Stephen contemplates the horror of a visit to his Aunt Sara and Uncle Richie’s house. We discuss parallels in this scene with Joyce’s real life aunt and uncle, why Joyce’s Aunt Josephine gave away her first edition of Ulysses, the intractable Dubliner/culchie divide, middle class pretension, Hiberno-English, Wilde’s Requiescat, and the difficulty of parsing conversations written in Joyce’s signature stream of consciousness.
Real talk: why are there no seagulls on Sandymount Strand on Bloomsday? Have we stumbled onto a historical seagull-based conspiracy? Stay tuned to find out! Additionally, we’ll also continue discussing how Stephen’s walk on the beach is influenced by Berkeleyan idealism, Stephen’s perception of space and time, how blind people perceive the world and the Demiurge.
Is the mouth south someway? Or the south a mouth? – Stephen Dedalus
This is a post in a series called Decoding Dedalus where I take a passage of Ulysses and break it down line by line.
The passage below comes from “Proteus,” the third episode of Ulysses. It appears on pages 47-48 in my copy (1990 Vintage International). We’ll be looking at the passage that begins “A side eye…” and ends “… the library counter.”
In “Proteus,” James Joyce associated the color green with creation. We find green, and by extension creativity, reflected in the seaweed strewn across the strand, in Stephen’s memory of Kevin Egan’s absinthe and, direct from Cock lake, in Stephen’s urine. Thus far on June the sixteenth, Stephen has struggled to exercise his artistic creativity, instead disrupted by the crass Buck Mulligan, the gormless Haines and the calcified Mr. Deasy. Left to his own devices on Sandymount Strand, Stephen is finally stirred to claim his birthright as an Artist:
A side eye at my Hamlet hat. If I were suddenly naked here as I sit? I am not.
As the cocklepickers pass Stephen by, he is first stirred by a different kind of “creative” inspiration. Previously he had let his imagination run wild, imagining the couple to be a pimp and a prostitute scamming the wealthy men of Dublin. Stephen speculates that his Parisian fashion statement has caught the woman’s eye. The Latin Quarter hat has transformed, in accordance with the protean nature of all things found on Sandymount Strand, into a Hamlet hat. “Latin Quarter hat” is a Mulligan-ism, a phrase used to mock Stephen’s attachment to the trappings of his previous faux-hemian surroundings. Here, Stephen is gaining a bit of agency, at the very least dictating the nickname of his hat. More importantly, he is naming his role in the “story” of his life. He is Hamlet, the aggrieved Prince of Denmark. Usurpers, beware.
A lifelong lover of the works of Joyce, Steve Carey is an organizer of the Bloomsday celebration in Melbourne, Australia. He chats with Kelly about (briefly) meeting Richard Ellmann, the joys and travails of adapting Ulysses for the stage, a heroic battle over trousers in Tom Stoppard’s Travesties, and how to get a period hearse for your Bloomsday procession. This episode is not to be missed!
Maud Gonne, beautiful woman, La Patrie, M. Millevoye, Felix Faure, know how he died?
Maud Gonne’s name appears in Ulysses’ third episode, Proteus, as Stephen rummages through his recollections of his brief sojourn in Paris. Though Gonne did reside in Paris in the early 1900’s, she never met James Joyce (or Stephen Dedalus), but their non-meeting had long lasting effects on James Joyce, though he may have never realized it.
The life of Maud Gonne is often told in close proximity to the men she knew, and since my blog is about James Joyce, her story will be framed by its brief overlap with Joyce’s. However, before we dive into that, I’d like to give space to her biography, warts and all.
Joyce and Maud Gonne never met, though Yeats provided her contact information to Joyce before he left for Paris in 1902. She was living in the city at the time and could be a helpful contact there. Joyce called on her, but was turned away by the concierge. Gonne was nursing her niece who was sick with diphtheria and was under a quarantine as a result. She wrote him a gracious apology letter and offered to meet him post-quarantine. Joyce, ever prickly, took this as a slight and never followed up, though it may have been due to embarrassment about his shabby appearance due to the extreme poverty he experienced during those months. It seems like an episode barely worth mentioning, but as we’ll see, it may have had some long-term consequences.
So, who exactly was Maud Gonne and why are we talking about her?
A super-sized Blooms and Barnacles! Dick is a friend of Kelly’s and Dermot’s who is a lover of Ulysses and the music found throughout the novel. Dick talks about some of his favorite songs that play a role in Ulysses and the history behind them. We also chat about the use of music in “The Dead,” the final story in The Dubliners. And because we’ve never met a tangent we didn’t like, we also talk (briefly) about Dick’s time in Turkey, Stephen’s lost faith, Dick’s love of the opera, and grieving over tragedies that happened many generations ago.
In this episode we tackle the falling out between James Joyce and Oliver St John Gogarty, the origins of the character Buck Mulligan, what really happened in the Martello tower, blasphemous poetry and how Joyce found his sense of humor.
To put it nicely, James Joyce was a prickly pear. It’s well known that he left Dublin for continental Europe in 1904, never to return. His exile was self-imposed, but that didn’t stop him from metaphorically backing out of the room with two middle fingers raised. This reaction was simultaneously over-the-top and kind of justified. Joyce struggled to find his place amongst the literary set in Dublin because his own ego was frequently a major stumbling block. In fact, Joyce had a track record of throwing down poetically when things didn’t go his way. Joyce’s angry poetry reveals a lot about his personality and worldview, and since Ulysses is heavily autobiographical, it can help us understand where Joyce’s head was when he was constructing the oft unflattering portrayals of his friends in his novel.
The Holy Office
In order to understand this poem, we need to take a look at Joyce’s relationship with the movers and shakers behind the Irish Literary Revival underway in the early twentieth century. Often associated with people like W.B. Yeats, Lady Gregory and John M. Synge, this movement is associated with a flowering of Irish talent and a promotion of Irish traditional culture and nationalism. Though Joyce’s poetry is arguably in line with the style of the time, he felt that he was left behind by the literary bigwigs of his day.