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Cristian Bratu

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Luca Crispi

Abstract

This article examines how Joyce constantly added to the text and altered the presentation of “Penelope.” While a newly discovered draft indicates that Joyce may have settled on some of the episode’s most familiar stylistic features as early as 1916, later manuscripts document that the episode’s other formal aspects—its precise eightfold structure and the almost complete absence of standard punctuation—were some of the last stylistic innovations he conceived for the novel. Furthermore, we see how he only implemented these late aesthetic strategies slowly and haphazardly on various stages of the episode’s proofs just before Ulysses was published.

Series:

Sangam MacDuff

Abstract

This article offers a close examination of one of Joyce’s earliest manuscripts, a handwritten copy of the “The Apocalypse of Saint John.” Comparing Joyce’s autograph with the Authorised Version he owned, I argue that Joyce’s changes, corrections and markings imply an interest in the literal meaning, interpretation and style of Revelation. Building on these premises, I consider Joyce’s use of Revelation in his subsequent works, analysing the genesis of passages alluding to Apocalypse through the notebooks, drafts and typescripts of Portrait, Ulysses and Finnegans Wake.