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Ulysses (novel)

April 11, 2024

Ulysses is a modernist novel by the Irish writer James Joyce. Parts of it were first serialized in the American journal The Little Review from March 1918 to December 1920, and the entire work was published in Paris by Sylvia Beach on 2 February 1922, Joyce's fortieth birthday. It is considered one of the most important works of modernist literature[3] and has been called "a demonstration and summation of the entire movement."[4] According to the writer Declan Kiberd, "before Joyce, no writer of fiction had so foregrounded the process of thinking."[5]

Ulysses
First edition of Ulysses by James Joyce, published by Paris-Shakespeare, 1922. The colour of the cover was meant to match the blue of the Greek flag.[1][2]
AuthorJames Joyce
LanguageEnglish
GenreModernist novel
Set inDublin, 16–17 June 1904
PublisherShakespeare and Company
Publication date
2 February 1922
Media typePrint: hardback
Pages732
823.912
LC ClassPR6019.O8 U4 1922
Preceded byExiles 
TextUlysses (novel) at Wikisource

The novel chronicles the experiences of three Dubliners over the course of a single day, 16 June 1904. Ulysses is the Latinised name of Odysseus, the hero of Homer's epic poem the Odyssey, and the novel establishes a series of parallels between Leopold Bloom and Odysseus, Molly Bloom and Penelope, and Stephen Dedalus and Telemachus. There are also correspondences with other literary and mythological figures, and such themes as antisemitism, human sexuality, British rule in Ireland, Catholicism, and Irish nationalism are treated in the context of early-20th-century Dublin. The novel is highly allusive and written in a variety of styles.

Since its publication, the book has attracted controversy and scrutiny, ranging from an obscenity trial in the United States in 1921 to protracted textual "Joyce Wars". The novel's stream of consciousness technique, careful structuring, and experimental prose—replete with puns, parodies, epiphanies, and allusions—as well as its rich characterisation and broad humour have led it to be regarded as one of the greatest literary works; Joyce fans worldwide now celebrate 16 June as Bloomsday.

Background edit

Joyce first encountered the figure of Odysseus/Ulysses in Charles Lamb's Adventures of Ulysses, an adaptation of the Odyssey for children, which seems to have established the Latin name in Joyce's mind. At school he wrote an essay on the character, titled "My Favourite Hero."[6][7] Joyce told Frank Budgen that he considered Ulysses the only all-round character in literature.[8] He considered writing another short story for Dubliners, to be titled “Ulysses” and based on a Dublin Jew named Alfred H. Hunter, a putative cuckold.[9] The idea grew from a story in 1906, to a "short book" in 1907,[10] to the vast novel he began in 1914.

Locations edit

 
Ulysses Dublin map[11]
  1. Leopold Bloom's home at 7 Eccles Street[12] – Episode 4, Calypso; Episode 17, Ithaca; and Episode 18, Penelope
  2. Post office, Westland Row – Episode 5, Lotus Eaters
  3. Sweny's pharmacy, Lombard Street, Lincoln Place[13] (where Bloom bought soap) – Episode 5, Lotus Eaters
  4. the Freeman's Journal, Prince's Street,[14] off of O'Connell Street – Episode 7, Aeolus
  5. And – not far away – Graham Lemon's candy shop, 49 Lower O'Connell Street; it starts Episode 8, Lestrygonians
  6. Davy Byrne's pub – Episode 8, Lestrygonians
  7. National Library of Ireland – Episode 9, Scylla and Charybdis
  8. Ormond Hotel[15] on the banks of the Liffey – Episode 11, Sirens
  9. Barney Kiernan's pub – Episode 12, Cyclops
  10. Maternity hospital – Episode 14, Oxen of the Sun
  11. Bella Cohen's brothel – Episode 15, Circe
  12. Cabman's shelter, Butt Bridge – Episode 16, Eumaeus

The action of the novel moves from one side of Dublin Bay to the other, opening in Sandycove to the South of the city and closing on Howth Head to the North.

Structure edit

See also: Linati schema for Ulysses and Gilbert schema for Ulysses
 
Ulysses, Egoist Press, 1922

Ulysses is divided into the three books (marked I, II, and III) and 18 episodes. The episodes do not have chapter headings or titles, and are numbered only in Gabler's edition. In the various editions the breaks between episodes are indicated in different ways; in the Modern Library edition, for example, each episode begins at the top of a new page.

Joyce seems to have relished his book's obscurity, saying he had "put in so many enigmas and puzzles that it will keep the professors busy for centuries arguing over what I meant, and that's the only way of insuring one's immortality."[16] The judge who decided that Ulysses was not obscene admitted that it "is not an easy book to read or to understand", and advised reading "a number of other books which have now become its satellites".[17] One such book available at the time was Herbert Gorman's first book on Joyce, which included his own brief list of correspondences between Ulysses and The Odyssey.[18] Another was Stuart Gilbert's study of Ulysses, which included a schema of the novel Joyce created.[19] (Gilbert was later quoted in the legal brief prepared for the obscenity trial.[20]) Joyce had already sent Carlo Linati a different schema.[21] The Gilbert and Linati schemata made the links to The Odyssey clearer and also explained the work's structure.

Joyce and Homer edit

The 18 episodes of Ulysses "roughly correspond to the episodes in Homer's Odyssey."[22] In Homer's epic, Odysseus, "a Greek hero of the Trojan War ... took ten years to find his way from Troy to his home on the island of Ithaca."[23] Homer's poem includes violent storms and a shipwreck, giants, monsters, gods, and goddesses, while Joyce's novel takes place during an ordinary day in early 20th-century Dublin. Leopold Bloom, "a Jewish advertisement canvasser", corresponds to Odysseus in Homer's epic; Stephen Dedalus, the protagonist of Joyce's earlier, largely autobiographical A Portrait of the Artist as a Young Man, corresponds to Odysseus's son Telemachus; and Bloom's wife Molly corresponds to Penelope, Odysseus's wife, who waited 20 years for him to return.[24]

The Odyssey is divided into 24 books, which are divided into 3 parts of 4, 8, and 12 books. Although Ulysses has fewer episodes, their division into 3 parts of 3, 12, and 3 episodes is determined by the tripartite division of The Odyssey.[25] Joyce referred to the episodes by their Homeric titles in his letters. The novel's text does not include the episode titles used below, which originate from the Linati and Gilbert schemata. Joyce scholars have drawn upon both to identify and explain the parallels between Ulysses and The Odyssey.[26][27][28][29]

Scholars have argued that Victor Berard's Les Phéniciens et l'Odyssée, which Joyce discovered in Zurich while writing Ulysses, influenced his creation of the Homeric parallels in the novel.[30][31] Berard's theory that The Odyssey had Semitic roots accorded with Joyce's reincarnation of Odysseus as the Jewish Leopold Bloom.[32]

Ezra Pound regarded the Homeric correspondences as "a scaffold, a means of construction, justified by the result, and justifiable by it only. The result is a triumph in form, in balance, a main schema with continuous weaving and arabesque."[33] For T. S. Eliot, the Homeric correspondences had "the importance of a scientific discovery". He wrote, "In manipulating a continuous parallel between contemporaneity and antiquity . . . Mr. Joyce is pursing a method which others must pursue after him." This method "is simply a way of controlling, of ordering, of giving a shape and significance to the immense panorama of futility and anarchy which is contemporary history."[34]

Besides the Homeric parallels, the Gilbert and the Linati schemata identify other aspects of the episodes. The latter lists Hamlet and Shakespeare. Stephen Dedalus sets forth a theory of Hamlet based on twelve lectures, now lost, Joyce gave in Trieste in 1912.[35] (Scholars have explained the Hamlet parallels in considerable detail.[36][37][38][39][40]) There are also correspondences with other figures, including Christ, Elijah, Moses, Dante, and Don Giovanni.[41] Like Shakespeare, Dante was a major influence on Joyce.[42] It has been argued that the interrelationship of Joyce, Stephen Dedalus, and Leopold Bloom is defined in the Incarnation doctrines the novel cites.[43]

Plot summary edit

Part I: Telemachia edit

Episode 1, Telemachus edit

See also: Telemachus
 
James Joyce's room in the James Joyce Tower and Museum

At 8 a.m., Malachi "Buck" Mulligan, a boisterous medical student, calls aspiring writer Stephen Dedalus up to the roof of the Sandycove Martello tower, where they both live. There is tension between Dedalus and Mulligan stemming from a cruel remark Dedalus overheard Mulligan make about his recently deceased mother and from the fact that Mulligan has invited an English student, Haines, to stay with them. The three men eat breakfast and walk to the shore, where Mulligan demands from Stephen the key to the tower and a loan. The three make plans to meet at a pub, The Ship, at 12:30pm. Departing, Stephen decides that he will not return to the tower that night, as Mulligan, the "usurper," has taken it over.

Episode 2, Nestor edit

See also: Nestor (mythology)

Stephen is teaching a history class on the victories of Pyrrhus of Epirus. After class, one student, Cyril Sargent, stays behind so that Stephen can show him how to do a set of algebraic exercises. Stephen looks at Sargent's ugly face and tries to imagine Sargent's mother's love for him. He then visits unionist school headmaster Garrett Deasy, from whom he collects his pay. Deasy asks Stephen to take his long-winded letter about foot-and-mouth disease to a newspaper office for printing. The two discuss Irish history and Deasy lectures on what he believes is the role of Jews in the economy. As Stephen leaves, Deasy jokes that Ireland has "never persecuted the Jews" because the country "never let them in". This episode is the source of some of the novel's best-known lines, such as Dedalus's claim that "history is a nightmare from which I am trying to awake" and that God is "a shout in the street".

Episode 3, Proteus edit

See also: Proteus
 
Sandymount Strand looking across Dublin Bay to Howth Head

Stephen walks along Sandymount Strand for some time, mulling various philosophical concepts, his family, his life as a student in Paris, and his mother's death. As he reminisces he lies down among some rocks, watches a couple whose dog urinates behind a rock, scribbles some ideas for poetry and picks his nose. This chapter is characterised by a stream of consciousness narrative style that changes focus wildly. Stephen's education is reflected in the many obscure references and foreign phrases employed in this episode, which have earned it a reputation for being one of the book's most difficult chapters.

Part II: Odyssey edit

Episode 4, Calypso edit

See also: Calypso (mythology)

The narrative shifts abruptly. The time is again 8 a.m., but the action has moved across the city and to the second protagonist of the book, Leopold Bloom, a part-Jewish advertising canvasser. The episode opens with the line "Mr. Leopold Bloom ate with relish the inner organs of beasts and fowls." After starting to prepare breakfast, Bloom decides to walk to a butcher to buy a pork kidney. Returning home, he prepares breakfast and brings it with the mail to his wife Molly as she lounges in bed. One of the letters is from her concert manager Blazes Boylan, with whom she is having an affair. Bloom reads a letter from their daughter Milly Bloom, who tells him about her progress in the photography business in Mullingar. The episode closes with Bloom reading a magazine story titled Matcham's Masterstroke, by Mr. Philip Beaufoy, while defecating in the outhouse.

Episode 5, Lotus Eaters edit

See also: Lotus-eaters
 
Several Dublin businesses note that they were mentioned in Ulysses, like this undertakers.

While making his way to Westland Row post office Bloom is tormented by the knowledge that Molly will welcome Boylan into her bed later that day. At the post office he surreptitiously collects a love letter from one 'Martha Clifford' addressed to his pseudonym, 'Henry Flower.' He meets an acquaintance, and while they chat, Bloom attempts to ogle a woman wearing stockings, but is prevented by a passing tram. Next, he reads the letter from Martha Clifford and tears up the envelope in an alley. He wanders into a Catholic church during a service and muses on theology. The priest has the letters I.N.R.I. or I.H.S. on his back; Molly had told Bloom that they meant I have sinned or I have suffered, and Iron nails ran in. He buys a bar of lemon soap from a chemist. He then meets another acquaintance, Bantam Lyons, who mistakenly takes him to be offering a racing tip for the horse Throwaway. Finally, Bloom heads towards the baths.

Episode 6, Hades edit

See also: Hades

The episode begins with Bloom entering a funeral carriage with three others, including Stephen's father. They drive to Paddy Dignam's funeral, making small talk on the way. The carriage passes both Stephen and Blazes Boylan. There is discussion of various forms of death and burial. Bloom is preoccupied by thoughts of his dead infant son, Rudy, and the suicide of his own father. They enter the chapel for the service and subsequently leave with the coffin cart. Bloom sees a mysterious man wearing a mackintosh during the burial. Bloom continues to reflect upon death, but at the end of the episode rejects morbid thoughts to embrace "warm fullblooded life".

Episode 7, Aeolus edit

See also: Aeolus (son of Hippotes)

At the office of the Freeman's Journal, Bloom attempts to place an ad. Although initially encouraged by the editor, he is unsuccessful. Stephen arrives bringing Deasy's letter about foot-and-mouth disease, but Stephen and Bloom do not meet. Stephen leads the editor and others to a pub, relating an anecdote on the way about "two Dublin vestals". The episode is broken into short segments by newspaper-style headlines, and is characterised by an abundance of rhetorical figures and devices.

Episode 8, Lestrygonians edit

See also: Laestrygonians
 
Davy Byrne's Pub, Dublin, where Bloom consumes a gorgonzola cheese sandwich and a glass of burgundy

Bloom's thoughts are peppered with references to food as lunchtime approaches. He meets an old flame, hears news of Mina Purefoy's labour, and helps a blind boy cross the street. He enters the restaurant of the Burton Hotel, where he is revolted by the sight of men eating like animals. He goes instead to Davy Byrne's pub, where he consumes a gorgonzola cheese sandwich and a glass of burgundy, and muses upon the early days of his relationship with Molly and how the marriage has declined: "Me. And me now." Bloom's thoughts touch on what goddesses and gods eat and drink. He ponders whether the statues of Greek goddesses in the National Museum have anuses as do mortals. On leaving the pub Bloom heads toward the museum, but spots Boylan across the street and, panicking, rushes into the gallery across the street from the museum.

Episode 9, Scylla and Charybdis edit

See also: Scylla and Charybdis
 
National Library of Ireland

At the National Library, Stephen explains to some scholars his biographical theory of the works of Shakespeare, especially Hamlet, which he argues are based largely on the posited adultery of Shakespeare's wife. Buck Mulligan arrives and interrupts to read out the telegram that Stephen had sent him indicating that he would not make their planned rendezvous at The Ship. Bloom enters the National Library to look up an old copy of the ad he has been trying to place. He passes in between Stephen and Mulligan as they exit the library at the end of the episode.

Episode 10, Wandering Rocks edit

See also: Planctae

In this episode, nineteen short vignettes depict the movements of various characters, major and minor, through the streets of Dublin. The episode begins by following Father Conmee, a Jesuit priest, on his trip north, and ends with an account of the cavalcade of the Lord Lieutenant of Ireland, William Ward, Earl of Dudley, through the streets, which is encountered by several characters from the novel.

Episode 11, Sirens edit

See also: Siren (mythology)

In this episode, dominated by motifs of music, Bloom has dinner with Stephen's uncle at the Ormond hotel, while Molly's lover, Blazes Boylan, proceeds to his rendezvous with her. While dining, Bloom listens to the singing of Stephen's father and others, watches the seductive barmaids, and composes a reply to Martha Clifford's letter.

Episode 12, Cyclops edit

See also: Polyphemus

This episode is narrated by an unnamed denizen of Dublin who works as a debt collector. The narrator goes to Barney Kiernan's pub where he meets a character referred to only as "The Citizen". This character is believed to be a satirisation of Michael Cusack, a founder member of the Gaelic Athletic Association.[44] When Leopold Bloom enters the pub, he is berated by the Citizen, who is a fierce Fenian and anti-Semite. The episode ends with Bloom reminding the Citizen that his Saviour was a Jew. As Bloom leaves the pub, the Citizen throws a biscuit tin at Bloom's head, but misses. The episode is marked by extended tangents made in voices other than that of the unnamed narrator; these include streams of legal jargon, a report of a boxing match, Biblical passages, and elements of Irish mythology.

Episode 13, Nausicaa edit

See also: Nausicaa

All the action of the episode takes place on the rocks of Sandymount Strand, the shoreline that Stephen visited in Episode 3. A young woman, Gerty MacDowell, is seated on the rocks with her two friends, Cissy Caffrey and Edy Boardman. The girls are taking care of three children, a baby, and four-year-old twins named Tommy and Jacky. Gerty contemplates love, marriage and femininity as night falls. The reader is gradually made aware that Bloom is watching her from a distance. Gerty teases the onlooker by exposing her legs and underwear, and Bloom, in turn, masturbates. Bloom's masturbatory climax is echoed by the fireworks at the nearby bazaar. As Gerty leaves, Bloom realises that she has a lame leg, and believes this is the reason she has been "left on the shelf". After several mental digressions he decides to visit Mina Purefoy at the maternity hospital. It is uncertain how much of the episode is Gerty's thoughts, and how much is Bloom's sexual fantasy. Some believe that the episode is divided into two halves: the first half the highly romanticized viewpoint of Gerty, and the other half that of the older and more realistic Bloom.[45] Joyce himself said, however, that "nothing happened between [Gerty and Bloom]. It all took place in Bloom's imagination".[45] Nausicaa attracted immense notoriety while the book was being published in serial form. It has also attracted great attention from scholars of disability in literature.[46] The style of the first half of the episode borrows from (and parodies) romance magazines and novelettes. Bloom's contemplation of Gerty parodies Dedalus's vision of the wading girl at the seashore in A Portrait.[47][48]

Episode 14, Oxen of the Sun edit

See also: Cattle of Helios

Bloom visits the maternity hospital where Mina Purefoy is giving birth, and finally meets Stephen, who has been drinking with his medical student friends and is awaiting the promised arrival of Buck Mulligan. As the only father in the group of men, Bloom is concerned about Mina Purefoy in her labour. He starts thinking about his wife and the births of his two children. He also thinks about the loss of his only 'heir', Rudy. The young men become boisterous, and start discussing such topics as fertility, contraception and abortion. There is also a suggestion that Milly, Bloom's daughter, is in a relationship with one of the young men, Bannon. They continue on to a pub to continue drinking, following the successful birth of a son to Mina Purefoy. This chapter is remarkable for Joyce's wordplay, which, among other things, recapitulates the entire history of the English language. After a short incantation, the episode starts with latinate prose, Anglo-Saxon alliteration, and moves on through parodies of, among others, Malory, the King James Bible, Bunyan, Pepys, Defoe, Sterne, Walpole, Gibbon, Dickens, and Carlyle, before concluding in a Joycean version of contemporary slang. The development of the English language in the episode is believed to be aligned with the nine-month gestation period of the foetus in the womb.[49]

Episode 15, Circe edit

See also: Circe

Episode 15 is written as a play script, complete with stage directions. The plot is frequently interrupted by "hallucinations" experienced by Stephen and Bloom—fantastic manifestations of the fears and passions of the two characters. Stephen and his friend Lynch walk into Nighttown, Dublin's red-light district. Bloom pursues them and eventually finds them at Bella Cohen's brothel where, in the company of her workers including Zoe Higgins, Florry Talbot and Kitty Ricketts, he has a series of hallucinations regarding his sexual fetishes, fantasies and transgressions. In one of these hallucinations, Bloom is put in the dock to answer charges by a variety of sadistic, accusing women including Mrs Yelverton Barry, Mrs Bellingham and the Hon Mrs Mervyn Talboys. In another of Bloom's hallucinations, he is crowned king of his own city, which is called Bloomusalem—Bloom imagines himself being loved and admired by Bloomusalem's citizens, but then imagines himself being accused of various charges. As a result, he is burnt at the stake and several citizens pay their respects to him as he dies.

Then the hallucination ends, Bloom finds himself next to Zoe, and the two talk. After they talk, Bloom continues to encounter other miscellaneous hallucinations, including one in which he converses with his grandfather Lipoti Virag, who lectures him about sex, among other things. At the end of the hallucination, Bloom is speaking with some prostitutes when he hears a sound coming from downstairs. He hears heels clacking on the staircase, and he observes what appears to be a male form passing down the staircase. He speaks with Zoe and Kitty for a moment, and then sees Bella Cohen come into the brothel. He observes her appearance and talks with her for a little while. But this conversation subsequently begins another hallucination, in which Bloom imagines Bella to be a man named Mr. Bello and Bloom imagines himself to be a woman. In this fantasy, Bloom imagines himself (or "herself", in the hallucination) being dominated by Bello, who both sexually and verbally humiliates Bloom. Bloom also interacts with other imaginary characters in this scene before the hallucination ends.

After the hallucination ends, Bloom sees Stephen overpay at the brothel, and decides to hold onto the rest of Stephen's money for safekeeping. Stephen hallucinates that his mother's rotting cadaver has risen up from the floor to confront him. He cries Non serviam!, uses his walking stick to smash a chandelier, and flees the room. Bloom quickly pays Bella for the damage, then runs after Stephen. He finds Stephen engaged in an argument with an English soldier, Private Carr, who, after a perceived insult to the King, punches Stephen. The police arrive and the crowd disperses. As Bloom tends to Stephen, he has a hallucination of his deceased son, Rudy, as an 11-year-old.

Part III: Nostos edit

See also: Nostos

Episode 16, Eumaeus edit

See also: Eumaeus

Bloom takes Stephen to a cabman's shelter near Butt Bridge to restore him to his senses. There, they encounter a drunken sailor, D. B. Murphy (W. B. Murphy in the 1922 text). The episode is dominated by the motif of confusion and mistaken identity, with Bloom, Stephen and Murphy's identities being repeatedly called into question. The narrative's rambling and laboured style in this episode reflects the protagonists' nervous exhaustion and confusion.

Episode 17, Ithaca edit

See also: Homer's Ithaca

Bloom returns home with Stephen, makes him a cup of cocoa, discusses cultural and linguistic differences between them, considers the possibility of publishing Stephen's parable stories, and offers him a place to stay for the night. Stephen refuses Bloom's offer and is ambiguous in response to Bloom's proposal of future meetings. The two men urinate in the backyard, Stephen departs and wanders off into the night,[50] and Bloom goes to bed, where Molly is sleeping. She awakens and questions him about his day. The episode is written in the form of a rigidly organised and "mathematical" catechism of 309 questions and answers, and was reportedly Joyce's favourite episode in the novel. The deep descriptions range from questions of astronomy to the trajectory of urination and include a list of 25 men that purports to be the "preceding series" of Molly's suitors and Bloom's reflections on them. While describing events apparently chosen randomly in ostensibly precise mathematical or scientific terms, the episode is rife with errors made by the undefined narrator, many or most of which are intentional by Joyce.[51]

Episode 18, Penelope edit

See also: Penelope

The final episode consists of Molly Bloom's thoughts as she lies in bed next to her husband. The episode uses a stream-of-consciousness technique in eight paragraphs and lacks punctuation. Molly thinks about Boylan and Bloom, her past admirers, including Lieutenant Stanley G. Gardner, the events of the day, her childhood in Gibraltar, and her curtailed singing career. She also hints at a lesbian relationship in her youth, with a childhood friend, Hester Stanhope. These thoughts are occasionally interrupted by distractions, such as a train whistle or the need to urinate. Molly is surprised by the early arrival of her menstrual period, which she ascribes to her vigorous sex with Boylan. The episode concludes with Molly's remembrance of Bloom's marriage proposal, and of her acceptance: "he asked me would I yes to say yes my mountain flower and first I put my arms around him yes and drew him down to me so he could feel my breasts all perfume yes and his heart was going like mad and yes I said yes I will Yes."

Joyce, Shakespeare, Aquinas edit

In the Library episode, Stephen Dedalus expounds a theory of Hamlet based on 12 lectures, now lost, that Joyce gave in Trieste in 1912.[52] Scholars have explained the Hamlet parallels in considerable detail.[36][37][38][53][54] Harry Blamires concluded, "The fullest emphasis should be placed on the following correspondences: Joyce puts himself in Ulysses as both Father (Ghost-Father) and Son. Shakespeare puts himself in Hamlet as both Ghost-Father and Son. God enters His own world as Holy Ghost and as Son."[55]

In "Telemachus", Mulligan says of Stephen's theory, "I'm not equal to Thomas Aquinas and the fiftyfive reasons he has made out to prop it up", and in the Library episode he mentions Stephen's study of Aquinas's Summa contra Gentiles.[56] Joyce apparently owned three copies, one, an abridgment, in English, purchased in Trieste in 1913–1914.[56] This book, which he told Pound he had consulted on his behalf,[57] was Joseph Rickaby's Of God and His Creatures.[58]

Shortly after his "idea of Hamlet" is mentioned in "Telemachus", Stephen thinks of doctrines on the Incarnation that Aquinas deals with in the Summa: the Catholic doctrine of Consubstantiality and the heresies of Sabellius, Photius, Arius, and Valentine. During his exposition in the Library, Stephen mentions both the Sabellian heresy and Aquinas's refutation. For Blamires, this "clearly indicates that Stephen's study of Hamlet is among things and analogically theological one concerning the operation of the three Persons of the Trinity."[59]

Sabellius "taught that one and the same divine Being as giving the Old Law was called the Father, as born of Mary was called the Son, as given to the Apostles was called the Holy Ghost, so that there were three manifestations, but not what we should call three Persons; and that when God was under one of these manifestations, He was not under either of the other two."[60] Shakespeare is the "Ghost-Father" in Hamlet. Stephen characterizes the Ghost as a "voice."[61] At the Baptism and the Transfiguration, the Holy Ghost is identified as the voice of God the Father.[62] The theme of reincarnation is introduced early in Ulysses, and Bloom is Joyce reincarnated.[63] As "Ghost-Father" in Ulysses he is also Joyce's "voice" or spokesperson in the novel. He vehemently advocates "love", for example, "the opposite of hatred".[64]

Blamires has argued that "Stephen's superficially perverse insistence that Shakespeare is Hamlet senior as well as (not instead of) Hamlet junior is hint enough that Joyce has represented himself in both Bloom and Stephen".[65] Like Shakespeare, Joyce is Sabellian "Ghost Father". Like Hamlet, Stephen is consubstantial "Son". The Catholic doctrine of consubstantiality holds that "the person of the Father and of the Son is different, Christ to be the true and natural Son of God, co-eternal and equal with the Father; true God, of the same essence and nature with the Father . . . albeit not of the same person."[66] As Shakespeare and Hamlet are spiritually consubstantial, so too are Joyce and Stephen. Hamlet is a younger version of Shakespeare, Stephen a younger version of Joyce.[63] (Valentine, next-to-last on Stephen's list, also held that Father and Son were consubstantial, but, as a Gnostic, denied that Christ became flesh.)

Stephen thinks of the heretic Arius again in "Proteus". The Arians held the Son "to be not of the same nature with the Father... They said that He was one with God the Father, not by nature, but by a union of wills, and by participation in the likeness of God beyond other creatures".[67] William York Tindall has said that Stephen sees his future in Bloom.[68] Hugh Kenner has written, "Arius... proposed a relation of adoption such as is to subsist between Stephen and Bloom".[69][70]

Photius is the first heretic Stephen has cited. Joyce was aware that the schism between the Latin and Greek Churches was due to the Filioque clause in the Nicene Creed. In stressing the differences in doctrine, Photius was mainly responsible for the schism.[71] In twice juxtaposing Mulligan with Photius, in "Telemachus" and again in the Library episode, Stephen is recalling Mulligan's parody of his "idea of Hamlet". It ends with the claim that "he himself is the ghost of his own father", a reference to the Sabellian heresy. Haines points to Stephen, asking, "He himself?"[72] According to Aquinas, what Stephen calls the heresy of Photius has a Sabellian component: "It will be true then to say that the Holy Ghost is the Son, and the Son the Holy Ghost, which is the impious position of Sabellius."[73] As Joyce's "Son", Stephen, like Bloom, is also his "ghost", his "voice" or spokesperson.[74] Through him, for example, Joyce again delivers his 1912 lectures on Hamlet.

In "Telemachus", Stephen prefaces his list of heretics by referring to the "Symbol [creed] of the apostles in the mass for pope Marcellus". In fact, the Nicene Creed, not the Apostles' Creed, is sung or recited during Mass. But the latter, essentially a narrative of Christ's mission, is a better model for condensing both Hamlet and Ulysses,[75] as Stephen does in the Library episode with his mock creed. Blamires has emphasized its application to Ulysses especially: "Joyce's created world . . . is like God's world . . . a world into which its own creator has entered, in which he has suffered, and from which he has been raised up."[76] Joyce has entered Ulysses as both Bloom and Stephen. At the Baptism, the Father identified Christ as His Son. In "Lotus Eaters", the words of Consecration, "This is my body", identify Bloom as Joyce's Sabellian son. In "Proteus", Stephen's musings on paternity identify him as Joyce's consubstantial son. Both will suffer, die, and rise. In "Cyclops", Bloom is crucified by the Citizen and resurrected by the narrator. In "Circe", Stephen is crucified by Private Carr and resurrected by Bloom.[77]

In "Oxen of the Sun", Stephen declares, "[Either] transubstantiality [or] consubstantiality but in no case subsubstantiality." The terms refer, as Richard Ellmann has noted, to opposing doctrines on the Incarnation.[78] The first is obviously a coinage formed from transubstantiation. In A Portrait, the priest is said to make "the great God of heaven come down upon the altar and take the form of bread and wine".[79] Sabellius held that the Father became His own Son when, born of the Virgin Mary, He took human form.[67] Transubstantiality refers to the Sabellian heresy and to Leopold Bloom, Joyce in another body.

Consubstantiality, on Stephen's list of doctrines in "Telemachus", refers here to the view that Christ is both divine as God's Son and human as the Virgin Mary's. Stephen is spiritually consubstantial with Joyce, physically consubstantial with Simon Dedalus, a younger version of each.[80] "Subsubstantiality" refers to a Christ who lacks a human body. Stephen's list of heretics in "Telemachus" included Valentine, a Gnostic who held that the Son only appeared be made flesh, lacking a true body.[81] In "Oxen", Stephen illustrates by imagining a Virgin Mary who never gave birth.[79]

In A Portrait, the Virgin's womb is a metaphor for the imagination.[82] Stephen's first two doctrines allude to artistic re-embodiment, while the last alludes to its absence. "Subsubstantiality" characterizes the apparitions in "Circe", the next chapter. Ellmann calls them "the agitations and images of the unconscious mind"—"Joyce's version of the cruelty of the unconscious". [83] They are "phantoms of the past, memories recent or remote", not "works of art", because the imagination has created no "possible future" for them. The two exceptions are Stephen's dead mother and Bloom's dead son: "through a process of gestation . . . they emerge as new creatures". Each is "an unforeseen blend of memory and imagination".[84] Not to say that the subsubstantial apparitions in "Circe" have no effect. Hugh Kenner compares them to "a psychoanalysis without an analyst"—a "catharsis". Bloom seems to have become "courageous, ready of mind": the "rummaging amid the roots of his secret fears and desires has brought forth a new self-possession."[85] Hamlet-like Stephen emerges as a "man of action".[85] His rebellion's physical expression has been prefigured in earlier apparitions casting him in the role of black mass celebrant.[86]

Both the ghost of Stephen's dead mother and that of Bloom's dead son have been taken as epiphanies.[87] A composite of the Baptism of Christ and the Transfiguration is Joyce's actual source for the concept.[88] Stephen's epiphany both parallels and inverts these events. The Father's consubstantiality with Christ is manifested, Christ becoming radiant, and the Holy Ghost appears, the Father's voice addressing His Son. In "Circe", the Ghost of Stephen's mother identifies him as her son and he turns "white". But while the Father is "well-pleased" with His Son, Stephen's mother is very disappointed in hers. The Baptism marks the beginning of Christ's future on earth, His mission of suffering, death, and resurrection. Stephen's mother urges him to "Repent", to return to the faith he has rejected.

The epiphany then juxtaposes Christ's sacrifice and Satan's defiance, the one imaging Stephen's guilt, the other his desire to live and create freely. Stephen refuses to return to the Church, citing "the intellectual imagination"—his artistic mission—and using Satan's words, non serviam. The mother in turn uses language that identifies her with Christ, making mother and son archetypal adversaries. Stephen's lamp-smashing gives physical form to his rejection of Catholicism and initiates a future of his own choosing.[89]

Stephen's epiphany brought his mother back from the grave. Bloom's is a fleeting resurrection of his dead son. Rudy is an idealized image of his son had he lived to eleven,[90] an image that bears resemblance to Stephen.[91] Hugh Kenner doubts that Bloom sees Rudy, but allows that the apparition reflects Bloom's paternal feelings for Stephen.[92] That Rudy appears to be reading a Hebrew prayer book recalls Bloom's reminder in "Cyclops" that Christ was a Jew. The "white lambkin" identifies him as paschal victim, the resurrected Christ.[90] Bloom speaks his name in recognition of their consubstantiality. A little earlier he called out Stephen's name, twice. The unconscious Stephen is also Christ now, crucified by a soldier--his arms outstretched, "no bones broken,"[93] his ashplant symbolizing the Cross.[90] Prostate, he awaits resurrection. Bloom's solicitousness signifies his "adoption" of Stephen, as Arius heretically characterized the Father-Son relation.[69] [94] The Arians also believed that the Son could complete His mission only with the Father's help.[95] Bloom's imaginary raising of his dead son is a prelude to his getting Stephen back on his feet.

In "Ithaca", Bloom is said to be the "transubstantial heir" of his parents and Stephen the "consubstantial heir" of his. Like the Sabellian Christ, Bloom is both a son and a father, while Stephen, like the consubstantial Christ, is only a son. The theological terms are a late reminder of Joyce's double presence in Ulysses. Bloom is his "transubstantial heir", the mature Joyce reincarnated, and Stephen his "consubstantial heir", a portrait of the artist as a young man.[96]

June 16, 1904 edit

On June 10, 1904, Joyce met Nora Barnacle for the first time. They met again on June 16.[97] On both days, the Feast of the Sacred Heart was celebrated in Irish Catholic churches.[98] The feast originated on another June 16, in 1675.[99] A young nun, Margaret Mary Alacoque, had been experiencing visions of Christ exposing his heart. During the so-called "great apparition", he asked that a new feast be established to commemorate his suffering. (In the Library episode, Mulligan calls the nun "Blessed Margaret Mary Anycock!"[100]) The Feast of the Sacred Heart was formally approved in the same year. The Jesuits had popularized the devotion, and Ireland was the first nation to dedicate itself to the Sacred Heart.[101]

When Leopold Bloom enters All Hallows Church in "Lotus Eaters", he sees women receiving Communion. "Something going on," he thinks, "some sodality." The sodality is devoted to the Sacred Heart and the women are attending mass to celebrate the feast. They have "crimson halters round their necks", suggesting slaves or animals tied and led. The halters are scapulars.Crimson, denoting bloody sacrifice, is the color of Christ's robes in Sacred Heart iconography.[102]

Once the feast was established, so was the iconography: "an image of Jesus serenely holding his own heart, now visualized more physiologically, with Christ fixing the viewer in a penetrating gaze."[103] Images of the Sacred Heart appear in Dubliners, A Portrait of the Artist, and Ulysses.[104][105] In Dublin's Glasnevin Cemetery, Bloom encounters a statue of the Sacred Heart "showing it". A canvasser for newspaper advertisements, he evaluates it accordingly: "Ought to be sideways and red it should be painted like a real heart." Bloom adds that the Sacred Heart "seems anything but pleased", perhaps an allusion to Christ's complaint to Margaret Mary Alacoque during the great apparition that his suffering has gone unappreciated. Hence his request for a new feast.[106]

The young nun claimed that Christ had made 12 promises to all who would dedicate themselves to the Sacred Heart.[106] The 12th promise offers "salvation to the one who receives communion on nine consecutive First Fridays".[107] Mrs. Kiernan in the Dubliners story "Grace" and Mr. Kearney in "A Mother" try to take advantage of this promise, as did Stephen's mother.[108] A colored print of the 12 promises hangs on Eveline's wall,[109] and there are resemblances between her and Margaret Mary Alacoque and between Frank, her "open-hearted" suitor, and the Sacred Heart.[110] Both young women have been made a promise of salvation by a man professing love. Hugh Kenner argues that Frank has no intention of taking Eveline to Buenos Ayres and will seduce and abandon her in Liverpool, where the boat is actually headed.[111] Since "going to Buenos Ayres" was slang for "taking up a life of prostitution",[112] it appears that Frank does intend to take Eveline to Buenos Aires, but not to make her his wife.[113] That Eveline's print of the 12 promises made by the Sacred Heart hangs over a "broken" harmonium confirms the close similarity between the two suitors. In "Circe", the Sacred Heart devotion is concisely parodied in the apparition of Martha Clifford, Bloom's pen pal. Like the women in All Hallows, she wears a crimson halter. She calls Bloom a "heartless flirt" and accuses him of "breach of promise".[102]

When the ghost of Stephen's mother confronts him in "Circe", she prays, "O Sacred Heart of Jesus, have mercy on him! Save him from hell, O Divine Sacred Heart."[114] Then, as Anthony Burgess has noted, she "identifies herself with the suffering Christ."[115] The words she uses to do so, "Inexpressible was my anguish when expiring with love, grief and agony on Mount Calvary", paraphrase the most explicit reference to the Crucifixion in the Act of Reparation to the Sacred Heart: "Inconceivable they anguish when expiring with love, grief, and agony, on Mount Calvary."[116] In A Portrait, Stephen declares, "I will not serve that in which I no longer believe whether it call itself my home, my fatherland or my church." The ghost of his mother invoking the Sacred Heart to whom Ireland is dedicated is a composite image of all three.[117] Exclaiming "No!" three times, he acts out his refusal to "repent" by smashing the brothel chandelier.[118]

William York Tindall has written, "Stephen’s destruction of the chandelier becomes the Tenebrae or the extinguishing of candles on Holy Thursday to symbolize the death of God."[119] (The ceremony also takes place on Holy Wednesday and Good Friday. A page of notes on the Office of Tenebrae was found with the manuscript of Stephen Hero, and Joyce gave the title "Tenebrae" to an early poem he later discarded.[120]) The candles are not the only symbolic light extinguished on Holy Thursday. There is also the sanctuary lamp, which hangs before the altar where the Eucharist is contained in a tabernacle. This lamp is alluded to in "Grace" as "the red speck of light". During Mass on Holy Thursday two hosts are consecrated, one for that Mass, the other for the Good Friday service. The second host is taken to a repository or tabernacle on another altar. With the Eucharist now absent, the sanctuary lamp is extinguished. The protagonist of Stephen Hero describes the setting on Good Friday: "no lights or vestments, the altar naked, the door of the tabernacle gaping open."[121] Catholicism has thus provided the renegade artist with the symbolism to manifest Godforsakenness.

Like Tindall, Harry Blamires and Richard Ellmann see Stephen’s smashing of the brothel chandelier as deliberate.[122] But Kenner thinks that Stephen swings his stick at his mother's apparition and hits the chandelier instead.[123] If so, then Stephen is among Christ's executioners.[124] He raises his stick at the moment his mother's ghost identifies herself with the crucified victim. The extinguished lamp is a reminder of the darkness that descended during the Crucifixion. It also recalls the symbolically dark setting of the Good Friday liturgy. The apparition combines Mount Calvary and a Dublin church altar. Swinging his stick, Stephen both kills Christ and expels the Eucharist.[89]

A little later, in the presence of a British soldier, Stephen announces, tapping his brow, "But in here it is I must kill the priest and the king." His statement initiates the symbolic action that follows. Edward VII appears wearing "a white jersey on which an image of the Sacred Heart" is embroidered with the insignia of various military orders.[125] The image is a reminder of the devotion's close connection to June 16 and its ubiquity in Irish Catholic culture. It also foreshadows Stephen's coming transformation into the crucified Christ, while the military insignia foreshadow the violence the British soldier will inflict on him to make him so. Stephen is struck and collapses, allusions to the Crucifixion establishing the parallel with it.[90] Joyce had been injured during an altercation, and he soon likened it to the Crucifixion, his bloody handkerchief reminding him of "Veronica".[126] Stephen's plight draws Bloom to him. This is the only time in Joyce that the Sacred Heart is associated with a promise of actual salvation. The fallen Joyce was helped by Alfred H. Hunter, one model for Bloom.[127] To parallel his rescue by Hunter with the Resurrection, Joyce makes Bloom God the Father,[128] thereby deifying the charitable Hunter.

Ulysses is a book of reincarnations, and the Sacred Heart is reincarnated in D. B. Murphy, whom Bloom and Stephen encounter in "Eumaeus". Murphy is a sailor, like Frank, the Sacred Heart simulacrum in "Eveline".[129] Tindall has noted that he has returned to Dublin on a ship Stephen saw yesterday morning, "her sails brailed up on the crosstrees, homing", with "crosstree" suggesting Christ.[130] Murphy is "brokenhearted" and "red-bearded", with an image on his chest he gladly exposes, and is, as Kenner notes, "untrustworthy".[131] A question he is asked about the tattoo—"Did it hurt much?"—alludes to Christ's complaint of his suffering. The tattoo includes an anchor, the figure 16, and a young man's profile "looking frowningly". "16" alludes to the previous day, which is also the day Murphy returned to Ireland, and the "great apparition" of the Sacred Heart on another June 16. The frowning young man recalls both Christ's suffering and his displeasure over humankind's ingratitude.[132] Stephen reacts to a comment of Bloom's with a "crosstempered" gesture, shoving his coffee cup away and symbolically rejecting communion with Bloom.[130] "Crosstempered" is the second suggestion of Christ. Stephen's anger recalls his rage at his mother's ghost when she used the Act of Reparation to the Sacred Heart to persuade him to repent. Ellmann has written, "If he could, [Murphy] would deny the significance of the sixteenth day of June."[133] His comment applies to Stephen's exorcising of Christ and the Eucharist in "Circe". Murphy is a "circumnavigator", and his claim that the tattoo is the combined product of several nationalities is a reminder that the Catholic Church is universal.[134]

Mulligan's "Blessed Mary Anycock!" is relevant. Margaret Mary Alacoque's Sacred Heart visions were highly erotic.[135] There are echoes in Molly Bloom's memories of her recent sexual gratification. The young nun repeatedly compares Christ's heart to flame or fire.[136] Molly's lover is nicknamed "Blazes". "Heart" can mean the erect penis. Molly says Boylan "put some heart up into me". She even seems to be unwittingly comparing Boylan's penis to the oversized heart used in the Sacred Heart iconography when she calls it "that tremendous big red brute of a thing".[137]

Molly reincarnates the Sacred Heart devotion in another way. She describes Boylan's penis as "like iron or some kind of thick crowbar standing all the time", like the Roman spear that pierced Christ's body as it hung from the Cross. One Gospel for the feast is John 19:31-35: "one of the soldiers pierced his side with a lance, and once there came out blood an water." Molly Bloom menstruates and urinates.[137] Richard Ellmann writes, "In allowing Molly to menstruate . . . Joyce consecrates the blood in the chamberpot rather than the blood in the chalice."[138] Molly "is the genuine Christine" Mulligan invoked at the beginning of Ulysses, and in "Ithaca", "the mystery of an invisible attractive person . . . Marion (Molly) Bloom, [is] denoted by a visible splendid sign, a lamp."[139]

Publication history edit

 
Memorial plaque, at 12 Rue de l'Odéon, Paris (the original location of Shakespeare and Company): "In 1922, in this house, Sylvia Beach published Ulysses by James Joyce. J.J.S.S.F." (James Joyce Society of Sweden and Finland)[140]
 
Ulysses by James Joyce, Paris : Shakespeare, 1922

The publication history of Ulysses is complex. There have been at least 18 editions, and variations in different impressions of each edition.

According to Joyce scholar Jack Dalton, the first edition of Ulysses contained over 2,000 errors.[141] As subsequent editions attempted to correct these mistakes, they would often add more, due in part to the difficulty of separating non-authorial errors from Joyce's deliberate "errors" devised to challenge the reader.[51]

Notable editions include:[a]

  • Paris: Shakespeare and Company, 1922: The private,[142] first edition published in Paris on 2 February 1922 (Joyce's 40th birthday) by Sylvia Beach's Shakespeare and Company. Beach commissioned Darantiere in Dijon to print 1,000 numbered copies consisting of 100 signed copies on Dutch handmade paper (350 francs), 150 numbered copies on vergé d’Arches paper (250 francs), and 750 copies on handmade paper (150 francs),[142][143] plus an extra 20 unnumbered copies on mixed paper for libraries and press.[144][145][146]
  • London: Egoist Press, 1922: The first English edition published by Harriet Shaw Weaver's Egoist Press in October 1922. For legal reasons the book was printed on behalf of Egoist Press by John Rodker using the same printer, Darantiere, and plates as the first edition. This edition consisted of 2,000 numbered copies on handmade paper for sale[147] plus 100 unnumbered copies for press, publicity and legal deposit libraries.[148][149][146][150] A seven-page errata list compiled by Joyce, Weaver and Rodker was loosely inserted and contained 201 corrections.[151][152] The U.S. Post Office reportedly burned up to 500 copies,[153] as noted in later Shakespeare and Company editions.[154]
  • New York: Two Worlds Publishing Company, 1929: The first U.S. edition of the novel was pirated by Samuel Roth without Joyce's authorisation, and first published serially in Roth's Two Worlds Monthly, then later in a single volume in 1929. It was designed to closely mimic the 1927 Shakespeare and Company 9th printing but many errors and corruptions occurred during reproduction.[155][156] Reportedly 2,000–3,000 copies were printed but the majority were seized and destroyed by the New York Society for the Suppression of Vice after a raid on Roth's offices on 4 October 1929[157]
  • Hamburg: Odyssey Press, 1932: In two volumes. The title page of this edition states "The present edition may be regarded as the definitive standard edition, as it has been specially revised, at the author's request, by Stuart Gilbert.". This edition still contained errors but by its fourth revised printing (April 1939) it was considered the most accurate offering of the text and subsequently used as the basis for many later editions of the novel.[158][159][156]
  • New York: Random House, 1934: The first authorised U.S. edition,[160] published after the decision in United States v. One Book Called Ulysses finding that the book was not obscene.[158] Random House's founder Bennett Cerf chose to base this edition on a copy of the pirated Samuel Roth edition of 1929, which led it to reproduce many of that edition's errors.[161][162]
  • London: Bodley Head, 1936: The first edition printed and published in England. Set from the second impression of Odyssey Press's edition and proofed by Joyce.[163][158]
  • Bodley Head, 1960: Newly reset corrected edition based on the 1958 impression of the earlier Bodley Head edition.[164] The source for many later editions by other publishers.
  • Random House, 1961: Reset from the 1960 Bodley Head edition.
  • Ulysses: A Critical and Synoptic Edition. Garland, 1984: Edited by Hans Walter Gabler.
  • Ulysses: A Reader's Edition. Lilliput Press, 1997: Edited by Danis Rose.
  1. ^ Where the title is omitted the edition is titled Ulysses.

"Joyce Wars" edit

Hans Walter Gabler's 1984 edition was the most sustained attempt to produce a corrected text, but it has received much criticism, most notably from John Kidd. Kidd's main theoretical criticism is of Gabler's choice of a patchwork of manuscripts as his copy-text (the base edition with which the editor compares each variant), but this fault stems from an assumption of the Anglo-American tradition of scholarly editing rather than the blend of French and German editorial theories that actually lay behind Gabler's reasoning.[165] The choice of a composite copy-text is seen to be problematic in the eyes of some American editors, who generally favour the first edition of any particular work as copy-text.[165]

Less subject to differing national editorial theories, however, is the claim that for hundreds of pages—about half the episodes of Ulysses—the extant manuscript is purported to be a "fair copy" that Joyce made for sale to a potential patron. (As it turned out, John Quinn, the Irish-American lawyer and collector, purchased the manuscript.) Diluting this charge somewhat is the fact that the theory of (now lost) final working drafts is Gabler's own. For the suspect episodes, the existing typescript is the last witness. Gabler attempted to reconstruct what he called "the continuous manuscript text", which had never physically existed, by adding together all of Joyce's accretions from the various sources. This allowed Gabler to produce a "synoptic text" indicating the stage at which each addition was inserted. Kidd and even some of Gabler's own advisers believe this method meant losing Joyce's final changes in about two thousand places.[165] Far from being "continuous", the manuscripts seem to be opposite. Jerome McGann describes in detail the editorial principles of Gabler in his article for the journal Criticism, issue 27, 1985.[166] In the wake of the controversy, still other commentators charged that Gabler's changes were motivated by a desire to secure a fresh copyright and another seventy-five years of royalties beyond a looming expiration date.

In June 1988 John Kidd published "The Scandal of Ulysses" in The New York Review of Books,[165] charging that not only did Gabler's changes overturn Joyce's last revisions, but in another four hundred places Gabler failed to follow any manuscript whatever, making nonsense of his own premises. Kidd accused Gabler of unnecessarily changing Joyce's spelling, punctuation, use of accents, and all the small details he claimed to have been restoring. Instead, Gabler was actually following printed editions such as that of 1932, not the manuscripts. Gabler was found to have made genuine blunders, such as his changing the name of the real-life Dubliner Harry Thrift to 'Shrift' and cricketer Captain Buller to 'Culler' on the basis of handwriting irregularities in the extant manuscript. (These "corrections" were undone by Gabler in 1986.) Kidd stated that many of Gabler's errors resulted from Gabler's use of facsimiles rather than original manuscripts.

In December 1988, Charles Rossman's "The New Ulysses: The Hidden Controversy" for The New York Review revealed that some of Gabler's own advisers felt too many changes were being made, but that the publishers were pushing for as many alterations as possible. Then Kidd produced a 174-page critique that filled an entire issue of the Papers of the Bibliographical Society of America, dated the same month. This "Inquiry into Ulysses: The Corrected Text" was published the next year in book format and on floppy disk by Kidd's James Joyce Research Center at Boston University.

Gabler and others, including Michael Groden, have rejected Kidd's critique. In his 1993 afterword to the Gabler edition, Groden writes that Kidd's lists of supposed errors were constructed "with so little demonstrated understanding of Gabler's theoretical assumptions and procedures ... that they can point to errors or misjudgments only by accident." The scholarly community remains divided.

Gabler edition dropped edit

In 1990, Gabler's American publisher Random House, after consulting a committee of scholars,[167] replaced the Gabler edition with its 1961 version, and in the United Kingdom the Bodley Head press revived its 1960 version (upon which Random House's 1961 version is based). In both the UK and US, Everyman's Library also republished the 1960 Ulysses. In 1992, Penguin dropped Gabler and reprinted the 1960 text. The Gabler version remained available from Vintage International. Reprints of the 1922 first edition have also become widely available since 1 January 2012, when this edition entered the public domain under U.S. copyright law.[168]

In 1992, W. W. Norton announced that it would publish Kidd's much-anticipated edition of Ulysses as part of "The Dublin Edition of the Works of James Joyce" series. This book had to be withdrawn when the Joyce estate objected. For a period thereafter the estate refused to authorise any further editions of Joyce's work. This ended when it agreed to allow Wordsworth Editions to bring out a bargain version of the novel (a reprint of the 1932 Odyssey Press edition) in January 2010, ahead of copyright expiration in 2012.[169][170]

Censorship edit

Main articles: Obscenity trial of Ulysses in The Little Review and United States v. One Book Called Ulysses

Written over a seven-year period from 1914 to 1921, Ulysses was serialised in the American journal The Little Review from 1918 to 1920,[171] when the publication of the Nausicaä episode led to a prosecution for obscenity under the Comstock Act of 1873, which made it illegal to circulate materials deemed obscene in the U.S. mail.[172] In 1919, sections of the novel also appeared in the London literary journal The Egoist, but the novel itself was banned in the United Kingdom until 1936.[173] Joyce had resolved that the book would be published on his 40th birthday, 2 February 1922, and Sylvia Beach, Joyce's publisher in Paris, received the first three copies from the printer that morning.[174][156]

The 1920 prosecution in the US was brought after The Little Review serialised a passage of the book depicting characters masturbating. Three earlier chapters had been banned by the US Post Office, but it was Secretary of the New York Society for the Suppression of Vice John S. Sumner who instigated this legal action.[175] The Post Office did partially suppress the "Nausicaä" edition of The Little Review.[176] Legal historian Edward de Grazia has argued that few readers would have been fully aware of the masturbation in the text, given the metaphoric language.[177] Irene Gammel extends this argument to suggest that the obscenity allegations brought against The Little Review were influenced by the Baroness Elsa von Freytag-Loringhoven's more explicit poetry, which had appeared alongside the serialization of Ulysses.[178] At the trial in 1921 the magazine was declared obscene and, as a result, Ulysses was effectively banned in the United States. Throughout the 1920s, the United States Post Office Department burned copies of the novel.[179]

In 1932, Random House and lawyer Morris Ernst arranged to import the French edition and have a copy seized by Customs. Random House contested the seizure, and in United States v. One Book Called Ulysses, U.S. District Judge John M. Woolsey ruled that the book was not pornographic and therefore could not be obscene,[180] a decision Stuart Gilbert called "epoch-making".[181] The Second Circuit Court of Appeals affirmed the ruling in 1934.[182] The U.S. thus became the first English-speaking country where the book was freely available. Although Ireland's Censorship of Publications Board never banned Ulysses, a customs loophole prevented it from being allowed into Ireland.[183][156][184] It was first openly available in Ireland in the 1960s.[185]

Literary significance and critical reception edit

What is so staggering about Ulysses is the fact that behind a thousand veils nothing lies hidden; that it turns neither toward the mind nor toward the world, but, as cold as the moon looking on from cosmic space, allows the drama of growth, being, and decay to pursue its course.

—Carl Jung[186]

In a review in The Dial, T. S. Eliot said of Ulysses: "I hold this book to be the most important expression which the present age has found; it is a book to which we are all indebted, and from which none of us can escape." He went on to assert that Joyce was not at fault if people after him did not understand it: "The next generation is responsible for its own soul; a man of genius is responsible to his peers, not to a studio full of uneducated and undisciplined coxcombs."[187]

Ezra Pound wrote, "All men should 'Unite to give praise to Ulysses'; those who will not, may content themselves with a place in the lower intellectual orders." He claimed that in writing Ulysses, "this super-novel", Joyce surpassed Gustave Flaubert, Miguel de Cervantes, Henry James, and Marcel Proust, concluding that, besides François Rabelais, he "can think of no other prose writer whose proportional status in pan-literature is not modified by the advent of Ulysses."[188]

The essayist John Eglinton wrote of Joyce's method: "Mr Joyce has wished to devise a species of literary notation which will express the interuptedness of life. We cannot hold our minds to any one purpose or idea for more than a few moments at a time". He interprets Joyce's purpose as "produc[ing] a work of virgin art!"[189]

William Carlos Williams found Joyce's style in Ulysses richer than in his previous works. He called it a "priestly style and Joyce is himself a priest...Joyce discloses the X-Ray eyes of the confessional, we see…the naked soul…[Joyce] has compared up his reader with God."[189]

Ulysses has been called "the most prominent landmark in modernist literature", a work where life's complexities are depicted with "unprecedented, and unequalled, linguistic and stylistic virtuosity".[190] That style has been called the finest example of stream-of-consciousness in modern fiction, with Joyce going deeper and farther than any other novelist in interior monologue and stream of consciousness.[191] This technique has been praised for its faithful representation of the flow of thought, feeling, and mental reflection, as well as shifts of mood.[192]

According to Declan Kiberd, "Before Joyce, no writer of fiction had so foregrounded the process of thinking."[5] S. L. Goldberg has argued that interior monologue in Ulysses is rooted in Joyce's epiphany technique. For Goldberg, the epiphany is "the real artistic (and dramatic) unit of Joyce's 'stream-of-consciousness' writing. What he renders dramatically are minds engaged in the apprehension of epiphanies—the elements of meaning apprehended in life."[193] Another critic has identified four distinct epiphany techniques in Joyce's work, noting their use in Ulysses, from the simplest device, such as the revelation of Gerty Macdowell’s limp, to the more complex, such as the bowl symbolism in "Telemachus". Cited as an example of Joyce’s major epiphany technique—quidditas produced directly—is the revelation of Molly Bloom as "female essence".[194]

Literary critic Edmund Wilson noted that Ulysses attempts to render "as precisely and as directly as it is possible in words to do, what our participation in life is like—or rather, what it seems to us like as from moment to moment we live."[195] Stuart Gilbert said that the "personages of Ulysses are not fictitious"[196] but that "these people are as they must be; they act, we see, according to some lex eterna, an ineluctable condition of their very existence".[197] Through these characters Joyce "achieves a coherent and integral interpretation of life".[197]

Joyce uses "metaphors, symbols, ambiguities, and overtones which gradually link themselves together so as to form a network of connections binding the whole" work.[192] This system of connections gives the novel a wide, more universal significance, as "Leopold Bloom becomes a modern Ulysses, an Everyman in a Dublin which becomes a microcosm of the world."[198] Eliot called this system the "mythic method": "a way of controlling, of ordering, of giving a shape and a significance to the immense panorama of futility and anarchy which is contemporary history".[199] Novelist Vladimir Nabokov called Ulysses a "divine work of art" and the greatest masterpiece of 20th-century prose,[200] and said that "it towers above the rest of Joyce's writing" with "noble originality, unique lucidity of thought and style".[201] Psychology professor Charles Fernyhough called Ulysses "the archetypal stream of consciousness novel".[202]

The book had its critics, largely in response to its then-uncommon inclusion of sexual elements. Shane Leslie called Ulysses "literary Bolshevism ... experimental, anti-conventional, anti-Christian, chaotic, totally unmoral".[203] Karl Radek called it "a heap of dung, crawling with worms, photographed by a cinema camera through a microscope".[204] Sisley Huddleston, writing for the Observer, wrote: "I confess that I cannot see how the work upon which Mr Joyce spent seven strenuous years, years of wrestling and of agony, can ever be given to the public."[205] Virginia Woolf wrote, "Ulysses was a memorable catastrophe—immense in daring, terrific in disaster."[206] James Douglas, in the Sunday Express, said it contained "secret sewers of vice ... canalized in its flood of unimaginable thoughts, images, and pornographic words" and "revolting blasphemies" that "debases and perverts and degrades the noble gift of imagination and wit and lordship of language".[207] Writing in America Magazine in 1934, the Jesuit Francis X. Talbot vehemently decried Judge Woolsey's recent decision that Ulysses was not obscene, adding, "Only a person who had been a Catholic, only one with an incurably diseased mind, could be so diabolically venomous toward God, toward the Blessed Sacrament, toward the Virgin Mary."[208]

In his review in The Outlook, Arnold Bennett expressed his lack of admiration for Joyce detailing one day in 700 pages. He wrote, "Given sufficient time, paper, childish caprice, and obstinacy, one might easily write over seven thousand pages about twenty hours of life." Bennett also opposed Valéry Larbaud's view that Joyce elaborately planned and organized the day he wrote about. Bennett wrote, "[Joyce] apparently thinks there is something truly artistic and high minded in playing the lout to the innocent and defenseless reader. As a fact, there isn't…After all, to comprehend Ulysses is not among the recognized learned professions, and nobody should give his entire existence to the job." Bennett acknowledged that Joyce's "verbal method can be justified" since he is "trying to reproduce the thoughts of personage", but called the details "trivial and perfectly futile in the narrative".[189]

Media adaptations edit

Theatre edit

Ulysses in Nighttown, based on Episode 15 ("Circe"), premiered off-Broadway in 1958, with Zero Mostel as Bloom; it debuted on Broadway in 1974.

In 2006, playwright Sheila Callaghan's Dead City, a contemporary stage adaptation of the book set in New York City, and featuring the male figures Bloom and Dedalus reimagined as female characters Samantha Blossom and Jewel Jupiter, was produced in Manhattan by New Georges.[209]

In 2012, an adaption was staged in Glasgow, written by Dermot Bolger and directed by Andy Arnold. The production first premiered at the Tron Theatre, and later toured in Dublin, Belfast, Cork, made an appearance at the Edinburgh Festival, and was performed in China.[210][211] In 2017 a revised version of Bolger's adaption, directed and designed by Graham McLaren, premiered at Ireland's National Theatre, The Abbey Theatre in Dublin, as part of the 2017 Dublin Theatre Festival.[212] It was revived in June 2018,[213] and the script was published by Oberon Books.[214]

In 2013, a new stage adaptation of the novel, Gibraltar, was produced in New York by the Irish Repertory Theatre. It was written by and starred Patrick Fitzgerald and directed by Terry Kinney. This two-person play focused on the love story of Bloom and Molly, played by Cara Seymour.[215]

Film edit

In 1967, a film version of the book was directed by Joseph Strick. Starring Milo O'Shea as Bloom, it was nominated for an Academy Award for Best Adapted Screenplay.

In 2003, a movie version, Bloom, was released starring Stephen Rea and Angeline Ball.

Television edit

In 1988, the episode "James Joyce's Ulysses" of the documentary series The Modern World: Ten Great Writers was shown on Channel 4. Some of the novel's scenes were dramatised. David Suchet played Leopold Bloom.[216]

In September 2022, the episode "James Joyce's Ulysses" of the documentary series Arena, was shown on BBC.[142][217][218][219][220]

Audio edit

On Bloomsday 1982, RTÉ, Ireland's national broadcaster, aired a full-cast, unabridged, dramatised radio production of Ulysses,[221] that ran uninterrupted for 29 hours and 45 minutes.

The unabridged text of Ulysses has been performed by Jim Norton with Marcella Riordan. Naxos Records released the recording on 22 audio CDs in 2004. It follows an earlier abridged recording with the same actors. Both recordings were directed by the composer Roger Marsh, who has also produced an unabridged audiobook of Finnegans Wake.[222]

On Bloomsday 2010, author Frank Delaney launched a series of weekly podcasts called Re:Joyce that took listeners page by page through Ulysses, discussing its allusions, historical context and references.[223] The podcast ran until Delaney's death in 2017, at which point it was on the "Wandering Rocks" chapter.

BBC Radio 4 aired a new nine-part adaptation dramatised by Robin Brooks and produced/directed by Jeremy Mortimer, and starring Stephen Rea as the Narrator, Henry Goodman as Bloom, Niamh Cusack as Molly and Andrew Scott as Dedalus, for Bloomsday 2012, beginning on 16 June 2012.[224]

Comedy/satire recording troupe The Firesign Theatre ends its 1969 album "How Can You Be in Two Places at Once When You're Not Anywhere at All?" with a male voice reciting the final lines of Molly Bloom's soliloquy.[225]

Music edit

Thema (Omaggio a Joyce) is an electroacoustic composition for voice and tape by Luciano Berio. Composed between 1958 and 1959, it is based on an interpretative reading of the novel's "Sirens" chapter, as sung/voiced by his then wife Cathy Berberian. Umberto Eco, a lifelong admirer of Joyce, also contributed to its realisation.[226] Berio's Epifanie (1961/65) also includes texts from Ulysses.[227]

Anthony Burgess composed the operetta Blooms of Dublin in 1982, as a very free interpretation of Joyce's text. It was televised by the BBC, to mixed reviews.[228]

The Radiators from Space released a song Kitty Ricketts on their album Ghostown (1979), in which the ghost of one of the prostitutes from Bella Cohen's brothel haunts modern Dublin.

Kate Bush's 1989 song "Flower of the Mountain" (originally the title track on The Sensual World) sets to music the end of Molly Bloom's soliloquy.[229]

The James Joyce Society in Dublin released the album Classical Ulysses for the Bloomsday100 celebrations in 2004. It contains recordings of the classical music mentioned in the book.

Prose edit

Jacob M. Appel's novel The Biology of Luck (2013) is a retelling of Ulysses set in New York City. It features an inept tour guide, Larry Bloom, whose adventures parallel those of Leopold Bloom through Dublin.[230]

Notes edit

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  221. ^ "Reading Ulysses". RTÉ.ie. Retrieved 18 July 2012.
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  223. ^ "Frank Delaney: Archives". Blog.frankdelaney.com. Retrieved 10 July 2012.
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  225. ^ House of Firesign Reviews, Review of How Can You Be in Two Places at Once When You're Not Anywhere at All Retrieved 25 February 2019.
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  227. ^ Timothy S. Murphy. Music After Joyce: The Post-Serial Avant-Garde, UCLA (1999)
  228. ^ The Listener, 7 January, 1982, p 18
  229. ^ Kellogg, Carolyn (6 April 2011). "After 22 years, Kate Bush gets to record James Joyce". Los Angeles Times. Retrieved 29 July 2013.
  230. ^ Schultze, Emily (19 December 2013). "Sitting on Nails and Staring at the Wall: An Interview with Jacob M. Appel". Fiction Writers Review. Retrieved 24 November 2021.

References edit

  •  Life of Saint Margaret Mary Alacoque, written by herself, trans. The Sisters of the Visitation. Roseland, Walmer, Kent: Visitation Library. 1952
  • Aquinas, Thomas. Of God and His Creatures: An Annotated Translation (With some abridgement) of the “Summa contra Gentiles” of St. Thomas Aquinas by Joseph Rickaby, S.J. London: Burns & Oates,1905.
  • Beebe, Maurice (Fall 1972). "Ulysses and the Age of Modernism". James Joyce Quarterly. 10 (1). University of Tulsa: 172–88.
  • Blamires, Harry (1966). The Bloomsday Book: A Guide through "Ulysses". London: Methuen.
  • Blamires, Harry. The New Bloomsday Book. 3rd ed. Routledge, 1996. ISBN 0415138582
  • Blamires, Harry. A Short History of English Literature, Routledge. 2d edition, 2013.
  • Borach, Georges. Conversations with James Joyce, translated by Joseph Prescott, College English, 15 (March 1954)
  • Burgess, Anthony. Here Comes Everybody: An Introduction to James Joyce for the Ordinary Reader (1965); also published as Re Joyce.
  • Burgess, Anthony. Joysprick: An Introduction to the Language of James Joyce (1973).
  • Burgess, Anthony. Re Joyce. New York: W. W. Norton, 1965.
  • Budgen, Frank. James Joyce and the Making of "Ulysses." Bloomington: Indiana University Press, (1960).
  • Budgen, Frank (1972). James Joyce and the making of 'Ulysses', and other writings. Oxford University Press. ISBN 0-19-211713-0.
  • Dalton, Jack. The Text of Ulysses in Fritz Senn, ed. New Light on Joyce from the Dublin Symposium. Indiana University Press (1972).
  • Devotions to the Sacred Heart of Jesus. Trans. from the French and rev. by the Rev. Joseph Joy Dean, ed. Dublin: Richard Grace. 1841.
  • Duncan, Edward. "Unsubstantial Father: A Study of the Hamlet Symbolism in Joyce's Ulysses." University of Toronto Quarterly. 19.2 (January 1950): 126-40.
  • Ellmann, Richard. The Consciousness of Joyce. Oxford University Press, 1977. ISBN 0195199502
  • Ellmann, Richard (1982). James Joyce (revised ed.). New York: Oxford University Press. ISBN 0-19-503103-2.
  • Ellmann, Richard, ed. Selected Letters of James Joyce. The Viking Press (1975).
  • Ellmann, Richard (1972). Ulysses on the Liffey. London: Faber and Faber. ISBN 0195016637.
  • Gilbert, Stuart. James Joyce's Ulysses: A Study, Faber and Faber (1930).
  • Gorman, Herbert. James Joyce: A Definitive Biography (1939).
  • Gorman, Herbert. James Joyce: His First Forty Years. London: Geoffrey Bles, 1926.
  • Hardiman, Adrian (2017). Joyce in Court. London: Head of Zeus Press. ISBN 978-1786691583.
  • Joseph M. Hassett The Ulysses Trials: Beauty and Truth Meet the Law. Dublin: The Lilliput Press (2016). ISBN 978-1-84351-668-2.
  • Kennedy, Eileen (Spring 1969) . "Another Root for Bloomsday?" James Joyce Quarterly. 6 (3) University of Tulsa. 271-72.
  • Kenner, Hugh (1955). Dublin's Joyce. Chatto & Windus.
  • Kenner, Hugh (1982). Ulysses. Unwin Critical Library. Allen & Unwin. ISBN 0048000086.
  • Lang, Frederick K. "Ulysses" and the Irish God. Bucknell University Press,1993. ISBN 0838751504
  • McCourt, John (2000). James Joyce: A Passionate Exile. London: Orion Books Ltd. ISBN 0-7528-1829-5.
  • Nabokov, Vladimir (1990). Strong Opinions. New York: Random House. ISBN 0-679-72609-8.
  • Pound, Ezra. "Ulysses and Mr James Joyce," Literary Essays of Ezra Pound. London: Faber and Faber, 1935. 403-409.
  • Reynolds, Mary T. Joyce and Dante: The Shaping Imagination. Princeton University Press, 1981.ISBN 978-0-691-06446-8
  • Ryan, Sean Michael. “Heart of Europe: The Sacred Heart Image and Irish-Catholic Self-identity.” Religion in Cultural Imaginary: Explorations in Visual and Material Practices. Daria Pezzoli-Olgiati, ed. Nomos Verlag, 2015. ISBN 3845264063
  • Schutte, William M. Joyce and Shakespeare: A Study in the Meaning of "Ulysses." New Haven: Yale University Press, 1957.
  • Seidel, Michael. Epic Geography: James Joyce's "Ulysses." Princeton University Press, 2014. ISBN 0691610665
  • Slocum, John; Cahoon, Herbert (1953). A Bibliography of James Joyce [1882–1941]. New Haven, Conn.: Yale University Press.
  • Tindall, William York, A Reader's Guide to James Joyce. London: Thames and Hudson, 1959. Syracuse University Press, 1995. ISBN 0815603207
  • Torchiana, Donald T. (1968). "Joyce's 'Eveline' and the Blessed Margaret Mary Alacoque." James Joyce Quarterly. 6 (1) University of Tulsa. 22-28.

Further reading edit

  • Anderson, John P. Finding Joy in Joyce: A Reader's Guide to "Ulysses." Universal Publishers, 2000. ISBN 1581127626
  • Arnold, Bruce. The Scandal of Ulysses: The Life and Afterlife of a Twentieth Century Masterpiece. Rev. ed. Dublin: Liffey Press, 2004. ISBN 1-904148-45-X.
  • Attridge, Derek, ed. James Joyce's Ulysses: A Casebook. Oxford and New York: Oxford UP, 2004. ISBN 978-0-19-515830-4.
  • Bennett, Arnold (August 1922). "Concerning James Joyce's 'Ulysses'". The Bookman (London): 567–570.
  • Benstock, Bernard and Thomas F. Staley, eds. Approaches to "Ulysses": Ten Essays. University of Pittsburgh Press, 1970. ISBN 0822975874
  • Benstock, Bernard. Critical Essays on James Joyce's "Ulysses." Boston: G. K. Hall, 1989. ISBN 978-0-8161-8766-9.
  • Birmingham, Kevin. The Most Dangerous Book: The Battle for James Joyce's Ulysses. London: Head of Zeus Ltd., 2014. ISBN 978-1-1015-8564-1
  • Brivic, Sheldon. Joyce the Creator. University of Wisconsin Press, 1985. ISBN 0299100804
  • Duffy, Enda, The Subaltern Ulysses. Minneapolis: University of Minnesota Press, 1994. ISBN 0-8166-2329-5.
  • Ellmann, Richard. Four Dubliners. W. W. Norton, 1988. ISBN 0807612081
  • French, Marilyn. The Book as World: James Joyce's Ulysses. Cambridge, MA: Harvard UP, 1976. ISBN 978-0-674-07853-6.
  • Gillespie, Michael Patrick and A. Nicholas Fargnoli, eds. Ulysses in Critical Perspective. Gainesville: University Press of Florida, 2006. ISBN 978-0-8130-2932-0.
  • Goldberg, Samuel Louis. The Classical Temper: A Study of James Joyce's Ulysses. New York: Barnes and Noble, 1961 and 1969.
  • Goldman, Jonathan."The Difficult Odyssey of James Joyce's 'Ulysses'". The Village Voice (January 28, 2022).
  • Groden, Michael. "Ulysses" in Progress. Princeton: Princeton University Press, 1977. ISBN 0691063389
  • Hart, Clive and David Hayman, eds. James Joyce's "Ulysses": Critical Essays. University of California Press, 1974. ISBN 0520024443
  • Henke, Suzette. Joyce's Moraculous Sindbook: A Study of Ulysses. Columbus: Ohio State UP, 1978. ISBN 978-0-8142-0275-3.
  • Kenner, Hugh. Joyce's Voices. University of California Press, 1979. ISBN 0520039351
  • Kenner, Hugh. "Molly's Masterstroke." James Joyce Quarterly. Volume 10.1. Fall 1972. 63-71
  • Kiberd, Declan. Ulysses and Us: The Art of Everyday Living. London: Faber and Faber, 2009 ISBN 978-0-571-24254-2
  • Killeen, Terence. Ulysses Unbound: A Reader's Companion to James Joyce's Ulysses. Bray, County Wicklow, Ireland: Wordwell, 2004. ISBN 978-1-869857-72-1.
  • Larbaud, Valéry (April 1922). "James Joyce" (PDF). Nouvelle Revue Française (103): 385–409.  
  • Lawrence, Karen. The Odyssey of Style in "Ulysses." Princeton University Press, 1981. ISBN 0691102198
  • Maddox, James H. Joyce's "Ulysses" and the Assault Upon Character. Rutgers University Press, 1978. ISBN 1978836791
  • McCarthy, Patrick A. Ulysses: Portals of Discovery. Boston: Twayne Publishers, 1990. ISBN 0-8057-7976-0.
  • McKenna, Bernard. James Joyce's Ulysses: A Reference Guide. Westport, CT: Greenwood Press, 2002. ISBN 978-0-313-31625-8.
  • Murphy, Michael, "Ulysses" in West Britain: James Joyce's Dublin & Dubliners. Conal and Gavin, 2018. ISBN 0967955793
  • Murphy, Niall. A Bloomsday Postcard. Dublin: Lilliput Press, 2004. ISBN 978-1-84351-050-5.
  • Niskanen, Lauri A. (2021). A Hubbub of Phenomenon: The Finnish and Swedish Polyphonic Translations of James Joyce's Ulysses (Ph.D. thesis). University of Helsinki. ISBN 978-951-51-7248-8.
  • Norris, Margot. A Companion to James Joyce's Ulysses: Biographical and Historical Contexts, Critical History, and Essays From Five Contemporary Critical Perspectives. Boston: Bedford Books, 1998. ISBN 0-312-21067-1.
  • Norris, Margot. Virgin and Veteran Readings of Ulysses. New York: Palgrave Macmillan, 2011. ISBN 978-0-23-033871-5.
  • Restuccia, Frances L. Joyce and the Law of the Father. Yale University Press, 1989. ISBN 0300044445
  • Rickard, John S. Joyce's Book of Memory: The Mnemotechnic of Ulysses. Durham: Duke University Press, 1999. ISBN 978-0-8223-2158-3.
  • Schutte, William M. James. Index of Recurrent Elements in James Joyce's Ulysses. Carbondale: Southern Illinois UP, 1982. ISBN 978-0-8093-1067-8.
  • Shechner, Mark. Joyce in Nighttown: A Psychoanalytic Inquiry Into "Ulysses." University of California Press, 1974. ISBN 0520023986
  • Thornton, Weldon. Allusions in Ulysses: An Annotated List. Chapel Hill: University of North Carolina Press, 1968 and 1973. ISBN 978-0-8078-4089-4.
  • Tindall, William York. James Joyce: His Way of Interpreting the Modern World. New York: Charles Scribner's Sons, 1950
  • Vanderham, Paul. James Joyce and Censorship: The Trials of Ulysses. New York: New York UP, 1997. ISBN 978-0-8147-8790-8.

List of editions in print edit

Facsimile texts of the manuscript edit

  • Ulysses, a three-volume facsimile copy of the complete, handwritten manuscript. Introduction by Harry Levin; bibliographical preface by Clive Driver. Philip H. &. A.S.W. Rosenbach Foundation (now known as the Rosenbach Museum & Library). New York: Octagon Books (1975).

Serial text published in the Little Review, 1918–1920

  • The Little Review Ulysses, edited by Mark Gaipa, Sean Latham and Robert Scholes, Yale University Press, 2015. ISBN 978-0-300-18177-7

Facsimile texts of the 1922 first edition edit

  • Ulysses, The 1922 Text, with an introduction and notes by Jeri Johnson, Oxford University Press (1993). ISBN 0-19-282866-5
  • Ulysses: A Facsimile of the First Edition Published in Paris in 1922, Orchises Press (1998). ISBN 978-0-914061-70-0
  • Ulysses: With a new Introduction by Enda Duffy – An unabridged republication of the original Shakespeare and Company edition, published in Paris by Sylvia Beach, 1922, Dover Publications (2009). ISBN 978-0-486-47470-0

Based on the 1932 Odyssey Press edition edit

Based on the 1939 Odyssey Press edition edit

  • Ulysses, Alma Classics (2012), with an introduction and notes by Sam Slote, Trinity College, Dublin. ISBN 978-1-84749-399-6

Based on the 1960 Bodley Head/1961 Random House editions edit

Based on the 1984 Gabler edition edit

  • Ulysses: The corrected text, edited by Hans Walter Gabler with Wolfhard Steppe and Claus Melchior; preface by Richard Ellmann, Vintage International (1986). This follows the disputed Garland Edition. ISBN 978-0-39474-312-7

External links edit

 
Wikisource has original text related to this article:
Ulysses (novel)
 
Wikiquote has quotations related to Ulysses (novel).

General edit

  • Ulysses at the British Library
  • at The Modernist Journals Project includes all 23 serialised instalments of Ulysses
  • The text of Joseph Collins's 1922 New York Times review of Ulysses

Electronic versions edit

April 11, 2024
ulysses, novel, ulysses, modernist, novel, irish, writer, james, joyce, parts, were, first, serialized, american, journal, little, review, from, march, 1918, december, 1920, entire, work, published, paris, sylvia, beach, february, 1922, joyce, fortieth, birthd. Ulysses is a modernist novel by the Irish writer James Joyce Parts of it were first serialized in the American journal The Little Review from March 1918 to December 1920 and the entire work was published in Paris by Sylvia Beach on 2 February 1922 Joyce s fortieth birthday It is considered one of the most important works of modernist literature 3 and has been called a demonstration and summation of the entire movement 4 According to the writer Declan Kiberd before Joyce no writer of fiction had so foregrounded the process of thinking 5 UlyssesFirst edition of Ulysses by James Joyce published by Paris Shakespeare 1922 The colour of the cover was meant to match the blue of the Greek flag 1 2 AuthorJames JoyceLanguageEnglishGenreModernist novelSet inDublin 16 17 June 1904PublisherShakespeare and CompanyPublication date2 February 1922Media typePrint hardbackPages732Dewey Decimal823 912LC ClassPR6019 O8 U4 1922Preceded byExiles TextUlysses novel at WikisourceThe novel chronicles the experiences of three Dubliners over the course of a single day 16 June 1904 Ulysses is the Latinised name of Odysseus the hero of Homer s epic poem the Odyssey and the novel establishes a series of parallels between Leopold Bloom and Odysseus Molly Bloom and Penelope and Stephen Dedalus and Telemachus There are also correspondences with other literary and mythological figures and such themes as antisemitism human sexuality British rule in Ireland Catholicism and Irish nationalism are treated in the context of early 20th century Dublin The novel is highly allusive and written in a variety of styles Since its publication the book has attracted controversy and scrutiny ranging from an obscenity trial in the United States in 1921 to protracted textual Joyce Wars The novel s stream of consciousness technique careful structuring and experimental prose replete with puns parodies epiphanies and allusions as well as its rich characterisation and broad humour have led it to be regarded as one of the greatest literary works Joyce fans worldwide now celebrate 16 June as Bloomsday Contents 1 Background 2 Locations 3 Structure 3 1 Joyce and Homer 4 Plot summary 4 1 Part I Telemachia 4 1 1 Episode 1 Telemachus 4 1 2 Episode 2 Nestor 4 1 3 Episode 3 Proteus 4 2 Part II Odyssey 4 2 1 Episode 4 Calypso 4 2 2 Episode 5 Lotus Eaters 4 2 3 Episode 6 Hades 4 2 4 Episode 7 Aeolus 4 2 5 Episode 8 Lestrygonians 4 2 6 Episode 9 Scylla and Charybdis 4 2 7 Episode 10 Wandering Rocks 4 2 8 Episode 11 Sirens 4 2 9 Episode 12 Cyclops 4 2 10 Episode 13 Nausicaa 4 2 11 Episode 14 Oxen of the Sun 4 2 12 Episode 15 Circe 4 3 Part III Nostos 4 3 1 Episode 16 Eumaeus 4 3 2 Episode 17 Ithaca 4 3 3 Episode 18 Penelope 4 4 Joyce Shakespeare Aquinas 4 5 June 16 1904 5 Publication history 5 1 Joyce Wars 5 2 Gabler edition dropped 6 Censorship 7 Literary significance and critical reception 8 Media adaptations 8 1 Theatre 8 2 Film 8 3 Television 8 4 Audio 8 5 Music 8 6 Prose 9 Notes 10 References 11 Further reading 12 List of editions in print 12 1 Facsimile texts of the manuscript 12 2 Facsimile texts of the 1922 first edition 12 3 Based on the 1932 Odyssey Press edition 12 4 Based on the 1939 Odyssey Press edition 12 5 Based on the 1960 Bodley Head 1961 Random House editions 12 6 Based on the 1984 Gabler edition 13 External links 13 1 General 13 2 Electronic versionsBackground editJoyce first encountered the figure of Odysseus Ulysses in Charles Lamb s Adventures of Ulysses an adaptation of the Odyssey for children which seems to have established the Latin name in Joyce s mind At school he wrote an essay on the character titled My Favourite Hero 6 7 Joyce told Frank Budgen that he considered Ulysses the only all round character in literature 8 He considered writing another short story for Dubliners to be titled Ulysses and based on a Dublin Jew named Alfred H Hunter a putative cuckold 9 The idea grew from a story in 1906 to a short book in 1907 10 to the vast novel he began in 1914 Locations edit nbsp Ulysses Dublin map 11 Leopold Bloom s home at 7 Eccles Street 12 Episode 4 Calypso Episode 17 Ithaca and Episode 18 Penelope Post office Westland Row Episode 5 Lotus Eaters Sweny s pharmacy Lombard Street Lincoln Place 13 where Bloom bought soap Episode 5 Lotus Eaters the Freeman s Journal Prince s Street 14 off of O Connell Street Episode 7 Aeolus And not far away Graham Lemon s candy shop 49 Lower O Connell Street it starts Episode 8 Lestrygonians Davy Byrne s pub Episode 8 Lestrygonians National Library of Ireland Episode 9 Scylla and Charybdis Ormond Hotel 15 on the banks of the Liffey Episode 11 Sirens Barney Kiernan s pub Episode 12 Cyclops Maternity hospital Episode 14 Oxen of the Sun Bella Cohen s brothel Episode 15 Circe Cabman s shelter Butt Bridge Episode 16 EumaeusThe action of the novel moves from one side of Dublin Bay to the other opening in Sandycove to the South of the city and closing on Howth Head to the North Structure editSee also Linati schema for Ulysses and Gilbert schema for Ulysses nbsp Ulysses Egoist Press 1922Ulysses is divided into the three books marked I II and III and 18 episodes The episodes do not have chapter headings or titles and are numbered only in Gabler s edition In the various editions the breaks between episodes are indicated in different ways in the Modern Library edition for example each episode begins at the top of a new page Joyce seems to have relished his book s obscurity saying he had put in so many enigmas and puzzles that it will keep the professors busy for centuries arguing over what I meant and that s the only way of insuring one s immortality 16 The judge who decided that Ulysses was not obscene admitted that it is not an easy book to read or to understand and advised reading a number of other books which have now become its satellites 17 One such book available at the time was Herbert Gorman s first book on Joyce which included his own brief list of correspondences between Ulysses and The Odyssey 18 Another was Stuart Gilbert s study of Ulysses which included a schema of the novel Joyce created 19 Gilbert was later quoted in the legal brief prepared for the obscenity trial 20 Joyce had already sent Carlo Linati a different schema 21 The Gilbert and Linati schemata made the links to The Odyssey clearer and also explained the work s structure Joyce and Homer edit The 18 episodes of Ulysses roughly correspond to the episodes in Homer s Odyssey 22 In Homer s epic Odysseus a Greek hero of the Trojan War took ten years to find his way from Troy to his home on the island of Ithaca 23 Homer s poem includes violent storms and a shipwreck giants monsters gods and goddesses while Joyce s novel takes place during an ordinary day in early 20th century Dublin Leopold Bloom a Jewish advertisement canvasser corresponds to Odysseus in Homer s epic Stephen Dedalus the protagonist of Joyce s earlier largely autobiographical A Portrait of the Artist as a Young Man corresponds to Odysseus s son Telemachus and Bloom s wife Molly corresponds to Penelope Odysseus s wife who waited 20 years for him to return 24 The Odyssey is divided into 24 books which are divided into 3 parts of 4 8 and 12 books Although Ulysses has fewer episodes their division into 3 parts of 3 12 and 3 episodes is determined by the tripartite division of The Odyssey 25 Joyce referred to the episodes by their Homeric titles in his letters The novel s text does not include the episode titles used below which originate from the Linati and Gilbert schemata Joyce scholars have drawn upon both to identify and explain the parallels between Ulysses and The Odyssey 26 27 28 29 Scholars have argued that Victor Berard s Les Pheniciens et l Odyssee which Joyce discovered in Zurich while writing Ulysses influenced his creation of the Homeric parallels in the novel 30 31 Berard s theory that The Odyssey had Semitic roots accorded with Joyce s reincarnation of Odysseus as the Jewish Leopold Bloom 32 Ezra Pound regarded the Homeric correspondences as a scaffold a means of construction justified by the result and justifiable by it only The result is a triumph in form in balance a main schema with continuous weaving and arabesque 33 For T S Eliot the Homeric correspondences had the importance of a scientific discovery He wrote In manipulating a continuous parallel between contemporaneity and antiquity Mr Joyce is pursing a method which others must pursue after him This method is simply a way of controlling of ordering of giving a shape and significance to the immense panorama of futility and anarchy which is contemporary history 34 Besides the Homeric parallels the Gilbert and the Linati schemata identify other aspects of the episodes The latter lists Hamlet and Shakespeare Stephen Dedalus sets forth a theory of Hamlet based on twelve lectures now lost Joyce gave in Trieste in 1912 35 Scholars have explained the Hamlet parallels in considerable detail 36 37 38 39 40 There are also correspondences with other figures including Christ Elijah Moses Dante and Don Giovanni 41 Like Shakespeare Dante was a major influence on Joyce 42 It has been argued that the interrelationship of Joyce Stephen Dedalus and Leopold Bloom is defined in the Incarnation doctrines the novel cites 43 Plot summary editPart I Telemachia edit Episode 1 Telemachus edit See also Telemachus nbsp James Joyce s room in the James Joyce Tower and MuseumAt 8 a m Malachi Buck Mulligan a boisterous medical student calls aspiring writer Stephen Dedalus up to the roof of the Sandycove Martello tower where they both live There is tension between Dedalus and Mulligan stemming from a cruel remark Dedalus overheard Mulligan make about his recently deceased mother and from the fact that Mulligan has invited an English student Haines to stay with them The three men eat breakfast and walk to the shore where Mulligan demands from Stephen the key to the tower and a loan The three make plans to meet at a pub The Ship at 12 30pm Departing Stephen decides that he will not return to the tower that night as Mulligan the usurper has taken it over Episode 2 Nestor edit See also Nestor mythology Stephen is teaching a history class on the victories of Pyrrhus of Epirus After class one student Cyril Sargent stays behind so that Stephen can show him how to do a set of algebraic exercises Stephen looks at Sargent s ugly face and tries to imagine Sargent s mother s love for him He then visits unionist school headmaster Garrett Deasy from whom he collects his pay Deasy asks Stephen to take his long winded letter about foot and mouth disease to a newspaper office for printing The two discuss Irish history and Deasy lectures on what he believes is the role of Jews in the economy As Stephen leaves Deasy jokes that Ireland has never persecuted the Jews because the country never let them in This episode is the source of some of the novel s best known lines such as Dedalus s claim that history is a nightmare from which I am trying to awake and that God is a shout in the street Episode 3 Proteus edit See also Proteus nbsp Sandymount Strand looking across Dublin Bay to Howth HeadStephen walks along Sandymount Strand for some time mulling various philosophical concepts his family his life as a student in Paris and his mother s death As he reminisces he lies down among some rocks watches a couple whose dog urinates behind a rock scribbles some ideas for poetry and picks his nose This chapter is characterised by a stream of consciousness narrative style that changes focus wildly Stephen s education is reflected in the many obscure references and foreign phrases employed in this episode which have earned it a reputation for being one of the book s most difficult chapters Part II Odyssey edit Episode 4 Calypso edit See also Calypso mythology The narrative shifts abruptly The time is again 8 a m but the action has moved across the city and to the second protagonist of the book Leopold Bloom a part Jewish advertising canvasser The episode opens with the line Mr Leopold Bloom ate with relish the inner organs of beasts and fowls After starting to prepare breakfast Bloom decides to walk to a butcher to buy a pork kidney Returning home he prepares breakfast and brings it with the mail to his wife Molly as she lounges in bed One of the letters is from her concert manager Blazes Boylan with whom she is having an affair Bloom reads a letter from their daughter Milly Bloom who tells him about her progress in the photography business in Mullingar The episode closes with Bloom reading a magazine story titled Matcham s Masterstroke by Mr Philip Beaufoy while defecating in the outhouse Episode 5 Lotus Eaters edit See also Lotus eaters nbsp Several Dublin businesses note that they were mentioned in Ulysses like this undertakers While making his way to Westland Row post office Bloom is tormented by the knowledge that Molly will welcome Boylan into her bed later that day At the post office he surreptitiously collects a love letter from one Martha Clifford addressed to his pseudonym Henry Flower He meets an acquaintance and while they chat Bloom attempts to ogle a woman wearing stockings but is prevented by a passing tram Next he reads the letter from Martha Clifford and tears up the envelope in an alley He wanders into a Catholic church during a service and muses on theology The priest has the letters I N R I or I H S on his back Molly had told Bloom that they meant I have sinned or I have suffered and Iron nails ran in He buys a bar of lemon soap from a chemist He then meets another acquaintance Bantam Lyons who mistakenly takes him to be offering a racing tip for the horse Throwaway Finally Bloom heads towards the baths Episode 6 Hades edit See also Hades The episode begins with Bloom entering a funeral carriage with three others including Stephen s father They drive to Paddy Dignam s funeral making small talk on the way The carriage passes both Stephen and Blazes Boylan There is discussion of various forms of death and burial Bloom is preoccupied by thoughts of his dead infant son Rudy and the suicide of his own father They enter the chapel for the service and subsequently leave with the coffin cart Bloom sees a mysterious man wearing a mackintosh during the burial Bloom continues to reflect upon death but at the end of the episode rejects morbid thoughts to embrace warm fullblooded life Episode 7 Aeolus edit See also Aeolus son of Hippotes At the office of the Freeman s Journal Bloom attempts to place an ad Although initially encouraged by the editor he is unsuccessful Stephen arrives bringing Deasy s letter about foot and mouth disease but Stephen and Bloom do not meet Stephen leads the editor and others to a pub relating an anecdote on the way about two Dublin vestals The episode is broken into short segments by newspaper style headlines and is characterised by an abundance of rhetorical figures and devices Episode 8 Lestrygonians edit See also Laestrygonians nbsp Davy Byrne s Pub Dublin where Bloom consumes a gorgonzola cheese sandwich and a glass of burgundyBloom s thoughts are peppered with references to food as lunchtime approaches He meets an old flame hears news of Mina Purefoy s labour and helps a blind boy cross the street He enters the restaurant of the Burton Hotel where he is revolted by the sight of men eating like animals He goes instead to Davy Byrne s pub where he consumes a gorgonzola cheese sandwich and a glass of burgundy and muses upon the early days of his relationship with Molly and how the marriage has declined Me And me now Bloom s thoughts touch on what goddesses and gods eat and drink He ponders whether the statues of Greek goddesses in the National Museum have anuses as do mortals On leaving the pub Bloom heads toward the museum but spots Boylan across the street and panicking rushes into the gallery across the street from the museum Episode 9 Scylla and Charybdis edit See also Scylla and Charybdis nbsp National Library of IrelandAt the National Library Stephen explains to some scholars his biographical theory of the works of Shakespeare especially Hamlet which he argues are based largely on the posited adultery of Shakespeare s wife Buck Mulligan arrives and interrupts to read out the telegram that Stephen had sent him indicating that he would not make their planned rendezvous at The Ship Bloom enters the National Library to look up an old copy of the ad he has been trying to place He passes in between Stephen and Mulligan as they exit the library at the end of the episode Episode 10 Wandering Rocks edit See also Planctae In this episode nineteen short vignettes depict the movements of various characters major and minor through the streets of Dublin The episode begins by following Father Conmee a Jesuit priest on his trip north and ends with an account of the cavalcade of the Lord Lieutenant of Ireland William Ward Earl of Dudley through the streets which is encountered by several characters from the novel Episode 11 Sirens edit See also Siren mythology In this episode dominated by motifs of music Bloom has dinner with Stephen s uncle at the Ormond hotel while Molly s lover Blazes Boylan proceeds to his rendezvous with her While dining Bloom listens to the singing of Stephen s father and others watches the seductive barmaids and composes a reply to Martha Clifford s letter Episode 12 Cyclops edit See also Polyphemus This episode is narrated by an unnamed denizen of Dublin who works as a debt collector The narrator goes to Barney Kiernan s pub where he meets a character referred to only as The Citizen This character is believed to be a satirisation of Michael Cusack a founder member of the Gaelic Athletic Association 44 When Leopold Bloom enters the pub he is berated by the Citizen who is a fierce Fenian and anti Semite The episode ends with Bloom reminding the Citizen that his Saviour was a Jew As Bloom leaves the pub the Citizen throws a biscuit tin at Bloom s head but misses The episode is marked by extended tangents made in voices other than that of the unnamed narrator these include streams of legal jargon a report of a boxing match Biblical passages and elements of Irish mythology Episode 13 Nausicaa edit See also Nausicaa All the action of the episode takes place on the rocks of Sandymount Strand the shoreline that Stephen visited in Episode 3 A young woman Gerty MacDowell is seated on the rocks with her two friends Cissy Caffrey and Edy Boardman The girls are taking care of three children a baby and four year old twins named Tommy and Jacky Gerty contemplates love marriage and femininity as night falls The reader is gradually made aware that Bloom is watching her from a distance Gerty teases the onlooker by exposing her legs and underwear and Bloom in turn masturbates Bloom s masturbatory climax is echoed by the fireworks at the nearby bazaar As Gerty leaves Bloom realises that she has a lame leg and believes this is the reason she has been left on the shelf After several mental digressions he decides to visit Mina Purefoy at the maternity hospital It is uncertain how much of the episode is Gerty s thoughts and how much is Bloom s sexual fantasy Some believe that the episode is divided into two halves the first half the highly romanticized viewpoint of Gerty and the other half that of the older and more realistic Bloom 45 Joyce himself said however that nothing happened between Gerty and Bloom It all took place in Bloom s imagination 45 Nausicaa attracted immense notoriety while the book was being published in serial form It has also attracted great attention from scholars of disability in literature 46 The style of the first half of the episode borrows from and parodies romance magazines and novelettes Bloom s contemplation of Gerty parodies Dedalus s vision of the wading girl at the seashore in A Portrait 47 48 Episode 14 Oxen of the Sun edit See also Cattle of Helios Bloom visits the maternity hospital where Mina Purefoy is giving birth and finally meets Stephen who has been drinking with his medical student friends and is awaiting the promised arrival of Buck Mulligan As the only father in the group of men Bloom is concerned about Mina Purefoy in her labour He starts thinking about his wife and the births of his two children He also thinks about the loss of his only heir Rudy The young men become boisterous and start discussing such topics as fertility contraception and abortion There is also a suggestion that Milly Bloom s daughter is in a relationship with one of the young men Bannon They continue on to a pub to continue drinking following the successful birth of a son to Mina Purefoy This chapter is remarkable for Joyce s wordplay which among other things recapitulates the entire history of the English language After a short incantation the episode starts with latinate prose Anglo Saxon alliteration and moves on through parodies of among others Malory the King James Bible Bunyan Pepys Defoe Sterne Walpole Gibbon Dickens and Carlyle before concluding in a Joycean version of contemporary slang The development of the English language in the episode is believed to be aligned with the nine month gestation period of the foetus in the womb 49 Episode 15 Circe edit See also Circe Episode 15 is written as a play script complete with stage directions The plot is frequently interrupted by hallucinations experienced by Stephen and Bloom fantastic manifestations of the fears and passions of the two characters Stephen and his friend Lynch walk into Nighttown Dublin s red light district Bloom pursues them and eventually finds them at Bella Cohen s brothel where in the company of her workers including Zoe Higgins Florry Talbot and Kitty Ricketts he has a series of hallucinations regarding his sexual fetishes fantasies and transgressions In one of these hallucinations Bloom is put in the dock to answer charges by a variety of sadistic accusing women including Mrs Yelverton Barry Mrs Bellingham and the Hon Mrs Mervyn Talboys In another of Bloom s hallucinations he is crowned king of his own city which is called Bloomusalem Bloom imagines himself being loved and admired by Bloomusalem s citizens but then imagines himself being accused of various charges As a result he is burnt at the stake and several citizens pay their respects to him as he dies Then the hallucination ends Bloom finds himself next to Zoe and the two talk After they talk Bloom continues to encounter other miscellaneous hallucinations including one in which he converses with his grandfather Lipoti Virag who lectures him about sex among other things At the end of the hallucination Bloom is speaking with some prostitutes when he hears a sound coming from downstairs He hears heels clacking on the staircase and he observes what appears to be a male form passing down the staircase He speaks with Zoe and Kitty for a moment and then sees Bella Cohen come into the brothel He observes her appearance and talks with her for a little while But this conversation subsequently begins another hallucination in which Bloom imagines Bella to be a man named Mr Bello and Bloom imagines himself to be a woman In this fantasy Bloom imagines himself or herself in the hallucination being dominated by Bello who both sexually and verbally humiliates Bloom Bloom also interacts with other imaginary characters in this scene before the hallucination ends After the hallucination ends Bloom sees Stephen overpay at the brothel and decides to hold onto the rest of Stephen s money for safekeeping Stephen hallucinates that his mother s rotting cadaver has risen up from the floor to confront him He cries Non serviam uses his walking stick to smash a chandelier and flees the room Bloom quickly pays Bella for the damage then runs after Stephen He finds Stephen engaged in an argument with an English soldier Private Carr who after a perceived insult to the King punches Stephen The police arrive and the crowd disperses As Bloom tends to Stephen he has a hallucination of his deceased son Rudy as an 11 year old Part III Nostos edit See also Nostos Episode 16 Eumaeus edit See also Eumaeus Bloom takes Stephen to a cabman s shelter near Butt Bridge to restore him to his senses There they encounter a drunken sailor D B Murphy W B Murphy in the 1922 text The episode is dominated by the motif of confusion and mistaken identity with Bloom Stephen and Murphy s identities being repeatedly called into question The narrative s rambling and laboured style in this episode reflects the protagonists nervous exhaustion and confusion Episode 17 Ithaca edit See also Homer s Ithaca Bloom returns home with Stephen makes him a cup of cocoa discusses cultural and linguistic differences between them considers the possibility of publishing Stephen s parable stories and offers him a place to stay for the night Stephen refuses Bloom s offer and is ambiguous in response to Bloom s proposal of future meetings The two men urinate in the backyard Stephen departs and wanders off into the night 50 and Bloom goes to bed where Molly is sleeping She awakens and questions him about his day The episode is written in the form of a rigidly organised and mathematical catechism of 309 questions and answers and was reportedly Joyce s favourite episode in the novel The deep descriptions range from questions of astronomy to the trajectory of urination and include a list of 25 men that purports to be the preceding series of Molly s suitors and Bloom s reflections on them While describing events apparently chosen randomly in ostensibly precise mathematical or scientific terms the episode is rife with errors made by the undefined narrator many or most of which are intentional by Joyce 51 Episode 18 Penelope edit See also Penelope The final episode consists of Molly Bloom s thoughts as she lies in bed next to her husband The episode uses a stream of consciousness technique in eight paragraphs and lacks punctuation Molly thinks about Boylan and Bloom her past admirers including Lieutenant Stanley G Gardner the events of the day her childhood in Gibraltar and her curtailed singing career She also hints at a lesbian relationship in her youth with a childhood friend Hester Stanhope These thoughts are occasionally interrupted by distractions such as a train whistle or the need to urinate Molly is surprised by the early arrival of her menstrual period which she ascribes to her vigorous sex with Boylan The episode concludes with Molly s remembrance of Bloom s marriage proposal and of her acceptance he asked me would I yes to say yes my mountain flower and first I put my arms around him yes and drew him down to me so he could feel my breasts all perfume yes and his heart was going like mad and yes I said yes I will Yes Joyce Shakespeare Aquinas edit In the Library episode Stephen Dedalus expounds a theory of Hamlet based on 12 lectures now lost that Joyce gave in Trieste in 1912 52 Scholars have explained the Hamlet parallels in considerable detail 36 37 38 53 54 Harry Blamires concluded The fullest emphasis should be placed on the following correspondences Joyce puts himself in Ulysses as both Father Ghost Father and Son Shakespeare puts himself in Hamlet as both Ghost Father and Son God enters His own world as Holy Ghost and as Son 55 In Telemachus Mulligan says of Stephen s theory I m not equal to Thomas Aquinas and the fiftyfive reasons he has made out to prop it up and in the Library episode he mentions Stephen s study of Aquinas s Summa contra Gentiles 56 Joyce apparently owned three copies one an abridgment in English purchased in Trieste in 1913 1914 56 This book which he told Pound he had consulted on his behalf 57 was Joseph Rickaby s Of God and His Creatures 58 Shortly after his idea of Hamlet is mentioned in Telemachus Stephen thinks of doctrines on the Incarnation that Aquinas deals with in the Summa the Catholic doctrine of Consubstantiality and the heresies of Sabellius Photius Arius and Valentine During his exposition in the Library Stephen mentions both the Sabellian heresy and Aquinas s refutation For Blamires this clearly indicates that Stephen s study of Hamlet is among things and analogically theological one concerning the operation of the three Persons of the Trinity 59 Sabellius taught that one and the same divine Being as giving the Old Law was called the Father as born of Mary was called the Son as given to the Apostles was called the Holy Ghost so that there were three manifestations but not what we should call three Persons and that when God was under one of these manifestations He was not under either of the other two 60 Shakespeare is the Ghost Father in Hamlet Stephen characterizes the Ghost as a voice 61 At the Baptism and the Transfiguration the Holy Ghost is identified as the voice of God the Father 62 The theme of reincarnation is introduced early in Ulysses and Bloom is Joyce reincarnated 63 As Ghost Father in Ulysses he is also Joyce s voice or spokesperson in the novel He vehemently advocates love for example the opposite of hatred 64 Blamires has argued that Stephen s superficially perverse insistence that Shakespeare is Hamlet senior as well as not instead of Hamlet junior is hint enough that Joyce has represented himself in both Bloom and Stephen 65 Like Shakespeare Joyce is Sabellian Ghost Father Like Hamlet Stephen is consubstantial Son The Catholic doctrine of consubstantiality holds that the person of the Father and of the Son is different Christ to be the true and natural Son of God co eternal and equal with the Father true God of the same essence and nature with the Father albeit not of the same person 66 As Shakespeare and Hamlet are spiritually consubstantial so too are Joyce and Stephen Hamlet is a younger version of Shakespeare Stephen a younger version of Joyce 63 Valentine next to last on Stephen s list also held that Father and Son were consubstantial but as a Gnostic denied that Christ became flesh Stephen thinks of the heretic Arius again in Proteus The Arians held the Son to be not of the same nature with the Father They said that He was one with God the Father not by nature but by a union of wills and by participation in the likeness of God beyond other creatures 67 William York Tindall has said that Stephen sees his future in Bloom 68 Hugh Kenner has written Arius proposed a relation of adoption such as is to subsist between Stephen and Bloom 69 70 Photius is the first heretic Stephen has cited Joyce was aware that the schism between the Latin and Greek Churches was due to the Filioque clause in the Nicene Creed In stressing the differences in doctrine Photius was mainly responsible for the schism 71 In twice juxtaposing Mulligan with Photius in Telemachus and again in the Library episode Stephen is recalling Mulligan s parody of his idea of Hamlet It ends with the claim that he himself is the ghost of his own father a reference to the Sabellian heresy Haines points to Stephen asking He himself 72 According to Aquinas what Stephen calls the heresy of Photius has a Sabellian component It will be true then to say that the Holy Ghost is the Son and the Son the Holy Ghost which is the impious position of Sabellius 73 As Joyce s Son Stephen like Bloom is also his ghost his voice or spokesperson 74 Through him for example Joyce again delivers his 1912 lectures on Hamlet In Telemachus Stephen prefaces his list of heretics by referring to the Symbol creed of the apostles in the mass for pope Marcellus In fact the Nicene Creed not the Apostles Creed is sung or recited during Mass But the latter essentially a narrative of Christ s mission is a better model for condensing both Hamlet and Ulysses 75 as Stephen does in the Library episode with his mock creed Blamires has emphasized its application to Ulysses especially Joyce s created world is like God s world a world into which its own creator has entered in which he has suffered and from which he has been raised up 76 Joyce has entered Ulysses as both Bloom and Stephen At the Baptism the Father identified Christ as His Son In Lotus Eaters the words of Consecration This is my body identify Bloom as Joyce s Sabellian son In Proteus Stephen s musings on paternity identify him as Joyce s consubstantial son Both will suffer die and rise In Cyclops Bloom is crucified by the Citizen and resurrected by the narrator In Circe Stephen is crucified by Private Carr and resurrected by Bloom 77 In Oxen of the Sun Stephen declares Either transubstantiality or consubstantiality but in no case subsubstantiality The terms refer as Richard Ellmann has noted to opposing doctrines on the Incarnation 78 The first is obviously a coinage formed from transubstantiation In A Portrait the priest is said to make the great God of heaven come down upon the altar and take the form of bread and wine 79 Sabellius held that the Father became His own Son when born of the Virgin Mary He took human form 67 Transubstantiality refers to the Sabellian heresy and to Leopold Bloom Joyce in another body Consubstantiality on Stephen s list of doctrines in Telemachus refers here to the view that Christ is both divine as God s Son and human as the Virgin Mary s Stephen is spiritually consubstantial with Joyce physically consubstantial with Simon Dedalus a younger version of each 80 Subsubstantiality refers to a Christ who lacks a human body Stephen s list of heretics in Telemachus included Valentine a Gnostic who held that the Son only appeared be made flesh lacking a true body 81 In Oxen Stephen illustrates by imagining a Virgin Mary who never gave birth 79 In A Portrait the Virgin s womb is a metaphor for the imagination 82 Stephen s first two doctrines allude to artistic re embodiment while the last alludes to its absence Subsubstantiality characterizes the apparitions in Circe the next chapter Ellmann calls them the agitations and images of the unconscious mind Joyce s version of the cruelty of the unconscious 83 They are phantoms of the past memories recent or remote not works of art because the imagination has created no possible future for them The two exceptions are Stephen s dead mother and Bloom s dead son through a process of gestation they emerge as new creatures Each is an unforeseen blend of memory and imagination 84 Not to say that the subsubstantial apparitions in Circe have no effect Hugh Kenner compares them to a psychoanalysis without an analyst a catharsis Bloom seems to have become courageous ready of mind the rummaging amid the roots of his secret fears and desires has brought forth a new self possession 85 Hamlet like Stephen emerges as a man of action 85 His rebellion s physical expression has been prefigured in earlier apparitions casting him in the role of black mass celebrant 86 Both the ghost of Stephen s dead mother and that of Bloom s dead son have been taken as epiphanies 87 A composite of the Baptism of Christ and the Transfiguration is Joyce s actual source for the concept 88 Stephen s epiphany both parallels and inverts these events The Father s consubstantiality with Christ is manifested Christ becoming radiant and the Holy Ghost appears the Father s voice addressing His Son In Circe the Ghost of Stephen s mother identifies him as her son and he turns white But while the Father is well pleased with His Son Stephen s mother is very disappointed in hers The Baptism marks the beginning of Christ s future on earth His mission of suffering death and resurrection Stephen s mother urges him to Repent to return to the faith he has rejected The epiphany then juxtaposes Christ s sacrifice and Satan s defiance the one imaging Stephen s guilt the other his desire to live and create freely Stephen refuses to return to the Church citing the intellectual imagination his artistic mission and using Satan s words non serviam The mother in turn uses language that identifies her with Christ making mother and son archetypal adversaries Stephen s lamp smashing gives physical form to his rejection of Catholicism and initiates a future of his own choosing 89 Stephen s epiphany brought his mother back from the grave Bloom s is a fleeting resurrection of his dead son Rudy is an idealized image of his son had he lived to eleven 90 an image that bears resemblance to Stephen 91 Hugh Kenner doubts that Bloom sees Rudy but allows that the apparition reflects Bloom s paternal feelings for Stephen 92 That Rudy appears to be reading a Hebrew prayer book recalls Bloom s reminder in Cyclops that Christ was a Jew The white lambkin identifies him as paschal victim the resurrected Christ 90 Bloom speaks his name in recognition of their consubstantiality A little earlier he called out Stephen s name twice The unconscious Stephen is also Christ now crucified by a soldier his arms outstretched no bones broken 93 his ashplant symbolizing the Cross 90 Prostate he awaits resurrection Bloom s solicitousness signifies his adoption of Stephen as Arius heretically characterized the Father Son relation 69 94 The Arians also believed that the Son could complete His mission only with the Father s help 95 Bloom s imaginary raising of his dead son is a prelude to his getting Stephen back on his feet In Ithaca Bloom is said to be the transubstantial heir of his parents and Stephen the consubstantial heir of his Like the Sabellian Christ Bloom is both a son and a father while Stephen like the consubstantial Christ is only a son The theological terms are a late reminder of Joyce s double presence in Ulysses Bloom is his transubstantial heir the mature Joyce reincarnated and Stephen his consubstantial heir a portrait of the artist as a young man 96 June 16 1904 edit On June 10 1904 Joyce met Nora Barnacle for the first time They met again on June 16 97 On both days the Feast of the Sacred Heart was celebrated in Irish Catholic churches 98 The feast originated on another June 16 in 1675 99 A young nun Margaret Mary Alacoque had been experiencing visions of Christ exposing his heart During the so called great apparition he asked that a new feast be established to commemorate his suffering In the Library episode Mulligan calls the nun Blessed Margaret Mary Anycock 100 The Feast of the Sacred Heart was formally approved in the same year The Jesuits had popularized the devotion and Ireland was the first nation to dedicate itself to the Sacred Heart 101 When Leopold Bloom enters All Hallows Church in Lotus Eaters he sees women receiving Communion Something going on he thinks some sodality The sodality is devoted to the Sacred Heart and the women are attending mass to celebrate the feast They have crimson halters round their necks suggesting slaves or animals tied and led The halters are scapulars Crimson denoting bloody sacrifice is the color of Christ s robes in Sacred Heart iconography 102 Once the feast was established so was the iconography an image of Jesus serenely holding his own heart now visualized more physiologically with Christ fixing the viewer in a penetrating gaze 103 Images of the Sacred Heart appear in Dubliners A Portrait of the Artist and Ulysses 104 105 In Dublin s Glasnevin Cemetery Bloom encounters a statue of the Sacred Heart showing it A canvasser for newspaper advertisements he evaluates it accordingly Ought to be sideways and red it should be painted like a real heart Bloom adds that the Sacred Heart seems anything but pleased perhaps an allusion to Christ s complaint to Margaret Mary Alacoque during the great apparition that his suffering has gone unappreciated Hence his request for a new feast 106 The young nun claimed that Christ had made 12 promises to all who would dedicate themselves to the Sacred Heart 106 The 12th promise offers salvation to the one who receives communion on nine consecutive First Fridays 107 Mrs Kiernan in the Dubliners story Grace and Mr Kearney in A Mother try to take advantage of this promise as did Stephen s mother 108 A colored print of the 12 promises hangs on Eveline s wall 109 and there are resemblances between her and Margaret Mary Alacoque and between Frank her open hearted suitor and the Sacred Heart 110 Both young women have been made a promise of salvation by a man professing love Hugh Kenner argues that Frank has no intention of taking Eveline to Buenos Ayres and will seduce and abandon her in Liverpool where the boat is actually headed 111 Since going to Buenos Ayres was slang for taking up a life of prostitution 112 it appears that Frank does intend to take Eveline to Buenos Aires but not to make her his wife 113 That Eveline s print of the 12 promises made by the Sacred Heart hangs over a broken harmonium confirms the close similarity between the two suitors In Circe the Sacred Heart devotion is concisely parodied in the apparition of Martha Clifford Bloom s pen pal Like the women in All Hallows she wears a crimson halter She calls Bloom a heartless flirt and accuses him of breach of promise 102 When the ghost of Stephen s mother confronts him in Circe she prays O Sacred Heart of Jesus have mercy on him Save him from hell O Divine Sacred Heart 114 Then as Anthony Burgess has noted she identifies herself with the suffering Christ 115 The words she uses to do so Inexpressible was my anguish when expiring with love grief and agony on Mount Calvary paraphrase the most explicit reference to the Crucifixion in the Act of Reparation to the Sacred Heart Inconceivable they anguish when expiring with love grief and agony on Mount Calvary 116 In A Portrait Stephen declares I will not serve that in which I no longer believe whether it call itself my home my fatherland or my church The ghost of his mother invoking the Sacred Heart to whom Ireland is dedicated is a composite image of all three 117 Exclaiming No three times he acts out his refusal to repent by smashing the brothel chandelier 118 William York Tindall has written Stephen s destruction of the chandelier becomes the Tenebrae or the extinguishing of candles on Holy Thursday to symbolize the death of God 119 The ceremony also takes place on Holy Wednesday and Good Friday A page of notes on the Office of Tenebrae was found with the manuscript of Stephen Hero and Joyce gave the title Tenebrae to an early poem he later discarded 120 The candles are not the only symbolic light extinguished on Holy Thursday There is also the sanctuary lamp which hangs before the altar where the Eucharist is contained in a tabernacle This lamp is alluded to in Grace as the red speck of light During Mass on Holy Thursday two hosts are consecrated one for that Mass the other for the Good Friday service The second host is taken to a repository or tabernacle on another altar With the Eucharist now absent the sanctuary lamp is extinguished The protagonist of Stephen Hero describes the setting on Good Friday no lights or vestments the altar naked the door of the tabernacle gaping open 121 Catholicism has thus provided the renegade artist with the symbolism to manifest Godforsakenness Like Tindall Harry Blamires and Richard Ellmann see Stephen s smashing of the brothel chandelier as deliberate 122 But Kenner thinks that Stephen swings his stick at his mother s apparition and hits the chandelier instead 123 If so then Stephen is among Christ s executioners 124 He raises his stick at the moment his mother s ghost identifies herself with the crucified victim The extinguished lamp is a reminder of the darkness that descended during the Crucifixion It also recalls the symbolically dark setting of the Good Friday liturgy The apparition combines Mount Calvary and a Dublin church altar Swinging his stick Stephen both kills Christ and expels the Eucharist 89 A little later in the presence of a British soldier Stephen announces tapping his brow But in here it is I must kill the priest and the king His statement initiates the symbolic action that follows Edward VII appears wearing a white jersey on which an image of the Sacred Heart is embroidered with the insignia of various military orders 125 The image is a reminder of the devotion s close connection to June 16 and its ubiquity in Irish Catholic culture It also foreshadows Stephen s coming transformation into the crucified Christ while the military insignia foreshadow the violence the British soldier will inflict on him to make him so Stephen is struck and collapses allusions to the Crucifixion establishing the parallel with it 90 Joyce had been injured during an altercation and he soon likened it to the Crucifixion his bloody handkerchief reminding him of Veronica 126 Stephen s plight draws Bloom to him This is the only time in Joyce that the Sacred Heart is associated with a promise of actual salvation The fallen Joyce was helped by Alfred H Hunter one model for Bloom 127 To parallel his rescue by Hunter with the Resurrection Joyce makes Bloom God the Father 128 thereby deifying the charitable Hunter Ulysses is a book of reincarnations and the Sacred Heart is reincarnated in D B Murphy whom Bloom and Stephen encounter in Eumaeus Murphy is a sailor like Frank the Sacred Heart simulacrum in Eveline 129 Tindall has noted that he has returned to Dublin on a ship Stephen saw yesterday morning her sails brailed up on the crosstrees homing with crosstree suggesting Christ 130 Murphy is brokenhearted and red bearded with an image on his chest he gladly exposes and is as Kenner notes untrustworthy 131 A question he is asked about the tattoo Did it hurt much alludes to Christ s complaint of his suffering The tattoo includes an anchor the figure 16 and a young man s profile looking frowningly 16 alludes to the previous day which is also the day Murphy returned to Ireland and the great apparition of the Sacred Heart on another June 16 The frowning young man recalls both Christ s suffering and his displeasure over humankind s ingratitude 132 Stephen reacts to a comment of Bloom s with a crosstempered gesture shoving his coffee cup away and symbolically rejecting communion with Bloom 130 Crosstempered is the second suggestion of Christ Stephen s anger recalls his rage at his mother s ghost when she used the Act of Reparation to the Sacred Heart to persuade him to repent Ellmann has written If he could Murphy would deny the significance of the sixteenth day of June 133 His comment applies to Stephen s exorcising of Christ and the Eucharist in Circe Murphy is a circumnavigator and his claim that the tattoo is the combined product of several nationalities is a reminder that the Catholic Church is universal 134 Mulligan s Blessed Mary Anycock is relevant Margaret Mary Alacoque s Sacred Heart visions were highly erotic 135 There are echoes in Molly Bloom s memories of her recent sexual gratification The young nun repeatedly compares Christ s heart to flame or fire 136 Molly s lover is nicknamed Blazes Heart can mean the erect penis Molly says Boylan put some heart up into me She even seems to be unwittingly comparing Boylan s penis to the oversized heart used in the Sacred Heart iconography when she calls it that tremendous big red brute of a thing 137 Molly reincarnates the Sacred Heart devotion in another way She describes Boylan s penis as like iron or some kind of thick crowbar standing all the time like the Roman spear that pierced Christ s body as it hung from the Cross One Gospel for the feast is John 19 31 35 one of the soldiers pierced his side with a lance and once there came out blood an water Molly Bloom menstruates and urinates 137 Richard Ellmann writes In allowing Molly to menstruate Joyce consecrates the blood in the chamberpot rather than the blood in the chalice 138 Molly is the genuine Christine Mulligan invoked at the beginning of Ulysses and in Ithaca the mystery of an invisible attractive person Marion Molly Bloom is denoted by a visible splendid sign a lamp 139 Publication history edit nbsp Memorial plaque at 12 Rue de l Odeon Paris the original location of Shakespeare and Company In 1922 in this house Sylvia Beach published Ulysses by James Joyce J J S S F James Joyce Society of Sweden and Finland 140 nbsp Ulysses by James Joyce Paris Shakespeare 1922The publication history of Ulysses is complex There have been at least 18 editions and variations in different impressions of each edition According to Joyce scholar Jack Dalton the first edition of Ulysses contained over 2 000 errors 141 As subsequent editions attempted to correct these mistakes they would often add more due in part to the difficulty of separating non authorial errors from Joyce s deliberate errors devised to challenge the reader 51 Notable editions include a Paris Shakespeare and Company 1922 The private 142 first edition published in Paris on 2 February 1922 Joyce s 40th birthday by Sylvia Beach s Shakespeare and Company Beach commissioned Darantiere in Dijon to print 1 000 numbered copies consisting of 100 signed copies on Dutch handmade paper 350 francs 150 numbered copies on verge d Arches paper 250 francs and 750 copies on handmade paper 150 francs 142 143 plus an extra 20 unnumbered copies on mixed paper for libraries and press 144 145 146 London Egoist Press 1922 The first English edition published by Harriet Shaw Weaver s Egoist Press in October 1922 For legal reasons the book was printed on behalf of Egoist Press by John Rodker using the same printer Darantiere and plates as the first edition This edition consisted of 2 000 numbered copies on handmade paper for sale 147 plus 100 unnumbered copies for press publicity and legal deposit libraries 148 149 146 150 A seven page errata list compiled by Joyce Weaver and Rodker was loosely inserted and contained 201 corrections 151 152 The U S Post Office reportedly burned up to 500 copies 153 as noted in later Shakespeare and Company editions 154 New York Two Worlds Publishing Company 1929 The first U S edition of the novel was pirated by Samuel Roth without Joyce s authorisation and first published serially in Roth s Two Worlds Monthly then later in a single volume in 1929 It was designed to closely mimic the 1927 Shakespeare and Company 9th printing but many errors and corruptions occurred during reproduction 155 156 Reportedly 2 000 3 000 copies were printed but the majority were seized and destroyed by the New York Society for the Suppression of Vice after a raid on Roth s offices on 4 October 1929 157 Hamburg Odyssey Press 1932 In two volumes The title page of this edition states The present edition may be regarded as the definitive standard edition as it has been specially revised at the author s request by Stuart Gilbert This edition still contained errors but by its fourth revised printing April 1939 it was considered the most accurate offering of the text and subsequently used as the basis for many later editions of the novel 158 159 156 New York Random House 1934 The first authorised U S edition 160 published after the decision in United States v One Book Called Ulysses finding that the book was not obscene 158 Random House s founder Bennett Cerf chose to base this edition on a copy of the pirated Samuel Roth edition of 1929 which led it to reproduce many of that edition s errors 161 162 London Bodley Head 1936 The first edition printed and published in England Set from the second impression of Odyssey Press s edition and proofed by Joyce 163 158 Bodley Head 1960 Newly reset corrected edition based on the 1958 impression of the earlier Bodley Head edition 164 The source for many later editions by other publishers Random House 1961 Reset from the 1960 Bodley Head edition Ulysses A Critical and Synoptic Edition Garland 1984 Edited by Hans Walter Gabler Ulysses A Reader s Edition Lilliput Press 1997 Edited by Danis Rose Where the title is omitted the edition is titled Ulysses Joyce Wars edit Hans Walter Gabler s 1984 edition was the most sustained attempt to produce a corrected text but it has received much criticism most notably from John Kidd Kidd s main theoretical criticism is of Gabler s choice of a patchwork of manuscripts as his copy text the base edition with which the editor compares each variant but this fault stems from an assumption of the Anglo American tradition of scholarly editing rather than the blend of French and German editorial theories that actually lay behind Gabler s reasoning 165 The choice of a composite copy text is seen to be problematic in the eyes of some American editors who generally favour the first edition of any particular work as copy text 165 Less subject to differing national editorial theories however is the claim that for hundreds of pages about half the episodes of Ulysses the extant manuscript is purported to be a fair copy that Joyce made for sale to a potential patron As it turned out John Quinn the Irish American lawyer and collector purchased the manuscript Diluting this charge somewhat is the fact that the theory of now lost final working drafts is Gabler s own For the suspect episodes the existing typescript is the last witness Gabler attempted to reconstruct what he called the continuous manuscript text which had never physically existed by adding together all of Joyce s accretions from the various sources This allowed Gabler to produce a synoptic text indicating the stage at which each addition was inserted Kidd and even some of Gabler s own advisers believe this method meant losing Joyce s final changes in about two thousand places 165 Far from being continuous the manuscripts seem to be opposite Jerome McGann describes in detail the editorial principles of Gabler in his article for the journal Criticism issue 27 1985 166 In the wake of the controversy still other commentators charged that Gabler s changes were motivated by a desire to secure a fresh copyright and another seventy five years of royalties beyond a looming expiration date In June 1988 John Kidd published The Scandal of Ulysses in The New York Review of Books 165 charging that not only did Gabler s changes overturn Joyce s last revisions but in another four hundred places Gabler failed to follow any manuscript whatever making nonsense of his own premises Kidd accused Gabler of unnecessarily changing Joyce s spelling punctuation use of accents and all the small details he claimed to have been restoring Instead Gabler was actually following printed editions such as that of 1932 not the manuscripts Gabler was found to have made genuine blunders such as his changing the name of the real life Dubliner Harry Thrift to Shrift and cricketer Captain Buller to Culler on the basis of handwriting irregularities in the extant manuscript These corrections were undone by Gabler in 1986 Kidd stated that many of Gabler s errors resulted from Gabler s use of facsimiles rather than original manuscripts In December 1988 Charles Rossman s The New Ulysses The Hidden Controversy for The New York Review revealed that some of Gabler s own advisers felt too many changes were being made but that the publishers were pushing for as many alterations as possible Then Kidd produced a 174 page critique that filled an entire issue of the Papers of the Bibliographical Society of America dated the same month This Inquiry into Ulysses The Corrected Text was published the next year in book format and on floppy disk by Kidd s James Joyce Research Center at Boston University Gabler and others including Michael Groden have rejected Kidd s critique In his 1993 afterword to the Gabler edition Groden writes that Kidd s lists of supposed errors were constructed with so little demonstrated understanding of Gabler s theoretical assumptions and procedures that they can point to errors or misjudgments only by accident The scholarly community remains divided Gabler edition dropped edit In 1990 Gabler s American publisher Random House after consulting a committee of scholars 167 replaced the Gabler edition with its 1961 version and in the United Kingdom the Bodley Head press revived its 1960 version upon which Random House s 1961 version is based In both the UK and US Everyman s Library also republished the 1960 Ulysses In 1992 Penguin dropped Gabler and reprinted the 1960 text The Gabler version remained available from Vintage International Reprints of the 1922 first edition have also become widely available since 1 January 2012 when this edition entered the public domain under U S copyright law 168 In 1992 W W Norton announced that it would publish Kidd s much anticipated edition of Ulysses as part of The Dublin Edition of the Works of James Joyce series This book had to be withdrawn when the Joyce estate objected For a period thereafter the estate refused to authorise any further editions of Joyce s work This ended when it agreed to allow Wordsworth Editions to bring out a bargain version of the novel a reprint of the 1932 Odyssey Press edition in January 2010 ahead of copyright expiration in 2012 169 170 Censorship editMain articles Obscenity trial of Ulysses in The Little Review and United States v One Book Called Ulysses Written over a seven year period from 1914 to 1921 Ulysses was serialised in the American journal The Little Review from 1918 to 1920 171 when the publication of the Nausicaa episode led to a prosecution for obscenity under the Comstock Act of 1873 which made it illegal to circulate materials deemed obscene in the U S mail 172 In 1919 sections of the novel also appeared in the London literary journal The Egoist but the novel itself was banned in the United Kingdom until 1936 173 Joyce had resolved that the book would be published on his 40th birthday 2 February 1922 and Sylvia Beach Joyce s publisher in Paris received the first three copies from the printer that morning 174 156 The 1920 prosecution in the US was brought after The Little Review serialised a passage of the book depicting characters masturbating Three earlier chapters had been banned by the US Post Office but it was Secretary of the New York Society for the Suppression of Vice John S Sumner who instigated this legal action 175 The Post Office did partially suppress the Nausicaa edition of The Little Review 176 Legal historian Edward de Grazia has argued that few readers would have been fully aware of the masturbation in the text given the metaphoric language 177 Irene Gammel extends this argument to suggest that the obscenity allegations brought against The Little Review were influenced by the Baroness Elsa von Freytag Loringhoven s more explicit poetry which had appeared alongside the serialization of Ulysses 178 At the trial in 1921 the magazine was declared obscene and as a result Ulysses was effectively banned in the United States Throughout the 1920s the United States Post Office Department burned copies of the novel 179 In 1932 Random House and lawyer Morris Ernst arranged to import the French edition and have a copy seized by Customs Random House contested the seizure and in United States v One Book Called Ulysses U S District Judge John M Woolsey ruled that the book was not pornographic and therefore could not be obscene 180 a decision Stuart Gilbert called epoch making 181 The Second Circuit Court of Appeals affirmed the ruling in 1934 182 The U S thus became the first English speaking country where the book was freely available Although Ireland s Censorship of Publications Board never banned Ulysses a customs loophole prevented it from being allowed into Ireland 183 156 184 It was first openly available in Ireland in the 1960s 185 Literary significance and critical reception editWhat is so staggering about Ulysses is the fact that behind a thousand veils nothing lies hidden that it turns neither toward the mind nor toward the world but as cold as the moon looking on from cosmic space allows the drama of growth being and decay to pursue its course Carl Jung 186 In a review in The Dial T S Eliot said of Ulysses I hold this book to be the most important expression which the present age has found it is a book to which we are all indebted and from which none of us can escape He went on to assert that Joyce was not at fault if people after him did not understand it The next generation is responsible for its own soul a man of genius is responsible to his peers not to a studio full of uneducated and undisciplined coxcombs 187 Ezra Pound wrote All men should Unite to give praise to Ulysses those who will not may content themselves with a place in the lower intellectual orders He claimed that in writing Ulysses this super novel Joyce surpassed Gustave Flaubert Miguel de Cervantes Henry James and Marcel Proust concluding that besides Francois Rabelais he can think of no other prose writer whose proportional status in pan literature is not modified by the advent of Ulysses 188 The essayist John Eglinton wrote of Joyce s method Mr Joyce has wished to devise a species of literary notation which will express the interuptedness of life We cannot hold our minds to any one purpose or idea for more than a few moments at a time He interprets Joyce s purpose as produc ing a work of virgin art 189 William Carlos Williams found Joyce s style in Ulysses richer than in his previous works He called it a priestly style and Joyce is himself a priest Joyce discloses the X Ray eyes of the confessional we see the naked soul Joyce has compared up his reader with God 189 Ulysses has been called the most prominent landmark in modernist literature a work where life s complexities are depicted with unprecedented and unequalled linguistic and stylistic virtuosity 190 That style has been called the finest example of stream of consciousness in modern fiction with Joyce going deeper and farther than any other novelist in interior monologue and stream of consciousness 191 This technique has been praised for its faithful representation of the flow of thought feeling and mental reflection as well as shifts of mood 192 According to Declan Kiberd Before Joyce no writer of fiction had so foregrounded the process of thinking 5 S L Goldberg has argued that interior monologue in Ulysses is rooted in Joyce s epiphany technique For Goldberg the epiphany is the real artistic and dramatic unit of Joyce s stream of consciousness writing What he renders dramatically are minds engaged in the apprehension of epiphanies the elements of meaning apprehended in life 193 Another critic has identified four distinct epiphany techniques in Joyce s work noting their use in Ulysses from the simplest device such as the revelation of Gerty Macdowell s limp to the more complex such as the bowl symbolism in Telemachus Cited as an example of Joyce s major epiphany technique quidditas produced directly is the revelation of Molly Bloom as female essence 194 Literary critic Edmund Wilson noted that Ulysses attempts to render as precisely and as directly as it is possible in words to do what our participation in life is like or rather what it seems to us like as from moment to moment we live 195 Stuart Gilbert said that the personages of Ulysses are not fictitious 196 but that these people are as they must be they act we see according to some lex eterna an ineluctable condition of their very existence 197 Through these characters Joyce achieves a coherent and integral interpretation of life 197 Joyce uses metaphors symbols ambiguities and overtones which gradually link themselves together so as to form a network of connections binding the whole work 192 This system of connections gives the novel a wide more universal significance as Leopold Bloom becomes a modern Ulysses an Everyman in a Dublin which becomes a microcosm of the world 198 Eliot called this system the mythic method a way of controlling of ordering of giving a shape and a significance to the immense panorama of futility and anarchy which is contemporary history 199 Novelist Vladimir Nabokov called Ulysses a divine work of art and the greatest masterpiece of 20th century prose 200 and said that it towers above the rest of Joyce s writing with noble originality unique lucidity of thought and style 201 Psychology professor Charles Fernyhough called Ulysses the archetypal stream of consciousness novel 202 The book had its critics largely in response to its then uncommon inclusion of sexual elements Shane Leslie called Ulysses literary Bolshevism experimental anti conventional anti Christian chaotic totally unmoral 203 Karl Radek called it a heap of dung crawling with worms photographed by a cinema camera through a microscope 204 Sisley Huddleston writing for the Observer wrote I confess that I cannot see how the work upon which Mr Joyce spent seven strenuous years years of wrestling and of agony can ever be given to the public 205 Virginia Woolf wrote Ulysses was a memorable catastrophe immense in daring terrific in disaster 206 James Douglas in the Sunday Express said it contained secret sewers of vice canalized in its flood of unimaginable thoughts images and pornographic words and revolting blasphemies that debases and perverts and degrades the noble gift of imagination and wit and lordship of language 207 Writing in America Magazine in 1934 the Jesuit Francis X Talbot vehemently decried Judge Woolsey s recent decision that Ulysses was not obscene adding Only a person who had been a Catholic only one with an incurably diseased mind could be so diabolically venomous toward God toward the Blessed Sacrament toward the Virgin Mary 208 In his review in The Outlook Arnold Bennett expressed his lack of admiration for Joyce detailing one day in 700 pages He wrote Given sufficient time paper childish caprice and obstinacy one might easily write over seven thousand pages about twenty hours of life Bennett also opposed Valery Larbaud s view that Joyce elaborately planned and organized the day he wrote about Bennett wrote Joyce apparently thinks there is something truly artistic and high minded in playing the lout to the innocent and defenseless reader As a fact there isn t After all to comprehend Ulysses is not among the recognized learned professions and nobody should give his entire existence to the job Bennett acknowledged that Joyce s verbal method can be justified since he is trying to reproduce the thoughts of personage but called the details trivial and perfectly futile in the narrative 189 Media adaptations editTheatre edit Ulysses in Nighttown based on Episode 15 Circe premiered off Broadway in 1958 with Zero Mostel as Bloom it debuted on Broadway in 1974 In 2006 playwright Sheila Callaghan s Dead City a contemporary stage adaptation of the book set in New York City and featuring the male figures Bloom and Dedalus reimagined as female characters Samantha Blossom and Jewel Jupiter was produced in Manhattan by New Georges 209 In 2012 an adaption was staged in Glasgow written by Dermot Bolger and directed by Andy Arnold The production first premiered at the Tron Theatre and later toured in Dublin Belfast Cork made an appearance at the Edinburgh Festival and was performed in China 210 211 In 2017 a revised version of Bolger s adaption directed and designed by Graham McLaren premiered at Ireland s National Theatre The Abbey Theatre in Dublin as part of the 2017 Dublin Theatre Festival 212 It was revived in June 2018 213 and the script was published by Oberon Books 214 In 2013 a new stage adaptation of the novel Gibraltar was produced in New York by the Irish Repertory Theatre It was written by and starred Patrick Fitzgerald and directed by Terry Kinney This two person play focused on the love story of Bloom and Molly played by Cara Seymour 215 Film edit In 1967 a film version of the book was directed by Joseph Strick Starring Milo O Shea as Bloom it was nominated for an Academy Award for Best Adapted Screenplay In 2003 a movie version Bloom was released starring Stephen Rea and Angeline Ball Television edit In 1988 the episode James Joyce s Ulysses of the documentary series The Modern World Ten Great Writers was shown on Channel 4 Some of the novel s scenes were dramatised David Suchet played Leopold Bloom 216 In September 2022 the episode James Joyce s Ulysses of the documentary series Arena was shown on BBC 142 217 218 219 220 Audio edit On Bloomsday 1982 RTE Ireland s national broadcaster aired a full cast unabridged dramatised radio production of Ulysses 221 that ran uninterrupted for 29 hours and 45 minutes The unabridged text of Ulysses has been performed by Jim Norton with Marcella Riordan Naxos Records released the recording on 22 audio CDs in 2004 It follows an earlier abridged recording with the same actors Both recordings were directed by the composer Roger Marsh who has also produced an unabridged audiobook of Finnegans Wake 222 On Bloomsday 2010 author Frank Delaney launched a series of weekly podcasts called Re Joyce that took listeners page by page through Ulysses discussing its allusions historical context and references 223 The podcast ran until Delaney s death in 2017 at which point it was on the Wandering Rocks chapter BBC Radio 4 aired a new nine part adaptation dramatised by Robin Brooks and produced directed by Jeremy Mortimer and starring Stephen Rea as the Narrator Henry Goodman as Bloom Niamh Cusack as Molly and Andrew Scott as Dedalus for Bloomsday 2012 beginning on 16 June 2012 224 Comedy satire recording troupe The Firesign Theatre ends its 1969 album How Can You Be in Two Places at Once When You re Not Anywhere at All with a male voice reciting the final lines of Molly Bloom s soliloquy 225 Music edit Thema Omaggio a Joyce is an electroacoustic composition for voice and tape by Luciano Berio Composed between 1958 and 1959 it is based on an interpretative reading of the novel s Sirens chapter as sung voiced by his then wife Cathy Berberian Umberto Eco a lifelong admirer of Joyce also contributed to its realisation 226 Berio s Epifanie 1961 65 also includes texts from Ulysses 227 Anthony Burgess composed the operetta Blooms of Dublin in 1982 as a very free interpretation of Joyce s text It was televised by the BBC to mixed reviews 228 The Radiators from Space released a song Kitty Ricketts on their album Ghostown 1979 in which the ghost of one of the prostitutes from Bella Cohen s brothel haunts modern Dublin Kate Bush s 1989 song Flower of the Mountain originally the title track on The Sensual World sets to music the end of Molly Bloom s soliloquy 229 The James Joyce Society in Dublin released the album Classical Ulysses for the Bloomsday100 celebrations in 2004 It contains recordings of the classical music mentioned in the book Prose edit Jacob M Appel s novel The Biology of Luck 2013 is a retelling of Ulysses set in New York City It features an inept tour guide Larry Bloom whose adventures parallel those of Leopold Bloom through Dublin 230 Notes edit Hanaway Oakley Cleo 1 February 2022 Ulysses at 100 why Joyce was so obsessed with the perfect blue cover The Conversation Retrieved 12 January 2023 Ellmann 1982 p 524 Harte Tim Summer 2003 Sarah Danius The Senses of Modernism Technology Perception and Aesthetics Bryn Mawr Review of Comparative Literature 4 1 Archived from the original on 5 November 2003 Retrieved 10 July 2001 review of Danius book Beebe 1971 p 176 a b Kiberd Declan 16 June 2009 Ulysses modernism s most sociable masterpiece The Guardian London Retrieved 28 June 2011 Gorman 1939 p 45 Jaurretche Colleen 2005 Beckett Joyce and the art of the negative European Joyce studies Vol 16 Rodopi p 29 ISBN 978 90 420 1617 0 Retrieved 1 February 2011 Budgen 1972 pp 15 17 Ellmann 1982 p 230 Ellmann 1982 p 265 ULYSSES Map of County Dublin PDF irlandaonline com Photograph of 7 Eccles Street Rosenbach Museum and Library Archived from the original on 27 September 2016 Retrieved 26 September 2016 O Connell Mark 16 June 2014 The Tiny Shop That Ulysses Made Famous and That May Soon Close Its Doors Slate Larkin Felix M 4 March 2012 The Old Woman of Prince s Street Ulysses and The Freeman s Journal Dublin James Joyce Journal 4 4 14 30 doi 10 1353 djj 2011 0007 S2CID 162141798 Plan to demolish Ormond hotel for development refused The Irish Times The bookies Booker The Observer London 5 November 2000 Retrieved 16 February 2002 Gorman Herbert 1948 James Joyce Rinehart amp Company p 318 Retrieved 25 February 2024 Gorman Herbert 1926 James Joyce His First Forty Years London Geoffrey Bles pp 225 26 Retrieved 25 February 2024 Gilbert Stuart 1930 James Joyce s Ulysses London Faber amp Faber p 41 Retrieved 25 February 2024 Ellmann 1982 p 666 Ellmann 1982 p 521n Ulysses The Oxford Companion to English Literature 1995 edited Margaret Drabble Oxford UP 1996 p 1023 Bernard Knox Introduction to The Odyssey translated by Robert Fagles Penguin Books 1995 p 3 The Oxford Companion to English Literature 1995 p 1023 Ellmann 1972 pp 1 2 Ellmann 1972 Tindall William York 1959 A Reader s Guide to James Joyce London Thames and Hudson pp 123 238 Retrieved 24 February 2024 Kenner Hugh 1987 Ulysses Baltimore and London The Johns Hopkins University Press pp 19 30 ISBN 0801834899 Retrieved 24 February 2024 Blamires Harry 1996 The New Bloomsday Book A Guide through Ulysses 3rd ed Routledge pp passim ISBN 0415138582 Retrieved 24 February 2024 Gilbert 1930 passim Seidel Michael 2014 Epic Geography James Joyce s Ulysses Princeton University Press pp passim ISBN 978 0691610665 Retrieved 26 February 2024 Ellmann 1982 p 408 Pound Ezra 1935 Ulysses and Mr James Joyce Literary Essays of Ezra Pound London Faber and Faber p 406 Retrieved 29 February 2024 Eliot T S 28 March 1975 Ulysses Order and Myth Selected Prose of T S Eliot London Harcourt Brace p 177 Retrieved 1 March 2024 Quillian William H Fall 1974 Shakespeare in Trieste Joyce s 1912 Hamlet Lectures James Joyce Quarterly 12 1 2 7 63 Retrieved 9 March 2024 a b Tindall 1959 pp 123 238 a b Ellmann 1972 passim a b Kenner 1987 passim Schutte William M 1957 Joyce and Shakespeare A Study in the Meaning of Ulysses New Haven Yale University Press pp passim Retrieved 24 February 2024 Blamires 1966 pp 76 93 Tindall 1959 p 130 Reynolds Mary T 1981 Joyce and Dante The Shaping Imagination Princeton NJ Princeton University Press pp passim ISBN 978 0 691 06446 8 Retrieved 24 February 2024 Lang Frederick K 1993 Ulysses and the Irish God Lewisburg London Toronto Bucknell University Press Associated University Presses pp 67 91 ISBN 0838751504 Retrieved 25 February 2024 Moran Sean 16 June 2004 Cusack s creation is a blooming legacy The Irish Times Dublin Ireland Retrieved 12 September 2022 a b Rainey Lawrence 2005 Modernism An Anthology Oxford Blackwell Publishing pp 227 257 Colangelo Jeremy 28 March 2019 Punctuations of the Virtual Spectating Sex and Disability in Joyce s Nausicaa MFS Modern Fiction Studies 65 1 111 131 doi 10 1353 mfs 2019 0005 ISSN 1080 658X S2CID 166582990 Joyce James 1916 A Portrait of the Artist as a Young Man New York B W Huebsch pp 199 200 Retrieved 12 March 2024 Ellmann 1982 p 359n Wales Kathleen 1989 The Oxen of the Sun in Ulysses Joyce and Anglo Saxon James Joyce Quarterly 26 3 319 330 Hefferman James A W 2001 Joyce s Ulysses Chantilly Virginia The Teaching Company LP a b McCarthy Patrick A Joyce s Unreliable Catechist Mathematics and the Narrative of Ithaca ELH Vol 51 No 3 Autumn 1984 pp 605 606 quoting Joyce in Letters From James Joyce An example is Joyce s apparent rendering of the year 1904 into the impossible Roman numeral MXMIV p 669 of the 1961 Modern Library edition Quillian William H Fall 1974 Shakespeare in Trieste Joyce s 1912 Hamlet Lectures James Joyce Quarterly 12 1 2 7 63 Retrieved 9 March 2024 Schutte William M 1957 Joyce and Shakespeare A Study in the Meaning of Ulysses New Haven Yale University Press pp passim Retrieved 24 February 2024 Blamires 1966 pp 76 93 Blamires 1966 pp 83 84 a b Lang 1993 p 69 Lang 1993 pp 68 69 Aquinas Thomas 1905 Of God and His Creatures An English Translation of Summa contra Gentiles London Burnes amp Oates Retrieved 19 March 2024 Blamires 1966 p 88 Aquinas 1905 p 394 n884 Lang 1993 p 75 Lang 1993 pp 73 74 a b Lang 1993 p 81 Lang 1993 p 84 Blamires 1966 p 83 Aquinas 1905 p 396 a b Aquinas 1905 p 394 Tindall 1959 p 125 a b Kenner 1955 p 252 Duncan Edward January 1950 Unsubstantial Father A Study of the Hamlet Symbolism in Joyce s Ulysses University of Toronto Quarterly 19 2 137 doi 10 3138 utq 19 2 126 Retrieved 20 March 2024 Lang 1993 p 70 Lang 1993 p 74 Aquinas 1905 p 408 Lang 1993 pp 74 75 Lang 1993 pp 67 69 Blamires 1966 p 86 Lang 1993 pp 88 91 Ellmann 1972 p 139 a b Lang 1993 p 80 Lang 1993 p 76 Lang 1993 pp 70 71 Lang 1993 pp 60 61 Ellmann Richard Four Dubliners New York G Braziller pp 85 115 ISBN 0807612081 Retrieved 28 March 2024 Ellmann Richard 1977 The Consciousness of Joyce Oxford University Press p 70 ISBN 0195199502 Retrieved 27 March 2024 a b Kenner 1987 p 127 Lang 1993 pp 197 202 Hendry Irene 1946 Joyce s Epiphanies The Sewanee Review 54 3 465 Retrieved 31 March 2024 Lang 1993 pp 51 52 a b Lang 1993 pp 230 33 a b c d Blamires 1966 p 207 Tindall 1959 p 214 Kenner Hugh 1978 Joyce s Voices University of California Press p 93 Retrieved 2 March 2024 Blamires 1966 p 206 Duncan 1950 p 137 Lang 1993 p 90 Lang 1993 pp 263 65 Ellmann 1982 p 156 Lang 1993 p 99 100 Kennedy Eileen Spring 1969 Another Root for Bloomsday James Joyce Quarterly 6 3 271 272 JSTOR 25486777 Retrieved 23 March 2024 Lang 1993 p 93 Lang 1993 pp 94 95 a b Lang 1993 p 100 Ryan Sean Michael 2015 Pezzoli Olgiati Daria ed Heart of Europe The Sacred Heart Image and Irish Catholic Self identity Religion in Cultural Imaginary Explorations in Visual and Material Practices Nomos Verlag p 237 ISBN 978 3845264066 Retrieved 22 March 2024 Ryan 2015 pp 239 40 Lang 1993 pp 95 96 a b Lang 1993 p 95 Ryan 2015 p 238 Lang 1993 pp 96 97 Ryan 2015 pp 239 240n Torchiana Donald T Fall 1968 Joyce s Eveline and the Blessed Margaret Mary Alacoque James Joyce Quarterly 6 1 22 28 Retrieved 6 April 2024 Kenner Hugh Fall 1972 Molly s Masterstroke James Joyce Quarterly 10 1 64 65 Retrieved 22 February 2024 Reinares Laura Barberan Spring 2011 Like a Helpless Animal Like a Cautious Woman Joyce s Eveline Immigration and the Zwi Migdal in Argentina in the Early 1900s James Joyce Quarterly 48 3 531 Retrieved 5 March 2024 Reinares 2011 pp 529 33 Lang 1993 p 92 Burgess Anthony 1965 Re Joyce New York W W Norton p 162 ISBN 978 0 393 00445 8 Retrieved 22 March 2024 Devotions to the Sacred Heart of Jesus Trans from the French and rev by the Rev Joseph Joy Dean ed Dublin Richard Grace 1841 p 305 Lang 1993 pp 98 99 Lang 1993 p 97 Tindall William York 1950 James Joyce His Way of Interpreting the Modern World New York Scribner s p 30 Retrieved 5 April 2024 Lang Frederick K Winter 1989 A Liturgical Nexus Early in Joyce Journal of Ritual Studies 3 1 92 Retrieved 5 April 2024 Lang 1989 pp 92 93 Blamires 1966 p 202 Ellmann 1972 p 145 Kenner 1982 p 120 Lang 1993 p 232 Lang 1993 pp 233 34 Ellmann 1982 p 161 Ellmann 1982 pp 161 62 Lang 1993 pp 241 42 Lang 1993 p 247 a b Tindall 1959 p 216 Kenner 1987 p 130n Lang 1993 pp 247 49 Ellmann 1972 p 249 Lang 1993 p 250 Life of Saint Margaret Mary Alacoque written by herself trans The Sisters of the Visitation Roseland Walmer Kent Visitation Library 1952 pp 53 67 68 Retrieved 23 March 2024 Life of Saint Margaret Mary Alacoque written by herself trans The Sisters of the Visitation Roseland Walmer Kent Visitation Library 1952 pp 69 70 95 113 Retrieved 23 March 2024 a b Lang 1993 pp 103 04 Ellmann 1972 p 171 Lang 1993 p 104 Goodwin Will 1992 Annual James Joyce Checklist 1991 Joyce Studies Annual 3 180 227 JSTOR 26283610 Retrieved 12 September 2022 The unveiling of the plaque at 12 rue de l Odeon Paris took place on 20 Apr 1990 JJSSF James Joyce Society of Sweden and Finland A commemorative brochure Dalton pp 102 113 a b c James Joyce s Ulysses Arena British TV series BBC Four 7 September 2022 Retrieved 12 September 2022 The Novel of the Century James Joyce s Ulysses on the anniversary of Bloomsday Ulysses Early Editions Lilly Library Indiana University 6 December 2013 Retrieved 19 May 2018 Gilbert Stuart ed 1957 Letters of James Joyce New York The Viking Press p 189 LCCN 57 5129 Gilbert Stuart ed 1957 Letters of James Joyce New York The Viking Press p 162 LCCN 57 5129 a b Slote Sam 2004 Crispi Luca Fahy Catherine eds Ulysses in the Plural The Variable Editions of Joyce s Novel The National Library of Ireland Joyce Studies 2004 The National Library of Ireland p 47 UWM Libraries Special Collections Ulysses Egoist Press 1922 University of Wisconsin Milwaukee library Retrieved 19 May 2018 Houston Lloyd 1 June 2017 Il legal Deposits Ulysses and the Copyright Libraries The Library 18 2 131 151 doi 10 1093 library 18 2 131 On this day 12 October The James Joyce Centre Dublin Retrieved 19 September 2018 Gilbert Stuart ed 1957 Letters of James Joyce New York The Viking Press p 194 LCCN 57 5129 James Joyce 1922 Ulysses Egoist Press A Centennial Bloomsday at Buffalo Exhibition organised and compiled by Sam Slote et al in 2004 Buffalo University Retrieved 20 May 2018 Brooker Joseph 2014 Chapter 2 Reception History In Latham Sean ed The Cambridge Companion to Ulysses Cambridge University Press p 20 ISBN 978 1107423909 Slocum 1953 pp 26 27 Slote Sam 2004 Crispi Luca Fahy Catherine eds Ulysses in the Plural The Variable Editions of Joyce s Novel The National Library of Ireland Joyce Studies 2004 The National Library of Ireland p 48 a b c d 75 years since first authorized American Ulysses The James Joyce Centre Retrieved 6 May 2019 Slocum 1953 pp 28 29 a b c The Novel of the Century James Joyce s Ulysses on the anniversary of Bloomsday Ulysses Later Editions Lilly Library Indiana University 6 December 2013 Retrieved 19 May 2018 McCleery Alistair 2006 The Reputation of the 1932 Odyssey Press Edition of Ulysses The Papers of the Bibliographical Society of America 100 1 The University of Chicago Press on behalf of the Bibliographical Society of America 89 103 doi 10 1086 pbsa 100 1 24293831 JSTOR 24293831 S2CID 159872244 The James Joyce Centre On This Day 1 December The James Joyce Centre Retrieved 20 May 2018 The James Joyce Collection Archiving The Ephemeral An Exhibit in Occasion of NEMLA 2000 at Buffalo University of Buffalo Library Archived from the original on 19 May 2018 Retrieved 19 May 2018 Slocum 1954 p 29 Kiberd Declan 2000 A Short History of the Text Ulysses Penguin pp lxxi lxxxix Johnson Jeri 1993 Apendix B Ulysses Serializations and Editions Ulysses Oxford University Press p 743 ISBN 978 0 19 953567 5 a b c d Kidd John June 1988 The Scandal of Ulysses The New York Review of Books 35 11 Retrieved 13 July 2010 McGann Jerome 2 August 2012 Ulysses as a Postmodem Text The Gabler Edition Criticism 27 3 ISSN 0011 1589 McDowell Edwin Corrected Ulysses Sparks Scholarly Attack The New York Times 15 June 1988 James Joyce enters the public domain but the auteurs of 1955 must wait The Verge Max D T 19 June 2006 The Injustice Collector The New Yorker Retrieved 26 March 2009 Battles Jan 9 August 2009 Budget Ulysses to flood the market The Sunday Times London Archived from the original on 6 June 2010 Retrieved 30 November 2009 The Little Review Modernist Journals Project Archived from the original on 30 August 2016 Searchable digital edition of volumes 1 9 March 1914 Winter 1922 Ellmann 1982 pp 502 504 McCourt 2000 p 98 British Library Ellmann 1982 pp 523 524 Claire A Culleton Joyce and the G Men J Edgar Hoover s Manipulation of Modernism Palgrave Macmillan 2004 p 78 Paul Vanderham James Joyce and censorship the trials of Ulysses New York U P 1998 p 2 De Grazia Edward Girls Lean Back Everywhere The Law of Obscenity and the Assault on Genius New York Vintage 1992 p 10 Gammel Irene Baroness Elsa Gender Dada and Everyday Modernity Cambridge MA MIT Press 2002 pp 252 253 Lyons Martyn 2011 Books A Living History Los Angeles CA Getty Publications p 200 ISBN 978 1606060834 United States v One Book Called Ulysses 5 F Supp 182 S D N Y 1933 Ulysses first American edition James Joyce Ulysses The Classic Text Traditions and Interpretations University of Wisconsin at Milwaukee 2002 Archived from the original on 31 August 2000 Retrieved 18 August 2007 United States v One Book Entitled Ulysses by James Joyce 72 F 2d 705 2nd Cir 1934 Censored TheJournal ie 21 May 2012 Ireland set for festival of Joyce BBC 11 June 2004 Retrieved 9 August 2010 Overlong overrated and unmoving Roddy Doyle s verdict on James Joyce s Ulysses The Guardian 10 February 2004 Jung Carl Ulysses A Monologue In Wirklichkeit der Seele Republished in Kritisches Erbe Dokumente zur Rezeption von James Joyce im deutschen Sprachbereich zu Lebzeiten des Autors Rodopi 2000 p 295 Jung wrote Das Erschutternde am Ulysses aber ist dass hinter Abertausenden von Hullen nichts steckt dass er sich weder dem Geiste noch der Welt zuwendet und dass er kalt wie der Mond aus kosmischer Ferne schauend die Komodie des Werdens Seins und Vergehens sich abrollen lasst This translation by W S Dell was published in Nimbus vol 2 no 1 June August 1953 Eliot T S 1975 Ulysses Order and Myth In Selected Prose of T S Eliot London Faber and Faber 1975 175 Pound Ezra 1935 Ulysses and Mr James Joyce Literary Essays of Ezra Pound London Faber and Faber pp 403 405 Retrieved 29 February 2024 a b c Deming Robert H 1970 James Joyce the critical heritage The critical heritage series New York Barnes amp Noble ISBN 978 0 389 01023 4 The New York Times guide to essential knowledge 3rd ed 2011 p 126 ISBN 978 0312643027 Jayapalan N History of English literature Atlantic Publishers amp Distributors 2001 p 328 a b Blamires Henry Short History of English literature pp 398 400 Goldberg S L 1961 The Classical Temper A Study of James Joyce s Ulysses London Chatto and Windus Retrieved 9 March 2024 Hendry Irene 1946 Joyce s Epiphanies The Sewanee Review 54 3 449 67 JSTOR 27537675 Retrieved 14 March 2024 Grey Paul The Writer James Joyce Time 8 June 1998 Gilbert 1930 p 21 a b Gilbert 1930 p 22 Routledge History of Literature in English Armstrong Tim 2005 Modernism A Cultural History p 35 Cambridge UK Polity Press ISBN 978 0 7456 2982 7 Nabokov pp 55 57 Nabokov p 71 Ulysses Expert Recommendations Five Books Leslie Shane October 1922 Review of Ulysses by James Joyce The Quarterly Review 238 219 234 quote p 220 McSmith Andy 2015 Fear and the Muse Kept Watch New York The New Press p 118 ISBN 978 1 59558 056 6 Huddleston Sisley 5 March 1922 James Joyce s Ulysses reviewed The Observer London Retrieved 14 February 2022 Woolf Virginia 5 April 1923 How It Strikes a Contemporary The Times Literary Supplement London Retrieved 4 September 2018 James Douglas Sunday Express quoted in Bradshaw David 2016 Ulysses and Obscenity Discovering Literature 20th century British Library Talbot Francis X 1 September 1934 An American Jesuit on James Joyce s Ulysses obscene blasphemous and against the natural law America Magazine Robertson Campbell 16 June 2006 Playwright of Dead City Substitutes Manhattan for Dublin The New York Times Retrieved 18 March 2010 Brennan Clare 20 October 2012 Ulysses review The Guardian ISSN 0261 3077 Retrieved 8 August 2017 James Joyce Goes to China BBC Two Retrieved 8 August 2017 O Rourke Chris Dublin Theatre Festival 2017 Ulysses The Arts Review October 4 2017 Ulysses The Abbey Theatre 2018 Ulysses adaption by Dermot Bolger Oberon Books 2017 ISBN 978 1786825599 Gibraltar IrishRep org New York Irish Repertory Theatre 2013 Retrieved on 2 January 2018 from the archived copy of the webpage for the play The Modern World Ten Great Writers James Joyce s Ulysses IMDb Retrieved 18 July 2012 Roy David 29 June 2022 James Joyce s Ulysses documentary a fine and stylish celebration of Joyce s epic in its centenary year The Irish News Belfast Northern Ireland Retrieved 12 September 2022 Dr Clare Hutton to feature in new BBC Arena documentary James Joyce s Ulysses Loughborough University 5 September 2022 Retrieved 12 September 2022 James Joyce s Ulysses will air Wednesday 7th September at 9pm on BBC Two Whitington Paul 8 September 2022 Arena James Joyce s Ulysses review A tribute to the lasting legacy of one of the world s greatest writers Irish Independent Retrieved 12 September 2022 BBC Arena James Joyce s Ulysses Morgan Library amp Museum 7 June 2022 Retrieved 12 September 2022 Reading Ulysses RTE ie Retrieved 18 July 2012 Williams Bob James Joyce s Ulysses the modern world Archived from the original on 26 July 2012 Retrieved 18 July 2012 Frank Delaney Archives Blog frankdelaney com Retrieved 10 July 2012 James Joyce s Ulysses BBC Radio Retrieved 18 July 2012 House of Firesign Reviews Review of How Can You Be in Two Places at Once When You re Not Anywhere at All Retrieved 25 February 2019 A A V V 2000 Nuova Musica alla radio Esperienze allo Studio di fonologia della RAI di Milano 1954 1959 with the cd Omaggio a Joyce Documenti sulla qualita onomatopeica del linguaggio poetico 1958 CIDIM RAI track 48 of the cd Timothy S Murphy Music After Joyce The Post Serial Avant Garde UCLA 1999 The Listener 7 January 1982 p 18 Kellogg Carolyn 6 April 2011 After 22 years Kate Bush gets to record James Joyce Los Angeles Times Retrieved 29 July 2013 Schultze Emily 19 December 2013 Sitting on Nails and Staring at the Wall An Interview with Jacob M Appel Fiction Writers Review Retrieved 24 November 2021 References edit Life of Saint Margaret Mary Alacoque written by herself trans The Sisters of the Visitation Roseland Walmer Kent Visitation Library 1952 Aquinas Thomas Of God and His Creatures An Annotated Translation With some abridgement of the Summa contra Gentiles of St Thomas Aquinas by Joseph Rickaby S J London Burns amp Oates 1905 Beebe Maurice Fall 1972 Ulysses and the Age of Modernism James Joyce Quarterly 10 1 University of Tulsa 172 88 Blamires Harry 1966 The Bloomsday Book A Guide through Ulysses London Methuen Blamires Harry The New Bloomsday Book 3rd ed Routledge 1996 ISBN 0415138582 Blamires Harry A Short History of English Literature Routledge 2d edition 2013 Borach Georges Conversations with James Joyce translated by Joseph Prescott College English 15 March 1954 Burgess Anthony Here Comes Everybody An Introduction to James Joyce for the Ordinary Reader 1965 also published as Re Joyce Burgess Anthony Joysprick An Introduction to the Language of James Joyce 1973 Burgess Anthony Re Joyce New York W W Norton 1965 Budgen Frank James Joyce and the Making of Ulysses Bloomington Indiana University Press 1960 Budgen Frank 1972 James Joyce and the making of Ulysses and other writings Oxford University Press ISBN 0 19 211713 0 Dalton Jack The Text of Ulysses in Fritz Senn ed New Light on Joyce from the Dublin Symposium Indiana University Press 1972 Devotions to the Sacred Heart of Jesus Trans from the French and rev by the Rev Joseph Joy Dean ed Dublin Richard Grace 1841 Duncan Edward Unsubstantial Father A Study of the Hamlet Symbolism in Joyce s Ulysses University of Toronto Quarterly 19 2 January 1950 126 40 Ellmann Richard The Consciousness of Joyce Oxford University Press 1977 ISBN 0195199502 Ellmann Richard 1982 James Joyce revised ed New York Oxford University Press ISBN 0 19 503103 2 Ellmann Richard ed Selected Letters of James Joyce The Viking Press 1975 Ellmann Richard 1972 Ulysses on the Liffey London Faber and Faber ISBN 0195016637 Gilbert Stuart James Joyce s Ulysses A Study Faber and Faber 1930 Gorman Herbert James Joyce A Definitive Biography 1939 Gorman Herbert James Joyce His First Forty Years London Geoffrey Bles 1926 Hardiman Adrian 2017 Joyce in Court London Head of Zeus Press ISBN 978 1786691583 Joseph M Hassett The Ulysses Trials Beauty and Truth Meet the Law Dublin The Lilliput Press 2016 ISBN 978 1 84351 668 2 Kennedy Eileen Spring 1969 Another Root for Bloomsday James Joyce Quarterly 6 3 University of Tulsa 271 72 Kenner Hugh 1955 Dublin s Joyce Chatto amp Windus Kenner Hugh 1982 Ulysses Unwin Critical Library Allen amp Unwin ISBN 0048000086 Lang Frederick K Ulysses and the Irish God Bucknell University Press 1993 ISBN 0838751504 McCourt John 2000 James Joyce A Passionate Exile London Orion Books Ltd ISBN 0 7528 1829 5 Nabokov Vladimir 1990 Strong Opinions New York Random House ISBN 0 679 72609 8 Pound Ezra Ulysses and Mr James Joyce Literary Essays of Ezra Pound London Faber and Faber 1935 403 409 Reynolds Mary T Joyce and Dante The Shaping Imagination Princeton University Press 1981 ISBN 978 0 691 06446 8 Ryan Sean Michael Heart of Europe The Sacred Heart Image and Irish Catholic Self identity Religion in Cultural Imaginary Explorations in Visual and Material Practices Daria Pezzoli Olgiati ed Nomos Verlag 2015 ISBN 3845264063 Schutte William M Joyce and Shakespeare A Study in the Meaning of Ulysses New Haven Yale University Press 1957 Seidel Michael Epic Geography James Joyce s Ulysses Princeton University Press 2014 ISBN 0691610665 Slocum John Cahoon Herbert 1953 A Bibliography of James Joyce 1882 1941 New Haven Conn Yale University Press Tindall William York A Reader s Guide to James Joyce London Thames and Hudson 1959 Syracuse University Press 1995 ISBN 0815603207 Torchiana Donald T 1968 Joyce s Eveline and the Blessed Margaret Mary Alacoque James Joyce Quarterly 6 1 University of Tulsa 22 28 Further reading editAnderson John P Finding Joy in Joyce A Reader s Guide to Ulysses Universal Publishers 2000 ISBN 1581127626 Arnold Bruce The Scandal of Ulysses The Life and Afterlife of a Twentieth Century Masterpiece Rev ed Dublin Liffey Press 2004 ISBN 1 904148 45 X Attridge Derek ed James Joyce s Ulysses A Casebook Oxford and New York Oxford UP 2004 ISBN 978 0 19 515830 4 Bennett Arnold August 1922 Concerning James Joyce s Ulysses The Bookman London 567 570 Benstock Bernard and Thomas F Staley eds Approaches to Ulysses Ten Essays University of Pittsburgh Press 1970 ISBN 0822975874 Benstock Bernard Critical Essays on James Joyce s Ulysses Boston G K Hall 1989 ISBN 978 0 8161 8766 9 Birmingham Kevin The Most Dangerous Book The Battle for James Joyce s Ulysses London Head of Zeus Ltd 2014 ISBN 978 1 1015 8564 1 Brivic Sheldon Joyce the Creator University of Wisconsin Press 1985 ISBN 0299100804 Duffy Enda The Subaltern Ulysses Minneapolis University of Minnesota Press 1994 ISBN 0 8166 2329 5 Ellmann Richard Four Dubliners W W Norton 1988 ISBN 0807612081 French Marilyn The Book as World James Joyce s Ulysses Cambridge MA Harvard UP 1976 ISBN 978 0 674 07853 6 Gillespie Michael Patrick and A Nicholas Fargnoli eds Ulysses in Critical Perspective Gainesville University Press of Florida 2006 ISBN 978 0 8130 2932 0 Goldberg Samuel Louis The Classical Temper A Study of James Joyce s Ulysses New York Barnes and Noble 1961 and 1969 Goldman Jonathan The Difficult Odyssey of James Joyce s Ulysses The Village Voice January 28 2022 Groden Michael Ulysses in Progress Princeton Princeton University Press 1977 ISBN 0691063389 Hart Clive and David Hayman eds James Joyce s Ulysses Critical Essays University of California Press 1974 ISBN 0520024443 Henke Suzette Joyce s Moraculous Sindbook A Study of Ulysses Columbus Ohio State UP 1978 ISBN 978 0 8142 0275 3 Kenner Hugh Joyce s Voices University of California Press 1979 ISBN 0520039351 Kenner Hugh Molly s Masterstroke James Joyce Quarterly Volume 10 1 Fall 1972 63 71 Kiberd Declan Ulysses and Us The Art of Everyday Living London Faber and Faber 2009 ISBN 978 0 571 24254 2 Killeen Terence Ulysses Unbound A Reader s Companion to James Joyce s Ulysses Bray County Wicklow Ireland Wordwell 2004 ISBN 978 1 869857 72 1 Larbaud Valery April 1922 James Joyce PDF Nouvelle Revue Francaise 103 385 409 nbsp Lawrence Karen The Odyssey of Style in Ulysses Princeton University Press 1981 ISBN 0691102198 Maddox James H Joyce s Ulysses and the Assault Upon Character Rutgers University Press 1978 ISBN 1978836791 McCarthy Patrick A Ulysses Portals of Discovery Boston Twayne Publishers 1990 ISBN 0 8057 7976 0 McKenna Bernard James Joyce s Ulysses A Reference Guide Westport CT Greenwood Press 2002 ISBN 978 0 313 31625 8 Murphy Michael Ulysses in West Britain James Joyce s Dublin amp Dubliners Conal and Gavin 2018 ISBN 0967955793 Murphy Niall A Bloomsday Postcard Dublin Lilliput Press 2004 ISBN 978 1 84351 050 5 Niskanen Lauri A 2021 A Hubbub of Phenomenon The Finnish and Swedish Polyphonic Translations of James Joyce s Ulysses Ph D thesis University of Helsinki ISBN 978 951 51 7248 8 Norris Margot A Companion to James Joyce s Ulysses Biographical and Historical Contexts Critical History and Essays From Five Contemporary Critical Perspectives Boston Bedford Books 1998 ISBN 0 312 21067 1 Norris Margot Virgin and Veteran Readings of Ulysses New York Palgrave Macmillan 2011 ISBN 978 0 23 033871 5 Restuccia Frances L Joyce and the Law of the Father Yale University Press 1989 ISBN 0300044445 Rickard John S Joyce s Book of Memory The Mnemotechnic of Ulysses Durham Duke University Press 1999 ISBN 978 0 8223 2158 3 Schutte William M James Index of Recurrent Elements in James Joyce s Ulysses Carbondale Southern Illinois UP 1982 ISBN 978 0 8093 1067 8 Shechner Mark Joyce in Nighttown A Psychoanalytic Inquiry Into Ulysses University of California Press 1974 ISBN 0520023986 Thornton Weldon Allusions in Ulysses An Annotated List Chapel Hill University of North Carolina Press 1968 and 1973 ISBN 978 0 8078 4089 4 Tindall William York James Joyce His Way of Interpreting the Modern World New York Charles Scribner s Sons 1950 Vanderham Paul James Joyce and Censorship The Trials of Ulysses New York New York UP 1997 ISBN 978 0 8147 8790 8 List of editions in print editFacsimile texts of the manuscript edit Ulysses a three volume facsimile copy of the complete handwritten manuscript Introduction by Harry Levin bibliographical preface by Clive Driver Philip H amp A S W Rosenbach Foundation now known as the Rosenbach Museum amp Library New York Octagon Books 1975 Serial text published in the Little Review 1918 1920 The Little Review Ulysses edited by Mark Gaipa Sean Latham and Robert Scholes Yale University Press 2015 ISBN 978 0 300 18177 7Facsimile texts of the 1922 first edition edit Ulysses The 1922 Text with an introduction and notes by Jeri Johnson Oxford University Press 1993 ISBN 0 19 282866 5 Ulysses A Facsimile of the First Edition Published in Paris in 1922 Orchises Press 1998 ISBN 978 0 914061 70 0 Ulysses With a new Introduction by Enda Duffy An unabridged republication of the original Shakespeare and Company edition published in Paris by Sylvia Beach 1922 Dover Publications 2009 ISBN 978 0 486 47470 0Based on the 1932 Odyssey Press edition edit Ulysses Wordsworth Classics 2010 Introduction by Cedric Watts ISBN 978 1 840 22635 5Based on the 1939 Odyssey Press edition edit Ulysses Alma Classics 2012 with an introduction and notes by Sam Slote Trinity College Dublin ISBN 978 1 84749 399 6Based on the 1960 Bodley Head 1961 Random House editions edit Ulysses Vintage International 1990 ISBN 978 0 679 72276 2 Ulysses Annotated Student s Edition with an introduction and notes by Declan Kiberd Penguin Twentieth Century Classics 1992 ISBN 978 0 141 18443 2 Ulysses The 1934 Text As Corrected and Reset in 1961 Modern Library 1992 Foreword by Morris L Ernst ISBN 978 0 679 60011 4 Ulysses Everyman s Library 1997 ISBN 978 1 85715 100 8 Ulysses Penguin Modern Classics 2000 Introduction by Declan Kiberd ISBN 978 0 14118 280 3Based on the 1984 Gabler edition edit Ulysses The corrected text edited by Hans Walter Gabler with Wolfhard Steppe and Claus Melchior preface by Richard Ellmann Vintage International 1986 This follows the disputed Garland Edition ISBN 978 0 39474 312 7External links editPortals nbsp 1920s nbsp Novels nbsp Wikisource has original text related to this article Ulysses novel nbsp Wikiquote has quotations related to Ulysses novel General edit Ulysses at the British Library The Little Review at The Modernist Journals Project includes all 23 serialised instalments of Ulysses Schemata of Ulysses The text of Joseph Collins s 1922 New York Times review of Ulysses Publication history of UlyssesElectronic versions edit Ulysses at Project Gutenberg Ulysses at Faded Page Canada London Bodley Head 1937 Ulysses online audiobook nbsp Ulysses public domain audiobook at LibriVox 1982 full cast recording from RTE Radio James Joyce reading from Ulysses James Joyce reading an excerpt from the Aeolus episode Recorded in 1924 Friends of Shakespeare and Company read Ulysses Retrieved from https en wikipedia org w index php title Ulysses novel amp oldid 1218374184, wikipedia, wiki, book, books, library,

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