Gabler, Hans Walter

English

Open Access LMU

James Joyce Quarterly University of Tulsa Tulsa, Oklahoma 74104 THOMAS F. STALEY FRITZ SENN CHARLOTTE STEWART A L A N M . COHN MARK DUNPHY, CURTIS COTTRELL, CORINNA DEL GRECO LOBNER Editor . European Editor Managing Editor . . . Bibliographer Graduate Assistants ADVISORY EDITORS James R. Baker, San Diego State University, California; Bernard Benstock, University of Illinois; Heimet Bonheim, University of Cologne; Robert Boyle, S.J., Marquette University; Edmund Epstein, Queens College; Bernard Fleischmann, Montclair State College; Hans Walter Gabler, University of Munich; Arnold Goldman, University of Keele; Nathan Halper; Clive Hart, University of Essex; David Hayman, University of Wisconsin; Phillip Herring, University of Wisconsin; Fred Higginson, Kansas State University; Richard M . Kain, University of Louisville; Hugh Kenner, The Johns Hopkins University; Leo Knuth, University of Utrecht; A . Walton Litz, Princeton University; Vivian Mercier, University of California, Santa Barbara; Margot C. Norris, University of Michigan; Darcy O'Brien, University of Tulsa; Joseph Prescott, Wayne State University; Hugh Staples, University of Cincinnati; Weldon Thornton, University of North Carolina. Single Copy Price $3.00 (U.S.); $3.50 (foreign) Subscription Rates U n i t e d S t a t e s E l s e x v h e r e Send subscription inquiries and address changes to James Joyce Q u a r t e r l y , University of Tulsa, Tulsa, OK 74104. C l a i m s f o r b a c k issues will be h o n o r e d f o r t h r e e m o n t h s o n l y . All back issues except for the current volume may be ordered from Swets & Zeitlinger, Heereweg 347b, Lisse, The Netherlands, or P.O. Box 517, Berwyn, PA 19312. Back volumes available in microfilm and microfiche from: University Microfilms Interna-tional, 300 North Zeeb Road, Ann Arbor, Michigan 48106, or University Microfilms Limited, 18 Bedford Row, London WClR 4EJ, England. Individuais: Institutions: 1 year 2 years 3 years $10.00 $19.50 $29.00 11.00 21.50 32.00 1 year 2 years 3 years $11.00 $21.50 $32.00 12.00 23.50 35.00 MATERIAL IN THIS JOURNAL M A Y BE P H O T O C O P I E D FOR T H E N O N - C O M M E R C I A L PURPOSE OF E D U C A T I O N A L A D V A N C E M E N T ®1980, T h e U n i v e r s i t y of T u l s a COVER: Photo of Sean O'Casey, courtesy Irish Tourist Board. James Joyce Quarterly Volume 18, Number 1 Fall 1980 James Joyce Quarterly C O N T E N T S The O'Casey Centenary Robert G. L o w e r y 7 The Comic Mythology of O'Casey D a v i d K r a u s e 11 "He Lumped the Emancipates Together": More Analogues for Joyce 's M r . Duffy Joseph C. Voelker 23 Dante in Joyces E x i l e s M a r y T. R e y n o l d s 35 Theosophy, Guilt , and "That Word Known to A l l Men" in Joyces Ulysses C h e r y l I . H e r r 45 The Bloom of Motherhood: Couvade as a Structural Device in Ulysses R . B a r r i e W a l k l e y 55 Current JJ Checklist (14) A l a n M . C o h n 69 N O T E S Nabil I. Matar, Wilhelm Füger, David Weir REVIEWS Hans Walter Gabler, Louis O . M i n k , Bernard Benstock Solutions to "A Third James Joyce Crossword" (Summer 1980) appear on page 6 of this issue. REVIEWS " U L Y S S E S " I N P R O G R E S S , by Michael Groden. Princeton: Princeton University Press, 1977. xiv+235 pp. $13.50. O n 2 February 1922 James Joyce 's Ulysses appeared. The novel that had been writing for eight years — or was it sixteen? — was given to the world in an instant of time. The act of publication conferred upon it the integrity of a synchronous coexistence and interrelationship of its parts, which in their complexity are thus structured so and not other-wise by force of the text as published. Such synchrony is the mode of public existence of any work of art; and it is both naturally and rightly in its published shape alone that Ulysses is recognized as a major work of twentieth-century world literature. Just as naturally and rightly, however, a diachronous dimension is commonly admitted in the acts of recognition of a literary text. Such acts are indeed ultimately impossible without historical awareness. O n l y for pure "close reading" exercises is a work made the focus of at-tention exclusively in the synchrony of its published textual State. Beyond this, no text — and certainly not one of the scope and manifest complexity of Ulysses — is self-revelatory on the strength of its aesthetic presence alone. Thus, on practical as much as on theoretical grounds, the general as well as the particular "non-material" aspects of an historical conditioning — such as an author's biography, the literary influences, or the social, intellectual, or artistic climates and Conven-tions to which he, and his text, respond — are feit to be essential ob-jects of exploration in the service both of the analysis and the evalua-tion of literature. Inevitably, at some stage along the road of exploration, the critic and scholar is brought face-to-face with the material manifestations of a text's historical conditioning, wherever these are extant —that is, with the substrata of its compositional development, committed to paper in the form of notes, sketches, drafts, revisions. The question that arises, or should arise, is how these "Workshop materials," as they are usually called, should be assessed, and dealt with. The Suggestion commonly is —for the question is not often too searchingly pursued — 93 that they be explored like other forms of source materials, since they, in some half-defined manner of greater immediacy, illustrate, and serve to prove "points" in, inquiries into an author's biography, knowledge, thought, psyche, or the development of his art. That is, Workshop materials are, as a rule, made subservient to extra-textual, historically oriented research into the literary work, which yet in itself is still predominantly viewed in the synchronous appearance of its finished, and published version. Their own textual Status tends to be regarded as that of separate and discrete sub-texts, or side texts. They are not generally considered as textually integral to the work as a whole. Such dissociation, it is true, appears justifiable by the seemingly accidental, since rare, survival of Workshop materials in any quantity. But what is the reason for their rarity? O n reflection, it wi l l be seen to follow from the categorical importance attached to the act and mo-ment of publication. This act, by common ideology, Supports an i l lu-sion of instant creation, which is most effectively upheld by cutting the work loose from its material origins in the Workshop, often by suppressing and destroying notes, sketches, and drafts. Admittedly, it would be highly questionable to dispute an author's personal right to do with his manuscripts what he wishes, or to deplore the intention, implied in such suppression and destruction, of bringing the finished text into the foreground of public attention. Yet it does not follow that critics and scholars, whose overall approach to literature is historical, need forsake their historical orientation in the face of the material manifestations of the texts themselves, or adopt as their model of the nature of the literary work the prevailing ideology of instant artistic creation. N o work of art in the medium of the spoken or the written language (or in any other artistic medium) Springs instantly from the imagination and brain of its creator like Pallas Athene out of the forehead of Zeus. In taking on material shape, it manifests itself in the temporality, or diachrony, of its progression towards completion. In principle, every literary creation exists in the stages (of a sometimes complex chronological and causal relationship) of its notes, sketches, drafts, revisions. By this principle, the accident which has befallen in-numerable works in the history of literature is that the manifestations on paper of their textual growth have been lost. The rieh survival of pre-publication textual states of U l y s s e s , which thus is only statistically an "accident," presents an amply documented case from which to work out the implications of the basic assumption that the object of scholarly and critical analysis and study —as opposed to an author's object of publication, and a general public's 94 reading matter — is not the final product of the writer's art alone, but beyond this, the totality of the Work in Progress. This assumption follows from the theoretical premise that the work of literature possesses in its material medium itself, in its text, or texts, a diachronic as well as a synchronic dimension. The act of publication may confer upon it a synchronous structure. But it does not at the same time have the power to obliterate the coexisting diachronous structure of the work, to which the discrete temporal states of its text coalesce by com-plex hierarchical interrelationships. The synchronous and diachron-ous structures combine to form the literary work in the totality of its real presence in the documents of its conception, transmission, and publication. Joyces textually manifest creation, in the case of U l y s s e s , is not the published text of 1922 alone, but this text in its relationships to the cumulating succession of notebooks, notesheets, drafts, fair copies, typescripts, L i t t l e Review serializations, and author's augmen-tations and revisions in the placards (or galleys-in-page) and page proofs. The relationships observed require stringent definition and Classification. Suitable methods of approach, with their appropriate critical tools, need to be developed to master the analysis of a text of which the elements are not merely juxtaposed as it were spatially, but also succeed one another in time. This is essentially virgin land for criticism. Ultimately, the paradigm offered by Ulysses may lead to significant modifications of prevailing theoretical concepts of the literary work of art. It is an indication of the quality and value of Michael Grodens " U l y s s e s " i n Progress that it induces such reflections on the ontological Status of its object of investigation, and the critical relevance of its matter. A s a study, it does not —as the many Joyceans who have read it since its publication in 1977 wil l realize — construct a theoretical framework for its subject, or develop a systematically reflected methodology for the critical treatment of the textual states that went into the making of U l y s s e s . Advancing from the approach of A . Walton Litz's pioneering investigations in The A r t o f James Joyce (1961), it proceeds with care from perceptive description to interpreta-tion and critical evaluation. Under the temporal categories of an early, middle, and late stage of the writing of Ulysses as a whole, the em-phasis is on the continuous evolution leading to the fundamental changes in Joyces aesthetics, narrative technique, and overall artistic concerns which caused the book nearing concusion to take on a radi-cally different shape from that towards which the early chapters in manuscript and L i t t l e Review pre-publication were tending. The con-stant interrelation of composition and revision under the influence of 95 the work 's developing potential and the author's changing concerns are exemplified in discussions of the chapters "Aeolus" and "Cyclops," and a broad survey of the entire process of writing during the com-position of the final chapters from "Circe" to "Penelope" concurrent with the revision in typescripts and proofs of the novel in the process of being published. By a wealth of judiciously selected and lucidly organized matter laid out before us with convincing ease, the book in-creases enormously our factual knowledge of the public and pre-public states of the Ulysses text. We perceive the dynamic forces at work, which were more than once threatening to overwhelm Joyce himself. Yet in the end, Groden makes us appreciate just how the "early" Ulysses never became wholly submerged by, or perhaps even fully assimilated into, the "late" one; or how, in Grodens words, "[Joyce] presented Ulysses as a palimpsest of his development from 1914 to 1922" (p. 23). But we note that in this pivotal sentence, which may stand as the epitome of the book's insight, the choice of verb and personal pronoun reveals the extent to which Groden takes for granted, and upholds, traditional perspectives on writers' working materials. " U l y s s e s " in Progress teils a fascinating history of events essentially to evaluate their outcome, taking occasion only incidentally, as in the discussion of the pre-faircopy drafts of "Cyclops," to analyze the diachrony of textual states in specifically textual terms. A t times, a reader may perceive a greater potential in its matter than the book itself spells out. Thus, the suggestive initial Statement that "Ulysses lies between A Por-t r a i t and F i n n e g a n s Wake in ways beyond mere chronology" (p. 13) — serving, as it does, mainly to introduce a competent survey of basic trends in Ulysses criticism — is never pursued to the point of raising the central question of why it is that such a rieh collection of documents should have accumulated at all from the Ulysses Workshop. (They have since, as we know, been brought together in the volumes of the James Joyce A r c h i v e under Grodens own general editorship.) Focus-sing on the nature of the work as a succession of interrelated textual states extant, one would be able to see that Ulysses is in fact situated between A P o r t r a i t , in which the fiction (at least) at its self-reflective climax adumbrates the aesthetic ideal of instant creation, and the late work, which evolved for seventeen years under the very title of "Work in Progress," and was published as F i n n e g a n s Wake. Advancing from the one to the other, Joyce appears himself to have become fully con-scious of the work-in-progress nature of artistic creation in the course of writing U l y s s e s , and consequently not only (perhaps) to have com-mitted more intermediary work stages to paper, but also to have 96 preserved more, so that, with the published text, they might reveal the integrative power of his art. It is thus Joyces own mature conception of his artistry as expressed in a füll collocation of all documents that have come down to us which provides the Warrant for exploring in his works the complementary diachronous and synchronous structures in textual terms. It permits a definition of Ulysses as —to modify Grodens perspective — a palimpsest of the material (textual) states of i t s development. In all essentials, " U l y s s e s " i n Progress is a thoroughly reliable guide through the mazes of documents that carry the text of U l y s s e s . By its sound and careful pragmatism, it Stands as an example to all explora-tory work which may be expected to follow. A s a contribution to critical scholarship by which we may sharpen the tools of our philo-logical craft, it is a book on which Joyce studies of the future may build. H a n s W a l t e r Gabler U n i v e r s i t y o f M u n i c h 

Rezension von: Michael Groden: Ulysses in Progress: Princeton, 1977

Universität München: Elektronischen Publikationen

James Joyce Quarterly 
University of Tulsa Tulsa, Oklahoma 74104 
THOMAS F. STALEY 
FRITZ SENN 
CHARLOTTE STEWART 
A L A N M . COHN 
MARK DUNPHY, CURTIS COTTRELL, 
CORINNA DEL GRECO LOBNER 
Editor 
. European Editor 
Managing Editor 
. . . Bibliographer 
Graduate Assistants 
ADVISORY EDITORS 
James R. Baker, San Diego State University, California; Bernard Benstock, University 
of Illinois; Heimet Bonheim, University of Cologne; Robert Boyle, S.J., Marquette 
University; Edmund Epstein, Queens College; Bernard Fleischmann, Montclair State 
College; Hans Walter Gabler, University of Munich; Arnold Goldman, University of 
Keele; Nathan Halper; Clive Hart, University of Essex; David Hayman, University of 
Wisconsin; Phillip Herring, University of Wisconsin; Fred Higginson, Kansas State 
University; Richard M . Kain, University of Louisville; Hugh Kenner, The Johns 
Hopkins University; Leo Knuth, University of Utrecht; A . Walton Litz, Princeton 
University; Vivian Mercier, University of California, Santa Barbara; Margot C. Norris, 
University of Michigan; Darcy O'Brien, University of Tulsa; Joseph Prescott, Wayne 
State University; Hugh Staples, University of Cincinnati; Weldon Thornton, University 
of North Carolina. 
Single Copy Price $3.00 (U.S.); $3.50 (foreign) 
Subscription Rates U n i t e d S t a t e s E l s e x v h e r e 
Send subscription inquiries and address changes to James Joyce Q u a r t e r l y , University of 
Tulsa, Tulsa, OK 74104. C l a i m s f o r b a c k issues will be h o n o r e d f o r t h r e e m o n t h s o n l y . 
All back issues except for the current volume may be ordered from Swets & Zeitlinger, 
Heereweg 347b, Lisse, The Netherlands, or P.O. Box 517, Berwyn, PA 19312. Back 
volumes available in microfilm and microfiche from: University Microfilms Interna-
tional, 300 North Zeeb Road, Ann Arbor, Michigan 48106, or University Microfilms 
Limited, 18 Bedford Row, London WClR 4EJ, England. 
Individuais: 
Institutions: 
1 year 2 years 3 years 
$10.00 $19.50 $29.00 
11.00 21.50 32.00 
1 year 2 years 3 years 
$11.00 $21.50 $32.00 
12.00 23.50 35.00 
MATERIAL IN THIS JOURNAL M A Y BE P H O T O C O P I E D FOR T H E 
N O N - C O M M E R C I A L PURPOSE OF E D U C A T I O N A L A D V A N C E M E N T 
®1980, T h e U n i v e r s i t y of T u l s a 
COVER: Photo of Sean O'Casey, courtesy Irish Tourist Board. 
James Joyce Quarterly 
Volume 18, Number 1 Fall 1980 
James Joyce Quarterly 
C O N T E N T S 
The O'Casey Centenary 
Robert G. L o w e r y 7 
The Comic Mythology of O'Casey 
D a v i d K r a u s e 11 
"He Lumped the Emancipates Together": 
More Analogues for Joyce 's M r . Duffy 
Joseph C. Voelker 23 
Dante in Joyces E x i l e s 
M a r y T. R e y n o l d s 35 
Theosophy, Guilt , and "That Word Known 
to A l l Men" in Joyces Ulysses 
C h e r y l I . H e r r 45 
The Bloom of Motherhood: Couvade as a 
Structural Device in Ulysses 
R . B a r r i e W a l k l e y 55 
Current JJ Checklist (14) 
A l a n M . C o h n 69 
N O T E S Nabil I. Matar, Wilhelm Füger, 
David Weir 
REVIEWS Hans Walter Gabler, Louis O . M i n k , 
Bernard Benstock 
Solutions to "A Third James Joyce Crossword" (Summer 1980) appear on 
page 6 of this issue. 
REVIEWS 
" U L Y S S E S " I N P R O G R E S S , by Michael Groden. Princeton: Princeton 
University Press, 1977. xiv+235 pp. $13.50. 
O n 2 February 1922 James Joyce 's Ulysses appeared. The novel that 
had been writing for eight years — or was it sixteen? — was given to the 
world in an instant of time. The act of publication conferred upon it 
the integrity of a synchronous coexistence and interrelationship of its 
parts, which in their complexity are thus structured so and not other-
wise by force of the text as published. Such synchrony is the mode of 
public existence of any work of art; and it is both naturally and rightly 
in its published shape alone that Ulysses is recognized as a major work 
of twentieth-century world literature. 
Just as naturally and rightly, however, a diachronous dimension is 
commonly admitted in the acts of recognition of a literary text. Such 
acts are indeed ultimately impossible without historical awareness. 
O n l y for pure "close reading" exercises is a work made the focus of at-
tention exclusively in the synchrony of its published textual State. 
Beyond this, no text — and certainly not one of the scope and manifest 
complexity of Ulysses — is self-revelatory on the strength of its 
aesthetic presence alone. Thus, on practical as much as on theoretical 
grounds, the general as well as the particular "non-material" aspects of 
an historical conditioning — such as an author's biography, the literary 
influences, or the social, intellectual, or artistic climates and Conven-
tions to which he, and his text, respond — are feit to be essential ob-
jects of exploration in the service both of the analysis and the evalua-
tion of literature. 
Inevitably, at some stage along the road of exploration, the critic 
and scholar is brought face-to-face with the material manifestations of 
a text's historical conditioning, wherever these are extant —that is, 
with the substrata of its compositional development, committed to 
paper in the form of notes, sketches, drafts, revisions. The question 
that arises, or should arise, is how these "Workshop materials," as they 
are usually called, should be assessed, and dealt with. The Suggestion 
commonly is —for the question is not often too searchingly pursued — 
93 
that they be explored like other forms of source materials, since they, 
in some half-defined manner of greater immediacy, illustrate, and 
serve to prove "points" in, inquiries into an author's biography, 
knowledge, thought, psyche, or the development of his art. That is, 
Workshop materials are, as a rule, made subservient to extra-textual, 
historically oriented research into the literary work, which yet in itself 
is still predominantly viewed in the synchronous appearance of its 
finished, and published version. Their own textual Status tends to be 
regarded as that of separate and discrete sub-texts, or side texts. They 
are not generally considered as textually integral to the work as a 
whole. 
Such dissociation, it is true, appears justifiable by the seemingly 
accidental, since rare, survival of Workshop materials in any quantity. 
But what is the reason for their rarity? O n reflection, it wi l l be seen to 
follow from the categorical importance attached to the act and mo-
ment of publication. This act, by common ideology, Supports an i l lu-
sion of instant creation, which is most effectively upheld by cutting 
the work loose from its material origins in the Workshop, often by 
suppressing and destroying notes, sketches, and drafts. Admittedly, it 
would be highly questionable to dispute an author's personal right to 
do with his manuscripts what he wishes, or to deplore the intention, 
implied in such suppression and destruction, of bringing the finished 
text into the foreground of public attention. Yet it does not follow that 
critics and scholars, whose overall approach to literature is historical, 
need forsake their historical orientation in the face of the material 
manifestations of the texts themselves, or adopt as their model of the 
nature of the literary work the prevailing ideology of instant artistic 
creation. N o work of art in the medium of the spoken or the written 
language (or in any other artistic medium) Springs instantly from the 
imagination and brain of its creator like Pallas Athene out of the 
forehead of Zeus. In taking on material shape, it manifests itself in the 
temporality, or diachrony, of its progression towards completion. In 
principle, every literary creation exists in the stages (of a sometimes 
complex chronological and causal relationship) of its notes, sketches, 
drafts, revisions. By this principle, the accident which has befallen in-
numerable works in the history of literature is that the manifestations 
on paper of their textual growth have been lost. 
The rieh survival of pre-publication textual states of U l y s s e s , which 
thus is only statistically an "accident," presents an amply documented 
case from which to work out the implications of the basic assumption 
that the object of scholarly and critical analysis and study —as 
opposed to an author's object of publication, and a general public's 
94 
reading matter — is not the final product of the writer's art alone, but 
beyond this, the totality of the Work in Progress. This assumption 
follows from the theoretical premise that the work of literature 
possesses in its material medium itself, in its text, or texts, a diachronic 
as well as a synchronic dimension. The act of publication may confer 
upon it a synchronous structure. But it does not at the same time have 
the power to obliterate the coexisting diachronous structure of the 
work, to which the discrete temporal states of its text coalesce by com-
plex hierarchical interrelationships. The synchronous and diachron-
ous structures combine to form the literary work in the totality of its 
real presence in the documents of its conception, transmission, and 
publication. Joyces textually manifest creation, in the case of U l y s s e s , 
is not the published text of 1922 alone, but this text in its relationships 
to the cumulating succession of notebooks, notesheets, drafts, fair 
copies, typescripts, L i t t l e Review serializations, and author's augmen-
tations and revisions in the placards (or galleys-in-page) and page 
proofs. The relationships observed require stringent definition and 
Classification. Suitable methods of approach, with their appropriate 
critical tools, need to be developed to master the analysis of a text of 
which the elements are not merely juxtaposed as it were spatially, but 
also succeed one another in time. This is essentially virgin land for 
criticism. Ultimately, the paradigm offered by Ulysses may lead to 
significant modifications of prevailing theoretical concepts of the 
literary work of art. 
It is an indication of the quality and value of Michael Grodens 
" U l y s s e s " i n Progress that it induces such reflections on the ontological 
Status of its object of investigation, and the critical relevance of its 
matter. A s a study, it does not —as the many Joyceans who have read 
it since its publication in 1977 wil l realize — construct a theoretical 
framework for its subject, or develop a systematically reflected 
methodology for the critical treatment of the textual states that went 
into the making of U l y s s e s . Advancing from the approach of A . 
Walton Litz's pioneering investigations in The A r t o f James Joyce 
(1961), it proceeds with care from perceptive description to interpreta-
tion and critical evaluation. Under the temporal categories of an early, 
middle, and late stage of the writing of Ulysses as a whole, the em-
phasis is on the continuous evolution leading to the fundamental 
changes in Joyces aesthetics, narrative technique, and overall artistic 
concerns which caused the book nearing concusion to take on a radi-
cally different shape from that towards which the early chapters in 
manuscript and L i t t l e Review pre-publication were tending. The con-
stant interrelation of composition and revision under the influence of 
95 
the work 's developing potential and the author's changing concerns 
are exemplified in discussions of the chapters "Aeolus" and "Cyclops," 
and a broad survey of the entire process of writing during the com-
position of the final chapters from "Circe" to "Penelope" concurrent 
with the revision in typescripts and proofs of the novel in the process 
of being published. By a wealth of judiciously selected and lucidly 
organized matter laid out before us with convincing ease, the book in-
creases enormously our factual knowledge of the public and pre-
public states of the Ulysses text. We perceive the dynamic forces at 
work, which were more than once threatening to overwhelm Joyce 
himself. Yet in the end, Groden makes us appreciate just how the 
"early" Ulysses never became wholly submerged by, or perhaps even 
fully assimilated into, the "late" one; or how, in Grodens words, 
"[Joyce] presented Ulysses as a palimpsest of his development from 
1914 to 1922" (p. 23). 
But we note that in this pivotal sentence, which may stand as the 
epitome of the book's insight, the choice of verb and personal pronoun 
reveals the extent to which Groden takes for granted, and upholds, 
traditional perspectives on writers' working materials. " U l y s s e s " in 
Progress teils a fascinating history of events essentially to evaluate 
their outcome, taking occasion only incidentally, as in the discussion 
of the pre-faircopy drafts of "Cyclops," to analyze the diachrony of 
textual states in specifically textual terms. A t times, a reader may 
perceive a greater potential in its matter than the book itself spells out. 
Thus, the suggestive initial Statement that "Ulysses lies between A Por-
t r a i t and F i n n e g a n s Wake in ways beyond mere chronology" (p. 13) — 
serving, as it does, mainly to introduce a competent survey of basic 
trends in Ulysses criticism — is never pursued to the point of raising the 
central question of why it is that such a rieh collection of documents 
should have accumulated at all from the Ulysses Workshop. (They 
have since, as we know, been brought together in the volumes of the 
James Joyce A r c h i v e under Grodens own general editorship.) Focus-
sing on the nature of the work as a succession of interrelated textual 
states extant, one would be able to see that Ulysses is in fact situated 
between A P o r t r a i t , in which the fiction (at least) at its self-reflective 
climax adumbrates the aesthetic ideal of instant creation, and the late 
work, which evolved for seventeen years under the very title of "Work 
in Progress," and was published as F i n n e g a n s Wake. Advancing from 
the one to the other, Joyce appears himself to have become fully con-
scious of the work-in-progress nature of artistic creation in the course 
of writing U l y s s e s , and consequently not only (perhaps) to have com-
mitted more intermediary work stages to paper, but also to have 
96 
preserved more, so that, with the published text, they might reveal the 
integrative power of his art. It is thus Joyces own mature conception 
of his artistry as expressed in a füll collocation of all documents that 
have come down to us which provides the Warrant for exploring in his 
works the complementary diachronous and synchronous structures in 
textual terms. It permits a definition of Ulysses as —to modify 
Grodens perspective — a palimpsest of the material (textual) states of 
i t s development. 
In all essentials, " U l y s s e s " i n Progress is a thoroughly reliable guide 
through the mazes of documents that carry the text of U l y s s e s . By its 
sound and careful pragmatism, it Stands as an example to all explora-
tory work which may be expected to follow. A s a contribution to 
critical scholarship by which we may sharpen the tools of our philo-
logical craft, it is a book on which Joyce studies of the future may 
build. 
H a n s W a l t e r Gabler 
U n i v e r s i t y o f M u n i c h 


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Rezension von: Michael Groden: Ulysses in Progress: Princeton, 1977

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