   ῍῔ῌῐ  ῍ῌ  ῍῔῎ῌ  ΐ 



!

ῌ
"#$%&'( ῎ῌ )*+#,-./012345&6$( 789:; T<S<=>?@ ABCD E῍῔῎῎ F" 7

GHIJ:;K ALM0D E῍῔῎῎ F "N

O$( )PQ2R-ST"UVWX%YZ[5\U]^_  `)*"a b'%cU'(  de- f b'

gh &6$( ῍῔ῌῐ  ῍ῌ  ῍῔῎ῌ  ΐ 

 ijk$#- ;'lm5&6$5 ῍῔῍ῒ nopqr"st -uXb'-]'( r!"vw-

#Vxyz(῍῔ῌῐ  ῍ῌ - -{]'|H7

GHIJ/}I"NV~-O$( f?g "b'h &'2Rc6$῍F(   :^$( >  E=7I WX
῎F

7F -z( G>22-5&'t -zO$&'( ^ fth ]6$( H E=7 WX77F
G>22"b'( ῍῔ῌῑ  E῎῏F ῏ 

¡¢£5t ¤¥3¦b'(  ῍ῌ --¡¢t5t$§"¨©ª«'῏F( ῍῔ῌῒ  E῎ῐFῒ - A¬­I<7D 5®¯b'(  ῍῍ - f°R$h"[t±#'(  ῔ -²³( /}I-´µ¶ f­·Gh "¸25 ῎  ῍῕ῌΐ  ῎ῑ  ΐ   ! "#$%&'() *+,-#.+/῍῕῍ῌ  ῎῔  0'123 45678*9:783 ;<'ABC!, DE FG
O

=>?@

HI J*K L MN':P 'QJRST+*K ῍῕῍῎  ῏ῌ  ῎ 

A FXYGNZ[\5W'OO]^* _`aI *bcd!ef &g*h*K LQk'lm

UVW



Yn

 0<Jij'op

qr, MNO':P'stJ uv<0*!wr, x3 Fyp'zI !-{῍῕῍ῐ  ῏῎  |}*}! ~ 
MNO

M^

J N~ Blast"#$%&'() ' !

/':P 'Q O] *  k '!/ ῍῕῍ῑ  ῏῏  V!&A῏ῒ  O] J O~Z  ῍῕῍῔ 

v< k 'Q ῍῕῍῕  ῏ΐ  ῍ῌ &g! <,~O  0'

O] J ῑ  ~  ῒ |}f ΐ |}\, O]

v< ῍῕῎ῌ  ῏῔'A|O 4+\K|OA*\f|}<*v<,\ ῔  TSO~*}


'!
M^



f
῍῕῎ῌ lm23 |O

AQ ;+,v

+ O] !''Yz]}[ ' 



'A¡
ῌ ῒ῔῎ῐῑῌ῏ΐ῍ῐ~O\1'lm2¢A¡r ~O ῍ῒ  'f
῍

23 ¥¦ §¨ ©ª« "#$%&'() ¬­®ª«¦ MNO
PQ³£¤+':P 'Q ¯A°±V#KQ²

¡r ¦k´¹ 26 ¹µ]*'¶K·¸ ῍῔῍ῌ 

  %#&'῎( )*+ ,-!"#$

./0123 ,45'6784>?@,"A4BCD

9:;<'./0=

EF'#G HI4J K.

LM N A'#OIPQ&H5' 
U

RST "J5'.)V" WXYZ ῍῔ῌῐ  ῍ [ ΐ"G \ ῍]^'_`4a"bbcdef#gh5'bij4' klmno\p qrsG tuvwdx5' iJG &5y54 Vz2@0{|m &"a#G -}~! ; 
"aI 


<"J

5'p῏( "&?+`;}

I EyG jO4B <OI"a#[OI4B

{|m ! OI}

HI   Vz2@0

HI ?+J=0|z a}`"r4~I 
J|z

"F~ῐ(`<~4I

!OI'_""#a$}4ῑ(|+5~4I%wBῌῌ"5~%arJCG &G ~HIG 4B% HI}¡"4~G <"$'¢£¤'~¥~Y< G (¦OI'_"G ¢£¤J§¨a4w©ª4Br

'_"JG <¬O~&"«OI <(¦OI`­)~®#¯`a4 ~¢J<}NrC*OI

as<°a

G r±#Nr

HI²OI ¢JC(OI%ῒ(.)Vd³+OI´"j4' The Pola Notebook JG µ¶
The Critical Writings of James Joyce ~±_`<~4I · 27 ·

The Pola Notebook  ῌῌ  

",- )*./:+"!"#$%&'()*+0123456-

 ;; :<

D E>FGAB

7896=>? @AB3C

AB&:

HAB



 I

.- EJ>FGAB.(KL>'M- 9(N!G0)*OPQ:

STU0



9(V

 NZ'- (.9(N[,\





(R

&WXY)*9(῍]

:^_`- abcN The Paris Notebook g>,-\hij0>kl

def

῎]

mn

o^N pqrsteuvwxsy |'}Y6

- :





z{Z

kl~.` N WXY)*Z'- (.

9(N[,\ 



9(

V

h
VHAB
3V

9(S@~- 

<V Z>Y- EJ>FGABOPQ:

(HAB.V >>'MHAB- &'(VR}\5?>!G0)*.59(- :AB: - IAB}HAB3mnZ- HAB(KL $- 9(N)*OPQ:mn\



 

¡- N

>


(RS@

&WXY)*Z'- (.EJ>FGAB#$9([,\o¢0£ 28 £









 



ῐ



 ῎"#$% &'%()*+,%-
0123456782345678

 !

./ 

9:;

<=.

 019>=&'%()*+,%?@=A



BCD=  &EF%GHI&EF%GJKL"#$%
῍ῌ

M=N

O PQR.-ST UVW

X2Y  Z[L"#$%UA

B-\]WY^_VWYU `Fabcdef QR%
ghij


ῌ 

0%G+ekl(m)ne8 L

opq%G+eklrst `Fabcde uvw xyz ]Y{|!}~UYOY ; 

Fabcde2

U

X

-X!;-=U

Yf῍ Fabcde-E%&;

FabcdeC.
UI

stY 0%G+ekl(m)ne8 L `

XAf 
῎~XY !-
9>=
 !¡¢

]"#$%Fabcde-£VW !¤W¥¦Ee§¨©-W῏
stY[[ª;"#$%M=
«WU¬­ ®¯ FabcdeNU R-°"#$%st `!±.
²p³´pWYµ¶"U·!

¸ 29 ¸ῌ

  ῌῌ

!"#$%ῌῌ&'()*  +,-./ epicleses +῍

0123/ epicleseis 456

*7 epicleti 8 9  :;<=6C:;DE6
OP>?@A9 B

FGHA&IJ769 K LM1

7LKN 

PQRST76*  UC.
῎

VS WX)L YZ[\]^_ PSA`9 abHA) Ycd1.ef_ gh/iL῏ 776 Ycd1.ef_ 
jkAlmL@&no
p q

9 N1

-PrsA q 

9 t

uPvw6* xeyz)//5{6* |})\P&~HA|L& ( )  
6

9 !Pk&"(&)()9 z)@?

#6*  z9 $6* 7%ῐ

P&')* 77P&p (+( ?N16VS-)(&ῑ ¢+£¤¥L@&¦e Duffy §
«

*¡P

¨+©Pª ,-6.-1¬­¦e).®/0¯°$P1 Sinico

2eLP±(?(A¯3²
 Phoenix Park 45µ³´L$S6*¶656*He [Duffy] looked down the slope and, at the base, in the shadowof the wall of the Park, he saw some human figures lying. Those
venal and furtive loves filled him with despair. He gnawed therectitude of his life; he felt that he had been outcast from life’s feast.
One human being had seemed to love him and he had denied her lifeand happiness: he had sentenced her to ignominy, a death of· 30 ·

shame.῍ῌ  ῍῏ῌ῎  
 "#$%&'()*+, Epiphany -.'/' 01

2345678

9

!



02:;<=<' ">?@A+BCDEF">GHIJK LMNOPQRSTGUV!CW X Gab-riel Y Gretta Z/[/ *G\]^Q_`Ga

WX

bcQdAefQ gGh,ijYklGmHno Gabriel pqrsQtC,uvw xy6Q 

' *5;<=<z{|K }~lW

Yu 

Q*G Gabriel uHe [Gabriel] stood still in the gloom of the hall, trying to catch the
air that the voice was singing and gazing up at his wife. There wasgrace and mystery in her attitude as if she were a symbol ofsomething. He asked himself what is a woman standing on the stairs
in the shadow, listening to distant music, a symbol of. If he were apainter he would paint her in that attitude. Her blue felt hat would
show off the bronze of her hair against the darkness and the dark
panels of her skirt would show off the light ones. Distant Music hewould call the picture if he were a painter.῍῍zqY/gG,W pqY
VA+pAu u *p

sG
ῌῌAnd what did he die of so young, Gretta? Consumption, wasit?

 31 

ῌῌI think he died for me, she answered.
A vague terror seized Gabriel at this answer as if, at that hourwhen he had hoped to triumph, some impalpable and vindictive
being was coming against him, gathering forces against him in its
vague world. But he shook himself free of it with an effort of reason
and continued to caress her hand. He did not question her again for
he felt that she would tell him of herself. Her hand was warm andmoist: it did not respond to his touch but he continued to caress itjust as he had caressed her first letter to him that spring morning.ῌ῍
Gabriel  


*+,-










!" #$%&'(#)" .#)*/0

#

1

23"
Generous tears filled Gabriel’s eyes. He had never felt like that
himself towards any woman but he knew that such a feeling must
be love. The tears gathered more thickly in his eyes and in thepartial darkness he imagined he saw the form of a young man
standing under a dripping tree. Other forms were near. His soul had
approached that region where dwell the vast hosts of the dead. He
was conscious of, but could not apprehend, their wayward and flickering existence. His own identity was fading out into a grey impalpable world: the solid world itself which these dead had one timereared and lived in was dissolving and dwindling.ῌ῎ [Italics mine]
45+6,789:;<,= >?@#DE
Q

(A BC FGHIA JKA LMNOP

.PRST#U3ῌ῏" VW3OWXA OWTY 32 Y

 





 

!"#$%&'()*+,ῌῌῑῒ῎῕ῐ῍ ῎ΐ῔῏ -(-(./012
89

:;<

D EFGH ( 34567=!"(>?@+

AB

0IJK

L



M/045QL-=R,(ST,῍C 

 MMNOP῎C EFGH (U 3VWQLXY9=Z['\]^$' E_/0``R,=L

 a(7FG(LT

EdI/e-fMghiM/T( ST

bcG,H῏C (I0

jklM-HῐC

 meR,n=o"QLpq=R, (8g8Grc,(o"(sLTtuv
`LL 

=12L

G, wxby byby z{by|!Q}y~,(I0!"/e
,/0L,ῑC 8G!"
L

Q(IT--MG ῍ΐ῍ῌ = Cubism, Futurism, Expressionism (e Vorticism (02^\ 3L=^

M

/0IT,In the periodic images employed here, imbued with relativity
sentiment, all ‘real time’ which also apparently includes ‘the future’C is somewhere about, within the circle. There is no real ‘future’
any more than there is a real ‘past.’ So, according to this way oflooking at the matter, the ‘timeless’ view, ‘romance’ would consist in
apparent absence, or in a seeming coyness on the part of time.ῒC$^\¡'¢' £;¤¥l<XY¦~ §3¨ 33 ¨
 





!



 

 "#$% &'!()*#+,-.ῐ/01%)2&34567 89:;5<=
0D EF>?@ABC )7D

G!01%)72*1H/ IJK

LM0NOPQR'01S TU),
XY

 " Z[\]aR'),b
i56
HNp

d

29:;5<gh_t  t 8:῍ῌ/

_t}y 

 ~1u01?Qv1S

0NH1~1u1ῒ/H00no*1H "{|7 _t

1v?QHy&

H

eM),f

 jk27lm2Q1

u1v?Qwxy&z

*

TUW

E#F R'),^ _^ `? &&qrs%,&V

2H The Genesis of Secrecy: On the Interpretation of

Narrative 
ῑ/

01Sc

 2

0

  {01S**, 27_= ¡¢ E£F ¤vS*¥¦

Only for Father O’Rourke I don’t know what we’d have done at all.
It was him brought us all them flowers and them two candlesticks
out of the chapel and wrote out the notice for the Freeman’s Generaland took charge of all the papers for the cemetery and poor James’s
insurance.῍῍/g§¨ ῍ῒῌ῏ A ῎ © ῐ ª«PZ[\]M¬),qrghi56­®2(*~1¯
Z[\]~1u1¯Z[\]Np²Np

· 34 ·°±῍῎/?³´µ¶71

Fritz Senn   Joyce’s Dislocutions  dislocation  locution  



 "#$%&' )0123 45῍῏ !"#$%&'(
*+

,

-./#

678+9:- ;<=>?

> @A> BCDE1&F  BGHIJK&LMN#
OF 2P#QR ST-U:ῌ῍ῐ῎ῌ VW


XY/

Z[\]^,+_`XabcKbLMHdeK-  BfOgd
hF i῍ῐ῏῍ 2P#Qjk l B"mDKnoF  p
qr4 (s st

 GuKQ+v

;w c1xyzK G{|1d}:~+[ 7!


t:

s-"

 ῍

 @@# p7 imusic l @$%v

+- 2P#Q-&W'
k(+)(#
|1d



@;

 ~ MHdeK G{

7+U{|1d ~*8+ p

,-~ vl> G{|1d¡.v 8+

 

¢£

l

G


¢£

lῌῌ+¤+ G{|1d8+¥¦@£l~ /W+l῎ @@MHdeK-$ p8+ icadence
2P#QA>§)l MHdeK¨© S0X @2P#Qvª~- GuKQ1«*_`@l ¨©¬ 2­'X

¯~3v ®

lv-l °±²A` '4S³4¬[¢:vl· 35 ·´µ5¶-+[v

 

 

!"#$%&'(%)%* #$+%,-./&'* 0%123&''067 88%,)9::?

 @?A' 

45%'.;<0'-=.>BCD*

EF

G&HI=J)K3LB-67M * .ῌN)O)PQ) R)EF SDM
VI/W6XY".Z) TUM [abc 6* XY"-=\]^_`* d#ef-=f-=ῌῌghi7;L'0* jklmnop)qr* st=nu

* RIvI!"wx.y#z:.?{)=M  |}~* SD῍N<$%7 3%%^&


=ῌῌ

<. 

 XY".'* S67D9)p67 EF

%7D(%7%* RI067D9)p6
7M῎N =)::6 M .9%;:.
)').)% */7.z0I)')67D9)p67M .+%*,#%^.G'0 %^&M :.

9-&I=.)=0* R:

HI=¡¢%(

-%.

HI67D 67DM 67M .z£¤¥EFa.D¦#.|}~%
§-=/067 RS

I* ¦¨R0/g'¦#¨1D9* D2/K©@¡¢ª)
1TU '«3GH¬:.%6^* D­4

* D®5/@¡¢1TU 67 :.%6^ 3%::.j¯°+±/:.= ²³´µY* 



7=D

!"

8)* +¶9:.)°+R9* ·;HI:.%<¸ 36 ¸<     " #$'( !)"

-! $%&.+,  /0 





ῌ


*

!
+,

 #)123456789:; <=! >?@A

IG

JK

BCD ?@A

BEFGH912345L!῍ MNOP3

QR S9!TSFGHIGU
9VW XYZ[\]^_`ab) X

SS[6c>
12345 de

MNOP3


QR

The Wound and the Bow (1941) fg5h?@A&ijo! Mf2pq5rs1tmOR uvaw

fg5h?@A&ijX!

klmhnTSxy{| 

#N

7012345z}~*CDzxyd7*j

0!

}~

\ !( !) <=k53 0

*w8 X $J.z E *

%" 0 &')VW/0῍ῌ῎h!
M£GrR ¡X
¥

d

e

ª *E«¬±e² X
rs1tmOR>)¡¢G

>) Mf2pq5rs1tmOR *¤>9¦ -X

!©

klmh

³(,

§0!+¨9 BEklmh9 Nr­´ M£GrR Mf2pq5TS>)µS!e¶TS*z· 37 ·®¯° 



 

!

"#

$

)*+,-. /-0(1234 &'(

%&'(
56*7

. 89:;);)

<*=>?@ AB:CD. -EF?G<H

IJKL. MNOP



LC MC*QRS?HCATU &'(T^_VWXY>Z[Y*\LC M]LT`-T TaVb. MCTcd 6. eDfgHh. iOjkTlmY
TnCD. MZ[YTU]LC opOqrT

s*tqu?] aVjvGb6 w

. IxnUyz{|[-A}~GC L M[ M-UnCD>;~~<MCC*) ^V ;~~<T xnh M]]*

&'(

:

hC
Notes

῍

‘Poets,’ Henri Michaux has written, “love trips.’ Richard Ellmann, James Joyce (Oxford: Oxford U P, 1982) 183.

13UCD.  ῍῍ )V;) The Pola Notebook *h . C

13*¡b¢£῎  ῎ῌῌ῎ ¤V¥¦UR§¨©ª*£hx M
«¬*-(!0°"&'(>­*- &®(¯

±²*³H ¸ 38 ¸. ´µ¶3· 



&' ()!

 

"#$ %

*+,-.

Piazza Liberta *' Duomo / #$01234%.! 335,367

89 Canal Grande :.! ;<=*->?@)A'BC)D EFGHI:.! BC)'JJKL'

M:HNOPI' %QI

RS=T4%4 JJRS=U* @)A'VW
XYZ[14%! \]V^4

UV_U`ab*cP (d*cP e$*c! @)A'f"8*4]RS=T4%! JJ8
gRg"V* hi j;klmnokpkqr 
c V  s R t V A ( u g o k <  t g  %  Ellmann, 196197! @)Av;mwxyyzIBC){|1%4%}6*ok~bg%! -1*VH.! ~bg' ῍ῑῒῌ *QD 1% BC)N ?'-,-DI:!
,14%~bg' ῍ῒ῎῏ * jgr 1
%4D1.! 33D '!Z-!

,?*%BC)'+4 a=)gk;g,*D

1! 

3;g,'¡¢.£¤ j¥¦r Navire d’Argent I§¨.! ~bg' BC)©;g)@ª«¬34EF*,.!
῏­)®)og)' ῍ῒῐῐ *".HI@)A*¯°

.! H)®)og)' ok~bg±²1³´ BC)*±.~bgµD¶x#]34%.! DI~bg' @)A*Q%4·¸4%.! “It is agreat title of honor for my city that in Ulysses some of the streets¹ 39 ¹

of Dublin stretch on and on into the windings of our old Trieste.”
Italo Svevo, James Joyce Trans. by Stanislaus Joyce (New York:
City Lights Books, 1950) 

 “Recently Joyce wrote to me: If Anna Livia (theLiffey) were not swallowed up by the Ocean, she would certainly
debouch into the Canal Grande of Trieste. ” 











,-./01$!"#$%&'()*+ῌ
῍2

34+ 5ῒ῔῎ῐῑῌ῏ΐ῍ῐ

67 ῍ῒ῍ῐ 8 ῑ 9:;<=>?@ABC)D

EF+ ῍ῒ῍ῒ 8 ῍ῌ 9

῎2 55)H+ Brenda Maddoxn


LM

G
IJ'KNOP)QRST-UV “Nora and

Joyce themselves argued a great deal. One day, in a fit of rage ather, Joyce took the manuscript of Stephen Hero, threw it into thefire, and stormed out of the room. Nora, Mary, and Eileen leaped
to rescue it. “This book will make him famous,” Nora told Mary,“I’m going to hide it so he won’t destroy it.” Joyce was too shrewd
to have thrown to the flames a work he considered important. He
was well on his way to turning Stephen Hero into A Portrait of theArtist as a Young Man. Nonetheless, he was grateful to his home
fire brigade and told his sister Eileen that there were passages init that he could not have rewritten.” Brenda Maddox, Nora: A
Biography of Nora Joyce (New York: Ballantine Books, 1983) 113114. 4:
'+ :5'WXY5_0^@`ajk :; dlmnoB
῏2Z6[5)-)\];^[
b:cY dpqk rEllmann, 144.

y 40 yefghi

stuv'wx)[῏
  ῍ῌ   

!"#$%&  ῑ  '()*  ῍῎ +,-.*/012  ῍ΐ 3456789:
ῐ

;<=>

?You know what Aquinas says: The three things requisite forbeauty are, integrity, a wholeness, symmetry and radiance. Someday I will expand that sentence into a treatise. [Italics mine]

James Joyce, Stephen Hero, 189. @A2BCDE2,FGHI

JKG5LMNO6PQ=> RS ῍ῌ ITU>
ῑ  James Joyce, Stephen Hero, 188.
ῒIf the activity of simple perception is, like every other activity,
itself pleasant, every sensible object that has been apprehended
can be said in the first place to have been and to be in a measure
beautiful; and even the most hideous object can be said to have been

and to be beautiful in so far as it has been apprehended. [Italicsmine] James Joyce, The Critical Writing of James Joyce (NewYork: The Viking Press, 1959) 147.
ΐ

The Paris Notebook VW7XW YZ[ \][ ^W_<I`a;<=> James Joyce, The Critical Writing of James Joyce,
143-146.

῔James Joyce, The Critical Writing of James Joyce, 147.

῍ῌ

This theory anticipates the one he develops in A Portrait,
where these phases of apprehension are made to correspond to
the three aspects of beauty laid down by Thomas Aquinas,
integritas, consonantia, and claritas. Ellmann, 190. bbcd5;<=GHJe+fg)7hijklmnoSpqr=>ῌ῍

By an epiphany he [Stephen] meant a sudden spiritual mani-? 41 ?

festation, whether in the vulgarity of speech or of gesture or in amemorable phase of the mind itself. He believed that it was for theman of letters to record these epiphanies with extreme care,seeing that they themselves are the most delicate and evanescent of moments. [Italics mine] James Joyce, Stephen Hero, 188. 

ῌ the most hideous object





James Joyce, Stephen Hero, 188.

῍  It is from Shelly’s remarks in the “Defence of Poetry” on thetransitoriness of poetic inspiration that Joyce drew his image of
the “fading coal” to refer to the state of the mind during the“mysterious instant” of claritasthat is, the moment of epiphany. James Joyce, Portrait, 213.
῎  “It is my idea of the significance of trivial things that I want togive the two or three unfortunate wretches who may eventually
read me.” [Italics mine] Ellmann, 163. 
!"#$%&'
῏







Here might be one of those ‘epiphanies’sudden, unlooked-for

turns in experiencewhich could prove the more momentous
for being modest. Ellmann, 162.
ῐ  The word epicleti, an error for epiclesis (Latin) or epicleseis(Greek), referred to an invocation still found in the mass of theEastern Church, but dropped from the Roman ritual, in which
the Holy Ghost is besought to transform the host into the bodyand blood of Christ. What Joyce meant by this term, adapted like
epiphany and eucharistic moment from ritual, he suggested to his
brother Stanislus: Ellmann, 163. 0%&1234*5)
ῑEllmann, 163.

 42 

'()*&+,-./

ῑI knew that the old priest was lying still in his coffin as we hadseen him, solemn and truculent in his death, an idle chalice on his
breast. James Joyce, The Portable James Joyce, 28.

ῒ
 

 

!"#$%&'()*+, -./01

2345678!9:*+, 678!;4< =><?
-.@ ';4<AA B5

2!C"D EFG.HI, 678!

JI(K

LM+N OPNQ*+RMS M

RSTUVG*+D, '678!(WXFYWWI, Ellmann, 199.
῍ῌ

James Joyce, The Portable James Joyce, 128.

῍῍ James Joyce, The Portable James Joyce, 227-228.
῍῎James Joyce, The Portable James Joyce, 238-239.

῍῏ James Joyce, The Portable James Joyce, 241-242.
῍ῐJames Joyce, Stephen Hero, 188.
ῌ ῌῑῒ῎῕ῐ῍ ῎ΐ῔῏῍  Joyce himself had earlier taken a view of time as duration: “thepast assuredly implies a fluid succession of presents, the development of an entity of which our actual present is a phase only.”
James Joyce, Workshop, 60.
῎  Joyce begins by insisting on the psychological theory that ‘thefeature of infancy’ belong to a portrait as much as the features ofadolescence. The past has no ‘iron memorial aspect,’ but implies‘a fluid succession of presents.’ What we are to look for is not a
fixed character but an ‘individuating rhythm,’ not ‘an identificative paper but rather the curve of an emotion.’ This conception of
personality as river rather than statue is premonitory of Joyce’s
later view of consciousness. Ellmann, 145.

Z 43 Z῎

Robert Humphrey, Stream of Consciousness in the Modern Novel(Bereley: U of California P, 1954) 5.

῏

Frank Budgen, James Joyce and the Making of Ulysses (Bloom-

ington and London: University of Indiana P, 1960) 21.
ῐ  

 “All ages are contempo-

raries.”ῑ  Wyndham Lewis, Time and Western Man (Boston: Beacon
Press, 1957) 7.
ῒ
*+, :;<=

 

.

/0

>)?@I2





!"

#$%&'( )123456

78,9

ABCD+ECFC G H:JKLMNOPC= QRS Frank Kermode, The Sense of an Ending: Studies in the Theoryof Fiction (Oxford: Oxford U P, 1966) 177.
ΐ
X%YZ[

 -

\]^
q

T

UVW)*+)def)gh

k>lF #$%&'()mbc)def rk>Qk>:s= )ght-) :;<=
?@



_`aCbc ij) :_`aC;<=nopY

.

uv3wx

yz {|)}~) Frank Kermode, The Genesis of Se-

crecy: On the Interpretation of Narrative (Cambridge: Harvard U P,
1979) 49-73.
῔

Yet this unhealthiness remains an imitation, to be contrasted

with the invulnerability of the two well-informed sisters andtheir mixture of malapropism and acuteness. The words areplain, but the sentences are subtly cadenced, and Joyce demonstrates his power to capture the inflections of speech. Ellmann,164.
῍ῌ In this form there is frequently no apparent “plot” at all; 44 

usually fairly short, the finished work seems more likely a“sketch” than an actual “story.” Morris Beja, Epiphany in theModern Novel (Seattle: U of Washington P, 1971) 48.
ῌῌ
+, ! -.Eliza 

"#$ %&' ()*/0.123*4567*)8,ῌ῍

Again, no old toothless Irishman would say ‘Divil an elephant’:
he would say ‘divil elephant’ Nora says ‘Divil up I’ll get till you
comeback.’ Naïf sequence9 Your criticism of the two aposopeias
is quite just but I think full dress is not always necessary.
Ellmann, 191.

ῌ῎

Fritz Senn, Joyce’s Dislocutions: Essays on Reading as Translation (Baltimore: The Johns Hopkins U P, 1984) 59-63.
ῌῌ



Edmund Wilson, Axel’s Castle: A Study in the Imaginative Lit-erature of 1870-1930 (New York: Charles Scribner’s Sons, 1931)
191.
῍

But Flaubert had, in general, confined himself to fitting thecadence and the phrase precisely to the mood or object described; and even then it was the phrase rather than the cadence,and the object rather than the mood, with which he was occupied:for mood and cadence in Flaubert do not really vary much:[Italics mine] Wilson, 203. ;<=>?@AB5CD
*)8

EF)8GHI@JK8L)MNO

PQDR)+8, S==TUEVWK(XYER8,῎

We are more at home in the minds of Joyce’s characters than
we are likely to be, except after some study, in the mind of a

: 45 :

Mallarme or an Eliot, ....So long as we are dealing with internalmonologues in realistic settings, we are dealing with familiar
elements merely combined in a novel way. Wilson, 205-206.  1920 ῌ'

! "#$%&Joyce had already, in “A Portrait of the Artist,” experienced, as
Proust had done, in varying the form and style of the different
sections to fit the different ages and phases of his hero. Wilson,
206. ()*+*,- form . style /%& 0

1 fragments 2#3456789:4;$<=>?@A7BC:
4;%&
῍ ' Wilson, 209.
῎ ' Wilson, 221.
῏ ' Wilson, 19.
Work Cited
Beja, Morris. Epiphany in the Modern Novel. Seattle: U of Washington P, 1971.
Costello, Peter. James Joyce: The Years of Growth 1882-1915. New
York: Pantheon, 1992.
Dujardin, Edouard. Le Monologue Intérieur: Son Apparition, Ses
Origines Sa Place dans L’oeuvre de James Joyce. Paris: Albert
Messein, 1931.
Ellmann, Richard. James Joyce. Oxford: Oxford U P, 1959.
--------------. James Joyce. Oxford: Oxford U P, 1982.
Humphrey, Robert. Stream of Consciousness in the Modern Novel.
Berkeley: U of California P, 1954.
Joyce, James. The Critical Writing of James Joyce. Edited by Richard Ellmann and Ellsworth Mason. New York: The Viking

D 46 D

Press, 1959.
--------------. Letters of James Joyce I. New York: The Viking Press,
1966.
--------------. Letters of James Joyce II. New York: The Viking Press,
1966.
--------------. Letters of James Joyce III. New York: The Viking Press,
1966.
--------------. The Portable James Joyce. Edited by Harry Levin. New
York: The Viking Press, 1974.
--------------. Stephen Hero. New York: The Viking Press, 1966.
--------------. The Workshop of Deadalus: James Joyce and the Raw
Material for A Portrait of the Artist as a Young Man. Edited byRobert Scholes and Richard M. Kain. Evanston: Northwestern
U. P, 1965.
Joyce, Stanislaus. My Brother’s Keeper: James Joyce’s Early Years.
New York: The Viking Press, 1958.
Kermode, Frank. The Genesis of Secrecy: On the Interpretation of
Narrative. Cambridge: Harvard U P, 1979.
------------. The Sense of an Ending: Studies in the Theory of Fiction.
Oxford: Oxford U P, 1966.
Lewis, Wyndham. Time and Western Man. Boston: Beacon Press,
1957.
Maddox, Brenda. Nora: A Biography of Nora Joyce. New York:
Ballantine Books, 1988.
Pound, Ezra. Pound/Joyce: The Letters of Ezra Pound to James Joyce,with Pound’s Essays on Joyce. New York: A New Directions
Book, 1967.
Senn, Fritz. Joyce’s Dislocutions: Essays on Reading as Translation.
Baltimore: The Johns Hopkins U P, ῌ῏῎῍.

 47 

Wilson, Edmund. Axel’s Castle: A Study in the Imaginative Literature of 1870-1930. New York: Charles Scribner’s Sons, 1931.
-----------. Letters on Literature and Politics 1912-1972. London: Routedge & Kegan Paul, 1977.
-----------. The Twenties: From Notebooks and Diaries of the Period.
London: Macmillan, 1975.
-----------. The Wound & the Bow: Seven Studies in Literature. London:
W. H. Allen, 1941.

 48