The Cambridge Companion James Joyce
The Cambridge CompanionJames JoyceEdited b y Derek AttridgeThe right of theUniversity of Cambridgeto print and sellall manner of bookswas granted byHenry VIII in 1534.The University has printedand published continuouslysince 1584.CAMBRIDGEUNIVERSITYCambridgeNew YorkMelbournePort ChesterSydneyPRESS
ContentsListof contributorspage v i iPrefaceixChronologyListof Joyce'slifexiof abbreviationsxivReading JoyceιDEREK ATTRIDGEJ o y c e the I r i s h m a nSEAMUS31DEANET h e E u r o p e a n b a c k g r o u n d of J o y c e ' s w r i t i n gKLAUS55REICHERTJ o y c e the ParisianJEAN-MICHELStephenHero,a Young Man:JOHN PAULDubliners,and A Portraitof the Artiststyles of realism a n d NEFinnegansWakeMARGOTNORRIS161J o y c e ' s shorter w o r k s185VICKI MAHAFFEYJ o y c e ' s text i n progressHANS WALTERGABLER213
viίοContentsJ o y c e a n d feminismKARENIiLAWRENCEJoyce, modernism, a n d eading283295
HANS9WALTERGABLERJoyce's text i n progressJames J o y c eclaimedhe l a c k e dimagination.H i s artistrycravedsupports a n d scaffolds: s t r u c t u r e s from w h i c h a n d into w h i c h to betextured.Joyce's conceptionof art r e a c h e d out a n d b a c k tom e d i e v a l . Setting u p the i l l u m i n a t o r s of the Book ofKellstheas h i s artisticancestors (JJ 545), h e s t r o v e for the i n t r i c a c y a n d significant c o m p l e x i t yof their d e s i g n i n the text of h i s w r i t i n g .I n , as w e l l as t o w a r d s , h i s compositional crafting, J o y c e w a s as m u c ha reader as a w r i t e r of texts. J e s u i t - t r a i n e d , he w a s t h o r o u g h l y schooledi n the r e a d i n g s k i l l s w h i c h h e e a r l y e x e r c i s e d w i t h catholicityont e x t b o o k s a n d d i c t i o n a r i e s , c u r r i c u l a r a n d e x t r a - c u r r i c u l a r literature,or the c a n o n i c a l Book o f B o o k s . T h r o u g h r e a d i n g , he penetrated to thep h i l o s o p h i c a l foundations of the act of r e a d i n g . 'Signatures o f all thingsI am here to r e a d , s e a s p a w n a n d s e a w r a c k , the n e a r i n g tide, that r u s t yboot' (U 3.2—3). A n t i c i p a t i n g long i n a d v a n c e the conceptualizations o fp r e s e n t - d a y text t h e o r y , h e d i s c o v e r e d the s t r u c t u r a l a n d semioticanalogies o f language-encodedtexts a n d e x p e r i e n c e - e n c o d e dreality;and, i n a desire l i k e S t e p h e n D e d a l u s ' s to grasp the w h o l e n e s s a n dh a r m o n y of t h i n g s (their integritasa n d consonantia)i l l u m i n a t i o n (their ' r a d i a n c e ' , or claritasfor the sake o f(P 212)), h e taught h i m s e l f toread streets a n d cities, landscapes, seashores or r i v e r s , people, actions,events, d r e a m s a n d memories, the r a n d o m n e s s o f e v e r y d a yor thepatterns (real or apparent) of h i s t o r y as texts i n t h e i r o w n right.L e a r n i n g to r e a d the w o r l d i n this w a y w a s a n act o f i n t e l l e c t u a l selfliberation, a n d r e a d i n g it i n this w a y a n e w e x p e r i e n c e .StephenDedalus, e x p l o i t i n g T h o m i s m for aesthetics a n d yet a w a i t i n g that n e we x p e r i e n c e ( ' W h e n w e come to the p h e n o m e n a o f artistic conception,artistic gestation a n d artistic r e p r o d u c t i o n I r e q u i r e a n e w terminologya n d a n e w p e r s o n a l e x p e r i e n c e ' (P 209)), m i r r o r s J a m e s J o y c e o n the213
214H A N SW A L T E RGABLERv e r y b r i n k of t u r n i n g reading into w r i t i n g . T o c i r c u m s c r i b e , and thusmake readable, the wholeness of things means to u n l o c k them, i n a k i n dof deconstruction, out of their apparently amorphous contingencies.S u c h u n l o c k i n g t u r n s into a morphologizing, or shaping, act. T h r o u g hthe constructive perception of things i n their radiant wholeness, itmakes them communicable, a n d thus writable. H e n c e springs a notionof w r i t i n g as a n act a n d process of transubstantiation ( ' I n the v i r g i nw o m b of the imagination the w o r d was made flesh' (P 217)). T h ealternating pulse, a n d impulse, of deconstructiveunlockingandconstructive shaping as reading a n d w r i t i n g is fundamental to Joyce'scraft a n d art. A s a governing p r i n c i p l e , not o n l y does it make availablethe external materials of literature a n d all manner of language-encodedpretexts, of history, autobiography, a n d e v e r y d a y experience so as torender them integrable into the t e x t - i n - w r i t i n g , the w o r k i n progress;but inside the b o u n d a r y lines, too, that separate J o y c e ' s text from allthe pre-texts it absorbs, that text itself may be seen to be propelled a n d thus, progressively self-generated - b y constant a n d continuousacts of reading a n d rereading.Notes, sketches,drafts,fair-copies, typescripts,a n d proofshaves u r v i v e d for J o y c e ' s entire ceuvre, albeit but fragmentarily for the earlyw o r k s , a n d w i t h increasing comprehensiveness o n l y frommid-Ulysseso n w a r d s . T h e s e w o r k s h o p remains are sufficiently r i c h a n d v a r i e d tosubstantiate our general understanding of his mode of composition.One p a r t i c u l a r l y illuminating instance of the complex interaction of thereading and the w r i t i n g processes c a n be made out i n the notes a n ddrafts for Exiles.A s u r v i v i n g notebook contains trial fragmentsofdialogue a n d a n u m b e r of passages of pragmatic, thematic, critical, a n dphilosophic reflection on the play, its actions, its characters and theirmotivations, as w e l l as on some of the audience responses envisaged;material w h i c h is all but u n i q u e from J o y c e ' s p e n .1Beyondthismaterial, there are three sections - interspersed among the rest, butclearly of a common nature that sets them off a n d l i n k s them to oneanother - w h i c h enact the reading a n d w r i t i n g itself. T h e first carriest w o initialized openings sequentially dated w h i c h also s u b d i v i d e it intoa reading a n d a w r i t i n g phase: 'N.(B) - 12 Nov. 1913' a n d 'N.(B) -13Nov. 1913'. T h e initials provide the signal justification for our decodingapproach: J o y c e ' s companion N o r a a n d the fictional character Berthastand to be read i n terms of each other.
J o y c e ' s text i n progress215U n d e r 12 November are listed three strings of notes w h i c h , exceptthat they are grouped u n d e r subheads ('Garter:', 'Rat:' a n d 'Dagger:'),thoroughly resemble the seemingly disjunct listings that s p r a w l i n g l ycover the UlyssesNotebooks.Notesheets,and endlessly fill the FinnegansWakeHere, the organizing principle of the notes seems tolerablyclear. T h e y read Nora u n d e r aspects potentially to be w r i t t e n into thefictionalcharacter, role, a n d relationships of Bertha i n the play. T h efirst string of notes r u n s : 'Garter: precious, Prezioso, B o d k i n , music,palegreen, bracelet, cream sweets, l i l y of the valley, convent garden(Galway), sea.'U n d e r 13 N o v e m b e r follows a prose passage i n four paragraphs.Progressively it incorporates these notes as jotted d o w n the previousday, w h i c h s h o w s it i n part to be generated from them. I n itself, itaccomplishes the reading of Nora a n d Bertha i n terms of each other i n amode of w r i t i n g w h i c h from notes t u r n s compositional a n d , as itunfolds, d r a w s i n an association of further pretextual significations. Itis a sufficiently unfamiliar piece of J o y c e a n prose to need citation i nfull:M o o n - S h e l l e y ' s g r a v e i n R o m e . H e is r i s i n g from it: b l o n d [.] S h e w e e p s forh i m . H e has fought i n v a i n for a n ideal a n d d i e d k i l l e d b y t h e w o r l d .Y e t h e rises. G r a v e y a r d at R a h o o n b y m o o n l i g h t w h e r e B o d k i n ' sg r a v e is. H e lies i n the g r a v e . S h e sees h i s t o m b (family v a u l t ) a n dw e e p s . T h e name is h o m e l y . S h e l l e y ' s is strange a n d w i l d . H e is d a r k ,u n r i s e n , k i l l e d b y l o v e a n d life, y o u n g . T h e earth h o l d s h i m .B o d k i n d i e d . K e a r n s d i e d . I n the c o n v e n t t h e y called h e r the m a n k i l l e r . ( W o m a n - k i l l e r w a s one o f h e r n a m e s for me.) I l i v e i n s o u l a n dbody.S h e is the e a r t h , d a r k , formless, mother, m a d e beautiful b y them o o n l i t night, d a r k l y c o n s c i o u s of h e r i n s t i n c t s . S h e l l e y w h o m sheh e l d i n h e r w o m b or g r a v e rises: the p a r t of R i c h a r d w h i c h neitherl o v e n o r life c a n do a w a y w i t h : the part for w h i c h she l o v e s h i m : thepart she m u s t t r y to k i l l , n e v e r be able to k i l l , a n d rejoice at h e rimpotence. H e r tears are o f w o r s h i p , M a g d a l e n seeing t h e r e a r i s e nL o r d i n the g a r d e n w h e r e H e h a d been l a i d i n the tomb. R o m e is thestrange w o r l d a n d strange life to w h i c h R i c h a r d brings h e r . R a h o o nh e r people. S h e w e e p s o v e r R a h o o n , too, o v e r h i m w h o m h e r l o v e hask i l l e d , the d a r k b o y w h o m , as the e a r t h , she e m b r a c e s i n death a n ddisintegration. H e is h e r b u r i e d life, h e r past. H i s attendant images arethe t r i n k e t s a n d t o y s of g i r l h o o d (bracelet, c r e a m sweets, palegreenl i l y o f t h e v a l l e y , the c o n v e n t g a r d e n ) . H i s s y m b o l s are m u s i c a n d the
2l6H A N SW A L T E RGABLERsea, l i q u i d formless earth i n w h i c h are b u r i e d the d r o w n e d soul a n db o d y . T h e r e are tears o f c o m m i s e r a t i o n . S h e is M a g d a l e n w h o w e e p sr e m e m b e r i n g the loves she c o u l d not r e t u r n .Palpably, the passage originates i n autobiographical memory, w h i c hyet i n the w r i t i n g at once acquires literary overtones i n the romanticconjunction of 'moon', 'Shelley's grave' and 'Rome' to w h i c h thatmemory has been atomized. It is the moonlight radiance of this initialromantic image w h i c h carries the w r i t i n g f o r w a r d . Strikingly, itexploits afluidity,e v e n indeterminacy of personal pronouns w h i c hm a y r e m i n d one of the calculated p r o n o u n indeterminacies of 'Penelope'. ' H e is rising from (the grave): blond [.] She w e e p s for h i m . ' I n onesentence, a reading of Nora's p r e s u m e d emotional response at the poet'sgraveside is projected into character behaviour a n d motivation for theBertha of Exiles:Bertha appears superimposed u p o n Nora. I n theprogress of thepassage,their compositeoverwrittenpre-textsof m y t hbyfigurea n d thebecomesBible. I n afurthercounter-movement, Shelley is erased a n d successively overlaid b y B o d k i n ,Kearns, I , a n d R i c h a r d . W a s a character named Kearns envisaged as thecounterpart i n Bertha's memories of M i c h a e l B o d k i n , the y o u n g m a nN o r a had k n o w n as a girl, a n d w h o s e early death a n d burial i n R a h o o ncemetery w e r e the basis for the story of M i c h a e l F u r e y i n ' T h e Dead'? I nthe p u b l i s h e d play, Bertha is not g i v e n a n I r i s h past, a n d hence does notw e e p over R a h o o n i n a r e w r i t i n g of previous readings of N o r a fromw i t h i n the J o y c e a n oeuvre.finishedT h e absence of this dimension from thetext w o u l d seem to represent the deliberate curtailment of apotential inherent i n the compositional w r i t i n g . A s the d e a t h - a n d resurrection imagery pervasive i n the notebook passage suggests, it isthe R o m a n exhilaration i n life w h i c h , e v e n from the poet's grave, raisesthe buried I r i s h past. A n extant set of draft fragments for Exilesshowsthat the autobiographical pre-text of the R o m a n experience passedthrough further rewritings that w e r e not i n the end incorporated i nthe p l a y .2W i t h them, the structuring of Bertha as a text of recedingexperiential memories w a s abandoned.T h e t w o related passages i n the notebook are each similarly prefixedb y strings of notes, i n a single a n d a double list respectively. T h e firstone is 'Blister - amber - silver - oranges - apples - sugarstick - hair spongecake - i v y - roses - r i b b o n ' a n d the second one ' S n o w : frost,moon, pictures, h o l l y a n d i v y , currant-cake, lemonade, E m i l y L y o n s ,
J o y c e ' s text i n progress217piano, w i n d o w s i l l ' , followed by 'tears: ship, sunshine, garden, sadness,pinafore, buttoned boots, bread and butter, a big fire'. T h e written-outprose sections that i n each case follow do not acquire the multiplicity ofpre-text reference, nor do they move the pre-text ' N o r a ' as far towardsthe text ' B e r t h a ' , as does the 'Ν.(Β.)' passage of 13 November. Yet theyreveal w i t h greater stringency the functional interrelation of a record ofreading (the notes) w i t h the compositional w r i t i n g w h i c h that recordgenerates.T h e w r i t i n g allows us to infer that the notes,again,' d e c o n s t r u c t ' a biographical pre-text. A t the same time, the w r i t i n gclearly does not w r i t e these notes back into the text from w h i c h itderives; it cannot, for example, be read as a straight, let alone simple,retelling of the pre-text story. Instead, the notes represent concaten ations of 'germs' - as H e n r y James w o u l d have called them w h i c h autonomoustexts originate.T h e autonomy,andfromincipientoriginality, of these texts - the fact that they m a y p r o p e r l y be said to begenerated from the notes - is measurable b y the distance they moveb e y o n d narration. W h a t discernible telling there is i n the expansion ofi n d i v i d u a l k e y - w o r d notes into narrative becomes subordinated to, asit is immediately overlaid by, w r i t e r l y reflection o n the 'flow of ideas',o n modesof memory,mental processes, emotions,psychologicalmotivation a n d repression, or the overt or h i d d e n significance ofbehaviour.T h e process of transforming reading into w r i t i n g is laid open here asa labour of interpretation holding a potential for artistic creation w h i c hat a n y moment may become actualized i n 'original' prose. S u c h creativetransubstantiation of the notes, it is true, occurs o n l y intermittently i nthese passages w h i c h , after all, remain notebook entries. Yet otesegment' i v y - roses - r i b b o n ' i n the subsequent w r i t i n g :Ivy and roses: she gathered ivy often when out in the evening with girls. Rosesgrew then. A sudden scarlet side in the memory which may be a dimsuggestion of the roses of the body. The ivy and the roses carry on and up outof the idea of growth, through a creeping vegetable life into ardent perfumedflower life the symbol of mysteriously growing girlhood, her hair. Ribbon forher hair. Its fitting ornament for the eyes of others, and lastly for his eyes.Girlhood becomes virginity and puts on 'the snood that is the sign ofmaidenhood'. A proud and shy instinct turns her mind away from theloosening of her bound-up hair - however sweet or longed for or inevitable and she embraces that which is hers alone and not hers and his also -
2l8H A N SW A L T E RGABLERThese eight sentences progress from a recall of a biographical g i v e nto the creation, v i a image a n d s y m b o l , of the changing attitudes a n dmoods of a y o u n g w o m a n , w h o thereby - that is, by the constituentpower of language -becomes imaginatively outlined as afictionalcharacter. I n the language itself, the transition is effected b y a manner(or mannerism) of style that bears the h a l l m a r k of the James J o y c e w h owrote the fourth chapter of A PortraitGiacomoof the ArtistJoyce - or, indeed, the poems of Chamberas a YoungMusic.that is the sign of maidenhood' comes from ChamberMan,' T h e snoodMusic,x i . Itparallels 'She weeps over R a h o o n ' i n the preceding passage, the title of apoem w h i c h , though not p u b l i s h e d u n t i l 1927 i n Pomes Penyeach,wasw r i t t e n i n 1913. T h e retextualization of pre-text from the ceuvreisa n y t h i n g but a n accident. O n the contrary, it exemplifies one o f themost significant, as w e l l as one of the earliest a n d most persistent,among J o y c e ' s authorial strategies.J o y c e tested his p o w e r s of s t r u c t u r i n g experience into language i n theprose miniatures he wrote before 1904 a n d called ' e p i p h a n i e s ' . W h i l e3not the i n v e n t o r of the genre, J o y c e i n adopting the e p i p h a n i c modedeveloped it a n d soon raised it to a significance w i t h i n the e v o l v i n gsystem of his aesthetics that has caused the idea of the e p i p h a n y tobecome largely associated w i t h his name. W i t h i n the period o f his m a i ndevotion to the form, a dialogue, or 'dramatic', type of e p i p h a n yappears to be followed b y a set-piece-of-prose, or 'narrative', type; it isthe latter type w h i c h resurfaces ten years later i n the collection of proseminiatures entitled Giacomo Joyce. T h e dialogue epiphanies w o u l d seemto be strict records of observation a n d listening; the set-piece-of-proseepiphanies, by contrast, s h o w increasing w r i t e r l y concerns. I f thedialogues are dominantly records of observational 'reading', the setpiece miniatures t u r n into w r i t i n g s of events, visions, or dreams.W h e n J o y c e embarked u p o n his first novel, e v e n t u a l l yp u b l i s h e d as A Portrait,tobehe used the e p i p h a n y texts as pre-texts fromw i t h i n his o w n ceuvre. T h e s u r v i v i n g epiphanies i n holograph fair c o p ycarry on their versos the vestiges of a sequential n u m b e r i n g . U n i f o r m asit is, it gives no indication of representing the order of composition.Instead, e v i d e n t l y post-dating the fair-copying, it implies a rereadingof the accumulated e p i p h a n y manuscripts, w h i c h resulted i n a selectiona n d serial l i n k i n g of discrete items. T h e i r serial contextualizationacquires narrative potential. O r d e r e d into a sequence, the selected
J o y c e ' s text i n progress219e p i p h a n i e s form the substratum of a story to be generated from them.T h e barest structure of epiphanies t u r n e d b yconcatenationinton a r r a t i v e m a y be exemplified from a brief section i n part π ofPortrait.AA string of three epiphanies, each beginning ' H e w a s sitting'( P 6 7 - 8 ) , tells of Stephen's visits to relatives a n d c o n v e y s the thematicmotif of the squalor a n d insincerity he encounters. B y w a y of therereadingi m p l i e d i n theordering of p r e - w r i t t e nunits oftext,e x p e r i e n c e s w i t h a n ultimate origin i n the author's life become b r u s h strokes i n the emerging portrait of the artist as a y o u n g man.T h e a u t h o r ' s life as a pre-text is, through i n t e r v e n i n g reading a n dw r i t i n g processes, several times removed from the text of AT h e pre-text from w i t h i n the ceuvre w h i c h A Portraitexploits is StephenHero,Portrait.most p e r v a s i v e l ythe n o v e l p l a n n e d to extend to sixty-threechapters, y e t abandoned after the completion of twenty-five chapterso n n i n e h u n d r e d a n d fourteen m a n u s c r i p t pages. T h e few p l a n n i n g4notes that s u r v i v e for StephenHeroemphasize a n organization ofautobiographic pre-text to render it available for the fictional narrative.T o w a r d s A Portrait,StephenHero i n its t u r n served as a notebook a n dq u a r r y for w o r d s a n d phrases, chara
The Cambridge Companion James Joyce Edited by Derek Attridge The right of the University of Cambridge to print and sell all manner of books was granted by Henry VIII in 1534. The University has printed and published continuously since 1584. CAMBRIDGE UNIVERSITY PRESS Cambridge New York Port Chester Melbourne Sydney
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