Notes

Chapter 1

1. Terminology for describing varieties of Irish English is confusing, but here I am following most recent dialectology in using the term 'Hiberno-English'. Traditionally, the term 'Anglo-Irish' has been used, a term also including literature in Ireland written in English. I make a distinction in section 1.3. Most confusing is any attempt to distinguish varieties of Irish English in terms of origin (from Gaelic; or from English settlers) and so label them as distinct dialects. This is the case in Todd (1989) but her labels of 'Hiberno-English' and 'Anglo-Irish' are used, confusingly, in quite the opposite way to others, like P. L. Henry, in 0' Muirithe, 1977. In any case, whatever the origin of English in Ireland, it has in all areas been considerably influenced by Gaelic, even from the time of the settlements. Nor have I followed Todd in using 'Irish literature' as an umbrella term for literature written in Gaelic or Irish and in English, since it is too ambiguous. There is a need to distinguish the indigenous literature from the essentially Anglo-lrish.

2. Five years after 'The Dead' was written Joyce and Nora actually visited the Aran Islands (1912) and he wrote two articles about them for a Trieste newspaper. Joyce seems also to have changed his attitude to Synge as he grew older. In Paris he met Synge (1903) who showed him the manuscript of Riders to the Sea. He said he did not like it, but later he translated the play into Italian and even later, in Zurich, he helped to produce it for the 'English Players', with Nora acting in it (1918). Moreover, the young Joyce undoubtedly be­nefited from Dublin's cultural activity: for the significance on the publication of his poetry, see section 2.4.

3. In one of Joyce's elaborate working schemes for Ulysses (see Peake, 1977:120-1 for reproduction; also Chapter 3 here), the symbol of this episode is 'Fenian'. Strictly this was a supporter of Home Rule as initiated in the 1850s by the Irish Republican Brotherhood, but Joyce is probably using it in a wider sense to refer to any or all of the nationalist movements. The word is popularly yet erroneously derived from fiana, a seventh-century warrior band, led by Finn MacCool; an etymology Joyce himself seems to support in his Trieste article on 'Fenianism' (1907). See Mason and Ellmann, 1959:188.

Notes 161

4. In I v in particular ALP's 'mamafesta' is comically treated as a parody of the scholarly commentary on the Book of Kells by Sir Edward Sullivan (1914). Joyce even makes the Book of Kells derive from ALP's letter:

then (coming over to the left aisle corner down) the cruciform postscript from which three basia or shorter and smaller oscula have been overcarefully scraped away, plainly inspiring the teneb­rous Tunc page of the Book of Kells ... (FW:122)

There may also be an element of self-parody here, since his own manuscripts of Finnegans Wake were progressively more complex on each redrafting, and were worked in different inks, so resembling visual interlace decoration. He also saw his own last work as something of a sacred book! As he wrote to his friend Arthur Power: '[The Book of Kells] is the most purely Irish thing we have ... you can compare much of my work to the intricate illuminations'. He had his own copy of the facsimile and commentary and in December 1922 he sent a copy also to his patron Harriet Weaver (Ellmann, 1982:545).

Chapter 2

1. After I had finished writing this chapter, I read R. Kershner (1989). Any resemblances between this section and his Chapter 3 'Older Dubliners: Repetition and Rhetoric' are purely coincidental: parti­cularly the repetition of the man in 'Counterparts' and the and/but construction in 'Clay'.

2. It is striking that the first verse of the song Maria sings, which is divided into two quatrains, is marked by an and-but (positive) structure:

I dreamt that I dwelt in marble halls With vassals and serfs at my side And of all who assembled within those walls That I was the hope and the pride.

I had riches too great to count, could boast Of a high ancestral name, But I also dreamt, which pleased me most, That you loved me still 'the same.

3. It is hard to agree with MacCabe (1978:66) that the five chapters show 'discontinuity', that there is a 'different discourse' in each and that there is 'no continuity of character and event', and no unity of 'articulations' in a 'logic of progression'. For sensitive discussions of the texture and narrative structure of A Portrait see both Bardotti and Linguanti in Bosinelli et al. (1986).

162 THE LANGUAGE OF lAMES JOYCE

4. 'By an epiphany he meant a sudden spiritual manifestation, whether in the vulgarity of speech or of gesture or in a memorable phase of the mind itself.' (SH:216). Epiphany is a much-discussed term in Joyce criticism, even though it does not appear in the revised work, A Portrait. Joyce himself actually wrote little prose pieces called Epiphanies, some of which were incorporated into A Portrait: e.g. the 'Pull out his eyes/Apologise' scene quoted below. For a detailed discussion, see Lanham (1977:92-100), Sandulescu (1979:49-60).

5. As Chapter 3 reveals, the whole subject of assignment of 'voice' and 'point of view' (narrator or character) in speech and thought presentation, has been much discussed, both within Joyce criticism and generally. Joyce's own works provide particularly complex examples, and A Portrait is especially problematic because of its consistent use of third-person narration. Short's brave attempt (1983) to assign voice and point of view to the famous girl-on-the­seashore passage (PAYM:175-6) cited below merely serves to illustrate the difficulties, because of the density of repetitions. So a sentence like 'On and on and on and on he strode, far out over the sands .. .' may well be 'Narrative Report from Stephen's point of view (!)' (Short, p. 82), and a sentence like 'On and on and on and on!' may well be 'Free Direct Thought', but it really makes very little difference to the effect: namely, of suggesting Stephen's point of view and subjectivity. R. Kershner (1989:160) also tries to assign the incremental repetitions that recur in A Portrait to narrator or character, to suggest that the narration is 'always in advance' of Stephen. This depends whether the repetitions can be easily allotted. It is hard to be categoric with him, for example, that the first sound­of-the-cricket-bats motif (PA YM:42-3; repeated again on p. 46,60) is the narrator's utterance.

6. For a handy selection of Joyce's poems, see Levin (ed.) (1963).

Chapter 3

1. One scheme was sent to Carlo Linati in 1920, another disclosed to Larbaud in 1921 and other friends, and published by Gilbert (1930). For details, see Ellmann (1974:187-8); Fludernik (1986b). A com­bined table, based mainly on the 1921 scheme, is reprinted in Peake (1977:120--1). See also note 12 below.

2. According to Sandulescu (1979:19) it was May Sinclair who applied the Jamesian metaphor to Dorothy Richardson's work, in The Egoist, April 1918. As Sandulescu rightly notes (p.39), although Richardson's cycle of novels, Pilgrimage, was a forerunner of U/ysses (the first part, Pointed Roofs, published in 1915), she was never openly acknowledged by Joyce as a possible influence on his own work.

3. As many critics have pointed out, an 'anticipation' of the shift to interior monologue is probably found on the very first page: 'He [Buck] peered sideways up and gave a long slow whistle of call, then

Notes 163

paused awhile in rapt attention, his even white teeth glistening here and there with gold points. Chrysostomos.' (1.24--Q). The single­word sentence is fore grounded by its brevity, and its erudite pun suggests the intellectual sharpness of Stephen: literally 'golden­mouth', it was used as an epithet for orators like Dion Chrysosto­mos, an early Homeric scholar, and St John Chrysostomos.

4. Blinkered by her own definition ('addressed to no one') Cohn (1978) fails to elaborate on the Bakhtinian dimension, whom she actually cites in a footnote (p. 82). For an attempt at the reassessment of interior monologue in Bakhtinian terms, see Bosinelli et al. (1986) and Wales (1988).

5. At least one critic I have read actually states Molly is 'thinking out loud' (Warner, 1977:34)

6. See further Scott (1984:70-1). Letters from Nora Joyce are quoted in Burgess (1973:33-4) and Maddox (1988, pp. 55, 98-9). Molly's own anxiety about letter-writing surfaces, for example, 18.728f. Attridge (1989:549-50) notes also the absence from the printed page of apostrophes in possessives and abbreviated forms, and notes also the 'misuse' of capital letters, which 'can make no difference to oral realization at all'.

7. Ideas of 'women's sentences' and ecriture feminine have become very popular in modern feminist criticism but have disquieting impress­ionistic origins of a Jespersenal kind. One source is Woolfs A Room of One's Own (1929) in which she speaks vaguely of women's sentences being different from men's, the latter allied to the periodic sentences of Johnson and Gibbon. In her further hint that the book has 'somehow to be adapted to the body' there is an anticipation of recent French criticism by Cixous and lrigaray, who relate women's language to feminine sexuality, rhythm and 'flow'. There is more than an echo of Molly Bloom in their work, and it is not a coincidence, I think, that Cixous's thesis was on Joyce. I share Scott's misgivings (1987:10-11) that 'perhaps [Joyce's] textualization of the female body in the latter part of Ulysses and in the Wake . .. makes it difficult for contemporary practitioners of ecriture feminine to see their own subject immediately and clearly'. See also Attridge, 1989.

8. Unlike Henke (1990:216, note 20) I do not myself assume that 'a male author can successfully adopt and speak from a feminine sUbject-position in a work of fiction', if this implies speaking in a woman's language. That the male writer remains in control is playfully alluded to in Finnegans Wake, where ALP's letter explicitly refers to 'Penelope':

lastly when all is zed anddone, the penelopean patience of its last paraphe, a colophon of no fewer than seven hundred and thirtytwo strokes tailed by a leaping lasso - who thus at all this marvelling but will press on hotly to see the vaulting feminine libido of those interbranching ogham sex upandinsweeps sternly

164 THE LANGUAGE OF lAMES JOYCE

controlled and easily repersuaded by the uniform matteroffactness of a meandering male fist? (FW:123)

9. It is significant that Finnegans Wake ends on one of the weakest stressed, least meaningful words in English: consider what Joyce himself said about the ending of Ulysses as well as the Wake:

in order to convey the mumbling of a woman falling asleep, wanted to finish with the faintest word I could possibly discover. I found the word Yes, which is barely pronounced, which implies consent, abandonment, relaxation, the end of all resistance ... [The Wake:-] This time I have found the word which is the most slippery, the least accented, the weakest word in English' (cited Ellmann, 1982:712)

Cynics might argue that these female discourses are hardly voices of power; and they are potentially interruptable, as women's utterances commonly are interrupted, by men!

10. Not that every critic agrees on the status of the first sentence. Benstock (1980, 262-3) and Levitt (1988:71), for example, argue for Stephen's focalisation here, even before he has physically appeared on the scene.

11. For an interesting discussion of the reader's need to shake off traditional mimetic modes of reading in Ulysses and other modernist texts, in the light of Bakhtin and other theorists, see the introductory chapter in Gibson (1990).

12. When his friends found the later episodes difficult, particularly from 'Sirens' onwards, Joyce wrote:

I understand that you may ... prefer the initial style much as the wanderer did who longed for the rock of Ithaca. But in the compass of one day to compress all these wanderings and clothe them in the form of this day is for me only possible by such variation which, I beg you to believe, is not capricious' (cited Kimpel, 1975:283; my italics).

Fludernik (1986b) concludes Joyce did not abruptly change his ideas at any point, but that he did elaborate his 'working model' by extending the complex correspondences.

13. A popular term in Joyce criticism has been Hayman's 'arranger' (1982) - a nameless, creative persona or presence in the text, that is neither author nor narrator. I fail to see why this cannot be the 'narrators'; and I would understate, rather than overstate, his/its degree of control within the text.

Chapter 4

1. Bloom's place in the succession of artist manque figures throughout his works is described by Beja (1988), who yet rather oddly fails to

Notes 165

mention the Eumaean reference and the whole style of discourse of the episode. As he notes, Molly too contemplates writing a book about Ulysses: 'well hes beyond everything ... if only I could remem­ber the 1 half of the things and write a book out of it the works of Master Poldy yes .. .' (18.578-80)

2. As Stead (1982) illustrates, there is distinct textual evidence that in the composition of 'Eumaeus' Joyce used W. B. Hodgson's Errors in the Use of English (1881) which was known to be in his book collection in Trieste. Like the English Grammar of Lindley Murray (1795), who was one of the most influential 'authorities' on English usage throughout the nineteenth century, Hodgson's work pre­scribes correctness by examples of in-correctness. There is no doubt that Joyce would have been much amused by page after page of solecisms and stylistic infelicities, some of which are explicitly compared to Irish bulls! As Mason and Ellman note (1959, p. 127, note 2) Joyce delighted in collecting solecisms, finding many in the poems of Yeats and his contemporaries; and no doubt his own experiences as a Berlitz teacher of English in Trieste made him more than usually sensitive to the 'rules' and 'norms' of spoken and written English.

Chapter 5

1. There is normally no reason why an author should state his 'inten­tions', or that we should accept them, the meaning of a work being determined by its readers. In any case, with serial publication ideas can be modified. But simply because his own friends found the work unintelligible, Joyce was continually obliged, often unwillingly, to explain it. Ellmann (1982) gives many of these explanations (see below), most of which are not precisely dated, since they form later recollections of friends. Only once does Joyce explicitly refer to it as a kind of dream-vision. He apparently told a friend (date not specified) that it was the 'dream of old Finn, lying in death beside the river Liffey and watching the history of Ireland and the world - past and future - flow through his mind like flotsam on the river of life' (1982:544). This seems a plausible interpretation, and obviates the need that many critics feel for some definite dreamer or narrator, as in conventional fiction, some authoritative 'voice' and guide. As Attridge states (1988:211, note 2), the popular notion that it is the dream (and dreams within dreams) of a Dublin publican (see, e.g., Burgess, 1973:130f.) seems to derive from Edmund Wilson's article on Joyce in the New Republic (1929) no 61 before the work was finished. Joyce himself did not deny the claim, but probably only for the reason that he recognised the 'authority' of the reader not author. Nonetheless, as Attridge states, there is little evidence from the text that it is a dream of a publican. For a comprehensive account of Joyce's 'Book of the Night' with all that this term might mean symbolically, see Bishop (1986). It is noteworthy in this connection

166 THE LANGUAGE OF JAMES JOYCE

that Joyce decribes Finn 'lying in death'. For the association of sleep with death in the title of the work see section 5.4.

2. Jung's notions of the 'collective unconscious' and archetypal symbols (e.g. river) arising out of his study of dreams and mythology must also have appealed to Joyce, who visited him in Zurich. References to Jung and Freud are interwoven in the text of the Wake, and if some suggest a certain scepticism ('I can psoakoonaloose myself any time I want', FW:522) this nonetheless confirms the Wake as a Joycean reading of Freud as much as a Freudian reading of Joyce (Bishop, 1986:18). Linguistic processes themselves can be part of the process of dreaming. In his Psychopathology of Everyday Life Freud notes the importance of puns and anagrams.

3. HCE's universal role is underlined by echoes here of the famous misspelling of hesitancy associated (wrongly) with Parnell (see section 1.1). Parnell himself is supposed to have stammered in speech.

4. This is not to say that there is no formal complexity in the nucleus: mother merges with daughter, the twin 'sons' change places: 'Showm the Posed; (FW:92); 'Shun the Punman' (FW:93). To be noted also is Ch om sky's concept of 'deep' and 'surface' structure, worthy of comparison with Freud's 'latent' and 'manifest' content of dreams; and his abiding interest in linguistic universals and the predisposi­tions of the mind.

5. Purdy's article (1972) is an attempt to present some of the 'rules' of Wakese, chiefly syntactical. His comments are set within the frame­work of Chomskyan Grammar, but he makes no analogies. He is right to stress that, contrary to popular opinion (and see Hall, 1980) the syntax of the Wake is not the same as that of ordinary English, even though Joyce usually preserves the ordinary sentence types of statement, interrogative, imperative, exclamation. For an ambitious yet overly theoretical attempt to produce structural and pragmatic principles and rules for the Wake, see Sandulescu (1987).

6. For Vico 'the etymological unlayering of modern languages ... allows the reconstruction of the unconscious mind out of which gentile humanity arose' (Bishop, 1986:197). He was also interested in the possible origin of language in gesture, an idea that Joyce himself explored, attending a lecture by the Jesuit Marcel Jousse in Paris (1925) on this very subject: 'In the beginning was the gest he jousstly says' (FW:468). That Joyce knew other theories about the origin of language is revealed in particular on pp. 377-9. In Jes­persen (1922) there is summarised the 'pooh-pooh' theory (language from interjections) (Pawpaw, FW:378); the 'bow-wow theory' (lan­guage from animal cries) (wowow, FW:378); and the 'ding-dong' theory (language in imitation of other sounds) ('Dang! Ding! Dong! Dung! FW:377). See also Brown, 1983:4-5.

7. One can note in this respect the nature of schizophrenic language, which is marked by low redundancy and lack of cohesion. Meara's description (1978:22) of the effect of schizo language on the listener

Notes 167

reads uncannily like the Wake: scraps of meaning 'float tantalizingly through your awareness and certain words stand out starkly against an undifferentiated background of foreign sounds, [yet] the whole meaning of what is being said remains uncomfortably obscure'.

8. As Todd states (1989:92-3) vowel harmony means that 'the selection of a particular vowel in one syllable influences the selection in others': so a 'front' vowel like II1 or lel triggers off the same in the next syllable. This affected English borrowings into Gaelic, and such patterning 'was enhanced in poetry'.

9. Hart (1963:12) states categorically that the work contains very little onomatopoeia. This is only partly true: the phonaesthemes have many 'meanings', but words referring to sound are certainly com­moner, say, than words referring to colours. The Wake's <CL-> words alone, for example, include click, clamour, clap, clash, clingleclangle, clink, clipperclapper, clonk, clop, clottering, clump. For notes on the symbolism of the sounds in the list, see Jespersen (1922), Bolinger (1965). <U> + nasal cluster, for example, is associated with a heavy sound, or mass; <GU-> with the throat; <BL-> with swollen objects and garrulity. <BL-> words, in fact, fill eight columns of Hart's Primary Index to the Wake. <00> suggests in Wake se zaniness and 'Dutchness' as well as the common 'length' or 'intensity'.

10. Hill (1939:656) says, for example, that only Joyce can follow the puns because only he has formed the associations. Tindall (1969:23) speaks of this 'self-contained private universe'. Hart (1963) does not go to this extreme but doubts whether 'anyone person can ever see enough of Joyce's linguistic panorama' (Introduction).

Further Reading

ASENJO, F., 'The General Problem of Sentence Structure: an Analysis Prompted by the Loss of Subject in Finnegans Wake', Centennial Review of Arts and Sciences (1964) no 8, pp. 398-408.

ATHERTON, J. S., Books at the Wake (New York: Viking Press, 1959). ATHERTON, J. S., 'The Oxen of the Sun', in C. Hart and D. Hayman

(eds) fames foyce's Ulysses (Berkeley: University of California Press, 1974).

ATTRIDGE, D., 'Language as Imitation: Jakobson, Joyce and the Art of Onomatopoeia', Modern Language Notes (1984) no 97, pp. 1116-40. Reprinted in D. Attridge, Peculiar Language (London: Methuen, 1988).

ATTRIDGE, D., 'Unpacking the Portmanteau; or, Who's Afraid of Finnegans Wake?'; and 'Deconstructing Digression: The Backbone of Finnegans Wake and the Margins of Culture', in Peculiar Language (London: Methuen, 1988).

ATTRIDGE, D., 'Molly's Flow: The Writing of 'Penelope' and the Question of Women's Language', Modern Fiction Studies (1989) no 35, pp. 543-65.

ATTRIDGE, D. and FERRER, D. (eds) Post-Structuralist foyce: Essays from the French (Cambridge: Cambridge University Press, 1984).

BAKHTIN, M., Problems of Dostoevsky's Poetics (Ardis: Ann Arbor, 1973).

BAKHTIN, M., The Dialogic Imagination: Four Essays (Austin: Univer­sity of Texas Press, 1981).

BARDOTTI, M., 'The "Verbal Vesture" of the "Lyrical Form"', in R. M. Bossinelli, P. Pugliatti and R. Zacchi (eds) Myriad Minded Man (Bologna: CLUEB, 1986).

BARRY, M. V., 'The English Language in Ireland', in R. W. Bailey and M. G6rlach (eds) English as a World Language (Cambridge: Cam­bridge University Press, 1982).

BARTHES, R., S/Z (Paris: Seuil, 1970). BARTHES, R., Le Plaisir du Texte (Paris: Seuil, 1975). BECK, W., foyce's Dubliners (Durham, North Carolina: Duke University

Press, 1969). BECKETT, S., 'Dante ... Bruno. Vico .. Joyce', in S. Beckett et al. (eds)

Our Examination Round his Factification for Incamination of Work in Progress (London: Faber, 1929, reprinted 1972).

Further Reading 169

BEGNAL, M., Dreamscheme: Narrative and Voice in 'Finnegans Wake' (New York: Syracuse University Press, 1988).

BEJA, M., 'A Poor Trait of the Artless: the Artist Manque in James Joyce', James Joyce Quarterly (1988) no 26, pp. 89-104.

BENSTOCK, B., Joyce-Again's Wake (Washington: Washington Univer­sity Press, 1965).

BENSTOCK, S., 'Who Killed Cock Robin? The Sources of Free Indirect Style in Ulysses', Style (1980) no 14, pp. 259-73.

BERTZ, S., 'Variation in Dublin English', Teanga (1985) no 7, pp. 35-53. BICKERTON, D., 'James Joyce and the Development of Interior

Monologue', Essays in Criticism (1968) no 18, pp. 32-46. BISHOP, J., Joyce's Book of the Dark (Madison: University of Wisconsin

Press, 1986). BLISS, A. J., 'Languages in Contact: Some Problems of Hiberno­

English', Proceedings of the Royal Irish Academy (1972a) no 72, pp. 63-82.

BLISS, A. J., 'The Language of Synge', in M. Harmon (ed.) J. M. Synge Centenary Papers (Dublin: Dolmen Press, 1972b).

BLISS, A. J., Spoken English in Ireland, 1600-1740 (Dublin: Cadenus Press, 1979).

BLISS, A. J., 'English in the South of Ireland', in P. Trudgill (ed.) Language in the British Isles (Cambridge: Cambridge University Press, 1984).

BLOCK, H., 'Theory of Language in Gustave F1aubert and James Joyce', Revue de Litterature Comparee (1961) no 35, pp. 197-206.

BOHEEMEN, C. van, '''The Language of Flow": Joyce's Dispossession of the Feminine in Ulysses', Dutch Quarterly Review of Anglo­American Letters (1988) no 18, pp. 153-67.

BOSINELLI, R. M., PUGLIATII, P. and ZACCHI, R., Myriadminded Man - Jottings on Joyce (Bologna: CWEB, 1986).

BOLINGER, D., Forms of English (Cambridge, Massachusetts: Harvard University Press, 1965).

BROWN, c., 'FW 378: Laughing at the Linguists', A Wake Newslitter (Occasional Paper 2) (1983) pp. 4--5.

BUCHER, U., Stream of Consciousness: Dorothy Richardson and James Joyce (Switzerland: Willislau, 1981).

BURGESS, A., Joysprick (London: Deutsch, 1973). CAESAR, T. P., 'Joycing Parody', James Joyce Quarterly (1989) no 26,

pp. 227-37. CARD, J. van Dyck, 'The Ups and Downs, Ins and Outs of Molly Bloom:

Patterns of Words in "Penelope"', James Joyce Quarterly (1982) no 12, pp. 127-39.

CHATMAN, S., 'New Ways of Analysing Narrative Structure, with an Example from Joyce's Dubliners', Language and Style (1969) no. 2, pp. 3-36.

CHATMAN, S., Story and Discourse (Ithaca: Cornell University Press, 1978).

COATES, J., Women, Men and Language (London: Longman, 1987).

170 THE LANGUAGE OF JAMES JOYCE

COHN, D., Transparent Minds (New Jersey: Princeton University Press, 1978).

CORKERY, D., The Fortunes of the Irish Language (Cork: Mercier Press, 1954)

CRONIN, J., 'The Funnel and the Tundish: Irish Writers and the English Language', Wascana Review, 3 parts (1968), Part I, pp. 80-8.

CUMMINGS, M. and HOPKINS, A., 'The Stylistics of Heightened Emotion in Joyce's Portrait of the Artist', LACUS Forum (1985) no 12, pp. 351-66.

DAHL, L., Linguistic Features of the Stream-of-Consciousness Tech­niques of lames loyce, Virginia Woolf and Eugene O'Neill (Turku: Turun Yliopisto, 1970).

DAHL, L., 'A Comment on Similarities between Edouard Dujardin's 'Monologue Interieur' and James Joyce's Interior Monologue', Neu­philologische Mitteilungen (1972) no 73, pp. 45-54.

DEANE, S., 'Joyce and Nationalism', in C. MacCabe (ed.) lames loyce: New Perspectives (Brighton: Harvester, 1982).

DONOGHUE, D., 'The Problems of being Irish', Times Literary Supple­ment (17 March 1972) pp. 291-2.

DONOGHUE, D., We Irish (Brighton: Harvester, 1986). DUJARDIN, E., Le Monologue Interieur: son Apparition, ses Origines,

sa Place dans L'oeuvre de lames loyce (Paris: Messein, 1931). ECO, U., The Role of the Reader (London: Hutchinson, 1979). EDWARDS, J., 'Irish and English in Ireland', in P. Trudgill (ed.)

Language in the British Isles (Cambridge: Cambridge University Press, 1984)

EDWARDS, J., 'Did English Murder Irish?', English Today, April 1986, no 6, pp. 7-10.

ELLMANN, R., Ulysses on the Liffey (London: Faber, 1974). ELLMANN, R., lames loyce (Oxford: Oxford University Press, 1982)

revised edn. EV ANS, W. A., 'Wordagglutinations in Joyce's Ulysses', Studies in the

Literary Imagination (1970) no 3, pp. 27-35. FESHBACH, S., "'Writ Our Bit as Intermidgets": Classical Rhetoric in

the Early Writings of James Joyce', lames loyce Quarterly (1980) no 17, pp. 379-87.

FLEMING, W., 'Formulaic Rhythms in Finnegans Wake', Style (1972) no 16, pp. 19-37.

FLUDERNIK, M., 'The Dialogic Imagination of Joyce: Form and Function of Dialogue in Ulysses', Style (1986) no 20, pp. 42-57.

FLUDERNIK, M., 'Narrative and its development in Ulysses', lournal of Narrative Technique (1986a) no 16, pp. 15-40.

FLUDERNIK, M., 'Ulysses and Joyce's Change of Artistic Aims: External and Internal Evidence', lames loyce Quarterly (1986b) no 23, pp. 173-88.

FOSTER, J. W., Fictions of the Irish Literary Revival: A Changeiing Art (USA: Syracuse Univeristy Press, 1987).

FOWLER, R., Linguistics and the Novel (London: Methuen, 1977).

Further Reading 171

FRENCH, M., The Book as World: lames loyce's 'Ulysses' (London: Abacus, 1982).

FRENCH, M., 'Joyce and Language', lames loyce Quarterly, (1982) no 19, pp. 239-55.

FRIEDMAN, M., Stream of Consciousness (New Haven: Yale University Press, 1955).

FUGER, W., Concordance to lames loyce's 'Dubliners' (Hildesheim: Georg Olms Verlag, 1980).

GIBSON, A., Reading Narrative Discourse (London: Macmillan, 1990). GILBERT, S., lames loyce's Ulysses (London: Faber, 1930, rep. 1952). GOLD MAN , A., The loyce Paradox (Evanston: Northwestern University

Press, 1966) ch. 4. GOTTFRIED, R., The Art of loyce's Syntax in 'Ulysses' (London:

Macmillan, 1980). GOTTFRIED, R., 'Reading Figather: Tricks of the Eye in Ulysses',

lames loyce Quarterly (1988) no 25, pp. 465-74. HALL, S., 'The Grammar of Finnegans Wake', A Wake Newslitter (1980)

no 17, pp. 51-9. HALLIDA Y, M., Language as Social Semiotic (London: Edward

Arnold, 1978). HANCOCK, L., Word Index to lames loyce's 'Portrait of the Artist'

(Carbondale: Southern Illinois Press, 1967). HART, c., Structure and Motif in 'Finnegans Wake' (London: Faber,

1962). HART, C., A Concordance to Finnegans Wake (Minneapolis: University

of Minnesota Press, 1963). HART, c., 'The Elephant in the Belly: Exegesis of Finnegans Wake', in

C. Hart and F. Senn (eds) A Wake Digest (Sydney: Sydney University Press 1968).

HAYMAN, D., loyce et Mallarme, 2 vols (Paris: Les Lettres Modernes, 1956).

HA YMAN, D., (ed.) A First-Draft Version of 'Finnegans Wake' (Austin: University of Texas Press, 1963).

HAYMAN, D., 'The Empirical Molly', in T. F. Staley and B. Benstock (eds) Approaches to Ulysses (USA: University of Pittsburgh Press, 1970).

HA YMAN, D., 'Form and Surface', in his Ulysses: The Mechanics of Mean­ing (Madison: University of Wisconsin Press, 1970, revised edn 1982).

HEATH, S., 'Ambiviolences: Notes pour la Lecture de Joyce', Tel Quel (1972) no 50, pp. 23-41; transl. in D. Attridge and D. Ferrer (eds) Post­structuralist loyce (Cambridge: Cambridge University Press, 1984).

HECHTER, M., Internal Colonialism: The Celtic Fringe in British National Development, 1536-1966 (London: Routledge, 1975).

HENKE, S., lames loyce and the Politics of Desire (London: Routledge, 1990).

HENKE, S. and UNKELESS, E. (eds) Women and loyce (Brighton: Harvester, 1982).

HENRY, P. L., 'Anglo-Irish and its Irish Background', in D. O'Muirithe (ed.). (1977).

172 mE LANGUAGE OF JAMES JOYCE

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HILL, A., 'A Philologist Looks at Finnegans Wake', Virginia Quarterly Review (1939) no 15, pp. 65()..{i.

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HOUGH, G., 'Narration and Dialogue in Jane Austen', Critical Quarterly (1970) no 12, pp. 201-29.

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HUMPHREY, R., Stream of Consciousness in the Modern Novel (Berkeley, USA: University of California Press, 1962).

HUTCHEON, L. and BUTLER, S. A., 'The Literary Semiotics of Verbal Irony: The Example of Joyce's "The Boarding House''', Recherches Semiotiques/ Semiotic Inquiry (1981) no 1, pp. 244-60.

HUTCHEON, L., A Theory of Parody (London: Methuen, 1985). ISER, W., The Implied Reader (Baltimore: Johns Hopkins University

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Dublin: Wolfhound Press, 1979). KAIN, R., Dublin in the Age of William Butler Yeats and lames loyce

(Newton Abbot: David & Charles, 1972). KELL Y, H., 'Consciousness in the Monologues of Ulysses', Modern

Language Quarterly (1963) no 24, pp. 3-12. KEMENY, T., 'The "Unreal" Effect in Dubliners', in R. M. Bosinelli et

al. (eds). (1986). KENNER, H., loyce's Voices (London: Faber, 1978). KERSHNER, R. B., loyce, Bakhtin and Popular Literature (Chapel Hill:

University of North Carolina Press, 1989). KIBERD, D., Synge and the Irish Language (London: Macmillan,

1979). KILROY, T., 'Tellers of Tales', Times Literary Supplement (17 March

1972) pp. 301-2. KIMPEL, B., 'The Voices of Ulysses', Style (1975) no 9, pp. 283-319. KRAUSE, D., The Profane Book of Irish Comedy (lthaca: Cornell

University Press, 1982). LANHAM, J., 'The Genre of A Portrait of the Artist as a Young Man and

the Rhythm of its Structure', Genre (1977) no 10, pp. 77-102. LAWRENCE, K., The Odyssey of Style (New Jersey: Princeton University

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and Structure', Modern Fiction Studies (1966-7) no 12, pp. 439-50.

Further Reading 173

LEVENSTON, E., 'Narrative Technique in Ulysses: A Stylistic Compari­son of "Telemachus" and "Eumaeus"', Language and Style (1972) no 5, pp. 260-75.

LEVIN, H., (ed.) The Essential lames loyce (Harmondsworth: Penguin, 1963).

LEVINE, J., 'Originality and Repetition in Finnegans Wake and Ulysses', PMLA (1979) no 94, pp. 106-20.

LEVITT, M. P., 'The Radical Consistency of Point of View in Ulysses: a Traditional Reading', lames loyce Quarterly (1988) no 26, pp. 67-88.

LlNGUANTI, E., 'The Disposition of Sensible or Intelligible Matter for an Esthetic End', in R. M. Bosinelli et al. (eds). (1986).

LlTZ, A. W., The Art of lames loyce (New York: Oxford University Press, 1961).

LODGE, D., 'Double Discourses: Joyce and Bakhtin', lames loyce Broadsheet (1983) no 11, pp. 1-2.

MacCABE, C., lames loyce and the Revolution of the Word (London: Macmillan, 1978).

MacCABE, C. (ed.) lames loyce: New Perspectives (Brighton: Harvester, 1982).

MADDOX, B., Nora: A Biography of Nora loyce (London: Octopus, 1988).

MAHAFFEY, V., Re-authorizing loyce (Cambridge: Cambridge Univer­sity Press, 1988).

MANSO, P., 'The Metaphoric Style of Joyce's Portrait', Modern Fiction Studies (1967) no 13, pp. 221-36.

MASON, E. and ELLMANN, R. (eds) The Critical Writings of lames loyce (London: Faber, 1959).

MA YS, J. C., 'Some Comments on the Dublin of Ulysses', in L. Bonnerot (ed.) Ulysses: Cinquante Ans Apres (Paris: 1974).

McHUGH, R., Annotations to Finnegans Wake (London: Routledge, 1980).

MEARA, P. 'Schizophenic Symptoms in Foreign Language Learners', University of East Anglia Papers in Linguistics (1978) pp. 22-49.

MERCIER, V., The Irish Comic Tradition (Oxford: Oxford University Press, 1962).

MICHELS, J., 'The Role of Language in Consciousness: A Structuralist Look at "Proteus" in Ulysses', Language and Style (1982) no 15, pp. 23-32.

MOSS, R., 'Difficult Language: the Justification of Joyce's Syntax in Ulysses', in G. Josipovici (ed.) The Modern English Novel (London: Open Books, 1976)

NAREMORE, J., 'Style as Meaning in A Portrait of the Artist', lames loyce Quarterly (1967) no 4, pp. 331-42.

NORRIS, M., The Decentred Universe of 'Finnegans Wake' (Baltimore: Johns Hopkins University Press, 1974).

NORRIS, M., 'The Consequence of Deconstruction: A Technical Per­spective of Joyce's Finnegans Wake', English Literary History (1974) no 41, pp. 130-48.

174 THE LANGUAGE OF JAMES JOYCE

O·CONNOR. F.. 'James Joyce·. American Scholar (1967) no 36. pp. 466-90.

O·HEHIR. B .• A Gaelic Lexicon for 'Finnegans Wake,' (Berkeley and Los Angeles: University of California Press. 1967).

O·MUIRITHE. D. (ed.) The English Language in Ireland (Cork: Mercier Press. 1977).

PARTRIDGE. A. C .• Language and Society in Anglo-Irish Literature (Dublin: Gill & Macmillan. 1984).

PARTRIDGE. E .• The Penguin Dictionary of Historical Slang (London: Penguin. 1972. reprinted 1988).

PEAKE. c.. lames loyce (The Citizen and the Artist) (London: Edward Arnold. 1977).

PRESCOTT. J .• 'James Joyce: A Study in Words'. (Publications of the Modern Language Association) PMLA 54 (1939) pp. 304-15.

PUGLIATTI. P .• 'The Ulyssean Challenge: Time. Monologue. Dis­course. "Arranger· ... in R. Bosinelli et al. (eds) (1986).

PURDY. S .• 'Mind your Genderous: Toward a Wake Grammar'. in F. Senn (ed.) New Light on loyce (Bloomington: Indiana University Press. 1972).

RIQUELME. J. P .• Teller and Tale in loyce's Fiction (Baltimore: Johns Hopkins University Press. 1983).

ROBINSON. K.. 'The Stream of Consciousness Technique and the Structure of Joyce's Portrait', lames loyce Quarterly (1971) no 9. pp.6~4.

SALDIV AR. R.. Figural Language in the Novel (New Jersey: Princeton University Press. 1984) ch. 6.

SANDULESCU. C. G .• 'Joyce's Linguistic Perspectivism·. Analele Uni­versitati Bucuresti (1969) pp. 1-14.

SANDULESCU. C. G .• The loycean Monologue (Colchester: A Wake Newslitter Press. 1979).

SANDULESCU. C. G .• The Language of the Devil (Gerrards Cross: Colin Smythe. 1987).

SCHOLES. R.. 'Semiotic Approaches to a Fictional Text: 10yce's "Eveline'" lames loyce Quarterly (1979) no 16. pp. 65-80.

SCHOONBROODT. J .• Point of View and Expressive Form in lames loyce's Ulysses (Belgium: Lommerich. Eupen. Diss .• 1969).

SCHUTTE. W .• Index of Recurrent Elements in lames loyce's 'Ulysses' (Carbondale: Southern Illinois University Press. 1982).

SCHUTTE. W. M. and STEINBERG, E. R., 'The Fictional Technique of Ulysses·. in T. F. Staley and B. Benstock (eds) Approaches to Ulysses (USA: University of Pittsburgh Press. 1970).

SCOTT. B. K .• loyce and Feminism (Brighton: Harvester, 1984). SCOTT. B. K.. lames loyce (Brighton: Harvester, 1987). SENN. F .• 'A Rhetorical Analysis of Joyce's "Grace .. •• Moderna

Sprak (1980) no 74. pp. 121-8. SENN, F., loyce's Dislocutions: Essays on Reading as Translation (Balti­

more: 10hns Hopkins University Press. 1984).

Further Reading 175

SHORT, M., 'Stylistics and the Teaching of Literature: with an example from James Joyce's A Portrait of the Artist as a Young Man', in C. J. Brumfit (ed.) Teaching Literature Overseas (Oxford: Pergamon Press, 1983) pp. 67-84. .

SOLOMON, M., 'Character as Linguistic Mode: A New Look at Stream­of-Consciousness in Ulysses', in L. Bonnerot (ed.) Ulysses Cinquante Ans Apres (Paris: Didier, 1974).

SPENCER, J., 'A Note on the "Steady Monologuy of the Interiors"', Review of English Literature (1965) no 6, pp. 32-41.

SPINALBELLI, R., 'Molly "Live"', in R. Bosinelli et al. (eds). (1986). STANZEL, F., Narrative Situations in the Novel (Bloomington: Indiana

University Press, 1971). STEAD, A., 'Reflections on 'Eumaeus': Ways of Error and Glory in

Ulysses', in W. J. McCormack and A. Stead (eds) lames loyce and Modern Literature (London: RoutIedge, 1982).

STEINBERG, E., The Stream of Consciousness and Beyond in 'Ulysses' (USA: University of Pittsburg Press, 1958).

STEPPE, W. with GABLER, H. W., A Handlist to lames loyce's Ulysses (New York: Garland, 1986).

SULLIVAN, K., loyce Among the lesuits (USA: Colombia University Press, 1957).

THOMSON, R. L., 'The History of the Celtic Languages in the British Isles', in P. Trudgill (ed.) Language in the British Isles (Cambridge: Cambridge University Press, 1984).

THOMPSON, W., 'The Language of Finnegans Wake', Sewanee Review (1964) no 72, pp. 78-90.

TINDALL, W. Y., A Reader's Guide to 'Finnegans Wake' (London: Thames & Hudson, 1969).

TODD, L., The Language of Irish Literature (London: Macmillan, 1989). TOOLAN, M., 'Analysing Conversation in Fiction: an Example from

Joyce's Portrait', in R. Carter and P. Simpson (eds) Discourse and Literature (London: RoutIedge, 1989).

VICKERS, B., In Defence of Rhetoric (Oxford: Clarendon Press, 1988). VISSER, G. J., 'James Joyce's Ulysses and Anglo-Irish', English Studies

(1942) no 24, pp. 45-56. WALES, K., 'Dickens and Interior Monologue: the Opening of Edwin

Drood Reconsidered', Language and Style (1984) no 17, pp. 234-50. WALES, K., 'Back to the Future: Bakhtin, Stylistics and Discourse', in

W. van Peer (ed.) The Taming of the Text: Explorations in Language, Literature and Culture (London: RoutIedge, 1988).

WALES, K., "'The Oxen of the Sun" in Ulysses: James Joyce and Anglo-Saxon', lames loyce Quarterly (1989) no 26, pp. 319-32.

WALES, K., A Dictionary of Stylistics (London: Longman, 1989, repr. 1990).

WALES, K., 'Phonotactics and Phonaesthesia: the Power of Folk Lex­icology', in S. Ramsaran (ed.) Studies in the Pronunciation of English (London: RoutIedge, 1990).

176 THE LANGUAGE OF lAMES JOYCE

WALL, R., An Anglo-Irish Dialect Glossary for loyce's Works (Gerrards Cross: Colin Smythe, 1986).

WARNER, W., 'The Play of Fictions and Succession of Styles in Ulysses', lames loyce Quarterly (1977) no 15, pp. 18-35.

W A TSON, G., Irish Identity and the Literary Revival (London: Croom Helm, 1979).

WELLS, J. C., Accents of English, vol.2: The British Isles (Cambridge: Cambridge University Press, 1982).

WILDS, N. G., 'Style and Auctorial Presence in A Portrait of the Artist as a Young Man', Style (1973) no 7, pp. 39-55.

Index

alliteration 49-51,54,60-1,64, 76, 107, 118, 152

ALP (Finnegans Wake) 41, 100, 141-2, 146, 151, 160, 163

anacoluthon 83 anadiplosis 41, 54 anaphora 50, 57 Anglo-Irish (literature) 25-32

passim, 36, 160 anti-language 156 apophony (vowel-gradation)

107, 109, 144-5, 149-50 artes praedicandi 35-6 assonance 54, 60, 64, 103, 107 Atherton, J. S. 129, 135, 145 Attridge, D. 109, 134, 163, 165

Bakhtin, M. ix, 47, 71, 80-2, 84, 86, 88-9, 102-3, 114, 131, 163

Bardotti, M. 161 Barthes, 105, 155 Beckett, Samuel 26,33,155,157 Behan, Brendan 21 Beja, M. 164 Benstock, B. 164 Bishop, J. 165-6 Bloom, Leopold (Ulysses) 3, 10,

13,15-19,22,31, chapters 3 and 4 passim

Bloom, Molly (Ulysses) ix, 3, 13, 15, 17, 19,25, 28, 69, 70, 75,81,90-101 passim

Bolinger, D. 153, 167 Book of Kells, The 32, 160 Bosinelli, R. M. et al. 161,

163

Brown, C. Bucher, U. Burgess, A.

166 74 ix, 138-9, 163

captatio benevolentiae 50 Celts 2 Chamber Music 54-5,66-7 Chatman, S. 74-5 chiasmus 64 Chomsky, N. 143, 166 cliche 38, 52, 125-6, 140 closure 100-1 Coates, J. 93 Cohn, D. 81, 163 collocation 41, 138, 148-9 coloured narrative 86, 111 compound(ing) 116-17 consonance 60 conversion 115-16 Cusack, Michael 29

'Day of the Rabblement, The' 27 Deane, S. 33 deconstruction ix, 131-2 'decorum' 48 Dedalus, Stephen (A Portrait;

Ulysses) 6,8-10,13-15,21, 26, 28-32, 55-67 passim, chapters 3 and 4 passim, 135-6

defamiliarisation 113,121,151 descriptio 52-3 dialogic ix, 71, 78, 80-2, 84, 86,

97, 101-4 passim, 110, 127-8, 131

Dickens, Charles 6, 8, 52, 93, 123, 130-1

178 THE LANGUAGE OF JAMES JOYCE

direct speech 16, 77 'dislocution' 106, 110, 131, 146 Donoghue, D. 33 Dubliners 12-13,34,37-54

passim, 57, 69, 96, 105; 'Araby' 39; 'The Boarding House' 23, 42; 'Clay' 13, 40, 44-7,95-6,161; 'Counterparts' 8, 39-40, 161; 'The Dead' 11,23,27,39, 47-55, 62, 64, 96; 'An Encounter' 45; 'Eveline' 15, 40-2; 'Grace' 19, 36; 'Ivy Day in the Committee Room' 6, 17,24,27, 119; 'A Little Cloud' 28, 40; 'A Mother' 96; 'A Painful Case' 12, 42-4; 'The Sisters' 17, 23; 'Two Gallants' 12, 39, 53-4

dual (double) voice 47,65, 128, 140, 171

Dujardin, Edouard 73-5, 84

Eco, U. 155 ecriture feminine 163 ellipsis 78-9 Ellmann, R. 3, 36, 68, 98, 133,

137-8, 155-6, 161-2, 164-5 end-focus/weight 112 epanodos 54, 58, 60, 63-4 'epiphany' 61, 162 epiphora 41 epizeuxis 61 'Et tu, Healy' 6 expolitio 39 exemplum 62

tabula (histoire) 57,69,73 'Fenianism' 160 figure of speech 37, chapter 2

passim Finnegan, Tim 32, 135, 142 Finnegans Wake ix, 1-4,6,9,

12, 14,20-1, 27-9, 31-3, 36-7, 67, 84, 95, 100, 105, 109, 118, 126, 129, 132, chapter 5 passim, 163-7

Fludernik, M. 162, 164

focalisation (perspective; point of view) 38,44,47,55,69,73, 75, 77-8, 84-5, 88-90, 99-100,102-3,107,111,115, 162, 164

Foster, 1. W. 26 Fowler, R. 78 free direct thought 72, 75, 78,

162 free indirect style/thought 42,

44, 72, 75-8, 89, 102, 111 Freud, Sigmund 6, 72, 83,

138-40,166

Gaelic (Irish) chapter 1 passim, 151, 160, 167

Gaelic League 1, 7, 27, 48 Gaelic (Celtic) Revival 7, 25-32

passim, 117 Gibson, A. 164 Gilbert, S. 101, 162 Griffith, Arthur 29

Hall, S. 166 Halliday, M. 156 Hart, C. 143-4, 153, 156, 167 Hayman, D. 150, 164 HCE (Finnegans Wake) 6, 100,

chapter 5 passim, 166 Heath, S. 157 Henke, S. 163 Henry, P. L. 160 heteroglossia 71, 140 Hiberno-English ix, chapter 1

passim, 94, 142, 152, 160 Hill, A. 167 Hodgson, W. B. 165 Hopkins, Gerard Manly 152 Hough, G. 86 Humphrey, R. 75 Hutcheon L. and Butler, S. A.

42 hybridisation 87, 89, 92 Hyde, Douglas 1,27,30

ideal reader 134-5, 154, 156 'imitative' form 67, 72, 88, 105 implied reader 156

indirect speech/thought 76, 78, 89

interior monologue ix, 16, 19, chapter 3 passim, 137-8, 162-3

intertextuality 70-1, 80 inventio 48 'Ireland, Island of Saints and

Sages' 30 !ser, W. 136 Issy (Finnegans Wake) 95,

139-40, 150

Jacobson, R. and Waugh, L. 150

James, Henry 72 James, William 71-2,92,

162 Jespersen, O. 93,96-7, 167 Jolas, Eugene 154-5 jouissance 105, 131 Jousse, Marcel, 166 Joyce, James 1,3,5, 11-12,

29-31,33,35-8,55,66-8, 98, 101-3, 111, 119, 133, 136-7, 160, 164-6

Joyce, Nora 11,93,98, 160, 163

Joyce, P. W. 30 Jung, Carl 72, 100, 166

Kenner, H. 86 Kershner, R. 161-2 Kiberd, D. 26 Kimpel, B. 106, 164 Kilroy, T. 32

Lamb, Charles, The Adventures of Ulysses 68

Lanham, J. 63, 162 Larbaud, Valery 72, 80, 162 Lawrence, K. 101-2 Leavis, F. R. ix, 133 (leit)motif 40, 44, 69, 85, 118,

128, 149, 162 Levin, H. 162 Levitt, M. P. 164 Linguanti, E. 161

Index 179

lisible ('readerly') 155 Loyola, St Ignatius 35

MacCabe, C. 161 Maddox, B. 11, 163 Mahaffey, V. 104 Mangan, James 28 Mason, E. and Ellmann, R. 31,

119, 160, 165 Mays, J. C. 25 McCool, Finn 6, 32, 135, 142,

160,165-6 McHugh, R. 153 Meara, P. 166-7 metaphor 21, 118-19, 121-2,

125 mimesis 70, 75, 84, 102-4, 113,

128, 164 mind-style 78-9,91-4 modernism 67,102 Moore, George 26,30 Murray, Lindley 125, 165

narrative report 42,59,75-6, 162

nouveau roman 155

object-fronting 78 O'Casey, Sean 21,26 O'Connell, Daniel 6 O'Connor, F. 34 Odyssey, The 31, 68-9, 77, 90,

121 onomatopoeia 60,63,97,

108-9,167

Paradise Lost 119 parallelism 39, 42, 51 Parnell, Charles Stewart 6, 166 parody 71, 102, 106, 113, 115,

128-31 passim, 140, 142, 144-5

Partridge, E., Dictionary of Historical Slang 21

Peacock, William 129 Peake, C. x, 51-2, 54, 63, 65,

80, 101, 137, 160, 162 Pearse, Patrick 30

180 THE LANGUAGE OF lAMES JOYCE

phonaesthesia (sound-symbolism) 20-1, 67, 87, 151-4, 167

plaisir 105, 131 'Planter' English 4 polyphony 70-1,80, 103, 153 polyptoton 50, 60 'Portrait of the Artist, A' (1904)

55 Portrait of the Artist as a Young

Man, A 6,8-10, 12-15,26, 30, 32-6, 38-9, 47, 53-4, 55-66 passim, 67, 69, 72, 75-6, 83, 86-7, 106, 135-6, 161-2

Pound, Ezra 68, 133 pun 121-4, 126-7, 138-40 Purdy, S. 166 'purple prose' 66

reduplication 142, 150, 152 repetition 37-66 passim, 76, 85,

105, 125-6, 150-1, 161 rhetoric ix, chapter 2 passim,

105-6 rhyme (-combinations) 144,

149-52 Richardson, Dorothy 72, 162 Riquelme, J. P. 31

Saintsbury, George 123, 130 Sandulescu, C. G. x, 58, 73,

111,162,166 schemes (of rhetoric) chapter 2

passim Scott, B. K. 163 scriptible ('writerly') 155 Senn, F. x, 106, 110, 126, 131 'Shade of Parnell, The' 6 Shakespeare, William ix, 34, 35,

82 Short, M. 162 Sinn Fein 7, 29 sjuiet (discours) 57, 69 Skeat, W., Etymological

Dictionary 21,119 slang 21-3 Sodality Manual, The 35, 62 soliloquy 74, 82, 91, 163

Spinoza 81, 83 Stead, A. 127, 165 Steinberg, E. 74, 82 Stephen Hero 8-9,12-14,21,

29, 55-8, 66, 119 stream-of-consciousness writing

67, chapter 3 passim 'Study of Languages, The' 119 Sullivan, K. 35-6 Swift, Jonathan 5, 33, 80, 140,

143 'syllabification' 143-4, 149 Symbolists 66, 154 Synge, John Millington 10,

26-7,160 synaesthesia 60-1

Thompson, W. 136 Tindall, W. Y. 133,167,169 Todd, L. 26, 160, 167

Ulysses ix, 6,10,13-14,21, 27-9, 36-7, 40, 66-7, chapters 3 and 4 passim, 135, 140, 147, 157, 162-4; Episode 1 ('Telemachus') 11, 15, 70, 75-6,82,87, 102-3, 120, 128; Episode 2 ('Nestor') 77; Episode 3 (,Proteus') 77, 80, 82-3, 106-7 116; Episode 4 ('Calypso') 15, 17, 22, 70, 77, 81,85,90,111-12,117-18, 122; Episode 5 ('Lotuseaters') 13, 16,22,74,84,86-7, 114, 117,120,124; Episode 6 (,Hades') 6, 16-17, 85, 90, 108; Episode 7 ('Aeolus') 14, 17,37,68,70,82,85,89, 102, 108, 128; Episode 8 ('Lestrygonians') 15-16, 18-19,22,73,80,83-5,89, 102, 107, 110-12, 114-15, 117,122; Episode 9 ('Scylla and Charybdis') 27, 30, 82, 89, 112, 117, 127-8; Episode 10 ('Wandering Rocks') 13, 15,19,22,84,117,118; Episode 11 ('Sirens') 13, 18,

70,88-9, 108-10, 112, 114-18, 126, 164; Episode 12 ('Cyclops') 15, 19-22,25, 27-8,70,89, 117, 128-30, 147, 160; Episode 13 ('Nausicaa') 16,47,68,70, 89,91,94,97-8, 102-3, 107, 124, 137, Episode 14 ('Oxen of the Sun') 21, 27, 71, 84, 102, 113, 129-31, 135; Episode 15 ('Circe') 10-11, 13, 17-18,23,29,70,76,84, 89,98, 108-10, 114-15, 117-18,121-2,124, 128, 130, 135-7; Episode 16 ('Eumaeus') 15, 18, 23-4, 34, 47,89,92,94,116,124-7, 135, 147; Episode 17 ('Ithaca') 13, 16, 19, 31, 36, 70, 81, 89-90, 99-100, 102, 107, 113, 120, 123, 127;

Index 181

Episode 18 ('Penelope') 15, 17,19-20,25,28,69,74, 90-101 passim, 103, 1()8, 116

'Uncle Charles Principle' 86

Vallancey, Charles 30 Vico, Giambattista 141-2, 146,

166 voice (narrative) 85, chapter 3

passim, 110-11, 162

Wales, K. 130, 163 Warner, W. 163 Wilde, Oscar 33, 67 Woolf, Virginia 72, 163 Work in Progress 133-4

Yeats, WiIIiam Butler 25-8, 65-6, 165

zero-relative 9, 16-17, 79