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good general james joyce site

go to:

http://www.themodernword.com/joyce/

another schema

go to:

http://www.emsah.uq.edu.au/courses/engl2035/resources/joyce_schema.htm

"biography" of leopold bloom

go to:

http://www.robotwisdom.com/jaj/ulysses/bloom.html

linati schema

go to:

http://en.wikipedia.org/wiki/Linati_schema_for_Ulysses

from finnegans wake: the prankquean

It was of a night, late, lang time agone, in an auldstane eld, when Adam was delvin and his madameen spinning watersilts, when mulk mountynotty man was everybully and the first leal ribberrobber that ever had her ainway everybuddy to his love-saking eyes and everybilly lived alove with everybiddy else, and Jarl van Hoother had his burnt head high up in his lamphouse, laying cold hands on himself. And his two little jiminies, cousins of ourn, Tristopher and Hilary, were kickaheeling their dummy on the oil cloth flure of his homerigh, castle and earthenhouse. And, be dermot, who come to the keep of his inn only the niece-of-his-inlaw, the prankquean. And the prankquean pulled a rosy one and made her wit foreninst the dour. And she lit up and fire-land was ablaze. And spoke she to the dour in her petty perusi— enne: Mark the Wans, why do I am alook alike a poss of porter— pease? And that was how the skirtmisshes began. But the dour handworded her grace in dootch nossow: Shut! So her grace o’malice kidsnapped up the jiminy Tristopher and into the shan-dy westerness she rain, rain, rain. And Jarl van Hoother war— lessed after her with soft dovesgall: Stop deef stop come back to my earin stop. But she swaradid to him: Unlikelihud. And there was a brannewail that same sabboath night of falling angles somewhere in Erio. And the prankquean went for her forty years’ walk in Tourlemonde and she washed the blessings of the love-spots off the jiminy with soap sulliver suddles and she had her four owlers masters for to tauch him his tickles and she convorted him to the onesure allgood and he became a luderman. So then she started to rain and to rain and, be redtom, she was back again at Jarl van Hoother’s in a brace of samers and the jiminy with her in her pinafrond, lace at night, at another time. And where did she come but to the bar of his bristolry. And Jarl von Hoother had his baretholobruised heels drowned in his cellarmalt, shaking warm hands with himself and the jimminy Hilary and the dummy in their first infancy were below on the tearsheet, wringing and coughing, like brodar and histher. And the prank-quean nipped a paly one and lit up again and redcocks flew flack— ering from the hillcombs. And she made her witter before the wicked, saying: Mark the Twy, why do I am alook alike two poss of porterpease? And: Shut! says the wicked, handwording her madesty. So her madesty ‘a forethought’ set down a jiminy and took up a jiminy and all the lilipath ways to Woeman’s Land she rain, rain, rain. And Jarl von Hoother bleethered atter her with a loud finegale: Stop domb stop come back with my earring stop. But the prankquean swaradid: Am liking it. And there was a wild old grannewwail that laurency night of starshootings somewhere in Erio. And the prankquean went for her forty years’ walk in Turnlemeem and she punched the curses of cromcruwell with the nail of a top into the jiminy and she had her four larksical monitrix to touch him his tears and she provorted him to the onecertain allsecure and he became a tristian. So then she started raining, raining, and in a pair of changers, be dom ter, she was back again at Jarl von Hoother’s and the Larryhill with her under her abromette. And why would she halt at all if not by the ward of his mansionhome of another nice lace for the third charm? And Jarl von Hoother had his hurricane hips up to his pantry-box, ruminating in his holdfour stomachs (Dare! O dare!), ant the jiminy Toughertrees and the dummy were belove on the watercloth, kissing and spitting, and roguing and poghuing, like knavepaltry and naivebride and in their second infancy. And the prankquean picked a blank and lit out and the valleys lay twinkling. And she made her wittest in front of the arkway of trihump, asking: Mark the Tris, why do I am alook alike three poss of porter pease? But that was how the skirtmishes endupped. For like the campbells acoming with a fork lance of lightning, Jarl von Hoother Boanerges himself, the old terror of the dames, came hip hop handihap out through the pikeopened arkway of his three shuttoned castles, in his broadginger hat and his civic chollar and his allabuff hemmed and his bullbraggin soxangloves and his ladbroke breeks and his cattegut bandolair and his fur- framed panuncular cumbottes like a rudd yellan gruebleen or-angeman in his violet indigonation, to the whole longth of the strongth of his bowman’s bill. And he clopped his rude hand to his eacy hitch and he ordurd and his thick spch spck for her to shut up shop, dappy. And the duppy shot the shutter clup (Per-kodhuskurunbarggruauyagokgorlayorgromgremmitghundhurth— rumathunaradidillifaititillibumullunukkunun!) And they all drank free. For one man in his armour was a fat match always for any girls under shurts. And that was the first peace of illiterative porthery in all the flamend floody flatuous world. How kirssy the tiler made a sweet unclose to the Narwhealian captol. Saw fore shalt thou sea. Betoun ye and be. The prankquean was to hold her dummyship and the jimminies was to keep the peacewave and van Hoother was to git the wind up. Thus the hearsomeness of the burger felicitates the whole of the polis.

from portrait: stephen's aesthetic theory

—To finish what I was saying about beauty, said Stephen, the most satisfying relations of the sensible must therefore correspond to the necessary phases of artistic apprehension. Find these and you find the qualities of universal beauty. Aquinas says: AD PULCRITUDINEM TRIA REQUIRUNTUR INTEGRITAS, CONSONANTIA, CLARITAS. I translate it so: THREE THINGS ARE NEEDED FOR BEAUTY, WHOLENESS, HARMONY, AND RADIANCE. Do these correspond to the phases of apprehension? Are you following?

—Of course, I am, said Lynch. If you think I have an excrementitious intelligence run after Donovan and ask him to listen to you.

Stephen pointed to a basket which a butcher’s boy had slung inverted on his head.

—Look at that basket, he said.

—I see it, said Lynch.

—In order to see that basket, said Stephen, your mind first of all separates the basket from the rest of the visible universe which is not the basket. The first phase of apprehension is a bounding line drawn about the object to be apprehended. An esthetic image is presented to us either in space or in time.

What is audible is presented in time, what is visible is presented in space. But, temporal or spatial, the esthetic image is first luminously apprehended as selfbounded and selfcontained upon the immeasurable background of space or time which is not it. You apprehended it as ONE thing. You see it as one whole. You apprehend its wholeness. That is INTEGRITAS.

—Bull’s eye! said Lynch, laughing. Go on.

—Then, said Stephen, you pass from point to point, led by its formal lines; you apprehend it as balanced part against part within its limits; you feel the rhythm of its structure. In other words, the synthesis of immediate perception is followed by the analysis of apprehension. Having first felt that it is ONE thing you feel now that it is a THING. You apprehend it as complex, multiple, divisible, separable, made up of its parts, the result of its parts and their sum, harmonious. That is CONSONANTIA.

—Bull’s eye again! said Lynch wittily. Tell me now what is CLARITAS and you win the cigar.

—The connotation of the word, Stephen said, is rather vague. Aquinas uses a term which seems to be inexact. It baffled me for a long time. It would lead you to believe that he had in mind symbolism or idealism, the supreme quality of beauty being a light from some other world, the idea of which the matter is but the shadow, the reality of which it is but the symbol. I thought he might mean that CLARITAS is the artistic discovery and representation of the divine purpose in anything or a force of generalization which would make the esthetic image a’ universal one, make it outshine its proper conditions. But that is literary talk. I understand it so. When you have apprehended that basket as one thing and have then analysed it according to its form and apprehended it as a thing you make the only synthesis which is logically and esthetically permissible. You see that it is that thing which it is and no other thing. The radiance of which he speaks in the scholastic QUIDDITAS, the WHATNESS of a thing. This supreme quality is felt by the artist when the esthetic image is first conceived in his imagination. The mind in that mysterious instant Shelley likened beautifully to a fading coal. The instant wherein that supreme quality of beauty, the clear radiance of the esthetic image, is apprehended luminously by the mind which has been arrested by its wholeness and fascinated by its harmony is the luminous silent stasis of esthetic pleasure, a spiritual state very like to that cardiac condition which the Italian physiologist Luigi Galvani, using a phrase almost as beautiful as Shelley’s, called the enchantment of the heart.

Stephen paused and, though his companion did not speak, felt that his words had called up around them a thought-enchanted silence.

first paragraph of joyce's first short story

THE SISTERS

There was no hope for him this time: it was the third stroke. Night after night I had passed the house (it was vacation time) and studied the lighted square of window: and night after night I had found it lighted in the same way, faintly and evenly. If he was dead, I thought, I would see the reflection of candles on the darkened blind for I knew that two candles must be set at the head of a corpse. He had often said to me: “I am not long for this world,” and I had thought his words idle. Now I knew they were true. Every night as I gazed up at the window I said softly to myself the word paralysis. It had always sounded strangely in my ears, like the word gnomon in the Euclid and the word simony in the Catechism. But now it sounded to me like the name of some maleficent and sinful being. It filled me with fear, and yet I longed to be nearer to it and to look upon its deadly work.

plumtree's potted meat

ithaca