it contains sorne elements of previously discussed first person passages. The hesitation "ODOon

Tuesday, no the Monday before Easter 0 •• " is simi ',ar to hesitations found earlier in some of Bloom's monologue which helped to identify them as first person remarks. One example is found in the passage from the "Lotus Eaters" discussed on p..22. The unusual division of Tantum ergo sacramentum (the name of the hymn Gerty is listening to) , into "Tantumer gosa cramen tum" records more closely how a person might actually hear the words being sung, than a third person description of the event normally would. As in earlier first person passages, the syntax in this third person discourse is also irregular. But unlike the former where short fragments of sentences were presented as sentences, here the sentences tend to run on to unusual lengths. But such long sentences are just as unconventional in terms of normal narrative techniques as the shorter incomplete sentences. While "indirect interior monologue" is a fairly accurate description for the presentation of Gerty's reflections, it must be pointed out that it is the syntactic distortion, in conjunction with the semantic aspect of "sentimental cliche" or "romantic idiom", that differentiates this passage from

conventional third person narrative s~yle. 60

In a sense the second passage quoted above from Bloom's monologue, resembles the final scene from the Wandering Rocks episode 0 It also repeats, wi thin a relativel:Y' short stretch of discourse, many of the references from foregoing parts of "the episode as weIl as some from previous episodes. But un­ like the final scene of the "Wandering Rocks", this passage repeats only words or very short unconnected phrases from the rest of the episode. AlI punctuation is missing and the only way the reader can divide the passage up to render it intelligible is to trace back these words and phrases to the contexts in which they previously occurred. An attempt to break up the passage in this way reveals that it contains an interweaving of five general themes. (Theirsertions are interpretations of ambiguous words and phrases, based on their earlier occurrences in the episode and in the novel).

10 Bloomus observations of and erotic reactions to Gerty 1

o sweety aIl your little girlwhite up l saw dirty made me do love sticky [masturbate - earlier in the episode we find "liquid" references te the aftereffect of Bloom's masturbation - for example, p. 371 "This m is very unpleasant. Stuck." and p. 367 "Mr~ Bloom with careful hand recomposed his wet shirt ••• begins te feel cold and clammy ~ showed me her drawers.

2. Excerpts from po~nographic novels Bloom has bought for Mollyl

••• Grace darling she him half past the bed frillies for Raoul leave under embon [see fer example p. 235 of Ulysses.] 61

Jo References to Molly;

.00 Met him pike hoses hoses [r'lolly' s mispronun­ ciation of meternpsychosis - see for example po 66J black hair senori ta [Molly' s spanish ancestry] Mulvy [a former lover of Molly.]

4. Excerpts from the letter to Bloom from Martha Cliffordl

••• we two naughty perfurne your wife. [see p. 79 of Ulysses.] s. Bloorn's memories of the past and hopes for the futures

Agendath next year [the title of a Zionist brochure; Bloom's desire to go to Israel] return [see p. 374, "June that was too l wooedo The year returns".J

This passage, like the opening of the Sirens episode relies almost exclusively for its intelligibility on other occurrences of is phrases. However. in the discussion of the "Sirens" we examined another passage of Bloom's monologue - "Bloom. F'lood of warm jirnjam etc •• " - that required the sarne method of explanation. But that passage was punatuatèd. However. the punctuation was so irregular that it alone did not facilitate the interpretation. That passage also used "liquid" references to present Bloom's erotic thoughts - "flow', "dilate", "pouring gushes", "flood". However, it contained a portion of third person narrative in its opening remarks - "Bloorn. Flood of warrn jimjam lickitup secretness flowed in music out, in desire, dark to liclt flow, invading". 62

(The underlined words indicate the third person portion in the absence of a pronoun.) The remainder of that passage consisted of BloomDs directly presented thoughts as he reacted to the music flowing o It was a manipulation of earlier passages that combined third and first person remarks, because the third person portion was not t~o­ graphieally separated from the first person portion. The "0 Sweety •• o" passage i8 an even further manipulation of these passages beeau8e the eharacter's reaetion as well as the rememebranee of the event he is reaeting to are presented entirely in the first person. The lack of punetuation allows for such a presentation without the use of eonventional in­ dicator phrases sueh as "he thought" or "those memories made me feel". The result of eompl~te laek of punetuation will be diseussed in more depth in "Penelope" where the device i6 used exelusively to present an entire episode.

* * * * *

"Penelope", the final episode of Ulysses i9 generally viewed as a perfect and skilful example of direct interior monologue. Humphrey deals with this point more specifically than other SC critie9 by trying to isolate the features that make Molly Bloom's long monologue different from conventional 63

soliloquy. In doing so he points to many of the episodeos most striking linguistic characteristics, such as the com­ plete absence of punctuation, of pronoun references, of introductions to the events Molly is thinking about, and the frequent interruption of one i4ea by another. But he finally concludes that the episode is unconventional be­ cause no auditor is assumed and the author has completely disappearedz

It is not presented, formally, for the information of the reader •••• Here, the character is no more represented as speaking to the reader or even for his benefit than she is represented as speaking to another character in the scene •••• •••• there are no commentaries, no stage directions from the author.l

It has already been pointed out that describing literary

techniques in terms of separa~ing the author from his present material i6 inadequate and irrelevant. The same thing holds for making divisions between presented material (the work of verbal art) and the receiver of that material (the reader). Humphrey also main tains that as the monologue pro­ gresses, it recedes to "deeper levels of consciousness" until Molly falls asleep. However. a comparison between the opening and closing "sentences" of the episode based on their

lRobert Humphrey, op. cit., pp. 26-27. 64

linguistic ·features reveals that they consist of esserltially the sarne linguistic devices, Although there ia no punctua­ tion throughout the entire episode, it can fairly easily be divided up into sentences. However 9 most of these are un­ like normal sentences because of their unusual length even though they follow the same rules, and that is why we can isolate them even in the absence of punctuation. It is these long sentences that mostly characterize MOlly's monologue and the opening and closing sentences under dis­ cussion here are fairly typical. Both of these sentences are extended by the use of con­ junctions and prepositional phrases and qualifying phrases. Although these devices are normal features of all discourse they are never used with su ch frequency within one sentence mainly because of the difficulties involved in referring back to the basic parts of the sentence. However, what Joyce achieves by these long unpunctuated stretches of dis­ course, is the interweaving of several narrative lines operating with a simultaneity that could never be achieved through conventional narrative techniques. Molly's monologue opens as followsl Yes because he never did a thing like that before as asIt to have hi s breakfast in bed with a couple of eggs since the City Arms hotel when he used to be pretending to be laid up with a sick voice doing his highness to make himself interesting to that old faggot Mrs. Riordan that he thought he had a great leg of and ahe never left us a farthing.1 65

The skeleton sentence here is&

He never did a thing like that since the City Arms hotel.

The rest of the sententence consista of qualifying phrases,

( 66

Conjunction Noun Verb Phrase Complement

(Yes) because he never did a thing like that

- as ask to get his breakfast in bed - with a couple of eggs [implied] \ (before) since [ wel were" in] the City Arms hotel

-when he used to be pretending - to be laid up - with a sick voice - doing his highness - to make himself interesting - to that old faggot Mrs. Riordan - that he thought he. had a great leg of and -[who]never left us a farthing.

A conjunction at the beginning of this sentence replaces a more conventional narrative indication that Molly was already thinking before the reader was introduced to her thoughts. The inclusion of aIl these thoughts in one long unpunctuated first person sentence replaces more explicit indications that essentially three narrative lines are operating heres

- Molly is lying bed (present tense) - Bloom just asked for breakfast in bed (immediate past) - Molly and Leopold had once been at the City Arms hotel (more remote past) This kind of presentation is a further manipulation of the lack of indication of shifts from the third to first person remarks in previous episodes. The essential difference between this first sentence and the closing sentence of the episode is not that the latter represents a "deeper level of consciousness" but that there is a more complicated interweaving of different narrative lines. The closing sentence is also a great deal longer and it is therefore more difficult to isolate its basic partso The end of the closing sentences

••• and then l asked him with my eyes to ask again yes and then he aslŒd me would l say yes to say yes my mountain flower and first l put my arms around him yes and drew him down to me so he could feel my breasts aIl perfume yes and his heart was going like mad and yes l said yes l will Yes.l

is a continuation of the sentence which directly proceeds it almost a page earliera

••• and l gave him all the pleasure l could leading him on till he asked me to say yes and l wouldn't answer first only looked out over the sea and sky.2

lIbid •• p. 704. 2Ibid., p. 703. 68

Molly's final answer of "yes" to Bloom is postponed by her reminiscences of her earlier life in Gibralter. This postponement i8 conveyed narratively by presentation of her memories with Bloom being interrupted by the presenta­ tion of her memories in Gibralter. The passage quoted above is immediately followed byl

l was thinking of so many things he didn't know of Mulvy and Mr. Stanhope and Hestero.o.

This liat of reminiscences is added to over a very long stretch of discourse which contains at least thirty-seven repetitions of the conjunction "and". Following all these memories of Gibralter there is a return to the original memory of Molly's and Bloom's first lovemaking on Hovnh

head o but presented as a continuation of the Gibralter sequence. It follows "and" with no change in tense to indicate the shift in timez

••• and Gibralter as a girl where l was a flower of the mounta1n . yes when l put the rose in my hair like the Andalusian girls'used ••• and how he kissed me under the Moorish Wall and l thought well as well him as another and then l asked him with my eyes to ask again yes and then he asked me would l yes to say yes my mountain flower •••

However the shift is clearly indica~d by the repetition of earlier references to MollY'$ and Bloom's lovemaking. In summary, the narrative lines implicit in this closing passage arez Molly in bed at 7 Eccles street - Molly and Bloom making love on How.thhead. - Molly as a girl in Gibralter.

Because all are presented in the first person, explicit indications of these three levels of narrative are not required to convey the shift from one to another, as the y would be in conventional third person narrative. The lack of punctuation facilitates this shifting back and forth from one level to another because it permits the author to talk about different events, different times and different characters wi thin the saroe utterance. The lac]{ of formal division achieves an overlapping of all these different levels which is in keeping with the fact that all are depicting the thoughts of a single character. PART III

CONCLUSION

70 71

In our examination of the passages selected to support the stream of consciousness theory of Ulysses we have found essentially two major categories of linguistic devices in operation: 1. distortions of normal language and of literary conventions resulting in ambiguity of meaning; 2. compensatory devices that aid in solving these ambiguities. The devices most frequently used under the first category can be summarized as follows. The manipulation of conventional narrator indicators results in frequent ambiguities as to who is the narrator of given passages. This ambiguity is achieved in a number of ways. There are passages (usually paragraphs) that start out with a fairly conventional third person narrative sentence followed immediately by a first person utterance with no explicit indication of the shift. This shift into the first person is most frequently accompanied by a shi ft from third person narrative to the present tense, and the first person remarks are generally characterized by syntactic irregularities which may be described either as incomplete sentences, or parts of sentences presented typographically as complete. A variation of this is a string of utterances with complete lack of punctuation. Having set up or established this kind of distortion by a gradual increasing frequency of its'use in the opening episodes, Joyce proceeds to extend it even further by leaving out pronoun references 72 altogether in these irregular stretches of discourse. Thus we can only conclude that they are first person remarks on the basis of the linguistic irregularities they have in common with previous passages where the first person was made explicite Another variation of the device resulting in narrator ambiguity is the occurence of third person pronouns in the middle of these first per­ son passages (monologues). Sometimes the referent may be the same as that of the introductory third person state­ ment but sometimes it contradicts it on the basis of the information provided in each case. Where such contradiction occurs we can only conclude that this third person is some­ one that the first person narrator is thinking about. But usually this is made more explicit by information given in previous passages. A further variation of this device is the use of third person narrative discourse which shares many of the characteristics of earlier first person passages (referred to by Humphrey and Friedman as "indirect interior monologue", the most clear example being the first part of the Nausicaa episode). The most apparent result of aIl these distortions in indlcating the narrator is the raising of questions about the differences between subjective and objective recording of events. What happens when we relate personal experiences as opposed to when we relate or de scribe the experiences of others? ls total objectivity ever possible? In Ulysses Joyce is making certain statements or at least suggestions 73 about these different proce3ses of thinking and only on this level can analogies with psychological theories be appropriately made in connection with the texte But before arriving at the point where these analogies can be made, the first st~pis to describe the linguistic features that draw our attention to these psychological processes. Also an examination of these irregular passages on the basis of their linguistic characteristics reveals that,describing them in terms of the non-intervention or suppressed intervention of the author is rather futile since all of the material is presented by the author. Obviously Humphrey and Friedman are aware of this fact and what they really seem to recognize is the kinds of am­ biguities summarized above. The second category of compensating devices can generally be described by the unusual frequency in the novel of devices more rtormally found in verse forms. One of these is the device of repetition. Words, phrases, or sometimes whole sentences are repeated with varying degreees of

exactness in different contexts~ Th~serve as an aid to interpreting the kinds of ambiguities that occur in the

passages referred to under the fi~st category, because we can usually reconstruct them on the basis of the more ,normal contexts in which they previously appeared. The degree of exactness with which these utterances are repeated range from their exact repetition to their more indirect 74 repetition by other utteranees whieh bear semantie parallels to them. In between these two poles occurs devices such as: different objects described with the same adjectival or alliterative phrase thus relating these objects semantically; certain motifs accompany­ ing particular objects or characters and sometimes a re­ placement of these with the motif. (This is most apparent in the "Sirens"). Such IL'Bpetitions are also used as time indicators as we pointed out under the discussion of "The Wandering Eocks", and also as "spatial relaitors", sorne examples of which have also been indicated in dis- cussing "'l'he Wandering Eocles". But repetitions serving as spatial relators also worle over mueh larger stretches of discourse throughout the novel, and necessitate a conscious or deliberate reealling of episodes which occurred much earlier. An examplc of this (not used in Part II) is the phrase "silted sand" used originally in the "F'rauenzimmer" passage from "Proteus" discussed earlier

where Stephen is ~alking along Sandymount Strand. Much later the phrase is repeated in the Nausicaa episode. When Bloom throws away a pieee of wood "the stick fell 1n, S1'lt e d san d ••• ,,1 In this scene Bloom is also on the beach at Sandymount Strand. Another repetition that works in a similar way is the use of the motif "jingle" which

1James Joyce, op. cit., p. 379. 75

stands for Blazes Boylan in the Sirens episode. Although we have already discussed how it functions in the episode, it becomes even more significant when we consider its appearance in the navel. In the episode it i8 used to refer toBoylan\on his way to the rendezvous with the un­ faithful Molly. In the Calypso episode it is used to de- l cribe the sound made by the Bloom's old iron bed. Because these repetitions are used over such long stretches of discourse making unusual demands on the reader's memory, it makes the novel difficult to read be- cause it appears incomprehensible at times. But in all the examples we have discussed, it has been possible to reconstruct the ambiguities or the strange syntax by com­ parisons to other uses of the language outside the novel and within the novel. This again indicates that there is no need to differentiate passages in terms of an arbitrary schema of psychological levels of awareness. Many of the passages that Humphrey and Friedman differentiate in terms of the levels of .consciousness being depicted, actually share the same linguistic 6haracteristics. In Ulysses Joyce focuses on, or draws our attention to the resources of normal discourse in two ways: 1) very often irregular passages can only be reconstructed and

lIbid., p. 58. 76

interpreted by comparing them with how we normally use language, thus necessitating deliberate consideration of our normal linguistic habits 1 2) sorne of the irregularities found in the more difficult passages can be characterized by the fact that sorne aspects of the everyday speech idiom are being used in formaI narrative discourse without quot­ ation marks. In this way also, our everyday linguistic habits become foregroundedo

Although l have discussed this long and complicated novel only in terms of relatively small portions of it, l hope this analysis has revealed sorne of the linguistic features that differentiate Ulysses from earlier literary forms as well as from non-literary forms of discourse. Many of the episodes that have not been discussed here focus on other aspects of language than the ones we have isolated and therefore the de­ tails of their description would be different. But hopefully the kind of analysis attempted in this thesis has pointed to sorne fruitful possibilities for describing the remainder of

Joyce's text, and literary texts ~n general regardless of length or genre.

*, * .* * * Recurring motifs in "Wandering Rocks".

18 19 Scene Il 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 1

Father Conmee x x 1 _bGarà !ng-tram

Fr. Conmee's x x 1 thinsocked ankles·

One-legged x x x sailor :> '"""CI 1 "V 1 I:xj --J 1 Z --J Corny Kelleher, ix x o blade of hay H i i 1 >< ! 1 1 Mr. Maginni, 1 dancing Prof. x ! 1 1 x X : 1 1 Eugene Stratton ·1 poster ·x x

1 1 Young woman with clinging twig x 1 x 1

Eccles Street window x x x

- 16 17 18 19 Scene 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15

Auction laCqey,J bell x x

Elijah, crUmPlej x throwaway x , x x » x x x '"CI H.E.L.Y.'S '"CI 1 tx:l :z -..J o co Dark-backed Hx f'igure,hawker'f x x cart

Almidano Arti- 1 x f'oni,trousers x

Stephen,ashplani x x

Marie Kendall -1 x x poster x x

Disk shot down the groove x x 1 , 12 14 16 17 ~8 19 Scene 13 4 5 6 7 8 9 10 11 13 ~5 \1 ~ 1 , i Master Dignam, 1 X x i x porksteaks t j Î 1 i viceregal cav- x x x alcade x x. 1 1 ! 1 Elderly f'ernale, 1 1 x x 1 x > law court 1 >tJ ( 1 ""d ~ 1 t:tJ -.0 :z t::I Richie Goulding, x x H costbag x ~ 1

Two old women~ x x rnidwives 1 !

"Hello BDb~ •• x x 'Hello, Simon"

Cashel Boyle D'Conner Fitz- Maurice Tisdale x x x Farrell --,

Scene 1 21 3 4 5 6 7 8 9 10 11 12 13 ~4 15 16 17 18 19

Mulligan, Haines , Parnell's x x brother in the 1 D.B.C. ,1

1 x Bronze by gold x :r> 'IJ 'IJ 1 t:tl ;:p Z o o H X Blind stripling x x 1 81

APPENDIX

The most striking features of the pattern of these re­ eurrenees ares 1. most of the 'motifs' that appear in the first seene do not reeur in the final seene; 2. Most of these motifs that oeeur in seene 9 (the Middle sesne) are repeated in the final seene. 3. the greatest density of these motifs is found in the first, rniddle(Se. 9),and last seenes.

However, these features do not seern signifieant in terms of interpreting the episode.

* * * * * R2

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