 | JOYCE'S ULYSSES LIBRARY
by
TRISTAN POWER
|  |
V
The front and back of the single extant page from Joyce's
inventory of his
library shelves in Trieste, which he himself took before moving to
France in the
summer of 1920, are
unquestionably our most important evidence for his back-
ground reading at the
time.
35
What is nowhere mentioned by
Ellmann, or Scholes
in his cataloging of this list,
36
is that on the verso of this page,
which pertains to
"Shelf 3: Back," Joyce significantly
writes the words "from Miscellany" in the
bottom-right corner (fig. 4), indicating
the rather general nature of this second
set of books on the inventory. A Norwegian
play by Hamsun entitled Ved rigets
port that survives from
Joyce's
Paris library may also be found on the
Trieste
inventory,
37
suggesting
that this was originally a full list, and not merely of the
books Joyce left behind that could be sent for later. Several still mysterious
items
remain on the inventory. None of the entries is as puzzling as the second of
the
first two titles by Tolstoy (fig. 3):
- Tolstoi: Saggi
- Tolstoi: Scritti
No one has commented on the contents of the second book, but the first title
Saggi ("Essays") appears among Joyce's
surviving Trieste books on the cover of a
rebound volume that consists of four
paperbacks from the "Biblioteca universale"
series: Agli uomini
politici; La guerra russo-giapponese (1911), Piaceri crudeli (1910), Ai
soldati, agli
operai (1912), and Ai governanti, ai preti
(1910).
38
Only the first
of these
four titles is given by Ellmann.
39
Two individual Italian translations of works
Joyce's library. 40 The fact that the first two titles on the inventory were paired
on the shelf, and no Italian work by Tolstoy with the title Scritti was published
in this era either, suggests that the lost volume was not a novel, but instead like-
wise a rebound hardcover made up of another four of Tolstoy's remaining five
works in this series: Le imitazioni (1901), Dal dubbio alla fede (1902), Katia; Di che
vivono gli uomini (1902), Le confessioni (1879–1881) (1913), and Le novelle della morte
(1919). 41 This conjecture may explain the more general title Scritti ("Writings"),
rather than Racconti ("Stories"), if this book included the non-fictional work Le
confessioni.
One entry was misidentified by Ellmann with an extant title
from the Trieste
library: "21–22. Moliére: Works (2 vols)"
(fig. 3). He associated this item with a
set of two volumes by Moliére that survives among Joyce's books: Théâtre comp-
let illustre (1909).
42
Ellmann's conjecture was accepted by Gillespie in his com-
ments on this work: "This title appears on Joyce's library inventory."
43
However,
"Théâtre complet illustré" is by no means written on the
inventory, but rather
the title "Works," which almost certainly denotes a
publication in English. Al-
though the French title has the benefit of being a
two-volume edition, this cor-
respondence is probably coincidental.Joyce may well have read the French texts
of Molière's plays as well as English translations. Since Joyce's other citations on
the inventory are all precise
recordings of titles taken from the books themselves,
which generally indicate their
language, we should not assume, as Ellmann ap-
pears to
do, that "Works" is an arbitrary or casual designation. Two English
editions of
Molière with the title The Works may be suggested, to which these
vo-
lumes plausibly belonged: Baker and Miller's ten-volume edition of
1748, which
contained both French and English, or Van Laun's twelve-volume edition of
1890, which was only in
English.
44
The latter is preferable
by far, due to its more
recent publication date and also the fact that Joyce owned a separate French
edition, which the former would
render unnecessary. If we are to determine the
exact two volumes from the
translation by Van Laun that were in Joyce's library,
the second and eighth volumes in particular are strong
possibilities, containing
translations of the plays Sganarelle, ou
Le cocu imaginaire and George Dandin, ou Le
by their mention in his notes to Exiles. 45
Another title that is attributed to Tolstoy on the inventory
was identified by
Ellmann with Der Roman
der Ehe, a German translation of one of this author's
stories, based on an
entry that he seems to read as simply "32. Tolstoi: Ehe."
46
Gillespie has since similarly
connected this transcription with the surviving copy
of that work from Joyce's Trieste library, which had not been noticed by Ellmann,
but supports his case.
47
While the abbreviation of this title as "Ehe" would
cer-
tainly have been possible, when we inspect the actual line itself, we see that
Joyce
instead wrote "Ehre" (fig. 3), as Brown has
already noted, despite his acceptance
of Ellmann's
conjecture: "Ellmann is to be thanked for identifying '32.
Tolstoi:
Ehre' as Der Roman der Ehe."
48
On the contrary, I should argue that this work
is
rather the play Die Ehre (1889) by Hermann Sudermann, whose later dramatic
work Heimat (1893) was attended by Joyce in
its English production
Magda
during
his youth, and he purchased two other plays by this author a couple of years
later
in Italian translations.
49
The error on the inventory no doubt originated with
Joyce
himself. It is easy to see how he could have mistakenly written "Tolstoi"
for the author of this work, since Sudermann's drama was greatly influenced by
Tolstoy, and the two writers are often compared. Even Joyce could have recalled
the wrong author for a book with the Tolstoyan
title Die Ehre. It would not be
the only mistake on the
extant page of the inventory: Joyce not only
misspells
Hueffer's
The Troubadours as "Trobadours" (fig. 4), which Ellmann did correct,
but also misnumbers as "21–22" what
should have been "22–23" on the front,
and as "26" what should have been "25" on the
back.
50
Ellmann errs in his transcription of a language book on Joyce's inventory,
just as he did with his linguistic
textbooks in French and German. This time, it
is an
Italian course book for learning English. At the back of Joyce's third shelf,
he records a further four books that are carelessly
transcribed by Ellmann:
51
1.Ferdinando Bracciforti, Grammatica della lingua inglese
2.Bracciforti, Chiave dei temi sceneggiati
7–8. Melani, Lettera italiana (2 vols.)
12. History of Excess
Joyce's inventory (fig. 4), but the title supplied by Ellmann is that of a different
work, the fifth and final part of the English language textbook Corso graduato e
completo di lingua inglese, which was revised by Ferdinando Bracciforti. 52 Once
again, we must differentiate between an original text and its answer book. As with
Schlüssel, Ellmann does not recognize that Chiave is Italian for "Key." Joyce must
instead have had the fourth volume of this course, entitled simply Temi sceneggiati,
to which the work identified by Ellmann merely provides the solutions. 53 These
books do not so much inform Ulysses as the daily life of a professor of languages
that surrounded its composition. This last book, however, does have bearing on
the early material for Ulysses in Giacomo Joyce, since it is for the private lessons
of the Italian student behind it that the textbook was almost certainly used by
Joyce.
The third and fourth entries above require closer examination of the inven-
tory's
manuscript, for they were not misidentified, but rather misread in the first
place,
which has hindered their identification. Let us take "7–8. Melani, Lettera
italiana (2 vols.)."
54
As comparison with Joyce's handwritten entry
itself proves (fig. 4), this title is actually to be identified with Alfredo Melani's
Pittura italiana
(1885–1886), a discovery which
is particularly interesting in light of the fact that
Joyce's knowledge of the history of painting has formerly been questioned.
55
As
the presence of this book in his
library demonstrates, his interest in the subject
was greater than has been thought.
In fact, he may have appreciated one of this
book's illustrations in particular, a
Vatican fresco depicting the visit to Hades in
Homer's
Odyssey.
56
The
third entry, given by Ellmann as "12. History of Excess,"
has also been misread in the most tantalizingly
scandalous way. Although Joyce
had read several
pornographic works, this was not one of them, despite the
general acceptance of
Ellmann's false interpretation in later discussions,
which
describe the work as "erotic," "prurient," and "unrecoverable."
57
If we are fa-
miliar with Joyce's hand, we know that he usually begins his uppercase "G"
with
entries "5. Hodgson: Errors in Use of English" and "9. Eliot: Mill on the Floss"
from the preceding lines. 58 This detail discounts any possibility that the last word
of the second title is "Excess," since it does indeed have an initial loop (fig. 4).
The next thing to notice is the second letter of this word, which Ellmann takes
for an "x," but which could only be one if it was left uncrossed. This seems un-
likely, and the alternative proposition that it should instead be an "r," which fits
Joyce's handwriting perfectly, must therefore be preferred. We might compare
the "Gr" in "Grammatica Inglese" at the top of the same page, denoting the
second part of the Italian course discussed above. 59 A much better conjecture
now presents itself: the word is not "Excess," but "Greece."a Comparison with the
word "Greece" in a handwritten letter by Joyce from 1905 confirms the reading. 60
What could be a more fitting title in the library of the man writing Ulysses than
History of Greece? This title also suits the themes of other miscellaneous works at
the back of this shelf, such as John Lingard's A History of England, Thomas and
Katharine Macquoid's Pictures & Legends from Normandy & Brittany, 61 and Gu-
glielmo Ferrero's L'Europa giovane.
Because Joyce gives no author, it is uncertain which exact
work is meant, as
there are a few single-volume books with the title History of Greece that were avail-
able in Joyce's day.
62
However, we
have seen that he was particularly interested in historical accounts by Irish scholars
such as P. W. Joyce, and the History of
Greece in question is therefore probably the student's book by W. F. Collier,
63
whose History
of Ireland for Schools was
certainly used by Joyce for Ulysses.
64
It makes sense that
he would also have used an Irish history of Greece for his own Irish version
source for
Joyce's
references to Greek history. The first is at the very beginning of
Ulysses, when Buck Mulligan says to Stephen: "Ah, Dedalus, the Greeks! I must
teach you. You must read them in the original. Thalatta! Thalatta! She is our great
sweet mother" (U 1.79–80). Molly repeats this phrase in English at the end of
her soliloquy: "the sea the sea" (U 18. 1598). These allusions are to the shout of
Cyrus the Younger's army, the Ten Thousand, towards the end of Xenophon's Anabasis, when they reach the mountains (Xen. An. 4.7.24). But Joyce need not
have read an edition of this ancient work itself. He could instead have drawn the phrase from Collier, who not only preserves the same Greek transliteration "Thalatta, Thallata" as a subheading to his chapter "The Ten Thousand," but also narrates the historical moment itself:
After forcing their way through hosts of barbarians, the vanguard reached the
summit
of the ridge Theches (now Kóp Tagh), and with tear-dimmed eyes saw the
waters
of the Euxine heaving against the northern horizon. From rank to rank, in the
var-
ious dialects of the Grecian tongue, a joyous cry spread: The Sea! the Sea!
and
weather-worn warriors fell sobbing on their comrades' necks, as they thought of
their escape.
65
Joyce's next reference occurs in the "Nestor" episode. Stephen asks the students
in his class, "What was the end of
Pyrrhus?" (U 2.18), and then recalls how the great Greek general
had ironically "fallen by a beldam's hand in Argos" (U
2.48). This was by no means the only version of the tale, but it is the exact
same variant accepted and told by Collier: "Pyrrhus then turned away to Argos … a tile,
flung from a housetop by a woman, stunned Pyrrhus, and an enemy cut off his head."
66
Joyce again appears to follow Collier for the battle of
Aegospotami,
with the Athenian fleets of Aegospotami" (U 7.566–568). This closely accords
with the vivid description of this event's outcome in Collier, especially his refer-
ence to "the Athenian fleet":
Retribution, swift and complete, came next year at Aegospotami in the strait of
the
Hellespont, wither the Athenian fleet had followed Lysander and his ships … On
the
fifth day Lysander's spy-galleys hoisted a shield, when they saw the Athenians
out of their ships—and then down, like a cloud of sharp-beaked falcons, darted the
waiting
squadrons of the Spartans.
67
Joyce's reference to "Pisistratus" in the "Oxen of the Sun"
episode (U 14.1112) seems
no less owed to Collier, who
devotes a chapter to the tyrant in his book.
68
These four
rather specific details from Greek history, although
hardly recondite, establish the
source with great certainty when taken together,
especially the view that Pyrrhus
was killed by a roof tile
in Argos, rather than by Antigonus' troops, since all of them
are contained in
Collier's work. History of Greece provided material for the
Hellenism
of Joyce's characters, in keeping with his
generally Homeric theme. With regard to
the ancient past, Joyce relied not only on biographical sources such as Plutarch and Suetonius,
69
but
also read the more current histories by Collier.
In one case, it is certainly Joyce who nodded, and Ellmann who did not
discover the typo on the inventory. Two
entries after History of Greece (fig. 4), we
find what Ellmann transcribes as "14. Mercredy,
Map of Ireland."
70
This work has
never been discovered, and for good
reason: Joyce miswrites the name of "R.
J.
Mecredy," whose road and neighborhood maps of Ireland were very popular at
the time, especially those for cyclists and
tourists. Mecredy himself was a famous Irish cyclist and
writer who had published a full Road Map of Ireland,
71
which
is
probably the title on the inventory, but also sold five smaller sections
separately for Kerry,
Donegal, Connemara, Down, and East Central
Ireland, as well as
various maps of Dublin.
Joyce's error may be understood as a common example
of metathesis, where
the letters "cr" became rearranged as "rc" in his original
transcription.
Four other titles on Joyce's
1920 inventory have indeed been properly tran-
scribed, but never
correctly located. The first was identified by Ellmann as
the
same work as the German volume
Katharina
II
that survives from Trieste, since
plet illustré, the existence of Katharina II does not preclude Joyce from having also acquired translations of Sacher-Masochian stories about Catherine the Great. If
we look at the inventory (fig. 3), the spelling of the title is in fact slightly different:
"41. Masoch: Catherine II." This spelling suggests that Joyce refers instead to an
English collection. Either of the following therefore fits better: Tales of the Court of
Catherine II, and Other Stories (1896), or Venus and Adonis, and Other Tales of the Court of
Catherine II (1896). 73 As the latter contains translations of several of the tales already collected in Katharina II, including "Disgrace at Any Price," to which
Joyce alludes in Ulysses 74 the former seems the more likely, especially because the
abbreviated title on the cover of this book of entirely different stories reads "Tales
of Catherine II," which Joyce could have simply recorded as "Catherine II." It
may be relevant to Joyce's Exiles that Tales of the Court of Catherine II, and Other
Stories contains a translation of Guy de Maupassant's brief story "L'épingle"
about a man who wishes to be sexually betrayed by his beloved, which is falsely
attributed to Sacher-Masoch and significantly entitled "The Exile." 75
The second title on Joyce's inventory that has not been
precisely pinpointed
is recorded two entries later in the same part of the
inventory: "43–46. Masoch:
Grausame Frauen (4 vols)." Brown connects it with a
1905 book by Sacher-
Masoch published under this title,
76
but despite the fact that this book has
been
mistaken for a third volume of the first edition of Grausame
Frauen, it is merely
a reprint of the second volume of that edition, which
contained only two volumes
in total.
77
Since Joyce owned at least four unspecified
volumes of this title,
which were presumably all from the same edition, they
probably belonged to the
expanded six-volume edition published in
1907.
78
A passage from
one story in
episode, but without reference to Joyce's inventory. 79 Since no strong allusion
to that tale in Ulysses has been established to support Joyce's knowledge of this
volume, it need not have been among the four that he owned. The third entry
that has never been found is "30. Ohnet: La Via della Gloria" (fig. 4), an Ital-
ian translation of Georges Ohnet's novel Le chemin de la gloire. 80 There were two
editions by this title: a 1904 complete translation, and a 1910 abridged version. 81
Which text Joyce owned is revealed only once we identify the fourth unknown
title, Ohnet's Eva, which immediately precedes it on the inventory, and is a dif-
ferent 1910 abridged version of the same novel, taking its name instead from the
story's heroine ève Brillant. 82 Joyce's La via della gloria was therefore more likely
the unabridged version, since he already had at least one abridged copy. This
love-triangle novel concerns a female soprano caught between two musical art-
ists, a plot which may have given Joyce the idea of making Molly a singer who
is having an affair with her musical colleague Boylan. 83 It was clearly of enough
interest to Joyce that he tracked down two Italian copies, including probably a
full edition of the work.
JamesJoyce, "Listing of His Books [Partial],"JamesJoyce Collection, #4609, Division
of Rare and
Manuscript Collections, Cornell University Library, Series I, Box 1, Folder
32,
MS 1400; reproduced in id., Notes, Criticism, Translations
& Miscellaneous Writings 1: 634–637
(= JJA 2:
634–637) and here as figures 3–4.
Robert E. Scholes,
The
Cornell Joyce Collection: A Catalogue (Ithaca: Cornell Univ.
Press,
1961), 209.
Knut Hamsun,
Ved rigets
port: forspil (Copenhagen: P. G. Philipsen, 1895). This
title
was first correctly transcribed from the inventory (fig. 3) by Ellmann ("Joyce's Library in
1920,"
p. 111), but later misrepresented by him in his biography
of Joyce
(James Joyce,
p. 786) as Ved
rikets port, which is the alternative spelling found in
an anachronistic edition of the work (Oslo:
Gyldendal, 1921). The
error is unfortunately reproduced by both Gillespie, "A
Critique of
Ellmann's List of Joyce's Trieste Library," p. 34 and Connolly, "The Personal Library of
James
Joyce," p. 27.
Leone Tolstoi,
Agli
uomini politici; La guerra russo-giapponese, trans. Maria
Salvi (Milan:
Società editrice Sonzogno, 1911); id., Piaceri crudeli: La felicità; La mia professione di fede
(Milan:
Società editrice Sonzogno, 1910); id., Ai
soldati, agli operai, trans. Maria Salvi
(Milan:
Società editrice Sonzogno, 1912); id., Ai
governanti, ai preti, trans. Maria Salvi (Milan:
Società editrice
Sonzogno, 1910). See Brown, "Addenda and
Corrigenda," p. 316.
Ellmann,
"Joyce's Library in 1920," p. 130; id.,
James Joyce,
p. 785. Contrast Gillespie,
James Joyce's
Trieste Library, p. 238.
Leone Tolstoi,
Le
imitazioni, trans. Nino De Sanctis (Milan: Società edi-
trice Sonzogno,
1901); id., Dal dubbio alla fede: racconto,
trans. A. M. (1902); id., Katia; Di che vivono gli
uomini
(Milan: Società editrice Sonzogno, 1902); id., Le confessioni (1879–1881) (Milan: Societå
editrice
Sonzogno, 1913); id., Le novelle della
morte, trans. Nino De Sanctis (Milan: Società editrice
Sonzogno,
1919). For other works by Tolstoy that were
known to Joyce, but are not extant from
his library,
see Ellmann,
James Joyce,
p. 247 n.; Joseph A. Kestner, "Tolstoy and Joyce: 'Yes,'"
James Joyce Quarterly 9
(1972), 484 – 486; Neil Cornwell,
James Joyce and the Russians
(Basingstoke:
Macmillan, 1992), 29, 31;
Bowker,
James Joyce,
pp.
125–126.
Molière,
Théâtre
complet illustré, 2 vols., ed. Théodore Comte (Paris: Bibliothèque La-
rousse, 1909). See Ellmann,
"Joyce's Library in 1920," p. 120, citing
parenthetically the inven-
tory entry "Works (2 vols)" that is transcribed in
his biography of Joyce
(James Joyce,
p. 786).
Molière,
The
Works, 10 vols., trans. Henry Baker and James
Miller (London:
J. Watts,
1748); id., The Works, 12 vols., trans. Henri Van Laun (Paris: Barrie, 1890).
James Joyce,
Exiles (New York: Penguin Books,
1973), 159–160. For Molière's infl-
uence
on Joyce, see e.g. Scarlett
Baron,
"Strandentwining Cable": Joyce, Flaubert, and Intertextuality
(Oxford: Oxford Univ. Press, 2012), 118–119.
Leo Tolstoi,
Der Roman
der Ehe, trans. Wilhelm Thal (Berlin: H. Steinitz,
1901). See
Gillespie,
James Joyce's Trieste Library, pp.
239–240.
As Brown, "Addenda and Corrigenda," p. 317 n. 11 observes, Ellmann
(James Joyce,
p. 786) only takes note of the second of these misnumberings with "[sic]." For
another typo by
Joyce on the inventory, see the
discussion of the entry "14. Mercredy: Map of Ireland" below.
These transcriptions are again from Ellmann,
"Joyce's Library in 1920," pp. 102,
112,
119. Compare also id.,
James
Joyce
, p. 786.
John Millhouse,
Chiave
dei temi sceneggiati collapronuncia figurata: a norma del nuovo English and
Italian Pronouncing Dictionary, 4th ed. (Milan: A spese dell'autore,
1853). It was first published
as Chiave ossia
traduzione dei temi sceneggiati (Turin: Presso l'autore, 1842).
The most recent pub-
lication of this volume, under the new title, was the
eighth edition by Ferdinando Bracciforti (Milan: G.
Bernardoni, 1885).
John Millhouse,
Temi
sceneggiati: ossiano, dialoghi italiani ed inglesiper isvolgere le regole
della
grammatica (Milan: A spese dell'autore, 1842). The
most recent publication of this volume was
the tenth edition by Ferdinando Bracciforti (Milan: A spese dell'Amministrazione
Millhouse, 1882).
. See e.g. Mary T. Reynolds,
"Mr Leopold Bloom and the Lost Vermeer," in Essays for
Richard Ellmann: omnium gatherum, ed. Susan Dick et al. (Montreal: McGill-Queen's Univ.
Press,
1989), 330–331; Marianna Gula,
"'Reading the Book of Himself': James Joyce on Mihály
Munkácsy's Painting 'Ecce
Homo,'" in Joycean Unions: Post-Millennial Essays from East to
West,
ed. R. B. Kershner and Tekla Mecsnóber (Amsterdam: Rodopi, 2013), 47–48.
See Gillespie, "A Critique of Ellmann's List," p. 34; id., Inverted
Volumes Improperly Ar-
ranged: James Joyce and His
Trieste Library (Ann Arbor: UMI Research Press, 1983), 72;
Brown,
James Joyce and
Sexuality, p. 133 respectively. For Joyce's real
knowledge of erotica, see Tristan
Power. "'Married His Cook to Massach':
Masochistic Fiction in Ulysses," Joyce studies Annual
(2017), 135–162.
The latter entry was first correctly identified with Joyce's surviving edition of George
Eliot's
The Mill on the Floss by Ellmann
("Joyce's Library in 1920," p. 107), but
subsequently
mistranscribed by him as "The Mill on the
Foss"
James Joyce,
p. 786). For the
extant copy of this
book, see Gillespie,
James Joyce's Trieste Library, p.
89.
John Millhouse,
Grammatica analitica (Turin: Presso l'autore, 1842). The most
recent
publication of this volume was the sixteenth edition by Ferdinando Bracciforti (Milan: G.
Ber-
nardoni,
1896). Ellmann's conjecture Grammatica della lingua inglese should more precisely be
emended to Corso graduate e completo di lingua inglese, parte II: grammatica
analitica.
James Joyce, Letter to Stanislaus Joyce, 28 Feb. 1905, James
Joyce Collection, #4609,
Division of Rare and Manuscript Collections,
Cornell University Library, Series III, Box 4,
p. 4; transcribed in Letters of James Joyce
2:
84.
Thomas and Katharine Macquoid,
Pictures & Legends from Normandy &
Brittany
(Lon-
don:
Chatto and Windus,
1879). This work corresponds to the entry "11. Macquoid: Legends
of
Normandy & Brittany" (fig. 4). Only one of its
authors is cited by Ellmann, "Joyce's Library
in
1920," p. 118; cf. id.,
James
Joyce,
p. 786. A second edition of this work was also published in
1881.
See e.g. J. R. and Catharine Morell,
History of Greece (London:
T. J. Allman,
1873);
C.A. Fyffe,
History of Greece (London:
Macmillan and Co., 1875).
Id., History of Ireland for Schools, 4th
ed. (London: Marcus Ward & Co., c. 1888).
See
Gillespie,
James Joyce's Trieste Library, pp.
74–75; Tymoczko, The Irish Ulysses, pp. 27–28,
119,
224–225; Andrew Gibson,
Joyce's Revenge: History, Politics, and Aesthetics in Ulysses
(Oxford:
Oxford Univ. Press, 2002), 85, 92–93.
Collier, History of Greece, p. 78. It is
thought by R. J. Schork,
Greek and Hellenic Culture
in Joyce
(Gainesville: Univ. Press of Florida, 1998), 29
that Joyce himself must have read this
passage
directly in school, but there is no evidence for his acquaintance with Xenophon's origi-
nal text. We might compare Kerouac's later knowledge of the phrase indirectly from Joyce; see Christopher Gair,
"'Thalatta! Thalatta!' Xenophon,
Joyce, and Kerouac," in Hip Sublime:
Beat Writers and the Classical Tradition, ed. Sheila
Murnaghan and Ralph M. Rosen (Columbus:
Ohio State Univ. Press,
2018), 38–54. The Xenophonic phrase "Thence
they advanced five
parasangs" (U 15. 1450),
which Schork considers an "extraordinarily cryptic" allusion to the
Anabasis, is simply clichéd, much like the proverbial
expression to "appeal from Philip drunk to
Philip sober," on which Joyce similarly plays (U 15.2512). Both
references had in
fact become removed from their original contexts, being widely
used in popular culture, and therefore re-
quired no first-hand reading of
classical literature; see Gifford and Seidman, Ulysses
Annotated,
pp. 442, 496 respectively. As Schork himself concedes (p. 29),
Joyce's knowledge of Greek his-
tory was "largely
mediated" by modern sources. It may also be worth noting that this
formula
imitated by Joyce is also frequently found in
the Jewish writer Benjamin of Tudela's account
of his
march to Jerusalem; see e.g. The
Itinerary of Benjamin of Tudela,
ed. Marcus Nathan Adler
(London:
H. Frowde,
1907), 43: "Thence it is five parasangs to Hillah, where there are
10,000
Israelites and four Synagogues."
Collier, History of Greece, pp. 117–118.
For the different reports of Pyrrhus' death,
see Petros Garoufalias,
Pyrrhus, King of Epirus
(London: Stacey International, 1979),
140–141.
However, the "gorescarred book" (U 2.12–13) with
which Stephen teaches the class is more
likely based
on Collier's companion volume on Roman history, where the names of the
places
"Tarentum" (U 2.2) and
"Asculum" (U 2.12) may be found
in a fuller account of Pyrrhus, as
well as this same story of his death; see
W. F. Collier,
History of Rome (London: T. Nelson
and Sons, 1867), 35–37.
Joyce owned an English copy of Plutarch's biography of Alcibiades,
in which there is
also an account of the battle of Aegospotami (Alc. 36–37): J. and W. Langhorne,
Plutarch's Lives
of Alcibiades &
Coriolanus, Aristides & Cato the Censor (New York: Cassell & Co.,
1886), 55–56.
See Gillespie,
James Joyce's Trieste Library, pp.
185–186. On Joyce's use of Suetonius, see
Tristan
Power, "Bloom and Caligula," Notes and Queries 63
(2016), 288–291.
Ellmann,
"Joyce's Library in 1920," p. 119; id.,
James Joyce,
p. 786. This
inaccurate
transcription is repeated by Robert
Scholes,
Protocols of Reading (New Haven: Yale Univ.
Press,
1989)> 32.
R. J. Mecredy,
Road Map
of Ireland
(Dublin: R. J. Mecredy & Co.,
1900). This is not to
be confused with the same author's Road Book of Ireland,
which had been
published in 1892.
Leopold von Sacher-Masoch, Katharina II: russische Hofgeschichten (Berlin:
Schreiter,
1898). See Ellmann,
"Joyce's Library in 1920," p. 126, equating
this work with the inventory
entry "Catherine II" that
is transcribed in his biography of Joyce
James Joyce,
p. 786).
Leopold von Sacher-Masoch, Tales of the Court of Catherine II, and
Other Stories (London:
Ma-
thieson,
1896); id., Venus and Adonis, and Other Tales of the
Court of Catherine II
(London:
Mathieson,
1896). Joyce knew at least one Mathieson edition of
Paul de Kock's novel The Girl with
the
Three Pairs of Stays (U 15.1023–1024); see
Weldon Thornton,
Allusions in Ulysses: An Annotated
List (Chapel Hill:
Univ. of North Carolina Press, 1968), p. 74.
"The Exile," in Sacher-Masoch, Tales of the
Court of Catherine II, and Other Stories,
pp.
115–122.
Leopold von Sacher-Masoch, Grausame Frauen (Leipzig: Leipziger Verlag,
1905).
See Richard Brown,
James Joyce and Sexuality
(Cambridge: Cambridge Univ. Press, 1985),
182 n. 93.
Leopold von Sacher-Masoch, Hinterlassene Novellen: Grausame Frauen, 2 vols.
(Dresden:
H. R. Dohrn,
1901). Michael Farin,
"Sacher-Masoch-Bibliographie 1856–2003," in
Leopold
von Sacher-Masoch, ed. Ingrid Spörk and Alexandra Strohmaier (Graz:
Droschl, 2002), 319
incorrectly lists the 1905
Grausame Frauen as a third edition. Farin (p. 318) also omits
the story
"Bovo" from the 1898 Schreiter edition of Sacher-Masoch's
Liebesgeschichten (pp. 245–284) that
was owned by Joyce; contrast Gillespie,
James Joyce's Trieste Library, p.
198.
Leopold von Sacher-Masoch, Grausame Frauen, 2nd ed., 6 vols. (Leipzig:
Leipziger
Verlag, 1907). It seems unlikely, based on Joyce's recording of his four books under this
single
title, that he had a mixture of volumes from this edition and the later
three-volume edition in
the "Galante Bibliothek" series, which contains two
reprinted volumes of the 1907 edition in
each book: Dämonen und Sirenen (Leipzig: G. H. Wigand, 1920),
Grausame Frauen (Leipzig: G. H.
Wigand,
1920), Das Rätsel Weib (Leipzig: G. H. Wigand,
1920). Joyce may simply have kept
the
remaining two volumes of the 1907 edition on a different shelf,
or have had them out to read,
since he was just beginning "Circe".
| JOYCE'S ULYSSES LIBRARY
by
TRISTAN POWER
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