Chapter II. "Ulysses" and it's difficult language

CHAPTER I. James Joyce's life and career
1.1 Information about writer's life


Too much in "Ulysses" remained incomprehensible. However, Joyce preferred to leave questions unanswered. Jokingly he said: "I have come up with so many riddles and puzzles that it will take centuries for scientists to figure out what I mean, and this is the only way to ensure immortality." Joyce's most famous work is Ulysses. This is a modern "Odyssey", where the main characters are ordinary people who wander around Dublin all day and do nothing heroic; this is a new epic in which the idea of universal art is embodied; This is a book that has turned the world's view of literature. Ulysses "Joyce was banned for import and sale in the writer's homeland in Ireland, but some secretly managed to smuggle the book from abroad. The first copies of "Ulysses" appeared in bookstores in Ireland only in the 60s. A difficult fate awaited Joyce's book and in the United States, where problems arose with the publication of the novel in the Little Review, followed by a ban on Joyce's book, which was lifted only at the end of 1933. The first British edition of Ulysses did not appear until 1936. The first publication of "Ulysses" was in the American magazine Little Review . Between March 1918 and December 1920, 23 issues of the magazine were published with the text of the novel. The art magazine Little Review, published under the motto "Making No Compromise With Public Taste", was founded in 1914 by Margaret Anderson and funded by New York lawyer John Quinn. The publication took place through the mediation of Ezra Pound. Ezra Pound (1885-1972) was an American poet, critic and translator who moved to Europe in 1907 and previously supported Joyce by getting his works published in the London magazine The Egoist. With Pound's help, A Curious History (January 15, 1914) and A Portrait of the Artist as a Young Man (February 1914-September 1915) were published in The Egoist. Pound was also the editor of the New York magazine Little Review. He was looking for a work for long-term publication. Joyce agreed to provide material through Ezra Pound. Joyce's fees for each published part of the text were paid by John Quinn. John Quinn, the son of an Irishman who emigrated to America, had a successful law practice in New York, and also enjoyed collecting, buying works by contemporary authors. Quinn moved in a circle of writers and patrons, among his acquaintances were the poets T.S. Eliot and Ezra Pound. It was Ezra Pound who introduced Quinn to Joyce. Quinn bought white copy of the chapters from Joyce. However, the passionate collector Queen in 1924, despite the objections of Joyce, auctioned off all the manuscripts that the writer had ever sent him. They were purchased for $1975 by renowned American collector Dr. Abraham Simon Wolf Rosenbach. Known as the "Rosenbach Manuscripts", the papers are kept at the Rosenbach Museum in Philadelphia. In total, 14 episodes were printed in Little Review, but further publication of "Ulysses" was suspended due to a lawsuit filed by the New York Society for the Eradication of Vice against the magazine's publishers. The trial ended in 1921 with a decision to forbid further publication of the novel, and editors Margaret Anderson (Margaret Anderson) and Jane Heap (Jane Heap), found guilty of distributing pornography, were sentenced to a fine. After Joyce's Ulysses was printed in 1922, many readers and critics were discouraged by the complexity of the book. Joyce , realizing this very well, began to give clarifications and interpretations to his friends - mostly in letters. Charting became an attempt to give an orderly, structured explanation of his "monster book". However, Joyce did not intend to disseminate these schemes too widely. In total, Joyce drew up two different schemes for "Ulysses", which are often confused. Joyce drew up the first outline in mid-September 1920 to help his Trieste friend and Italian translator of The Exiles, Carlo Linati , whom Joyce had asked to write a review of Ulysses for Little Review. As in the later (and better known) scheme, in Linati's scheme, Joyce provided each episode with the appropriate title, time, color, Homeric correspondences, writing technique, science/art, body organ, and symbol. However, Linati's schema contains another category which Joyce did not include in the following schema: senso (significato) meaning. In this category, Joyce gives more specific clues to each chapter. Linati's scheme was reproduced in a translated form in Richard Ellmann's Ulysses on the Liffey (London: Faber and Faber, 1973). The second scheme (already in English) Joyce drew up at the end of 1921, at a time when the proofreading process of the last 4 episodes of Ulysses was taking place. The diagram was drawn up for Valery Larbaud as background material for a public lecture on Ulysses. And if Linati's scheme remained unknown for a long time, then the author allowed Larbo's scheme for limited distribution: at special requests, Joyce's friends and individual writers got acquainted with it. At least 6 reprinted copies have survived, made from the original, but differing from each other. Larbaud's scheme lacks the category "meaning" (senso), but at the same time it has another category, the place of action, which is absent from Linati's scheme. Big differences in the "Symbol" category. In the summer of 1928, Joyce refused a request to publish an outline for an essay by Edmund Wilson. Nor did Joyce give permission for the diagram to be included in the American edition of Ulysses (1934 Random House). In 1931 Gilbert, with Joyce's permission, published Larbeau's diagram with some modifications in James Joyce's Ulysses (Gilbert's diagram). Time and place of creation of "Ulysses" (March 1914 - October 1921) Second episode [Nestor]: Trieste 1914, finalized in Locarno in 1917, where Joyce went away for a while. Published in Little Review April 1918. Early 1919 in The Egoist (London). Third episode [Proteus]: Episode begun at Trieste in 1914 and completed at Locarno at the end of 1917. First publication - Little Review, May 1918; like "Nestor", the episode was also published early in 1919 in the London Egoist. Episode Four [Calypso]: Written in Zurich in late 1917/early 1918 and published in the June 1918 issue of Little Review. Episode Five [Lotus Eaters]: Episode was written in Zurich; completed April 1918 and published in Little Review July 1918; in 1921, when it was published as a book, it underwent a final revision and was noticeably expanded. Episode Eighteen [Penelope]: Written in parallel with "Ithaca", "Penelope" was almost entirely created in September 1921: in August the author reported that he had completed only its first sentence, but already on October 7 the entire episode was completed.
1.2 James Joyce's famous works


"Ulysses" in Russia Despite the fact that the translation of parts of "Ulysses" into Russian was published in the Soviet Union as early as 1925 - earlier than any other translation of Joyce's book, the full text, already in a brilliant translation by Viktor Hinkis and Sergei Khoruzhy, appeared with us only in 1989 year. 1925: Ulysses was first published in Russian. Fragments of "Ulysses" translated by V. Zhitomirsky were published in the almanac "News of the West" (1925 No. 1). Excerpts from episodes 4 and 8 of "Ulysses" were published in the "Literary Gazette" in the translation of S. Alimov and M. Levidov in 1929. 1935-36: ten episodes of "Ulysses" were published in the journal "International Literature" in collective translation (the translation was done by the Moscow First Translation Association of I. Kashkin). The translators of "Ulysses" - I. Romanovich, L.D. Kislova, An. Eleonskaya, V. Toper, N. Volzhina, E. Kalashnikova, N.L. Daruses. However, the translator Igor Romanovich was arrested in 1937, and work on "Ulysses" was stopped. 1970: Victor Hinkis begins work on a Russian translation of Ulysses. At his request, Sergei Khoruzhy joins the work, who, after the death of Khinkis in 1981, was forced to do the entire translation again. Legal rights to this translation belong to Victor Hinkis and Sergey Khoruzhy. 1989: "Foreign Literature" magazine: the first complete publication of "Ulysses" translated by V. Hinkis, S. Khoruzhy, comments by E. Genieva. 1993: the first book edition of the Russian translation (translated by Khinkis, Khoruzhy) with extensive comments by Khoruzhy is published by the Respublika publishing house 2000: James Joyce's Selected Books are published by Raduga Publishing . It includes ten episodes of "Ulysses" translated by members of the so-called "Kashkin group". 2001: the story of the counterfeit edition of "Ulysses", released by the publishing house "Crystal". James Joyce's Ulysses is one of the most unusual books in world literature. It is quite a large work (more than 260 thousand words) and traditionally "Ulysses" is considered a difficult book to read. "Ulysses" Joyce immediately after the appearance caused a lot of conflicting responses and disputes. Joyce wrote "Ulysses" in the period 1914-1921, just during the First World War. In a letter to Harriet Shaw, Weaver Joyce remarked that he spent at least 20,000 hours writing Ulysses. (more about the timing of Joyce's "Ulysses" ). In "Ulysses" Joyce described one day (from 8 am to 2 am) in the life of the Dublin Jew Leopold Bloom and the young writer Stephen Daedalus. The day on which the events of the book take place is June 16, 1904 . It was on this day that Joyce had his first date with Nora Barnacle, who later became his faithful life partner. Admirers of Joyce's work around the world celebrate June 16 as Bloomsday , and some are trying to follow the path of the main characters (more on Bloomsday ). The book is set in Joyce's hometown of Dublin. Each episode takes place in a certain place in the city, and the scene always has a detailed description. The details of the city described in the book are so true that Joyce once said: "If the city disappears from the face of the earth, it can be restored from my book." Many of the events mentioned in the book are also real, such as the races for the Gold Cup at Ascot. It is noteworthy that Joyce wrote "Ulysses" away from Dublin, however, to describe the details he used the reference book "All Dublin for 1904" and newspapers for June 16, 1904, including the Evening Telegraph. One of the key features of Ulysses is its connection with Homer's Odyssey. "Ulysses" consists of 18 episodes, each episode of "Ulysses" corresponds to an episode from the "Odyssey" (for more details about the structure of "Ulysses" - see comments by S.S. Khoruzhy to "Ulysses"). Joyce wrote: “I took from the Odyssey the general scheme - the “plan”, in the architectural sense, or, perhaps, more precisely, the way the story unfolds. And I followed it exactly . However, no less important are other allusions and correspondences (with Shakespeare's Hamlet, the Bible, etc.) that fill the text of Ulysses. The text of "Ulysses" is stylistically heterogeneous. Joyce chose the lead style of writing for a particular episode. So, "Aeolus" is written in the form of newspaper news, "Sirens" - in the form of a fugue with a canon, in "Bulls of the Sun" one can trace the language changes from Old English to modern forms, "Ithaca" is written in the form of a catechism, and the last episode is written without any single punctuation mark and features Molly Bloom's famous interior monologue, beginning and ending with the life-affirming " Yes ". Joyce wrote: "The task I set myself technically is to write a book from eighteen points of view and in as many styles..." (Letter to Harriet Shaw Weaver, June 24, 1921) The main characters of "Ulysses" The main characters of "Ulysses" are the advertising agent Leopold Bloom and the young writer Stephen Daedalus . Stephen is the subject of Joyce's previous novel, A Portrait of an Artist as a Young Man . We can say that "Ulysses" is a continuation of "Portrait of the Artist as a Young Man". However, Ulysses is less autobiographical. The idea for "Ulysses" originated with Joyce during the period of writing the stories " The Dubliners ". From "Dubliners" to "Ulysses" the situation was also transferred. Stephen's key leitmotifs, which run through the whole novel, are the death of his mother, the break, exile (break with his family, leaving the Martello tower, break with Catholicism, with Ireland). Bloom's keynotes are Molly's betrayal, father's suicide, son's death. Both outsiders - Leopold Bloom and Stephen Dedalus - are internally connected with each other, as well as with the figure of the author, and throughout the novel their meeting is being prepared as the meeting of "father" and "son" in the 15th episode. "Ulysses" is a description of one Dublin day, June 16, 1904, Thursday - a day in the separate and connected lives of characters who walk, drive, sit, talk, dream, drink and solve minor and important physiological and philosophical problems - and engage in this throughout that day and early the next morning. Why did Joyce choose this particular date, June 16, 1904? In the rather feeble, though painstakingly written book The Fairy Traveler: James Joyce's Ulysses, Richard Caine informs us that this day is Joyce's first date with his future wife, Nora Barnacle. That's all about the biographical side of things. Stream of Consciousness in Ulysses "Ulysses" consists of a series of scenes built around three main characters; among them, the main role belongs to Leopold Bloom, a small entrepreneur engaged in the advertising business, more precisely, an advertising agent. At one time he worked for Wisdom Healy, a stationery dealer, as a traveling salesman and sold blotting paper, but now he has his own business, he places ads, not very successful in this. For reasons that I will discuss shortly, Joyce endowed him with a Hungarian-Jewish origin. The other two main characters are Stephen Daedalus, already introduced by Joyce in A Portrait of the Artist as a Young Man (1916), and Marion Bloom, Molly Bloom, Bloom's wife. If Bloom is the central figure in this triptych, then Stephen and Marion are lateral: the book begins with Stephen and ends with Marion. Stephen Daedalus bears the name of the mythical creator of the labyrinth at Knossos - the royal residence of ancient Crete - as well as wings for himself and his son Icarus and other fabulous devices. Stephen is twenty-two, a Dublin schoolteacher, scholar and poet, crushed in his years of study by the discipline of a Jesuit upbringing and now violently rebelling against it, but at the same time retaining a penchant for metaphysics. He is a theoretician, a dogmatist, even when drunk, a freethinker, an egocentric, an excellent minter of caustic aphorisms, physically fragile, neglecting hygiene like a saint (the last time he washed in October, and now June), a bitter and bilious young man - difficult for the reader to perceive, rather a projection author's intellect, rather than a warm concrete being created by the artist's imagination. Critics tend to identify Stephen with the young Joyce, but that is beside the point. As Harry Levine writes, "Joyce lost his religion but retained his categories" - and this is true for Stephen as well. Marion (Molly) Bloom, Bloom's wife, is Irish by her father and Spanish Jewish by her mother. Concert singer. If Steven is an intellectual and Bloom is a half-intellectual, then Molly Bloom is definitely not an intellectual and at the same time a very vulgar person. But all three characters are not alien to the beautiful. In Stephen's case, the artistry is almost unheard of - you will never meet in "real life" a person who is as artistic in everyday speech as he is. There is less of an artist in the semi-intellectual Bloom than in Stephen, but much more than the critics saw in him: his stream of consciousness sometimes converges with Stephen's stream of consciousness, which I will show later. Finally, Molly Bloom, despite her banality, despite the ordinary nature of her thoughts, despite her vulgarity, is emotionally responsive to the simple joys of existence, Before discussing the theme and style of the book, I want to say a few more words about the main character, Leopold Bloom. Proust created Swann as a person with individual, unique features. Swan is not a literary or national type, although he is the son of a Jewish stockbroker. In creating the image of Bloom, Joyce's intention was to place among the native Irish of his native Dublin someone who, being Irish, like Joyce himself, would also be a black sheep, an outcast, like the same Joyce. Therefore, he deliberately chose for his hero the type of outsider, the type of the Wandering Jew, the type of outcast. However, I will show later that Joyce is deliberately crude in accumulating and sharpening so-called national traits. Another consideration about Bloom: many of the literary scholars who have written so much about Ulysses are either very pure or very corrupt people. They tend to view Bloom as an ordinary person, and Joyce himself clearly sought to portray an ordinary person. However, it is clear that sexually Bloom, if not completely insane, is at least a clear clinical example of extreme sexual preoccupation and perversion, with all sorts of curious complications. His case is certainly strictly heterosexual, unlike Proust's homosexual majority of ladies and gentlemen ("homos" - from the Greek "same", and not from the Latin "man", as some students think), but in boundless love for the opposite sex Bloom allows himself actions and dreams that are clearly not quite normal in the zoological, evolutionary sense. I will not bore you with a list of his curious desires, but I will say, that in Bloom's mind and in Joyce's book, the theme of sex is constantly intertwined with the theme of the toilet. God knows, I am not against the so-called frankness in the novel. On the contrary, we have too little of it, and what we have has become familiar and banal under the pen of the so-called hard writers, favorites of literary clubs, favored by club ladies. But I object to Bloom being declared an ordinary citizen. It is unlikely that the consciousness of an ordinary citizen is invariably occupied with physiology. I object to this immutability - not to the baseness of interest. All this pathological nonsense seems far-fetched and superfluous in this context. I invite the most sensitive of you to digress from this particular preoccupation of Joyce. became familiar and banal under the pen of the so-called hard writers, favorites of literary clubs, favored by club ladies. But I object to Bloom being declared an ordinary citizen. It is unlikely that the consciousness of an ordinary citizen is invariably occupied with physiology. I object to this immutability - not to the baseness of interest. All this pathological nonsense seems far-fetched and superfluous in this context. I invite the most sensitive of you to digress from this particular preoccupation of Joyce. became familiar and banal under the pen of the so-called hard writers, favorites of literary clubs, favored by club ladies. But I object to Bloom being declared an ordinary citizen. It is unlikely that the consciousness of an ordinary citizen is invariably occupied with physiology. I object to this immutability - not to the baseness of interest. All this pathological nonsense seems far-fetched and superfluous in this context. I invite the most sensitive of you to digress from this particular preoccupation of Joyce. All this pathological nonsense seems far-fetched and superfluous in this context. I invite the most sensitive of you to digress from this particular preoccupation of Joyce. All this pathological nonsense seems far-fetched and superfluous in this context. I invite the most sensitive of you to digress from this particular preoccupation of Joyce.