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musm
David Hayman
of the
the presence
announced
1970, when
an
in
to
offer
seemed
he
James Joyce's Ulysses,
arranger
approach
over the novel since 1922.2 From the
to readers who had puzzled
readers struggled with the book's extravagant
adherence
beginning,
deviation
For S. L.
to, and exuberant
from, mimetic
representation.
was
for
half
of
in
first
the
novel
the
realistic
1961,
Goldberg
example,
of
It is
and the last a "rather pretentious
parade
literary machinery"3
now that the mimetic
common
illusion of the entire
knowledge
them a traveling
novel is disrupted
devices,
among
by numerous
a
an
conclusion.
unresolved
disjointed
plot, and
point of view,
a traditional
realistic structure. While
Ulysses fails, then, to sustain
in
earlier critics, such as T. S. Eliot and Joseph Frank, found meaning
narrative
not
its
did
resolve
its poetic
structure,
problems.4
they
that there are meaningful
Their work did suggest, however,
patterns
In
The
be
seen
between
as
something
the narrator
between
and
the
persona
implied
and
author,
65
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One
is tempted
best
to see
control.
the
as...
an unstated
but
Perhaps
inescapable
itwould
be
source
of
(122-23)
After
While Hayman's
to the novel has remained
influential,
approach
or de
his work with
the arranger has been emulated,
ignored,
is the arranger's greatest champion,
nounced. Hugh Kenner
analyz
its actions in 1980.5 Many recent critics, however,
ing and illustrating
such as Marilyn
French and Karen Lawrence,
ignore the arranger
and its potential
to justify the novel's fragmentation
because
they
view the uncertainties
of the novel as its point and theme.6 Likewise,
as
and Dermot Kelly see the novel's problems
John Paul Riquelme
that
could
dimensions
of
and
expressions
symbolic
psychic
mythic
no other way7 Others
be articulated
attack the arranger. Shari and
Bernard Benstock,
for example,
argue that the story does not issue
from either a narrator or an arranger but generates
itself as it pro
the
ceeds.8 Patrick McGee
believes
that it is an error to personify
"a
it
is
of
While
because
arranger
merely
arrangement."9
principle
view that the technical problems
in
recent critics share Hayman's
a
not
are
most
do
its
manifestation
of
share
theme,
Ulysses
Hayman's
as a sim
interest in the arranger.10 Perhaps
they see the arranger
as a
answer
to
reductive
and
the
novel's
thus,
and,
plistic
problems
and
of
attack
upon simplistic and
misrepresentation
betrayal
Joyce's
of
reductive
conceptions
reality11
as
is nearly as complex
The concept of the arranger, however,
a
To
its
relation
to
I
this
will
itself.
first
discuss
device,
study
Ulysses
and then Iwill
narrator
in both realistic and self-reflexive
fiction,
to the struggle between
the mimetic
and self
discuss
its relevance
66
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to those of a
its functions
traditions. Third, Iwill compare
Iwill explain how the initial style (Joyce's name for
Next,
of Ulysses) creates the arranger by
the style of the first ten episodes
a dramatic mimesis
to
in the first six episodes.12
achieve
failing
that constitute
I
will
five
the
devices
self-reflexive
Finally,
identify
in the first six episodes
the arranger's actions
of Ulysses before the
itself in the headlines
of the seventh
arranger
formally presents
"Aeolus."
episode,
An arranger is that part of an author's creative persona
responsi
creative options,
ble for weighing
for selecting a narrative
strategy,
a fictional world. A narrator is that part of
and finally for designing
reflexive
narrator.
"The Leonardo,"
In Vladimir Nabokov's
narrator
the con
the
describes
through
67
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speak
desire
to readers. Perhaps
this convention
derives from the novel's
"to tell the secrets of men's hearts" with
the authority
of an
68
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readers from the fancied illusion of the narrative and immerses them
in the sensual reality of processing
print on paper. Upon
finishing a
are
to
that
readers
self-reflexive
feel
story
they have lived
supposed
the life of the author as he creates a story before their eyes. Certainly,
the devices
with
that an author uses
acquainted
they will become
and the way he uses them to create the illusion that he ismirroring
readers may even come to see that stories are writ
reality. Possibly,
ten by mere people
to negotiate
with a
about ways
imaginatively
that resists rational apprehension.
The self-reflexive
tradition
two
in
such
the
texture
of the
First,
ways.
generates
perceptions
of characters,
and
story must suggest, however
faintly, the presence
itmust reveal the author's methods
them. Second,
the
of developing
structure of the story must
the author's conscious use of
incorporate
a
to provide an orderly and meaningful
shape to the story.
paradigm
the arranger selects the story's texture and form and, thus,
Because
its moral and intellectual value, the arranger is the mind
determines
the arranger issues from the
of the self-reflexive
experience.
Perhaps
"ironic disparity"
authors and narrators
in written
between
texts
man
to
is
reveal
men's
the
of
"secrets
whose
hearts."
By
aspiration
to a narrator, shows
this disparity,
the arranger,
ifesting
superior
means
of creating a formal order. Because
men's "real" secret-their
world
69
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a character
own agenda,
narrator becomes
by setting his
beginning
to reveal his point, and
his story where he wishes,
the
story
shaping
so too can an arranger.
in his story the flow of his mind,
embodying
as any
to grow and develop
The arranger,
then, has the potential
character
in a story.
Joyce appears to see the arranger as a character because he drama
tizes its origins so carefully in the first six episodes
of Ulysses before
it in "Aeolus."
he formally
introduces
Like the mythic
figure
a fabulous artifice
the arranger rises from a labyrinth,
Daedalus,
ever haz
the initial style. The most venturesome
form of mimesis
arded by a novelist,
of the
the initial style clarifies the aspirations
mimetic
to present
written-oral
tradition by attempting
reality ob
as
a
are
Such
and,
result,
jectively
authoritatively.
goals
implicit in
as articulated
the conclusion
in A
of Stephen Dedalus's
aesthetic
Portrait of the Artist as a Young Man. While
and
his
friend,
Stephen
three
Lynch, stroll through the streets of Dublin,
Stephen discusses
issues: the purpose of art, the nature of beauty, and the forms of art.
At
objective,
While
Dubliners
70
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it with
interior monologues
demote
the narrator,
Joyce surrounds
of the novel
and with
free indirect discourses.
The introduction
illustrates
the initial style. Its first sentence,
"Stately plump Buck
came from the stairhead,
a bowl of lather on which
Mulligan
bearing
a mirror
and a razor lay crossed"
is the work of an
(U 1.01-02),
narrator.19 The narrator continues
the actions
to describe
omniscient
and Stephen Dedalus
their di
and to introduce
of Buck Mulligan
tower on the morning
of 16 June. Before
alogue on top of Martello
the first page is finished,
leaves the omnis
however,
Joyce seemingly
a device
cient narrator
interior monologue,
for a one word
that
the reader to leave the narrator and enter the minds
of
are
to experience
and
what
characters
feel
they
thinking
directly
pages,
Joyce adds a third narrative device to the initial
ing.20 Within
indirect discourse. With
this device,
the narrator adopts
style?free
even a scene,
the idiom of one character or another and sometimes
and thus allows the reader the sensation
of being in the mind of the
of a scene without
characters or in the ambience
actually leaving the
narrator.21 Unlike
the interior monologue,
grasp of the omniscient
a character
reveals what
free indirect
which
knows,
consciously
can reveal both what a character is aware of and what he is
discourse
narrative devices enables the initial
ignorant of. The fusion of these
to
events
and to reveal the subjective world to
present
objective
style
narrator
As the omniscient
into the
recedes
almost any degree.
more
more
to
narrative
and
and
of
the
surrenders
background
even the
and free indirect discourses,
interior monologues
dialogue,
to be reported,
seems to exist independently
rather than appearing
of transitions.
of the narrator,
Thus con
hinged
by the merest
from the text all but the last rem
the initial style removes
stituted,
nant of the narrator's presence,
readers to enter
apparently
allowing
a result, the initial style seems to create for Joyce a
As
directly.
Ulysses
of drawing
readers into the story
flexible and nearly invisible means
them that they are actually reading a book. The
without
reminding
a technical attempt to refine the
is ostensibly
initial style, therefore,
"artist" from the story and to achieve the dramatic mode of mimesis.
to present
filtering it through a nar
reality without
By appearing
to mask
the "ironic disparity"
rator, the style seems, paradoxically,
seems to reveal to the world
from
authors and narrators,
between
allows
"every side" and to expose the "secrets of men's hearts," and, finally,
the objectivity
and the au
seems to achieve
of Stephen's
aesthetic
thenticity of an oral singer.
success of its
the initial style, despite the apparent
Unfortunately,
fusion of the effaced narrator
dramatic
to achieve such authority and instead
fails
the
71
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written-oral
weaknesses:
Thus, the
and self
reflexion.
The first problem with the initial style is the effaced narrator. As
narrator shrinks within
the omniscient
the text, the narrative seems
to advance
itself as itmoves from one narrative device to another. In
the first episode,
for example,
the narrator describes
Buck Mulligan
as he descends
Tower: "His head vanished
from the top of Martello
out of the stairhead"
of his descending
voice boomed
as
Then dialogue
Buck
(U 1.237-38).
quotes from W. B.
appears
more turn aside and
no
Yeats's "Who Goes with
"-And
Fergus":
I For Fergus rules the brazen cars" (U
brood IUpon love's bitter mystery
In the next paragraph,
to
the style shifts immediately
1.242-47).22
romantic
free indirect discourse,
and the narrator,
the
assuming
diction
and vision
the morning
of early Yeats, describes
scene,
"Woodshadows
floated silently by through the morning
peace from
breast of the dim
the stairhead
seaward where he gazed_White
on
words
sea_Wavewhite
wedded
the dim tide" (U
shimmering
and describes
1.242-47). The narrator returns in the next paragraph
the same scene,
"A cloud began
to cover the sun slowly, wholly,
the bay in deeper green" (U 1.248-49). Then the narrator,
shadowing
free
describes
the bay using an image
indirect discourse,
assuming
"It lay
from Stephen
of his mother's
deathbed:
Dedalus's memory
Next
beneath him, a bowl of bitter waters"
the
(U 1.249).
paragraph
to Stephen's
shifts without
interior monologue,
warning
"Fergus'
song: I sang it alone in the house" (U 1.249-50).
(As his mother
lay on
her deathbed nearly a year before the novel's time, she had asked her
son to pray for her and instead heard him
sing Yeats's poem.)
continues
for
several
sentences,
Stephen's monologue
ending with
his quoting his mother, who repeated Stephen's words from Yeats's
"For those words,
love's bitter mystery"
(U
poem:
Stephen:
but the drone
1.252-53).
As this brief passage
the initial style shifts often and
illustrates,
one
narrative
to another. In order for these
from
mode
unexpectedly
shifts to occur economically
the narrator
shrinks within
the text
to
readers
the
encounter
the
and, consequently,
gives
opportunity
a narrator and to
narrative without
De
what
experience
Stephen
dalus
ates,
form of narration.
calls the dramatic
its audience
the feeling
then, within
72
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with
the subjective
is in this seemingly
author
exactly where
It reveals each and every decision
novel.
that the author's
with
makes.
its
intricate mix of
The
initial
persona
arranging
style
to
narrative
techniques,
suggest to a reader that
ostensibly
designed
he or she is experiencing
the
novel's
imagined reality, finally
directly
effect. The effaced narrator
forces a reader to
has the opposite
a human construct
the fact that he or she ismerely
confront
reading
and is not actually
'living" this story. In short, the effaced narrator
could,
objective
points
behind
its mimetic
illusion,
arranger.
this
the
al
create the
and free indirect discourse
they are not its only manifestations.
73
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it begins
to
the arranger is in the text of the first six episodes,
their mimetic
order in five ways,
the first three appearing
the first six episodes
of the novel. First, it
pervasively
throughout
so that it points
to
renders
itself, rather than
opaque
language
to
the
has
identified a good
narrative.
Kenner
itself
through
pointing
illustration of the arranger's work in the unorthodox
spelling of the
cat (66). The cat answers Bloom with an unlikely
Bloom's
of
mewing
same
and unsightly,
both
"Mkgnao" (U 4.16). Later in the
episode,
amore conventional
the narrator and Bloom demonstrate
spelling of
to
that sound
fails
the
(U 4.456, 462). While
suggest
"Mkgnao"
a
it
of
sound
does
the
fondness
for
manifest
cat,
arranger's
ordinary
Once
disrupt
arranging
type.
Next the arranger
in both instances
the
because,
690-707),
(U 6.526-34,
consistency
is gossip about Bloom. The narrative
content
invites readers, then,
to think about Bloom and to question
is able to
how the narrator
of
the
the
function
him.
Thus,
encourages
arranger
independently
74
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reader
the novel's
narrative
strategy.
In addition
on
attention
to rendering
to focusing
readers'
language opaque,
and to dividing
the
the narrative
voice,
themselves,
While
the
traits.
arranger also reveals two seemingly
contradictory
an ideal memory
it
of the text by having
arranger demonstrates
within
the
itself, it also creates mysteries
repeat, quote, or parody
a reader's use of memory
narrative
that nullify
and reason. An
a faculty that makes
of the arranger's textual memory,
the
example
the "author's ideal reader," occurs in "Calypso" when
the
arranger
narrator
from over forty pages earlier: "A cloud
repeats a passage
to
cover
sun
the
The repeti
(171.248,4.218).27
began
slowly, wholly"
and
tion invites readers to seek parallels between
Bloom as,
Stephen
see the same cloud,
it
undermines
apart, they
yet
covertly
episodes
this invitation by encouraging
readers to ask questions
that have no
con
answers.
Ironically, such covert attacks on the novel's mimetic
in the
tract with a reader help to generate
the narrative mysteries
as
novel. While
the entire text of Ulysses might be properly described
a mystery,
occurs in
of a narrative mystery
the first real example
an unknown
a macintosh
attends
"Hades," when
figure wearing
This
funeral.
the
novel,
appears
figure
throughout
Paddy Dignam's
and remains as an inexplicable
but he is never accurately
identified
someone mistakenly
in Ulysses,
referred to as "MTntosh"
problem
as these last two devices may be,
As different
(U 6.891-96).
they
the mimetic
illusion
further expand the arranger's ability to disrupt
alert readers to the
these five devices
of the initial style. Together,
in the
fallacy of the initial style and begin their education
the
self-reflexive
of
arranger.
ways
the arranger
before
shouts his presence
in, then
Consequently,
in
the
headlines
block
hides
blazoned
among,
capitals
impishly
across the initial
episode,"Aeolus,"
Joyce has
style of the seventh
introduced
the arranger in the first six
carefully and systematically
In
and
of
dramatizes
the aspiration
them,
Ulysses.
Joyce
episodes
tradition to capture the authority
failure of the mimetic written-oral
mimetic
of mimesis
when
carried to extremes
of an oral singer, the tendency
and the union of five self-reflexive
devices
to turn into self-reflexion,
the first manifestation
of the arranger. A careful
that constitute
that the novel's
reading of the text of Ulysses will reveal, I believe,
to learn the ways
of
styles reflect the arranger's attempt
the arranger appears to challenge
narration. By the seventh episode,
the narrator for control of the novel, and by the eleventh
episode,
it seems to have
"Sirens," it seems to have succeeded.
By "Penelope,"
to influ
self-reflexive
and mimetic
learned to balance
conventions,
various
75
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ence both the surf ace of the text and a reader's apprehension
of it, to
its life somewhere
have created an art object that acquires
between
a
its pages
and a reader-at
juncture where
print and
magical
one
It
is
and
flow
another.
into
merge
imagination
likely, then, that
the arranger is the dominant
character in Ulysses and that the deci
the essential plot of
sions itmakes and the actions it takes constitute
not by a narrator's developing
the novel, a plot measured
portrait of
an
is the
such
but
of
If
reality
by
style.28
arranger's growing mastery
case, the artist, clearly distinct from his narrators and even from his
remains
refined out of existence,
indifferent,
"invisible,
arranger,
an
his
and
achieves
derived
paring
Ulysses
authority
fingernails,"
encounter with
not from a
the human quandary,
from an honest
an oral
singer.
parody of
This idea of the arranger is not exactly what Hayman
had inmind.
He never explicitly
identifies
it as a creative entity with a coherent
narrative strategy for Ulysses. Once this identification
ismade, how
ever, the narrator
(the self
(the mimetic
agent) and the arranger
reflexive agent) share equal billing as sources of the narrative,
and
accounts
their struggle
for control of Ulysses
and
for,
structurally
in
and
the
contradictions
the
thematically
irregularities
justifies,
to something
text. Joyce alludes
like the arranger with
Stephen's
for the classical Daedalus-"fabulous
artificer" (P 169).
appellation
But we have the word arranger, and while many doubt its existence,
a
and others dispute
few share Kenner's
its purpose,
persistent
the most
observation
that Joyce's creation of the arranger "is perhaps
in all of Ulysses" (64).
innovation
radical, the most disconcerting
NOTES
1The research for this
study was sponsored by a grant from the Research
and Creativity Committee at Emporia State University.
2David
Hayman, "Ulysses": TheMechanics ofMeaning, rev. and exp. (1970;
Madison: Univ. ofWisconsin Press, 1982), pp. 88-104,122-25. Further refer
ences will be cited parenthetically
in the text.
3 S. L.
The
Classical
Goldberg,
Temper: A Study of James Joyces "Ulysses"
(London: Chatto & Windus,
1963), p. 22.
4T. S.
Eliot, "Ulysses, Order, and Myth," Dial, 75 (November 1923),
480-83; rpt. James Joyce: TlvoDecades of Criticism, ed. Seon Givens (New York:
Vanguard, 1963), pp. 198-202; Givens, pp. 201-02; Joseph Frank, "Spatial
Form inModern Literature," Sewanee Review, 53 (1945); rev. in The Widening
Gyre: Crisis andMastery inModern Literature (Bloomington: Indiana Univ.
Press, 1963), pp. 3-62.
5
Hugh Kenner, Ulysses, rev. ed. (Baltimore: Johns Hopkins Univ. Press,
the presence of the arranger in the first
1987). While Kenner demonstrates
half of the novel, he also attributes most of the arranger's indifference
76
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its visitors.
Even
indifference"
sees
Kenner
though
as
the arranger
for
responsible
the quirks in the text, he insists that Joyce is the governing consciousness
behind it. See pp. 61-71, especially pp. 65, 68-69. Further references will be
in the text.
cited parenthetically
6
Marilyn French attributes the narrative twists in Ulysses to Joyce's use of
Einsteinian ideas; see The Book as World: James Joyce's "Ulysses" (Cambridge:
Harvard Univ. Press, 1976), pp. 3-22, especially p. 4. Karen Lawrence
the
acknowledges
narrative
as an excellent
arranger
term
intrusion"
which
consciousness,"
that
suggests
"for capturing
"it posits
there
sense
the
is an
"absolute
of
of a
the existence
to
way
2.
18.
9Patrick
an
that
argument
LettersI,
p.
129.
debunks
Ulysses
Both
Hayman
presence
Hayman,
pp.
124-25
and
as
monocausality
literary
Kenner,
p.
Kenner
note
speculates
upon
and
the
arranger's
its origins.
See
71.
13Ken
Kesey, One Flew Over the Cuckoo's Nest (New York: Viking Press,
1962).
14Tim
O'Brien, Going After Cacciato (New York: Delacorte Press, 1978).
15Vladimir
Nabokov, A Russian Beauty and Other Stories (New York:
McGraw Hill, 1973), p. 12.
16
For
Jerome
Klinkowitz,
Joyce,
"language
games,"
is a modern
ist trying to find out if culture can survive "without the confident assump
tions of nineteenth-century
science and philosophy"; see The Self-Apparent
Word: Fiction as Language I Language as Fiction (Carbondale: Southern Illinois
Univ. Press, 1984), pp. 41-42. I do not deny Joyce's modernist
agenda but
to
to
debt
clarify postmodernism's
Joyce. Ulysses slowly introduces
hope
self-reflexive conventions
among the realistic ones and finally creates a
satisfactory
blend.
17Robert Scholes
Oxford Univ. Press,
Perhaps
such
a conclusion
awaits
postmodernism
itself.
(London:
77
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18
Many critics doubt the relevance of Stephen's aesthetic to Ulysses.
Scholes and Marlena G. Corcoran argue that Joyce merely took his own
juvenilia and polished it "to support [Stephen's] claim to artistic status" inA
Portrait; see "The Aesthetic Theory and the Critical Writings," A Companion
to Joyce Studies, ed. Zack Bowen and James F. Carens (Westport: Greenwood
Publishers, 1984), pp. 689, 694.
19
as the free indirect
Experienced readers of Ulysses may see this sentence
discourse of either Mulligan or Dedalus. A reader new to the text, however,
see
will
it in conventional
norm,"
terms,
what
creating
calls
Lawrence
a "narrative
38-53.
pp.
to one
who
is
35.
p.
21After Buck "golden-mouthed,"
Mulligan recites a passage from W. B. Yeats's "Who Goes
with Fergus," Collected Poems (New York: Macmillan,
1956), p. 43, the nar
rator, assuming the romantic diction and vision of early Yeats, describes the
floated silently by through the morning
scene, "Woodshadows
morning
wedded
peace from the stairhead seaward where he gazed_Wavewhite
of this
words shimmering on the dim tide" (U 1.242-47). For discussions
technique, see Lawrence, pp. 19-20, and Kenner, Joyces Voices (Berkeley:
Univ. of California Press, 1978), especially "The Uncle Charles Principle,"
pp.
15-38.
22
See
21.
endnote
23While
experienced readers may see the arranger's hand in the first
words of the novel, the arranger first overtly appears in the passage from
"Telemachus" (U 1.242-47), quoted in endnote 19, and, thus, begins the
education
of
rather
a reader
new
to
text.
the
Lawrence
also
sees
discourse
than
24Not
the
stream-of-consciousness
p.
technique,"
free
indirect
in Ulysses
24.
cases,
shares
language
with
the
characters.
When
free
55.
25
Roy K. Gottfried agrees that the "artist-god" is present in the novel's
language; see The Art of Joyce'sSyntax in "Ulysses" (Athens: Univ. of Georgia
Press, 1980), p. 160.
26
in Flaubert (p. 98). As much as he
Segal notes the same phenomenon
tries to remove himself from his texts, his use of free indirect discourse
attention
readers'
focuses
27
In the second
instance
upon
the
the
arranger
has
access
him.
clause
terminates
in a
book,"
period.
Kenner
tomere memory
p.
says
and
65.
printed
28 I believe that the
composition history of Ulysses supports such an
hypothesis. Michael Groden, in "Ulysses" in Progress (Princeton: Princeton
Univ. Press, 1977), notes that Ulysses iswritten in three styles. When Joyce
started to use a new style, he did not obscure the earlier one but allowed it to
78
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79
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