Visualizzazione post con etichetta Joyce. Mostra tutti i post
Visualizzazione post con etichetta Joyce. Mostra tutti i post
venerdì 30 aprile 2010
mercoledì 17 giugno 2009
J. Joyce: Ulysses - Circe - Stephen's dream
STEPHEN Ho!
(Stephen's mother, emaciated, rises stark through the floor in leper grey with a wreath of faded orange blossoms and a torn bridal veil, her face worn and noseless, green with grave mould. Her hair is scant and lank. She fixes her bluecircled hollow eyesockets on Stephen and opens her toothless mouth uttering a silent word. A choir of virgins and confessors sing voicelessly.)
THE CHOIR
Liliata rutilantium te confessorum...
Iubilantium te virginum...
(From the top of a tower Buck Mulligan, in particoloured jester's dress of puce and yellow and clown's cap with curling bell, stands gaping at her, a smoking buttered split scone in his hand.)
BUCK MULLIGAN She's beastly dead. The pity of it! Mulligan meets the afflicted mother. (He upturns his eyes.) Mercurial Malachi.
THE MOTHER (With the subtle smile of death's madness.) I was once the beautiful May Goulding. I am dead.
STEPHEN (Horrorstruck.) Lemur, who are you? What bogey man's trick is this?
BUCK MULLIGAN (Shakes his curling capbell.) The mockery of it! Kinch killed her dogsbody bitchbody. She kicked the bucket. (Tears of molten butter fall from his eyes into the scone.) Our great sweet mother! Epi oinopa ponton.
THE MOTHER (Comes nearer, breathing upon him softly her breath of wetted ashes.) All must go through it, Stephen. More women than men in the world. You too. Time will come.
STEPHEN (Choking with fright, remorse and horror.) They said I killed you, mother. He offended your memory. Cancer did it, not I. Destiny.
THE MOTHER (A green rill of bile trickling from a side of her mouth.) You sang that song to me. Love's bitter mystery.
STEPHEN (Eagerly.) Tell me the word, mother, if you know now. The word known to all men.
THE MOTHER Who saved you the night you jumped into the train at Dalkey with Paddy Lee? Who had pity for you when you were sad among the strangers? Prayer is all powerful. Prayer for the suffering souls in the Ursuline manual, and forty days' indulgence. Repent, Stephen.
STEPHEN The ghoul! Hyena!
THE MOTHER I pray for you in my other world. Get Dilly to make you that boiled rice every night after your brain work. Years and years I loved you, O my son, my firstborn, when you lay in my womb.
ZOE (Fanning herself with the grate fan.) I'm melting!
FLORRY (Points to Stephen) Look! He's white.
BLOOM (Goes to the window to open it more.) Giddy.
THE MOTHER (With smouldering eyes.) Repent! O, the fire of hell!
STEPHEN (Panting.) The corpsechewer! Raw head and bloody bones!
THE MOTHER (Her face drawing near and nearer, sending out an ashen breath.) Beware! (She raises her blackened, withered right arm slowly towards Stephen's breast with outstretched fingers.) Beware! God's hand! (A green crab with malignant red eyes sticks deep its grinning claws in Stephen's heart.)
STEPHEN (Strangled with rage.) Shite! (His features grow drawn and grey and old.)
BLOOM (At the window.) What?
STEPHEN Ah non, par exemple! The intellectual imagination! With me all or not at all. Non serviam!
FLORRY Give him some cold water. Wait. (She rushes out.)
THE MOTHER (Wrings her hands slowly, moaning desperately.) O Sacred Heart of Jesus, have mercy on him! Save him from hell, O divine Sacred Heart!
STEPHEN No! No! No! Break my spirit all of you if you can! I'll bring you all to heel!
THE MOTHER (In the agony of her deathrattle.) Have mercy on Stephen, Lord, for my sake! Inexpressible was my anguish when expiring with love, grief and agony on Mount Calvary.
STEPHEN Nothung!
For a commentary see The ghosts of Ulysses pp 87 e seguenti
(Stephen's mother, emaciated, rises stark through the floor in leper grey with a wreath of faded orange blossoms and a torn bridal veil, her face worn and noseless, green with grave mould. Her hair is scant and lank. She fixes her bluecircled hollow eyesockets on Stephen and opens her toothless mouth uttering a silent word. A choir of virgins and confessors sing voicelessly.)
THE CHOIR
Liliata rutilantium te confessorum...
Iubilantium te virginum...
(From the top of a tower Buck Mulligan, in particoloured jester's dress of puce and yellow and clown's cap with curling bell, stands gaping at her, a smoking buttered split scone in his hand.)
BUCK MULLIGAN She's beastly dead. The pity of it! Mulligan meets the afflicted mother. (He upturns his eyes.) Mercurial Malachi.
THE MOTHER (With the subtle smile of death's madness.) I was once the beautiful May Goulding. I am dead.
STEPHEN (Horrorstruck.) Lemur, who are you? What bogey man's trick is this?
BUCK MULLIGAN (Shakes his curling capbell.) The mockery of it! Kinch killed her dogsbody bitchbody. She kicked the bucket. (Tears of molten butter fall from his eyes into the scone.) Our great sweet mother! Epi oinopa ponton.
THE MOTHER (Comes nearer, breathing upon him softly her breath of wetted ashes.) All must go through it, Stephen. More women than men in the world. You too. Time will come.
STEPHEN (Choking with fright, remorse and horror.) They said I killed you, mother. He offended your memory. Cancer did it, not I. Destiny.
THE MOTHER (A green rill of bile trickling from a side of her mouth.) You sang that song to me. Love's bitter mystery.
STEPHEN (Eagerly.) Tell me the word, mother, if you know now. The word known to all men.
THE MOTHER Who saved you the night you jumped into the train at Dalkey with Paddy Lee? Who had pity for you when you were sad among the strangers? Prayer is all powerful. Prayer for the suffering souls in the Ursuline manual, and forty days' indulgence. Repent, Stephen.
STEPHEN The ghoul! Hyena!
THE MOTHER I pray for you in my other world. Get Dilly to make you that boiled rice every night after your brain work. Years and years I loved you, O my son, my firstborn, when you lay in my womb.
ZOE (Fanning herself with the grate fan.) I'm melting!
FLORRY (Points to Stephen) Look! He's white.
BLOOM (Goes to the window to open it more.) Giddy.
THE MOTHER (With smouldering eyes.) Repent! O, the fire of hell!
STEPHEN (Panting.) The corpsechewer! Raw head and bloody bones!
THE MOTHER (Her face drawing near and nearer, sending out an ashen breath.) Beware! (She raises her blackened, withered right arm slowly towards Stephen's breast with outstretched fingers.) Beware! God's hand! (A green crab with malignant red eyes sticks deep its grinning claws in Stephen's heart.)
STEPHEN (Strangled with rage.) Shite! (His features grow drawn and grey and old.)
BLOOM (At the window.) What?
STEPHEN Ah non, par exemple! The intellectual imagination! With me all or not at all. Non serviam!
FLORRY Give him some cold water. Wait. (She rushes out.)
THE MOTHER (Wrings her hands slowly, moaning desperately.) O Sacred Heart of Jesus, have mercy on him! Save him from hell, O divine Sacred Heart!
STEPHEN No! No! No! Break my spirit all of you if you can! I'll bring you all to heel!
THE MOTHER (In the agony of her deathrattle.) Have mercy on Stephen, Lord, for my sake! Inexpressible was my anguish when expiring with love, grief and agony on Mount Calvary.
STEPHEN Nothung!
For a commentary see The ghosts of Ulysses pp 87 e seguenti
venerdì 12 giugno 2009
Ulysses by Joyce
Notes on James Joyce's Ulysses
Michael Groden - Notes on James Joyce's Ulysses
Reading
Joyce Ultsses, A student GuideJoyce's Ulysses
Arnald Houser, Social history of art pp 226 227, The conception of time in Ulysses
JOYCE'S CONCEPT OF TIME
From http://www.triesterivista.it/scuole/percorsi/paola/inglese.htm
The "time school" novelists attempted to recreate that complexity of time consciousness by means of the stream-of-consciousness technique. Its essence was the assumption that the significance of man's existence can be found in the mental processes rather than in the external world. Consequently, the writer's goal was to represent the endless flow of consciousness rather than describe the objective reality. Joyce had extensively employed the stream of consciousness technique in Ulysses. By skillfully entering the minds of his characters he managed to render their mental processes with such verisimilitude that many readers have commented on the novel seeming at times more real than reality. Although the action of Ulysses describes the course of a single day, the coexistence of the consciousness of the characters' past, present and projected future enables the reader to understand fully the characters in the context of the formative events of their lives. As Molly Bloom lies in bed, her past, present and future ceaselessly flow together. She recalls and relives past events, but she also hears "Georges church bells" and plans to check her husband's fidelity the next morning. Her thoughts form a continuum in which there are no temporal divisions: it is an eternal present where differentiated time zones do not exist ("there is a future in every past that is present" [Finnegans Wake 496.35-36]).
Temporality is further explored in Finnegans Wake, although the exploration takes a different form. Joyce's last book does not attempt to re-create everyday reality of in the way Ulysses does. Instead, Joyce creates a reality of his own. His new reality is completely freed from the rational logic which dominates our waking state. Instead it resembles the logic of the dreaming mind, or the working of consciousness, where images are subject to constant movement and transformation. In place of realistic characters, in Finnegans Wake Joyce creates types: "Mister Typus, Mistress Tope and all the little typtopies". The spatiotemporal interaction in Finnegans Wake, not only conveys the idea of time without boundaries between the past, present and future, but it also expresses the relativistic fusion of time and space into a timespace continuum.
Michael Groden - Notes on James Joyce's Ulysses
Reading
Joyce Ultsses, A student GuideJoyce's Ulysses
Arnald Houser, Social history of art pp 226 227, The conception of time in Ulysses
JOYCE'S CONCEPT OF TIME
From http://www.triesterivista.it/scuole/percorsi/paola/inglese.htm
The "time school" novelists attempted to recreate that complexity of time consciousness by means of the stream-of-consciousness technique. Its essence was the assumption that the significance of man's existence can be found in the mental processes rather than in the external world. Consequently, the writer's goal was to represent the endless flow of consciousness rather than describe the objective reality. Joyce had extensively employed the stream of consciousness technique in Ulysses. By skillfully entering the minds of his characters he managed to render their mental processes with such verisimilitude that many readers have commented on the novel seeming at times more real than reality. Although the action of Ulysses describes the course of a single day, the coexistence of the consciousness of the characters' past, present and projected future enables the reader to understand fully the characters in the context of the formative events of their lives. As Molly Bloom lies in bed, her past, present and future ceaselessly flow together. She recalls and relives past events, but she also hears "Georges church bells" and plans to check her husband's fidelity the next morning. Her thoughts form a continuum in which there are no temporal divisions: it is an eternal present where differentiated time zones do not exist ("there is a future in every past that is present" [Finnegans Wake 496.35-36]).
Temporality is further explored in Finnegans Wake, although the exploration takes a different form. Joyce's last book does not attempt to re-create everyday reality of in the way Ulysses does. Instead, Joyce creates a reality of his own. His new reality is completely freed from the rational logic which dominates our waking state. Instead it resembles the logic of the dreaming mind, or the working of consciousness, where images are subject to constant movement and transformation. In place of realistic characters, in Finnegans Wake Joyce creates types: "Mister Typus, Mistress Tope and all the little typtopies". The spatiotemporal interaction in Finnegans Wake, not only conveys the idea of time without boundaries between the past, present and future, but it also expresses the relativistic fusion of time and space into a timespace continuum.
martedì 12 maggio 2009
giovedì 7 maggio 2009
Death in 20th century English literature
Wikipedia entry for James Joyce, The Dead, form Dubliners
Complete text of the story
Criticism and essays
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