ames Joyce

From Wikipedia, the free encyclopedia

This article is about the 20th-century writer. For other people with the same name, see James Joyce
(disambiguation).



Joyce in Zurich, c. 1918
James Augustine
[1]
Aloysius Joyce (2 February 1882 13 January 1941) was an Irish novelist and poet,
considered to be one of the most influential writers in the modernist avant-garde of the early 20th century.
Joyce is best known for Ulysses (1922), a landmark work in which the episodes of Homer's Odyssey are
paralleled in an array of contrasting literary styles, perhaps most prominent among these the stream of
consciousness technique he perfected. Other major works are the short-story collection Dubliners (1914), and
the novelsA Portrait of the Artist as a Young Man (1916) and Finnegans Wake (1939). His completeoeuvre also
includes three books of poetry, a play, occasional journalism, and his published letters.
Joyce was born into a middle class family in Dublin, where he excelled as a student at the Jesuit
schools Clongowes and Belvedere, then at University College Dublin. In his early twenties he emigrated
permanently to continental Europe, living in Trieste, Paris and Zurich. Though most of his adult life was spent
abroad, Joyce's fictional universe does not extend far beyond Dublin, and is populated largely by characters
who closely resemble family members, enemies and friends from his time there; Ulysses in particular is set with
precision in the streets and alleyways of the city. Shortly after the publication of Ulysses he elucidated this
preoccupation somewhat, saying, "For myself, I always write about Dublin, because if I can get to the heart of
Dublin I can get to the heart of all the cities of the world. In the particular is contained the universal."
[2]

Major works[edit]
Dubliners[edit]
Main article: Dubliners


The title page of the first edition of Dubliners
Joyce's Irish experiences constitute an essential element of his writings, and provide all of the settings for
his fiction and much of its subject matter. His early volume of short stories, Dubliners, is a penetrating
analysis of the stagnation and paralysis of Dublin society. The stories incorporateepiphanies, a word used
particularly by Joyce, by which he meant a sudden consciousness of the "soul" of a thing.
A Portrait of the Artist as a Young Man[edit]
Main article: A Portrait of the Artist as a Young Man
A Portrait of the Artist as a Young Man is a nearly complete rewrite of the abandoned novel Stephen
Hero. Joyce attempted to burn the original manuscript in a fit of rage during an argument with Nora,
though to his subsequent relief it was rescued by his sister. A Knstlerroman, Portrait is a heavily
autobiographical
[43]
coming-of-age novel depicting the childhood and adolescence of protagonistStephen
Dedalus and his gradual growth into artistic self-consciousness. Some hints of the techniques Joyce
frequently employed in later works, such as stream of consciousness, interior monologue, and references
to a character's psychic reality rather than to his external surroundings, are evident throughout this
novel.
[44]
Joseph Strick directed a film of the book in 1977 starring Luke Johnston, Bosco Hogan, T. P.
McKenna and John Gielgud.
Exiles and poetry[edit]
Main articles: Pomes Penyeach and Chamber Music (book)
Despite early interest in the theatre, Joyce published only one play, Exiles, begun shortly after the
outbreak of World War I in 1914 and published in 1918. A study of a husband and wife relationship, the
play looks back to The Dead (the final story in Dubliners) and forward to Ulysses, which Joyce began
around the time of the play's composition.
Joyce also published a number of books of poetry. His first mature published work was the satirical
broadside "The Holy Office" (1904), in which he proclaimed himself to be the superior of many prominent
members of the Celtic revival. His first full-length poetry collectionChamber Music (referring, Joyce
explained, to the sound of urine hitting the side of a chamber pot) consisted of 36 short lyrics. This
publication led to his inclusion in the Imagist Anthology, edited by Ezra Pound, who was a champion of
Joyce's work. Other poetry Joyce published in his lifetime includes "Gas From A Burner" (1912), Pomes
Penyeach (1927) and "Ecce Puer" (written in 1932 to mark the birth of his grandson and the recent death
of his father). It was published by the Black Sun Press in Collected Poems (1936).
Ulysses[edit]
Main article: Ulysses (novel)


Announcement of the initial publication of Ulysses.
As he was completing work on Dubliners in 1906, Joyce considered adding another story featuring a
Jewish advertising canvasser called Leopold Bloom under the title Ulysses. Although he did not pursue
the idea further at the time, he eventually commenced work on a novel using both the title and basic
premise in 1914. The writing was completed in October 1921. Three more months were devoted to
working on the proofs of the book before Joyce halted work shortly before his self-imposed deadline, his
40th birthday (2 February 1922).
Thanks to Ezra Pound, serial publication of the novel in the magazine The Little Review began in 1918.
This magazine was edited by Margaret Anderson and Jane Heap, with the backing of John Quinn, a New
York attorney with an interest in contemporary experimental art and literature. Unfortunately, this
publication encountered censorship problems in the United States; serialisation was halted in 1920 when
the editors were convicted of publishing obscenity.
[45]
Although the conviction was based on the
Nausica episode of Ulysses, The Little Review had fuelled the fires of controversy with dada poet Elsa
von Freytag-Loringhovens defence of Ulysses in an essay The Modest Woman.
[46]
Joyce's novel was
not published in the United States until 1933.
[47]

Partly because of this controversy, Joyce found it difficult to get a publisher to accept the book, but it was
published in 1922 by Sylvia Beach from her well-known Rive Gauche bookshop, Shakespeare and
Company. An English edition published the same year by Joyce's patron, Harriet Shaw Weaver, ran into
further difficulties with the United States authorities, and 500 copies that were shipped to the States were
seized and possibly destroyed. The following year, John Rodker produced a print run of 500 more
intended to replace the missing copies, but these were burned by English customs at Folkestone. A
further consequence of the novel's ambiguous legal status as a banned book was that a number of
"bootleg" versions appeared, most notably a number of pirate versions from the publisher Samuel Roth.
In 1928, a court injunction against Roth was obtained and he ceased publication.
With the appearance of both Ulysses and T. S. Eliot's poem, The Waste Land, 1922 was a key year in the
history of English-language literary modernism. In Ulysses, Joyce employs stream of consciousness,
parody, jokes, and virtually every other established literary technique to present his characters.
[48]
The
action of the novel, which takes place in a single day, 16 June 1904, sets the characters and incidents of
the Odyssey of Homer in modern Dublin and
represents Odysseus (Ulysses), Penelope and Telemachus in the characters of Leopold Bloom, his
wife Molly Bloom and Stephen Dedalus, parodically contrasted with their lofty models. The book explores
various areas of Dublin life, dwelling on its squalor and monotony. Nevertheless, the book is also an
affectionately detailed study of the city, and Joyce claimed that if Dublin were to be destroyed in some
catastrophe it could be rebuilt, brick by brick, using his work as a model.
[49]
To achieve this level of
accuracy, Joyce used the 1904 edition of Thom's Directorya work that listed the owners and/or tenants
of every residential and commercial property in the city. He also bombarded friends still living there with
requests for information and clarification.


Joyce talking with publishers Sylvia Beach and Adrienne Monnier atShakespeare & Co., Paris, 1920
The book consists of 18 chapters, each covering roughly one hour of the day, beginning around 8 a.m.
and ending sometime after 2 a.m. the following morning. Each chapter employs its own literary style, and
parodies a specific episode in Homer's Odyssey. Furthermore, each chapter is associated with a specific
colour, art or science, and bodily organ. This combination of kaleidoscopic writing with an extreme formal
schematic structure renders the book a major contribution to the development of 20th-century modernist
literature.
[50]
The use of classical mythology as an organising framework, the near-obsessive focus on
external detail, and the occurrence of significant action within the minds of characters have also
contributed to the development of literary modernism. Nevertheless, Joyce complained that, "I may have
oversystematised Ulysses," and played down the mythic correspondences by eliminating the chapter
titles that had been taken from Homer.
[51]

Finnegans Wake[edit]
Main article: Finnegans Wake

Joyce as depicted on the Irish 10 banknote, issued 19932002
Having completed work on Ulysses, Joyce was so exhausted that he did not write a line of prose for a
year.
[52]
On 10 March 1923 he informed a patron, Harriet Weaver: "Yesterday I wrote two pagesthe first
I have since the final Yes of Ulysses. Having found a pen, with some difficulty I copied them out in a large
handwriting on a double sheet of foolscap so that I could read them. Il lupo perde il pelo ma non il vizio,
the Italians say. 'The wolf may lose his skin but not his vice' or 'the leopard cannot change his
spots.'"
[53]
Thus was born a text that became known, first, as Work in Progress and later Finnegans Wake.
By 1926 Joyce had completed the first two parts of the book. In that year, he met Eugene and Maria Jolas
who offered to serialise the book in their magazine transition. For the next few years, Joyce worked
rapidly on the new book, but in the 1930s, progress slowed considerably. This was due to a number of
factors, including the death of his father in 1931, concern over the mental health of his
daughter Lucia and his own health problems, including failing eyesight. Much of the work was done with
the assistance of younger admirers, including Samuel Beckett. For some years, Joyce nursed the
eccentric plan of turning over the book to his friend James Stephens to complete, on the grounds that
Stephens was born in the same hospital as Joyce exactly one week later, and shared the first name of
both Joyce and of Joyce's fictional alter-ego, an example of Joyce's superstitions.
[54]

Reaction to the work was mixed, including negative comment from early supporters of Joyce's work, such
as Pound and the author's brother, Stanislaus Joyce.
[55]
To counteract this hostile reception, a book of
essays by supporters of the new work, including Beckett,William Carlos Williams and others was
organised and published in 1929 under the title Our Exagmination Round His Factification for
Incamination of Work in Progress. At his 57th birthday party at the Jolases' home, Joyce revealed the
final title of the work andFinnegans Wake was published in book form on 4 May 1939. Later, further
negative comments surfaced from doctor and author Hervey Cleckley, who questioned the significance
others had placed on the work. In his book, The Mask of Sanity, Cleckley refers toFinnegans Wake as "a
628-page collection of erudite gibberish indistinguishable to most people from the familiar word salad
produced by hebephrenic patients on the back wards of any state hospital."
[56]

Joyce's method of stream of consciousness, literary allusions and free dream associations was pushed to
the limit in Finnegans Wake, which abandoned all conventions of plot and character construction and is
written in a peculiar and obscure language, based mainly on complex multi-level puns. This approach is
similar to, but far more extensive than that used by Lewis Carroll in Jabberwocky. This has led many
readers and critics to apply Joyce's oft-quoted description in the Wake of Ulysses as his "usylessly
unreadable Blue Book of Eccles"
[57]
to the Wake itself. However, readers have been able to reach a
consensus about the central cast of characters and general plot.
Much of the wordplay in the book stems from the use of multilingual puns which draw on a wide range of
languages. The role played by Beckett and other assistants included collating words from these
languages on cards for Joyce to use and, as Joyce's eyesight worsened, of writing the text from the
author's dictation.
[58]

The view of history propounded in this text is very strongly influenced by Giambattista Vico, and the
metaphysics of Giordano Bruno ofNola are important to the interplay of the "characters." Vico propounded
a cyclical view of history, in which civilisation rose from chaos, passed through theocratic, aristocratic, and
democratic phases, and then lapsed back into chaos. The most obvious example of the influence of
Vico's cyclical theory of history is to be found in the opening and closing words of the book. Finnegans
Wake opens with the words "riverrun, past Eve and Adam's, from swerve of shore to bend of bay, brings
us by a commodius vicus of recirculation back to Howth Castle and Environs." ("vicus" is a pun on Vico)
and ends "A way a lone a last a loved a long the." In other words, the book ends with the beginning of a
sentence and begins with the end of the same sentence, turning the book into one great cycle.
[59]
Indeed,
Joyce said that the ideal reader of the Wake would suffer from "ideal insomnia"
[60]
and, on completing the
book, would turn to page one and start again, and so on in an endless cycle of reading.
Legacy[edit]


Statue of James Joyce on North Earl Street, Dublin.
Joyce's work has been subject to intense scrutiny by scholars of all types. He has also been an important
influence on writers and scholars as diverse as Samuel Beckett,
[61]
Sen Rordin,
[62]
Jorge Luis
Borges,
[63]
Flann O'Brien,
[64]
Salman Rushdie,
[65]
Robert Anton Wilson,
[66]
John Updike,
[67]
David
Lodge
[68]
and Joseph Campbell.
[69]
Ulysses has been called "a demonstration and summation of the entire
[Modernist] movement".
[70]
French literary theorist Julia Kristvacharacterised Joyce's novel writing as
"polyphonic" and a hallmark of postmodernity alongside poetsMallarm and Rimbaud.
[71]

Some scholars, most notably Vladimir Nabokov, have mixed feelings on his work, often championing
some of his fiction while condemning other works. In Nabokov's opinion, Ulysses was
brilliant,
[72]
Finnegans Wake horrible
[73]
an attitude Jorge Luis Borges shared.
[74]

Joyce's influence is also evident in fields other than literature. The sentence "Three quarks for Muster
Mark!" in Joyce's Finnegans Wake
[75]
is the source of the word "quark", the name of one of theelementary
particles, proposed by the physicist, Murray Gell-Mann in 1963.
[76]
The French philosopher Jacques
Derrida has written a book on the use of language in Ulysses, and the American philosopher Donald
Davidson has written similarly on Finnegans Wake in comparison with Lewis Carroll.
Psychoanalyst Jacques Lacan used Joyce's writings to explain his concept of the sinthome. According to
Lacan, Joyce's writing is the supplementary cord which kept Joyce from psychosis.
[77]

In 1999, Time Magazine named Joyce one of the 100 Most Important People of the 20th century,
[78]
and
stated; "Joyce ... revolutionised 20th century fiction".
[79]
In 1998, the Modern Library, US publisher of
Joyce's works, ranked Ulysses No. 1, A Portrait of the Artist as a Young Man No. 3, andFinnegans
Wake No. 77, on its list of the 100 best English-language novels of the 20th century.
[80]

The work and life of Joyce is celebrated annually on 16 June, Bloomsday, in Dublin and in an increasing
number of cities worldwide, and critical studies in scholarly publications, such as theJames Joyce
Quarterly, continue. Both popular and academic uses of Joyce's work were hampered by restrictions
placed by Stephen J. Joyce, Joyce's grandson and executor of his literary estate.
[81]
On 1 January 2012,
those restrictions were lessened by the expiry of copyright protection for much of the published work of
James Joyce.
[82][83]

A Portrait of the Artist as a Young Man
From Wikipedia, the free encyclopedia
A Portrait of the Artist as a Young Man

Cover to the first edition, B. W. Huebsch, 1916
Author James Joyce
Language English
Genre Novel
Publication date
29 December 1916
A Portrait of the Artist as a Young Man is the first novel of Irish writer James Joyce. AKnstlerroman in
a modernist style, it traces the intellectual and religio-philosophical awakening of young Stephen Dedalus, a
fictional alter ego of Joyce and an allusion toDaedalus, the consummate craftsman of Greek mythology.
Stephen questions and rebels against the Catholic and Irish conventions under which he has grown, and
culminates with his self-exile from Ireland in Europe. The work uses techniques that Joyce developed more
fully in Ulysses (1922) and Finnegans Wake (1939).
A Portrait began life in 1903 as Stephen Heroa projected 63-chapter autobiograhical novel in a realistic style.
After 25 chapters, Joyce abandoned Stephen Hero in 1907 and set to reworking its themes and protagonist into
a condensed five-chapter novel, dispensing with strict realism and making extensive use of free indirect
speech that allowed the reader to peer into Stephen's developing consciousness. American modernist
poet Ezra Pound had the novel serialized in the English literary magazine The Egoist in 1914 and 1915, and
published as a book in 1916 by B. W. Huebsch of New York. The publication of A Portrait and the short story
collection Dubliners (1914) earned Joyce a place at the forefront of literary modernism.
Contents
[hide]
1 Background
2 Composition
3 Publication history
4 Synopsis
5 Style
6 Analysis
o 6.1 Autobiography
7 Reception
8 Adaptations
9 Notes
10 References
o 10.1 Works cited
11 Further reading
12 External links
Background[edit]


James Joyce in 1915
Born to a middle-class family in Dublin, Ireland, James Joyce (18821941) excelled as a student, graduating
from University College Dublin in 1902. He moved to Paris to study medicine, but soon gave it up. He returned
to Ireland at his family's request as his mother was dying of cancer; despite her pleas, the impious Joyce and
his brother Stanislaus refused to make confession or take communion, and when she passed into a coma
refused to kneel and pray for her. He took jobs teaching, singing, and reviewing books while drinking
heavily.
[citation needed]

Joyce made his first attempt at a novel, Stephen Hero, in early 1904. That June he met Nora Barnacle, with
whom he eloped to Europe, first staying in Zrich before settling for ten years inTrieste in Austria-Hungary,
teaching English. There, Nora gave birth to their children George in 1905 and Lucia in 1907, and Joyce wrote
fiction, signing some of his early essays and stories "Stephen Daedalus"; the short stories he wrote were to
make up Dubliners (1914). He reworked the core themes of the novel Stephen Hero he had begun in Ireland in
1904 and abandoned in 1907 into A Portrait, published in 1916, a year after moving back to Zrich in the midst
of World War I.
[citation needed]

Composition[edit]
Et ignotas animum dimittit in artes.
("And he turned his mind to unknown arts.")
Ovid, Epigraph to A Portrait of the Artist as a Young Man
[1]

At the request of its editors, Joyce submitted a work of philosophical fiction entitled "A Portrait of the Artist" to
the Irish literary magazine Dana on 7 January 1904.
[2]
Dana editor W. K. Magee rejected it, telling Joyce, "I
can't print what I can't understand."
[3]
On his 22nd birthday, 2 February 1904, Joyce began a realist
autobiographical novel, Stephen Hero, that incorporated aspects of the aesthetic philosophy expounded in "A
Portrait".
[4]
He worked on the book until mid-1905 and brought the manuscript with him when he moved to
Trieste that year. Though his main attention turned to the stories that were to make up Dubliners, Joyce
continued work onStephen Hero. At 914 manuscript pages, Joyce considered the book about half-finished
having completed 25 of its 63 intended chapters.
[5]
In September 1907 he abandoned this work and began a
complete revision of the text and its structure which would become A Portrait of the Artist as a Young Man.
[6]
By
1909, the work had taken shape and Joyce showed some of the draft chapters to Ettore Schmitz, one of his
language students, as an exercise. Schmitz, himself a respected writer, was impressed and under his
encouragement Joyce continued work on the book. In 1911, Joyce flew into a fit of rage over the continued
refusals by publishers to print Dubliners and threw the manuscript of Portrait into the fire. This was saved by a
"family fire brigade" including of his sister Eileen.
[7]

[6][a]
Chamber Music, book of Joyce's poetry, came into print
in 1907.
[8]

Joyce showed, in his own words, "a scrupulous meanness" in his use of materials for the book. He recycled the
two earlier attempts at explaining his aesthetics and youth, A Portrait of the Artist and Stephen Hero, as well as
his notebooks from Trieste concerning the Thomist philosophy expounded in the book, into five carefully paced
chapters.
[9]
Whilst Stephen Hero is written from the point of view of an omniscient third person narrator, Joyce
adopts the free indirect style in Portrait, a change which reflects the moving of the narrative centre of
consciousness firmly and uniquely onto Stephen. Persons and events take their significance from Stephen and
are perceived from his point of view.
[10]
The stylistic and structural changes laid down with careful selection by
Joyce. Characters and places are no longer mentioned simply because the young Joyce had known them.
Salient details are carefully chosen and compressed into the aesthetic pattern of the novel.
[11]

Publication history[edit]


Ezra Pound had A Portraitbrought into print.
In 1913, Irish poet W. B. Yeats recommended Joyce's work to avant-garde American poet Ezra Pound,
who was assembling a poetry anthology. Pound wrote to Joyce,
[12]
and in 1914, Joyce submitted the first
chapter of the unfinished Portrait to Pound, who was so taken with it that he pressed to have the work
serialized in the London literary magazine The Egoist. Joyce hurried to complete the novel,
[2]
and from 2
February 1914 to 1 September 1915 it appeared in The Egoist in twenty-five instalments.
[13]

There was difficulty finding an English publisher for the finished novel, so Pound arranged for its
publication by American publishing house B. W. Huebsch, who printed it 29 December 1916.
[2]
Egoist
Press republished it in England 12 February 1917, and Jonathan Cape took over its publication in
1924. Viking Press issued a corrected version in 1964 overseen by Chester Anderson,
and Garland released a copy-text edition by Hans Walter Gabler in 1993.
[13]

Synopsis[edit]
Once upon a time and a very good time it was there was a moocow coming down along the road and this
moocow that was coming down along the road met a nicens little boy named baby tuckoo ...
His father told him that story: his father looked at him through a glass: he had a hairy face.
He was baby tuckoo. The moocow came down the road where Betty Byrne lived: she sold lemon platt.
James Joyce, Opening to A Portrait of the Artist as a Young Man
The early youth of Stephen Dedalus is recounted at a vocabulary level of Stephen's own as he grows, in
a voice not his own but sensitive to his feelings. The reader experiences Stephen's fears and
bewilderment as he comes to terms with the world
[14]
in a series of disjointed episodes.
[15]
Stephen
attends school at Jesuit-run Clongowes Wood College, where the apprehensive, intellectually gifted boy
suffers the ridicule of his classmates while he learns the schoolboy codes of behaviour. While he cannot
grasp their significance, at a Christmas dinner he is witness to the social, political, and religious tensions
in Ireland involving Charles Stewart Parnell that drives bitter wedges between members of his family,
leaving Stephen with doubts over which social institutions he can place his faith in.
[16]
Back at Clongowes,
word spreads that a number of older boys have been caught "smugging"; discipline is tightened, and the
Jesuits increase use of corporal punishment. Stephen is strapped when one of his instructors believes he
has broken his glasses to avoid studying; prodded by his classmates, Stephen works up the courage to
complain to the rector Father Conmee, who assures him there will be no such recurrence, leaving
Stephen with a sense of triumph.
[17]

Stephen's father's debts see the family to Dublin proper, and Stephen realizes he will likely not return to
Clongowes. Thanks to a scholarship obtained for him by Father Conmee, Stephen is able to
attend Belvedere College, where he excels academically and becomes a class leader.
[18]
Stephen
squanders a large cash prize from school, and begins to see prostitutes, as a distance grows between
him and his drunken father.
[19]



Stephen Dedalus has an aesthetic epiphany along Dollymount Strand.
As Stephen abandons himself to sensual pleasures, his class is taken on a religious retreat, where the
boys sit through sermons;
[20]
Stephen pays especial attention to those on pride, guilt, punishment, and
the Last Judgment. He feels the words directed at himself, and overwhelmed comes to desire
forgiveness. Overjoyed at his return to the Church, he devotes himself to acts of repentance, though they
soon devolve to mere acts of routine with his thoughts elsewhere than on spiritual matters. His devotion
comes to the attention of the Jesuits, and they encourage him to consider entering the Jesuit
priesthood.
[21]
Stephen takes time to consider, during which he has a crisis of faith, a conflict between his
spiritual beliefs and his aesthetic ambitions. Along Dollymount Strand he spots a girl wading, and has an
epiphany in which he is overcome with the desire to find a way to express her beauty with his writing.
[22]

While a student at University College Dublin, Stephen grows increasingly wary of the institutions around
himChurch, school, politics, and family. In the midst of the disintegration of his family's fortunes, his
father berates him and his mother urges him to return to the Church.
[23]
An increasingly dry, humourless
Stephen explains his alienation from the Church and the aesthetic theory he has developed to friends,
who find they cannot accept Stephen's positions.
[24]
Ireland, Stephen comes to realize, is too restricted to
allow him to express himself fully as an artisthe will have to leave, he decides, and sets his mind on
self-imposed exile, but not without declaring in his diary his ties to his homeland:
[25]

... I go to encounter for the millionth time the reality of experience and to forge in the smithy of my soul the
uncreated conscience of my race.
Style[edit]

This section
requires expansion.(November
2013)
The novel mixes third-person narrative with free indirect speech, which allows both identification with and
distance from Stephen. The narrator refrains from judgmentas contrast, Stephen Hero's omniscient
narrator informs the reader as Stephen sets out to write "some pages of sorry verse", while Portrait gives
only Stephen's attempts, leaving evaluation to the reader.
[26]

The novel is written primarily as a third-person narrative with minimal dialogue until the final chapter. This
chapter includes dialogue-intensive scenes alternately involving Stephen, Davin, and Cranly. An example
of such a scene is the one in which Stephen posits his complex Thomist aesthetic theory in an extended
dialogue. Joyce employs first-person narration for Stephen's journal entries in the concluding pages of the
novel to suggest that Stephen has finally found his own voice and no longer needs to absorb the stories
of others.
[27]
Joyce fully employs the free indirect style to demonstrate Stephen's intellectual development
from his childhood though his education, to his increasing independence and ultimate exile from Ireland
as a young man. The style of the work progresses through each of its five chapters, with the complexity of
language and Stephen's consequent ability to comprehend the world around him gradually
increasing.
[28]
The book's opening pages communicate Stephen's first stirrings of consciousness when he
is a child. Throughout the work, language and prose are used to describe indirectly the state of mind of
the protagonist, and the subjective effect of the events of his life. Hence the fungible length of some
scenes and chapters, where Joyce's intent was to capture the subjective experience through language,
rather than to present the actual experience by prose narrative.
[29]
The writing style is notable also for
Joyce's omission of quotation marks; he indicated dialogue by beginning a paragraph with a dash, as is
commonly used by French, Spanish or Russian publications. The novel, like all of Joyce's published
works, is not dedicated to anyone.
Analysis[edit]

This section
requires expansion.(November
2013)
To literary scholar Hugh Kenner, "every theme in the entire life-work of James Joyce is stated on the first
two pages of the Portrait".
[30]
The highly condensed recounting of young Stephen's growing consciousness
"enact[s] the entire action [of the novel] in microcosm. An Aristotelian catalogue of senses, faculties, and
mental activities is counterpointed against the unfolding of the infant conscience",
[31]
and themes that run
through Joyce's later novels find expression there.
[32]



The myth of Daedalus and Icarus has parallels in the story structure, and gives Stephen his surname.
The epigraph quotes from Ovid's Metamorphoses: the inventor Daedalus, who has built a labyrinth to
imprison the Minotaur, and his son Icarus whom are forbidden to leave the Island of Crete by its
King, Minos. Daedalus, "turning his mind to unknown arts", fashions wings of birds' feathers and wax with
which he and his son flee their island prison. Icarus flies so close to the sun that the wax on his pair melts
and he plummets into the sea. To A. Nicholas Fargnoli and Michael Patrick Gillespie the epigraph
parallels the heights and depths that end and begin each chapter, and can be seen to proclaim the
interpretive freedom of the text.
[1]

A Portrait belongs to the genres of Bildungsroman, the novel of education or coming of age,
and Knstlerroman, a story of artistic development, of which A Portrait is the primary example in
English.
[33]

Autobiography[edit]
Whilst in Stephen Hero Joyce wrote a more directly autobiographical novel, including people and events
because he had personally experienced them, in A Portrait he refines this approach by selectively
drawing on life events and reflecting them through the consciousness of Stephen Dedalus, a fictional
character.
[34]

Reception[edit]

This section
requires expansion.(November
2013)
A Portrait won Joyce a reputation for his literary skills, and a patron in business manager at The
Egoist Harriet Shaw Weaver.
[2]
In 1917 H. G. Wells wrote that "one believes in Stephen Dedalus as one
believes in few characters in fiction", while warning readers of Joyce's "cloacal obsession"his insistence
on the portrayal of bodily functions that Victorian morality had banished from print, and which has found
numerous detractors of the book.
[35]

Ulysses (novel)
From Wikipedia, the free encyclopedia
Ulysses

1922 first edition cover
Author James Joyce
Language English
Genre Modernist Novel
Publisher Sylvia Beach
Publication date
2 February 1922
Media type Print book (Hardback & Paperback)
Pages 6321,000, depending on edition
ISBN 0-679-72276-9
OCLC 20827511
Dewey Decimal 823/.912 20
LC Class PR6019.O9 U4 1990
Preceded by A Portrait of the Artist as a Young Man
(1916)
Followed by Finnegans Wake
(1939)
Ulysses is a modernist novel by Irish writer James Joyce. It was first serialised in parts in the American
journal The Little Review from March 1918 to December 1920, and then published in its entirety by Sylvia
Beach in February 1922, in Paris. It is considered to be one of the most important works of Modernist
literature,
[1]
and has been called "a demonstration and summation of the entire movement".
[2]
"Before Joyce, no
writer of fiction had so foregrounded the process of thinking."
[3]
However, even proponents ofUlysses such
as Anthony Burgess have described the book as "inimitable, and also possibly mad".
[4]

Ulysses chronicles the passage of Leopold Bloom through Dublin during an ordinary day, 16 June 1904 (the
day of Joyce's first date with his future wife, Nora Barnacle).
[5]
Ulysses is the Latinised name of Odysseus, the
hero of Homer's poem Odyssey, and the novel establishes a series of parallels between its characters and
events and those of the poem (e.g., the correspondence of Leopold Bloom to Odysseus, Molly
Bloom to Penelope, andStephen Dedalus to Telemachus).
Ulysses is approximately 265,000 words in length, uses a lexicon of 30,030 words (including proper names,
plurals and various verb tenses),
[6]
and is divided into eighteen episodes. Since publication, the book has
attracted controversy and scrutiny, ranging from early obscenity trials to protracted textual "Joyce
Wars." Ulysses' stream-of-consciousness technique, careful structuring, and experimental prosefull
of puns,parodies, and allusions, as well as its rich characterisations and broad humour, made the book a highly
regarded novel in the Modernist pantheon. In 1998, the Modern Libraryranked Ulysses first on its list of the 100
best English-language novels of the 20th century.
[7]
Joyce fans worldwide now celebrate 16 June
as Bloomsday.
Contents
[hide]
1 Background
2 Structure
o 2.1 Part I: The Telemachiad
2.1.1 Episode 1, Telemachus
2.1.2 Episode 2, Nestor
2.1.3 Episode 3, Proteus
o 2.2 Part II: The Odyssey
2.2.1 Episode 4, Calypso
2.2.2 Episode 5, Lotus Eaters
2.2.3 Episode 6, Hades
2.2.4 Episode 7, Aeolus
2.2.5 Episode 8, Lestrygonians
2.2.6 Episode 9, Scylla and Charybdis
2.2.7 Episode 10, Wandering Rocks
2.2.8 Episode 11, Sirens
2.2.9 Episode 12, Cyclops
2.2.10 Episode 13, Nausicaa
2.2.11 Episode 14, Oxen of the Sun
2.2.12 Episode 15, Circe
o 2.3 Part III: The Nostos
2.3.1 Episode 16, Eumaeus
2.3.2 Episode 17, Ithaca
2.3.3 Episode 18, Penelope
3 Publication history
o 3.1 Obscenity allegations
o 3.2 Attempts at error correction
4 Literary significance and criticism
5 Media adaptations
o 5.1 Theatre
o 5.2 Film
o 5.3 Television
o 5.4 Audio
o 5.5 Music
6 Notes
7 References
8 Further reading
o 8.1 Editions in print
8.1.1 Facsimile texts of the manuscript
8.1.2 Facsimile texts of the 1922 first edition
8.1.3 Based on the 1939 Odyssey Press edition
8.1.4 Based on the 1960 Bodley Head/1961 Random House editions
8.1.5 Based on the 1984 Gabler edition
9 External links
Background[edit]
Joyce first encountered Odysseus in Charles Lamb's Adventures of Ulyssesan adaptation of the Odyssey for
children, which seemed to establish the Roman name in Joyce's mind. At school he wrote an essay
on Ulysses entitled "My Favourite Hero".
[8][9]
Joyce toldFrank Budgen that he considered Ulysses the only all-
round character in literature.
[10]
He thought about calling Dubliners by the nameUlysses in Dublin,
[11]
but the
idea grew from a story in Dubliners in 1906, to a "short book" in 1907,
[12]
to the vast novel that he began in
1914.
Structure[edit]
See also: Linati schema for Ulysses and Gilbert schema for Ulysses


Ulysses, Egoist Press, 1922
Joyce divided Ulysses into 18 chapters or "episodes". At first glance much of the book may appear
unstructured and chaotic; Joyce once said that he had "put in so many enigmas and puzzles that it will keep
the professors busy for centuries arguing over what I meant," which would earn the novel "immortality".
[13]
The
two schemata which Stuart Gilbert and Herbert Gorman released after publication to defend Joyce from the
obscenity accusations made the links to the Odyssey clear, and also explained the work's internal structure.
Every episode of Ulysses has a theme, technique, and correspondence between its characters and those of
the Odyssey. The original text did not include these episode titles and the correspondences; instead, they
originate from the Linati and Gilbert schema. Joyce referred to the episodes by their Homeric titles in his letters.
He took the idiosyncratic rendering of some of the titles'Nausikaa', the 'Telemachia'from Victor Brard's
two-volume Les Phniciens et lOdysse which he consulted in 1918 in the Zentralbibliothek Zrich.

Part I: The Telemachiad[edit]
Episode 1, Telemachus[edit]


James Joyce's room in the present-day James Joyce Tower and Museum
It is 8 am. Buck Mulligan, a boisterous medical student, calls Stephen Dedalus (a young writer encountered as
the principal subject of A Portrait of the Artist as a Young Man) up to the roof of the Sandycove Martello
tower where they both live. There is tension between Stephen and Mulligan, stemming from a cruel remark
Stephen has overheard Mulligan making 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. Departing, Stephen declares that he
will not return to the tower tonight, as Mulligan, the "usurper", has taken it over.
Episode 2, Nestor[edit]
Stephen is teaching a history class on the victories of Pyrrhus of Epirus. After class, one student, Sargent,
stays behind so that Stephen can show him how to do a set of arithmetic exercises. Stephen looks at the
aesthetically unappealing Sargent and tries to imagine Sargent's mother's love for him. Stephen then visits
school headmaster, Mr. Deasy, from whom he collects his pay and a letter to take to a newspaper office for
printing. The two discuss Irish history and the role of Jews in the economy. As Stephen leaves, Deasy makes a
final derogatory remark against the Jews, stating that Ireland has never extensively persecuted the Jews
because they were never let in to the country. This episode is the source of some of the novel's most famous
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]


Sandymount Strand looking across Dublin Bay to Howth Head
Stephen finds his way to Sandymount Strand and mopes around for some time, mulling various philosophical
concepts, his family, his life as a student in Paris, and his mother's death. As Stephen reminisces and ponders,
he lies down among some rocks, watches a couple and a dog, scribbles some ideas for poetry, picks his nose
and urinates behind a rock. 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.
Part II: The Odyssey[edit]
Episode 4, Calypso[edit]
The narrative shifts abruptly. The time is again 8 am, but the action has moved across the city and to the
second protagonist of the book, Leopold Bloom, a part-Jewish advertising canvasser. Bloom, after starting to
prepare breakfast, 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. Bloom is aware that Molly will welcome Boylan into her bed later that day, and is
tormented by the thought. Bloom reads a letter from their daughter. The chapter closes with Bloom defecating
in the outhouse.
Episode 5, Lotus Eaters[edit]
Bloom makes his way to Westland Row post office where he receives 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 and tears up
the envelope in an alley. He wanders into a Catholic church service and muses on theology. He goes to a
chemist where he buys a bar of lemon soap. He then meets another acquaintance, to whom he unintentionally
gives a racing tip for the horse Throwaway. Finally, Bloom heads towards the baths.
Episode 6, Hades[edit]
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, and Bloom is preoccupied by thoughts of his
dead son, Rudy, and the suicide of his own father. They enter the chapel into the service and subsequently
leave with the coffin cart. Bloom sees a mysterious man wearing a macintosh 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]
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, telling an anecdote on the way about
'two Dublin vestals'. The episode is broken up into short sections by newspaper-style headlines, and is
characterised by an abundance of rhetorical figures and devices.
Episode 8, Lestrygonians[edit]


Davy Byrnes 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 and
hears news of Mina Purefoy's labour. 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 alimentary-canal
exits 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]


National Library of Ireland
At the National Library, Stephen explains to various scholars his biographical theory of the works
ofShakespeare, especially Hamlet, which he claims are based largely on the posited adultery ofShakespeare's
wife. Bloom enters the National Library to look up an old copy of the ad he has been trying to place. He
encounters Stephen briefly and unknowingly at the end of the episode.
Episode 10, Wandering Rocks[edit]
In this episode, nineteen short vignettes depict the wanderings of various characters, major and minor, through
the streets of Dublin. The episode ends with an account of the cavalcade of theLord Lieutenant of
Ireland, William Ward, Earl of Dudley, through the streets, which is encountered by various characters from the
novel.
Episode 11, Sirens[edit]
In this episode, dominated by motifs of music, Bloom has dinner with Stephen's uncle at a hotel, while Molly's
lover, Blazes Boylan, proceeds to his rendezvous with her. While dining, Bloom watches the seductive
barmaids and listens to the singing of Stephen's father and others.
Episode 12, Cyclops[edit]
This chapter is narrated by an unnamed denizen of Dublin. The narrator goes to Barney Kiernan's pub where
he meets a character referred to only as the 'Citizen'. 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, in anger, throws a biscuit tin at Bloom's head, but
misses. The chapter is marked by extended tangents made in voices other than that of the unnamed narrator:
these include streams of legal jargon, Biblical passages, and elements of Irish mythology.
Episode 13, Nausicaa[edit]
Gerty MacDowell, a young woman on Sandymount strand, contemplates love, marriage and femininity as night
falls. The reader is gradually made aware that Bloom is watching her from a distance, and as she exposes her
legs and underwear to him it is unclear how much of the narrative is actually Blooms sexual fantasy. Blooms
masturbatory climax is echoed by the fireworks at the nearby bazaar. As Gerty leaves, Bloom realises that
Gerty has a lame leg. Bloom, after several digressions of thought, decides to visit Mina Purefoy at the hospital.
The style of the first half of the episode borrows from (and parodies) romance magazines and novelettes.
Episode 14, Oxen of the Sun[edit]
Bloom visits the maternity hospital where Mina Purefoy is giving birth, and finally meets Stephen, who is
drinking with Buck Mulligan and his medical student friends. They continue on to a pub to continue drinking,
following the successful birth of the baby. This chapter is remarkable for Joyce's wordplay, which seems to
recapitulate 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, Defoe, Sterne, Walpole, Gibbon, Dickens, and Carlyle, before concluding in a haze of nearly
incomprehensible slang.
Episode 15, Circe[edit]
Episode 15 is written as a play script, complete with stage directions. The plot is frequently interrupted by
"hallucinations" experienced by Stephen and Bloomfantastic manifestations of the fears and passions of the
two characters.
Stephen and Lynch walk into Nighttown, Dublin's red-light district. Bloom pursues them and eventually finds
them at Bella Cohen's brothel, where he has a series of hallucinations regarding his sexual fetishes, fantasies,
and transgressions. When Bloom witnesses Stephen overpaying for services received, Bloom decides to hold
onto the rest of Stephen's money for safekeeping. Stephen hallucinates that the rotting cadaver of his mother
has risen up from the floor to confront him. Terrified, Stephen uses his walking stick to smash a chandelier and
then runs out. Bloom quickly pays Bella for the damage, then runs after Stephen. Bloom finds Stephen
engaged in a heated argument with an English soldier who, after a perceived insult to the King, punches
Stephen. The police arrive and the crowd disperses. As Bloom is tending to Stephen, Bloom has a hallucination
of Rudy, his deceased child.
Part III: The Nostos[edit]
Episode 16, Eumaeus[edit]
Bloom and Stephen go to the cabman's shelter to restore the latter to his senses. At the cabman's shelter, they
encounter a drunken sailor named 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 rambling and laboured style of the narrative in this episode reflects the nervous
exhaustion and confusion of the two protagonists.
Episode 17, Ithaca[edit]
Bloom returns home with Stephen, who refuses Bloom's offer of a place to stay for the night. The two men
urinate in the backyard, Stephen departs and wanders off into the night,
[14]
and Bloom goes to bed. The
episode is written in the form of a rigidly organisedcatechism, and was reportedly Joyce's favourite episode in
the novel. The deep descriptions range from questions of astronomy to the trajectory of urination.
Episode 18, Penelope[edit]
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 and lacks punctuation. Molly thinks about Boylan and Bloom, her past
admirers, the events of the day, her childhood in Gibraltar, and her curtailed singing career. These thoughts are
occasionally interrupted by distractions, such as a train whistle or the need to urinate. The episode famously
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."
Publication history[edit]
Obscenity allegations[edit]
Written over a seven-year period from 1914 to 1921, the novel was serialised in the American journal The Little
Review from 1918 until 1920,
[15]
when the publication of the Nausica episode led to a prosecution
for obscenity.
[16]
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 the 1930s.
[17]
The novel was first published in its entirety by
Sylvia Beach in February 1922, in Paris.
[18]

The 1920 prosecution in the US was brought after The Little Review serialised a passage of the book dealing
with the main character masturbating. Legal historian Edward de Grazia has argued that few readers would
have been fully aware of the orgasmic experience in the text, given the metaphoric language.
[19]
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.
[20]
The New York Society for the Suppression of Vice, which objected to
the book's content, took action to attempt to keep the book out of the United States. At a 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 Postal Service burned copies of the novel.
[21]

In 1933, the publisher Random House and lawyer Morris Ernst arranged to import the French edition and have
a copy seized by customs when the ship was unloaded, which it then contested. In United States v. One Book
Called Ulysses, U.S. District Judge John M. Woolsey ruled on 6 December 1933 that the book was not
pornographic and therefore could not be obscene,
[22]
a decision that was called "epoch-making" by Stuart
Gilbert.
[23]
The Second Circuit Court of Appeals affirmed the ruling in 1934.
[24]
The US therefore became the
first English-speaking country where the book was freely available. Although Ulysses was never banned in
Ireland, neither was it available there.
[18][25]

Attempts at error correction[edit]
The publication history of Ulysses is disputed and obscure. There have been at least 18 editions, and variations
in different impressions of each edition. Joyce's handwritten manuscripts were typed by a number of amateur
typists (one of whom was Robert McAlmon).
[26]
Notable editions include the first edition published in Paris on 2
February 1922 by Sylvia Beach at Shakespeare and Company (only 1000 copies printed), the pirated Roth
edition, published in New York in 1929, the Odyssey Press edition of 1932 (including some revisions generally
attributed to Stuart Gilbert, and therefore sometimes considered the most accurate edition
[citation needed]
); the 1934
Random House US edition, the first English edition of the Bodley Head in 1936, the revised Bodley
Head Edition of 1960, the revised Random House edition of 1961 (reset from the Bodley Head 1960 edition),
and the Gabler critical and synoptic edition of 1984.
According to Joyce scholar Jack Dalton, the first edition of Ulysses contained over two thousand errors but was
still the most accurate edition published.
[27]
As each subsequent edition attempted to correct these mistakes, it
incorporated more of its own. Hans Walter Gabler's 1984 edition was the most sustained attempt to produce a
corrected text, but it received much criticism, most notably fromJohn 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.
[citation needed]
The choice of a multiple 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.
[citation needed]
Less
subject to differing national editorial theories, however, is the claim that for hundreds of pagesabout half the
episodes of Ulyssesthe extant manuscript is purported to be a 'fair copy' which 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
[citation needed]
. 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. 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,
[28]
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. More sensationally, Gabler was found to have made genuine blunders, the most famous being 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 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 the next year published in book format and on floppy disk by Kidd's James Joyce
Research Center at Boston University. Gabler and others rejected Kidd's critique, and the scholarly community
remains divided.
In 1990 Gabler's American publisher Random House, after consulting a committee of scholars,
[29]
replaced the
Gabler edition with its 1961 version, and in the United Kingdom the Bodley Head press revived its 1960
version. In both the UK and USA, Everyman's Library, too, republished the 1960 Ulysses. In
1992 Penguin dropped Gabler and reprinted the 1960 text. The Gabler version is at present available from
Vintage International. Reprints of the 1922 first edition are now widely available, largely due to the expiration of
the copyright for that edition in the United States.
While much ink has been spilt over the faults and theoretical underpinnings of the Gabler edition, the much
vaunted Kidd edition has yet to be published. In 1992 W.W. Norton announced that a Kidd edition
of Ulysses was about to be published as part of a series called "The Dublin Edition of the Works of James
Joyce." This book had to be withdrawn, however, when the Joyce estate objected. The estate has refused to
authorise any further editions of Joyce's work for the present, but signed a deal with Wordsworth Editions to
bring out a bargain version of the novel in January 2010, ahead of copyright expiration in 2012.
[30][31]

Literary significance and criticism[edit]
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 claim that Joyce was not at fault if people after him didn't 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."
[32]

Media adaptations[edit]
Theatre[edit]
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 re-imagined as female characters Samantha
Blossom and Jewel Jupiter, was produced in Manhattan by New Georges.
[33]

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 byCara Seymour.
[34]

Uliks
Uliks

Naslovnica prvog izdanja iz 1922.
Naziv izvornika Ulysses
Autor James Joyce
Prijevod Luko Paljetak
Drava Irska
Jezik engleski
Vrsta djela roman
anr roman struje svijesti
psiholoki roman
autobiografski roman
satiriki roman
Izdava
Sylvia Beach
Otokar Kerovani
Datum izdanja 1922.
Broj stranica 765
Vrijeme radnje 16. lipnja 1904.
Mjesto radnje Dublin
Glavni lik(ovi) Leopold Bloom
Stephen Dedalus
Molly Bloom
Uliks (eng. Ulysses) je roman Jamesa Joycea. Uliksa je Joyce pisao desetak godina: od 1914. do 1924.
godine. U jednom pismu iz 1921. kae kako je samo dotad na pisanje Uliksa utroio oko dvadeset tisua
sati. Uliks je roman dug oko osam stotina stranica (ima vie od dvije stotine i ezdeset tisua rijei i vokabular
od oko trideset tisua razliitih rijei) ija se cjelokupna radnja zbiva u Dublinu, od osam ujutro 16. lipnja 1904.
(koji je te godine pao u etvrtak) do tri sata poslije ponoi sutradan, 17. lipnja. Radnja se koncentrira na tri
glavna lika: sredovjeni brani par - Leopolda i Marion (Molly) Bloom, te na mladog pjesnika Stephena
Dedalusa, glavnog junaka Joyceovog prethodnog romana Portret umjetnika u mladosti. Vano je ovo
spomenuti jer su i neki epizodni likovi iz Portreta i iz Dablinaca prisutni u Uliksu. No zato se izvanredno istinita
i realistina freska Dublina od prije stotinjak godina zove tim homerskim naslovom?
Ovako kae Joyce: "Lik me Odiseja uvijek opinjavao, ak i kao djeaka." Mnogi kritiari gledali su na Uliksa
kao na novu verziju Odiseje, gdje bi Leopold Bloomtokom svojih svakodnevnih ljetnih gradskih etnji parodino
predstavljao Uliksa, njegova brakolomna ena Molly ednu Penelopu, a Stephan Telemaha. Ovom se snano
suprotstavlja Vladimir Nabokov govorei da u knjizi postoji tek vrlo mutan i uopen homerski prizvuk. U prilog
mu ide injenica da se sam Joyce odrekao pseudohomerskih naslova poglavlja koji su postojali u prvoj verziji,
dok je roman izlazio asopisno u nastavcima. No mnogi kritiari i danas se slue ovim naslovima u svrhu
dokazivanja svojih teza.
Nemogue je nabrojati sve stilske inovacije i otkria koje je Joyce prestavio u ovom djelu. I dan se danas pisci
irom svijeta napajaju s njegovog izvora. Ipak, Uliks nije doekan s fanfarama. Knjiga je dva puta bila pred
sudom, Joyce je nazivan "prljavim pornografom spram kojega je Rabelais vrlo pristojan pisac", primjerci treeg
izdanja su javno spaljivani. Oni obdareni suptilnijim umjetnikim ulom odmah su, meutim, spoznali istinsku
vrijednost djela. Ve desetak godina nakon objavljivanja knjiga je bila klasina i kanonska.
Moderna knjinica ga je proglasila najboljim romanom napisanim na engleskom jeziku u dvadesetom
stoljeu
[1]
dok oboavatelji romana, pogotovo u Irskoj, svake godine 16. lipnja slave kao Bloomsday (Bloomov
dan).
[2]

Sadraj
[sakrij]
1 Radnja
o 1.1 Prvi dio: Telemahija
1.1.1 1. poglavlje: Telemah
1.1.2 2. poglavlje: Nestor
1.1.3 3. poglavlje: Protej
o 1.2 Drugi dio: Odiseja
1.2.1 4. poglavlje: Kalipsa
1.2.2 5. poglavlje: Lotofazi
1.2.3 6. poglavlje: Had
1.2.4 7. poglavlje: Eol
1.2.5 8. poglavlje: Lestrigonci
1.2.6 9. poglavlje: Scila i Haribda
1.2.7 10. poglavlje: Lutajue stijene
1.2.8 11. poglavlje: Sirene
1.2.9 12. poglavlje: Kiklop
1.2.10 13. poglavlje: Nausikaja
1.2.11 14. poglavlje: Volovi sunca
1.2.12 15. poglavlje: Kirka
o 1.3 Trei dio: Nostos
1.3.1 16. poglavlje: Eumej
1.3.2 17. poglavlje: Itaka
1.3.3 18. poglavlje: Penelopa
2 Likovi
o 2.1 Leopold Bloom
o 2.2 Stephen Dedalus
o 2.3 Molly Bloom
o 2.4 Sporedni likovi
3 Teme
o 3.1 Kritika suvremenog svijeta
o 3.2 Odnos roditelja i djeteta
o 3.3 Novo gledite
o 3.4 "Metempsihoza"
4 Simboli i motivi
o 4.1 Gilbertova shema
o 4.2 Linatijeva shema
5 Jezik
o 5.1 Igre rijei
o 5.2 Citati i aluzije
6 Objavljivanje
o 6.1 Put do objavljivanja i optube zbog opscenosti
o 6.2 Reakcija kritike
7 Utjecaj
8 Izvori
o 8.1 Reference
o 8.2 Literatura
9 Vanjske poveznice
Radnja[uredi VE | uredi]
Prvi dio: Telemahija[uredi VE | uredi]
1. poglavlje: Telemah[uredi VE | uredi]


Kula Martello, danas muzej Jamesa Joycea
16. lipnja 1904, 8 sati ujutro. Mjesto radnje je kula Martello u Dublinskom Sandymountu. Mladi medicinar
Malachi "Buck" Mulligan se brije i oponaa sveenika, rugajui se Stephenu Dedalusu zbog
njegova isusovakog odgoja. Stephen je ljut na nj jer je jednom prilikom uvrijedio njegovu nedavno preminulu
majku, a Buck mu podrugljivo govori da ju je ubio. On je, naime, kao agnostik, odbio ispuniti posljednju majinu
elju - pomoliti se za nju. Majka e ga progoniti itav dan. Njih dvoje poslije dorukuju s engleskim studentom
Hainesom kojeg oboje preziru, iako to Buck prikriva. Posjeuje ih priprosta stara mlijekarica - prema Stephenu
simbol Irske. Odlaze na plau. Haines se raspituje za Stephenovu teoriju o Hamletu to Mulligan koristi kao
predmet daljnjeg zadirkivanja. Na plai mu Stephen nevoljko predaje kljueve kule i, dok odlazi na posao,
naziva ga uzurpatorom.
2. poglavlje: Nestor[uredi VE | uredi]
Stephen u koli dri sat povijesti i ita Miltonovu pjesmu Lisidas. Uenike puta ranije osim Sargenta koji ostaje
zbog zadae iz matematike. Promatrajui nesposobnog i neprivlanog Sargenta misli kako ga samo majka
moe voljeti. Odlazi u ured ravnatelja g. Deasyja koji mu isplauje 4 funte. Razgovaraju o irskoj povijesti. Deasy
trai od Stephena da mu objavi lanak o bolesti "nogu i vala". Iznosi mu svoja antisemitska stajalita. Dok
Stephen odlazi, dobacuje mu alu kako Irska nikad nije progonila idove jer ih nikad nije ni pustila da uu.
3. poglavlje: Protej[uredi VE | uredi]
Stephen eta plaom u Sandymountu. Razmilja o filozofiji, svom boravku u Parizu i poznanstvu sa sinom
revolucionara Kevina Egana, loim odnosima s ocem te majinoj smrti. Dvoumi se da li da posjeti roake koji
ive u blizini, no odluuje ne ii. Promatra dvije babice koje ga podsjete na omphalos, pupak svijeta u grkoj
mitologiji. Nailazi na par skupljaa koljki i tijelo mrtvog psa. Na kraju poglavlja kopa nos, mokri te promatra
brodove u daljini.
Ovo poglavlje napisano je u potpunosti kao struja svijesti glavnog protagonista. Stephenova razmiljanja su
vrlo apstraktna te puna aluzija na grke mitove i citata iz Shakespearea, Blakea, Miltona i drugih pjesnika.
"Protej" je stoga jedan od najteih dijelova u romanu.
Drugi dio: Odiseja[uredi VE | uredi]
4. poglavlje: Kalipsa[uredi VE | uredi]
Pripovijedanje se vraa na poetak. Ponovno je 8 sati no mjesto radnje sad je Eccles Street 7, na drugom kraju
grada. Leopold Bloom u kuhinji priprema doruak, hrani maku i pristavlja aj. Donosi doruak u krevet svojoj
supruzi Molly. Osluuje kupiti bubreg za doruak. Dok eka red u mesnici, promatra enu iz susjedstva.
Vraajui se kui ita letke o poljoprivredi i misli kako bi bilo dobro imati farmu. Stigavi, na ulaznom pragu
nalazi pisma - jedno je za Molly koja je dobila pjevaki angaman, a drugo dolazi od njihove keri Milly. Odnosi
pismo Molly, a ona trai da joj kupi ljubavni roman te ga upita to znai rije metempsihoza. Zatim dorukuje
djelomino zagorjeli bubreg i ita pismo keri koja se zaposlila kod jednog fotografa. Potom odlazi na vrtni
zahod, a crkvena zvonjava ga podsjeti da u 11 mora biti na sprovodu.
5. poglavlje: Lotofazi[uredi VE | uredi]
Devet je sati. Bloom se eta sreditem Dublina i promatra izloge. Na poti preuzima pismo predavi ceduljicu
koju je krio u eiru. Na ulici nailazi na prolaznika M'Coya. Pokuava pogledati enu koja izlazi iz hotela no
zasmeta mu tramvaj. Prisjea se smrti oca Rudolpha. ita ljubavno pismo ene koja se zove Martha Clifford, a
kojoj se predstavlja kao Henry Flower. Odlazi na misu gdje razmilja o crkvenim obredima. U ljekarni kupuje
sapun koji e itav dan nositi udepu zajedno s krumpirom-talismanom za sreu. Po izlasku sretne Bantama
Lyonsa i nesvjesno mu daje mig za konjske trke. Potom se uputi prema kupeljima.
6. poglavlje: Had[uredi VE | uredi]
Bloom se koijom vozi na sprovod Paddyja Dingama. Tu su i njegov kolega Martin Cunningham, Stephenov
otac Simon Dedalus i g. Powers. Na putu prolaze pored Stephena i Vatrenog Boylana, ljubavnika Bloomove
ene Molly. Vrijeme krate razgovorom: Dedalus govori o Reubenu Doddu iji se sin zamalo utopio, a ijem je
spasiocu dao samo dva ilinga. Na sprovodu Bloom razmilja o svom preminulom ocu Rudolphu i sinu Rudyju
koji je umro po roenju te o smrti openito. Tamo susree jo jednog poznanika Toma Kernana i pogrebnika
Cornyja Kellehera. Na pokopu je i nepoznati ovjek u kinom kaputu Mackintosh koji privlai Bloomovu
pozornost.
7. poglavlje: Eol[uredi VE | uredi]
Radnja se zbiva u novinskoj redakciji dublinskog Freemana. Bloom tamo radi kao akviziter oglasa. Pokuava
plasirati oglas za Alexandera Keyesa. Pojavljuje se i Stephen koji objavljuje lanak g. Deasyja o goveoj
bolesti. Nakratko razgovara s urednikom Mylesom Crawfordom i aljivdijom Lenehanom. Bloom susree Joea
Hynesa i skoro se sudari s J. J. O'Molloyem. Ti e se likovi pojavljivati kasnije toga dana. Bloom razgovara s
Keyesom oko oglasa. Stephen s urednikom posjeuje pub i pria anegdotu o "dvije dublinske vestalke". Bloom
zaustavlja urednika na izlasku da ga upita za oglas to rezultira neuspijehom - urednik mu poruuje "da ga
moe poljubiti u guzicu".
Ovo poglavlje je razlomljeno u mnotvo manjih djelova koji oponaaju novinske lanke. Svakom jer dat
karakteristian naslov. Tu se takoer pojavljuju sve klasine retorike figure.
8. poglavlje: Lestrigonci[uredi VE | uredi]


Pub Davyja Byrnea
Podne. Bloom je na putu u dravnu knjinicu gdje eli pogledati jedan lanak. Neki mladi mu daje letak koji
najavljuje dolazak sv. Ilije. Baca ga u rijeku Liffey. Kasnije baca i dva kolaa kao hranu za galebove. Susree
poznanicu Josie Breen koja prati poludjelog mua Dennisa. On pokuava nai poiljatelja dopisnice T.U.P: tup
- uvrede koju je shvatio preozbiljno. Ga Breen ga obavijetava o Mini Purefoy koja ima potekoe pri porodu i
u bolnici je ve tri dana. Pozdravivi se s njom razmilja o supruzi Molly i raanju. Skupina policajaca u prolazu
podsjeti ga na studentske nerede - dolazi na zamisao da udari jednog od njih. Na ulici vidi pjesnika Georgea
Williama Russella i Johna Parnella, brata slavnog politiara Charlesa Stewarta Parnella. Razmilja o
astronomiji. Ulazi u Burtonov restoran gdje se zgrozi nad nepristojnou gostiju pri jelu. Odlazi u ugodniji
restoran Davyja Byrnea gdje narui sendvi sa sirom i porazgovara s Njukalom Flynnom. Po njegovu odlasku
Byrne i Flynn razgovarajuo njemu smatrajui ga dobrim ovjekom iako ga dovode u vezu s masonima. Bantam
Lyons im govori za mig koji mu ju dao (sluajno). Bloom pomae slijepcu da prijee ulicu i misli o osjetilnim
sposobnostima slijepih. Ugleda eninog ljubavnika Boylana i brzo ulazi u knjinicu.
9. poglavlje: Scila i Haribda[uredi VE | uredi]
Jedan je sat popodne u Irskoj dravnoj knjinici. Uenjacima Johnu Eglintonu i Bestu, pjesniku A.E. - u i
knjiniaru kvekeru Lysteru Stephen raspreda svoju teoriju o Hamletu. Prema njemu Hamlet je
sin Shakespearea kojeg je na pisanje potakla nevjera njegove supruge Anne Hathaway.
Odbacuje Goetheove ideje i tumaenja 19. stoljea. U pola predavanja ulazi Buck Mulligan. U knjinicu
nakratko ulazi Bloom.
10. poglavlje: Lutajue stijene[uredi VE | uredi]
Ovo poglavlje sastoji se od devetnaest kratkih djelova koji prate neke dablince u sreditu grada za vrijeme
najvee vreve. U sreditu su redom ovi likovi: egoistini sveenik John Conmee; pogrebnik Corny Kelleher;
jednonogi mornar; Stephenove sestre Katey i Boody; Mollyn ljubavnik Vatreni Boylan; Stephen koji susree
svog uitelja pjevanja; Boylanova tajnica ga Dunne; J.J. O'Molloy i Ned Lambert; Tom Rochford, Njukalo
Flynn, M'Coy i Lenehan; Bloom koji kupuje ljubavni roman "Slasti grijeha" za Molly; Stephenova sestra Dilly
koja posuuje novac od oca; Tom Kernan; Stephen i Dilly; Bob Cowley i Simon Dedalus; Martin Cunningham;
Buck Mulligan i Haines; Tisdall Farrell; sin preminulog Paddyja Dingama Patsy; potkralj.
11. poglavlje: Sirene[uredi VE | uredi]
U baru hotela Ormond dvije konobarice, ga Douce i ga Kennedy promatraju koiju s potkraljem. Bloom se
istovremeno ee gradom i kupuje komad papira. U bar ulazi Simon Dedalus i zajedno s Benom Dollardom i
Malcolmom Cowleyem zapoinje svirku i pjesmu. Stiu Lenehan i Vatreni Boylan. Naposlijetku se tu pojavljuje i
Bloom te sjeda za stol s Ritchiejem Gouldingom, Stephenovim stricem. Promatra Boylana i oekuje njegov
odlazak na randevu s njegovom suprugom Molly. Pie pismo Marthi Clifford. Okupljeni pjevaju udlomke iz
raznih opera, izmeu ostalih iz Rue od Kastilje, Don Giovannija te Flotowljeve Marte. Pjevaju i pjesmu o
irskom revolucionaru Robertu Emettu. Na kraju poglavlja izlazi iz bara, izbjegavi neugodan susret s
prostitutkom koju poznaje.
Ovim poglavljem dominira glazba. Samo je napisano u obliku glazbenog stavka. Prve dvije stranice
predstavljaju uvertiru - sastoje se od glasovnih ulomaka koji se ponavljaju kasnije. Stil ovog dijela oslanja se na
zvuni uinak.
12. poglavlje: Kiklop[uredi VE | uredi]
Pet je sati popodne. Narator ovog poglavlja je neimenovani Dablinac. Radnja se odvija u krmi. Na poetku
pripovjeda susree Joea Hynesa te zajedno odluuju otii u pub Barnyja Kiernana gdje nailaze na ovjeka
kojeg zovu Graanin, vlasnika psa Garryowena. On je estoki irski nacionalist i antisemit. Tu se pojavljuje
pospani pijanac Bob Doran i ludi Denis Breen koji trai onog tko mu je poslao dopisnicu s natpisom T.U.P: tup.
Pridruuju im se Alf Bergan i Bloom koji oekuje Martina Cunninghama. Kasnije dolaze J.J. O'Molloy i Ned
Lambert te Lenehan i John Wyse Nolan, a naposlijetku i Cunningham. Bloom pokuava objektivno razgovarati
o bilo kojoj temi te uvaiti svaije miljenje te time postaje predmet izrugivanja. Pripovjeda ge prezire i misli da
je zaradio novac na konjskim trkama jer je imao mig - iako je to, kako znamo, bio neporazum. Graanin
pokuava okrenuti razgovor na temu irskih muenika i junaka. Provocira Blooma antisemitskim izjavama to
dosee vrhunac kad mu on odgovori da je i "njegov spasitelj bio idov". Bloom odlazi s Cunninghamom da bi
izbjegao tuu, a Graanin na njega baca praznu kutiju keksa - i promauje.
Ovo je jedini dio knjige ispripovijedan u prvom licu. No ipak, pripovijedanje u prvom licu prekida se mjestimice
kratkim saecima dosad isprianog napisanih tehnikom koja se naziva gigantizam. To je satirino pretjerivanje
koje ima komian uinak. Trideset tri su takva odlomka koji parodiraju postojee knjievne stilove: irsku
mitologiju, srednjovjekovni roman, novinske lanke, pravosue, znanstveni rad, kransku molitvu itd.
13. poglavlje: Nausikaja[uredi VE | uredi]

Uliks i Nausikaja iz Odiseje
Osam sati uveer na plai u Sandymountu. Tamo sjede tri prijateljice s djecom: Gerty Macdowell, Edy
Boardman i Cissy Cafrey. Tamo je i Bloom, samo malo podalje. Gerty se voli igrati s malom djecom no
istovremeno ima erotske fantazije o mladiu kojeg poznaje. Bloom im vraa loptu s kojom su se djeca igrala;
svia mu se Gerty, a i on zanima nju. Cissy odlazi do njega da ga upita koliko je sati. U oblinjoj crkvi se slui
misa. Gerty promatra vatromet u blizini i tako da joj Bloom vidi donje rublje. On
doivljava orgazam istovremeno s praskom raketa. Djevojke se ustaju i on primjeti da Gerty epa. Uoava da
mu je sat stao u etiri i pol. Zamilja sastanak Boylana i Molly. Razmilja o mnotvu sporednih stvari dok lei
na plai. Odlui posjetiti gu Purefoy koja je u rodilitu. tapom pie poruku za Gerty u pijesku, ali odustaje i
izbrie ju.
14. poglavlje: Volovi sunca[uredi VE | uredi]
Bloom posjeuje Minu Purefoy u rodilitu u ulici Holles. Susree lijenika Dixona koji ga odvodi u sobicu u
prizemlju gdje lijenici piju i bane. Tu su Stephen, Lynch, Lenehan i jo nekolicina. Stephen je preplaen
udarom groma, rugaju mu se svi osim Blooma koji ga pokuava smiriti. Dolazi Buck Mulligan u drutvu
Bannona koji je u vezi s Milly, Bloomovom keri. Razgovaraju o raanju, o tome treba li pri poroaju spasiti
majku ili dijete, o bezgrenom zaeu, o kontracepciji, priroenim manama i defektima , mrtvoroenadi,
odreivanju spola djeteta. Spominju se konjske trke i "bolest nogu i vala". Sestra ih izvjetava da je ga
Purefoy rodila sina. Nazdravljaju ocu djeteta. Nakon toga odlaze prema Burkeovom pubu i razilaze se.
Ovo poglavlje opisuje razvoj engleskog jezika. Poinje parodijom prevedenih latinskih klasika i Biblije, nastavlja
se oponaanjem pisaca od Bunyana, Defoea, Sternea do Dickensa i Thomasa Carlylea i prelazi u gotovo
nerazumljivi dablinski argon.
15. poglavlje: Kirka[uredi VE | uredi]
Pono. Mjesto radnje je nona "bordelska" etvrt Dublina. Na poetku vidimo Stephena i Lyncha u prolazu.
Potom pratimo pijanog Blooma kako luta ulicama. Priviaju mu se otac i majka, supruga Molly i ga. Breen - svi
ga kore. Zamilja sebe u raznim ulogama: kao politiara i ljubavnika. Zatim odlazi u bordel Belle Cohen. U
njegovim halucinacijama pojavljuju se tri verzije njega: pravi Bloom, Henry Flower - njegov pseudonim pod
kojim se dopisuje s Marthom Clifford - i Lipoti Virag, njegov djed. Zabavlja se s trimaprostitutkama - Zoe, Florry
i Kitty. S njima su Lynch i Stephen koji svira pijanolu. Bloomova androginost dolazi do izraaja kad, opet kroz
halucinacije, mijenja uloge s Bellom Cohen koja postaje sadist Bello, dok se on pretvara u enu. Kasnije
primjeuje Stephena kako preplauje usluge i pobrine se da mu se vrati novac. Stephenu se privia njegova
majka u obliku raspadajueg trupla, traei od njega da se pokaje. On, u napadu ludila, jasenovim tapom
razbija svijenjak i bjei dok Bloom s Bellom podmiruje dug kree za njim. Nalazi ga u nezgodnoj situaciji:
vrijeao je Cissy Cafrey koja je bila u drutvu dvojice engleskih vojnika, Carra i Comptona. Prvi udara
Stephena jer je vrijeao engleskog kralja. Policija rastjera gomilu, a smiruje ih Corny Kelleher. Dok Bloom
Stephenu pomae ustati privia mu se njegov preminuli sin Rudy.
Ovaj je dio napisan u dramskom obliku, a pripovijeda progovara samo kroz scenske upute. U poglavlju do
izraaja dolazi uglavnom podsvijest likova. Napisan je fantazmagoriki, prikazujui halucinacije i matarije
pijanih protagonista. Zbog toga je vrlo teko odrediti granicu izmeu privida i zbilje.
Trei dio: Nostos[uredi VE | uredi]
16. poglavlje: Eumej[uredi VE | uredi]
Bloom pomae Stephenu da se sabere i stane na noge nakon udarca zadobivenog od engleskih vojnika.
Odvodi ga u Kozoderovo svratite. Tamo nailaze na mornara koji im pripovjeda prie s puta. Raspituje se za
Stephenova oca. Bloom primjeti ludu prostitutku koju je sreo ranije tog dana. Stephen trai da sa stola uklone
no. itaju lokalne novine s vijestima o Dingamovom sprovodu i konjskim trkama. U svratitu se raspreda
teorija da je irski politiar Parnell jo iv. Bloom se sjea svog susreta s njim kad mu je podigao eir. Pokazuje
sliku supruge Molly Stephenu i poziva ga k sebi.
17. poglavlje: Itaka[uredi VE | uredi]
Bloom se sa Stephenom vraa kui u sitne none sate. Shvaa da je zaboravio klju pa u kuu ulazi kroz
prozor. Poziva Stephena unutra i priprema mu kakao te neko vrijeme provode priajui. Nakon to su se
zajedno pomokrili, Stephen odlazi. Bloom odlazi u krevet gdje ga supruga Molly ispituje kako je proveo dan.
Nakon to ju poljubi u stranjicu, oboje idu na poinak.
Ovo poglavlje napisano je kao katekizam, u obliku objektivnih pitanja i odgovora. Razgovor Blooma i Stephena
kroz koji se oni tek sad bolje upoznaju zato nije direktno prikazan. Umjesto toga saznaje se gomila uglavnom
beznaajnih detalja o likovima (npr. njihova tona teina i datum zadnjeg vaganja) i njihovoj okolini (npr. toan
raspored predmeta u ladici stola) - detalja kojim je optereen moderni ovjek.
18. poglavlje: Penelopa[uredi VE | uredi]
Ovo poglavlje sastavljeno je iskljuivo od struje svijesti, solilokvija Molly Bloom. To su misli koje joj prolaze kroz
glavu dok uz mua lei u krevetu ekajui da zaspi, pretoene u jednu reenicu od 60 stranica podijeljenu u
osam dugakih pasusa bez toke, zareza ili ikakvih interpunkcijskih znakova.
Sam Joyce je pokuao objasniti ovo poglavlje u jednom pismu: "Penelopa je vrhunac knjige. Prva reenica
sadri 2500 rijei. U epizodi je osam reenica. Poinje i zavrava enskim Da. Doima se kao golema zemaljska
kugla koja se polako, ravnomjerno i sigurno oko svoje osi, a etiri sredinje toke su joj enske grudi, guzica,
maternica i pika [sic] koje izraavaju rijei jer, dno, ena i da. Iako je vjerojatno opscenija od bilo kojeg drugog
poglavlja, ini se da je savreno zdrava i puna nemoralnog, plodnog, nevjerodostojnog, privlanog, mudrog,
ogranienog, razboritog, ravnodunog Weib. Ich bin der Fleisch des stets bejaht (ena. Ja sam meso koje
stalno govori da)".
[3]

Moly razmilja o Bloomu, nesposobnom da zadri posao, i o njegovim avanturama sa slukinjama. Prisjea se
popodnevnog susreta s Vatrenim Boylanom koji ju za razliku od mua moe seksualno zadovoljiti. Misli kako je
ipak sretna da ima pristojnog Blooma za mua, ne kao Josie Breen koja se udala za luaka. Razmilja o svojim
velikim grudima i misli kako su mnogo ljepe od mukih genitalija. Sjea se djetinjstva provedenog s ocem,
majorom Tweedyjem, na Gibraltaru i svoje prve ljubavi, porunika Mulveya te prvog poljupca pod Maurskim
zidom. Razmilja o keri Milly na koju je ljubomorna otkad se osamostalila. Misli i na pokojnog sina Rudyja. Ima
mjesenicu i sretna je to nije zatrudnjela s Boylanom. Ima erotske matarije o Stephenu. Misli kako bi ju on
mogao poduavatitalijanskom, a ona njega panjolskom. Razmilja ponovno o Bloomu i zakljuuje da je
njegova krivica to ga vara. Odluuje sutradan kupiti cvijee. Na kraju se prisjea susreta s Bloomom na
Gibraltaru i trenutka kad je pristala udati se za nj, ponavljajui rije "da" dok tone u san.

...gdje sam bila Planinski cvijet da kada sam stavila ruu u kosu kao to to
rade one andaluzijske djevojke ili da stavim crvenu i na to kako me poljubio
pod Maurskim zidom i pomislila sam dobro ili on ili netko drugi i onda sam
mu oima naredila da opet zamoli da i onda me on upitao hodu li redi da
planinski moj cvijete i najprije sam ga zagrlila da i privukla ga dolje k sebi da
osjeti moje tako mirisave grudi i srce mu je kucalo kao ludo i rekla sam da
hodu Da.

Likovi[uredi VE | uredi]
Leopold Bloom[uredi VE | uredi]


Joyceov crte Leopolda Blooma
Bloom je tridesetosmogodinjak i ivi u Dublinu. Zaposlen je kao akviziter oglasa za Freemans Journal. Njegov
otac Rudolph Virag je porijeklom maarski idov koji je preao na kranstvo. Bloom je katolik. ivi na adresi
Eccles Street 7 sa suprugom Molly. Ima petnaestogodinju ker Milicent "Milly" koja ne ivi s njim, jer je
zaposlena kod jednog fotografa. Njegovo mlae dijete, sin Rudy, umrlo je po roenju jedanaest godina prije
radnje romana. Smrt sina i samoubojstvo oca ostavili su poslijedice na njemu.
Bloom je "pravi" dablinac iako nije tipian malograanin kakve Joyce esto prikazuje. Bloom je dobar suprug i
otac, miroljubiv, dobroudan i blag. Mnogi ga poznanici ismijavaju zbog takve osobnosti. Ne uklapa se u
nacionalistiko i malograansko drutvo pa stoga ima uzak krug dobrih prijatelja. Pokazuje amatersko
zanimanje za znanost, a u mati je dobar ljubavnik. Dopisuje s s nepoznatom "Marthom" iako nije sposoban da
prevari enu. On je svijestan da ona njega vara, no to joj ne priznaje i voli je bez obzira na to.
Njegovo lutanje Dublinom 16. lipnja 1904. u romanu je ekvivalent lutanjima Homerovog mitskog
junaka Odiseja.
Stephen Dedalus[uredi VE | uredi]
Stephen je autoportret Joyca i glavni lik njegovog prethodnog romana Portret umjetnika u mladosti. Stephen je
davdesetdvogodinji pjesnik, egoistian je, arogantan, samouvjeren i povuen iz drutva. Unato naravi on se
jo nije iskazao kao umjetnik.
Stephen se vratio u Irsku nakon boravka u Parizu. ivi u kuli Martello u Sandymountu sa dvojicom studenata
Buckom Mulliganom ienglezom Hainesom te prezire obojicu, naroito podrugljivog Mulligana koji je zasnovan
na stvarnom pievom poznanstvu s Oliverom St. Johnom Gogartyjem. Zaposlen je kao nastavnik u jednoj
koli. Stephen ima problema s obitelji: ne komunicira s ocem pijanicom Simonom (koji je prijatelj s Bloomom), a
progoni ga uspomena na preminulu majku za koju se odbio pomoliti dok je umirala. Ima teoriju
o Shakespeareovom Hamletu koju raspreda u romanu.
Iako nije Bloomov sin on odgovara liku Odisejevog sina Telemaha u Homerovom epu. Tijekom radnje odnos
slian onom oca i sina se uspostavlja izmeu njih dvojice.
Molly Bloom[uredi VE | uredi]
Marion "Molly" Bloom supruga je Leopolda Blooma. Ona je kuenica i ne posjeduje ire orazovanje. Radi kao
amaterska pjevaica. Roene je na Gibraltaru kao Marion Tweedy, ki majora Tweedyja. S djetinjstvom je veu
lijepe uspomene: tamo je upoznala prvu ljubav porunika Mulveyja i prvi put srela Blooma. Ona je mlaa od
mua i vrlo privlana, ponosi se svojim velikim grudima. Bloom i ona nisu imali snoaj jo od smrti njihova sina
Rudyja te se stoga okree ljubavnicima. Trenutno je to njen menader Vatreni Boylan s kojim se sastaje i
tijekom radnje romana iako taj susret nije prikazan. Usprkos tome zadovoljna je to ima Blooma za mua.
Lik Molly Bloom odgovara liku Penelope u Odiseji. Tu se radi o duhovitoj obrnutoj paraleli: brakolomna Molly
utjelovljenje je vjerne Penelope.
Sporedni likovi[uredi VE | uredi]
Uliks je roman prepun detalja iz gradske svakodnevice. Shodno tomu, u njemu se pojavljuje velik broj likova.


Oliver St. John Gogarty prema kojem je stvoren lik Bucka Mulligana
Malachi "Buck" Mulligan je mladi student medicine i Stephenov sustanar. Vrlo je nepristojan i podrugljiv, ali i
omiljen u drutvu. Stephen ga prezire i smatra ga uzurpatorom - zauzeo je kulu u za koju on plaa stanarinu i
pozvao odbojnog Hainesa. Bloomu se takoer ne svia. Buck se pojavljuje u prvom poglavlju u kuli te kasnije u
knjinici i na lijenikoj pijanci.
Haines je student etnologije koji se zanima za Irsku, a ivi sa Stephenom i Buckom. Obojici se ne svia, no
Buck to prikriva. Pokazuje zanimanje za Stephenovu teoriju o Hamletu. Pojavljuje se u na poetku romana te
za vrijeme pijanke u bolnici.
Garrett Deasy je ravnatelj kole u kojoj Stephen radi kao nastavnik. On je protestant, podrava uniju Irske i
Engleske te je antisemit koji idove optuuje za probleme u dravnoj ekonomiji. Stephen s njim razgovara u
drugom poglavlju, a kasnije objavljuje njegov lanak o goveoj bolesti. Lik Desyja odgovara mudracu Nestoru
iz Odiseje - rije je opet o duhovitoj obrnutoj paraleli.
Simon Dedalus je otac Stephen Dedalusa. Roen je u Corku i bio je jedan od dobrostojeih ljudi i uglednih
graana. No njegov alkoholizam doveo je obitelj na rub propasti. Unato tome, vrlo je cijenjen u drutvu. U
loim je odnosima sa sinom Stephenom. Pojavljuje se na sprovodu Paddyja Dingama i u pubu hotela Ormond
gdje pokazuje svoj pjevaki talent.
Martin Cunningham je jedan od Bloomovih najboljih prijatelja. Iako gleda na nj kao na stranca vrlo esto mu
pomae. U nesretnom je braku. Pojavljuje se za vrijeme Dingamova sprovoda, u jednoj epizodi Lutajuih
stijena te na kraju epizode Kiklop, u pubu Barnyja Kiernana. Tamo pokuava smiriti svau izmeu Blooma i
Graanina te pomae Bloomu da ue u koiju kad ga ovaj napadne. Cunninghamse pojavio i u Dublincima,
ranijem Joyceovom djelu.
Corny Kelleher je pogrebnik koji sahranjuje Paddyja Dingama. Ima kratku epizodu u lutajuim stijenema.
Nakon tunjave u epizodiKirka, on smiruje policiju.
J.J. O'Molloy je Bloomov poznanik. Nalazi se u tekoj financijskoj krizi. Bloom ga sree u novinskoj redakciji te
kasnije kod Barnyja Kiernana. Takoer se pojavljuje u Dublincima.
Tom Kernan je trgovac ajem. Pojavljuje se u estom (na pogrebu), desetom i jedanaestom poglavlju. Ovaj lik
je stvarno postojao.
Bantam Lyons je Bloomov poznanik. Na kraju petog poglavlja Bloom mu spominje letak, to ovaj protumai
kao mig za konjske trke. Konj "Letak" stvarno pobjeuje - to e kasnije dovesti do nesporazuma.
Ned Lambert je zaposlenik u poljoprivrednom duanu. Pojavljuje se kratko u estom, sedmom i dvanaestom
poglavlju.
Lenehan je dublinski aljivdija. Pojavljuje se u novinskoj redakciji, u hotelu Ormond s Boylanom, kod Barnyja
Kiernana te u rodilitu na pijanci.
Myles Crawford je urednik novina Freemans Journal u kojim radi Bloom. U sedmom poglavlju Bloom
pokuava plasirati oglas za Keysa, no Crawford odbija njegovu ideju. Stephen mu je mnogo drai.
Joe Hynes je Bloomov poznanik. Bloom ga susree u redakciji i kasnije u Kiernanovom pubu.
Josie Breen je biva Bloomova simpatija i Mollyna suparnica za njegovu naklonost. Sad je ostarjela i udana je
za ludog Dennisa Breena kojeg mora pratiti po gradu. Bloom ju nakratko susree u osmom poglavlju, a
pojavljuje se i u jednoj njegovoj halucinaciji za vrijeme epizode u bordelu.
Dennis Breen je Josien poludjeli suprug. Razbijesnilo ga je to to mu je netko poslao dopisnicu na kojoj pie
"T.U.P: tup" kao neslanu alu. Hoda po gradu traei odvjetnika tako da nepoznatog poiljaoca izvede pred
sud. Predmet je izrugivanja.
Njukalo Flynn je Bloomov prijatelj. Susreu se u pubu Davyja Byrnea.
Davy Byrne je vlasnik restorana koji Bloom posjeuje u epizodi Lestrigonci. Byrne je bio stvarna osoba, a
njegov restoran postoji i danas.
Vatreni Hugh Boylan je Mollyn glazbeni menader i ljubavnik. Vrlo je popularan u drutvu. Bloom ga primjeti
nekoliko puta - dok se koijom vozi na sprovod, pred dravnom knjinicom i u hotlu Ormond - ali ga izbjegava i
ne eli se susresti s njim. On zna za njegovu aferu s Molly, ali ne eli o tome govoriti.
John Eglinton je pseudonim stvarnog esejista Williama Kirkpatricka Mageeja. Pojavljuje se u dravnoj knjinici
gdje Stephen razlae svoju teoriju o Hamletu. Njih dvojica se ne slau u mnogim pogledima, ali je Eglinton ipak
dojmljen Stephenom.
A.E. je pseudonim slavnog knjievnika Georgea Williama Russella. On se takoer pojavljuje u knjinici za
vrijeme Stephenove rasprave.
Richard Best je knjiniar u Dublinskoj dravnoj knjinici. Sudjeluje na raspravi o Hamletu u devetom
poglavlju.
Thomas Lyster je knjiniar u Dublinskoj dravnoj knjinici. Po vjeroispovijesti je kveker. Sudjeluje na raspravi
o Hamletu u devetom poglavlju.
Don John Conmee je egoistini sveenik. Pojavljuje se u prvoj epizodi Lutajuih stijena. Takoer je lik u
Joyceovom romanu Portret umjetnika u mladosti.
Kathy, Boody i Dilly Dedalus su Stephenove sestre koje se pojavljuju u Lutajuim stijenama.
Lydia Douce i Mina Kennedy su konobarice u hotelu Ormond. One su ekvivalent Sirenama u Odiseji. Lydiji se
svia Boylan.
Ben Dollard je pjeva, tenor. Pojavljuje se u bar Ormond hotela gdje na oduevljenje okupljenih pjeva o
revolucionaru Robertu Emettu.
Ritchie Goulding je Stephenov stric. Pojavljuje se u epizodi Sirene.
Alf Bergan je aljivdija i besposliar. Pojavljuje se u epizodi Kiklop gdje naroito ismijava ludog Breena.
Bob Doran je pospana pijanica na kojeg Bloom nailazi u pubu Bernyja Kiernana. Pojavio se kao lik
u Dublincima.
John Wyse Nolan je Bloomov poznanik koji se pojavljuje u Kiernanovom pubu u epizodi Kiklop.
Graanin je estoki irski nacionalist i antisemit. Vlasnik je ljutog starog psa Garryowena. Neko je bio istaknut
sporta. Najistaknutiji je od likova koji se pojavljuju kod Kiernana u dvanaestom poglavlju. On, sa svojim
skuenim gleditem na svijet, predstavlja Kiklopa iz Odiseje. Na kraju epizode on napada Blooma zbog
njegovog idovskog porijekla i baca na njega praznu kutiju keksa. Lik graanina zasnovan je na Michaelu
Cusacku, osnivau Irskog Atletskog Udruenja.
Neimenovani pripovjeda epizode Kiklop je lik koji se pojavljuje kod Kiernana. Po zanimanju je "utjeriva
sumnjivih i neutjerljivih dugova". Ima izrazito negativno miljenje o Bloomu.
Gerty Macdowell je djevojka koju Bloom vidi na plai u epizodi Nausikaja. epa na jednu nogu i pokuava to
prikriti. Nedavno ju je ostavio deko Reggy Wyllie. Bloom ju promatra i masturbira, ega je ona svjesna te ima
erotske matarije s njim. Njih dvoje ne stupaju u kontakt u romanu.
Edy Boardman je Gertyna ozbiljna prijateljica. Na plai je sa svojim djetetom.
Cissy Caffrey je Gertyna prijateljica koja voli zabavu i provode. Pojavljuje se u epizodi na plai gdje uva dvoje
mlae brae Tommyja i Jackyja. Kasnije se pojavljuje u nonoj etvrti u drutvu dvojice vojnika.
Dixon je student medicine. Bloomu je ve prije pomogao oko uboda pele, a u epizodi Volovi sunca uvodi ga
na lijeniku zabavu u bolnici.
Lynch je student medicine i Stephenov prijatelj. Pojavljuje se na lijenikoj pijanci sa Stephenom, a ksnije
zajedno odlaze u bordel Belle Cohen. Navodno je u vezi s jednom od prostitutki to tamo rade. Pojavio se i u
Joyceovom Portretu.
Alec Bannon je u vezi s Bloomovom keri Milly. Pojavljuje se kratko u Volovima sunca.
Madden, Costello i Carrothers su studenti medicine koji se pojavljuju na pijanci u Volovima sunca.
Zoe, Kitty i Florry su prostitutke u bordelu Bele Cohen koje se pojavljuju u epizodi Kirka.
Redov Carr i redov Compton su dvojica engleskih vojnika s kojima se Stephen sukobljava u epizodi Kirka.
Bella Cohen je vlasnica bordela. Pojavljuje se u petnaestom poglavlju. U Bloomovoj halucinaciji ona mijenja
uloge s njim i postaje sadist Bello. Ona odgovara liku Kirke, arobnice iz Odiseje koja je pretvarala ljude u
svinje.
Teme[uredi VE | uredi]
Kritika suvremenog svijeta[uredi VE | uredi]
Kritiar S. L. Goldberg istie da je Uliks prikaz ispraznosti suvremenog ljudskog drutva. Prema tome paralela s
Homerovom Odisejomdekonstrukcija je grkog mita koji vie ne postoji u modernom svijetu. Na, za Joycea
tipian, parodian i duhovit nain prikazano je kako se svijet antike Grke, svijet heroja, pretvorio u svijet krmi
i javnih kua u kojima vie nema heroja - tamo vladaju primitivci i malograani. Roman svjedoi i o potpunom
opredmeenju dananjeg ovjeka: dok se Homerov Odisej obiavi itav antiki svijet pobjedonosno vraa
kui, Joyceov Bloom se izgubio u vlastitoj postojbini. No Uliks je mnogo vie od samo toga - on nam u
konanici onim zavrnim "Da" iz soliokvija Molly Bloom humanistiki poruuje da ivot treba objeruke prihvatiti
i proivjeti ga onakavog kakav jest.
Odnos roditelja i djeteta[uredi VE | uredi]
Jedan od najvanijih simbola ovog romana je grki (omfalos), pupak svijeta koji predstavlja pupanu
vrpcu - vezu majke i djeteta. Stephenu se on u mnogim prilikama pojavljuje u svijesti kao to ga progoni i
uspomena na vlastitu majku. On je za majku bio vrlo vezan u djetinjstvu - to posebice saznajemo iz ranijeg
Joyceovog dijela Portret umjetnika - no kad je umirala od raka iz principa je odbio pomoliti se za nju i ispuniti joj
time posljednju elju.
S ocem Simonom ima mnogo gori odnos te je gotovo prestao komunicirati s njim, djelomice zbog njegovog
alkoholizma koji je imao katastrofalne poslijedice na obiteljske financije, a djelomice zato to je on jedan od
malograana kojih se Stephen, kao umjetnik slobodna uma, kloni. Kao to je Stephen izgubio oca (u
duhovnom smislu), tako je i Bloom, drugi glavni lik, izgubio sina. Njegov sin Rudy umro je po roenju jedanaest
godina prije dogaaja opisanih u romanu. Njihov susret na kraju knjige je stoga sredinji dogaaj u knjizi -
Stephen u Bloomu vidi zamjenu za oca, a Bloom u njemu zamjenu za mrtva sina.
[4]

Na odnos oca i sina aludira se vie puta: u Odiseji su to simbolino Odisej i Telemah, u Stephenovoj teoriji
o Hamletu kraljevi Hamlet je upravo Shakespeareov sin, a spominje se i heretika ideja da su prve
dvije boanske osobe, Otac i Sin, jedno.
Novo gledite[uredi VE | uredi]
Jedna od vanih poruka Uliksa je potreba da se stvari sagledaju iz vie gledita. Joyceovo koritenje brojnih
stilova tako se moe tumaiti kao pokuaj da se itatelju otvore novi vidici. Takoer se uklapa i injenica da
kroz djelo ne progovara sam pisac ve njegovi likovi te nam tako ostavlja da ih sami protumaimo. Potrebu za
time iznosi i sam Leopold Bloom svojom liberalnou, miroljubivou i potrebom da uvaim svaije miljenje.
Simbol viestrukog gledita time postaje i paralaksa u astronomiji koja zaokuplja Blooma u nekoliko navrata.
"Metempsihoza"[uredi VE | uredi]
Metempsihoza ili transmigracija dua igra vanu ulogu u Uliksu i u umu Leopolda Blooma otkad ga je supruga
Molly upitala "to znai ona rije metem psi to". Preobrazba je kljuna za shvaanje djela: Odisej se pretvorio
u Blooma, vjerna Penelopa u brakolomnu Molly koja postaje simbol enstvenosti i majke Zemlje, Telemah se
pretvorio u Stephena koji svog oca alkoholiara mijenja Bloomom - naposlijetku Antika Grka je postala svijet
dananjice. Motivi se takoer ponavljaju i postaju neto drugo: Martha Clifford s kojom se Bloom dopisuje
postaje Martha iz Flotowljeve opere, veza studenta Bannona i "neke djevojke" o kojoj govori Buck Mulligan za
Blooma postaje veza njegove keri Milly i "nekog studenta", za tajanstvenog ovjeka u mackintosh ogrtau sa
Dingamova sprovoda ispostavlja se da se stvarno zove Mackintosh
[5]
itd.
Simboli i motivi[uredi VE | uredi]
Uliks zamren splet motiva i pun je aluzija na znanost i kulturu kao i raznih simbola. Svako poglavlje koristi
zasebnu knjievnu tehniku, a ima i odgovarajuu umjetnost, boju, simbol i dio tijela.
Gilbertova shema[uredi VE | uredi]
Najpoznatiji pregled simbola i motiva je onaj knjievnog teoretiara Stuarta Gilberta:
Naslov Mjesto
Vrijem
e
Dio tijela Boja Simbol Umjetnost Knjievna tehnika
Telemah Kula 8 sati -
Bijela/Zlatn
a
Naslijedstvo Teologija Pripovijedanje (mlado)
Nestor kola 10 sati - Smea Konj Povijest Katekizam (subjektivan)
Protej Plaa 11 sati - Zelena Plima Filologija Monolog (muki)
Kalipsa Kuda 8 sati Bubreg Naranasta Nimfa Ekonomija Pripovijedanje (odraslo)
Lotofazi Kupelj 10 sati
Genitalij
e
- Priest
Botanika/Kemi
ja
Narcisizam
Had Groblje 11 sati Srce Bijela/Crna Grobar Vjera Inkubizam
Eol
Novinska
redakcija
Podne Pluda Crvena Urednitvo Govornitvo Entimemika
Lestrigonci Ruak 13 sati Jednjak - Policija Arhitektura Peristaltika
Scila i Haribd
a
Knjinica 14 sati Mozak -
Stratford-
upon-
Avon/Londo
n
Knjievnost Dijalektika
Lutajude
stijene
Ulica 15 sati Krv - Graani Mehanika Labirint
Sirene
Koncertn
a
dvorana
16 sati Ui - Konobarice Glazba Fuga per canonem
Kiklop Pub 17 sati Miidi - Nacionalist Politika Gigantizam
Nausikaja Stijene 20 sati Oi, Nos Siva/Plava Djevica Slikarstvo
Tumescencija/Detumescen
cija
Volovi sunca Bolnica 22 sati
Maternic
a
Bijela Majka Medicina Razvoj embrija
Kirka Bordel Ponod
Miidno-
kotani
sustav
- Kurva Magija Halucinacija
Eumej Sklonite 1 sat ivci - Mornari Navigacija Pripovjedanje (staro)
Itaka Kuda 2 sata Kostur - Komet Znanost Katekizam (objektivan)
Penelopa Krevet - Meso - Zemlja - Monolog (enski)
Linatijeva shema[uredi VE | uredi]
Ovaj pregled sastavio je sam 1920. James Joyce za svog prijatelja Carla Linatija.
Naslov Vrijeme Boja Likovi Znanost / Umjetnost Znaenje
Telemah 8 - 9 sati Zlatna / Bijela
Telemah
Mentor
Antinoje
Prosci
Penelopa
Teologija Borba istjeranog sina
Nestor 9 - 10 sati Smea
Telemah
Nestor
Pizistrat
Helena
Povijest Mudrost starjeina
Protej 10 - 11 sati Plava
Telemah
Protej
Menelaj
Helena
Megapent
Filologija Prvotna tvar
Kalipsa 8 - 9 sati Naranasta
Kalipsa
Penelopa
Odisej
Kalidika
Mitologija Odlazak putnika
Lotofagi 9 - 10 sati Tamno smea
Euriloh
Polit
Odisej
Nausikaja
Kemija Iskuenje vjere
Had
11 sati -
podne
Crno-bijelo
Odisej
Elpenor
Ajant
Agamemnon
- Silazak u nitavilo
Hercules
Erifila
Sizif
Orion
Laert
Prometej
Kerber
Tiresija
Had
Perzefona
Telemah
Antinoje
Eol
podne - 13
sati
Crvena
Eol
Sinovi
Telemah
Mentor
Odisej
Retorika Poruga pobjede
Lestrigonci 13 - 14 sati Krvavo crvena
Antifat
Kdi zavodnica
Odisej
Arhitektura Potitenost
Scila and Haribda 14 - 15 sati -
Scila
Haribda
Telemah
Odisej
Antinoje
Knjievnost Dvosjekli ma
Lutajude stijene 15 - 16 sati Duga
Predmeti
Mjesta
Sile
Odisej
Mehanika Neprijateljska sredina
Sirene 16 - 17 sati Koraljna
Leukoteja
Partenopa
Odisej
Glazba Slatka prijevara
Orfej
Menelaj
Argonauti
Kiklop 17 - 18 sati Zelena
Prometej
Nitko
Galateja
Odisej
Kirurgija Egocidni uas
Nausikaja 20 - 21 sat Siva
Nausikaja
Slukinja
Alkinoj
Areta
Odisej
Slikarstvo Projicirana iluzija
Volovi sunca 22 - 23 sata Bijela
Lampetija
Faetuza
Helije
Zeus
Odisej
Fizika Vjena stada
Kirka
23 sata -
ponod
Ljubiasta
Kirka
Svinje
Telemah
Odisej
Hermo
Ples Mizandrina ljudoderka
Eumej ponod - 1 sat -
Eumej
Odisej
Telemah
Zao pastir
Lani glasnik
-
Zasjeda na domadem
terenu
Itaka 1 - 2 sata -
Telemah
Euriklija
Prosci
Odisej
- Oboruana nada
Penelopa

-
Odisej
- Minuli snovi
Laert
Penelopa
Naslov Tehnika Dio tijela Simboli
Telemah
Dijalog trojice ili
etvorice,
Pripovijedanje,
Monolog
- Hamlet, Irska, Stephen
Nestor
Dijalog dvojice,
Pripovijedanje,
Monolog
- Ulster, ena, praktinost
Protej
Monolog
- Svijet, plima, Mjesec, evolucija, metamorfoza
Kalipsa Dijalog dvojice,
Monolog
Bubrezi Vagina, progonstvo, nimfa, Izraelsko ropstvo
Lotofagi Dijalog, Molitva,
Monolog
Koa
Domadin, penis in the kupeljima,
pjena, cvijet,lijekovi, kastracija, zob
Had Dijalog,
Pripovijedanje
Srce
Groblje, presveto srce, prolost, nepoznati ovjek, the
nesvijest, srana mana, ostaci, slomljeno srce
Eol
Simboleutika
(savjetodavno
govornitvo),
dikanika (pravno
govornitvo),
epideiktika (sveano
govornitvo), tropi
Pluda
Strojevi, vjetar, slava, papirnati zmaj, nesretne sudbine, tisak,
promjenjivost
Lestrigonci
Peristaltika proza
Jednjak
Krvava rtva, hrana, sram
Scila andHa
ribda
Vrtlozi
Mozak Hamlet, Shakespeare, Krist, Sokrat, London,Stratford, skolastika,
misticizam, Platon, Aristotel, mladost, zrelost
Lutajude
stijene
Labirint izmeu
dvije obale
Krv
Cezar, Krist, greke, homonimi, sinkronizmi, slinost
Sirene
Fuga per canonem
Ui
Obeanja, ena, zvuk, ukrasi
Kiklop
Izmjenina
asimetrija
Miidi, kosti Nacija, drava, vjera, dinastija, idealizam, pretjerivanje, fanatizam,
zajednitvo
Nausikaja
Nazadujude
napredovanje
Oi, Nos
Onanizam, enskost, licemjerje
Volovi
sunca
Proza, Embrij, Fetus,
Roenje
genska
matrica,Mat
ernica
Oplodnja, prijevare, partenogeneza
Kirka
Provala vizije
Miidnokot
ani
sustav, kostu
r
Zoologija, personifikacija, panteizam, magija,otrov, protuotrov,
rola
Eumej Oputena proza ivci -
Itaka Dijalog, smiren stil,
fuzija
Sokovi -
Penelopa Monolog, rezignirani
stil
Mast -
Jezik[uredi VE | uredi]
Joyce je moda najpoznatiji po svojoj uporabi jezika. Njegovu prozu, a prvenstveno Uliksa karakterizira izbor
rijei, irok vokabular, oslanjanje na eufoniju i zvunost, oponaanje glazbene kompozicije, uporaba argona,
igre rijei i bezbrojni citati i aluzije. to njegova djela ini istovremeno ugodnim i tekim za itanje i gotovo
nemoguim za prevoenje.
Igre rijei[uredi VE | uredi]
Joyceovu sklonost igrama rijei najbolje ilustriraju ovi primjeri:
Come forth Lasarus! And he came fifth and lost the job.
Ova "bogohulna" igra rijei dolazi u Bloomovim mislima za vrijeme njegovog razmiljanja o zagrobnom ivotu
i Sudnjem danu na Dingamovu sprovodu u epizodi Had. U doslovnom prijevodu: Ustaj Lazare! A on doe peti i
izgubi posao. U engleskom izvorniku uinak se postie jer se rije "forth" (naprijed) izgovara isto kao i "fourth"
(etvrti). Luko Paljetak to uspjeno prevodi: Ustani Lazare iz te grobne etvrti! A on doe peti i izgubi posao.
What opera is like a railway line?...Rose of Castille. Rows of cast steel.
Jedna od najslavnijih igara rijei u romanu je zapravo dosjetka Matta Lenehana koju postavlja kao zagonetku u
epizodi Eol. Doslovno prevedeno ovo glasi: Koja opera nalikuje na eljezniku prugu?... Rua od Kastilje.
Tranice od lijevanog elika. Lako je vidljivo da seRose of Castille i Rows of cast steel izgovara praktiki
jednako. Paljetak ovo prevodi donekle uspjeno: ...Rua od Kastilje. Kruan to kas ti je.
A.E.I.O.U.
Ovo dolazi u Stephenovu razmiljanju o svojim dugovima za vrijeme predavanja u Scili i Haribdi. Pet
samoglasnika ita se u engleskomjednako kao i fraza A. E. I owe you (A.E ja Vam dugujem). Ova reenica je
praktiki neprevodiva pa ju Paljetak kao i svi ostali prevoditelji Uliksa na druge jezike ostavlja neprevedenu.
Citati i aluzije[uredi VE | uredi]
Joyce je u Uliksa utkao bezbroj citata i aluzija na razna djela od Biblije i Grkih
klasika do Dantea, Blakea, Swifta, Miltona iShakespearea. Njih je vrlo teko prepoznati jer su suptilno ubaeni
u tekst kao u ovim sluajevima.
And going forth he met Butterley.
Iavi dalje sreo je Butterleya.
Ova naizgled besmislena reenca koju Buck Mulligan upuuje Stephenu zapravo je aluzija na Bibliju, tj. Matej
26:75 gdje stoji And going forth he wept bitterley (Iziavi van, gorko zaplae) - o sv. Petru nakon to je triput
zanijekao Isusa.
[6]

Sunk though he be beneath the watry floar.
Full fathom five thy father lies.
Ova dva citata prolaze kroz Stephenovu struju svijesti dok luta Sandymountskom plaom u epizodi Protej dok
razmilja o utapanju. Prvi stih je citat mjesta u Miltonovoj pjesmi Lisidas koje Stephen ita na poetku drugog
poglavlja:
Weep no more, woeful Shepards, weep no more/For Lycidas, your sorrow is not dead/Sunk though he be
beneath the watry floar... (Ne plaite, tuni pastiri, vie/Jer Lisidas, s kog tugujete, iv je/Premda ga vali
utopljena skrie... )
Drugi je citat sa slavnog mjesta u Shakespeareovoj Oluji gdje duh Ariel govori Ferdinandu da mu se otac
utopio:
Full fathom five thy father lies/Of his bones are coral made/Those are pearls that were his eyes/Nothing of him
that doth fade/But doth suffer a sea change/into something rich and strange. (Tvoj otac na pet hvati sniva/Od
kostiju mu koralj biva/Biserjem postale mu oi/Nita se na njem ne rastoi/Ve podnese morske mjene/U stvari
udne, dragocjene.; prijevod Mate Marasa)
Oba stiha Paljetak prevodi doslovno, shvativi ih kao prolaznu asocijaciju.
Objavljivanje[uredi VE | uredi]
Put do objavljivanja i optube zbog opscenosti[uredi VE | uredi]


Joyce sa Sylviom Beach koja je prva objavilaUliksa
Joyce je Uliksa pisao od 1914. do 1921. za vrijeme svog boravka u Trstu, Zrichu iParizu. Ameriki knjievni
asopis The Little Journal ga je objavljivao u djelovima od1918. do 1920, a engleski The Egoist 1919. Meutim,
oba asopisa izvedeni su pred sud zbog objavljivanja "pornografskog" materijala te je objavljivanje prestalo.
Naroito sporna bila je trinaesta epizoda, Nausikaja, koja prikazuje in masturbacije te poslijednja, Penelopa,
koja iznosi razmiljanja Molly Bloom s grubim detaljima spolnog odnosa. Od 1921.Uliks je bio zabranjen
u Engleskoj i Americi, a primjerci su bili zaplijenjivani i unitavani.
U obliku knjige objavljen je tek 1922 u Parizu. Objavila ga je Joyceova dugogodinja suradnica i prijateljica
Sylvia Beach.
Jedanaest godina kasnije Uliks je ponovno izveden pred sud i osloboen optuaba. Za to je posebice zasluan
okruni sudac John M. Woolsey koji kae "U Uliksu, usprkos neuobiajenoj iskrenosti, ne vidim nimalo
senzualizma. Ne smatram ga stoga pornografskim..."
[7]
"U mnogim sluajevima Uliksnedvojbeno djeluje na
itatelja kao neka vrst emetika, ali nigdje kao afrodizijak..."
[8]
Njegov govor u obranu romana postao je slavan i
jo uvijek se objavljuje s amerikim izdanjima knjige.
Tri godine kasnije, 1935., knjiga je putena u prodaju i u Velikoj Britaniji. U Irskoj se nije mogla nabaviti iako
nikad nije bila slubeno zabranjena.
Reakcija kritike[uredi VE | uredi]


Edmund Wilson, jedan od ranih zagovornikaUliksa
Mnogobrojni rani kritiari nisu bili skloni Joyceovom romanu koji su preteito smatrali bezoblinim i kaotinim.
Knjievnici D. H. Lawrence i George Moore otvoreno su priznali da im se roman ne svia. Katolika Crkva ga je
osuivala, a u asopisu The Dublin Review ga je nazvala grijehom protiv Duha svetoga. Neki kritiari su ga
nazivali boljevistikim i marksistikim dok ga je marksistika kritika u isto vrijeme napadala jer se suprostavljao
tadanjem socijalistikom realizmu. Jedan od socijalistikih knjievnih kritiara, Karl Radek, rekao je za njega
da je "...gomila smea po kojoj gmiu crvi, snimljena kroz mikroskop."
S druge strane roman je naao i brojne pristalice koji su hvalili Joyceov inovativni rad kao i sam roman u cjelini.
Slavni pjesnik Ezra Pound koji je poticao Joycea u radu smtrao je da je Uliks remek-djelo i da bi to ljudi trebali
shvatiti. Drugi slavni pjesnik, T. S. Elliot, poznat po pjesmi Pusta zemlja koja je imala golem utjecaj
na modernizam, u svojoj knjizi Uliks: red i mit obrazlae strukturu djela i meu prvima primjeuje da ono nije
kaotino, ve je primjer savrenog sklada. Podravali su ga knjievnici Ford Madox Ford i Joyceov
sunarodnjak William Butler Yeats te ameriki pisci Ernest Hemingway iF. Scott Fitzgerald, ija je jednostavnost
u knjievnom stvaranju suta suprotnostUliksu. Od knjievnih kritiara sklon mu je bio Stuart Gilbert koji je
najpoznatiji po svojoj shemi motiva u romanu koju je objavio 1930., a u Americi se za njega zalagaoEdmund
Wilson govorei u svojoj knjizi Axel's Castle: "Kad itamo Uliksa, moemo poeti iz bilo koje toke, uvijek nam
se ini kao da je pred nama neto vrsto poput grada koji zbilja postoji u prostoru i kojem moemo pristupiti s
bilo koje strane..."
Utjecaj[uredi VE | uredi]
Iako slavljen, neki su autori i kritizirali roman. Roddy Doyle je bio posebno kritian te izjavio da
je Uliks "precijenjen, predugaak i neuzbudljiv". Na jednoj konferenciji u New Yorku izjavio je: "Uliksu bi dobro
doao dobar urednik...Znam da se ta knjiga esto nalazi na listama 10 najboljih romana svih vremena, ali
sumnjam da je ta pria dirnula veinu tih ljudi koji ga hvale."
[9]
Prema Doyleu, Joyce nije niti najbolji irski pisac -
nego slabo poznata Jennifer Johnston - te da je famu stvorila "Joyceova industrija" koja samo eli zaraditi od
turizma.
[9]

Paulo Coelho takoer nije bio naklonjen romanu te ga nazvao "pogubnim za knjievnost". Pokuao je svoju
kritiku objasniti komparatistikim kolegijom "oblik i smisao", tvrdei da pisci ine krivo kada se usredotoe na
formu a ne na sadraj: "Uliks Jamesa Joycea je isti, sam stil. Kada se razgoliti, ta knjiga je smijurija".
[10]

Portret umjetnika u mladosti
Portret umjetnika u mladosti

Originalno izdanje iz 1916.
Naziv izvornika A Portrait of the Artist as a Young Man
Autor James Joyce
Prijevod Leo Drid
Drava Irska
Jezik engleski
Vrsta djela roman
anr psiholoki roman,poluautobiografski roman, roman struje
svijesti
Datum izdanja 1916.
Broj stranica 251
Gledite trede lice
Portret umjetnika u mladosti (eng. A Portrait of the Artist as a Young Man) je roman Jamesa
Joycea napisan 1916. godine. Objavljivan je u asopisiu The Egoistod 1914. do 1915., a prvi put izdan 1916.
u New Yorku. Roman je zapravo pievpokuaj da ponovno napie svoj prvi roman "Junak Stephen" s kojim je
bio nezadovoljan, te ga je unitio. Glavni lik romana je Stephen Dedalus, piev alter-ego, kao i u Junaku
Stephenu. Glavna tema "Portreta" je njegov intelektualni razvoj koji doivljava oslobaajui se od vjere, obitelji i
malograanskog shvaanja irskogrodoljublja.
Radnja[uredi VE | uredi]
Roman se sastoji od pet poglavlja od kojih svako govori o jednom perioduStephenova ivota.
Prvo poglavlje govori o njegovom djetinjstvu u malograanskoj obitelji, o kojoj je ovisan. Ono sadri epizode
svae izmeu njegove tetke Dante, zagriene katolkinje i oca Simona, irskog nacionalista, i onu s nepravedno
dobivenim batinama od oca Dolana u Clongowesu, koja pojaava njegovu odbojnost prema tom mjestu.
Drugo poglavlje govori o Stephenu kao djeaku u isusovakom kolidu , nakon preseljenja njegove obitelji
u Dublin. Tu se zaljubljuje u djevojku Emu Clary ( koju naziva "ona" u romanu), te doivljava razoaranje kad
shvati da ga ona ne primjeuje.
Tree poglavlje prati Stephena kao mladia kojeg proganja njegov grijeh bluda . Na duhovnim vjebama uoi
praznika svetog Franje Ksaverskog , okira ga propovjed oca Arnalla , njegovog uitelja iz Clongowesa, u kojoj
mu predouje svoju vizijusmrti i pakla.
U etvrtom poglavlju Stephen doivljava preokret. Na poetku je prikazan kao religiozni student koji se svojom
pobonou pokuava iskupiti za svoja grijehe - zbog ega ga ravnatelj kolida poziva da se zaredi. Do
preokreta u njegovom razmiljanju dolazi kad razmatra taj poziv: dok s mosta gleda zalazak sunca, odbacuje
religiju, kolu i domovinu te se "okree pozivu umjetniuka ka rijei.
Peto poglavlje prati Stephena kao studenta, koji pokuava postatiti umjetnik. Nalazi se u stalnom sukobu s
malograanskom okolinom, to je prikazano u jednom njegovom danu: gdje se sukobljava s nekoliko svojih
kolega studenata (Templeom i irskim nacionalistom Davinom) oko potpisivanja peticije za svjetski mir. Zbog
vjere se sukobljava ak i s majkom, za to doznajemo iz jednog njegovog razgovora sa prijateljem Cranlyjem,
emu je prethodilo nadmudrivanje na stepenicama dublinskog univerziteta. Zadnje stranice romana napisane
su u obliku Stephenova dnevnika: on se priprema za put, te se oslobaa ovisnosti o blinjima - obitelji,
prijateljima (posebice Cranlyjem) i "njoj" (Emmi) - nakon ega odlazi uPariz.
Knjievni znaaj[uredi VE | uredi]
Knjievna kritika dri "Portret" jednim od najvrijednijih Buildungsromana u knjievnosti, zbog
njegove objektivnosti u gledanju na glavnog lika:
napisan je u treem licu
cilj romana nije prepriati ivot umjetnika u mladosti , ve razvoj ni put umjetnika - tj. roman je "objektivni
prikaz jedne subjektivnesvijesti u razvoju"
roman se usredotouje na razvoj lika time to svodi naraciju samo na njega (Stephena) , to radi
koritenjem struje svijesti - tako da su svi likovi romana element u njegovu doivljavanju
Roman se smatra jednim od najvanijih Joyceovih romana , te jednim od najvanijih romana
knjievnosti modernizma.
Moderna knjinica ga je stavila na listu 100 najboljih romana na engleskom jeziku u XX. stoljeu , na kojoj je
zauzeo 3. mjesto.
Nikolai Gogol
From Wikipedia, the free encyclopedia
"Gogol" redirects here. For other uses, see Gogol (disambiguation).
Nikolai Gogol

Daguerreotype of Gogol taken in 1845 bySergey Lvovich Levitsky (1819
1898)
Born Nikolai Vasilievich Gogol
31 March 1809
[1]
(N.S.)
Sorochyntsi, Russian Empire (nowUkraine)
Died 4 March 1852 (aged 42)
Moscow, Russian Empire
Resting place Novodevichy Cemetery
Occupation Playwright, short-story writer, and novelist
Nationality Ukrainian
Ethnicity Ukrainian
Period 184051

Signature

Nikolai Vasilievich Gogol (Russian:

, tr. Nikolay Vasilyevich

Gogol, IPA: [nklaj vsiljvt gogl]; Ukrainian:

, Mykola Vasyliovych
Hohol; 31 March [O.S. 19 March] 1809 4 March [O.S. 21 February] 1852
[2]
) was a Ukrainian dramatist, novelist and
short story writer.
[2]

Considered by his contemporaries one of the preeminent figures of the natural school of Russian
literary realism, later critics have found in Gogol's work a fundamentally romanticsensibility, with strains
of Surrealism and the grotesque ("The Nose", "Viy", "The Overcoat," "Nevsky Prospekt"). His early works, such
as Evenings on a Farm Near Dikanka, were influenced by his Ukrainian upbringing, Ukrainian
culture and folklore.
[3][4]
His later writing satirised political corruption in the Russian Empire (The Government
Inspector, Dead Souls), leading to his eventual exile. The novel Taras Bulba (1835) and the
play Marriage (1842), along with the short stories "Diary of a Madman", "The Tale of How Ivan Ivanovich
Quarreled with Ivan Nikiforovich", "The Portrait" and "The Carriage", round out the tally of his best-known
works.
Contents
[hide]
1 Early life
2 Literary development
3 Creative decline and death
4 Style
5 Politics
6 Influence and interpretations
7 Legacy
8 See also
9 Notes and references
10 External links
Early life[edit]
Gogol was born in the Ukrainian Cossack village of Sorochyntsi,
[2]
in Poltava Governorateof the Russian
Empire, present-day Ukraine. His mother was a descendant of Polishlandowners. His father Vasily Gogol-
Yanovsky, a descendant of Ukrainian Cossacks and who died when Gogol was 15 years old, belonged to the
'petty gentry', wrote poetry in Ukrainian and Russian, and was an amateur Ukrainian-language playwright. As
was typical of the left-bank Ukrainian gentry of the early nineteenth century, the family spoke Russian as well
as Ukrainian. As a child, Gogol helped stage Ukrainian-language plays in his uncle's home theater.
[5]

In 1820 Gogol went to a school of higher art in Nizhyn and remained there until 1828. It was there that he
began writing. He was not popular among his schoolmates, who called him their "mysterious dwarf", but with
two or three of them he formed lasting friendships. Very early he developed a dark and secretive disposition,
marked by a painful self-consciousness and boundless ambition. Equally early he developed a talent for
mimicry, which later made him a matchless reader of his own works and induced him to toy with the idea of
becoming an actor.
In 1828, on leaving school, Gogol came to St Petersburg, full of vague but glowingly ambitious hopes. He had
hoped for literary fame, and brought with him a Romantic poem of German idyllic life Hans Kchelgarten. He
had it published, at his own expense, under the name of "V. Alov." The magazines he sent it to almost
universally derided it. He bought all the copies and destroyed them, swearing never to write poetry again.
Gogol was one of the first masters of the short story, alongside Alexander Pushkin, Prosper Mrime, E. T. A.
Hoffmann, Edgar Allan Poe, and Nathaniel Hawthorne. He was in touch with the "literary aristocracy", had a
story published in Anton Delvig's Northern Flowers, was taken up by Vasily Zhukovsky and Pyotr Pletnyov, and
(in 1831) was introduced to Pushkin.
Literary development[edit]


Cover of the first edition ofThe Government Inspector(1836).
In 1831, he brought out the first volume of his Ukrainian stories (Evenings on a Farm Near Dikanka), which met
with immediate success. He followed it in 1832 with a second volume, and in 1835 by two volumes of stories
entitled Mirgorod, as well as by two volumes of miscellaneous prose entitledArabesques. At this time Russian
editors and critics such as Nikolai Polevoy and Nikolai Nadezhdinsaw in Gogol the emergence of a Ukrainian,
rather than Russian, writer, using his works to illustrate supposed differences between Russian and Ukrainian
national characters, a fact that has been overlooked in later Russian literary history.
[6]
The themes and style of
these early prose works by Gogol, as well as his later drama, were similar to the work of Ukrainian writers and
dramatists who were his contemporaries and friends, including Hryhory Kvitka-Osnovyanenko and Vasily
Narezhny. However, Gogol's satire was much more sophisticated and unconventional.
[7]

At this time, Gogol developed a passion for Ukrainian history and tried to obtain an appointment to the history
department at Kiev University. Despite the support of Pushkin and Sergey Uvarov, the Russian minister of
education, his appointment was blocked by a Kievan bureaucrat on the grounds that he was unqualified.
[8]
His
fictional story Taras Bulba, based on the history of Ukrainian cossacks, was the result of this phase in his
interests. During this time he also developed a close and lifelong friendship with another Ukrainian, the
historian and naturalist Mykhaylo Maksymovych.
[9]

In 1834 Gogol was made Professor of Medieval History at the University of St. Petersburg, a job for which he
had no qualifications. He turned in a performance ludicrous enough to warrant satiric treatment in one of his
own stories. After an introductory lecture made up of brilliant generalizations which the 'historian' had prudently
prepared and memorized, he gave up all pretense at erudition and teaching, missed two lectures out of three,
and when he did appear, muttered unintelligibly through his teeth. At the final examination, he sat in utter
silence with a black handkerchief wrapped around his head, simulating a toothache, while another professor
interrogated the students."
[10]
This academic venture proved a failure and he resigned his chair in 1835.


Commemorative plaque on his house in Rome
Between 1832 and 1836 Gogol worked with great energy, and though almost all his work has in one way or
another its sources in these four years of contact with Pushkin, he had not yet decided that his ambitions were
to be fulfilled by success in literature. During this time, the Russian critics Stepan Shevyrev and Vissarion
Belinsky, contradicting earlier critics, reclassified Gogol from a Ukrainian to a Russian writer.
[6]
It was only after
the presentation, on 19 April 1836, of his comedyThe Government Inspector (Revizor) that he finally came to
believe in his literary vocation. The comedy, a violent satire of Russian provincial bureaucracy, was staged
thanks only to the intervention of the emperor, Nicholas I.
From 1836 to 1848 Gogol lived abroad, travelling through Germany and Switzerland. Gogol spent the winter of
18361837 in Paris, among Russian expatriates and Polish exiles, frequently meeting the Polish poets Adam
Mickiewicz and Bohdan Zaleski. He eventually settled in Rome. For much of the twelve years from 1836 Gogol
was in Italy. He studied art, read Italian literature and developed a passion for opera. He mingled with Russian
and other visitors, and in 1838 met Count Joseph Vielhorskiy, the 23-year-old son of the official who had
brought Gogol's Government Inspector to the attention of the emperor. Vielhorsky was travelling in hopes of
curing his tuberculosis. Gogol and Vielhorsky fell in love, a relationshsip which was soon severed as Vielhorsky
died in 1839. Gogol left an account of this time in his Nights at the Villa.
Pushkin's death produced a strong impression on Gogol. His principal work during years following Pushkin's
death was the satirical epic Dead Souls. Concurrently, he worked at other tasks recast Taras Bulba and The
Portrait, completed his second comedy,Marriage (Zhenitba), wrote the fragment Rome and his most famous
short story, The Overcoat.
In 1841 the first part of Dead Souls was ready, and Gogol took it to Russia to supervise its printing. It appeared
in Moscow in 1842, under the title, imposed by the censorship, of The Adventures of Chichikov. The book
instantly established his reputation as the greatest prose writer in the language.
Creative decline and death[edit]
After the triumph of Dead Souls, Gogol came to be regarded by his contemporaries as a great satirist who
lampooned the unseemly sides of Imperial Russia. Little did they know that Dead Souls was but the first part of
a planned modern-day counterpart to The Divine Comedy. The first part represented the Inferno; the second
part was to depict the gradual purification and transformation of the rogue Chichikov under the influence of
virtuous publicans and governors Purgatory.
[11]



Gogol, painted in 1840
In April 1848, Gogol returned to Russia from a pilgrimage to Jerusalem and passed his last years in restless
movement throughout the country. While visiting the capitals, he stayed with friends such asMikhail
Pogodin and Sergei Aksakov. During this period, he also spent much time with his old Ukrainian
friends, Maksymovych and Osyp Bodiansky. More importantly, he intensified his relationship with a starets or
spiritual elder, Matvey Konstantinovsky, whom he had known for several years. Konstantinovsky seems to
have strengthened in Gogol the fear of perdition by insisting on the sinfulness of all his imaginative work. His
health was undermined by exaggerated ascetic practices and he fell into a state of deep depression. On the
night of 24 February 1852, he burned some of his manuscripts, which contained most of the second part
of Dead Souls. He explained this as a mistake, a practical joke played on him by the Devil. Soon thereafter, he
took to bed, refused all food, and died in great pain nine days later.
Gogol was mourned in the Saint Tatiana church at the Moscow University before his burial and then buried at
the Danilov Monastery, close to his fellow Slavophile Aleksey Khomyakov. His grave was marked by a large
stone (Golgotha), topped by a Russian Orthodox cross.
[12]
In 1931, Moscow authorities decided to demolish the
monastery and had his remains transferred to the Novodevichy Cemetery.
[13]



Gogol's grave at the Novodevichy Cemetery


Post-2009 gravesite of Nikolai Gogol in Novodevichy Cemetery, Moscow, Russia
His body was discovered lying face down; which gave rise to the story that Gogol had been buried alive. A
Soviet critic even cut a part of his jacket to use as a binding for his copy ofDead Souls. The authorities moved
the Golgotha stone to the new gravesite, but removed the cross; in 1952 the Soviets replaced the stone with a
bust of Gogol. The stone was later reused for the tomb of Gogol's admirer Mikhail Bulgakov. In 2009, in
connection with the bicentennial of Gogol's birth, the bust was moved to the museum at Novodevichy
Cemetery, and the original Golgotha stone was returned, along with a copy of the original Orthodox cross.
[14]

The first Gogol monument in Moscow was a Symbolist statue on Arbat Square, which represented the
sculptor Nikolay Andreyev's idea of Gogol, rather than the real man.
[15]
Unveiled in 1909, the statue was praised
by Ilya Repin and Leo Tolstoy as an outstanding projection of Gogol's tortured personality. Joseph Stalin did
not like it, however, and the statue was replaced by a more orthodox Socialist Realism monument in 1952. It
took enormous efforts to save Andreyev's original work from destruction; it now stands in front of the house
where Gogol died.
[16]

Style[edit]


Among the illustrators of Dead Soulswere Pyotr Sokolov and Marc Chagall.
D.S. Mirsky characterized Gogol's universe as "one of the most marvellous, unexpected in the strictest
sense, original
[17]
worlds ever created by an artist of words".
[18]

The other main characteristic of Gogol's writing is his impressionist vision of reality and people. He saw the
outer world romantically metamorphosed, a singular gift particularly evident from the fantastic spatial
transformations in his Gothic stories, A Terrible Vengeance and A Bewitched Place. His pictures of nature are
strange mounds of detail heaped on detail, resulting in an unconnected chaos of things. His people are
caricatures, drawn with the method of the caricaturist which is to exaggerate salient features and to reduce
them to geometrical pattern. But these cartoons have a convincingness, a truthfulness, and inevitability
attained as a rule by slight but definitive strokes of unexpected reality that seems to beggar the visible world
itself.
[19]

The aspect under which the mature Gogol sees reality is expressed by the Russian wordposhlost', which
means something similar to "triviality, banality, inferiority", moral and spiritual, widespread in some group or
society (from Russian, poshlo, meaning "became traditional"). Like Sterne before him, Gogol was a great
destroyer of prohibitions and romantic illusions. It was he who undermined Russian Romanticism by making
vulgarity reign where only the sublime and the beautiful had reigned.
[20]
"Characteristic of Gogol is a sense of
boundless superfluity that is soon revealed as utter emptiness and a rich comedy that suddenly turns into
metaphysical horror."
[21]
His stories often interweave pathos and mockery, while "The Tale of How Ivan
Ivanovich Quarreled with Ivan Nikiforovich" begins as a merry farce and ends with the famous dictum, "It is dull
in this world, gentlemen!"
Politics[edit]


The first Gogol memorial in Russia (an impressionistic statue by Nikolay Andreyev, 1909).


A more conventional statue of Gogol at the Villa Borghese, Rome.


Gogol burning the manuscript of the second part of Dead Souls by Ilya Repin


Postage stamp, Russia, 2009. See also: Gogol in philately, Russian Wikipedia
Gogol was stunned when The Government Inspector came to be interpreted by many, despite Nicholas I's
patronage of the play, as an indictment of tsarism. In reality, Gogol himself was an adherent of
the Slavophile movement and believed in a divinely inspired mission for both theHouse of Romanov and
the Russian Orthodox Church. Similarly to Fyodor Dostoyevsky, Gogol sharply disagreed with those Russians
who preached constitutional monarchy and the disestablishment of the Orthodox Church.
After defending autocracy, serfdom, and the Orthodox Church in his book Selected Passages from
Correspondence with his Friends, Gogol was attacked by his former patron Vissarion Belinsky. The first
Russian intellectual to publicly preach the economic theories of Karl Marx, Belinsky accused Gogol of betraying
his readership by defending the status quo.
Influence and interpretations[edit]
Even before the publication of Dead Souls, Belinsky recognized Gogol as the first realist writer in the language
and the head of the Natural School, to which he also assigned such younger or lesser authors
as Goncharov, Turgenev, Dmitry Grigorovich, Vladimir Dahl andVladimir Sollogub. Gogol himself seemed to be
skeptical about the existence of such a literary movement. Although he recognized "several young writers" who
"have shown a particular desire to observe real life", he upbraided the deficient composition and style of their
works.
[22]
Nevertheless, subsequent generations of radical critics celebrated Gogol (the author in whose world a
nose roams the streets of the Russian capital) as a great realist, a reputation decried by the Encyclopdia
Britannica as "the triumph of Gogolesque irony."
[23]

The period of modernism saw a revival of interest in and a change of attitude towards Gogol's work. One of the
pioneering works of Russian formalism was Eichenbaum's reappraisal ofThe Overcoat. In the 1920s, a group
of Russian short story writers, known as the Serapion Brothers, placed Gogol among their precursors and
consciously sought to imitate his techniques. The leading novelists of the period notably Yevgeny
Zamyatin and Mikhail Bulgakov also admired Gogol and followed in his footsteps. In 1926, Vsevolod
Meyerholdstaged The Government Inspector as a "comedy of the absurd situation", revealing to his fascinated
spectators a corrupt world of endless self-deception. In 1934, Andrei Belypublished the most meticulous study
of Gogol's literary techniques up to that date, in which he analyzed the colours prevalent in Gogol's work
depending on the period, his impressionistic use of verbs, expressive discontinuity of his syntax, complicated
rhythmical patterns of his sentences, and many other secrets of his craft. Based on this work, Vladimir
Nabokov published a summary account of Gogol's masterpieces in 1944.


The house in Moscow where Gogol died. The building contains the fireplace where he burned the manuscript of the second
part of Dead Souls.
Gogol's impact on Russian literature has been enduring, yet his works have been appreciated differently by
various critics. Belinsky, for instance, berated his horror stories as "moribund, monstrous works", while Andrei
Bely counted them among his most stylistically daring creations. Nabokov especially admired Dead Souls, The
Government Inspector, and The Overcoatas works of genius, proclaiming that "when, as in his immortal The
Overcoat, Gogol really let himself go and pottered happily on the brink of his private abyss, he became the
greatest artist that Russia has yet produced.
[24]
The Overcoat was traditionally interpreted as a masterpiece of
"humanitarian realism", but Nabokov and some other attentive readers argued that "holes in the language"
make the story susceptible to interpretation as a supernatural tale about a ghostly double of a "small
man."
[25]
Of all Gogol's stories, The Nose has stubbornly defied all abstruse interpretations: D.S.
Mirsky declared it "a piece of sheer play, almost sheer nonsense."
Gogol's oeuvre has also had a large impact on Russia's non-literary culture, and his stories have been adapted
numerous times into opera and film. Russian Composer Alfred Schnittke wrote the eight part Gogol
Suite as incidental music to The Government Inspector performed as a play, and composer Dmitri
Shostakovich set The Nose as his first opera in 1930, despite the peculiar choice of subject for what was meant
to initiate the great tradition of Soviet opera.
[26]
Most recently, to celebrate the 200th anniversary of Gogol's
birth, Vienna's renowned Theater an der Wiencommissioned music and libretto for a full length opera on the life
of Gogol from Russian composer and writer Lera Auerbach.
[27]

Some attention has also been given to the apparent anti-Semitism in Gogol's writings, as well as those of his
contemporary, Fyodor Dostoyevsky.
[28]
Felix Dreizin and David Guaspari, for example, in their The Russian
Soul and the Jew: Essays in Literary Ethnocentricis discuss "the significance of the Jewish characters and the
negative image of the Ukrainian Jewish community in Gogol's novel Taras Bulba, pointing out Gogol's
attachment to anti-Jewish prejudices prevalent in Russian and Ukrainian culture."
[29]
In Leon Poliakov's The
History of Antisemitism, the author mentions that "The 'Yankel' from Taras Bulba indeed became the archetypal
Jew in Russian literature. Gogol painted him as supremely exploitative, cowardly, and repulsive, albeit capable
of gratitude. But it seems perfectly natural in the story that he and his cohorts be drowned in the Dniper by the
Cossack lords. Above all, Yankel is ridiculous, and the image of the plucked chicken that Gogol used has made
the rounds of great Russian authors."
[30]

Despite his problematic portrayal of Jewish characters, Gogol left a powerful impression even on Jewish writers
who inherited his literary legacy. Amelia Glaser has noted the influence of Gogol's literary innovations
on Sholem Aleichem, who "chose to model much of his writing, and even his appearance, on Gogol... What
Sholem Aleichem was borrowing from Gogol was a rural East European landscape that may have been
dangerous, but could unite readers through the power of collective memory. He also learned from Gogol to
soften this danger through laughter, and he often rewrites Gogol's Jewish characters, correcting anti-Semitic
stereotypes and narrating history from a Jewish perspective."
[31]

Legacy[edit]
Gogol has been featured many times on Russian and Soviet postage stamps; he is also well represented on
stamps worldwide.
[32][33][34][35][36]
Several commemorative coins have been issued from Russia and the USSR. In
2009, the National Bank of Ukraine issued a commemorative coin dedicated to Gogol.
[37]
Streets have been
named after Gogol in various towns, including
Moscow, Lipetsk, Odessa, Myrhorod, Krasnodar, Vladimir, Vladivostok, Penza, Petrozavodsk, Riga, Bratislava,
Belgrade, Harbin and many other towns and cities.
Gogol is referenced multiple times in Fyodor Dostoyevsky's Crime and Punishment and Chekhov's The
Seagull. More than 35 films have been based on Gogol's work, the most recent being The Girl in the White
Coat (2011). BBC Radio 4 made a series of six Gogol short stories, entitled Three Ivans, Two Aunts and an
Overcoat (2002, adaptations by Jim Poyser).
The main character in the 2003 novel The Namesake and its 2006 movie is named after Nikolai Gogol, after his
father is saved after a train crash because he was holding a copy of one of Gogol's books in his hand.
Dead Souls
From Wikipedia, the free encyclopedia
For other uses, see Dead Souls (disambiguation).
Dead Souls

Cover page of the first edition of Dead Souls. Moscow, 1842.
Author Nikolai Gogol
Original title , Myortvyjya dushi
Country Russian Empire
Language Russian
Genre Political, Satire
Media type Hardback and paperback
Followed by Dead souls 2 (destroyed by the author before his death)
Dead Souls (Russian: e , Myortvyjye dushi) is a novel by Nikolai Gogol, first published in 1842,
and widely regarded as an exemplar of 19th-century Russian literature. The purpose of the novel was to
demonstrate the flaws and faults of the Russian mentality and character. Gogol masterfully portrayed those
defects through Paul Ivanovitch Chichikov (the main character) and the people who he encounters in his
endeavours. These people are typical of the Russian middle-class of the time. Gogol himself saw it as an "epic
poem in prose", and within the book as a "novel in verse". Despite supposedly completing the trilogy's second
part, Gogol destroyed it shortly before his death. Although the novel ends in mid-sentence
(like Sterne's Sentimental Journey), it is usually regarded as complete in the extant form.
[1]

Contents
[hide]
1 Title
2 Background
3 Structure
4 Characters
5 Plot
6 Adaptations
7 English translations
8 References
9 Sources
10 External links
Title[edit]
The original title, as shown on the illustration (cover page), was "The Wanderings of Chichikov, or Dead
Souls. Poema", which contracted to merely "Dead Souls." In theRussian Empire, before the emancipation of
the serfs in 1861, landowners were entitled to own serfs to farm their land. Serfs were for most purposes
considered the property of the landowner, and could be bought, sold or mortgaged, as any other chattel. To
count serfs (and people in general), the measure word "soul" was used: e.g., "six souls of serfs". The plot of the
novel relies on "dead souls" (i.e., "dead serfs") which are still accounted for in property registers. On another
level, the title refers to the "dead souls" of Gogol's characters, all of which visualise different aspects
of poshlost (a Russian word rendered as "commonplace, vulgarity", moral and spiritual, with overtones of
middle-class pretentiousness, fake significance and philistinism).
Background[edit]
The first part of the novel was intended to represent a modern-day Inferno of the Divine Comedy. Gogol reveals
to his readers an encompassing picture of the ailing social system in Russia after the war of 1812. As in many
of Gogol's short stories, the social criticism of Dead Souls is communicated primarily through absurd and
hilarious satire. Unlike the short stories, however, Dead Soulswas meant to offer solutions rather than simply
point out problems. This grander scheme was largely unrealized at Gogol's death; the work was never
completed, and it is primarily the earlier, darker part of the novel that is remembered.
In their studies of Gogol, Andrey Bely, D. S. Mirsky, Vladimir Nabokov, and other modernist critics rejected the
commonly held view ofDead Souls as a reformist or satirical work. For instance, Nabokov regarded the plot
of Dead Souls as unimportant and Gogol as a great writer whose works skirted the irrational and whose prose
style combined superb descriptive power with a disregard for novelistic clichs. True, Chichikov displays a most
extraordinary moral rot, but the whole idea of buying and selling dead souls is, to Nabokov, ridiculous on its
face; therefore, the provincial setting of the novel is a most unsuitable backdrop for any of the progressive,
reformist or Christian readings of the work.
Structure[edit]


Chichikov in the house of M-me Korobochka.
The novel has a circular structure, following Chichikov as he visits the estates of landowners living around the
capital of a guberniya. Although Gogol aspired to emulate the Odyssey, many critics derive the structure
of Dead Souls from the picaresque novels of the 16th and 17th centuries in that it is divided into a series of
somewhat disjointed episodes, and the plot concerns a gentrified version of the rascal protagonist of the
original picaresques.
Konstantin Aksakov was the first to bring out a detailed juxtaposition of Gogol's and Homer's works: "Gogol's
epic revives the ancient Homeric epic; you recognize its character of importance, its artistic merits and the
widest scope. When comparing one thing to another, Gogol completely loses himself in the subject, leaving for
a time the occasion that gave rise to his comparison; he will talk about it, until the subject is exhausted. Every
reader of The Iliad was struck by this device, too." Nabokov also pointed out the Homeric roots of the
complicated absurdist technique of Gogol's comparisons and digressions.
Characters[edit]
Of all Gogol's creations, Chichikov stands out as the incarnation of poshlost. His psychological leitmotiv is
complacency, and his geometrical expression roundness. He is the golden mean. The other characters the
squires Chichikov visits on his shady business are typical "humors" (for Gogol's method of comic character
drawing, with its exaggerations and geometrical simplification, is strongly reminiscent of Ben Jonson's).
Sobakevich, the strong, silent, economical man, square and bearlike; Manilov, the silly sentimentalist with
pursed lips; Mme Korobochka, the stupid widow; Nozdryov, the cheat and bully, with the manners of a hearty
good fellow are all types of eternal solidity. Plyushkin, the miser, stands apart, for in him Gogol sounds a
note of tragedy he is the man ruined by his "humor"; he transcends poshlost, for in the depth of his
degradation he is not complacent but miserable; he has a tragic greatness. The elegiac description of
Plyushkin's garden was hailed by Nabokov as the pinnacle of Gogol's art.
Plot[edit]
The story follows the exploits of Chichikov, a middle-aged gentleman of middling social class and means.
Chichikov arrives in a small town and turns on the charm to quickly makes friends with key local officials and
landowners. He reveals little about his background though, as he sets about carrying out his bizarre and
mysterious plan to acquire "dead souls."


Chichikov and Nozdryov.
The government would tax the landowners based on how many serfs (or "souls") the landowner owned,
determined by the census. Censuses in this period were infrequent, so landowners would often be paying taxes
on serfs that were no longer living, thus the "dead souls." It is these dead souls, existing on paper only, that
Chichikov seeks to purchase from the landlords in the villages he visits; he merely tells the prospective sellers
that he has a use for them, and that the sellers would be better off anyway, since selling them would relieve the
present owners of a needless tax burden.
Although the townspeople Chichikov comes across are gross caricatures, they are not flat stereotypes by any
means. Instead, each is neurotically individual, combining the official failings that Gogol typically satirizes
(greed, corruption, paranoia) with a curious set of personal quirks.


Illustration by Alexander Alexejewitsch Agin
Setting off for the surrounding estates, Chichikov at first assumes that the ignorant provincials will be more than
eager to give their dead souls up in exchange for a token payment. The task of collecting the rights to dead
people proves difficult, however, due to the persistent greed, suspicion, and general distrust of the landowners.
He still manages to acquire some 400 souls, and returns to the town to have the transactions recorded legally.
Back in the town, Chichikov continues to be treated like a prince amongst the petty officials, and a celebration
is thrown in honour of his purchases. Very suddenly, however, rumours flare up that the serfs he bought are all
dead, and that he was planning to elope with the Governor's daughter. In the confusion that ensues, the
backwardness of the irrational, gossip-hungry townspeople is most delicately conveyed. Absurd suggestions
come to light, such as the possibility that Chichikov is Napoleon in disguise or the notorious vigilante 'Captain
Kopeikin'. The now disgraced traveller is immediately ostracized from the company he had been enjoying and
has no choice but to flee the town in disgrace.
Chichikov is revealed by the author to be a former government official fired for corruption and narrowly
escaping jail. His macabre mission to acquire "dead souls" is actually just another one of his "get rich quick"
schemes. Once he acquires enough dead souls, he will take out an enormous loan against them, and pocket
the money.
In the novel's second section, Chichikov flees to another part of Russia and attempts to continue his venture.
He tries to help the idle landowner Tentetnikov gain favor with General Betrishchev so that Tentetnikov may
marry the general's daughter, Ulinka. To do this, Chichikov agrees to visit many of Betrishchev's relatives,
beginning with Colonel Koshkaryov. From there Chichikov begins again to go from estate to estate,
encountering eccentric and absurd characters all along the way. Eventually he purchases an estate from the
destitute Khlobuyev but is arrested when he attempts to forge the will of Khlobuyev's rich aunt. He is pardoned
thanks to the intervention of the kindly Mourazov but is forced to flee the village. The novel ends mid-sentence
with the prince who arranged Chichikov's arrest giving a grand speech that rails against corruption in the
Russian government.