Lecture 15 James Joyce Lecture 15 James Joyce

ModernismModernism (1) The rise of modernist movement(1) The rise of modernist movement Modernism rose out of skepticism and disillusionment Modernism rose out of skepticism and disillusionment

of capitalism, which made writers and artists search for of capitalism, which made writers and artists search for new ways to express their understanding of the world anew ways to express their understanding of the world and the human nature. The French symbolism was the fond the human nature. The French symbolism was the forerunner of modernism. The First World War quickenererunner of modernism. The First World War quickened the rising of all kinds of literary trends of modernism, d the rising of all kinds of literary trends of modernism, which, toward the 1920s, converged into a mighty torrewhich, toward the 1920s, converged into a mighty torrent of modernist movement. The major figures associatent of modernist movement. The major figures associated with the movement were Kafka, Picasso, Pound, Eliot,d with the movement were Kafka, Picasso, Pound, Eliot, Joyce, and Virginia Woolf. Modernism was somewhat Joyce, and Virginia Woolf. Modernism was somewhat curbed in the 1930s. But after World War II, varieties ocurbed in the 1930s. But after World War II, varieties of modernism, or post-modernism, rose again with the spf modernism, or post-modernism, rose again with the spur of Sarter's existentialism. However, they gradually diur of Sarter's existentialism. However, they gradually disappeared or diverged into other kinds of literary trends sappeared or diverged into other kinds of literary trends in the 1960s.in the 1960s.

The characteristics of modernismThe characteristics of modernism Modernism amounts to more than a Modernism amounts to more than a

chronological description, that is to say, the chronological description, that is to say, the more recent does not necessarily mean more more recent does not necessarily mean more modern. Modernism takes the irrational modern. Modernism takes the irrational philosophy and the idea of psychoanalysis as philosophy and the idea of psychoanalysis as its theoretical base. The major themes of the its theoretical base. The major themes of the modernist literature are the distorted, alienated modernist literature are the distorted, alienated and ill relationships between man and nature, and ill relationships between man and nature, man and society, man and man, and man and man and society, man and man, and man and himself. The chief characteristics of himself. The chief characteristics of modernism are as follows:modernism are as follows:

(A) Modernism marks a strong and conscious break with the (A) Modernism marks a strong and conscious break with the past, by rejecting the moral, religious and cultural values of the past, by rejecting the moral, religious and cultural values of the past.past.

(B) Modernism emphasizes on the need to move away from the (B) Modernism emphasizes on the need to move away from the public to the private, from the objective to the subjective.public to the private, from the objective to the subjective.

(C) Modernism upholds a new view of time by emphasizing the (C) Modernism upholds a new view of time by emphasizing the psychic time over the chronological one. It maintains that the psychic time over the chronological one. It maintains that the past, the present and the future are one and exist at the same time past, the present and the future are one and exist at the same time in the consciousness of individual as a continuous flow rather in the consciousness of individual as a continuous flow rather than a series of separate moments.than a series of separate moments.

(D) Modernism is, in many respects, a reaction against realism. (D) Modernism is, in many respects, a reaction against realism. It rejects rationalism, which is the theoretical base of realism; it It rejects rationalism, which is the theoretical base of realism; it excludes from its major concern the external, objective, material excludes from its major concern the external, objective, material world, which is the only creative source of realism; it casts away world, which is the only creative source of realism; it casts away almost all the traditional elements in literature like story, plot, almost all the traditional elements in literature like story, plot, character, chronological narration, etc., which are essential to character, chronological narration, etc., which are essential to realism. As a result, the works created by the modernist writers realism. As a result, the works created by the modernist writers can often be labeled as anti-novel, anti-poetry or anti-drama.can often be labeled as anti-novel, anti-poetry or anti-drama.

Stream of consciousnessStream of consciousness Stream of consciousness is a phrase coined by W. Stream of consciousness is a phrase coined by W.

James in his Principles of Psychology (1890) to James in his Principles of Psychology (1890) to describe the flow of thoughts of the human mind. Now describe the flow of thoughts of the human mind. Now it is widely used in a literary context to describe the it is widely used in a literary context to describe the narrative method whereby certain novelists describe the narrative method whereby certain novelists describe the unspoken thoughts and feelings of their characters unspoken thoughts and feelings of their characters without resorting to objective description or without resorting to objective description or conventional dialogue. Among English writers, James conventional dialogue. Among English writers, James Joyce and Virginia Woolf are two major advocates of Joyce and Virginia Woolf are two major advocates of the technique. The ability to represent the flux of a the technique. The ability to represent the flux of a character's thoughts, impressions, emotions, or character's thoughts, impressions, emotions, or reminiscences, often without logical sequence or reminiscences, often without logical sequence or syntax, marked a revolution in the form of novel.syntax, marked a revolution in the form of novel.

II. James Joyce:II. James Joyce: James ( Augustine Aloysius) Joyce (1882-1941) James ( Augustine Aloysius) Joyce (1882-1941)

was an Irishman born into a Catholic family in Dublin was an Irishman born into a Catholic family in Dublin and educated at Jesuit schools. He was a good student and educated at Jesuit schools. He was a good student and was intended for a priest. But he renounced and was intended for a priest. But he renounced Catholicism at adolescence. He left Ireland and lived in Catholicism at adolescence. He left Ireland and lived in France, Italy and Switzerland as "a voluntary exile", France, Italy and Switzerland as "a voluntary exile", though his books were all written about Dublin because though his books were all written about Dublin because the Irish and Ireland were the people and the place he the Irish and Ireland were the people and the place he knew best and he believed that by writing about Dublin knew best and he believed that by writing about Dublin he was at the same time penetrating the heart of all he was at the same time penetrating the heart of all cities and all mankind. Joyce suffered from an eye cities and all mankind. Joyce suffered from an eye disease and lived all his life on the verge of poverty, disease and lived all his life on the verge of poverty, but he was devoted to his work as a writer. but he was devoted to his work as a writer.

His first important work was "Dubliners' (1914), a collection of 15 His first important work was "Dubliners' (1914), a collection of 15 short stories, all realistic and impressionistic studies of the life, thoshort stories, all realistic and impressionistic studies of the life, thoughts, dreams, aspirations and frustrations of diverse inhabitants in ughts, dreams, aspirations and frustrations of diverse inhabitants in the Irish capital. He wrote: "My intention was to write a chapter of the Irish capital. He wrote: "My intention was to write a chapter of the moral history of my country and I chose Dublin for the scene bthe moral history of my country and I chose Dublin for the scene because that city seemed to me the centre of paralysis (i.e. moral heecause that city seemed to me the centre of paralysis (i.e. moral hemiplegia or spiritual poverty)." In this paralysed city, everything stmiplegia or spiritual poverty)." In this paralysed city, everything stands under the sway of priests. The young may dream of escaping ands under the sway of priests. The young may dream of escaping from the narrow confines, but since even their dreams of getting afrom the narrow confines, but since even their dreams of getting away are shaped in the existing surroundings, their efforts often end way are shaped in the existing surroundings, their efforts often end in bitter resignation or fruitless discontent. in bitter resignation or fruitless discontent.

In the story "Eveline", a Dublin girl, weary of hIn the story "Eveline", a Dublin girl, weary of her tedious life, has the chance to escape to Buener tedious life, has the chance to escape to Buenos Ayres with a sailor who wants to marry her. os Ayres with a sailor who wants to marry her. But this signifies a break with all her past life. But this signifies a break with all her past life. At the last moment, she clings to the iron railing At the last moment, she clings to the iron railing at the docks, incapable of following her suitor. at the docks, incapable of following her suitor. These stories are written in accordance with JoyThese stories are written in accordance with Joyce's theory of ' epiphanies" .i.e. deep insights thce's theory of ' epiphanies" .i.e. deep insights that might be gained through incidents and circumat might be gained through incidents and circumstances which seem outwardly insignificant.stances which seem outwardly insignificant.

His first novel, "A Portrait of the Artist as a Young Man' (1916), His first novel, "A Portrait of the Artist as a Young Man' (1916), is largely autobiographical. It describes the childhood, youth and is largely autobiographical. It describes the childhood, youth and early manhood of Stephen Dedalus, a highly gifted young Irishmearly manhood of Stephen Dedalus, a highly gifted young Irishman. After mental torment and inner conflict, Stephen abandons Can. After mental torment and inner conflict, Stephen abandons Catholicism and leaves Ireland making up his mind to devote himsatholicism and leaves Ireland making up his mind to devote himself to artistic career in exile: 'I will not serve that in which I no loelf to artistic career in exile: 'I will not serve that in which I no longer believe, whether it call itself my home. my fatherland, or mnger believe, whether it call itself my home. my fatherland, or my church: and I will try to express myself in some mode of life oy church: and I will try to express myself in some mode of life or art as freely as I can and as wholly as I can, using for my defenr art as freely as I can and as wholly as I can, using for my defence the only arms I allow myself to use--silence, exile, and cunnince the only arms I allow myself to use--silence, exile, and cunning.' The plot is symbolic of the relation between an artist and socig.' The plot is symbolic of the relation between an artist and society as well as that between art and exile in the modern western wety as well as that between art and exile in the modern western world. In the novel, there are changes of vocabulary, idiom, and prorld. In the novel, there are changes of vocabulary, idiom, and prose structure to befit the various stages of the hero's development ose structure to befit the various stages of the hero's development from childhood to early manhood, but the novel presents no diffifrom childhood to early manhood, but the novel presents no difficulty as prose. It is the author's "preliminary canter over the field culty as prose. It is the author's "preliminary canter over the field of infinite stylistic adaptability".of infinite stylistic adaptability".

““Ulysses" the novel which took Joyce 7 years to complUlysses" the novel which took Joyce 7 years to complete became a centre of controversy on its publication in ete became a centre of controversy on its publication in 1922. In plot bearing a parallel to Homer's great epic ' 1922. In plot bearing a parallel to Homer's great epic ' Odyssey" which tells of the wanderings and adventures Odyssey" which tells of the wanderings and adventures of 'the ancient Greek hero Odysseus, otherwise called of 'the ancient Greek hero Odysseus, otherwise called Ulysses. Joyce's novel tells of the Wanderings and "adUlysses. Joyce's novel tells of the Wanderings and "adventures" of Leopold Bloom, a modern Ulysses, during ventures" of Leopold Bloom, a modern Ulysses, during the 24 hours of a single day, June 16. 1904. There are 3 the 24 hours of a single day, June 16. 1904. There are 3 main characters: Leopold Bloom, an ordinary Jewish bmain characters: Leopold Bloom, an ordinary Jewish businessman in Dublin, his wife Molly, a concert singer, usinessman in Dublin, his wife Molly, a concert singer, and Stephen Dedalus from "A Portrait of the Artist as a and Stephen Dedalus from "A Portrait of the Artist as a Young Man", a writer like Joyce. The story is told throYoung Man", a writer like Joyce. The story is told through recording the characters' mental activities by the usugh recording the characters' mental activities by the use of the" stream of consciousness" method. e of the" stream of consciousness" method.

It shows how Leopold wanders about the Dublin streets on his dIt shows how Leopold wanders about the Dublin streets on his daily business as an advertising agent, is tempted by the barmaids aily business as an advertising agent, is tempted by the barmaids and lured by the shop--windows, meets Stephen m drunkenness and lured by the shop--windows, meets Stephen m drunkenness and sends him home, but is all the time worrying about Molly, hand sends him home, but is all the time worrying about Molly, his .unfaithful wife, who is carrying on an affair with an impresaris .unfaithful wife, who is carrying on an affair with an impresario. Boylan--thus the reader may see "a whole individual" who is io. Boylan--thus the reader may see "a whole individual" who is representative of universal human existence in modern western representative of universal human existence in modern western world. The "stream of consciousness" method was used by the aworld. The "stream of consciousness" method was used by the author to depict what the inner, mental world of his characters actuthor to depict what the inner, mental world of his characters actually was. Joyce was free in his experiments with the English laually was. Joyce was free in his experiments with the English language and grammar. Sometimes he retained the ordinary sentenguage and grammar. Sometimes he retained the ordinary sentence structures, but more often he broke through "the fetters of synce structures, but more often he broke through "the fetters of syntax" In a chapter of the novel, the language goes through every ntax" In a chapter of the novel, the language goes through every stage in the development of English prose from Anglo-Saxon to stage in the development of English prose from Anglo-Saxon to the present day to symbolize the growth of a foetus in the womb.the present day to symbolize the growth of a foetus in the womb. In the last chapter, Molly's natural, disconnected flow of though In the last chapter, Molly's natural, disconnected flow of thoughts in bed is recorded by the "stream of consciousness'' style of prts in bed is recorded by the "stream of consciousness'' style of prose in 8 unpunctuated pages.ose in 8 unpunctuated pages.

"Finnegans Wake" (1939), Joyce's last novel, w"Finnegans Wake" (1939), Joyce's last novel, went even further in his experiments with his writent even further in his experiments with his writing method. From the beginning to the end, it deing method. From the beginning to the end, it depicts a dream of Mr. Earwicker, a Dublin innkeepicts a dream of Mr. Earwicker, a Dublin innkeeper", in a dream language". "In this immense wper", in a dream language". "In this immense work," a critic wrote. "Joyce had written a collectiork," a critic wrote. "Joyce had written a collection of words, some derived from languages other on of words, some derived from languages other than English, and many apparently invented, whthan English, and many apparently invented, whose significance no single reader can ever hope tose significance no single reader can ever hope to gain."o gain."

James Joyce was one of the most original novelists of the 20th ceJames Joyce was one of the most original novelists of the 20th century, whose work shows a unique synthesis of realism, the "strentury, whose work shows a unique synthesis of realism, the "stream of consciousness" and symbolism. His masterpiece "Ulysses" am of consciousness" and symbolism. His masterpiece "Ulysses" has been called "a modern prose epic". But he is also the greatest has been called "a modern prose epic". But he is also the greatest enigma in 20th-century literature. His admirers have praised him enigma in 20th-century literature. His admirers have praised him as "second only to Shakespeare in his mastery of the English lanas "second only to Shakespeare in his mastery of the English language", whereas the average readers and not a few reviewers havguage", whereas the average readers and not a few reviewers have complained that his masterpieces, especially "Finnegans Wake complained that his masterpieces, especially "Finnegans Wake", are difficult to comprehend and even "unreadable". It may be e", are difficult to comprehend and even "unreadable". It may be still early to arrive at a final estimation of his literary achievemestill early to arrive at a final estimation of his literary achievement, we had better regard "Ulysses" and "Finnegans Wake" as unpnt, we had better regard "Ulysses" and "Finnegans Wake" as unprecedented experiments in a new prose style and a new novel forrecedented experiments in a new prose style and a new novel form, the verdict of whose real value will be given by future literary m, the verdict of whose real value will be given by future literary historians, or by Time, who is the most impartial literary historiahistorians, or by Time, who is the most impartial literary historian of all. n of all.

Artistic points of viewArtistic points of view (1) Joyce is a self-conscious and self-prepared artist. He holds (1) Joyce is a self-conscious and self-prepared artist. He holds

that the subject matter of art should not be limited only to the that the subject matter of art should not be limited only to the sublime; anything that pleases the aesthetic sensitivity can be sublime; anything that pleases the aesthetic sensitivity can be the subject matter of art. To Joyce, the creative artist should be the subject matter of art. To Joyce, the creative artist should be concerned with the beautiful. As to how to apprehend the concerned with the beautiful. As to how to apprehend the beautiful, Joyce quotes Aquinas' notion about the three beautiful, Joyce quotes Aquinas' notion about the three required things for the perception of beauty, i.e. wholeness or required things for the perception of beauty, i.e. wholeness or integrity, harmony or proportion, and clarity or radiance.integrity, harmony or proportion, and clarity or radiance.

(2) Joyce believes that literary art can be roughly divided into (2) Joyce believes that literary art can be roughly divided into three forms, i.e. lyrical, epical and dramatic. He also thinks three forms, i.e. lyrical, epical and dramatic. He also thinks that the artist is two in one: on one hand, he is an unconscious that the artist is two in one: on one hand, he is an unconscious receptor, who reacts emotionally to the world around him; on receptor, who reacts emotionally to the world around him; on the other hand, he is a conscious converter, and schemes them the other hand, he is a conscious converter, and schemes them in different forms.in different forms.

(3) In Joyce's opinion, the dramatic form is the (3) In Joyce's opinion, the dramatic form is the highest form of art. To his understanding, the ahighest form of art. To his understanding, the artist, who wants to reach the highest stage and rtist, who wants to reach the highest stage and to gain the insights necessary for the creation oto gain the insights necessary for the creation of dramatic art, must rise to the position of god f dramatic art, must rise to the position of god and be completely objective.and be completely objective.

(4) To Joyce, comedy is the perfect manner in (4) To Joyce, comedy is the perfect manner in art. That well explains why Joyce sticks to coart. That well explains why Joyce sticks to comedy in his writings. And this comic spirit, whmedy in his writings. And this comic spirit, which makes its early appearance in A Portrait of ich makes its early appearance in A Portrait of the Artist as a Young Man, achieves its great flthe Artist as a Young Man, achieves its great flowering in Ulysses and Finnegans Wake.owering in Ulysses and Finnegans Wake.

(1) Dubliners (1914)(1) Dubliners (1914) A collection of 15 short stories, it is the first important A collection of 15 short stories, it is the first important

work of Joyce's lifelong preoccupation with Dublin work of Joyce's lifelong preoccupation with Dublin life. The stories have an artistic unity given by Joyce life. The stories have an artistic unity given by Joyce who intended "to write a chapter of the moral history who intended "to write a chapter of the moral history of my country.., under four of its aspects: childhood, of my country.., under four of its aspects: childhood, adolescence, maturity and public life". Likewise, the adolescence, maturity and public life". Likewise, the stories progress from simple to complex. Each story stories progress from simple to complex. Each story presents an aspect of "dear dirty Dublin", an aspect of presents an aspect of "dear dirty Dublin", an aspect of the city's paralysis--moral, political, or spiritual. Each the city's paralysis--moral, political, or spiritual. Each story is an action, defining a frustration or defeat of the story is an action, defining a frustration or defeat of the soul. And the whole sequence of the stories represents soul. And the whole sequence of the stories represents the entire course of moral deterioration in Dublin, the entire course of moral deterioration in Dublin, ending in the death of the soul.ending in the death of the soul.

(2) A Portrait of the Artist as a Young Man (1916)(2) A Portrait of the Artist as a Young Man (1916) (A) Story(A) Story The story develops around the life of a middle-class IriThe story develops around the life of a middle-class Iri

sh boy, Stephen Dedalus, from his infancy in the strongsh boy, Stephen Dedalus, from his infancy in the strongly Catholic, intensely nationalistic environment of Dubly Catholic, intensely nationalistic environment of Dublin in the 1880s to his departure from Ireland some twelin in the 1880s to his departure from Ireland some twenty years later.nty years later.

In his childhood and adolescent period, Stephen experiIn his childhood and adolescent period, Stephen experiences and feels the oppressive pressures from the moraences and feels the oppressive pressures from the moral, political and spiritual environment; with repeated frul, political and spiritual environment; with repeated frustrations and futile isolation, he turns to savage physicastrations and futile isolation, he turns to savage physical desire as an outlet. This, however, only makes matters l desire as an outlet. This, however, only makes matters worse and later at a moment of revelation on the seashoworse and later at a moment of revelation on the seashore, Stephen suddenly realizes that the artistic vocation ire, Stephen suddenly realizes that the artistic vocation is his true mission and for its fulfillment he leaves Irelas his true mission and for its fulfillment he leaves Ireland.nd.

(B) Theme(B) Theme The title of this novel suggests a character study with stThe title of this novel suggests a character study with st

rong autobiographical elements. So far as the subject mrong autobiographical elements. So far as the subject matter is concerned, A Portrait belongs to the kind of fictiatter is concerned, A Portrait belongs to the kind of fiction known as the Bildungsroman (Novel of Education). on known as the Bildungsroman (Novel of Education). This kind of fiction is usually about a sensitive young This kind of fiction is usually about a sensitive young man who is at first shaped by excessively powerful and man who is at first shaped by excessively powerful and oppressive forces of his environment but gradually realioppressive forces of his environment but gradually realizes the pressure and rebels against it and tries to find hizes the pressure and rebels against it and tries to find his own identity. In this sense, Joyce's Portrait can be reas own identity. In this sense, Joyce's Portrait can be read as a straightforward, naturalistic account of the bitter d as a straightforward, naturalistic account of the bitter youthful experiences and final artistic and spiritual liberyouthful experiences and final artistic and spiritual liberation of the protagonist, Stephen Dedalus--Joyce's alter ation of the protagonist, Stephen Dedalus--Joyce's alter ego in the novel.ego in the novel.

(C) Structure(C) Structure The structure of A Portrait is based on the three-The structure of A Portrait is based on the three-

dimension growth (i. e. physical, spiritual and artistic) dimension growth (i. e. physical, spiritual and artistic) of a sensitive boy to young manhood. In the novel, the of a sensitive boy to young manhood. In the novel, the author builds up a radiant pattern to expand Stephen's author builds up a radiant pattern to expand Stephen's growth on different levels. By using subjective realism growth on different levels. By using subjective realism and the stream-of-consciousness technique, Joyce not and the stream-of-consciousness technique, Joyce not only creates a natural pattern of Stephen's growing up: only creates a natural pattern of Stephen's growing up: physically from infancy to manhood, intellectually physically from infancy to manhood, intellectually from ignorance to scholarship, and in language from from ignorance to scholarship, and in language from simple to complex, but also presents a convincing simple to complex, but also presents a convincing picture of Stephen's spiritual development from picture of Stephen's spiritual development from disillusion to overt rebellion and, symbolically, an disillusion to overt rebellion and, symbolically, an exploration of the evolution of his artistic soul from the exploration of the evolution of his artistic soul from the early fetal stage to the maturity and, finally, to the early fetal stage to the maturity and, finally, to the newly-born artist. To avoid slacken structure and make newly-born artist. To avoid slacken structure and make the novel more effective, Joyce adopts the device of the novel more effective, Joyce adopts the device of montages to organize his novel.montages to organize his novel.

(3) Ulysses (1922)(3) Ulysses (1922) As Joyce's masterpiece, Ulysses has become a As Joyce's masterpiece, Ulysses has become a

prime example of modernism in literature. It is prime example of modernism in literature. It is such an uncommon novel that there arises the such an uncommon novel that there arises the question whether it can be termed as a "novel" question whether it can be termed as a "novel" in the first place at all; for it seems to lack in the first place at all; for it seems to lack almost all the essential qualities of the novel in a almost all the essential qualities of the novel in a traditional sense: there is virtually no story, no traditional sense: there is virtually no story, no plot, almost no action, and little characterization plot, almost no action, and little characterization in the usual sense.in the usual sense.

(A) Story(A) Story Ulysses gives an account of man's life during one day,Ulysses gives an account of man's life during one day,

or exactly 18 hours, in Dublin. The three major chara or exactly 18 hours, in Dublin. The three major characters are the Blooms, Leopaold Bloom, and his wife, cters are the Blooms, Leopaold Bloom, and his wife, Marion Tweedy Bloom (Molly), and Stephen DedaluMarion Tweedy Bloom (Molly), and Stephen Dedalus, the protagonist in A Portrait. The story of the novel s, the protagonist in A Portrait. The story of the novel is carried on more in the inner mind of the character tis carried on more in the inner mind of the character than in the outside world. The events of the day, and han in the outside world. The events of the day, and what preoccupies the major characters of the novel aliwhat preoccupies the major characters of the novel alike, seem to be trivial, insignificant, or even banal. Beke, seem to be trivial, insignificant, or even banal. Beneath the surface of the events, nevertheless, the naturneath the surface of the events, nevertheless, the natural flow of mental reflections, the shifting moods and ial flow of mental reflections, the shifting moods and impulses in the characters' inner world are richly presempulses in the characters' inner world are richly presented in an un-precedentedly frank and penetrating wanted in an un-precedentedly frank and penetrating way.y.

(B) Theme(B) Theme In Ulysses, Joyce seeks to present a microcosm of the whole In Ulysses, Joyce seeks to present a microcosm of the whole

human life by providing an instance of how a single event contains human life by providing an instance of how a single event contains all the events of its kind, and how history is recapitulated in the all the events of its kind, and how history is recapitulated in the happenings of one day. With great varieties and minute details, happenings of one day. With great varieties and minute details, Ulysses embodies a symbolic picture of all human history, which is Ulysses embodies a symbolic picture of all human history, which is simultaneously tragic and comic, heroic and trivial, magnificent simultaneously tragic and comic, heroic and trivial, magnificent and dreary. Critics differ greatly so far as the novel's theme is and dreary. Critics differ greatly so far as the novel's theme is concerned, some regard it as an encyclopedic satire on the concerned, some regard it as an encyclopedic satire on the degeneration and futility of modern life in Western world in which degeneration and futility of modern life in Western world in which men become rootless, lonely, isolated from one another, alienated men become rootless, lonely, isolated from one another, alienated with the society, and frustrated by love. Actually, Ulysses is an with the society, and frustrated by love. Actually, Ulysses is an anti-novel in which modern men are portrayed neither as heroes anti-novel in which modern men are portrayed neither as heroes nor as villains, but as vulgar and trivial men with splitting nor as villains, but as vulgar and trivial men with splitting personalities, disillusioned ideals, sordid minds and broken personalities, disillusioned ideals, sordid minds and broken families, who are searching in vain for harmonious human families, who are searching in vain for harmonious human relationships and spiritual sustenance in a decaying world.relationships and spiritual sustenance in a decaying world.

(C) Structure(C) Structure In Ulysses, Joyce is mainly concerned with his In Ulysses, Joyce is mainly concerned with his

characters' psychic processes, which are characters' psychic processes, which are formless. To compensate for this, Joyce makes formless. To compensate for this, Joyce makes use of several means to superimpose patterns use of several means to superimpose patterns or forms on his formless subject matter, such or forms on his formless subject matter, such as the unities of time and place, Homeric and as the unities of time and place, Homeric and Biblical patterns, symbolic structures, image Biblical patterns, symbolic structures, image or word-phrase motifs, cyclical schemes, and or word-phrase motifs, cyclical schemes, and so on.so on.

(D) Style(D) Style Joyce takes great pains to create Ulysses from a Joyce takes great pains to create Ulysses from a

complex of various techniques and experiments. But complex of various techniques and experiments. But generally speaking, Joyce writes Ulysses in three generally speaking, Joyce writes Ulysses in three main styles.main styles.

The first is Joyce's original style: straightforward, The first is Joyce's original style: straightforward, lucid, logical and leisurely. Subtlety, economy and lucid, logical and leisurely. Subtlety, economy and exactness are his standards.exactness are his standards.

The second is a style mainly used to render the so-The second is a style mainly used to render the so-called stream of consciousness. The incomplete, called stream of consciousness. The incomplete, rapid, broken wording and the fragmentary sentences rapid, broken wording and the fragmentary sentences are the typical features of this style, which reflect the are the typical features of this style, which reflect the shifting, flirting, disorderly flow of the thoughts in shifting, flirting, disorderly flow of the thoughts in the major characters' mind.the major characters' mind.

The third is a kind of mock-heroic style, the essence The third is a kind of mock-heroic style, the essence of which lies in the application of apparently of which lies in the application of apparently inappropriate styles.inappropriate styles.

ArabyAraby North Richmond Street, being blind, was a quiet street except at North Richmond Street, being blind, was a quiet street except at

the hour when the Christian Brothers' School set the boys free. the hour when the Christian Brothers' School set the boys free. An uninhabited house of two storeys stood at the blind end, detaAn uninhabited house of two storeys stood at the blind end, detached from its neighbours in a square ground. The other houses oched from its neighbours in a square ground. The other houses of the street, conscious of decent lives within them, gazed at one f the street, conscious of decent lives within them, gazed at one another with brown imperturbable faces. another with brown imperturbable faces.

The former tenant of our house, a priest, had died in the back drThe former tenant of our house, a priest, had died in the back drawing-room. Air, musty from having been long enclosed, hung iawing-room. Air, musty from having been long enclosed, hung in all the rooms, and the waste room behind the kitchen was littern all the rooms, and the waste room behind the kitchen was littered with old useless papers. Among these I found a few paper-coed with old useless papers. Among these I found a few paper-covered books, the pages of which were curled and damp: vered books, the pages of which were curled and damp: The AbbThe Abbotot, by Walter Scott, , by Walter Scott, The Devout CommunicantThe Devout Communicant, and , and The MemoirThe Memoirs of Vidocqs of Vidocq. I liked the last best because its leaves were yellow. . I liked the last best because its leaves were yellow. The wild garden behind the house contained a central apple-tree The wild garden behind the house contained a central apple-tree and a few straggling bushes, under one of which I found the late and a few straggling bushes, under one of which I found the late tenant's rusty bicycle-pump. He had been a very charitable priest;tenant's rusty bicycle-pump. He had been a very charitable priest; in his will he had left all his money to institutions and the furnit in his will he had left all his money to institutions and the furniture of his house to his sister. ure of his house to his sister.

When the short days of winter came, dusk fell before we had well eaWhen the short days of winter came, dusk fell before we had well eaten our dinners. When we met in the street the houses had grown soten our dinners. When we met in the street the houses had grown sombre. The space of sky above us was the colour of ever-changing vimbre. The space of sky above us was the colour of ever-changing violet and towards it the lamps of the street lifted their feeble lanterns. olet and towards it the lamps of the street lifted their feeble lanterns. The cold air stung us and we played till our bodies glowed. Our shouThe cold air stung us and we played till our bodies glowed. Our shouts echoed in the silent street. The career of our play brought us throuts echoed in the silent street. The career of our play brought us through the dark muddy lanes behind the houses, where we ran the gauntlgh the dark muddy lanes behind the houses, where we ran the gauntlet of the rough tribes from the cottages, to the back doors of the dark et of the rough tribes from the cottages, to the back doors of the dark dripping gardens where odours arose from the ashpits, to the dark oddripping gardens where odours arose from the ashpits, to the dark odorous stables where a coachman smoothed and combed the horse or orous stables where a coachman smoothed and combed the horse or shook music from the buckled harness. When we returned to the streshook music from the buckled harness. When we returned to the street, light from the kitchen windows had filled the areas. If my uncle et, light from the kitchen windows had filled the areas. If my uncle was seen turning the corner, we hid in the shadow until we had seen was seen turning the corner, we hid in the shadow until we had seen him safely housed. Or if Mangan's sister came out on the doorstep to him safely housed. Or if Mangan's sister came out on the doorstep to call her brother in to his tea, we watched her from our shadow peer ucall her brother in to his tea, we watched her from our shadow peer up and down the street. We waited to see whether she would remain op and down the street. We waited to see whether she would remain or go in and, if she remained, we left our shadow and walked up to Mr go in and, if she remained, we left our shadow and walked up to Mangan's steps resignedly. She was waiting for us, her figure defined bangan's steps resignedly. She was waiting for us, her figure defined by the light from the half-opened door. Her brother always teased her y the light from the half-opened door. Her brother always teased her before he obeyed, and I stood by the railings looking at her. Her dresbefore he obeyed, and I stood by the railings looking at her. Her dress swung as she moved her body, and the soft rope of her hair tossed fs swung as she moved her body, and the soft rope of her hair tossed from side to side. rom side to side.

Every morning I lay on the floor in the front paEvery morning I lay on the floor in the front parlour watching her door. The blind was pulled rlour watching her door. The blind was pulled down to within an inch of the sash so that I codown to within an inch of the sash so that I could not be seen. When she came out on the doould not be seen. When she came out on the doorstep my heart leaped. I ran to the hall, seized rstep my heart leaped. I ran to the hall, seized my books and followed her. I kept her brown fmy books and followed her. I kept her brown figure always in my eye and, when we came neigure always in my eye and, when we came near the point at which our ways diverged, I quicar the point at which our ways diverged, I quickened my pace and passed her. This happened kened my pace and passed her. This happened morning after morning. I had never spoken to morning after morning. I had never spoken to her, except for a few casual words, and yet her her, except for a few casual words, and yet her name was like a summons to all my foolish bloname was like a summons to all my foolish blood. . od. .

Her image accompanied me even in places the most hostile to romanHer image accompanied me even in places the most hostile to romance. On Saturday evenings when my aunt went marketing I had to go ce. On Saturday evenings when my aunt went marketing I had to go to carry some of the parcels. We walked through the flaring streets, jto carry some of the parcels. We walked through the flaring streets, jostled by drunken men and bargaining women, amid the curses of laostled by drunken men and bargaining women, amid the curses of labourers, the shrill litanies of shop-boys who stood on guard by the bbourers, the shrill litanies of shop-boys who stood on guard by the barrels of pigs' cheeks, the nasal chanting of street-singers, who sang arrels of pigs' cheeks, the nasal chanting of street-singers, who sang a a come-all-youcome-all-you about O'Donovan Rossa, or a ballad about the trouble about O'Donovan Rossa, or a ballad about the troubles in our native land. These noises converged in a single sensation of s in our native land. These noises converged in a single sensation of life for me: I imagined that I bore my chalice safely through a throng life for me: I imagined that I bore my chalice safely through a throng of foes. Her name sprang to my lips at moments in strange prayers aof foes. Her name sprang to my lips at moments in strange prayers and praises which I myself did not understand. My eyes were often fund praises which I myself did not understand. My eyes were often full of tears (I could not tell why) and at times a flood from my heart sll of tears (I could not tell why) and at times a flood from my heart seemed to pour itself out into my bosom. I thought little of the future. eemed to pour itself out into my bosom. I thought little of the future. I did not know whether I would ever speak to her or not or, if I spokI did not know whether I would ever speak to her or not or, if I spoke to her, how I could tell her of my confused adoration. But my body e to her, how I could tell her of my confused adoration. But my body was like a harp and her words and gestures were like fingers running was like a harp and her words and gestures were like fingers running upon the wires.upon the wires.

One evening I went into the back drawing-room in which One evening I went into the back drawing-room in which the priest had died. It was a dark rainy evening and there the priest had died. It was a dark rainy evening and there was no sound in the house. Through one of the broken pawas no sound in the house. Through one of the broken panes I heard the rain impinge upon the earth, the fine incesnes I heard the rain impinge upon the earth, the fine incessant needles of water playing in the sodden beds. Some dsant needles of water playing in the sodden beds. Some distant lamp or lighted window gleamed below me. I was tistant lamp or lighted window gleamed below me. I was thankful that I could see so little. All my senses seemed to hankful that I could see so little. All my senses seemed to desire to veil themselves and, feeling that I was about to desire to veil themselves and, feeling that I was about to slip from them, I pressed the palms of my hands together slip from them, I pressed the palms of my hands together until they trembled, murmuring: `until they trembled, murmuring: `O love!O love! O love!O love!' many t' many times. imes.

At last she spoke to me. When she addressed the first woAt last she spoke to me. When she addressed the first words to me I was so confused that I did not know what to ards to me I was so confused that I did not know what to answer. She asked me was I going to nswer. She asked me was I going to ArabyAraby. I forgot whet. I forgot whether I answered yes or no. It would be a splendid bazaar; sher I answered yes or no. It would be a splendid bazaar; she said she would love to go. he said she would love to go.

`And why can't you?' I asked. `And why can't you?' I asked.

While she spoke she turned a silver bracelet round While she spoke she turned a silver bracelet round and round her wrist. She could not go, she said, and round her wrist. She could not go, she said, because there would be a retreat that week in her because there would be a retreat that week in her convent. Her brother and two other boys were convent. Her brother and two other boys were fighting for their caps, and I was alone at the railings. fighting for their caps, and I was alone at the railings. She held one of the spikes, bowing her head towards She held one of the spikes, bowing her head towards me. The light from the lamp opposite our door caught me. The light from the lamp opposite our door caught the white curve of her neck, lit up her hair that rested the white curve of her neck, lit up her hair that rested there and, falling, lit up the hand upon the railing. It there and, falling, lit up the hand upon the railing. It fell over one side of her dress and caught the white fell over one side of her dress and caught the white border of a petticoat, just visible as she stood at ease. border of a petticoat, just visible as she stood at ease.

`It's well for you,' she said. `It's well for you,' she said. `If I go,' I said, `I will bring you something.' `If I go,' I said, `I will bring you something.'

What innumerable follies laid waste my waking and sWhat innumerable follies laid waste my waking and sleeping thoughts after that evening! I wished to annihileeping thoughts after that evening! I wished to annihilate the tedious intervening days. I chafed against the late the tedious intervening days. I chafed against the work of school. At night in my bedroom and by day iwork of school. At night in my bedroom and by day in the classroom her image came between me and the n the classroom her image came between me and the page I strove to read. The syllables of the word page I strove to read. The syllables of the word ArabyAraby were called to me through the silence in which my sowere called to me through the silence in which my soul luxuriated and cast an Eastern enchantment over mul luxuriated and cast an Eastern enchantment over me. I asked for leave to go to the bazaar on Saturday nie. I asked for leave to go to the bazaar on Saturday night. My aunt was surprised, and hoped it was not somght. My aunt was surprised, and hoped it was not some Freemason affair. I answered few questions in class. e Freemason affair. I answered few questions in class. I watched my master's face pass from amiability to stI watched my master's face pass from amiability to sternness; he hoped I was not beginning to idle. I could ernness; he hoped I was not beginning to idle. I could not call my wandering thoughts together. I had hardly not call my wandering thoughts together. I had hardly any patience with the serious work of life which, now any patience with the serious work of life which, now that it stood between me and my desire, seemed to me that it stood between me and my desire, seemed to me child's play, ugly monotonous child's play. child's play, ugly monotonous child's play.

On Saturday morning I reminded my uncle that I wished to go to thOn Saturday morning I reminded my uncle that I wished to go to the bazaar in the evening. He was fussing at the hallstand, looking foe bazaar in the evening. He was fussing at the hallstand, looking for the hat-brush, and answered me curtly: r the hat-brush, and answered me curtly:

`Yes, boy, I know.' `Yes, boy, I know.' As he was in the hall I could not go into the front parlour and lie at As he was in the hall I could not go into the front parlour and lie at

the window. I felt the house in bad humour and walked slowly towthe window. I felt the house in bad humour and walked slowly towards the school. The air was pitilessly raw and already my heart miards the school. The air was pitilessly raw and already my heart misgave me. sgave me.

When I came home to dinner my uncle had not yet been home. Still When I came home to dinner my uncle had not yet been home. Still it was early. I sat staring at the clock for some time and, when its tiit was early. I sat staring at the clock for some time and, when its ticking began to irritate me, I left the room. I mounted the staircase acking began to irritate me, I left the room. I mounted the staircase and gained the upper part of the house. The high, cold, empty, gloond gained the upper part of the house. The high, cold, empty, gloomy rooms liberated me and I went from room to room singing. Fromy rooms liberated me and I went from room to room singing. From the front window I saw my companions playing below in the strem the front window I saw my companions playing below in the street. Their cries reached me weakened and indistinct and, leaning my et. Their cries reached me weakened and indistinct and, leaning my forehead against the cool glass, I looked over at the dark house whforehead against the cool glass, I looked over at the dark house where she lived. I may have stood there for an hour, seeing nothing buere she lived. I may have stood there for an hour, seeing nothing but the brown-clad figure cast by my imagination, touched discreetly t the brown-clad figure cast by my imagination, touched discreetly by the lamplight at the curved neck, at the hand upon the railings aby the lamplight at the curved neck, at the hand upon the railings and at the border below the dress. nd at the border below the dress.

When I came downstairs again I found Mrs Mercer sitting at the fiWhen I came downstairs again I found Mrs Mercer sitting at the fire. She was an old, garrulous woman, a pawnbroker's widow, who re. She was an old, garrulous woman, a pawnbroker's widow, who collected used stamps for some pious purpose. I had to endure the collected used stamps for some pious purpose. I had to endure the gossip of the tea-table. The meal was prolonged beyond an hour angossip of the tea-table. The meal was prolonged beyond an hour and still my uncle did not come. Mrs Mercer stood up to go: she was d still my uncle did not come. Mrs Mercer stood up to go: she was sorry she couldn't wait any longer, but it was after eight o'clock ansorry she couldn't wait any longer, but it was after eight o'clock and she did not like to be out late, as the night air was bad for her. Wd she did not like to be out late, as the night air was bad for her. When she had gone I began to walk up and down the room, clenchinhen she had gone I began to walk up and down the room, clenching my fists. My aunt said: g my fists. My aunt said:

`I'm afraid you may put off your bazaar for this night of Our Lord.' `I'm afraid you may put off your bazaar for this night of Our Lord.' At nine o'clock I heard my uncle's latchkey in the hall door. I hearAt nine o'clock I heard my uncle's latchkey in the hall door. I hear

d him talking to himself and heard the hallstand rocking when it hd him talking to himself and heard the hallstand rocking when it had received the weight of his overcoat. I could interpret these signs.ad received the weight of his overcoat. I could interpret these signs. When he was midway through his dinner I asked him to give me t When he was midway through his dinner I asked him to give me the money to go to the bazaar. He had forgotten. he money to go to the bazaar. He had forgotten.

`The people are in bed and after their first sleep now,' he said. `The people are in bed and after their first sleep now,' he said. I did not smile. My aunt said to him energetically: I did not smile. My aunt said to him energetically:

`Can't you give him the money and let him go? You've kept him `Can't you give him the money and let him go? You've kept him late enough as it is.' late enough as it is.'

My uncle said he was very sorry he had forgotten. He said he My uncle said he was very sorry he had forgotten. He said he believed in the old saying: `All work and no play makes Jack a dull believed in the old saying: `All work and no play makes Jack a dull boy.' He asked me where I was going and, when I told him a second boy.' He asked me where I was going and, when I told him a second time, he asked me did I know time, he asked me did I know The Arab's Farewell to his SteedThe Arab's Farewell to his Steed. . When I left the kitchen he was about to recite the opening lines of When I left the kitchen he was about to recite the opening lines of the piece to my aunt. the piece to my aunt.

I held a florin tightly in my hand as I strode down Buckingham I held a florin tightly in my hand as I strode down Buckingham Street towards the station. The sight of the streets thronged with Street towards the station. The sight of the streets thronged with buyers and glaring with gas recalled to me the purpose of my buyers and glaring with gas recalled to me the purpose of my journey. I took my seat in a third-class carriage of a deserted train. journey. I took my seat in a third-class carriage of a deserted train. After an intolerable delay the train moved out of the station slowly. After an intolerable delay the train moved out of the station slowly. It crept onward among ruinous houses and over the twinkling river. It crept onward among ruinous houses and over the twinkling river. At Westland Row Station a crowd of people pressed to the carriage At Westland Row Station a crowd of people pressed to the carriage doors; but the porters moved them back, saying that it was a special doors; but the porters moved them back, saying that it was a special train for the bazaar. I remained alone in the bare carriage. In a few train for the bazaar. I remained alone in the bare carriage. In a few minutes the train drew up beside an improvised wooden platform. I minutes the train drew up beside an improvised wooden platform. I passed out on to the road and saw by the lighted dial of a clock that passed out on to the road and saw by the lighted dial of a clock that it was ten minutes to ten. In front of me was a large building which it was ten minutes to ten. In front of me was a large building which displayed the magical name. displayed the magical name.

I could not find any sixpenny entrance and, fearing that the bazaar I could not find any sixpenny entrance and, fearing that the bazaar would be closed, I passed in quickly through a turnstile, handing a would be closed, I passed in quickly through a turnstile, handing a shilling to a weary-looking man. I found myself in a big hall girded shilling to a weary-looking man. I found myself in a big hall girded at half its height by a gallery. Nearly all the stalls were closed and tat half its height by a gallery. Nearly all the stalls were closed and the greater part of the hall was in darkness. I recognized a silence lihe greater part of the hall was in darkness. I recognized a silence like that which pervades a church after a service. I walked into the cke that which pervades a church after a service. I walked into the centre of the bazaar timidly. A few people were gathered about the sentre of the bazaar timidly. A few people were gathered about the stalls which were still open. Before a curtain, over which the words talls which were still open. Before a curtain, over which the words Café ChantantCafé Chantant were written in coloured lamps, two men were coun were written in coloured lamps, two men were counting money on a salver. I listened to the fall of the coins. ting money on a salver. I listened to the fall of the coins.

Remembering with difficulty why I had come, I went over to one oRemembering with difficulty why I had come, I went over to one of the stalls and examined porcelain vases and flowered tea-sets. At f the stalls and examined porcelain vases and flowered tea-sets. At the door of the stall a young lady was talking and laughing with twthe door of the stall a young lady was talking and laughing with two young gentlemen. I remarked their English accents and listened vo young gentlemen. I remarked their English accents and listened vaguely to their conversation. aguely to their conversation.

`O, I never said such a thing!' `O, I never said such a thing!' `O, but you did!' `O, but you did!' `O, but I didn't!' `O, but I didn't!' `Didn't she say that?' `Didn't she say that?' `Yes. I heard her.' `Yes. I heard her.'

`O, there's a... fib!' `O, there's a... fib!' Observing me, the young lady came over and asked Observing me, the young lady came over and asked

me did I wish to buy anything. The tone of her voice me did I wish to buy anything. The tone of her voice was not encouraging; she seemed to have spoken to was not encouraging; she seemed to have spoken to me out of a sense of duty. I looked humbly at the me out of a sense of duty. I looked humbly at the great jars that stood like eastern guards at either side great jars that stood like eastern guards at either side of the dark entrance to the stall and murmured: of the dark entrance to the stall and murmured:

`No, thank you.' `No, thank you.' The young lady changed the position of one of the The young lady changed the position of one of the

vases and went back to the two young men. They vases and went back to the two young men. They began to talk of the same subject. Once or twice the began to talk of the same subject. Once or twice the young lady glanced at me over her shoulder. young lady glanced at me over her shoulder.

I lingered before her stall, though I knew my I lingered before her stall, though I knew my stay was useless, to make my interest in her stay was useless, to make my interest in her wares seem the more real. Then I turned away wares seem the more real. Then I turned away slowly and walked down the middle of the slowly and walked down the middle of the bazaar. I allowed the two pennies to fall bazaar. I allowed the two pennies to fall against the sixpence in my pocket. I heard a against the sixpence in my pocket. I heard a voice call from one end of the gallery that the voice call from one end of the gallery that the light was out. The upper part of the hall was light was out. The upper part of the hall was now completely dark. now completely dark.

Gazing up into the darkness I saw myself as a Gazing up into the darkness I saw myself as a creature driven and derided by vanity; and my creature driven and derided by vanity; and my eyes burned with anguish and anger. eyes burned with anguish and anger.

(1) Story(1) Story A young boy, with the dawning awareness of sexuality, A young boy, with the dawning awareness of sexuality,

develops a strong liking toward the sister of one of his develops a strong liking toward the sister of one of his playmates. She asks him if he can go to a charity fair, playmates. She asks him if he can go to a charity fair, for she cannot. He resolves to go and buy a gift for her. for she cannot. He resolves to go and buy a gift for her. His uncle promises to give him the money he needs to His uncle promises to give him the money he needs to go to the fair. But on the very day of the charity fair, his go to the fair. But on the very day of the charity fair, his uncle comes home rather late. The waiting of his uncle comes home rather late. The waiting of his uncle's coming home torments him immensely. uncle's coming home torments him immensely. Nevertheless, he manages to get to the market only to Nevertheless, he manages to get to the market only to be disappointed by the gap between his expectation and be disappointed by the gap between his expectation and the actuality of the almost deserted fair. He perceives the actuality of the almost deserted fair. He perceives some insignificant events, overhears some minor some insignificant events, overhears some minor conversations, and finally sees himself "as a creature conversations, and finally sees himself "as a creature driven and derided by vanity“.driven and derided by vanity“.

(2) Theme(2) Theme Insignificant as the events of the story may be, they Insignificant as the events of the story may be, they

constitute a meaningful episode of the protagonist's constitute a meaningful episode of the protagonist's life experience that introduces him to awareness life experience that introduces him to awareness about the discrepancies between expectation and about the discrepancies between expectation and reality, between his pure infatuation about love and reality, between his pure infatuation about love and the reality of vulgarity. The story is carried on and the reality of vulgarity. The story is carried on and organized by the quest on the boy's part of his organized by the quest on the boy's part of his idealized childish love, up to the point of the boy's idealized childish love, up to the point of the boy's recognition of the drabness and harshness of the adult recognition of the drabness and harshness of the adult world. The story is therefore basically about the loss world. The story is therefore basically about the loss of innocence—through painful experience the boy of innocence—through painful experience the boy gets to know the complexities of a world that he once gets to know the complexities of a world that he once thought simple and predictable.thought simple and predictable.