By Roy K. Gottfried
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Extra resources for The Art of Joyce’s Syntax in Ulysses
The language, in its systemic change of a negative prefix, also brings them together, showing how clearly they are aligned, while giving Bloom the palm. Playing with the patterns of language, specifically here the addition of a negative prefix, Joyce expresses all the differences between the two men: while one conquers the other remains unconquerable. Boylan and Bloom are caught together in certain circumstances, related by any number of facts and acts. Not only do they share the same woman, they also have the same tailor.
24 While in Paris, writing Work in Progress, Joyce attended several lectures by a French Jesuit. 25 Mary Colum, who attended with Joyce, describes one of these occasions: Abbe Jousse was lecturing in Paris. He was a noted propounder of a theory that Joyce gave adherence to, that language had its origin in gesture-"In the beginning was the rhythmic gesture," Joyce often said. If the Abbe's lecture did not interest me as much as it interested Joyce, still, it interested me a good deal, and that largely because of its original method of presentation.
It is not a matter of Joyce's being forced to "break" syntax in order to express the complex modern world, as is widely enough held, but rather of his using a language with a syntax in opposition whose principles are analogous to those in operation in the 31 SYNTAX world. At the level of law and of the artist's creation, the metaphysics of Joyce's syntax becomes the vision of the world that metaphysics dictates. Thus the language of Ulysses has a significance which reverberates beyond the constructions themselves.
The Art of Joyce’s Syntax in Ulysses by Roy K. Gottfried