Download Ulysses Explained: How Homer, Dante, and Shakespeare Inform by David Weir PDF

By David Weir

In terms of James Joyce's landmark paintings, Ulysses , the impact of 3 literary giants, Homer, Shakespeare, and Dante, can't be ignored. interpreting Joyce by way of Homeric narrative, Dantesque constitution, and Shakespearean plot, Weir rediscovers Joyce's novel during the lens of his well known predecessors.

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Extra info for Ulysses Explained: How Homer, Dante, and Shakespeare Inform Joyce’s Modernist Vision

Example text

In section 2, this action is repeated, so the interpolation in the second section refers to action in the first; however, in this instance, the temporal simultaneity is matched by spatial proximity, since O’Neill’s is quite close to Newcomen Bridge. 221–23). The hayjuice arches forth at the same moment a coin is flung to a disabled sailor by Molly Bloom from an upstairs window at No. 7 Eccles Street, several blocks west of Kelleher and constable 57C. 224–26). Kelleher’s cordial relations with the Dublin Metropolitan Police will be of some importance to Bloom and Stephen later in the day (or early in the night), a plot point that could easily go unnoticed given the nature of the narrative voice in this chapter—so objective as to seem obtuse.

726, 729–30). Bloom is inspired to think in such terms because he has just looked in on the Burton and seen the restaurant packed with men eating lunch in a crass, “Lestrygonian” fashion: “Perched on high stools by the bar, hats shoved back, at the tables calling for more bread no charge, swilling, wolfing gobfuls of sloppy food, their eyes bulging, wiping wetted moustaches. [. 654–56, 659–60). Once again, the Homeric imagery has a metaphorical purpose, and once again, Joyce’s schema helps clarify the metaphor.

The wandering rocks do not figure directly in the adventures of Odysseus because Circe warns him against the peril, which no one except Jason has navigated successfully (and only because of Hera’s assistance). In Ulysses, s the wandering rocks serve as a metaphor for the multiple, simultaneous peregrinations of Dublin’s citizens. Also, Joyce’s choice to “navigate” the wandering rocks after Stephen’s presentation in “Scylla and Charybdis” may imply the virtues of a post-Hegelian aesthetic model (that allows for a multiplicity of meanings, exuberantly unresolved) as an alternative to Stephen’s dialectical method.

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