HJS
volume 6, issue 1, 2005
NOTES


1 Richard Ellmann, James Joyce, revised edition, New York: Oxford University Press, 1982, 551.

2 John Gordon, "Tracking the Oxen," Journal of Modern Literature, 22.2 (Winter 1998-1999): 350.

3 Gordon writes: "it is not that the 'De Quincey' phrase 'currents of the cold interstellar wind' [U 14.1106] is a distortion of an original phrase recorded by 'Landor' as 'Corinth fruit' [U 14.1148]; it is rather that both are renditions of something else--something real--antecedent to both and that by juxtaposing both, we can... triangulate to that something real: in this case, the phrase 'currant buns,' which is nowhere on the page but which nonetheless accounts for two phrases which are" (Gordon 1998-1999, 352).

4 Gordon 1998-1999, 351; Don Gifford with Robert J. Seidman, "Ulysses" Annotated, second edition, Berkeley: University of California Press, 1988, 436.

5 James S. Atherton, "The Oxen of the Sun," James Joyce's "Ulysses": Critical Essays, eds. Clive Hart and David Hayman, Berkeley: University of California Press, 1974, 332.

6 See Robert Janusko, The Sources and Structure of James Joyce's "Oxen," Ann Arbor: UMI Research Press, 1983 and Gregory M. Downing, "Joyce's 'Oxen of the Sun' Notesheets: A Transcription and Sourcing of the Stylistic Entries," Genetic Joyce Studies, 2 (Spring 2002): online, www.antwerpjamesjoycecenter.

7 NLI MS. 36,639, II.ii.5b, 2r and NLI MS. 36,639, II.ii.5e, 4r. Each of the two pre-Rosenbach drafts were written in a series of notebooks that are divided between the Buffalo and NLI collections. For both drafts, the "Eumaeus" inset appears in notebooks held by NLI. For "Oxen of the Sun," the Rosenbach manuscript is not the fair-copy from which the typescript was prepared but rather a collateral copy derived from both the actual fair-copy (now missing) and the typescript.

8 Peter Selley, The Lost "Eumaeus" Notebook, London: Sotheby's, 2001, 18.

9 Sam Slote, "Preliminary Comments on Two Newly Discovered Ulysses Manuscripts," James Joyce Quarterly, 39.1 (Fall 2001): 23.

10 Slote 2001, 22.

11 Lindley Murray, English Grammar, Bridgeport: Josiah Baldwin, 1824; reprint Delmar, New York: Scholars' Facsimile Reprints, 1981, 267.

12 Murray 1824, 304.

13 "It is interesting to compare the multiplicity of the tools in language and of the ways they are used, the multiplicity of kinds of word and sentence, with what logicians have said about the structure of language. (Including the author of the Tractatus Logico-Philosophicus.)" (Ludwig Wittgenstein, Philosophical Investigations, third edition, trans. G.E.M. Anscombe, New York: Macmillan, 1968, §23; see also §81).

14 Janusko 1983, 91.

15 The Gerty passage in "Wandering Rocks" was added on the first setting of placard 27 (JJA 18: 291), and thus after the initial composition of "Nausicaa." The passage with Kennedy and Douce was already present on the Rosenbach manuscript (on pages dictated by Joyce to Frank Budgen).

16 "ce n'est pas dans les mots, ce n'est pas exprimé, c'est tout entre les mots" (Marcel Proust, Contre Sainte-Beuve, ed. Pierre Clarac and Yves Sandre, Paris: Gallimard, 1954, 157).

17 "en repensant ? la monotonie des oeuvres de Vinteuil, j'expliquais ? Albertine que les grands littérateurs n'ont jamais fait qu'une seule oeuvre, ou plutôt réfracté ? travers de milieux divers une m?me beauté qu'ils apportent au monde" (Marcel Proust, ? la recherche du temps perdu, eds. Jean-Yves Tadié, Antoine Compagnon, and Pierre-Edmund Robert, Paris: Gallimard, 1988, vol. 3, 877).

18 "certes des lapsus grammaticaux n'ont jamais terni un beau style, mais tout de m?me il vaut mieux les éviter.... L'absence des fautes est une qualité purement subalterne, nullement esthétique, Néanmoins, il semble plus élégant d'effacer ces taches insignifiantes" (Marcel Proust, Correspondance de Marcel Proust, ed. Philip Kolb, Paris: Plon, 1990, vol. 18, 406-7).

19 "il y a une beauté grammaticale... qui n'a rien ? voir avec la correction" (Marcel Proust, "? propos de " Style " de Flaubert," Essais et articles, eds. Pierre Clarac and Yves Sandre, Paris: Gallimard, 1994, 283).

20 "Ces singularités grammaticales traduisant en effet une vision nouvelle, que d'application ne fallait-il pas pour bien fixer cette vision, pour la faire passer de l'inconscient dans le conscient, pour l'incorporer enfin aux diverses parties du discours!" (Proust 1994, 288).

21 "un homme qui par l'usage enti?rement nouveau et personnel qu'il a fait du passé défini, du passé indéfini, du participe présent, de certains pronoms et de certaines prépositions, a renouvelé presque autant notre vision des choses que Kant, avec ses Catégories, les théories de la Connaissance et de la Réalité du monde extérieur" (Proust 1994, 282).

22 Ellmann 1982, 492.

23 "Il n'y a donc pas une grosse différence entre le pastiche, qui consiste ? créer dans le registre d'un autre, et l'oeuvre d'art, qui consiste ? créer dans le sien" (quoted in Jean-Yves Tadié, Proust et le roman, Paris: Gallimard, 1971, 382).

24 Christine O'Neill has done a fine job of codifying certain traits of Eumaean lapsus: Too Fine a Point: A Stylistic Analysis of the "Eumaeus" Episode in James Joyce's "Ulysses," Trier: Wissenschaftlicher Verlag, 1996.

25 The question of who moved the furniture is never answered explicitly in the text; see Ian Gunn and Clive Hart, James Joyce's Dublin, New York: Thames and Hudson, 2004, 71-73.
SAM SLOTE A EUMAEAN RETURN TO STYLE
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