LINATI SCHEMA PDF
When Joyce was completing Ulysses in and he produced two elaborate tables, now sometimes called the Linati schema and the Gilbert schema. There are many different ways to enter the labyrinth of Joyce’s text and, challenging bastard that he was, Joyce often left many well-intended but ultimately false. [singlepic id= w= h= mode=web20 float=left] If you know anything about Ulysses, you might know that it bears a strong family.
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Tag: Linati Schema
When Joyce was completing Ulysses in and he produced two elaborate tables, now sometimes called the Linati schema and the Gilbert schema, to help friends understand the design behind “my damned monster-novel.
Subsequent columns supply various other kinds of identifying information about each chapter. The schemas are strange cshema.
Some thoughtful people have regarded them as chimeras, unhelpful for reading the novel. But they are interesting documents that possess some hermeneutic value.
Joyce had always planned for Ulysses to echo events in Homer’s poem, and as he wrote early chapters he described them to friends using names drawn from characters and places in the epic.
Nine months earlier, on 21 SeptemberJoyce had sent to his Italian translator Carlo Linati a “summary-key-skeleton-schema for home use only ” that indicated the importance of certain Homeric correspondences, as well as numerous other compositional principles. He listed in hand-written Italian the Title of each chapter drawn from an episode in the narrative of the Odysseythe Hour at which its action takes place on June 16, a representative Color or, in linato couple of instances, two colorssome Persons from the Odyssey presumably meant to correspond to people in the chapter, but not so identifieda narrative Technique or, linqti, more than onea corresponding Science or Art in other fields of intellectual endeavor, a general Significance, a bodily Organ, and a Symbol several for each chapter.
Some of the entries on the Linati chart suggest interesting lines of reading, while others, including many of the Homeric persons, seem gratuitous, impenetrably obscure, even bizarre. The schema is long liinati sprawling, and it multiplies orders of categorization to the point of becoming disorderly. Chapters are numbered in two ways, with a straightforward and a confusing, emphasizing the novel’s division into three parts.
Time superscriptures “Dawn,” “Morning,” “Mid-Day,” “Day,” “Midnight” detract from the elegant, though oversimplified, assignment of each chapter to a numerical “hour.
The sprawling and cryptic document does, however, twinkle with glimpses of Joyce’s thought processes. In November Joyce produced a revised schema for the writer Valery Larbaud, who was preparing to deliver a lecture on lniati forthcoming novel in Paris.
He also sent a copy to his biographer Herbert Gorman, and it seems that several other people saw versions of this wchema during the s, always with the caveat that it was for private use scgema not to be published, until Joyce finally authorized Stuart Gilbert to publish a copy in his critical study James Joyce’s Ulysses The new schema had a slightly varied line of headings: Scene was a new category.
Correspondences went beyond Persons, by noting precise parallels between characters in Ulysses and the Odyssey.
The Hour entries do not always agree with those in the Linati schema. Both wchema show the day starting at 8: The two documents agree on the six chapters from Aeolus to Cyclopsassigning each to a successive hour,, and on Nausicaa and Oxen of the Sun Disagreements enter again, however, with the final four chapters: The Linati schema lists an infinity symbol for Penelopewhile the Gilbert simply records a dash. The new schema was somewhat tidier, and since Joyce composed it after finishing all eighteen chapters and making revisions to earlier chapters, it may better reflect his knowledge of his own book, at least in sschema instances.
But the tidiness comes linsti the expense of capaciousness.
Joyce came to regret his decision to go public, and quite possibly rued having composed the schemas in the first place.
Based on a conversation inin which Joyce told him that the collaboration with Gilbert was “A terrible mistake, an advertisement for the book. I regret it very much,” the novelist Vladimir Nabokov decided that the whole symbolic superstructure was a kind of perverse game, not to be taken seriously.
Schema of Ulysses
Similarly, Ezra Pound reckoned that Joyce’s rickety structures were a kind of scaffolding that had helped him to conceptualize his project as he worked but could be discarded upon completion. He called the schemas an affaire de cuisinemore interesting to the chef in the kitchen than to the diner consuming the meal. Although I too feel considerable skepticism toward the schemas, this website mentions them in the headnotes to each chapter, and occasionally in other notes when they promise to enrich the reading of a passage.