Stuart Gilbert. James Joyce's Ulysses: A Study (1930, PD)

SCENE: The Newspaper. HOUR: 12 noon. ORGAN: Lungs. ART: Rhetoric. COLOUR: Red. SYMBOL: Editor. TECHNIC: Enthymemic.

1. L7820 7. AEOLUS
2. L7821 *
3. L7822 SCENE
4. L7823 HOUR
5. L7824 O RGAN
6. L7825 ART
7. L7826 COLOUR
8. L7827 SYM B O L
9. L7828 TECHNIC
10. L7830 The Newspaper
11. L7831 12 noon
12. L7832 Lungs
13. L7833 Rhetoric
14. L7834 Red
15. L7835 Editor
16. L7836 Enthymemic

Гилберт фиксирует семь параметров схемы. Ключевые: - ORGAN = Lungs: лёгкие = дыхание = ветер = воздух. Эпизод буквально пронизан воздухом: сквозняки, вздохи, «wind off my chest», «raise the wind». - ART = Rhetoric: не журналистика вообще, а именно риторика — искусство убеждения. Газета здесь = агора, редактор = оратор. - TECHNIC = Enthymemic: энтимема = силлогизм с одной подавленной посылкой (Аристотель). Читатель должен сам достроить аргумент. Гилберт: «the general technique of this episode is, therefore, 'enthymemic'» (L8299). - SYMBOL = Editor: редактор (Myles Crawford) = Эол, повелитель ветров.

1. Gilbert L7830 Схема: «The Newspaper, 12 noon, Lungs, Rhetoric, Red, Editor, Enthymemic»

2. Gilbert L8299 Пояснение: «the general technique of this episode is, therefore, 'enthymemic'»

3. p001 EN Контекст: «Before Nelson's pillar trams slowed, shunted, changed trolley»

4. p004 EN Контекст: «Right and left parallel clanging ringing»

5. Gilbert L8122 Комментарий: «Mr Bloom's approach to the editorial office, lorded over by Myles Crawford, Ruler of the Winds, is attended by a chaos of noises»

6. Заключение: схема эпизода — не декорация, а генеративный принцип: лёгкие → ветер → риторика → энтимема → редактор-Эол.

Odysseus had almost reached his destination, Ithaca, and could see the beacons burning on the coast, when the communistic zeal of his men frustrated their homecoming and the tempest drove him back. The theme of undeserved frustration, of a goal nearly, but not quite, attained, recurs under several aspects in this episode.

1. L8239 Odysseus had almost reached his destination, Ithaca, and
2. L8240 could see the beacons burning on the coast, when the com­
3. L8241 munistic zeal of his men frustrated their homecoming and
4. L8242 the tempest drove him back. The theme of undeserved frus­
5. L8243 tration, of a goal nearly, but not quite, attained, recurs un­
6. L8244 der several aspects in this episode. There is, for instance, the
7. L8245 case of Moses who "died without having entered the land
8. L8246 of promise", Mr Bloom's eleventh-hour failure to secure the
9. L8247 promise of a "puff" for his client in the evening paper; of
10. L8248 J. J. O'Molloy who tries to get a loan from the editor but
11. L8250 7·
12. L8252 A E O J. U S
13. L8254 has to "take the will for the deed"; who starts to tell a story
14. L8255 about chief Baron Palles-"everything was going swim­
15. L8256 mingly"-when he is brusquely interrupted by Lenehan,
16. L8257 and that is the end of his attempt. J. J. O'Molloy himself,
17. L8258 indeed, was one of life's failures : "cleverest fellow at the
18. L8259 junior bar he used to be", but ill-health frustrated the prom­
19. L8260 ise of his youth : "a might-have-been".
20. L8261 Bushe K.C. is another who failed to "arrive".
21. L8262 " 'Bushe?' the editor said. 'Well, yes. Bushe, yes. He has
22. L8263 a strain of it in his blood. Kendal Bushe or I mean Seymour
23. L8264 Bushe.'
24. L8265 " 'He would have been on the bench long ago,' the pro­
25. L8266 fessor said, 'only for . . . But no matter.' "
26. L8267 (The professor's aposiopesis guards its secret; in the cause
27. L8268 ot Bushe's frustration we have one of the few instances in
28. L8269 Ulysses of a mystery unresolved. )
29. L8270 The journalist's metier, like the wedlock o f the children

Гилберт выявляет структурную тему эпизода: НЕУДАЧА. Не катастрофа, а именно фрустрация — цель видна, но не достигнута. Варианты: 1. Одиссей — видит огни Итаки, но ветер возвращает его 2. Моисей — «died without having entered the land of promise» (L8245) 3. Блум — не получает обещания «puff» для Keyes 4. О'Моллой — не получает займа; начинает рассказ о Бароне Паллесе — и его перебивают 5. Буш — «He would have been on the bench long ago, only for... But no matter» (L8265-8266)

Гилберт фиксирует (L8267-8269): «The professor's aposiopesis guards its secret; in the cause of Bushe's frustration we have one of the few instances in Ulysses of a mystery unresolved.» Апоопеза (умолчание) = форма фрустрации: мысль начата, но не завершена.

Это не пессимизм — это структура: энтимема (TECHNIC) = аргумент с пропущенной посылкой = фрустрация логической формы.

1. Gilbert L8239 Гилберт: «Odysseus had almost reached his destination... when the communistic zeal of his men frustrated their homecoming»

2. Gilbert L8243 Тема: «The theme of undeserved frustration, of a goal nearly, but not quite, attained, recurs under several aspects»

3. Gilbert L8245 Пример: «Moses who 'died without having entered the land of promise'»

4. p085 EN Контекст: «Want to get some wind off my chest first. Try it anyhow.»

5. Gilbert L8267 Апоопеза: «The professor's aposiopesis guards its secret... one of the few instances in Ulysses of a mystery unresolved»

6. Заключение: фрустрация = структурный принцип эпизода; энтимема (пропущенная посылка) = логическая форма фрустрации.

The practice of journalism involves the ancient art of rhetoric; the pressman, in fact, has some of the functions of the orator in a Greek city state... the foundation of argumentation is the enthymeme, or syllogism with one premise suppressed; the general technique of this episode is, therefore, "enthymemic".

1. L8278 practice of journalism involves the ancient art of rhetoric;
2. L8279 the pressman, in fact, has some of the functions of the ora­
3. L8280 tor in a Greek city state. "Cities are taken", an old adage
4. L8281 ran, "by the ears"; in our times, by the eyes as well. It was
5. L8282 therefore fitting that this episode should teem with oratori­
6. L8283 cal effects. The orator relies on argumentation to produce
7. L8284 that conviction which is the object of his art, and, according
8. L8285 to Aristotle, the foundation of argumentation is the enthy1 The Freeman itself (I quote from the O'Conneli Centenary Rec­
9. L8286 ord ) , in the course of its long career, "passed through strange vicissi­
10. L8287 tudes, at one time for, at another against, Irish interests".
11. L8288 • The rendering of this phrase in the French translation may interest;
12. L8289 it is seldom that a translation succeeds in being even terser than an epi­
13. L8290 grammatic original : A chaque jour suflit son quotidien. (Ulysse, page
14. L8291 1 <;6.)
15. L8293 188
16. L8295 The Episodes
17. L8297 mem.e, or syllogism with one premise suppressed; the general
18. L8299 technique of this episode is, therefore, "enthymemic". The
19. L8300 hearer of oratory may be a mere seeker of esthetic enjoy­
20. L8301 ment, a fhwpo>, or one who forms a judgment on what is
21. L8302 to come, or on what is past. There are three kinds of ora­
22. L8303 tory (according to Aristotle ) , appropriate respectively to
23. L8304 each of the three kinds of hearer; the deliberative ( yf.vor;
24. L8305 uvp.f3ovAwnK.ov ) , the forensic ( Y· ihavuc6v ) and the exposi­
25. L8306 tory ( y. imonKnK.ov ) . All three kinds are illustrated in this

Гилберт показывает, что Джойс строит эпизод по Аристотелю («Риторика»): 1. Энтимема = силлогизм с пропущенной посылкой. Читатель сам достраивает аргумент. 2. Три вида ораторства (L8302-8306): - Совещательное (deliberative) — речь Тейлора о возрождении ирландского языка - Судебное (forensic) — речь Буша в защиту обвиняемого (дело Чайлдса) - Эпидейктическое (expository) — цветистая проза Дэна Доусона

Гилберт фиксирует: «All three kinds are illustrated in this episode» (L8306). Газета = агора, где все три вида риторики сосуществуют: редакционная статья (совещательная), криминальная хроника (судебная), фельетон (эпидейктическая).

Журналист = оратор греческого полиса: «Cities are taken by the ears; in our times, by the eyes as well» (L8280-8281).

1. Gilbert L8278 Гилберт: «The practice of journalism involves the ancient art of rhetoric»

2. Gilbert L8297 Определение: «the foundation of argumentation is the enthymeme, or syllogism with one premise suppressed»

3. Gilbert L8302 Аристотель: «There are three kinds of oratory... the deliberative, the forensic and the expository»

4. Gilbert L8306 Итог: «All three kinds are illustrated in this episode»

5. p231 EN Контекст: Стивен входит в редакцию

6. Заключение: эпизод построен по Аристотелю: три вида ораторства + энтимема как генеративный принцип.

Thus in this episode, as in the subsequent scene at the national library, Mr Bloom and his spiritual son come within an ace of meeting each other. That meeting and the culminating recognition take place only when Bloomsday nears its climax... destiny is fulfilled only at the third attempt.

1. L7838 The scene of this episode is the office of the Freeman's
2. L7839 Journal and National Press,I which Mr Bloom visits in order
3. L7840 to arrange for the publication of an advertisement of Alex­
4. L7841 ander Keyes' "high class licensed premises". He also hopes
5. L7842 to persuade the editor that the Telegraph, an evening paper
6. L7843 under the same management, should give his client a "puff"
7. L7844 in the "Saturday pink" edition of that journal. Mr Keyes
8. L7845 has had an inspiration which Mr Bloom explains to Coun­
9. L7846 cillor Nannetti, business-manager of the Freeman. "Like
10. L7847 that, see. Two crossed keys here. A circle. Then here the
11. L7848 name of Alexander Keyes, tea, wine and spirit merchant . . .
12. L7849 The idea is the house of keys. You know, councillor, the
13. L7850 Manx parliament. Innuendo of home rule. Tourists, you
14. L7851 know from the isle of Man. Catches the eye you see. Can
15. L7852 you do that?" Mr Bloom undertakes to produce the design
16. L7853 in question, which has already appeared in a Kilkenny pa1 This office was burnt down during the rising of 1916. The paper
17. L7854 ceased publication in the 'twenties, after an existence of a centul}' and a
18. L7855 half.
19. L7857 The Episodes
20. L7859 per; it is this errand which, in the next episode but one,
21. L7860 takes him to the national library.
22. L7861 Besides the business activities of Mr Bloom, this episode
23. L7862 depicts the inner life ot a daily paper and there are realistic
24. L7863 descriptions of the Telegraph editor, Myles Crawford, and
25. L7864 of a conversation on journalistic topics between him and
26. L7865 some of his cronies, Mr Dedalus, Professor MacHugh, Ned
27. L7866 Lambert and others. After Mr Dedalus has left-the elo­
28. L7867 quence of one Dan Dawson, as reported in the Freeman
29. L7868 and retailed viva voce by Ned Lambert, has given him a
30. L7869 thirst-in quest of refreshment, Stephen appears, in his r6Ie
31. L7870 of "bullock-befriending bard", escorted by Mr O'Madden
32. L7871 Burke. Stephen has come to deliver Mr Deasy's letter on
33. L7872 the epidemic of foot-and-mouth disease. He is regaled with
34. L7873 a symposium of journalistic reminiscence, and profits by his
35. L7874 temporary affiuence to lead the editorial party to a neigh­
36. L7875 bouring bar. " 'Chip of the old block!' the editor cried, slap­
37. L7876 ping Stephen on the shoulder. 'Let us go.' "
38. L7877 In this episode Stephen and Mr Bloom come near each
39. L7878 other but do not meet. The foreman has insisted that, if
40. L7879 Keyes is to get his "little puff" in the Telegraph, the ad­
41. L7880 vertisement must be renewed for three months. Mr Bloom
42. L7881 hurries off in search of Keyes to arrange the matter. Mean­
43. L7882 while Stephen arrives. When Mr Bloom returns Stephen is
44. L7883 already leading his thirsty retinue barwards, walking beside
45. L7884 MacHugh. The editor follows, in conversation with O'Mol­
46. L7885 loy. Mr Bloom hurries, breathless, towards the former. "Just
47. L7886 this ad. I spoke with Mr Keyes just now. He'll give a re­
48. L7887 newal for two months, he says. After he'll see. But he wants
49. L7888 a par to call attention in the Telegraph too, the Saturday
50. L7889 pink . . . What will I tell him, Mr Crawford?"
51. L7890 The editor's reply is terse and rude.
52. L7891 Mr Bloom catches sight of Stephen in front. "Wonder is
53. L7892 that young Dedalus the moving spirit. Has a good pair of
54. L7893 boots on him today. Last time I saw him he had his heels
55. L7894 in view."
56. L7895 Thus in this episode, as in the subsequent scene at the
57. L7896 national library, Mr Bloom and his spiritual son come
58. L7897 within an ace of meeting each other. That meeting and the
59. L7899 7·
60. L7901 AEOLUS
61. L7903 culminating recognition take place only when Bloomsday
62. L7904 nears its climax, in the Maternity Hospital and Brothel
63. L7905 �cenes; destiny is fulfilled only at the third attempt.

Гилберт начинает главу с сюжетной архитектуры: Блум приходит в редакцию Freeman's Journal по рекламному делу (Alexander Keyes, «house of keys»). Но под бытовым сюжетом — мифологическая структура: отец и сын кружат друг вокруг друга, не встречаясь.

Гилберт фиксирует принцип: «destiny is fulfilled only at the third attempt». Три попытки: 1. Эол (этот эпизод) — Блум уходит за Keyes, Стивен приходит 2. Национальная библиотека — снова мимо 3. Родильный дом + бордель — встреча

Это гомеровский паттерн: Одиссей трижды пытается обнять тень матери в Аиде. Три попытки = эпическая формула.

Гилберт также фиксирует бытовую рамку: редактор Кроуфорд, его «cronies» (Дедalus, MacHugh, Ned Lambert), симпозиум журналистских баек. Стивен приходит с письмом Дизи о ящуре — и получает доступ к кругу ораторов.

1. Gilbert L7837-7840 Завязка: «The scene of this episode is the office of the Freeman's Journal... which Mr Bloom visits in order to arrange for the publication of an advertisement»

2. Gilbert L7897 Near-miss: «Mr Bloom and his spiritual son come within an ace of meeting each other»

3. Gilbert L7903-7905 Принцип: «destiny is fulfilled only at the third attempt»

4. p050 EN Контекст: «This ad, you see. Keyes, you remember?»

5. p442 EN Контекст: «Just this ad, Mr Bloom said, pushing through towards the steps»

6. Заключение: сюжет Эола = машина отложенной встречи; Блум и Стивен в одном здании, но не в одном кадре.

'Begone!' he said. 'The world is before you.' ... 'A bit nervy. Look out for squalls.'

1. L8225 It will be remembered that Aeolus' conduct towards Odys­
2. L8226 seus displayed that capriciousness which, as sailors know to
3. L8227 their cost, is characteristic of the keeper ot the winds. After
4. L8228 a friendly welcome and generous gifts at his first visit, Aeo­
5. L8229 lus, on the enforced return of his guest, had nothing but
6. L8230 harsh words for him. Thus, too, the Editor, when Mr
7. L8231 Bloom hurries off to "fix up" the matter of Keyes' "ad",
8. L8232 genially waves him away.
9. L8233 " 'Begone!' he said. 'The world is before you.'
10. L8234 " 'Back in no time,' Mr Bloom said, hurrying out."
11. L8235 But, when Mr Bloom returned, the Editor's mood had
12. L8236 changed and he refused to listen to his soft-voiced suppliant.
13. L8237 "A bit nervy. Look out for squalls." And Mr Bloom, prudent
14. L8238 mariner, thought it safer not to insist.

Гилберт делает точное наблюдение: Кроуфорд принимает Блума дважды, как Эол принимает Одиссея дважды. Первый раз — дружелюбно («Begone! The world is before you»). Второй раз — враждебно («A bit nervy. Look out for squalls»).

«Squalls» (шквалы) и «prudent mariner» (осмотрительный мореплаватель) — Гилберт фиксирует морскую лексику Кроуфорда. Редактор говорит как Эол: ветер подчиняется ему, он решает, дуть или нет. Каприз = природа ветра.

Гилберт связывает это с мифом: у Гомера Эол даёт Одиссею мех с ветрами (первый визит, дружелюбный). Команда развязывает мех, ветры уносят корабль назад. Второй визит — Эол проклинает: «vilest of living men». У Джойса: первый визит Блума — Кроуфорд даёт надежду. Второй — отказывает. Между визитами — «windfall» (Стивен приводит компанию в бар).

Структурно: два визита = два акта эпизода. Первый — Блум среди журналистов (равный). Второй — Блум изгнан (чужой). Между ними — Стивен, который становится «chip of the old block» для Кроуфорда. Блум теряет статус, Стивен приобретает.

1. Gilbert L8233 Первый визит: «'Begone!' he said. 'The world is before you.'»

2. Gilbert L8237 Второй визит: «'A bit nervy. Look out for squalls.'»

3. Gilbert L8234-8236 Морская лексика: nautical language confirms Homeric mapping

4. p199 EN Контекст: «—Begone! he said. The world is before you.»

5. p444 EN Контекст: «A bit nervy. Look out for squalls»

6. Заключение: Кроуфорд = Эол; два приёма Блума = два визита Одиссея; каприз редактора = природа ветра.

The journalist of to-day has invented nothing; all the tricks of his trade were already known and classified by the Schoolmen.

1. L8576 EXAMPLES OF RHETORICAL FORMS IN AEOLUS
2. L8577 DEVICE
3. L8579 PACE
4. L8581 96 THE WEARER OF THE
5. L8582 CROWN
6. L8584 Grossbooted draymen rolled
7. L8585 barrels dullthudding out of
8. L8586 Prince's stores and bumped
9. L8587 them up on the brewery
10. L8588 float. On the brewery float
11. L8589 bumped dullthudding bar­
12. L8590 rels rolled by grossbooted
13. L8591 draymen out of Prince's
14. L8592 stores.
15. L8593 97 steered by an urnbrella.
16. L8594 All his brains are in the nape
17. L8595 of his neck.
18. L8596 Fat folds of neck, fat, neck,
19. L8597 fat, neck.
20. L8598 Co-orne thou lost one,
21. L8599 Co-orne thou
22. L8600 one.
23. L8601 THE CROZIER AND THE
24. L8602 PEN
25. L8603 They watched the knees, legs,
26. L8604 boots vanish.
27. L8605 98 Working away, tearing away.
28. L8607 dear
29. L8609 Metonomy.
30. L8610 Chiasmus (a sentence in which
31. L8611 the terrns of the second of two
32. L8612 parallel phrases reverse the or­
33. L8613 der of the first) ,
34. L8615 Metaphor.
35. L8616 Diasynn ("a pulling to pieces" :
36. L8618 mild sarcasm ) .
37. L8619 Anaphora.
38. L8621 Diaeresis.
39. L8622 Concrete Synecdoche.
40. L8624 Asyndeton.
41. L8626 i
42. L8628 Ep phora.
43. L8629 Ploce (the using of a name, in the
44. L8630 sam e phrase, bo th as a name
45. L8631 and to signify the qualities of
46. L8632 the person or persons to whom
47. L8633 it is applied) .
48. L8634 If you want to draw the cash­ Enthym eme.
49. L8635 ier is just going to lunch.
50. L8636 Hyperbaton (transposition-ii.S in
51. L8637 Hell of a racket they make.
52. L8638 Silver and gold bave I none) .
53. L8639 Maybe he understands what I. Anacoluthon.
54. L8640 100 Silt . . . Almost human the Onomatopoeia.
55. L8641 way it slit to call atten­
56. L8642 tion.
57. L8643 Doing its level best to speak. Prosopopoeia.
58. L8644 1 0 1 mangiD, kcirtaP.
59. L8645 And then the lamb and the Polysyndeton (plethora of con·
60. L8646 junctions) .
61. L8647 cat and the dog and the
62. L8648 stick and th e water • . .
63. L8649 Idiotism (''Bioomism" ) .
64. L8650 C i onlemon.
65. L8652 98--99 More hish than the hisb.
66. L8654 Metathesis.
67. L8656 tr
68. L8658 7· A E O L U S
69. L8659 PACE
70. L8661 DEVICE
71. L8663 102 "The ghost walks."
72. L8665 Hypotyposis (vision ) . The classical
73. L8666 example of this visionary im ag­
74. L8667 ination of things not presen t as
75. L8668 being before the eyes is a pas­
76. L8669 sage from Pope's "Elegy to an
77. L8670 Unfortunate Young Lady" :
78. L8671 ''What beckoning ghost along the
79. L8672 moonlight glade
80. L8673 Invites my steps, and points to
81. L8674 yonder shade?
82. L8675 'Tis she; but why that bleeding
83. L8676 bosom gored,
84. L8677 Why dimly gleams the visionary
85. L8678 sword?"
86. L8679 Another example of hypotyposis a
87. L8680 Stephen's vision of Dante's three
88. L8681 rhymes as "three by three, ap­
89. L8683 proaching girls".
90. L8685 Agonising Christ, wouldn't it
91. L8686 give you a heartburn . . . ?
92. L8688 tho' quarrelling . . .
93. L8689 'neath the shadows . • •
94. L8691 Apostrophe.
95. L8693 Apocope.
96. L8694 AphaereSI!.
97. L8695 o'er
98. L8696 Syncope.
99. L8697 pensive bosom
100. L8698 Solecism.
101. L8699 overa rch ing . . . overarsing
102. L8700 Paradiastole.

Гилберт создаёт систематический каталог: 62 риторические фигуры, найденные в 32 страницах Эола, с указанием точных страниц. Это не просто список — это доказательство: Джойс построил эпизод как рабочий учебник риторики.

Первая треть каталога (pp. 96–102): chiasmus («Grossbooted draymen rolled barrels dullthudding out of Prince's stores and bumped them up on the brewery float. On the brewery float bumped dullthudding barrels rolled by grossbooted draymen out of Prince's stores»), metonymy, metaphor, diasynn, anaphora.

Гилберт делает ключевой вывод: «the journalist of to-day has invented nothing; all the tricks of his trade were already known and classified by the Schoolmen.» Школьники (средневековые схоласты) классифицировали все приёмы журналистики за 500 лет до появления газет. Эол = мост между Аристотелем и Fleet Street.

Для структурной перспективы: таблица Гилберта — это ключ к эпизоду. Читатель может взять любую страницу Эола и найти в каталоге Гилберта, какая фигура там использована. Это делает эпизод декодируемым — как шифр с ключом.

1. Gilbert L8576-8580 Заголовок: «EXAMPLES OF RHETORICAL FORMS IN AEOLUS»

2. Gilbert L8585-8592 Пример: chiasmus — «Grossbooted draymen rolled barrels dullthudding out of Prince's stores...»

3. Gilbert L8403 Вывод: «the journalist of to-day has invented nothing; all the tricks of his trade were already known and classified by the Schoolmen»

4. p061 EN Контекст: «Two crossed keys here. A circle. Then here the name»

5. Заключение: Эол = учебник риторики в форме романа; Гилберт дал ключ — 62 фигуры, 32 страницы, точные координаты.

ANNE WIMBLES — Hapax Legomenon.

1. L8907 Sarcasm (the speaker "shaM
2. L8908 teeth" in rict us : Cf. Gk.
3. L8909 cos) .
4. L8910 (a
5. L8911 piling-up
6. L8912 You are a tribe of nomad Incremetum
7. L8913 herdsmen . . .
8. L8914 points in an argument) .
9. L8915 You have no cities nor no
10. L8916 wealth . . .
11. L8917 You have but emerged from
12. L8918 primitive conditions .
13. L8919 Archaeism.
14. L8920 all manner merchandise
15. L8922 his
16. L8924 Sar­
17. L8925 of
18. L8927 The Episodes
19. L8928 :PACE
20. L8930 DEVICE
21. L8932 had the youthful Mose.Y • • . Anabasis {gradation) .
22. L8933 bowed his head and bowed
23. L8934 his will and bowed his
24. L8935 spirit. . . .
25. L8936 1 1 8 "A sudden - at - the - moment- Polyhyphenation.
26. L8937 though - from - lingering - Periphrasis.
27. L8938 illness - often - prev iously expectorated-demise."
28. L8940 \
29. L8942 expectorated for 'expected')
30. L8943 We will stem y refuse to par­
31. L8944 take of strong waters, will
32. L8945 we not?"
33. L8946 "I hope you will live to see Charientism (mild sarcasm ) .
34. L8947 i t published . "
35. L8949 The passage which follows is 1
36. L8950 Para ble.
37. L8951 "They had no idea it was that Oratio recta-obliqua (giving, br
38. L8952 quotation of a vulgar fonn, VI·
39. L8953 high."
40. L8954 vacity to the flatness of a third·
41. L8955 personal report) .
42. L8956 1 2.0 A newspboy cried :
43. L8957 "Terrible tragedy in Rath· AnticlimaL
44. L8958 mines! A child bit by a
45. L8959 bellows I"
46. L8961 1 1 9 DEAR DIRTY DUBLIN
47. L8963 1 2. 1
48. L8965 K. M. A.
49. L8967 Abbreviatiou.
50. L8969 "With a heart and a half if Hyperbole.
51. L8970 I could . . ."
52. L8971 12. 2. SPEEDPILLS VELOCIT- Neologism.
53. L8972 OUS AEROLITHS
54. L8973 Poor Penelope. Penelope Rich. Epanodos (repetition in inverted
55. L8974 order; here combined with anti­
56. L8975 thesis) .
57. L8976 Hackney cars, cabs, delivery Aparithmesis (enumeration in de­
58. L8977 waggons, mailvans, etc.
59. L8978 tail of things in corresponding
60. L8979 words of the same graJIUD.atical
61. L8980 character) .
62. L8981 1 2.3 "Call it, wait," the professor Aporia (dubitation) .
63. L8982 said, opening his long lips
64. L8983 to reBect. "Call it, let me
65. L8984 see . . ."
66. L8985 ANNE WIMBLES
67. L8986 Hapa:r Legomenon.

Гилберт завершает главу последней секцией каталога (pp. 116–123). Здесь — самые экзотические фигуры:

Polyhyphenation: «A sudden-at-the-moment-though-from-lingering-illness-often-previously-expectorated-demise» — Ленехан пародирует некролог, нанизывая дефисы. Гилберт отмечает: «expectorated for 'expected'» — ошибка (откашлял вместо ожидал) становится риторическим приёмом.

Anticlimax: «Terrible tragedy in Rathmines! A child bit by a bellows!» — газетный заголовок обещает трагедию, а delivers — ребёнка, укушенного мехами. Гилберт фиксирует: это фигура, не ошибка.

Hapax Legomenon: «ANNE WIMBLES» — слово, встречающееся в тексте ровно один раз. Гилберт завершает каталог этим: даже неологизмы Джойса — классифицируемые риторические акты. Ни одно слово не случайно.

Для структуры: каталог Гилберта — это доказательство тотальной контролируемости текста. 62 фигуры на 32 страницах = в среднем 2 фигуры на страницу. Джойс не писал — он конструировал. Гилберт дал чертёж.

1. Gilbert L8936 Полигифенация: «A sudden - at - the - moment- Polyhyphenation»

2. Gilbert L8957 Антиклимакс: «Terrible tragedy in Rathmines! A child bit by a bellows!»

3. Gilbert L8985-8987 Hapax: «ANNE WIMBLES — Hapax Legomenon»

4. p442 EN Контекст: «pushing through towards the steps, puffing, and taking the capers out of his mouth»

5. Заключение: последнее слово каталога = hapax legomenon; даже одноразовое слово у Джойса — риторический акт; текст сконструирован до последнего винтика.

In Aeolus the text is split up into brief sections, each headed with a caption composed in the journalistic manner. It will be noticed that the style of the captions is gradually modified in the course of the episode; the first are comparatively dignified, or classically allusive, in the Victorian tradition; later captions reproduce, in all its vulgarity, the slickness of the modern press.

1. L7906 In Aeolus the text is split up into brief sections, each
2. L7907 headed with a caption composed in the journalistic man­
3. L7908 ner.1 An early section in which O'Molloy is described hand­
4. L7909 ing round cigarettes is headed: THE CALUMET OF PEACE. A
5. L7910 reference to the Nelson Column is headed: HORATIO IS
6. L7911 CYNOSURE THIS FAIR JUNE DAY; in a later section Professor
7. L7912 MacHugh remarks to Stephen : "You remind me of Antis­
8. L7913 thenes, a disciple of Gorgias, the sophist. It is said of him
9. L7914 that none could tell if he were bitterer against others or
10. L7915 against himself. He was the son of a noble and a bond­
11. L7916 woman. And he wrote a book in which he took away the
12. L7917 palm of beauty from Argive Helen and handed it to poor
13. L7918 Penelope." This passage is headed :
14. L7919 SOPHIST WALLOPS HAUGHTY HELEN SQUARE ON PROBOSCIS.
15. L7920 SPARTANS GNASH MOLARS.
16. L7921 ITHACANS VOW PEN IS CHAMP.
17. L7923 The conversation in the editorial office turns mainly on
18. L7924 journalistic "shop". Ned Lambert reads Dan Dawson's
19. L7925 speech :-the transcendent translucent glow of our mild
20. L7926 Irish twilight that mantles the vista far and wide till the
21. L7927 glowing orb of the moon shines forth to irradiate her silver
22. L7928 effulgence. "High falutin stuff," thinks Mr Bloom. "Blad­
23. L7929 derbags." "Doughy Dawl" MacHugh cries.
24. L7930 "
25. L7932 WHAT WETHERUP SAID
26. L7934 "All very fine to jeer at it now in cold print but it goes
27. L7935 down like hot cake that stuff. He was in the bakery line too
28. L7936 wasn't he? Why they· call him Doughy Daw. Feathered his
29. L7937 nest well anyhow . . . Daughter engaged to that chap in
30. L7938 1 It will be noticed that the style of the captiom is gradually modi·
31. L7939 fied in the course of the episode; the first are comparatively dignified, or
32. L7940 classically allusive, in the Victorian tradition; later captions reproduce, in
33. L7941 all its vulgarity, the slickness of the modern press. This historico-literary
34. L7942 technique, here inaugurated, is a preparation for the empl oyment of the
35. L7943 same method, but on the grand scale, a stylistic tour de force, in a later
36. L7944 episode, the Oxen of the Sun.

Гилберт фиксирует ключевое наблюдение: заголовки НЕ однородны. Они эволюционируют: 1. Ранние — «dignified, or classically allusive, in the Victorian tradition» (например: «IN THE HEART OF THE HIBERNIAN METROPOLIS», «THE CALUMET OF PEACE») 2. Поздние — «reproduce, in all its vulgarity, the slickness of the modern press» (например: «SOPHIST WALLOPS HAUGHTY HELEN SQUARE ON PROBOSCIS», «K.M.A.», «ANNE WIMBLES»)

Гилберт называет это «historico-literary technique» — историко-литературный приём, который здесь «inaugurated» и позднее развёрнут «on the grand scale» в «Oxen of the Sun» (эволюция английской прозы от англосаксонского до сленга).

Это не просто стилистическая игра: эволюция заголовков = эволюция риторики от высокой к низкой, от убеждения к манипуляции.

1. Gilbert L7906 Гилберт фиксирует: «the text is split up into brief sections, each headed with a caption composed in the journalistic manner»

2. Gilbert L7938 Наблюдение: «the style of the captions is gradually modified in the course of the episode»

3. Gilbert L7941 Эволюция: «the first are comparatively dignified... later captions reproduce, in all its vulgarity, the slickness of the modern press»

4. Gilbert L7941 Связь: «This historico-literary technique, here inaugurated, is a preparation for... the Oxen of the Sun»

5. p001 EN Контекст: первый абзац с классическим заголовком

6. Заключение: заголовки — не украшение, а историко-литературная ось: от викторианского достоинства к вульгарности таблоида.

What opera resembles a railway line? — The Rose of Castille. Rows of cast steel.

1. L7974 Myles Crawford tells the tale of "the great Gallaher" (see
2. L7975 the story of this successful journalist in Dubliners: A Little
3. L7976 Cloud) , who brought off a scoop at the time of the Phcenix
4. L7977 Park political murders ( 1881 ) , by telegraphing details of the
5. L7978 murderers' movements to the New York World in an ingen­
6. L7979 ious code, based on an advertisement in a back number of
7. L7980 the Freeman.
8. L7981 " 'History!' Myles Crawford cried. 'The Old Woman of
9. L7982 Prince's Street was there first. There was weeping and gnash­
10. L7983 ing of teeth over that. Out of an advertisement. Gregor
11. L7984 Grey made the design for it. That gave him the leg up.
12. L7985 Then Paddy Hooper worked Tay Pay who took him on the
13. L7987 7·
14. L7989 AEOLUS
15. L7991 Star. Now he's got in with Blumenfield. That's press. That's
16. L7992 talent. Pyatt! he was all their daddies.'
17. L7993 " 'Clarno clever,' Lenehan said to Mr O'Madden Burke.''
18. L7995 Lenehan, the practised parasite (vide Two Gallants in
19. L7996 Dubliners ) , is much in evidence in this episode, and,
20. L7997 amongst other witticisms, launches a conundrum which
21. L7998 sticks in Mr Bloom's mind and is recalled by him several
22. L7999 times in the course of the day.
23. L8000 "Q. \Vhat opera resembles a railway line?
24. L8001 "A. The Rose of Castille. See the wheeze? Rows of cast
25. L8002 steel. Gee!"

Гилберт связывает Ленехана с «Дублинцами» (Dubliners): Ленехан появляется в рассказе «Two Gallants», где его приятель Галлахер — журналист. Гилберт отмечает связь Галлахера с убийствами в Феникс-парке (1882) и властью прессы.

Загадка Ленехана («What opera resembles a railway line?») — это каламбур: «Rose of Castille» звучит как «Rows of cast steel» (ряды литой стали = рельсы). Но для Гилберта важна не шутка, а функция: загадка становится earworm для Блума — она возвращается в его сознании, как навязчивая мелодия.

Гилберт показывает: Ленехан — трикстер, шут, «parasite». Но его каламбуры — не пустые: «rows of cast steel» = трамвайные рельсы = линии циркуляции (связь с T-012, Stromboli/циркуляция). Город как машина, по которой движется ветер.

Для нарративной перспективы: загадка — пример того, как Джойс встраивает рекуррентные мотивы. Слово, брошенное в эпизоде 7, возвращается в эпизоде 8 (Lestrygones) и далее. Гилберт фиксирует это как технику.

1. Gilbert L7974-7978 Связь: Gallaher (from Dubliners) → Phoenix Park murders → power of the press

2. Gilbert L8001 Загадка: «What opera resembles a railway line? — The Rose of Castille. Rows of cast steel»

3. Gilbert L7990-7992 Функция: earworm для Блума, рекуррентный мотив

4. p236 EN Контекст: «What opera resembles a railwayline? Reflect, ponder, excogitate, reply»

5. p266 EN Контекст: «But my riddle! he said»

6. Заключение: каламбур Ленехана — не шутка, а семя; «rows of cast steel» = рельсы циркуляции, по которым движется город.

It is significant also that this was the passage from Ulysses chosen by Joyce for a gramophone record (H.M.V. Paris) of his voice, as being the most rhetorical passage in the book.

1. L8003 MacHugh quotes "the finest display of oratory he ever
2. L8004 heard", an ex tempore speech by J ohn F. Taylor in reply to
3. L8005 one "pouring the proud man's contumely upon the new
4. L8006 movement" for the revival of the Irish tongue.
5. L8007 "Mr chairman, ladies and gentlemen: Great was my ad­
6. L8008 miration in listening to the remarks addressed to the youth
7. L8009 of Ireland a moment since by my learned friend. It seemed
8. L8010 to me that I had been transported into a country far away
9. L8011 from this country, into an age remote from this age, that I
10. L8012 stood in ancient Egypt and that I was listening to the speech
11. L8013 of some high-priest of that land addressed to the youthful
12. L8014 Moses. And it seemed to me that I heard the voice of that
13. L8015 Egyptian high-Priest raised in a tone of like haughtiness and
14. L8016 pride. I heard his words and their meaning was revealed to
15. L8017 me.
16. L8019 "FROM THE FATHERS
17. L8021 "It was revealed to me that those things are good which
18. L8023 yet are corrupted which neither if they were supremely good
19. L8024 nor unless they were good co ul d be corrupted. Ah, curse
20. L8025 you! That's saint Augustine.l
21. L8026 "-Why will you Jews not accept our culture, our reli­
22. L8027 gion and our language? You are a tribe of nomad herdsmen;
23. L8028 1 It is characteristic of this episode that the Fath er of the Church
24. L8029 expletive
25. L8030 be one of the
26. L8031 chosen by Stephen in his citation
27. L8032 greatest rhetori� gf all time.
28. L8034 and
29. L8036 should
30. L8038 The Episodes
31. L8040 18.2
32. L8042 we are a mighty people. You have no cities nor no wealth;
33. L8043 our cities are hives of humanity and our galleys, trireme and
34. L8044 quadrireme, laden with all manner merchandise, furrow the
35. L8045 waters of the known globe. You have but emerged from
36. L8046 primitive conditions; we have a literature, a priesthood, an
37. L8047 age-long history and a polity. You pray to a local and ob·
38. L8048 scure idol; our temples, majestic and mysterious, are the
39. L8049 abodes of Isis and Osiris; of Horus and Ammon Ra. Yours
40. L8050 serfdom, awe and humbleness; ours thunder and the seas.
41. L8051 Israel is weak and few are her children; Egypt is an host and
42. L8052 terrible are her arms. Vagrants and daylabourers are you
43. L8053 called; the world trembles at our name.
44. L8054 "But ladies and gentlemen, had the youthful Moses lis­
45. L8055 tened to and accepted that view of life, had he bowed his head
46. L8056 and bowed his will and bowed his spirit before that arro­
47. L8057 gant admonition he would never have brought the chosen
48. L8058 people out of their house of bondage nor followed the pillm
49. L8059 of cloud by day. He would never have spoken with the
50. L8060 Eternal amid lightnings on Sinai's mountaintop nor ever
51. L8061 have come down with the light of inspiration shining in his
52. L8062 countenance and bearing in his arms the tables of the law,
53. L8063 graven in the language of the outlaw." 1
54. L8065 "He ceased and looked at them, enjoying silence.
55. L8066 "OMINOUs--FOR HIM
56. L8068 "J. J. O'Molloy said not without regret:
57. L8069 " 'And yet he died without having entered the land of
58. L8070 promise.'
59. L8071 " 'A sudden-at-the-moment-though-from-lingering-illness·
60. L8072 often-previously-expectorated-demise,' Lenehan said. 'And
61. L8073 with a great future behind him.' "
62. L8075 The opening passage of this eloquent oration and the
63. L8076 oriental comparison involved are suggestive of the transmi­
64. L8077 gration motif discussed in an introductory chapter. The
65. L8078 Promised Land theme is further developed in the course
66. L8079 1 It is significant also that this was the passage from Ulysses chosen
67. L8081 by Joyce for a gramophone record (H. M. V. Paris) of his voice, as being
68. L8083 the most rhetorical passage in the book and thus most easily reproducible
69. L8084 (at the time of reading: 192.3) .

Гилберт цитирует речь Тейлора почти полностью — это самая длинная цитата в его главе об Эоле. Джон Ф. Тейлор (реальный ирландский оратор, 1851–1904) ответил на нападки судьи Фицгиббона на возрождение ирландского языка. Тейлор сравнил Фицгиббона с египетским жрецом, а ирландцев — с Моисеем.

Гилберт фиксирует: Джойс выбрал именно этот отрывок для записи на граммофонную пластинку (HMV, Париж, 1923) — как «the most rhetorical passage in the book». Это авторское подтверждение: Эол = эпизод риторики, и речь Тейлора — его вершина.

Гилберт также даёт критический анализ: «the resemblance between the movement for a revival of the Irish tongue and the situation of the Chosen People in the land of Egypt was really of the slightest». Аналогия ложна — но риторика убеждает. Это ключевой тезис Гилберта: риторика работает не через логику, а через страсть (argumentum ad passiones).

«Graven in the language of the outlaw» — финальная фраза речи. Скрижали закона написаны на языке преступника (евреев-беглецов). Ирландский язык = язык преступника в империи. Но именно на нём — закон.

1. Gilbert L8003-8005 Введение: «the finest display of oratory he ever heard», an ex tempore speech by John F. Taylor

2. Gilbert L8063 Финал речи: «graven in the language of the outlaw»

3. Gilbert L8083 Граммофон: «the most rhetorical passage in the book and thus most easily reproducible»

4. Gilbert L8330 Критика: «the resemblance... was really of the slightest»

5. p378 EN Контекст: «Great was my admiration in listening to the remarks»

6. p388 EN Контекст: «had the youthful Moses listened to and accepted that view of life»

7. Заключение: речь Тейлора = доказательство тезиса Гилберта: риторика убеждает не логикой, а страстью; ложная аналогия + истинная эмоция = победа.

Not otherwise do our modern Aeolists ensure with punctual emphasis our daily gasp, relayed on wings of wind from a land of darkness, or loose on us a wallet of canards bound with a silver thong.

1. L8492 A gale of wind is blowing through this episode, literally
2. L8493 and metaphorically. Doors are flung open violently, Myles
3. L8494 Crawford blows violent puffs from his cigarette, the bare­
4. L8495 foot newsboys, scampering in, create a hurricane which lifts
5. L8496 the rustling tissues into the air; swing-doors draughtily flicker
6. L8497 to and fro. "They always build one door opposite another
7. L8498 for the wind to. Way in. Way out." Mr Bloom descnbes
8. L8499 the ways of journalists and the decline of O'Molloy in
9. L8500 windy metaphors.
10. L8501 "Practice dwindling. Losing heart. Gambling. Debts of
11. L8502 honour. Reaping the whirlwind . . . . Believe he does some
12. L8503 literary work for the Express. Wellread fellow. Myles Craw­
13. L8504 ford began on the Independent. Funny the way those news­
14. L8505 paper men veer about when they get wind of a new open­
15. L8506 ing. Weathercocks. Hot and cold in the same breath.
16. L8507 Wouldn't know which to believe. One story good till you
17. L8508 hear the next. Go for one another baldheaded in the papers
18. L8509 and then all blows over. Hailfellow well met the next
19. L8510 moment."
20. L8511 As Swift observes, "some maintain these Aeolists to have
21. L8512 been very ancient in the world". (I have already noted that
22. L8513 all the artifices exploited by the modem pressman were the
23. L8514 stock-in-trade of the rhetor in the Agora.) The source of the
24. L8516 1 Isis Unveiled, II, 3 1 .
25. L8518 1 "Il arrive souvent que l a fum�e s e repand sur l'He entiere et l'ob­
26. L8519 scurcit comme un brouillard pluvieux." Spallanzani.
27. L8521 7·
28. L8523 AEOLUS
29. L8525 1 93
30. L8527 Aeolists' inflatus, Swift tells us, was "in a certain region well
31. L8528 known to the Creeks, by them called 'lKoTla., or the land of
32. L8529 darkness. And although many controversies have arisen upon
33. L8530 that matter, yet so much is undisputed, that from a region
34. L8531 of the like denomination the most refined Aeolists have
35. L8532 borrowed their original, from whence in every age the zealous
36. L8533 among their priesthood have brought over their choicest
37. L8534 inspiration, fetching it in their own hands from the fountain
38. L8535 head in certain bladders, and disploding it among the sec­
39. L8536 taries in all nations, who did, and do, and ever will, daily
40. L8537 gasp and pant after it".l Not otherwise do our modem
41. L8538 Aeolists ensure with punctual emphasis our daily gasp, re­
42. L8539 layed on wings of wind from a land of darkness, or loose
43. L8540 on us a wallet of canards bound with a silver thong.
44. L8541 Professor MacHugh recalls an Aeolian epithet of classical
45. L8542 times. "Fuit Ilium. The sack of windy Troy. Kingdoms of
46. L8543 the world. The masters of the Mediterranean are fellaheen
47. L8544 today." "Aeolisms" abound in the course of the episode;
48. L8545 "big blow out", "the vent of his jacket", "windfall when he
49. L8546 kicks out", "the moving spirit", "if I could raise the wind",
50. L8547 "a cure for flatulence", etc. Mr Bloom, when he leaves the
51. L8548 noisy isle, has a file of "capering newsboys in his wake, the
52. L8549 last zigzagging white on the breeze a mocking kite, a tail
53. L8550 of white bowknots".

Гилберт строит генеалогию журналистики: Свифт → Джойс. В «Сказке бочки» (A Tale of a Tub, 1704) Свифт высмеивает «Aeolists» — секту, которая получает вдохновение из ветров. Их источник — «a certain region well known to the Greeks, by them called Σκωτία, or the land of darkness». Жрецы эолистов приносят вдохновение «in certain bladders» (в пузырях/мехах).

Гилберт делает вывод: современные газетчики = эолисты Свифта. Они «loose on us a wallet of canards bound with a silver thong» — выпускают на нас кошелёк газетных уток, привязанный серебряным ремнём. «Canards» (утки) = фейковые новости. Серебряный ремень = рекламные объявления.

Гилберт каталогизирует ветровую образность эпизода: двери («one door opposite another»), сигаретные затяжки Кроуфорда, мальчишки-газетчики как ураган, «reaping the whirlwind», «weathercocks», «hot and cold in the same breath». Ветер = информация: входит, выходит, кружит, уносит.

«Fuit Ilium. The sack of windy Troy.» — МакХью цитирует Вергилия. Троя = windycity. Все империи — ветер. Но слова остаются (Акаша).

1. Gilbert L8492-8494 Ветер: «A gale of wind is blowing through this episode, literally and metaphorically»

2. Gilbert L8509-8512 Свифт: «some maintain these Aeolists to have been very ancient in the world»

3. Gilbert L8540 Вывод: «loose on us a wallet of canards bound with a silver thong»

4. Gilbert L8542 Троя: «Fuit Ilium. The sack of windy Troy»

5. p020 EN Контекст: «They always build one door opposite another for the wind to. Way in. Way out.»

6. p203 EN Контекст: «capering newsboys in Mr Bloom's wake, the last zigzagging white on the breeze»

7. Заключение: Джойс продолжает Свифта; пресса = эолисты; ветер = информация; «canards bound with a silver thong» = утки за деньги.

The closet-maker and the cloaca-maker will never be the lords of our spirit. We are liege subjects of the catholic chivalry of Europe that foundered at Trafalgar and of the empire of the spirit, not an imperium, that went under with the Athenian fleets at Aegospotami.

1. L7946 18o
2. L7948 The Episodes
3. L7950 the inland revenue office with the motor. Hooked that
4. L7951 nicely. Entertainments open house. Big blow out. Wetherup
5. L7952 always said that. Get a grip of them by the stomach."
6. L7953 This Wetherup is mentioned again in Ulysses ( page 539)
7. L7954 in a similar context-a statement of the advantages of keep­
8. L7955 ing a good table and open house. Nothing more is known of
9. L7956 this curiously named personage, whose only claim to im­
10. L7957 mortality seems to lie in the phrase quoted above.
11. L7958 Professor MacHugh, in a rhetorical flight, compares the
12. L7959 Irish and Greeks, pioneers of spirituality with materialist
13. L7960 empire-builders of past and present times.
14. L7961 " 'The Greek! Kyrios! Shining word! The vowels the Sem­
15. L7962 ite and the Saxon know not. Kyriel The radiance of the in­
16. L7963 tellect. I ought to profess Greek, the language ot the mind.
17. L7964 Kyrie eleison! The closet-maker and the cloaca-maker will
18. L7965 never be the lords of our spirit. We are liege subjects of the
19. L7966 catholic chivalry of Europe that foundered at Trafalgar and
20. L7967 of the empire of the spirit, not an imperium, that went
21. L7968 under with the Athenian fleets at Aegospotami. Yes, yes.
22. L7969 They went undet. Pyrrhus, misled by an oracle, made a last
23. L7970 attempt to retrieve the fortunes of Greece. Loyal to a lost
24. L7971 cause . . .'
25. L7972 " 'They went forth to battle,' Mr O'Madden Burke said
26. L7973 greyly, 'but they always fell.' "

Гилберт фиксирует ключевой политический подтекст эпизода: МакХью строит параллель Ирландия = Греция, Англия = Рим. Греки и ирландцы — пионеры духа; римляне и англичане — строители канализации.

«The closet-maker and the cloaca-maker» — клозет и клоака = Англия. «Lords of our spirit» — никогда. МакХью противопоставляет imperium (материальная империя) и «empire of the spirit» (духовная империя). Ирландия проиграла политически (как Греция при Эгоспотамах), но выиграла духовно.

Гилберт фиксирует коду: «They went forth to battle, but they always fell» — О'Мэдден Бёрк произносит это «greyly». Это ирландский рефрен: поражение как форма достоинства. Lost cause = духовная победа.

Для Гилберта это не просто риторика — это ключ к эпизоду: ветер разносит слова, но слова не умирают (связь с Akasic records, T-018). Ирландия проиграла все битвы, но её слова живы.

1. Gilbert L7957-7960 Параллель: «compares the Irish and Greeks, pioneers of spirituality with materialist empire-builders»

2. Gilbert L7963-7966 Формула: «The closet-maker and the cloaca-maker will never be the lords of our spirit»

3. Gilbert L7971-7973 Кода: «They went forth to battle, but they always fell»

4. p256 EN Контекст: «Kyrios! Shining word! The vowels the Semite and the Saxon know not»

5. p225 EN Контекст: «Cloacae: sewers»

6. Заключение: Ирландия = Греция Европы; поражение в битве ≠ поражение духа; ветер уносит империи, но не слова.

Mr Bloom's approach to the editorial office, lorded over by Myles Crawford, Ruler of the Winds, is attended by a chaos of noises, trams "right and left parallel clanging ringing", the thud of "loudly flung sacks of letters" loaded in vermilion mailcars, and a rumble of barrels... All through the opening passage of this episode we hear the surge and thunder of the printing-press.

1. L8096 "Then we came to the isle Aeolian, where dwelt Aeolus
2. L8097 . . in a floating island, and all about it is a wall of bronze
3. L8098 unbroken and the cliff runs up sheer from the sea. His
4. L8099 twelve children too abide there in his halls, six daughters
5. L8100 and six lusty sons; and, behold, he gave his daughters to his
6. L8101 sons to wife. And the steaming house echoes all around its
7. L8102 outer court by day." Odysseus stayed a whole month with
8. L8103 Aeolus and was kindly treated by him. On his departure
9. L8104 Aeolus gave him a wallet containing all the noisy winds,
10. L8105 closely bound with a silver thong, "for him Cronos made
11. L8106 keeper of the winds, either to lull or to rouse what blasts
12. L8107 he will". Sped by a favouring zephyr, Odysseus arrived
13. L8108 within sight of his home and could even perceive his folk
14. L8109 tending the beacon fires. But, when he laid him down to
15. L8110 sleep, his ship's company, imagining that the wallet was
16. L8111 stuffed with treasure, loosed the silver thong. The winds
17. L8112 broke out and drove the ship violently back to the isle
18. L8113 Aeolian. And now Aeolus' temper had changed; he cursed
19. L8114 Odysseus, "vilest of living men", and bade him begone with
20. L8115 all speed.
21. L8116 The characteristic of the palace of the King of the Winds
22. L8117 is its noisiness. This is not ( as implied in Butcher and
23. L8118 Lang's translation ) the sound of revelry by day, but a con­
24. L8119 tinued roaring of the prisoned winds.
25. L8120 ICV�EI' a� TE Bwp.a 7rEptanva.x{tETaL avl..fj
26. L8122 Mr Bloom's approach to the editorial office, lorded over
27. L8123 by Myles Crawford, Ruler of the Winds, is attended by a
28. L8124 chaos of noises, trams "right and left parallel clanging ring­
29. L8125 ing", the thud of "loudly flung sacks of letters" loaded in
30. L8126 vermilion mailcars, and a rumble of barrels. "Grossbooted
31. L8128 The Episodes
32. L8129 draymen rolled barrels dullthudding out ot Prince's stores
33. L8130 and bumped them up on the brewery float." ( The last words
34. L8131 are, perhaps, a subsidiary recall ot the "floating island" of
35. L8132 Aeolus. ) "He passed in through the sidedoor and along the
36. L8133 wann dark stairs and passage, along the now reverberating
37. L8134 boards . . . Thumping, thumping. Through a lane of clank­
38. L8135 ing drums he made his way towards Nannetti's reading
39. L8136 closet." All through the opening passage of this episode we
40. L8137 hear the surge and thunder of the printing-press and Mr
41. L8138 Bloom has difficulty in making himself audible to Nannetti,
42. L8139 who, accustomed to this tumult, "slips his words deftly into
43. L8140 the pauses of the clanking". ( This passage indicates that
44. L8141 Mr Bloom has a soft voice, excellent in a canvasser as in a
45. L8142 woman. No direct description of the hero of Ulysses is
46. L8143 given in any part of the work and we have to build up our
47. L8144 impression of his manner and appearance from such small
48. L8145 hints as this. )

Гилберт показывает, как гомеровский миф материализуется в индустриальном Дублине: - Дворец Эола = редакция Freeman's Journal - Рёв заключённых ветров = шум печатных машин («surge and thunder of the printing-press») - Эол = Myles Crawford, «Ruler of the Winds» - Стены из бронзы = трамвайные пути («rows of cast steel»)

Гилберт цитирует Гомера: «the steaming house echoes all around its outer court by day» — и показывает, что это НЕ звук пира, а «a continued roaring of the prisoned winds» (L8117-8119). Печатный станок = ветер, заключённый в машину.

Ключевое наблюдение (L8140-8145): Блум говорит тихо («Mr Bloom has a soft voice»), ему трудно быть услышанным в шуме. Гилберт: «No direct description of the hero of Ulysses is given in any part of the work and we have to build up our impression of his manner and appearance from such small hints as this.»

1. Gilbert L8096 Гомер: «Then we came to the isle Aeolian, where dwelt Aeolus... in a floating island, and all about it is a wall of bronze unbroken»

2. Gilbert L8122 Гилберт: «Mr Bloom's approach to the editorial office, lorded over by Myles Crawford, Ruler of the Winds, is attended by a chaos of noises»

3. p004 EN Контекст: «Right and left parallel clanging ringing»

4. p037 EN Контекст: «The machines clanked in threefour time. Thump, thump, thump.»

5. Gilbert L8137 Итог: «All through the opening passage of this episode we hear the surge and thunder of the printing-press»

6. Заключение: печатный станок = рёв ветров; редакция = дворец Эола; шум не декорация, а структурный мифологический принцип.

This analogy between the daily press and the palace of the winds is seen to be curiously appropriate if we consider the factual basis of Homer's anthropomorphic description of the isle of Aeolus, girt with a wall of bronze, which can be identified, beyond all reasonable doubt, with the island of Stromboli.

1. L8146 This analogy between the daily press and the palace of
2. L8147 the winds is seen to be curiously appropriate if we consider
3. L8148 the factual basis of Homer's anthropomorphic description
4. L8149 of the isle of Aeolus, girt with a wall of bronze, which can
5. L8150 be identified, beyond all reasonable doubt, with the island
6. L8151 of Stromboli. Among the volcanic products found on this
7. L8152 island is a metallic ore which adheres in flakes to the sur­
8. L8153 face of the rocks. This substance is smooth-polished and
9. L8154 brilliant as a mirror. Another volcanic product is pumice­
10. L8155 stone; though recently there have been no such eruptions
11. L8156 at Stromboli, ancient deposits of pumice-stone are found on
12. L8157 the island and at certain periods Stromboli may have re­
13. L8158 sembled the isle of Santorin as it was seen by the French
14. L8159 traveller, Thevenot.
15. L8161 "Flames suddenly rose from the sea-bed in the harbour
16. L8162 and from morning till evening there was an eruption of
17. L8163 pumice-stone, which was hurled up into the air with the
18. L8164 noise of a cannonade. The air was poisoned and many per­
19. L8165 sons died. The waters of the Archipelago were so thickly
20. L8166 strewn with floating blocks of pumice-stone that, when the
21. L8167 Y.ind blew from a certain quarter, the harbours were blocked
22. L8169 7· A E O L U S
23. L8170 and ships could only enter when their company had opened
24. L8171 a way with poles."
25. L8172 This is the most probable explanation of the floating
26. L8173 island of Aeolus. The Aeolian island rose sheer from a wide
27. L8174 belt of buoyant pumice-stone on which it seemed to float.
28. L8175 Zeus made Aeolus keeper of the winds. Thus, speaking of
29. L8176 the isle of Strongule (Stromboli ) , Martian us Capella ob­
30. L8177 served : "The smoke and flames of Strongule announce the
31. L8178 direction of the winds; to this very day the islanders can
32. L8179 predict in advance the wind to be expected." This belief
33. L8180 that by observation of a volcano it is possible to foretell the
34. L8181 direction from which the wind will come is based apparently
35. L8182 on the fact that the winds appear to have some influence
36. L8183 on the nature of a volcanic eruption. Thus Spallanzani in
37. L8184 his Voyages mentions that on Stromboli "when there is a
38. L8185 northerly wind, the smoke is white and thin and there are
39. L8186 few explosions; when the wind is southerly the smoke is
40. L8187 thick and black and spreads widely over the island; explo­
41. L8188 sions are frequent and violent." This information was given
42. L8189 him by the islanders, who further affirmed that, when the
43. L8190 smoke is thick and explosions are frequent, these phenom­
44. L8191 ena precede the coming of a southerly wind by several days.
45. L8192 Spallanzani was, personally, unable to decide whether there
46. L8193 was any truth in the alleged possibility of making meteoro­
47. L8194 logical forecasts by observation of the volcano. Strabo's
48. L8195 view seems more rational. "Observation shows that wind fans
49. L8196 the flames of the volcano and calm weather calms them."
50. L8197 This ancient dispute as to whether the volcano is a mete­
51. L8198 orological prophet, a "lord of the v.>inds", or the "lord" is
52. L8199 really a servant, obedient to the winds' caprice, has an obvi­
53. L8200 ous journalistic analogy, on which it is needless to insist.
54. L8201 The brazen walls of the palace of Aeolus have, perhaps,
55. L8202 their counterpart in the tramlines, "rows of cast steel",
56. L8203 which encircle the office. The episode begins with a descrip­
57. L8204 tion of the trams starting from the terminus, bound for
58. L8205 various parts of the city, slowing, shunting, changing trolley,
59. L8206 swerving, gliding parallel. Towards the close of the episode
60. L8207 we read of a short circuit, the doldrums : "at various points
61. L8209 The Episodes
62. L8211 along the eight lines tramcars with motionless trolleys stood
63. L8212 in their tracks, bound for or from Rathmines, Rathfarnham,
64. L8213 Blackrock, Kingstown and Dalkey, Sandymount Green,
65. L8214 Ringsend and Sandymount tower, Donnybrook, Palmerston
66. L8215 Park and Upper Rathmines, all still, becalmed in short cir­
67. L8216 cuit". The idea of "circulation", in its journalistic as well
68. L8217 as its urban application, recurs frequently in this episode
69. L8218 and it is relevant that Stromboli was known to the Greeks
70. L8219 as Strongule, the circular island.

Гилберт делает неожиданный ход: миф об Эоле — не фантазия, а наблюдение. Стромболи (Strongule = «круглый остров») — вулкан, по дыму которого предсказывали направление ветра. Гилберт цитирует Марциана Капеллу: «The smoke and flames of Strongule announce the direction of the winds.»

Аналогия с газетой: - Вулкан = печатный станок (извергает «пемзу» — обрезки бумаги) - Пемза = «strewn packingpaper», «limp galleypages», «tissues» (L8220-8224) - Круглый остров = циркуляция (тираж) газеты - Бронзовые стены = трамвайные рельсы («rows of cast steel»)

Гилберт фиксирует (L8216-8219): «The idea of 'circulation', in its journalistic as well as its urban application, recurs frequently in this episode.» Циркуляция = тираж = транспорт = ветер = кровь (ORGAN = Lungs).

1. Gilbert L8148 Гилберт: «the factual basis of Homer's anthropomorphic description of the isle of Aeolus... can be identified... with the island of Stromboli»

2. Gilbert L8173 Этимология: «The Aeolian island rose sheer from a wide belt of buoyant pumice-stone on which it seemed to float»

3. Gilbert L8216 Ключ: «The idea of 'circulation', in its journalistic as well as its urban application, recurs frequently»

4. p001 EN Контекст: трамваи расходятся из центра (циркуляция)

5. p020 EN Контекст: «They always build one door opposite another for the wind to. Way in. Way out.»

6. Заключение: миф об Эоле = наблюдение вулкана; газета = вулкан, извергающий бумагу; циркуляция = тираж = ветер = кровь.

Aeolus gave him a wallet containing all the noisy winds, closely bound with a silver thong, "for him Cronos made keeper of the winds, either to lull or to rouse what blasts he will". Sped by a favouring zephyr, Odysseus arrived within sight of his home... But, when he laid him down to sleep, his ship's company, imagining that the wallet was stuffed with treasure, loosed the silver thong. The winds broke out and drove the ship violently back to the isle Aeolian. And now Aeolus' temper had changed; he cursed Odysseus, "vilest of living men", and bade him begone with all speed.

1. L8103 Aeolus and was kindly treated by him. On his departure
2. L8104 Aeolus gave him a wallet containing all the noisy winds,
3. L8105 closely bound with a silver thong, "for him Cronos made
4. L8106 keeper of the winds, either to lull or to rouse what blasts
5. L8107 he will". Sped by a favouring zephyr, Odysseus arrived
6. L8108 within sight of his home and could even perceive his folk
7. L8109 tending the beacon fires. But, when he laid him down to
8. L8110 sleep, his ship's company, imagining that the wallet was
9. L8111 stuffed with treasure, loosed the silver thong. The winds
10. L8112 broke out and drove the ship violently back to the isle
11. L8113 Aeolian. And now Aeolus' temper had changed; he cursed
12. L8114 Odysseus, "vilest of living men", and bade him begone with
13. L8115 all speed.

Гилберт показывает миф в действии: у Одиссея ДВА посещения Эола. 1. Первое — дружелюбное: Эол даёт мех с ветрами, привязанный серебряным ремнём 2. Второе — враждебное: после того как команда развязала мех и ветры унесли корабль назад, Эол проклинает Одиссея: «vilest of living men» (презреннейший из смертных)

У Джойса то же самое: 1. Первый визит Блума — Кроуфорд приветлив: «Begone! The world is before you» (иронично — уже звучит проклятие) 2. Второй визит — Кроуфорд отказывает наотрез: «A bit nervy. Look out for squalls» (Гилберт L8237)

Гилберт: «Aeolus' conduct towards Odysseus displayed that capriciousness which, as sailors know to their cost, is characteristic of the keeper of the winds» (L8226-8228). Каприз = природа ветра. Редактор = ветер: дует куда хочет.

Мех с ветрами = газета: «we loose on us a wallet of canards bound with a silver thong» (L8540) — кошелек «газетных уток», привязанный серебряным ремнём (объявления!).

1. Gilbert L8104-8105 Гомер: «Aeolus gave him a wallet containing all the noisy winds, closely bound with a silver thong»

2. Gilbert L8110-8111 Развязка: «his ship's company, imagining that the wallet was stuffed with treasure, loosed the silver thong»

3. Gilbert L8113-8114 Проклятие: «Aeolus' temper had changed; he cursed Odysseus, 'vilest of living men', and bade him begone»

4. p199 EN Контекст: «—Begone! he said. The world is before you.»

5. Gilbert L8226 Комментарий: «capriciousness which... is characteristic of the keeper of the winds»

6. Заключение: два визита Блума = два посещения Эола; редактор капризен как ветер; мех с ветрами = номер газеты с объявлениями.

The idea of "circulation", in its journalistic as well as its urban application, recurs frequently in this episode... A buoyant debris, vomited by the printing machines, like pumice from a volcano, litters the offices — "strewn packingpaper", "limp galleypages", light "tissues" which, "rustling up" in every draught, "floated softly in the air blue scrawls and under the table came to earth".

1. L8216 cuit". The idea of "circulation", in its journalistic as well
2. L8217 as its urban application, recurs frequently in this episode
3. L8218 and it is relevant that Stromboli was known to the Greeks
4. L8219 as Strongule, the circular island.
5. L8220 A buoyant debris, vomited by the printing machines, like
6. L8221 pumice from a volcano, litters the offices-"strewn packing­
7. L8222 paper", "limp galleypages", light "tissues" which, "rustling
8. L8223 up" in every draught, "floated softly in the air blue scrawl�
9. L8224 and under the table came to earth".

Гилберт выявляет ЕДИНЫЙ принцип эпизода: ЦИРКУЛЯЦИЯ. Всё здесь движется по кругу: 1. Транспорт — трамваи расходятся из центра и возвращаются («short circuit», L8207-8216) 2. Воздух — сквозняки, «wind off my chest», дыхание (ORGAN = Lungs) 3. Кровь — Стивен: «blood wooed by grace of language» (L8559); красный цвет 4. Тираж — «circulation» газеты (L8216) 5. Бумага — обрезки, «выброшенные вулканом» как пемза, кружащиеся в воздухе (L8220-8224)

Гилберт связывает это с мифом: Стромболи = «Strongule, the circular island» (L8218-8219). Круглый остров = круг циркуляции. Газета = вулкан, который извергает бумагу-пемзу; тираж = ветер, который её разносит.

Ключевое наблюдение: «circulation» — единственное слово, которое работает одновременно в журналистике (тираж), транспорте (движение) и физиологии (кровообращение). Джойс выбирает Эола, потому что ветер = идеальный посредник между всеми тремя.

1. Gilbert L8216 Гилберт: «The idea of 'circulation', in its journalistic as well as its urban application, recurs frequently in this episode»

2. Gilbert L8218-8219 Миф: «Stromboli was known to the Greeks as Strongule, the circular island»

3. Gilbert L8220-8224 Образ: «A buoyant debris, vomited by the printing machines, like pumice from a volcano»

4. p001 EN Контекст: трамваи расходятся из центра (циркуляция транспорта)

5. p037 EN Контекст: «The machines clanked in threefour time» (сердце гонит кровь)

6. Заключение: циркуляция — единый код эпизода: тираж = кровоток = ветер = транспорт; всё движется по кругу, как пемза вокруг вулкана.

Each thought, silent or expressed, has its own immortality, an Akasic record.

1. L8307 episode. The flowery prose of Dan Dawson is expository;
2. L8308 the £ragmen t (quoted hereafter) of a speech by Seymour
3. L8309 Bushe, defending an accused person in the Childs murder
4. L8310 case (several times mentioned in the course of Ulysses) is
5. L8311 forensic; Taylor's speech, comparing the arrogance of an
6. L8312 Egyptian high-priest with that of Mr Justice Fitzgibbon,
7. L8313 "pouring the proud man's contumely" upon a proposed re­
8. L8314 vival of the Irish tongue, is deliberative.l The reference to
9. L8315 the Childs murder, a case of fratricide, recalls to Stephen
10. L8316 the Ghost's speech in Hamlet:
11. L8317 And in the porches of my ear did pour .
12. L8319 •
13. L8321 .
14. L8323 Shakespeare's metaphor returns to Stephen's mind in
15. L8324 his evocation of another Irish orator, the great tribune Dan­
16. L8325 iel O'Connell. After listening to MacHugh's declamation
17. L8326 of Taylor's speech-"That is oratory"-, Stephen muses:
18. L8327 "Gone with the wind. Hosts at Mullaghmast and Tara of
19. L8328 1 This speech is an apt example of the manner in which eloquence
20. L8329 aided by the rhetorical device of a far-fetched, not to say false, analogy,
21. L8330 can produce conviction in the listener's mind. The resemblance between
22. L8331 the movement for a revival of the Irish tongue and the situation of the
23. L8332 Chosen People in the land of Egypt was really of the slightest; the ques­
24. L8333 tion at issue for the latter was not the revival of a dead or moribund
25. L8334 tongue, nor is there any reason to believe that the Egyptians sought to
26. L8335 impose their culture on the Jews. The speaker uses the argumentum :1d
27. L8336 hominem by comparing his hearers' race with the Chosen People, an argu­
28. L8337 mentum ad fidem in exploiting for the purposes of his similitude their
29. L8338 belief in the miraculous origin of the tables of the law, and an argumen­
30. L8339 tum ad passiones in his description of the browbeating of a small,
31. L8340 spired race by the arrogant spokesman of a mighty empire. Yet it is
32. L8341 impossible to read, a fortiori to hear, this speech without being in some
33. L8342 measure convinced by the speaker's eloquence.
34. L8344 in­
35. L8346 7·
36. L8348 AEOLUS
37. L8350 1&)
38. L8352 the kings.1 Miles of ears of porches. The tnbune's words
39. L8353 howled and scattered to the four winds. A people sheltered
40. L8354 within his voice. Dead noise. Akasic records of all that ever
41. L8355 anywhere wherever was. Love and laud him : me no more."
42. L8356 Stephen's reference to Akasic records (the expression recurs
43. L8357 in a subsequent paragraph ) is a reminder of the esoteric
44. L8358 belief in the indestructibility of thoughts and words. On a
45. L8359 hig'1er plane "consciousness is in indirect relations with the
46. L8360 all but infinite memory of Nature, which is preserved with
47. L8361 imperishable pt:rfection in the all-embracing medium known
48. L8362 to occult science as the Akasa." 2 Each thought, silent or
49. L8363 expressed, has its own immortality, an Akasic record. Thus
50. L8364 Stephen, remembering his dead mother's trinkets locked
51. L8365 away in a drawer and her vanished laughter ("phantasmal
52. L8366 mirth, folded away: musk-perfumed" ) , thought: "Folded
53. L8367 away in the memory of nature with her toys." It is fitting
54. L8368 that this, the only mention of the Akasa in Ulysses ( in
55. L8369 whose structure, however, this theory of the indestructibility
56. L8370 of thought has an important place ) should occur in the
57. L8371 Aeolus episode, for Akasa (Sanskrit: sky) is the invisible
58. L8372 sky of the mystics, the propeller or aerial vehicle of im­
59. L8373 material energy as well as its storehouse, just as air in move­
60. L8374 ment is the vehicle of oratory, "words scattered to the four
61. L8375 winds".

Гилберт фиксирует единственное упоминание Акаши в «Улиссе» — и даёт ему целую страницу анализа. Акаша (санскр.: небо, эфир) — в оккультизме: хранилище всех мыслей, когда-либо помысленных. «Consciousness is in indirect relations with the all but infinite memory of Nature, which is preserved with imperishable perfection in the all-embracing medium known to occult science as the Akasa.»

Для Гилберта это не случайная деталь: «this theory of the indestructibility of thought has an important place» в структуре романа. Слова, «scattered to the four winds», не умирают — они записаны в Акаше. Ветер уносит звук, но не смысл.

Гилберт связывает это с эпизодом: Akasa = sky = воздух = ветер. Ветер — носитель ораторства («words scattered to the four winds»), но и хранилище. Эол — не просто бог ветра, а хранитель памяти. Газета — не просто ветер, а Акаша: всё напечатанное сохраняется.

Стивен думает о мёртвой матери: «Folded away in the memory of nature with her toys.» Её смех («phantasmal mirth, folded away: musk-perfumed») — в Акаше. Ничто не теряется. Это утешение и ужас одновременно: каждое слово вечно, включая слова, которые мы хотим забыть.

1. Gilbert L8359 Определение: «consciousness is in indirect relations with the all but infinite memory of Nature... known to occult science as the Akasa»

2. Gilbert L8362 Бессмертие: «Each thought, silent or expressed, has its own immortality, an Akasic record»

3. Gilbert L8355-8358 Связь с эпизодом: Akasa = sky = air = wind = vehicle of oratory

4. p395 EN Контекст: «Akasic records of all that ever anywhere wherever was»

5. Заключение: ветер уносит звук, но не смысл; Акаша = вечная библиотека; Эол хранит не только ветры, но и слова.

The thirty-two pages of this episode comprise a veritable thesaurus of rhetorical devices and might, indeed, be adopted as a text-book for students of the art of rhetoric... the gathering together under the pen within the space of thirty-two pages, in the one episode of Ulysses which deals exclusively with rhetoric, of nearly all the important, misleading enthymemes elenchated by Quintilian and his successors, and the making out of such elenchation a lively organic part of a very living organism, is a hoax of quite another colour.

1. L8376 The thirty-two pages of this episode comprise a veritable
2. L8377 thesaurus of rhetorical devices and might, indeed, be
3. L8378 adopted as a text-book for students of the art of rhetoric.
4. L8379 Professor Bain has remarked that in the course of the plays
5. L8380 "Shakespeare exemplifies nearly every rhetorical artifice
6. L8381 known". Doubtless this might be said of any copious writer,
7. L8382 such as Miss Braddon or Scott, whose work extends over
8. L8383 many decades and scores of volumes, but the gathering to­
9. L8384 gether under the pen within the space of thirty-two pages,
10. L8385 in the one episode of Ulysses which deals exclusively with
11. L8386 1 At the Tara political meeting (August 1843) The Times estimated
12. L8387 that a million Irish assembled to hear O'Connell's oratory; at Mullagh­
13. L8388 mast (October 1843 ) , at a similar meeting, O'Connell was crowned by
14. L8389 the sculptor Hogan.
15. L8390 1 A. P. Sinnett. The Growth of the Soul, page :u6.
16. L8392 190
17. L8394 The Episodes
18. L8396 rhetoric, of nearly all the important, misleading enthy­
19. L8397 memes elenchated by Quintilian and his successors, and the
20. L8398 making out of such elenchation a lively organic part of a
21. L8399 very living organism, is a hoax of quite another colour. An
22. L8400 enumeration of some of the technical devices employed ( the
23. L8401 list given hereunder is far from being exhaustive ) has more
24. L8402 than a merely academic interest, for it shows that the jour­
25. L8403 nalist of to-day has invented nothing; all the tricks of his
26. L8404 trade were already known and classified by the Schoolmen.

Гилберт фиксирует масштаб достижения: 32 страницы содержат практически ВСЕ риторические фигуры, перечисленные Квинтилианом и его последователями. Но — и это ключевое — они не перечислены механически (как в учебнике), а «making out of such elenchation a lively organic part of a very living organism».

Гилберт противопоставляет: Шекспир демонстрирует риторические приёмы «in the course of the plays» — рассеянно, на протяжении десятков томов. Джойс делает то же самое, но «within the space of thirty-two pages» — сжатие в 100 раз.

Ключевая фраза: «is a hoax of quite another colour» — это не мистификация (hoax), а достижение «совсем другого цвета» (COLOUR = Red). Гилберт играет словами: «hoax» = журналистская утка, но здесь = творческий акт.

Журналист не изобрёл ничего: «all the tricks of his trade were already known and classified by the Schoolmen» (L8403-8404). Средневековые схоласты = теоретики PR.

1. Gilbert L8376 Гилберт: «The thirty-two pages of this episode comprise a veritable thesaurus of rhetorical devices»

2. Gilbert L8396 Масштаб: «nearly all the important, misleading enthymemes elenchated by Quintilian and his successors»

3. Gilbert L8398 Достижение: «making out of such elenchation a lively organic part of a very living organism»

4. Gilbert L8403 Вывод: «the journalist of to-day has invented nothing; all the tricks of his trade were already known and classified by the Schoolmen»

5. p037 EN Контекст: «The machines clanked in threefour time»

6. Заключение: 32 страницы = сжатый учебник риторики; но фигуры не перечислены, а вплавлены в живой организм текста.

This linking up of the vulgar with the esoteric, as here in the sequence: Alexander Keyes' "ad" — Keys — Isle of Man — Mananaan — AUM — Brahmatma's secret Word, is characteristic of the Joycean method and it is appropriate that several items of the series should be named in the Aeolus episode, for Mananaan MacLir, that northern "paynim, who at his pleasure kept by necromancy the land of Man in mists", is own brother to Poseidon's son, ruler of the fog-girt isle of Aeolia.

1. L8432 the "magical" themes of Ulysses, the legend of Mananaan
2. L8433 MacLir, the founder of the Manx nation. The Book of
3. L8435 7•
4. L8437 AEOLUS
5. L8439 Ferrnoy relates that Mananaan was a necromancer who had
6. L8440 the power of enveloping himself in a mist ( cf. the "steam­
7. L8441 ing home" of Aeolus) to outwit his enemies. The name
8. L8442 MacLir means "son of the sea"; Aeolus, too, is the son of
9. L8443 Poseidon, the ocean's ruler; each, from a seagirt palace, con­
10. L8444 trols the air of the multitudinous seas. "Airs romped around
11. L8445 him ( Stephen ) , nipping and eager airs. They are coming,
12. L8446 waves . . . the steeds of Mananaan" (Proteus episode, p.
13. L8447 32). (The "nipping airs"-"waves, steeds of Mananaan"
14. L8448 association is perhaps a preparation for the subsequentAeolus­
15. L8449 Mananaan analogy. ) Later, a mention of King Lear ( page
16. L8450 15 5 ) , that stormiest of plays, recalls to Stephen the lines:
17. L8451 Flow over them with your waves and with your waters,
18. L8452 Mananaan,
19. L8453 Mananaan Maclir . . .
20. L8455 Mananaan is mentioned in a "mystical" context in the
21. L8456 episode of the Oxen of the Sun, and, finally, in the Circe
22. L8457 episode, makes a grotesque entry in person. In the cone of
23. L8458 the searchlight behind the coalscuttle, ollave, holyeyed, the
24. L8459 bearded figure of Mananaan MacLir broods, chin on knees.
25. L8460 A cold seawind blows from his druid mantle. About his
26. L8461 head writhe eels and elvers . . . He roars "with a voice of
27. L8462 waves"; wails "with a voice of whistling seawind". ( Here
28. L8463 Stephen's vision of the god of Man is combined, by the
29. L8464 chemistry of dreams, with a memory of A.E. (Mr Russell ) ,
30. L8465 "ollave, holyeyed", whom he has seen earlier in the day at
31. L8466 the National Library. ) The first word uttered by Mananaan
32. L8467 is the mystic monosyllable AUM, which is held by some
33. L8468 occultists to be "a n3sume of every science, contained in the
34. L8469 three letters A (creation ) , u ( conservation ) , M ( transforma­
35. L8470 tion ) ". The knowledge of this word was the first step, ac­
36. L8471 cording to mystics of the east, to knowledge of that still
37. L8472 higher word, which rendered him who came to possess its
38. L8473 key nearly the equal of Brahmatma himself. That ultimate
39. L8474 word was engraved in a golden triangle and preserved in a
40. L8475 sanctuary of which Brahmatma alone held the keys. Thus
41. L8476 Brahmatma "bore on his tiara two crossed keys, symbol of
42. L8478 The Episodes
43. L8480 the precious deposit of which he had the keeping" .1 Crossed
44. L8481 keys are, therefore, an emblem of the ultimate word of
45. L8482 existence as well as of Mananaan, lord of spirits of the air,
46. L8483 and Alexander Keyes, spirit merchant. This linking up of
47. L8484 the vulgar with the esoteric, as here in the sequence: Alex­
48. L8485 ander Keyes' "ad"-Keys-Isle of Man-Mananaan-AUM
49. L8486 -Brahmatma's secret Word, is characteristic of the Joycean
50. L8487 method and it is appropriate that several items of the series
51. L8488 should be named in the Aeolus episode, for Mananaan Mac­
52. L8489 Lir, that northern "paynim, who at his pleasure kept by
53. L8490 necromancy the land of Man in mists", is own brother to
54. L8491 Poseidon's son, ruler of the fog-girt2 isle of Aeolia.

Гилберт раскрывает самую длинную ассоциативную цепь в «Улиссе»: 1. Alexander Keyes (рекламодатель) → 2. Keys (скрещённые ключи на логотипе) → 3. Isle of Man (парламент Мэна = House of Keys) → 4. Mananaan MacLir (основатель Мэна, некромант, повелитель туманов) → 5. AUM (мистический слог: A=создание, U=сохранение, M=трансформация) → 6. Brahmatma (хранитель тайного Слова, «bore on his tiara two crossed keys»)

Гилберт: «Crossed keys are, therefore, an emblem of the ultimate word of existence as well as of Mananaan, lord of spirits of the air, and Alexander Keyes, spirit merchant» (L8481-8483).

Связь с Эолом: Мананан = «own brother to Poseidon's son, ruler of the fog-girt isle of Aeolia» (L8490-8491). Оба — повелители воздуха/тумана из морских дворцов.

1. Gilbert L8432 Гилберт: «this motif is... associated with one of the 'magical' themes of Ulysses, the legend of Mananaan MacLir»

2. Gilbert L8442 Связь: «MacLir means 'son of the sea'; Aeolus, too, is the son of Poseidon»

3. Gilbert L8476 Ключи: «Brahmatma 'bore on his tiara two crossed keys, symbol of the precious deposit of which he had the keeping'»

4. p008 EN Контекст: «—There it is, Red Murray said. Alexander Keyes.»

5. Gilbert L8484 Метод: «This linking up of the vulgar with the esoteric... is characteristic of the Joycean method»

6. Заключение: реклама чая → скрещённые ключи → Мананан → АУМ → тайное Слово; вульгарное и эзотерическое соединены одним жестом.

Red is the colour associated with this episode; its appropriateness to the theme, the blood-warming, flag-wagging, red-ragging stunts of newsmongers, out to stimulate their circulation, is obvious... Crawford, the editor, has a "scarlet-beaked face, crested by a comb of feathery hair"; his straw hat "aureoles his scarlet face". This Aeolus-Crawford, lord of the air, has much of the bird in his appearance... a scarlet flamingo.

1. L8551 Red is the colour associated with this episode; its appro­
2. L8552 priateness to the theme, the blood-warming, flag-wagging,
3. L8553 red-ragging stunts of newsmongers, out to stimulate their
4. L8554 circulation, is obvious. There are no crimes described in
5. L8555 Ulysses and few allusions to such subjects, but in this epi­
6. L8556 sode we hear of two cases of murder. In the first pages we
7. L8557 find references to red mailvans, to the "rougy cheeks" of
8. L8558 the tenor Mario and to "Red Murray", a Freeman employee.
9. L8559 Stephen's blood is "wooed by grace of language" and he
10. L8560 blushes. Crawrord, the editor, has a "scarlet-beaked face,
11. L8561 crested by a comb of feathery hair"; his straw hat "aureoles
12. L8562 his scarlet face". This Aeolus-Crawford, lord of the air, has
13. L8563 much of the bird in his appearance; like the librarian, he
14. L8564 is a "bird-god, moony-crowned". When he reappears in the
15. L8565 1A
16. L8567 Tale o f a Tub, Section VIII.
17. L8569 The Epi3odes
18. L8571 Circe episode he "strides jerkily, a quill between his teeth.
19. L8572 His scarlet beak blazes within the aureole of his straw hat."
20. L8573 "His cock's wattles wag." He walks in jerks, gawkily, like a
21. L8574 long-legged bird, apt symbol of the rhetoric art, spindle­
22. L8575 necked, heavy-billed, a scarlet flamingo.

Гилберт показывает, как COLOR = Red работает на трёх уровнях: 1. Сюжетный: Red Murray, красные почтовые фургоны («vermilion mailcars»), «rougy cheeks» тенора Марио 2. Символический: красный = кровь, флаг, провокация — «blood-warming, flag-wagging, red-ragging stunts of newsmongers» 3. Зооморфный: Кроуфорд = птица. «Scarlet-beaked face, crested by a comb of feathery hair» → «a scarlet flamingo». В «Цирцее» он вернётся: «strides jerkily, a quill between his teeth. His scarlet beak blazes within the aureole of his straw hat. His cock's wattles wag.»

Гилберт фиксирует: Кроуфорд = «bird-god, moony-crowned» (L8564) — птицебог, как и библиотекарь в «Сцилле и Харибде». Риторика = птичий язык: «apt symbol of the rhetoric art, spindlenecked, heavy-billed» (L8574-8575).

1. Gilbert L8551 Гилберт: «Red is the colour associated with this episode»

2. Gilbert L8552 Обоснование: «blood-warming, flag-wagging, red-ragging stunts of newsmongers, out to stimulate their circulation»

3. Gilbert L8560 Кроуфорд: «scarlet-beaked face, crested by a comb of feathery hair»

4. Gilbert L8574 Итог: «apt symbol of the rhetoric art, spindlenecked, heavy-billed, a scarlet flamingo»

5. p008 EN Контекст: «—There it is, Red Murray said.»

6. Заключение: COLOR = Red не декорация, а зооморфная система: редактор = алый фламинго, риторика = птичий язык, газета = птичий базар.

In this episode Stephen and Mr Bloom come near each other but do not meet... Thus in this episode, as in the subsequent scene at the national library, Mr Bloom and his spiritual son come within an ace of meeting each other. That meeting and the culminating recognition take place only when Bloomsday nears its climax, in the Maternity Hospital and Brothel scenes; destiny is fulfilled only at the third attempt.

1. L8877 tor . . . pouring in chas­
2. L8878 tened diction, I will not
3. L8879 say the vials of his wrath
4. L8880 but pouring the proud
5. L8881 man's contumely on the
6. L8882 new movement."
7. L8883 1 1 6-- 1 1 7 "He looked ( though he was
8. L8884 not) a dying man."
9. L8885 I heard his words and their
10. L8886 m eaning was revealed to me.
11. L8887 FROM THE FATHERS
12. L8888 It was revealed to me that
13. L8889 those things are good, etc.
14. L8890 "Ah, curse you!"
15. L8892 Hibemicism.
16. L8893 Epigram.
17. L8894 Aposiopesi!.
18. L8896 Parody.
19. L8897 Paraleipsis (omission of a possible
20. L8898 argument, which, however, is
21. L8900 stated).
22. L8902 Epanorthosis (correction of a pos­
23. L8903 sible misunderstanding ) .
24. L8904 Epanalepsis ( taking up the Wt
25. L8905 words of a previous clause) .

Гилберт фиксирует структурный принцип: Блум и Стивен расходятся ТРИЖДЫ, прежде чем встретиться: 1. Эол (ep07) — Блум уходит, Стивен приходит 2. Сцилла и Харибда (ep09) — Блум заходит в библиотеку, Стивен в другом зале 3. Встреча (ep16, Eumaeus) — только в «Родильном доме» и «Цирцее» они наконец сходятся

Гилберт: «destiny is fulfilled only at the third attempt» (L8905). Это гомеровский паттерн: в «Одиссее» герой трижды пытается обнять тень матери, трижды ветры возвращают его от Итаки. Троекратность = закон мифа.

Гилберт называет Стивена «spiritual son» Блума (L8896) — не биологический сын (Руди мёртв), а духовный. Тема отцовства (из ep01: SYMBOL = Heir) замыкается: Телемак находит Одиссея только на третий раз.

1. Gilbert L7896 Гилберт: «In this episode Stephen and Mr Bloom come near each other but do not meet»

2. Gilbert L7896 Контекст: «Mr Bloom and his spiritual son come within an ace of meeting each other»

3. Gilbert L7903-7905 Итог: «That meeting and the culminating recognition take place only when Bloomsday nears its climax»

4. Gilbert L7903-7905 Закон: «destiny is fulfilled only at the third attempt»

5. p231 EN Контекст: Стивен входит, когда Блум уже ушёл

6. Заключение: почти-встреча = структурный закон мифа; троекратное расхождение перед узнаванием = гомеровский паттерн.