IV How the Western civilization is saved by James Joyce in Ireland.

The three steps of Joyces cure: Dubliners; A Portrait of the Artist as a Young Man; Ulysses. Whether or not it was from a nationalistic Irishmans instinct of running in the teeth of British received opinion, Joyce did not, surely, have much to do with the agues of civilization as a whole, having his own Irish historical wounds to tend. e was, it seems, !uite committed to resisting evil "y trading aesthetics for ethics. #he three "oo$s Joyce pu"lished "etween %&%' and %&((% are treated as stages of his esta"lishing or tendering art as the cure and light side of a dar$, decaying world. Dubliners, is a series of fifteen cryptograms )short stories* pu"lished in %&%', though they had "een su"mitted to editors already three years after Heart of Darkness went to the press. +ritics saw Dubliners as Joyces document a"out the paralysis of his country a dossier of Irish evils. ,iven Joyces e-traordinary gift for fictional coherence )to "e fully proved seven years after the pu"lication of Dubliners, in Ulysses*, the stories are organized as reports a"out all sorts of "itter things )shoc$s* that confront people at different ages and sharpen their conscience )and ma$es them pass from innocence to e-perience, as Bla$e would put it*. .s such, they are fifteen realistic short stories which are only very well written, without "eing necessarily e-perimental. /n closer, inspection, however, each of the stories in 0u"liners proves a uni!uely coherent conglomerate with practically infinite connotations held together "y1.secret te-tual figures or recondite strategies2 this singles them out as literary anagogical artifacts(. 3or e-ample, in the first story, The Sisters, the gnomon figure contained in the consciousness of the narrator, a very young "oy, whose selective omniscience $eeps the story together, functions as an o"4ective correlative for the whole story. Just as in Heart of Darkness, the story does not have 4ust the sisters as protagonists, nor even 4ust the "oy who discovers the death of their "rother, his friend, the defroc$ed priest, 3ather 3lynn, who, is, on the other hand, yet another candidate for "eing the protagonist of the story. #he story cuts out in the "oys conscience the a"sence of the dead man and all the lin$s with his little life that are severed in the act of his realization of death. #his
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In %&5& Joyce also pu"lished the most e-perimental te-t in the history of belles lettres, Finnegans Wake, whose forms of sophisticated entertainment ma$e it read function as a literary word6symposium, the ghost of a novel or a poem in prose.
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7iterary anagogy was descri"ed "y 8orthrop 3rye in the 9econd :ssay of the Anatomy of Criticism as the most advanced phase in the use of sym"ols in literature. Inspired "y Bi"lical or high learning hermeneutics, anagogy prepared interpretation to grasp the ultimate, sacred meanings of te-ts written "y man. .nagogical te-ts, called "y 3rye monads, contain nature in artifacts whose span is immense;encyclopaedic and whose intention is to introduce tension or !uintessential !uestions )rather than answers* into the world. .nagogical compositions are often ironical, comple-, parado-ical and, moreover, aesthetically ingenious. It is the !uintessential ingeniousness that recommends anagogical monads as uni!ue containers of the $nown world, which they refresh, ma$e enigmatical, un$nown. .dding a comment to 3ryes e-planations, it can "e o"served that anagogical artifacts fill the world anew with aesthetic wonder, which restores it to a second6order dignity, 4ust as catharsis restored to the world its "alance, 4ustice and purity in tragedies. %

is in $eeping with the figure of the gnomon, <a geometric figure remaining after a parallelogram has "een removed from one corner of a larger parallelogram= )in the +ollins dictionary definition, the etymology of the ,ree$ word lin$s it to the root of the ver" for <to $now= gignos$ein in this form> <completing the process of $nowing= <grasping, interpreting= <"ringing to ones conscience=*. In this way, the first story of Dubliners sets the tone )or the reading rule* for the whole construction> there may "e a lot of sentiment in it, "ut mere sentimentalism or any other conventional interpretations will "e out of the !uestion. #he stories will have deep e-istential value achieved "y transcending the level of the anecdote in their simple plots5. .nd they may have further detail correspondences, such as the one "etween the loss in the little "oys life and the figure of the missing lesser parallelogram from the larger parallelogram which parado-ically complicates the picture of life and ma$es it more serious . 9imilarly, "oys pran$s )playing truant from school* get complicated in An Encounter, where the taste of the adventure which ma$es them feel high is polluted "y the encounter with the seedy tramp and the dou"le edge of his raw adults words. #he "oys lose their innocence "y pro-y during this encounter, though nothing out of common li$ely to actually defile their lives happens. It is adult threatening indeterminacy that paralyses the e-u"erance of the school"oys day out. Araby gets "eyond the "oyish age and into adolescence, with its incipient love story frustrated where? in the would6"e glamorous, the first person narrator calls it < splendid=, "azaar. ere also love ironically flourishes in a musty room where a priest had died, and where the protagonist li$ed to read the "oo$s left "ehind there.
One e ening ! "ent into the back #ra"ing$room in "hich the %riest ha# #ie#& !t "as a #ark rainy e ening an# there "as no soun# in the house& Through one of the broken %anes ! hear# the rain im%inge u%on the earth, the fine incessant nee#les of "ater %laying in the so##en be#s& Some #istant lam% or lighte# "in#o" gleame# belo" me& ! "as thankful that ! coul# see so little& All my senses seeme# to #esire to eil themsel es an#, feeling that ! "as about to sli% from them, ! %resse# the %alms of my han#s together until they tremble#, murmuring' (O lo e) O lo e)( many times&

9imilarly, in the story E eline, for all the "anality of its Irish plot a"out an elder sister in a household where her mother had died and she $ept the house and had a 4o" and then also had a lover who wished to marry her and ta$e her to .merica there is a multiplicity of meanings summoned "y the girls <hundred visions and revisions= )hesitations, cowardice, 4ust as in <#he 7ove 9ong of J. .lfred @rufroc$=*. #hese are gathered into a cluster at the unhappy, indecisive end of the story, when the protagonist is overcome "y All the seas of the "orl# AwhichB tumble# about her heart& Aand she felt thatB He "as #ra"ing her into them' he "oul# #ro"n her, 4ust as at the end of <@rufroc$, overcome "y drowning>

We have lingered in the chambers of the sea By sea-girls wreathed with seaweed red and brown Till human voices wake us, and we drown.
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9hort stories are supposed to "e simpler fictional wholes than novels, "ut on the other hand, they can e-actly concentrate and show the essence of the usual components of fiction> the plot, characters, settings and narrative method.

Joyces demonstration a"out the uni!ue healing and emancipatory power of art in a world of sufferance is demonstrated in A *ortrait of the Artist as a +oung ,an )pu"lished two years after Dubliners*. It is an artists Bildungsroman> it demonstrates what goes into the ma$ing of the artist who, at the end of this auto"iographical "oo$ was ripe for creating Ulysses as an accomplished masterpiece. #he "oo$ is minutely written, 4ust as Dubliners, while focusing on the growing consciousness, then conscience of a "oy who is an aspiring loner.

#he noise of children at play annoyed him and their silly voices made him feel, even more $eenly than he had felt at +longowes, that he was different from others. e did not want to play. e wanted to meet in the real world the unsu"stantial image which his soul so constantly "eheld. e did not $now where to see$ it or how, "ut a premonition which led him on told him that this image would, without any overt act of his, encounter him.
Joyces first e-tensive narrative of intimacy accompanies 9tephen 0edalus in search for this premonition. 3or a start )though this start ta$es most of the "oo$s five chapters*, he has to grapple with the strictness that accompanied the path to spirituality opened to him "y the +atholic;Jesuitical education. In the pu"lic school at +longowes Wood +ollege, then at the Belvedere +ollege and at the Cniversity +ollege 0u"lin, his mind is shown widening in its own direction, rather than "ecoming pliant and ready for the calling to the religious path.

His soul had arisen from the grave of boyhood, spurning her grave-clothes. Yes Yes Yes He would create proudly out of the freedom and power of his soul, as the great artificer whose name he bore, a living thing, new and soaring and beautiful, impalpable, imperishable. He started up nervously from the stone-block for he could no longer !uench the flame in his blood. He felt his cheeks aflame and his throat throbbing with song. There was a lust of wandering in his feet that burned to set out for the ends of the earth. "n "n his heart seemed to cry. #vening would deepen above the sea, night fall upon the plains, dawn glimmer before the wanderer and show him strange fields and hills and faces. Where$
#he answer to this complicated )@rufroc$ would call it an <overwhelming= !uestionD* too$ numerous pages and stages.

is thin$ing was a dus$ of dou"t and self6mistrust, lit up at moments "y the lightnings of intuition, "ut lightnings of so clear a splendour that in those moments the world perished a"out his feet as if it had "een fire6consumed2 and thereafter his tongue grew heavy and he met the eyes of others with unanswering eyes, for he felt that the spirit of "eauty had folded him round li$e a mantle and that in revery at least he had "een ac!uainted with no"ility. But
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when this "rief pride of silence upheld him no longer he was glad to find himself still in the midst of common lives, passing on his way amid the s!ualor and noise and sloth of the city fearlessly and with a light heart.
.t the other e-treme, he felt shy, in his am"ition for high culture, oppressed "y the secondary position aesthetic philosophy was held in "y the world whose inmate he was

it wounded him to thin$ that he would never "e "ut a shy guest at the feast of the worldEs culture and that the mon$ish learning, in terms of which he was striving to forge out an esthetic philosophy, was held no higher "y the age he lived in than the su"tle and curious 4argons of heraldry and falconry.
Indeed, 9tephen 0edalus, as an artist and a young man, emerged from A *ortrait as a hierophant or priest of esthetic philosophy. e theorized it in A *ortrait of the Artist- first, then implemented esthetic philosophy in his very own terms, in the teeth of the present fashions and with the help of tradition )several traditions* as will "e seen in Ulysses. While still preaching in A *ortrait-& )"efore directly acting, in Ulysses* he presented the springs of his conception> a high6minded seriousness )a tragic conception*

F@ity is the feeling which arrests the mind in the presence of whatsoever is grave and constant in human sufferings and unites it with the human sufferer. #error is the feeling which arrests the mind in the presence of whatsoever is grave and constant in human sufferings and unites it with the secret cause. 1.. F#he tragic emotion, in fact, is a face loo$ing two ways, towards terror and towards pity, "oth of which are phases of it. Gou see I use the word .HH:9#. I mean that the tragic emotion is static. /r rather the dramatic emotion is. #he feelings e-cited "y improper art are $inetic, desire or loathing. 0esire urges us to possess, to go to something2 loathing urges us to a"andon, to go from something. #he arts which e-cite them, pornographical or didactic, are therefore improper arts. #he esthetic emotion )I used the general term* is therefore static. #he mind is arrested and raised a"ove desire and loathing.

#he tas$ of the artist is, li$e in Geats poem <7apis 7azuli= to rise a"ove desire and loathing>

F#he tragic emotion, in fact, is a face loo$ing two ways, towards terror and towards pity, "oth of which are phases of it. Gou see I use the word .HH:9#. I mean that the tragic emotion is static. /r rather the dramatic emotion is. #he
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feelings e-cited "y improper art are $inetic, desire or loathing. 0esire urges us to possess, to go to something2 loathing urges us to a"andon, to go from something. #he arts which e-cite them, pornographical or didactic, are therefore improper arts. #he esthetic emotion )I used the general term* is therefore static. #he mind is arrested and raised a"ove desire and loathing.
#his as much as to say that the artist should serve "eauty.

F#o finish what I was saying a"out "eauty, said 9tephen, the most satisfying relations of the sensi"le must therefore correspond to the necessary phases of artistic apprehension. 3ind these and you find the !ualities of universal "eauty. .!uinas says> .0 @C7+HI#C0I8:I #HI. H:JCIHC8#CH I8#:,HI#.9, +/89/8.8#I., +7.HI#.9. I translate it so> # H:: # I8,9 .H: 8::0:0 3/H B:.C#G, W /7:8:99, .HI/8G, .80 H.0I.8+:. 0o these correspond to the phases of apprehension

The first phase of apprehension is a bounding line drawn about the ob%ect to be apprehended. &n esthetic image is presented to us either in space or in time. What is audible is presented in time, what is visible is presented in space. But, temporal or spatial, the esthetic image is first luminously apprehended as selfbounded and selfcontained upon the immeasurable background of space or time which is not it. You apprehended it as "'# thing. You see it as one whole. You apprehend its wholeness. That is ('T#)*(T&+. ,Bull-s eye said .ynch, laughing. )o on. ,Then, said +tephen, you pass from point to point, led by its formal lines/ you apprehend it as balanced part against part within its limits/ you feel the rhythm of its structure. (n other words, the synthesis of immediate perception is followed by the analysis of apprehension. Having first felt that it is "'# thing you feel now that it is a TH('). You apprehend it as comple0, multiple, divisible, separable, made up of its parts, the result of its parts and their sum, harmonious. That is 1"'+"'&'T(&. ,Bull-s eye again said .ynch wittily. Tell me now what is 1.&*(T&+ and you win the cigar. ,The connotation of the word, +tephen said, is rather vague. &!uinas uses a term which seems to be ine0act. (t baffled me for a long time. (t would lead you to
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believe that he had in mind symbolism or idealism, the supreme !uality of beauty being a light from some other world, the idea of which the matter is but the shadow, the reality of which it is but the symbol. ( thought he might mean that 1.&*(T&+ is the artistic discovery and representation of the divine purpose in anything or a force of generali2ation which would make the esthetic image a universal one, make it outshine its proper conditions. But that is literary talk. ( understand it so. When you have apprehended that basket as one thing and have then analysed it according to its form and apprehended it as a thing you make the only synthesis which is logically and esthetically permissible. You see that it is that thing which it is and no other thing. The radiance of which he speaks in the scholastic 34(55(T&+, the WH&T'#++ of a thing. This supreme !uality is felt by the artist when the esthetic image is first conceived in his imagination. The mind in that mysterious instant +helley likened beautifully to a fading coal. The instant wherein that supreme !uality of beauty, the clear radiance of the esthetic image, is apprehended luminously by the mind which has been arrested by its wholeness and fascinated by its harmony is the luminous silent stasis of esthetic pleasure, a spiritual state very like to that cardiac condition which the (talian physiologist .uigi )alvani, using a phrase almost as beautiful as +helley-s, called the enchantment of the heart.
#he path which leads to "eauty in art is never "y direct e-pressions of emotion, "ut "y refinement and transcendence. #he access to "eauty "ecomes possi"le when one leaves "ehind direct animal responses to life. #he passage !uoted twice already a"ove )F#he

tragic emotion, in fact, is a face loo$ing two ways, towards terror and towards pity, "oth of which are phases of it. Gou see I use the word .HH:9#. I mean that the tragic emotion is static. /r rather the dramatic emotion is. #he feelings e-cited "y improper art are $inetic, desire or loathing. 0esire urges us to possess, to go to something2 loathing urges us to a"andon, to go from something. #he arts which e-cite them, pornographical or didactic, are therefore improper arts. #he esthetic emotion )I used the general term* is therefore static. #he mind is arrested and raised a"ove desire and loathing. * It is armed with these high6minded thoughts on artistry that
Joyce em"ar$ed upon writing his great fa"le and ode, which started from a faithful recording of everyday life in the modern metropolis of 0u"lin, in Ulysses in order to transform it into art. continues with the e0press presentation of what should be left behind when embarking on the path of artistic6aesthetic creation.,You say that art must not e0cite desire, said .ynch. ( told you

that one day ( wrote my name in pencil on the backside of the 7enus of 8ra0iteles in the 9useum. Was that not desire$ ,( speak of normal natures, said +tephen. You also told me that when you were a boy in that charming carmelite school you ate pieces of dried cowdung.
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.ynch broke again into a whinny of laughter and again rubbed both his hands over his groins but without taking them from his pockets. ,", ( did ( did he cried. +tephen turned towards his companion and looked at him for a moment boldly in the eyes. .ynch, recovering from his laughter, answered his look from his humbled eyes. The long slender flattened skull beneath the long pointed cap brought before +tephen-s mind the image of a hooded reptile. The eyes, too, were reptile-like in glint and ga2e. Yet at that instant, humbled and alert in their look, they were lit by one tiny human point, the window of a shrivelled soul, poignant and self-embittered. ,&s for that, +tephen said in polite parenthesis, we are all animals. ( also am an animal. ,You are, said .ynch. ,But we are %ust now in a mental world, +tephen continued. The desire and loathing e0cited by improper esthetic means are really not esthetic emotions not only because they are kinetic in character but also because they are not more than physical. "ur flesh shrinks from what it dreads and responds to the stimulus of what it desires by a purely refle0 action of the nervous system. "ur eyelid closes before we are aware that the fly is about to enter our eye. ,'ot always, said .ynch critically. ,(n the same way, said +tephen, your flesh responded to the stimulus of a naked statue, but it was, ( say, simply a refle0 action of the nerves. Beauty e0pressed by the artist cannot awaken in us an emotion which is kinetic or a sensation which is purely physical. (t awakens, or ought to awaken, or induces, or ought to induce, an esthetic stasis, an ideal pity or an ideal terror, a stasis called forth, prolonged, and at last dissolved by what ( call the rhythm of beauty.
+tarting from here, it is worth characteri2ing the implied narrator of Ulysses :who tests there such elevated Thomist statements against the realities of everyday life entrusted to ordinary people in competition with the artist inspired by them, +tephen 5edalus;. (' addition to +tephen the loner, whose <oycean biography is introduced in the book=s first chapter, Telemachus, there is .eopold Bloom, an ironical 4lysses, if one wishes to consider <oyce=s book a modern "dyssey :a modern epic;/ otherwise, he is %ust the mature protagonist of <oyce=s novel by contrast to the immature but intense artist +tephen 5edalus. Bloom is an everyday-life character> who loves cats and women alike :there is apparent se0ist irony here, but only apparently?>; who dreams in 5ublin of e0otic places of origin for the <ewish race, and whose interiority shines with commonsense, love in the sense of agape :love of humanity, as shown in his
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see the episode with the neigh"ours servant he pursues Caly%so and .otus Eaters and regard his name> "loom which points to "looming and his cheap pseudonym in a secret love letter <flower=, henry flower, as sym"olic for his "eautiful sensuality.

relationship with his wife in Circe, as shown to the blind man at the end of Lestrygonians in the street, as shown amidst other 5ublin people=s narrow-minded hatred in Cyclopsi, as shown towards +tephen from the Oxen of the Sun onward. Bloom=s interiority shines with generosity and empathy but also with sensuality and amusement, which move the reader alike, not to mention the fact that it shines owing to 9r. Bloom=s interest which covers everything in the present. His comprehensive mind is, in the whole of 5ublin, the only one with a range comparable to that of +tephen 5edalus=s. (n the +cylla and 1haribdis scene, he is introduced in a scene which might be a se!uel to that from A Portrait@.

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(n fact 9r. 5edalus had only lifted his eyes to the marble statue in the street, at the end of Lestrygonians, but Buck 9ulligan=s banter, which makes his antisemitical hatred amusing, claims 9r. Bloom as another protagonist of his lewd discourse. This shows the difference in !uality of 9r. Bloom=s amusement, which is never heartless. (n the episode a!es, the humorous bits are mi0ed with empathy.

Ulysses or the ,lamorous ,ame with +onsciences .s will "e seen in more detail in the ne-t lecture, where the stream of consciousness techni!ue will "e e-plored in Virginia Woolfs fully e-perimental novel ,rs& Dallo"ay, it is the transformation into conscience of faithfully recorded consciousness that is the theme of the su"4ective or impressionistic novels of the first half of the twentieth century in Britain. With memories that supplement perceptions and direct mind associations, stream of consciousness novels are first of all incremental> they enlarge the field of consciousness until the networ$ of a persons mentality reveals a persons conscience. With James Joyce, however, there are human and national pro"lems that precede )and transcend* the faithful recording of <thoughts= )some of them much more inchoate and, therefore, enigmatic than any well6formed sentences in a given language can transcri"e*. #he pro"lems which e-ist outside characters consciousness, too, to "e solved, create a more efficient and denser fictional tension in Joyces novels. #he sharp pro"lems to solve in each of the Dubliners stories or in A *ortrait of the Artist1.were pro"lems related to mens living in particular social milieu, 4ust as in realistic fiction. In A *ortrait of the Artist-& the outward pro"lem was national and cultural in addition to "eing personal, "ecause the growth of an artist as a person is dou"led "y that of creating or accepting a more general national conscience )<the conscience of the race=*, which should do good to national culture )to the position of a nation in the worlds concert of nations*. .t the end of A *ortrait-&&, 9tephen 0edalus has come to terms, has come to terms in his own termsD, even, with the +atholic heritage, having a"sor"ed its education "ut "ecoming emancipated from the institutional constraints of religious discipline. If we follow 9tephen 0edalus, who also appears at the "eginning of Joyces %&(( "oo$ )finally pu"lished after several years of serial uncertainty*, in Ulysses what is at sta$e is the salvation of a ram"ling artists soul )as it can "e thoroughly understood in *roteus*. #he artists soul has to "e saved from the Scylla an# &

Charib#is of confusing cultural traditions, the Scylla an# Charib#is of cultural sno""ery and competition )which are ever so normal in the world of actual men of letters, when you have to live with them, not 4ust read themD*. #he artist is condemned to ma$ing a living and the money relation places him at the mercy of unworthy compatriots, even if only momentarily> in /estor, 9tephen has to confront the "oredom of enlightening spoilt "rats in a school for the "oys from well6to6do families and he has to listen to the lessoning of Ir. 0easy, a conformist West Briton )an .nglo6Irishman who worships Britain from 0u"lin and is hopelessly "ourgeois*. #he artist has to "ear the "runt of <the e-pense of spirit in a waste of shame=, as 9ha$espeare put it in 9onnet %(& or in the cele"rated monologue in amletK> There's the respect
That makes calamity of so long life: For who would bear the whips and scorns of time, The oppressor's wrong, the proud man's contumely, The pangs of dispriz'd love, the law's delay, The insolence of office, and the spurns

. Because Ir. 0easy, 9tephens employer, was a proud and stupid man who sent 9tephen to the press with his pamphlet on the foot and mouth disease in the Oerry cows in %&P', 9tephen had to endure the waste of time in society which an artist is condemned to. In the Aeolus episode, which ta$es place, as it were <under a windy $no"=, li$e in <,erontion=, 9tephen moves among shallow and at the same time inflated gentlemen of the press, who court him to "ecome one of them2 "ut he resists this temptation. #he ne-t pro"lem for an artist to solve is the condemnation of spending his time with worthless youths, as it "ecomes more and more clearly manifest "y the time of The O0en of the Sun, "ut it was to "e anticipated even after the first chapter, Telemachus . But more and more importantly, an artists soul has to "e saved from a loneliness that ma$es him ram"le. Cnli$e @rufroc$, however, it is not perfume from a dress that ma$es him so digress, "ut his estrangement from love and the world owing to the death of his mother in circumstances that estranged him from her and to the fact that he had a typically /edipal comple- relationship with his natural father. #he father was harsh on him and he was harsh on his father. Get it would "e one of his fathers ac!uaintances, Ir. 7eopold Bloom who will develop into a father for 9tephen after The O0en of the Sun, where Ir. Bloom saves 9tephen. Iore importantly, Ir. Bloom will save 9tephen from his loneliness, from his self6imposed estrangement from people he did not manage to get along with. Ulysses stages a @rufroc$ suddenly saved from his hell and suddenly elevated, made perfectly good "ecause adopted as a son, "y a surrogate father. #he plot turns into a moment of rewarding gratification the reunion of the two male protagonists in Blooms own home, in the last "ut one chapter, !thaca. #heir paths had crossed several times over earlier in the novel )in the episodes Ha#es, Aeolus, Scylla an# Charib#is*, "ut they only went all the way together, after The O0en of the Sun episode, late in the night, when there was;is no other place to go for anyone in 0u"lin than to a "rothel )see Circe*, a cheap all6night
That patient merit of the unworthy takes
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#he reminiscence from Hamlet is, in fact, fully 4ustified "ecause 9tephen identifies with amlet the young prince confronted with the dou"le trauma of losing a virtuous father and seeing how his mothers virtue is no where to "e found. #ypically for Joyces ironic interte-tualities, there is reversal of roles among amlets ans 9tephens parents, in so far as it is 9tephens pious, "eloved mother who is dead while his gross;conventional middle6class father is still living to "e despised "y the son. .nyway, the void which threatens to engulf amlet )and eventually engulfs him as a hero, rather than engulfing him in the secondary role of the son to a meritorious father* is the same. . young mans crisis of identity in a lay environment is what confronts the artistic protagonist of Ulysses "y contrast to the young man with clear artistic inclinations in A *ortrait1.

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restaurant, rather than <a a one6night cheap hotel= <or a sawdust restaurant with oyster shells=) see <@rufroc$= for these !uotes, and in Ulysses see the +a"mans 9helter in Eumaeus*, or, indeed, the last alternative was to go home. But 9tephen had no home, "ecause he had relin!uished his familys dwelling and severed his connections with his father, "rothers and sisters, so Clyssess6Blooms home was the only venue for the couple of men, one young, one in his middle6age. 9o 6 where is there glamorous material for "uilding up a conscience game in Ulysses? In the adult conscience whose stream of consciousness is deployed in various circumstances> in his own :ccles 9treet home in 0u"lin )in which he is usurped "y Blazes Boylan, his wifes operatic singing partner and adulterous partner*2 in the streets of his neigh"ourhood where he lets his mind ram"le from the very first episode of The Wan#erings of Ulysses the second and "iggest part of the "oo$, after the three chapters of the #elemachiad and the three chapters of #he omecomingL.

8otice the triune, perfectly harmonious and traditional classical form of the novels "eginning and end. #his proves that Joyce was ta$ing !uite seriously his classical model)s*.

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