The Characters and the Modes of Writing in James Joyce's Ulysses (I) --Morning of Contrast

35 The Characters and the Modes of Writing in James Joyce's Ulysses (I) --Morning of Contrast

Tatsuro Tanji (:Pfitifttlll)

of antiquity. Once Joyce said arroGilJltly, "rve Introduction - Homage to the liberal Joyce put in so many enigmas and puules that it will keep the professors buSY for centuries arguing In the beginning of a long chain of critics of over what I meant, and that's the only way of Ulysses wns T. S. Eliot, who left the following insuring one's immortality" (Ellmann 1983, problematic and provoca tive words: 521). But on the other hand it means that Joyce knew to the full that the themes and human In using the .myth, in manipulating a characters of his novel were embedded In the continuous parallel between contempora­ frame of reference of the period and would n eve~ neity and antiquity, Mr. Joyce is pursuing a be permanent. All that will remain in the future method which others must pursue after him. will be enigmas and puu les. They wlll not be imitators, any more than Joyce was really a tough customer. He could tlte scientist who uses the discoveries of an twist his intimate critics and friends around his Einstein in pursuing his own, independent, little finger with case. Fifty-six years after the further investigatlon.s. It is simply a way of publication of Ulysses, Hugh Kenner reconsiders controlling, of ordering, of giving a shape Joyce's tricks : and a significance to the immense panorama of futility and anarchy which is contem­ It is behind Valery Larbaud and Stuart porary history. Gilbert and Frank Budgcn that the artist (177) disappears, nail-nte in hand. It was they, at his behest, who equipped the great affirma­ Eliot's skill lies in his casual juxtaposition of the tion of meaninglwness with meaning. two words, shape and significance, which are not (1978, 63) necessarily the same. Only for those who love forms and shapes, they can have some signifi· They were aU the eagerer to equip the text with cance. But with Joyce, they are only superficial. meaning for its meaninglessness. In order to So the perplexing title and the plausible obfuscate the meartinglessness, Joyce had re­ headings of tlte episodes he finally obliterated course to a variety of styles. For the rest of his out of the text were all masks which enabled life, the problem of style continue~ to be his Joyce to achieve his ideal of relining himself out only concern. Joyce seems to ha,·e come to the of existence. In addition, they function as a realization that aU was style, living, writing and means of insuring Joyce's immortality, because all that. When he was asked by his younger "parallels that never meet" (Levin, 7 1) only brother Stanislaus about fascism, he answered bring about never-ending S\vinss of criticism be­ impatiently, " For God's sake don't talk politics. tween the defense of contemporaneity and tha t I'm not interested in politics. The only tlting that 36 37 r ,. interests me is style" (Ellmann 1983, 697). For for a moment in the face of the vast conglo mera­ ent from hi s exalted mood in the last chapter of covers the pages of the text. According as Ste­ J oyce, aU is style, all is surface, and all is mas k. tion of words in Uly sses. But Joyce, who was A Portrait. There Stephen declared to Cranl y phen strays in to mental paral ysis in the first In Uly sses, a great masquerade , J oyce played much interested in the activities of critics as con­ that he would not serve and was on the point of three episodes ("Tele machiad' '), the narrative roles with styles. By adapting stylistic idiosyncra­ tributors to hi s immortality, took a liberal atti­ r leaving for Paris, full of a mbition. But here he, corners itself into a deadend conscio usness of sies to the peculiarity of the person he was play­ tude to a variety of interpretations. Once Joyce who was fo rced to come back from Paris by a Stephen. ing, he obtained stylistic masks behind which he told Arthur Power of his fra nk feeling as follows: I telegram saying, " Noth er (sic] dying come home In the paragraph quoted above it is difficult could hide his own actual existence. But to " Th ough people may read more into Ulysses fa ther" (3 . 199), is bothered by the ghost of his to distingui sh between the narrator's voice and achieve this end, he had first to abandon his own than I ever in te nded , who is to say that they are r mo ther before whom he refused to pray on his Stephen's, for ''Stephen exists, for us readers o f proper style es tablished through A Portrait of the wrong: do any of us know what we are crea t­ kn ees whil e she was dying on her bed. Bound by words, in a zone of interference between 'his' Artist as a Young Man toge ther with his a uto bio­ ing?" (Power, 89) . Encouraged by this ca lculated I the past full of frustration , Stephen finds no habits with words and the practices of J ames graphical double, Stephen Dedalus. Thus Joyce liberality , we must take a brave step into a huge hope in the present and in the future. Joyce., (Kenner 1987 , 68). Especiall y, as Andre introduced another character, Leopold Bloom, to With such a change of Stephen's situation, Topia points out, the free indirect discourse maze of Ulysses just like a number of predeces­ r make him execute the mission above-mentioned sors. the narrative stance has also changed: in A Por­ " establishes an unstable intermediary zone allow­ in his place. In the course of time, Bloom's style I n·ait, J oyce adopted a sympathetic viewpoint o n ing the narrator to operate on two levels of dis­ gradually comes to overwhelm Stephen's and St e phen and used a third-person style which, course at the same tim •~" (1 04). Though in his preside over the whole text. However, it is not Morning of Contrast .I much affected by Stephen's conscio usness, essay Topia limits these two levels to the text Bloom but his wife, Molly, who ends this novel. deve loped according to his growth, but in the and the quotation without quotation marks, it is We cannot attach too much importance to this Stephen: A Shape That Can't Be Changed first episode of Ulysses, he rather separates the possible to extend them to the chara cters' dis­ problem. But all we can say in this place is that I narra tive viewpoint from Stephens conscio us­ course and the narrator's. So it is the interference Joyce was careful to the end. That day begins with a pretentious appea r­ ness, and o nl y occasionall y approaches it for a of Stephen's interi or monologue with the narra­ Ulysses is a stratified text: it is polysemous ance of Bu ck Mulligan on top of the Martello r ho rt time. " Tho ugh Stephen's nature has no t tor's mode o f writing that o ri ents the narrative in and polyphonic, full of o pposing meanings and Tower: rad ica ll y altered," Harry Levin says, " J oyce's the " Telemachiad ." The result is that the three values and crammed with obscure figures and I characterization throws new li ght upon it, and stapl es of the narrative mode which consist of events. Inspecting all the stages J oyce went Stately, plump Buck Mulligan ca me examines it fo r the first time 'in mediate relatio n inte1ior mo nologue, free indirec t discourse and through in writing Ulysses, Michael Groden finds from the stairhead, bearing a bowl of la ther I to others· ., ( Levin , 81). Thus his typical melan­ dialogue diminish into Stephen's interi or mo no­ out that " J oyce wanted Ulysses to be a record of on wl1ich a mirro r and a razor Ja y crossed. A cho li c feelings are described by free indirect logue with minimal objective descriptions. Hi s aU the stages he passed th rough and not a prod­ yellow dressing-gow11, ungirdled, was sus­ I disc ourse: interior mo nologue always tends to converge uct of the last one" (203). So we must revisit it tained gently behind him on the mild morn­ upon the moment of epiphany that recapitulates as we do an old city in compliance with the ing air. He held the bowl aloft a nd intoned: I Stephen, an elbow rested on the jagge d political, economical and personal situations and advice of Edmund Wilson (169). As Joseph - Introibo ad a/tare Dei. granite, leaned his palm again st his brow and retrospectively gives significance to the sc mpu­ Frank says, " Joyce cannot be read - he can only Halted, he peered down the dark wind­ I gazed the fraying edge of his shiny black lous descriptions piled up up to that mo ment ; and be reread" (19). Only by rereading, we ca n attain ing stairs and ca ll ed out coarsely: coatsleeve. Pain , that was not yet the pain of this moment is revealed only through Stephen's a unified spatial apprehension of the world of - Come up, Kinch' Come, you fea rful jesuit. love, fretted his heart. Silently, in a dream mind to the reader. But J oyce has exhausted the Ulysses. But this apprehension neve r brings about (I. I -8) 1 I she had come to him afte r her death, her resources o f the epiphanic mode o f writing in one and only interpretation: it is only an exter­ wasted body within its loose brown grave­ Dubliners. So, we can say that, just like Stephen nal comprehension of the perspective. When we This third-person narra ti on consists of the ca re­ I clothes giving off an o do ur of wax and closed in his mental paralysis, J oyce's nove l­ live inside the text, we will be faced no t with a fully chosen words lined up in a ca refully chosen rosewood , her breath , that had bent upo n writing has come to a stalemate. shape and a significance but with anarchy and way and gives a vivid impression according with I him, mute, reproachful, a fa in t odour of In this place, we should examin e how the meaninglessness. We must first approve of the the sky of June in North-West Europe and suit­ wetted ashes. epiphanic mode of writing deals with Stephen. meaningful insignificances of everyday life in able for the technique ca ll ed " narrative (young) " I (1. I 00- 15 ) Each scene that e nds the first t hree episodes is order to live the city-like text true to everyday (Gilbert, 97). Then with the unwilling advent of epiphanic in each se nse . One of the examples is life. Then we will struggle through this chaotic Stephen, a modulation begins: the cheerful tone After all Stephen is never fre e from this depress­ the end of the " Telemachus" episode where text only to meet o urselves instead of finding a gradually gives way to a gloomy one. All I ing ghost all this day, and his me nta l paralysis Stephen, robbed by Mulligan of the key of th e royal road to interpretation. thro ugh the day, the latter always renects the g radually corrodes the narrative itself. Once Martello Tower and two pence fo r a pint , Of course, every interpreter feels bewildered ruling mood of Stephen, whi ch is rather diffe r- I again , as in Dubliners, the paralytic atmosphere leaves him and his Engli sh fri end Haines at the I I 38 39

Sandycove Harbour and goes to Mr Deasy's From the playfield the boys raised a episode inevitably fails: determining center of his world. school: shout. A whirling whistle: goal. What if that nightmare gave you a back kick? Stephen raised the sheets [i.e. Mr She trusts me, her hand gentle, the He walked along the upwardcurving - The ways of the Creator are not our ways, . Deasy's letter for the press about foot and longlashed eyes. Now where the blue hell am path. Mr Deasy said. All human history moves mouth desease] in his hand. I bringing her beyond the veil? Into the Liliata nttilantium towards one great goal, the manifestation of - Well, sir, he began .... ineluctable modality of the ineluctable Turma circumdet God. - I foresee, Mr Deasy said, that you will not visuality. She, she, she. What she? .... . Jubilantium te virginum. Stephen jerked his thumb towards the remain here very long at ·this work. You Touch me. Soft eyes. Soft soft soft The priest's grey nimbus in a niche window, saying: were not born to be a teacher, I think. Per­ hand. I am lonely here. 0, touch me soon, where he dressed discreetly. I will not sleep - That is God. haps 1 am wrong. now. What is that word known to all men? I here tonight. Home also I cannot go. Hooray! Ay! Whrrwhee! -A learner rather, Stephen said. am quiet here alone. Sad too. Touch, touch A voice, sweettoned and sustained, -What? Mr Deasy asked. And here what will you learn more? me. called to him from the sea. Turning the - A shout in the street, Stephen answered, Mr Deasy shook his head. (3. 424-36) curve he waved his hand. It called again. A shrugging his shoulders. - Who knows? he said. To learn one must be sleek brown head, a seal's, far out on the (2. 377-86) humble. But life is the great teacher. In a word, he is alienated from the exterior w9rld water, round. (2.399-407) and introverted without restraint. As long as he is Usurper. But it is not history itself but cliches of its trapped in such introspection, he cannot read (1.735-44) interpreters that Stephen repudiates. Mr Deasy's Mr Deasy cannot understand the self-torturing signatures of all things he is there to read. As The Latin prayers for the dying, inseparable from stereotyped expression, "All human history nature of Stephen; Stephen is too self-absorbed long as he is bound by the past - the Teil,linis­ Stephen's memory of his dead mother, haunt moves towards one great goal, the manifestation to accept Mr Deasy's words obediently. There is cences of Paris and the history of Ireland, he him at some crucial moments in this day. Here of God," is repugnant to Stephen. Similarly no cordial communication between them. This is cannot "[h) old to the now, the here, through the last epiphanic word, "Usurper," definitely Hain~s ' irresponsible words, "It seems history is to Stephen's situation as usual. His words are self­ which all future plunges to the past" (9. 89). The fixes his miserable situation and achieves a blame" (1. 649), seem to Stephen too easygoing. contain~d and anti-communicative. He is exiled vagueness which covers the last scene of the third sudden manifestation of the essential reality of So . he says, "I fear those big words ... which from Dublin's everyday life and driven into a episode represents Stephen's helplessness: both the life of Stephen and Ireland: Haines the make us so unhappy" (2. 264). He has been spiritual labyrinth, where, monologizing in his conquerer who has intruded upon the Martello several times deceived by his Greek name · into incommunicable, esoteric words, he wanders Behind. Perhaps there is someone. Tower is representative of the Englishmen who believing himself to be a descendant of the old purposelessly. He turned his face over a shoulder, rere have usurped Ireland; and Buck Mulligan the gay artificer and knows to the full the awful anaes­ In the third episode, his interior monologue, regardant. Moving through the air high spars betrayer who has usurped the key of Stephen is thetizing power of big words. Such a repugnance dominated by the past, never develops, never of a three master, her sails brailed up on the representative of the Irish intellectuals who only makes Stephen fall into communication break­ makes progress: it only goes around and around crosstrees, homing, upstream, silently mov­ criticize the out-of-dateness of their mother down with garrulous people around him. How­ in circles. He himself is conscious of his own laby­ ing, a silent ship. country, waste their intellect on useless argu­ ever, as it is impossible even for him to awake rinthine soul in which he is locked up: (3. 502-05) ments and unwittingly betray Ireland. from the actual history he was born into, . he Still even this disgusting recognition never struggles at least for the freedom from the You find my words dark. Darkness is in our It is impossible for Stephen to decipher silent drives Stephen into any positive action, and the hackneyed words with which people interpret souls do you not think? Flutier. Our souls, objects. A threemaster which sails out of reach of fact remains that he is just "a sevant of two history as they please. It is an irony of fate that shamewounded by ou.r sins, clinging to us his interpretation symbolizes the phenomenal masters, . .. an Englishman and an Italian" (1. Stephen's words are suitable for "Haines' chap­ yet more, a woman to her lover clinging, the world whose signatures he cannot read at all. 638). In the second episode, he must reluctantly book" (2. 42), and, often quoted by critics, have more tl1e more. After this the scene shifts to the kitchen of the now become cliches. He. is given a nice back serve a third master, Mr Deasy, and, trying in (3. 420-23) Blooms, leaving Stephen alone on ~he Sandy­ kick by history. vain to give vent to the humiliated and resigned All through the day, most of his mount strand. feelings, he coldly repudiates Mr Deasy's progres­ words are monologues that are never understood His consciousness is out of joint, caught between Stephen is a closed system: he "has a shape justly by others. Even when he talks sivist view of history: to other r the ambivalent feelings · toward amor matris, that can't be changed" (Budgen, 107). Though people, it can seldom be called a dialogue. It is subjective and objective genitive. We can say that he says to himself, "God becomes man becomes - History, Stephen said, is~ nightmare from also a version of monologue. Therefore the r he is intoxicated with his own narcissistic mono­ fish becomes barnacle goose becomes featherbed which I am trying to awake. "catechism" with Mr Deasy in the "Nestor" logue and with his own illusion of being the self- mountain" (3. 477-79), he is really in fear of f ( 40 41 Michael's host, who defend her ever in the such an arbitrary transformation at bottom. He order to achieve this, the author had to abandon shadowing the last of the " Telemachiad." With hour of conflict with their lances and their adheres so much to his own unchangeable soul, his inherent "voice" preserved as a property of the advent of Bloom, the counterpoint is also shields. "form of forms" (3. 280) that he is rather Stephen. Thus Joyce devised Mr Bloom, another introduced. As a result, the way of reading reluctant to resign himself to the everchanging self-portrait, this · time, the distanced and alien­ Hear, hear! Prolonged applause. Zut! Ulysses depends as much upon how we interpret Nom de Dieu! flow of life. Colin MacCabe says about Stephen's ated one. the counterpoint of Stephen and Bloom as upon - Of course I'm a Britisher, Haine's voice plight as follows: . From the stylistic point of view, the "initial how we interpret the Homeric parallels. Many style" 2 of the first three episodes provides us said, I feel as one. I don't want to see my critics present various interpretations. For exam­ country fall into the hands of German jews Stephen . ~viii not admit the existence of the with a sense of the real world of the novel and ple, as early as in I 93 I , Edmund Wilson; intro­ 3 random, for like the movement of the signi­ functions as a narrative norm, which will be either. That's our national problem, I'm ducing the theme of citizen and artist, wrote fier, it threatens his position as self-deter­ violated completely in the latter part of the novel. afraid, just now. assuredly: mining centre of his world. But, in one of But the shrewd Joyce has made in advance (1. 645-68) the major contradictions of the text, it is strategic move for the afternoon. In this sense As for Stephen, unresponsive as he has only the acceptance of chance that will the following long quotation is important: As Hugh Kenner points out clearly (1987, 97- seemed to Bloom's interest and cordiality, allow him to write, because his. fixed posi­ 98), what seems to be Stephen's interior mono­ he has at last, none the less, found in Dublin tion is incompatible with writing itself. Haines detached from his underlip some logue actually exceeds the time span between someone sufficiently sympathetic to himself (118) fibres of tobacco before he spoke. Haines' two speeches: it is impossible even for to give him the clue , to supply him with the - I can quite understand that, he said calm­ Stephen to say to himself so many things in such subject, which will enable him to enter It is now evident that Stephen's fixed and sterile ly. An Irishman must think like that, I I a brief time. Thus it is a deviation from the flow imaginatively - as an artist - into the · interior monologue is the obstacle to the daresay. We feel in England that we have of time which we assume is corresponded with a common life of his race. continuation of writing Ulysses. Though he still treated you rather unfairly. It seems history sequence of the events in the ordinary novel. We (163) reluctantly serves three masters - England, the · is to blame. understand that it is a built-in outside space in­ Catholic Church and Mr Deasy, he no longer The proud potent titles clanged over side the novel, a lawless zone outside the range of Ten years later, Harry Levir. brought about a I the narrative rules. In the latte·r part of Ulysses, serves the author. He is, as it were, a prodigal son Stephen's memory the triumph of their fissure into the coalescence of the citizen and t11e of a father who is an artist: he denies the lineage brazen bells: et unam sanctam catlwlicam et [ by. making most of this post-Newtonian elastic artist : by saying, "Paternity may be a legal fiction" apostolicam ecclesiam: the slow growth and space, Joyce tried to develop his imagination as 4 (9. 844). To be sure, at a certain time of his change of rite and dogma like his own rare memory freely and break the deadlock of the There is just enough of the frustrated artist career, Joyce needed the epiphanic mode of thoughts, a chemistry of stars. Symbol of novel. to draw him[Bloom] to Stephen, and writing that was inseparable from Stephen's the apostles in the mass for pope Marcellus, The time is ripe for the introduction of Stephen in turn is drawn to Bloom by. these sensibility, but this methodology now got to a the voices blended, singing alone loud in Bloom as another hero. A symbol of the mechan­ very frustrations, since Bloom has accepted point where no development could be expected. affirmation : and behind their chant the ical and the commonplace, he is charged with a so much that he has rejected. He is seeking It is true that the epiphany, "the most econom­ vigilant an~el of the church militant dis­ secret mission of driving the Stephenian elements a father; Bloom has lost a son. They are ical way of exposing the most considerable armed and menaced her heresiarchs. A horde out of the novel. coniplementary figures, and each is one­ amount of that material" (Levin, 31) served to of heresies fleeing with mitres awry: Phqtius sided ar..d maladjusted so long as he abides apply the poetic mode to the novel-writing and and the brood of mockers of whom Mulligan 2 Bloom: An Overshadowing Figure alone. Yet the attraction of opposites is not then to "convert narrative into short-story," but was one, and Arius, warring his life long enough to produce a synthesis. what Joyce intended to write now was an ex­ upon the consubstantiality of the Son with Mr Leopold Bloom appears modestly with­ (83) tended novel. It is high time for Stephen to the Father, and Valentine, spurning Christ's out realizing or making us realize the significance make way for Mr Leopold Bloom, who is expect­ terrene body, and the subtle African heresi­ Joyce attributed to him in predicting, "As the Just as " the relation of the Ody sseus to Uly sses is ed to add to the novel the elements of rambling­ arch Sabellius who held that the Father was day wears on Bloom should overshadow them that of parallels that never meet," so is the re.la­ ness and down-to-earthness Stephen lacked. At Himself His own Son. Words Mulligan had alJ " (Budgen, I I 8). It is still early in the morn­ tion of Stephen to Bloom. Or rather the phrase the same time, it is time for Joyce to abandon spoken a moment since in mockery to the ing, but this converted Jew is busy in cooking Gille Deleuze used in his dialogue with Claire the mode of writing based upon epiphany. From stranger. Idle mockery. The void awaits I breakfast for himself and his wife Marion Bloom. Parnet, une evolution a-paral/i!le, 5 is much fitter now on, the ultimate goal of Ulysses is to elimi­ surely all them that weave the wind : a The first scene of the fourth episode introducing for such a relation. To the question whether or nate Stephen, Joyce's lifelike and unalienated menace, a disarming and a worsting from I Bloom is hung over by the down-to-earth atmo­ not this relation will achieve a synthesis in the . self-portrait, out of the novel-world. And in those embattled angels of the church, I sphere which contrasts with the abstract one over- future, Uly sses as opus apertus doesn't give any

1. ~ 42 43

definite answer. So those who seek for a final Joyce's fictionalization of lrimself. Moreover, phen imaginarily transforms the dog into a buck discursive associations seem to be limitless. But solution, a denouement, are bound to feel dis­ Joyce parted with his characteristic voice or a panther according to his ow? inner system we must note that only a little stimulus would be appointed as in their real lives. Joyce only gave together with Stephen and devised another voice of metaphor. Here Bloom's observations of a cat sufficient to stop this flow of thought. Most of a flat refusal to such people, saying with confi­ as a mask. Bloom's presence itself functions as an are associative and peripheral. His thoughts the second triad concerning Bloom is the collabo­ dence, "_If Ulysses isn't fit to read, life isn' t fit to alibi for the author. This mask is the first step continue to reel around the little object, scanning ration of stimuli and responses: Bloom is just like toward the refining of the artist out of existence. its characteristics" and behaviour.6 But it is a a black box through wlrich a certain stimulus live" (Ell mann 1983, . 537). That is, in Ulysses, / Joyce tried to bring the fiction as close to real Joyce steadily elaborated the character of Bloom partial value-judgment to say that, whereas produces a certain response. Bloom's self­ life as pqssible. And tlris burdensome task is from the fourth to the sixth episode. The fourth Stephen is logical, Bloom is associative. Instead, consciousness doesn't seem to intervene in this / performed with the help of Bloom, who repre­ deals with Bloom in his family, the fifth Bloom following David Lodge, we have only to say that, process at all. sents and accepts life as it is. The selective in the city, the sixth Bloom alienated from the whereas Stephen's consciousness is metaphoric, So Bloom's reason for being consists not in Stephen is not suitable for the task. The role natives of Dublin. These three episodes are ex­ / ' . Bloom's is metonymic (140). Stephen's deep his meandering flux of spontaneous associations Joyce allotted to Bloom is that of reJativizing the tended enough to set up the stylistic norm for mind gives depth to the novel; Bloom's limitless but in his oblivion of the patterns of his own exclusive presence of Stephen and providing the Bloom. Since, as Hugh Kenner says, syntax is / ' associations provide the novel with spatial ex­ associations. The early Hugh Kenner, who, if novel with a wide range of reality: Stephen and "a function of role : of character," Bloom's style tent. Therefore it is by dint of Blooi:Jl's concrete anything, took a less favorable attitude toward Bloom are the antipodes between which the must be differentiated definitely from Stephen's associations that the world of Ulysses can keep Bloom, presented a position like this: . world of the novel is established. in the first three episodes. Although the ingredi­ up the real ~patiality. Unlike Stephen, Bloom In many respects, Bloom is set in opposition ents of the style are free indirect discourse, doesn' t indulge himself in introspection by Bloom's mind, if he could manage to do / · to Stephen. For example, Levin points out interior monologue, dialogue and objective breaking off the met~mymic contiguity to the sometlring with it, is far more inventive plainly as follows: description as in the first triad, Bloom's interior outer world. No doubt he lives in the world of (than Stephen's] . Bloom, amid his associa­ monologue certainly has different characteristics: contiguity. So his typical stream of consciousness tive driftings, is ironically oblivious to the Bloom is an exile in Dublin, as Stephen is a goes contiguously: patterns in which his thoughts are cast. Dubliner in exile. Mr Bloom watched curiously, kindly the (1955, 199) (84) little black form. Clean to see: the gloss of Pray for the repose of the soul of. Does / ' her sleek hide, the white button under the anybody really? Plant him and have done Oblivion is also an ability, however. It saves Stephen starts as an individual and becomes butt of her tail, the green flaslring eyes. He with him. Like down a coalshoot. Then Bloom from the labyrinth of self-consciousness a type; Bloom starts as a type and becomes bent down to her, his hands on Iris knees. lump them together to save time. All soul's Stephen has fallen into. Bloom, who never stays an individual. One by critical precept, the - Milk for the pussens, he said. day. Twentyseventh I'll be athis grave . Ten at a fixed point amid his associative driftings, can other by awful example, mark the distance - Mrkgnao! the cat cried. shillings for the gardener. He keeps it free of avoid the trap which language sets: he can shift between culture and philistinism. They call them stupid. They understand weeds. Old man himself. Bent down double sideways the metaphorical or vertical power of (85) what we say better than we understand with his shears clipping. Near death's door. language which has drowned Stephen in a limit­ them. She understands all she wants to. Who passed away. Who departed this life. As less sequence of metaphors and has driven him Such strained relations between the two are the Vindictive too. Cruel. Her nature. Curious if they did it of their own accord. Got the into morbid introversion. Bloom's associations main factors of the prolongation of the story. mice never squeal. Seem to like it. Wonder shove, all of them. Who kicked the bucket. proliferate nacheinander and nebeneinander. Stephen gradually ceases to be a working princi­ what I look like to her. Height of a tower? More interesting if they told you what they Bloom has a knack of playing with words without ple of Ulysses and gives place to the tireless and No, she can jump me. were . So and so, wheelwright. I travelled for making his own self-consciousness a victim of the tiresome Bloom, "a mind that loses nothing, - Afraid of the chickens she is, he said cork lino. I paid five shillings in the pound. system of language. At first sight, Stephen seems penetrates nothing, and has a category for every­ mockingly. Afraid of the chookchooks. I Or a woman's with her saucepan. I cooked to be a master of language and Bloom a servant thing" (Kenner 1955, 167). For the first time never saw such a stupid pussens as the good Irish stew. of it, but, in reality, Stephen is a prisoner in the Joyce parted from his autobiographical double pussens. (6. 931-40) patterns of language he .himself has ~ormed out and devoted himself to contriving an alienated - Mrkrgnao! the cat said loudly. of Iris own mazy consciousness, and Bloom can self-portrait with fictious stylistic idiosyncrasies. (4. 21-32) After the funeral of Patrick Dignam, walk­ be a jailbreaker of the prison-house of language. To be sure, Bloom partakes of Joyce's own ing among the graves ih Glasnevin and reading Still, Bloom is virtually a prisoner in the peculiarities, but the loose verbi ~ge of Bloom's Compared with Stephen's monologue about a their epitaphs, Bloom is deep in thought. His structure of Ulysses, which will exploit the interior monologue can never he ettributed to dog at Sandymount strand, this passage shows thoughts develop arbitrarily one after another as presence and the personality of Bloom so drasti­ Joyce as an individual. Bloom is the product of unique features. In the "Proteus" episode, Ste- if in proportion to his walking pace, and his cally in order to go beyond Stephen's epiphanic 44 r 45

mode of thinking and the paralytic wo rld of the "a praiser of hi s ow n pa st." 7 represe nts the dead trave l in a ca rri age from the late Dignam's house - What? Mr Po we r whi spered. How so? first triad. Uly sses depends for its co nstitution so city prese rve d in th e illusio ns of words . to Prospect Ce metery in Glasnevin along th e - His father poiso ned himse lf, Martin Cun- much upon the existence of Bloom that the conventi onal course . On the wa y, Simon says, ningham whispered . Had th e Queen's hotel distortions of its structure fo r the mos t part press The tid e of the new ce ntury roars in the "That's a fine old custom .... l am glad to see it in Enn is. You heard him say he was goin g to upon Bloom. It is quite an "assa ul t up on charac­ stree t. Simon wi lls to become a ga rrulous has not di ed out," but a modern mind, Bl oo m, Clare. Ann iversary. ter.'' Thjs is part of the title of a st ud y of shade. In Ulysses he is pa rt of th e back. has a progressive pl an: - 0 , God! Mr Powe r whispe red. First I Uly sses, and its author, James H. Maddox Jr. re­ ground; in the foregro un d, innocently heard of it. Poiso ned himself? gards as assaulting age nts a variety of sty les that emb odying a new world he kn ows nothing - I ca n't make out why the co rpora ti on He glanced behind him to wh ere a face obfuscate the plot and the charac ters. It is more about, is Leo pold Bloom. who remains a doesn't run a tramline from th e parkga te to with dark th in king eyes fol lowed towards appropriate , however, to say that the characters goo d man. the quays , Mr Bloom said. All those anima ls the cardinal's mauso leum . Speakin g. are assa ulted by the ve ry stru cture of Uly sses. (Kenner 1955 , 23) could be taken in trucks dow n to the boa ts . (6. 526- 34) Es pecially, Bloom's memory is like a colony - In stead of blocking up the thoroughfare , squeezed free ly by Joyce. As a consequence, What characterizes a Sim on Deda lus is the Martin Cunningham sa id . Quite ri ght. They . The whispers exclude the presence of Bloo m, and such a phenomenon as F. K. Stanze l poi nt s out estrangement of the world of language from the ought to. this scene presages the change of emphasis from takes place: world of facts , from the living city of Dublin - Yes , Mr Bloom said, and another th ing I the individual figures to the collective situations. itself. Simon Deda lus is an unquiet father often thought , is to have municipal funeral In this process, we witness the miserable condi· The function of memory in th e first-person wandering in the dea d world of language , where trams like they have in Milan , you know. tions of Bl oom and Stephen which contrast narrative far exceeds the ability which is Charles Stewar t Parnell and oth er lege ndary Run the line out to the cemetery gates and remarkably with their autonomous spirits. conventionall y attributed to memory, name­ heroes are st ill alive: have special trams, hearse and carriage and Bloom's mind is a mirror reflecting a cityful of ly the ability to vi suali ze and vivid ly present all. Don't you see what I mea n? facts, and , led by it. the city of Dublin gradually that which is past. Th e mourners moved away slowly - 0 , that be damned for a story, Mr Deda lus comes into vi ew. Bloo m is a bridge fo r both (2 15) without aim , by devious path s, sta ying at sa id . Pullman ca r and sa loon diningroom. Stephen and rea ders to go over toward the li ving whiles to read a name on a tomb . - A poor lookout fo r Corn y, Mr Power cit y full of unrecognize d signat ures , and Stephen Blo om's mind to which Joyce gave too much - Let us go round by the chief's grave , added. must get from Bloom a key to modernit y as his capacity for memory is to swell extraordinarily Hynes said. We have time. - Why? Mr Bl oo m asked , turning to Mr theme in order to write something in te n yea rs. and ea t holes in Bloom's character. In the eighth - Let us , Mr Power said. Deda lus. Wouldn' t it be more dece nt than But he , li ke Joyce himself, is too much a Dub· episode, his memorizing capacity reaches a They turned to th e ri ght , fol lowing their ga Ll oping two abreast? liner to beco me a true metropolitan . In addi tion, saturation point and the holes excavated in slow thoughts. With awe Mr Powe r's blank - Well , there's something in that, Mr Dublin in 1904 was all too premodern . But an Blo om's mind almost corrode his bodily prese nce voice spoke. Dedalus granted. exile in Dublin and a Dubliner in ex ile mu st meet in spite of his feelings of such bodily desires as - Some say he is not in the grave at al l. That (6. 400- 14) in the city of Dublin whether they like it or not. appetite and lust. He becomes a mere conscious· the coffin was fi lled with stones. That one Thus, in the late morning, the city itself begins ness like Stephen in the third episode. By sacri· day he will co me again . Time is on the side of Bl oom, who, though to work, leaving Bloom and Steph en as cogs in l 8 ficing Bloom's personality for the prolongation Hynes shoo k his head. app reciating Mr Dedalus' tact of expression, the ma chine. of the novel and at the same time using the ·- Parnell will never co me again , he sa id. He;s I refuses to live retrospectively in an affected black hole of memory in him effe ctively, Joyce there, all th at was mortal of him . Peace to wo rld of language. This amateur city-planner 3 A Citizen and an Artist tried to exorcise his autobiographical double, ashe s. [ fe els like reforming the out-of-date systems of Stephen, out of the wo rld of th e nove l. But the (6. 9 17- 27) Dublin. In his essay on Charles Baud elaire, Wal ter black hole of associative memory in Bloom swa l­ The remarka bl e point in the sixth episode is Benjamin writes about " the obliteration of the lows up not on ly Stephen but also Bloom himself. Th e ghost of Parn ell will neve r leave Dublin , and [ that Bloo m occasionally rece des into the back· individual's traces in the big-cit y crowd" (43). In Apart from his peculiar style, Bloom has most of the Dubliners wi ll be bound by their ground. The sce nes where Bl oom is absent are the crowd of Dublin, a man in the macki ntosh another important function : the function of pas ts all through their lives. Among such people , so metimes inserted. A typical scene is this: pops out of nowhere. He circul ates in Dublin reintroducing the would-be artist into his native Stephen remains a Dubliner in ex il e and Bl oo m, without any proper name , without any traces. city. For Stephen, Bloo m is a door to modern who has an unack now ledge d mode rn mind, Martin Cunningham whispered: The wo rd , " M'in tosh," passes for hi s proper city and contemporary culture. Contrary to remain s an exile in Dublin. In th e first hal f of the - I was in mortal agony with you talking of name in the list of the mour ners of Dignam ·s Bloom, Stephen's father , Simon Dedalus, who is " Had es" episode, Bloom, Sim on and others suicid e before Bloo m. obsequies Hyn es has made. In it are also included a

47 46 the community. But to our surprise, Bloom's "C. P. .M 'Coy and Stephen Dedalus B. A. who these three alternately come to the foreground. vises an anti-climactic cynical story against the mind has its qwn way all the more cheerfully were conspic.uous, needless to say, by their total But to write the episode in such a way, Joyce flowery and specious oratory of John F. Taylor because he is alienated into devoting himself to absence" (16. 1263-65). Moreover, Leopold sometimes had to keep a distance from Stephen which is praised unconditionaJly. The story is his solitary routine: Bloom is changed into L. Boom. All these show and Bloom, and this involved a danger of discard­ about two Dublin vestals, who climbed up ing masks and manifesting the presence of the Nelson's pillar \vith brawn, four slices of panloaf, that proper nouns no longer maintain their n Slit. The nethen.nost deck of the first ma- proper functions, and. that they are incorporated omnipotent privileged author. It didn't go wen and ripe plums, and at the top of it, eating those chine jogged forward its flyboard with s11t into the arbitrary system of signs. There a kind with Joyce's ideal of refining the artist out of plums, spit the plumstones out between the the first batch of quirefolded papers. Slit. of chaos naturally results; and Joyce seems to existence. So he had to make another elaborate · railings. He caJls it A Pisgah Sight ofPalestine or Almost human the way it s11t to call atten­ have positively incorporated such a chaos into mask which could effect the distancing of the The Parable of The Plums. This anti-story has the tion. Doing its level best to speak. That door Ulysses. About its chaotic world Marilyn French author. In the seventh episode this mask mani­ same principle as Ulysses: it is a · parody of the too slit creaking, asking to be· shut. Every­ presents an original view: fests itself boldly with boldfaced headlines. past masterpiece (here, Old Testament) and has David Hayman names it the arranger (88-93), thing speaks in its own way. Slit. no crucial climax within itself. It is also Ste­ ... the recitation and repetition of place but as early as in 1955, Hugh Kenner recognized (7 . 174-77) phen's parting word to the Dublin journalism names, names of actual people, the actual its existence and called it "the omniscient and a prologue to his solitary lecture on Shake­ geography of Dublin, all provide the reader showman-narrator": In the polyphony of the city where everything spear in the National Library. On hearing tllis, with a firm concrete base, a sense that there speaks in its own way, however, Bloom's inner only professor ·MacHugh smells out the self­ is a reality similar to one's sense of one's The omniscient showman-narrator in Ulysses, voice plays just one part. It is ineffectual and torturing decadence in Stephen: own world. Most literature imitates nature "paring his finger nails," is one of the most helpless in remarkable. contrast with the effici­ only in details; it imposes on those details an extraordinary masks in literature. ency of his business activities. As soon as Bloom - You remind me of Antisthenes, the pro­ order that is not to be found in life. Al­ (1955, 46) gets out of the ne\yspaper office to canvass for fessor said , a disciple of Gorgias, the sophist. though Joyce did the same thing, his method the advertisement of Alexander Keyes, tea, wine , It is said of him that none could teJI if he was to produce the illusion of chaos, to Although this arranger reflects an aspect of Joyce and spirit merchant, Stephen enters there with were bitterer against others or against !lim­ appear not to select, to include insignifi­ as a great master of language, it is impossible as Mr Deasy's Jetter about foot and mouth desease. self. He was the son of a noble and a bond­ cances, enigmas, and incertitude such as well as useless to reduce it to the personality of He is made much of by the Dubliners gathering woman. And he wrote a book in which he exist in life. Joyce, for the arranger always consists of plural there. The editor Myles Crawford is one of them: took away the palm of beauty from Argive (26) elements. We should not regard the arranger as Helen and handed it to poor Penelope. any particular individual with a fixed character. The editor laid a nervous hand on (7. 1035-39) The agent is Leopold Bloom. This obscure guide From the "Aeolus' episode, the roles of the Stephen's shoulder. to Dublin plays the role of the cracked looking­ arranger continue to multiply and cease to - I want you to write something for me, he Stephen's bitterness against himself distorts his glass reflecting details of the city with distortion presuppose a homogeneous existence with a said. Something with a bite in it. You can spontaneous intention and, as a result, his tale even at the expense of his inner self. He is a mask definite personality. Just as Bloom loses the do it. ·I see it in your face. In the lexicon of becomes difficult and incommunicable. All the behind which Joyce concealed himself. Thus the "ceJlular integrity" (Scholes, 165) in proportion youth . ... . day, he is driven into ·alienation by such a pro­ chaos Bloom's mind introduces is perfectly to the multiplication of mental activities, the (7. 615-17) pensity for self-torturing. controlled by Joyce, who shuffled the reality of arranger loses the foundation of a definite Next time we meet Stephen, he is isolated in Dublin through the eyes of Bloom. Chaos always personality. In the seventh episode, the scene is Hearing them admire the past feat of a news­ the National Library with such literary figures as calls for a commander. set in a newspaper office. A newspaper is a paper-man, Ignatius GaJlaher, however, Stephen John Eglinton, George Russell (AE), and Richard With the opening of the seventh episode, we co11ective discourse, and therefore cannot be says to himself, "Nightmare from which you will Best. Here he still continues to weave the wind. stand in the heart of the Hibernian metropolis. reduced to an individual author. There it matters never awake" (7. 678). In his eyes, they also After he has broken of Ius own \viii the promise We hear Dublin tramway Company's timekeeper little who really speaks, and this situation is the belong to the circle of Simon Dedalus in that of meeting Mulligan and Haines at th~ Sllip and bawling hoarsely. The bumping of dull-thudding most suitable to obliterate the transcendental they try i ~ vain to resume "LINKS WITH BY­ put his declaration of non-servitude into practice, barrels roJled by grossbooted drayman and the voice of the privileged author. GONE DAYS OF YORE" (7.737). They have he is more eloquent than usual. In Ulysses, the clanking in threefour time of the printing ma­ The "Aeolus" episode throws the two nothing for Stephen to learn, and he is rather " ScyJla and Charybdis" episode and the later chines form the rhythm of the city ~ The "Aeolus" isolated characters into the Gemeinschaft of fascinated by, the yelling of newsboys, ·•a shout "Oxen of the Sun" episode mainly focus on episode is founded on the b3lanc-e of Bloom, Dubliners, where the exclusiveness of social r~Ja­ in the street." ·"Dublin, I have much, much to· Stephen's talk. The former deals with the prob­ Stephen, and their conr. omitan~ circumstances: tionships reveals their conditions as outsiders in learn," he thinks (7. 915), and then he impro- lem of paternity; the latter the problem of mater- 48 49 nity. Both episodes relate their respective prob· could never sublimate this old sore of his heart in microcosm, upon the void. Upon incertitude, grandfather, the father of his unborn grand­ !ems to the se·cret of artistic creation. Here, in Ste­ his creations. Although "he left her and gained upon unlikelihood. Amor matris, subjective son who, by the same token, never was born, phen's lecture, there are two main themes: (I) the world of men" (9. 254), "[n] o later undoing and objective genitive, may be the only true for nature, Mr Magee understands her, All literary works are always more or less auto­ will undo the first undoing" (9. 459): thing in life. Paternity may be a legal fiction. abhors perfection. biographical: an author always plants his own Who is the father of any son that any son (9. 865-71) autobiographical facts ,in his works implicitly or He goes back weary of the creation he has should love hi~ or he any son? explicitly; (2) Paternity is a legal fiction, and the piled up to hide him from himself, an old (9. 828-45) Hamlet's father is a ghost by absence, and as belief that the author plays the role of the father dog licking an old sore. But, because loss is absence he governs the text. The figure of the toward his works as his sons is also groundless. his gain, he passes on towards eternity in The fictional and abstract quality of paternity has Father governing the text as absence overlaps These two seem contradictory to each other, for, undiminished personality, untaught by the supported the patriarchal institutions from time Shakespeare as an artist. Artist must also rule as long as literary works are autobiographical, the wisdom he has written or by the laws he has immemorial; the concreteness of maternity has the text as a kind of absence. In order to rule it, works should be ruled by the author as autobio­ revealed. His beaver is up. He is a ghost, a been always threatening to the patriarchal laws. he must first efface his own individual traces out grapher. For Stephen, Hamlet is a key to the shadow now, the wind by Elsinore's rocks or At the same time this fictiousness of fatherhood of the text and refine himself out of existence solution of this contradiction. what you will , the sea',s voice, a voice heard drives the son into seeking after the more con­ into a sort of ghost. This is the ideal of Stephen, First of all he presents the following ques­ only in the heart of him who is the sub­ crete relationship with his mother, "Amor matris, an immature artist, and therefore of Joyce, a tion: stance of his shadow, the son consubstantial subjective and objective genitive," and that mature artist. An ideal artist can deconstruct his with the father. causes the vague antagonism between fathers and personal life in his creations and makes it impos­ - What is a ghost? Stephen said with tingling (9 . 474-81) sons, which finally crystalizes into the Oedipus sible for the reader to reconstitute his personality energy. One who has faded into impalpabil­ complex: as an absolute center of the text that integrates ity through death, through absence, through The actual life of Shakespeare overlaps the all interpretations. Stephen at least believes change of manners. drama of Hamlet: the ghost of Hamlet's The son unborn mars beauty: born," he Shakespeare could do so: (9. 147-49) father is Shakespeare; his unfaithful wife Ger­ brings pain, divides affection, increases care. trude is Ann Shakespeare; and his brother He is a new male: his growth is his father's Judge Eglinton summed up. In his opinion, Hamlet also reflects the sundering Claudius is Shakespeare's brother, Edmund or decline, his youth his father's envy, his - The truth is midway, he affumed. He is which must have existed between Shakespeare Richard. But the most important thing is that friend his father's enemy. the ghost and the prince. He is all in all. and Ann, and in it Shakespeare himself plays the what fundamentally supports the drama of (9. 854-57) - He is, Stephen said. The boy of act one is part of the king's ghost: Hamlet is a particular sort of father-son-relation­ the mature man of act five. In Cymbeline, in ship. The ghost of the father is absent for all the Is it possible that that player Shake­ But sooner or later the son born into a patriar­ Othello he is bawd and cuckold. He acts and characters except Hamlet: he stands between the speare, a ghost by absence, and in the vesture chal society must give up the desperate identifi­ is acted on. Lover of an ideal or a perversion, inside and the outside of the text. He can appear of buried Denmark, a ghost by death, speak­ cation with his mother and be incorporated into like Jose he kills the real Carmen. His unre­ in the text only by haunting the disrupted mind ing his own words to his own son's name the patriarchal society, into the symbolic order. mitting intellect is the hornmad Iago cease­ of his son. He is.a presence based upon the fictious (had Hamnet Shakespeare lived he would Concurrently the father comes to play a sym­ lessly willing that the moor in him shall relationship of paternity. Stephen has at last got have been prince Hamlet's twin), is it pos­ bolic role of the patriarchal law as the Name of suffer. to the heart of the matter: sible, I want to know, or probable that he the Father. He is no longer a rival to the son but (9. 1017-24) did not draw or foresee the logical conclu­ an abstract ruling principle of his s.ociety, ."the - A father, Stephen said, battling against sion of those premises: you are the dispos­ father of all his race" (9. 868-69). Stephen To be all in all , he must be the void upon which hopelessness, is a necessary evil . ... Father­ sessed son: I am the murdered father: your identifies this figure of the Father with Shake­ the text should be founded. An ideal artist, like a hood, in the sense of conscious begetting, is mother is the guilty queen, Ann Shakespeare, speare as a dramatist: ghost wandering between both worlds, exists be­ unknown to man. It is a mystical estate, an born Hathaway? tween the reader and the text, belonging to apostolic succession, from only begetter to ..J (9 . 174-80) When Rutlandbaconsouthamptonshakespeare neither and governing both. By disseminating only begotten. On that mystery and not on or another poet of the same name in the pieces of his biographical facts in his creations, he the madonna which the cunning Italian Ann Hathaway is "a boldfaced Stratford wench comedy of errors wrote Hamlet he was not deconstructs his p~rsonal integrity as an artist. He intellect flung to the mob of Europe the who tumbles in a cornfield a lover younger than the father of his own son merely but, being doesn't govern directly as a father the text as herself' (9. 259-60), and Shakespeare is a man church is founded and founded irremovably no more a son, he was and felt himself the his son but reigns as an abstract and omnipresent "overborne in a cornfield first" (9. 456). He because founded, like the world, macro and father of all his race, the father of his own presence just because he is a ghost-like existence 50 51 One day in the national library we had a - How's things? floating between the inside and the outside of arranger. What is worth noting in this episode, discussion. Shakes. After. His lub back: I - Tiptop ... Let me see. I'll take a glass of however, is that even on tllis elaborate surface the text. burgundy and ... let me see. At the last part of his argument, Stephen followed. 1 gall his kibe. are found a few conspicuous cracks through Stephen, greeting, then all amort, fol­ Sar.dines on the shelves. Almost taste again begins to fall into a deadlock of self­ which the arranger shows its true nature. For lowed a lubber jester, a wellkempt head, them by looking. Sandwich? Ham and his consciousness. The conclusion of the discussion example, it sometimes cuts in only to sentimen­ newbarbered, out of the vaulted cell into a descendants musterred and bred there. Pot­ about Shakespeare is predictive concerning talize Bloom too much: shattering daylight of no thought. ted meats. What is home without Plumtree's Stephen's future: What have I learned? Of them? Of me? potted meat? Incomplete. What a stupid ad! A warm human plumpness settled down (9. 1108-13) Under the obituary notices they stuck it. All He found in the world without as actual on his brain. His brain yielded. Perfume of up a plumtree. Dignam's potted meat. Can­ what was in his world within as possible .... embraces all him assailed. With hungered nibals would with lemon and rice. White We walk through ourselves, meeting robbers, It can be said that he has learned of neither, but flesh obscurely, he mutely craved to adore. ghosts, giants, old men, young men, wives, what matters most is that he has acted anyhow. missionary too salty. Like pickled pork. (8. 637-39) widows, brothers-in-love, but always meeting On 16 June 1904, Stephen has, as it were, acted Expect the chief consumes the parts of honour. Ought to be tough from exercise. ourselves. speech. Accompanying Mulligan, an eyesore to This noticeably elaborated passage reveals the (9. 1041-46) him, Stephen goes out of the library into "a His wives in a row to watch the effect. There arranger's presence. Here, too, the free indirect shattering daylight of no thought," into a world was a right royal old nigger. Who ate or discourse functions as a transitional zone, which Such a morbid egocentrical view of the world of everyday life. Then as if to break the futile something the somethings of the reverend leads to Bloom's interior monologue, where he urges Stephen to a kind of self-conscious deca­ relation between Stephen and Mulligan, an Mr MacTrigger. With it an abode of bliss. is saturated \vith the sensual memory of his first dence, which only makes him aware of his obscure figure of Bloom passes between them. Lord knows what concoction. Cauls mouldy love-making to Molly on Ben Howth. In the helplessness in the actual society and of the He is one of the signatures of the conglomerate tripes windpipes faked and minced up. meantime, the arranger effaces its own traces impossibility of fulfilling what he expects to dci. city still unknown to Stephen. Here, however, Puzzle find "the meat. Kosher. No meat and behind Bloom's verbosity. But finally the mask So when John Eglinton asks Stephen if he be­ Stephen does not even try to read Bloom's milk together. Hygiene that was what they of Bloom proves to be only a makeshift and lieves in his own supposition, he cannot help unwitting message that man shall not live by call now. Yom Kippur fast spring cleaning of exposes its defects at the end of the eighth answering no. The no here transmits all the thought alone, art alone, or language alone. · inside. Peace and war depend on some episode. Glancing at Blazes Boylan suspected of sufferings Stephen kept to himself. "If Socrates Immediately before visiting the library, fellow's digestion. Religions. Christmas being Molly's lover, Bloom gets ridiculously leave his house today he will find the sage seated Bloom has roamed about the city for lunch. The turkeys and geese. Slaughter of innocents. flurried. At the same time, the arranger confounds on his doorstep. If Judas go forth tonight it is to "Lestrygonians" episode, which can be called the Eat drink and. be merry. Then casual wards the objective description with Bloom's interior Judas his steps will tend" - these words of sibling of the ·'Lotus-Eaters" episode, focuses on full after. Heads bandaged. Cheese digests all monologue as if it itself got confounded in Maeterlinck's come across Stephen's mind. Even Bloom's thinking in walking and eating. Most of but itself. Mity cheese. sympathy with Bloom: if Stephen leaves his native city as an exile, he the episode is occupied by Bloom's associations. - Have you a cheese sandwich? will only find the dull and darkish Dublin in The so-called .arranger seems to hold its breath -Yes; sir. Look for something I. 1904 in his mind. Joyce's life proves this supposi­ behind Bloom's almost endless flow of inner (8. 737-57) His hasty hand went quick into a tion. It will also be a nightmare, if a man who voice, but in reality his mind is exploited cun­ pocket, took out, read unfolded Agendath goes to "encounter for the millionth time the ningly and stealthily by the arranger. Therefore, This is a perfectly calculated flow of associations, Netaim. Where did I? reality of experience" (A Portrait, 257) only as is said before, his capacity for memory is which seems at once to hide and to reveal the Busy looking. finds his old stable ego which remains fatally extraordinarily swollen. It is as if all gossips and existence of the arranger behind the mask of He thrust back quick Agendath. bound to the past and the native city. rumors in Dublin were stuffed into the head of Bloom's inner voice . The flow of associations Afternoon she said. The numbed Stephen after the discussion Bloom. The very length of his interior mono· contains a pun on the descriptions of Genesis I am looking for that. Yes, that. Try all says to himself, "Life is many days. This will Iogue makes us hesitate to cite an example. Here ("Ham and his descendants . . . "), a passage of pockets. Handker. Freeman Wh.ere did I? end" (9. 1097). This day is just a day in the life, is a scene where Bloom, entering Davy Byrne's an obscene song ("There was a right royal old Ah, yes. Trousers. Potato. Purse. Where? and may not have any crucial significance. "moral pub," gives an order: nigger . .. ''), a reference to the Judaic fast and Hurry. Walk quietly. Moment more. My Viewed from some future point of time, this day so on, and ends up with· a casual idea of cheese, heart. will be the same as the previous or the following: - Hello, Bloom, Nosey Flynn said from his which in its l urn leads Bloom himself to order a His hand looking for the where did I put every past day will be called "one day." nook. cheese sandwich. The flow seems arbitrary on the found in Ius !lip pocket soap lotion have to - Hello, Flynn. surface, but it is thoroughly controlled by the call tepid paper stuck. Ah soap there I yes. ~~~~~~------~r------

52 53 The persons look like moving specks. It is a Gate. two small schoolboys at the garden gate of external authority, the near order should be the town seen from the top of a tower. _ Safe! the house said to have been admired by the product of the natural growth of the city. It (126) (8. 1182-93) late queen when visiting the Irish capital should come about from within a complex of the witJ1 her husband, the prince consort, in city. After alternating with each other quickly, two The painter's eyes perceive the perspective pre­ 1849 and the s.alute of Almidano Artifoni's Still, there is only a text lying silently in independent levels of narration - objective cisely. In tJ1e labyrinthine streets, the outer and sturdy trousers swallowed by a closing door. front of us readers. This text is like a city we can description and Bloom's interior monologue - inner lives of Dubliners are fragmented, and these (I 0. 1278-82) revisit at any time we like. Fortunately we have a finally coalesce in the last paragraph but one. fragmentary lives are described by means of good guide to this city-like text. Edmund Wilson TI1is means that the arranger has fused with interpolation. We are unfamiliar with most of the A tongue of sewage Peddle river hung out and is the one: Bloom, its own puppet. The arranger, affected by citizens scattered on the streets: we foreign the salute of Almidano Artifoni's sturdy trousers Bloom's perturbation, has gotten confused itself. readers are obliged to see the city from a stran­ symbolize the deep-rooted an•tagonism toward The world of "Ulysses" is animated by a Moreover, it is manifest that here Joyce himself ger's point of view. This can be an advantage or a British rule. Harry Levin says: "Church and state complex inexhaustible life: we can revisit it has become unable to keep on suppressing himself disadvantage . But if we view the city in Ulysses should enrich the lives of the citizens and impose as we do a city, where we come more and behind the double mask of Bloom and the from the outside, we qnnot but regard the a pattern on the city, but for Joyce they are more to recognize faces, to understand 9 arranger and involuntarily surrendered to his own fragments of city lives as chaotic and. random, as tarnished symbols, broken chalices" (35). So it is personalities, to grasp relations, currents and desire of making fun of the arranger as well as futile and anarch,ic. a pornographic book, Sweets ofSin, that guides interests. Joyce has exercised considerable Bloom. After all the arranger is also just another What we must note here is that it is neither Bloom in his wandering about the city, and it is teclmical ingenuity in introducing us to the mask for Joyce the skillful artificer, who mends the church nor the state that imposes order upon his sister Dilly's miserable condition, not Chris­ elements of his story in an order which will such an inflexible mask every time his writing self this immense panorama of futility and anarchy. tian doctrine, that drives Stephen into agenbite enable us to find our bearings. exceeds the capacity of the mask of its own Both Father Conmee and the lord lieutenant and of inwit. Joyce had already lost reliance upon (169) making. He ultimately succeeds in making if general governor of Ireland are strangers to such distant orders as . church and state; his only amorphous. Amorphous because the ultimate Dublin just as we are. They are just passing recourse was the details of the city. According to It is . the task of readers to translate the chaotic arranger elaborated by Joyce is entirely free from through the city as ephemeral symbols of order. Budgen, Joyce wrote the "Wandering Rocks" text into a kind of order by revisiting the text. a flxed personality. It becomes like an arranging So Father Conmee, though blaming " that tyran­ episode with a map of Dublin before him and TI1en we realize that what is there on the page machine which limitlessly multiplies, mixes, nous incontinence" (I 0.171) in his mind, does calculated to a minute the time necessary for his for us to revisit is words, words, words. As the and shuffles words, phrases, and sentences. Still not know what he should do but pray when he characters to cover a given distance of the city. afternoon wears on, words take up their position the amorphous mask is at Joyce's service, and, comes across a bold you~g man, Lynch, and his Walton Litz writes·about Joyce's obsession: in the foreground with the characters for the safe behind it, out of reach of the writing itself, girlfriend who have just had a secret meeting in background.10 Even the arranger as we have he works a remote and refined control over the the bush; and the lord lieutenant, receiving super­ His obsessive concern with realistic detail called for convenience sake is reduced to some­ text. ficial admirations, never notices ti1e hatred and reveals his desperate need for principles of thing like a puppet of which Joyce the ventrilo­ A shattering daylight Stephen goes out into the disregard hidden behind them: order and authority. Deprived of social and quist had a good conm1and. But to push out at the end of the ninth episode makes Stephen religious order by his self-imposed exile, and words to the front, the reduction of Stephen and and Bloom alike only two of many Dubliners. Past Richmond bridge at the do r.mtep of the acutely aware of the disintegrating forces in Bloom to just two of the Dubliners is indis­ The "Wandering Rocks" episode is peculiady the office of Reuben J Dodd, solicitor, agent for modern European society, Joyce turned to pensable. · In response to Stephen's request, episode of Dublin. As regards this episode, the the Patriotic Insurance Company, an elderly the concrete details of place and character as "Sh~tter me you who can" (I 0. 825-26), Joyce analysis of Frank Budgen the painter who is an female about to enter changed her plan and one stable base for his writing. reduced the exclusive presence of Stephen into a expert on dealing with space is still accurate: retracing her steps by King's windows smiled (24) helpless being who has deserted his mother and credulously on the representative of His has no power to save his sisters from misery. He The view constantly changes from a close-up Majesty. From its sluice in Wood quay wall Levin also, says simply: "He lost his faith, but has no choice but to leave his sister Dilly drown­ to a bird's-eye view. A character is intro­ under Tom Devan's office Peddle river hung kept his '"'"'categories" (25). For Joyce, details of ing in poverty. duced to us at close-up r·ange, and suddenly, out in fealty a tongue of liquid sewage. the city had a certain potential. He piled up without warning, the movement of another (I 0. 1192-97) details steadily with an expectation that a certain She is drowning. Agenbite. Save her. character a mile distant is described. The kind of order would loom up from among those Agenbite. All against us. She will drown me scale suddenly changes. Bodies become small His Excellency acknowledged punctually details. Unlike the distant order which is imposed with her, eyes and hair. Lank coils of sea­ in relation to the vast space around them. salutes from rare male walkers, the salute of upon the city from a temporally or spatially weed hair around me , my heart, my soul. 54 55

Salt green death. is . I often saw him in here and I never once saw " Je voudrais dire ce que c'est qu'un style. We. him - you know, over the line'' (Davy By rne) (8. Notes C'est Ia propriete de ceux dont on dit Age nb ite of in wil. In wit's agenbite. 976- 77) ; ·' He's not too bad .. . . He's known to d' habitude < ils n'ont pas de style ... > .... Misery' Misery' put hi s hand down too to help a fellow. Give the 1. James Joyce, Ulysses: The Corrected C'est un agencement, un agencement d'enon­ (10. 875- 80) devil his due. 0 , Bloom has his good points" Text, edited by Hans Walter Gabler with ciatio n. Un style, c'est arriver a begayer dans (Nosey Flynn) (8 . 984- 85); " He 's a cultured Wolfl1ard Steppe and Claus Melchior, with a sa propre langue .... Non pas etre begue Here, too, Stephen's heart is obsessed with the allroundman , Bloom is, .. .. He's not one of new preface by Richard EHmann (London: dans sa parole, mais etre begue du language death of his mother, " Salt green death," asso­ your common or garden . . . you know ... The Bodley Head, 1986) 3. All references to lui-meme. Etre comme un etranger dans sa ciated with her gre en bile . He re is Stephen as he There's a touch of the artist about o ld Bloom" Ulysses are to this edition. After this, refer­ propre langue" (10). Bloom, a Jew living was before. At the same time, in the tenth (Lenehan) (10. 581 - 83). Unexpectedly for most ences to the book are made by the juxtaposi­ among the English-speaking Irish, is a true episode, we hear for the first time Bu ck Mulli­ Dubliners, Bloo m proves to be a subscriber of tion of the episode number and the line stranger in his proper language. His style is ga n's cool judgment on Stephen. It is the first five shillings for Dignam's bere aved family: number of each episode. the motive power of Ulysses which is one of objective judgment on Stephen's state o f mind 2. J oyce's letter to Harriet Shaw Weaver on the strange novels in the English literature. we hea r in his absence: - Look here, Martin, J ohn Wyse Nolan said, 6 August 1919. James Joyce, Letters I, 6 . Marilyn French contrasts Bloom's habit overtaking them at the Mail office. I see - I am sure he ha s an idee fixe, Haines said , edited by Stuart Gilbert, new edition (New of mind with Stephen's: "Bloom's habit of Bloom put his name down for five shillings. York : The Viking Press, pinching his chin tho ughtfully with thumb 1966) 129. mind is a cycling one, as opposed to Ste­ - Quite right, Martin Cunningham said, tak­ and forefinger. ow I am speculating what it 3. Karen Lawrence says as follows: " ... in phen's dialectical mode. Bloom moves ing the list. And put down the five shillings would be like ly to be. Such persons always its seeming fidelity to the details of both the around subjects, stopping briefly in different too. have. thoughts and actions of the characters it positions but reaching no final conclu sions" - Without a second word e ither, Mr Power Bu ck Mu lliga n bent across the table ["the initial style" ] provides us with a sense (83). said. 7. James Joyce, A Portrait of the Artist as a gravely. of the rea l world of the novel. With al l its - They drove his wits astray, he said, by - Strange but true, Martin Cunningham precision and fastidiousness, it functions for Young Man: Th e definitive text, corrected visions of hell. He will never capture the added. us as a narrative norm" (43). from the Dublin Holograph by Chester G. Attic no te. The note of Swinburne, of all John Wyse Nolan opened wide eyes. 4. Joyce often agreed with Vico that " Imag- Anderson and edited by Richard EHmann - I' ll say there is much kindness in the jew, poets, the white death and the ruddy birth. ination is nothing but the working over of (London: Jonathan Cape, 1968) 245. All he quoted elegantly. That is his tragedy. He can never be a poet. what is remembered" (EHmann 1983, 66 1). references to A Portrait are to this edition. (10. 973- 80) The joy of creation .... 5. This is originall y the words of Remy 8 . Bloom admires the remark Simon (10. 1068- 75) Chauvin, a biologist. Talking about the con­ Dedalus made on hearing that Reuben J , a We reali ze that Bl oom is a complete man as well cept of encounter, Deleuze says: "Nous usury, paid a reward of two shillings to a 11 Answering to Mulligan's prophesy that " [h]e is - a good man just like Ulysses. And we feel elisions Ia meme chose pour les devenirs: ce man who rescued his son from drowning: going to write something in ten tears," Haines easy to realize that both Stephen and Bloo m are n'est pas une terme qui devient !'autre, mais " Reuben J's son must have swallowed a says, " Seems a long way off' (J 0. I 089- 91 ). and wi ll always be what they were before. When chacun rencontre I' autre, un seul devenir qui good bellyful of that sewage. One and eight Ten years are out o f range of Ulysses, so whether we get almost drowned in a flood of words or get n'est pas commun aux deux, puisqu' ils n' ont pence too much. Hhhh.m. It's the droll way he will really write or not is indeterminable within almos t lost in a maze of phantasmagoric scenes, rien a voir l' un avec !'autre, mais qui est he comes out with the things. Knows how to the text. What is stressed here is Stephen's un­ the two solid characters are a rock of ages we can entre les deux, qui a sa propre direction, un tell a story too" (8. 53- 55) . On another changeability. His repentance and bitterness last constan tl y turn to in o ur reading journey ,just like bloc de devenir, une evolu tion a-parallele .... occasion, looking at fat Father Coffey at for the rest of Uly sses. Al l the day he remains to the rock of Ithaca the wanderer Ulysses longed Rencontre r, c'est trouver, c'est capturer, Dignam's funeral, Bloom recalls Simon's be haunted by "visions of hell" made by his own for. But we must also notice that this solidity is c'est voler, mais il n 'y a pas de methode pour words: " Burst sideways like a sheep in morbid compunction. a tragedy for the characters who as pire after a trouver, rien qu'une longue preparation" clover Dedalus says he will. With a belly on As for Bloo m, while his defenseless open con­ change for the better. Anyhow Joyce had to con­ (13). From such an a-parall el evolution of him like a poisoned pup. Most amusing sciousness, swollen by the exploitation of the struct a firm basis of the two round characters the two asymmetric figures , Bloom and expressions that man finds. Hhhn: burst arranger, is corroding his personal outline from in order to begin a free play of language in the Stephen, stems Uly sses, which is between sideways" (6. 597- 600). the inside, his fragile personality is effectually latter part of Ulysses. the two, outside the two, and which flows in 9. Richard EHmann also points out: "The rein forced from the outside throu)!h the com­ another direction. In the same dialogue, priest lays claim to an eternity of time, as ments of other characters: '' Decent qUJet man he Deleuze also talks about style as follows: the king if he could would rule over infinite 56

space; and against these forces, anthropo­ Faber. Utz, A. Walton: 1961. The Art of James Joyce: morphized ·m earthly authorities, Stephen EHmann, Richard. 1977. The Consciousness of Method and Design in Ulysses and Finnegans and Bloom have to muster their own forces" Joyce. New York: Oxford University Press. Wake. London: Oxford University Press. (1977, 80): But their forces are too small to , 1983. James Joyce. Rev. ed. 1982. New Lodge, David. 1979. The Modes of Modern fly in the face of church and state. So Ste­ York: Oxford University Press. Writing: Metaphor! Metonymy, and the phen ,and Bloom reb,el against them privily. Frank, Joseph. 1963. The Widening Gyre: Crisis Typology of Modern Literature. 1977. Stephen's words, "I will not serve," are not a and Mastery in Modem Literature. New London: Edward Arnold. public disc.ourse but quite a private one. Brunswick, N.J.: Rutgers University Press. MacCabe, Colin. 1978. James Joyce and the After all, politics and religion are both only French, Marilyn. 1982. The Book as World: Revolution of the Word. London: The personal concerns for these two exiles James Joyce's Ulysses. 1976. London: Macmillan Press. against expectation. Stephen and Bloom are Abacus-Sphere Books. Mad'dox, James H., Jr . 1978.Joyce's Ulysses and unacknowledged rebels. Gilbert, Stuart. 1955. James Joyce's Ulysses: A the Assault upon Character. New Brunswick: 10. This is the constant basis of Hugh Ken- Study. New York: Vintage Books-Random Rutgers University Press. ner's view on Ulysses: "The language of House. Power, Arthur. 1974. Conversations with James Dublin is the subject; his books are about Groden, Michael. 1977. Ulysses in Progress. Joyce. Ed. Clive Hart. Chicago: The Univer­ words, the complexity is there, in the way Princeton, N. J.: Princeton University Press. sity of Chicago Press. people talk, and Joyce copes with it by Hayman, David. 1982. Ulysses: The Mechanics of Scholes, Robert. 1974. "Ulysses: A Structuralist making it impossible for us to ignore the Meaning. A new edition. Madison: The Perspective." Ulysses Fifty Years. Ed. word on the page" (1955, 12); "Again, all is University ofWisconsin Press. Thomas F. Staley. Bloomington: !~diana words, words. All the book, the book has Joyce, James. 1966. Letters of James Joyce. Vol. University Press. 161-71. been insisting, is words, arranged, rear­ I. New ed. Ed. Stuart Gilbert. Vols. II-III. Stanzel, F. K. 1984. A Theory of Narrative. ranged" (1978, 49); ·'On nothing is Ulysses Ed. Richard EHmann. New York: Viking Trans. Charlotte Goedsche. Cambridge: more insistent than on· the fact that there is Press. Cambridge University Press. no Bloom there, no Stephen there, no Molly , 1968. A Portrait of the Artist as a Young To pia, ·Andre. 1984. "The Matrix and the Echo: there, no Dublin there, simply language" Man: The Definitive Text. Corrected from Intertextuality in Ulysses." Post-structuralist (1987' 156). the Dublin Holograph by Chester G. Ander­ Joyce: Essays from the French. Ed. Derek 11. Joyce said to Frank Budgen: "I see him son and edited ~y Richard Ellmann. Attridge and _Daniel Ferrer. Cambridge: [Ulysses] from all sides, and therefore he is London: Jonathan Cape. Cambridge University Press. 103-25. all-round in the sense of your sculptor's - , 1986. Ulysses: The Corrected Text. Edited Wilson, Edmund. 1984. Axel's Castle: A Study in figure. But he is a complete man as well - by Hans Walter Gabler with Wolfhard Steppe the Imaginative Literature of 1870-1930. a good man. At any rate, that is what I and Claus Melchior and with a new preface 1931. London: Fontana. intend that he shall be" (Budgen, 17-18). by Richard EHmann. London: The Bodley Head. Works Cited Kenner, Hugh. 1955. Dublin's Joyce. London: Chatto and Windus. Benjamin, Walter. 1973. Charles Baudelaire: A - , 1978. Joyce's Voices. Berkeley: University of Lyric Poet in the Era of High Capitalism. California Press. Trans. Harry Zohn. London: NLB. , 1987. Ulysses. Revised edition. Baltimore: Budgen, Frank. 1934. James Joyce and the Mak­ The Johns Hopkins University Press. ing of Ulysses. London: Grayson and Gray­ Lawrence, Karen. 1981. The Odyssey ofStyle in son. Ulysses. Princeton: Princeton University Deleuze, Gilles, and Claire Parnet. 1977. Dia­ Press. logues. Paris: Flammarion. Levin, Harry. 1960. James Joyce: A Critical Eliot, T. S. 1975. Selected Prose ofT. S. Eliot. Introduction. Revised, augmented edition. Ed. Frank Kermode. London: Faber and New York: New Directions.