A Portrait of the Artist as a Young Man (43 page)
Read A Portrait of the Artist as a Young Man Online
Authors: James Joyce
Tags: #Literature & Fiction, #Classics, #Contemporary, #Genre Fiction, #Biographical, #Literary, #British & Irish, #Contemporary Fiction, #Literary Fiction
125.18–19 | seemed strange to him] seemed to him strange |
126.1 | He] |
126.24–25 | Yet that was] Yet that also was |
127.27–28 | that air] that the air |
130.8–9 | mind wandered] mind had wandered |
130.25 | do away with it,] |
131.1 | and of the faint] a16, 18–24; and the faint |
131.6 | it shocked him] it had shocked him |
131.7 | Stradbrooke] |
132.20 | slim jim] a16, 18–24, 64–68; chocolate |
134.20 | ears] ear |
134.29 | Melchisedec] Melchisedeck |
134.32 | your holy patron] your patron |
135.39 | had become] had come |
136.17 | his soul] his own soul |
138.20 | Chapel,] chapel, |
138.20 | Chapel] chapel |
138.25 | for him] from him |
141.20 | Again! Again! Again!] Again! Again! Again! Again! |
141.33 | suns] sun 18–24 |
142.12 | now it] now, as always, it |
142.36 | Cripes] |
146.0 | V] |
148.20 | Synopsis Philosophiæ Scholasticæ ad mentem divi Thomæ |
149.16 | or death] and death |
152.4 | his] the |
152.6 | divided themselves] divided against themselves |
152.13 | man’s humour] man’s diffident humour |
152.22 | rooms] |
152.38 | woeful] woful |
153.1 | Oh] O |
153.12 | hills;] 64–68; Hills, |
153.36 | at] in |
156.5 | quæ |
157.14 | buy another] buy or borrow another |
161.26 | false] |
162.11 | wound on] wound double on |
163.25 | Czar’s] |
164.15 | another] an other |
165.10 | Czar’s] |
166.4 | know] knew |
166.8 | Czar’s] |
167.27 | fine] true |
170.30 | took another] took on another |
171.11 | or a mystic] a16, 18–24; or mystic |
171.19 | and struck] and then struck |
173.12 | unesthetic] |
174.27 | quæ |
174.29 | apprehensions] apprehension |
176.17 | phenomena] phenomenon |
176.32 | quæ |
177.5 | O’Shaughnessy] O’Shaughenessy |
180.12 | Sir |
181.18 | Kildare house] Joyce to Harriet Weaver, letter (16 xi 1917) in British Library Add. MS 57345; 18–24; the Royal Irish Academy |
182.29–30 | In a dream] In dream |
183.27 | smoking swaying] swaying smoking |
184.1 | bird] birds |
185.11 | was like the] was the |
186.5 | awhile] a while |
186.12–13 | of the eternal imagination] |
188.23 | He] |
189.3 | the] their |
190.35 | swift] brief |
192.22 | athwart her] athwart |
194.36 | as you any] as you are any |
196.22 | wenches] wenchers |
196.34 | body he]body that he |
197.25 | ferrule] |
199.20 | ferrule] |
199.28 | foot, crying] foot and crying |
200.29 | imaginations] imagination |
200.36 | who] that |
206.10 | Galilæo |
208.21–22 | to lead him back] a16, 18–24; to lead back |
209.10 | 20 |
209.21 | 21 |
209.22–23 | Elisabeth] |
209.23 | he is] is he |
209.29 | 21 |
209.31 | 22 |
209.34 | 23 |
209.37 | 24 |
210.3 | was] is |
210.26 | Blake] |
210.34 | 25 |
211.7 | 30 |
211.16 | 1 |
211.17 | 2 |
211.22 | 3 |
211.32 | 5 |
211.36 | 6 |
212.3 | 6 |
212.8 | 10 |
212.16 | 11 |
212.19 | 13 |
212.20 | find it English] find it is English |
212.24 | 14 |
212.37 | 15 |
213.7 | peas into] peas up into |
213.15 | 16 |
213.23 | 26 |
213.29 | 27 |
EXPLANATORY NOTES
Loving attention of generations of scholars has already been given to tracing and documenting the sources of the astonishingly varied, wide range of allusions in Joyce’s writings. In the case of
A Portrait of the Artist as a Young Man
, the careful and exhaustive work done by Chester Anderson and Don Gifford (full details of whose books are given below) stands out. Any subsequent annotator invariably owes them a great debt. I recommend them wholeheartedly to any reader who seeks more information.
Of course, any annotator reveals her own critical bias through what she chooses to draw to the reader’s attention and this annotator is no exception. For example, the apparent resemblance between Stephen Dedalus and the young James Joyce has been the source of much speculative comment and the stimulus for much critical debate. The timing of the opening of
Portrait
follows only very loosely the actual autobiographical dates of Joyce’s own life, and this fact has meant that some commentators have tied themselves in knots trying to bring the two into accord. A ‘Chronology’ of the events of Joyce’s life is given elsewhere. Here, dates are given to historical events; no effort is made to wrench the chronology of
Portrait
to fit the details of Joyce’s personal history. Further, those interested in the correspondences between the characters in
Portrait
and actual persons, correspondences which are
not
, with a single exception, spelled out below, should see, especially,
A
,
E
,
G
,
WD
(especially Part II: ‘The Artist as a Young Man’) (full bibliographical details below), as well as
The Complete Dublin Diary of Stanislaus Joyce
, ed. George H. Healey (Ithaca: Cornell University Press, 1971) and Stanislaus Joyce,
My Brother’s Keeper: James Joyce’s Early Years
, ed. Richard Ellmann (1958; repr. New York: Viking, 1969) and the works listed in the ‘Introduction’, n. 25.
As a writer Joyce practised what we might call, borrowing his own phrase, a ‘scrupulous meanness’ (letter to Grant Richards (
LII
134; 5 May 1906)). That is, he kept what he had written early (in notes, drafts, fragments) until he could find a proper place for it in his finished work. This is especially true of
Portrait
, the novel for which he plundered the raw materials of his own early life with all the ruthlessness of a great writer. Of particular usefulness to him were his 1904 essay ‘A Portrait of the Artist’, his 1903 Paris, 1904 Pola, and 1907–9 Trieste notebooks, and
Stephen Hero
. Except in the case of this last, these ‘re-usings’ are noted below.
