#Ulysses beyond gibraltar

[iam-sol-emnlyswear]

Lord Huron fans help me choose a senior quote

“When we're dead and gone, will the mountains remember? Or just carry on, moving as slow as the forest grows, and turn our bones into dust, an untold legend is lighting up.” The Birds Are Singing At Night

“I lie under starlit sky and the seasons change in the blink of an eye. I watch as the planets turn and the old stars die and the young stars burn. But I don't really know this place, and it's lonesome here in the wide-open space. Can it be as real as it seems? Maybe this time I won't wake from the dream. I been dreaming again of a lonesome world where I'm lost and I've got no friends, just the rocks and the trees in my lonesome dreams and a road that don't never end. I been dreaming again of a lonesome world where I'm lost and I'm on my own. What am I destined to be? It's a mystery, baby, just please don't leave me alone, yeah.” Lonesome Dreams

“I get a thrill outta playin’ with fire ‘cause you hold your life when you hold that flame” Hurricane (Johnnie’s Theme)

“If spring comes before I’m found, just throw my bones in a hole in the ground. I lost friends along my way, I knew I’d meet 'em eventually” Fool for Love

“May you live until you die!” Tubbs Tarbell

“Born from a pyre, you are the one made to ignite the winds, a signal to the universes of humanity that we are here, that we are the fools invoking the World Ender.” “Ulysses Beyond Gibraltar”, Kevin D. Kinsella,

“I know the rain like the clouds know the sky. I speak to birds and tell them where to fly. I sing the songs that you hear on the breeze. I write the names of the rocks and the trees” The Yawning Grave

“I belong bodily to the Earth, I'm just wearing old bones from those that came first. There are many more flames when mine is gone, they will build me no shrines and sing me no songs” Way Out There

“I live my life like this just to prove to the world that I still exist” Ancient Names (Pt II)

“I am only an aimless soul heading into a pure black void” Vide Noir

“Send me to the mountains, let me go free forever. I'll be running through the forest, dancing in the fields like this forever” Long Lost

“What good is livin’ a life you’ve been given’ if all you do is stand in one place?” Ends of the Earth

I personally like the Tubbs Tarbell, Ancient Names, and Vide Noir ones cause they’re shorter but we are able to do a lot and Lonesome Dreams and The Birds Are Singing At Night are my favorite songs. I’d like some feedback :)

[hilarymcelwaine]

Day 19 - Ulysses’ last voyage

Get ready for a moving account of a man who uses his human intelligence to enquire beyond reasonable bounds and comes a cropper. 

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Here is an extract of Ulysses’ last voyage from Hell Unearthed:

When Virgil felt it was the right moment to stop the flame, I heard him say, ‘You two in the one flame, if the words I crafted about you in my poem make me even a little deserving of your time, please indulge me for a moment.  Now that there is no scope for lies, please tell us the truth about how you were lost and went to die.’

The taller peak of the ancient flame wobbled from side to side and the tip tensed in an effort to push the words out. At last, a voice emerged. ‘For twelve months, I had stayed with the sorceress Circe on her island. When I finally departed, it wasn’t into the arms of my elderly father or my abandoned wife, Penelope, or my beloved son. Sadly not. No sense of duty or love would quench my desire to explore and know the world, to understand all human vice and all human virtue. I set sail on the open sea in just one boat with a small crew who had stood by me all this time. I went from shore to shore until finally I reached Spain, Morocco, Sardinia and the other lands that bath in the Mediterranean Sea. My companions and I were old and arthritic when we reached the Gibraltar strait, where Hercules set out his pillars to mark the limits of the world, beyond which no man should go. We had Spain to our right and Morocco to our left. “Brothers,” I said, “for all those hundreds and thousands of dangers you have faced and overcome to get to this point, we only have a short time left of our lives and we shouldn’t deny ourselves the experience of following the sun further round the world to the place where no man has been. Remember who you are. You were born not as beasts but as humans with the gift of intellect, and your destiny is to follow virtue and knowledge.

‘My short oration roused such eagerness in my companions to set off on our mission that I could barely hold them back. We set our course for the West and made our oars into wings for the foolish flight, pulling harder to starboard in order to bear to our left. We could see the stars blazing brightly for the start of night in the Antarctic sky while the Arctic stars were so low that they were barely visible above the horizon. Five monthly moons passed since we set off on our voyage to the deep, when the outline of a mountain emerged in the distance. I was sure it was the highest I had ever seen. We were overjoyed but, sadly, not for long. Our spirits were quickly dashed as a whirlwind whipped itself up from the shores of the approaching land, and it struck our boat on the bow. It spun us round three times in a vortex of water and the fourth time, it lifted the stern clean out of the water and plunged the bow down below, until the sea closed over our heads just as God had intended.’

[sectioavrea]

Hey do you know more italian sayings? I'm looking for perfect qoute for my tattoo😁

idk about any sayings that would be good tattoos, but you could go with some literary quotes.

here’s some i’ve thought of:• “Fatti non foste a viver come bruti, / ma per seguir virtute e canoscenza.” (Dante Alighieri, Inferno, canto XXVI) it means “you weren’t made to live like wildlings, but to follow virtue and knowledge”. it’s what ulysses told his crew to push them to follow him in his explorations, to go and see the undiscovered lands beyond the strait of gibraltar.

• “Amor, ch’a nullo amato amar perdona, / mi prese del costui piacer sì forte, / che, come vedi, ancor non m’abbandona.” (Dante Alighieri, Inferno, Canto V) now this one’s an untranslatable masterpiece, but it roughly means “Love, which doesn’t save any loved person from loving [back], took over me such a strong pleasure on him that, as you can see, it still hasn’t left me.” this is pronounced by francesca (she’s named like me lol), a noblewoman who ended up in the circle of the luxurious because she had an adulterine relationship with her brother-in-law, paolo. they fell in love reading together about lancelot and guinevere’s love story, but eventually francesca’s husband caught them and had them killed. the meaning of the last line is that their love was so strong that it survived even through death and the penalties of Hell.

• “Quel che l’uom vede, Amor gli fa invisibile, / e l’invisibile fa vedere Amore.” (Ludovico Ariosto, L’Orlando Furioso, Canto I) this is from the Orlando Furioso, and it means “what man sees, Love makes invisible, and Love makes visible the invisible.” it kind of speaks for itself: when you’re in love you tend to ignore the evidence and, on the contrary, see a distorted reality which is not actually there.

• “Chi vuol esser lieto sia, / di doman non c’è certezza.” (Lorenzo il Magnifico, Canzona di Bacco e Arianna) it roughly translates “who wants to be content, be it / there’s no certainty of tomorrow.” (i don’t think you need any further explanation, this poem is a hymn to catullus’ “carpe diem”, “seize the day”)

• “Per tutti la morte ha uno sguardo. / Verrà la morte e avrà i tuoi occhi.” (Cesare Pavese, Verrà la morte e avrà i tuoi occhi) it means “death has a look for everyone. death will come and he will have your eyes”. again, this is self-explanatory. cesare pavese was severely depressed and died suicidal.

i hope this was somewhat useful !!! lemme know if you need any others, i’ll be happy to go and search them ♡

[ojamesy]

“When one views the making of Ulysses in perspective, it is seen to embody Joyce's entire development from the techniques of Dubliners and A Portrait to those of Finnegans Wake. The earliest versions of the opening episodes were composed in the manner he employed while transforming Stephen Hero into Portrait of the Artist; but the principles which governed his work in 1920 and 1921 did not differ greatly from those he followed in writing Finnegans Wake. Anyone versed in the methods of the Wake will find the late elaborations of Ulysses familiar ground. During the writing of Ulysses Joyce's techniques and aesthetic ideals underwent a profound change. Of course one can argue-and with some justification--that the extreme techniques Joyce employed in finishing Ulysses are foreshadowed in the style and structure of his earlier works. But the notion of a technical revolution seems closer to the truth than that of evolution, for in the space of three or four years he travelled most of the distance from Dubliners to Finnegans Wake.

These rapid changes in Joyce's technical aims are reflected in the radical alteration of his method of composition. The late work on Ulysses reveals a process almost “he opposite of that which transformed Stephen Hero into Portrait of the Artist. In revising Stephen Hero Joyce exercised a rigorous selectivity, discarding the multiple events and elaborate expository passages of the earlier work in favour of a few scenes or 'epiphanies' which embody the essential characteristics of Stephen's development. The richness of the earlier work was sacrificed in favour of intensity, and in accordance with Joyce's shifting attitude toward his own youth. But the revisions of Ulysses undertaken during the last years of its composition were seldom selective. They were almost entirely expansive, and the economy Joyce exercised in achieving isolated effects was overshadowed by the incessant elaborations. The ideal of dramatic compression that governed the recasting of Stephen Hero was replaced by an ideal of inclusiveness. 

In one of his early notebooks, dating from 1904, Joyce jotted down the phrase 'centripetal writing'.  His early revisions of Dubliners and the autobiographical novel were 'centripetal', turning in upon a few dramatic situations. But the revisions of Ulysses were centrifugal, moving further and further away from the conventional centres of action. Fortunately the human forces of Bloom and Stephen, and the momentum established in the early chapters, kept the revisions of Ulysses from completely overshadowing the données of each episode. But in Finnegans Wake, where the process of revision was intensified and carried out over a much longer period of time, one often finds crucial elements in the first drafts which have been totally obscured by the time the final version is reached.This movement from 'centripetal' to 'centrifugal' writing during the evolution of Ulysses mirrors a general change in Joyce's artistic stance. A process of selectivity harmonizes with his early notion of the 'epiphany', which assumes that it is possible to reveal a whole area of experience through a single gesture or phrase. In shaping the Portrait Joyce sought continually to create 'epiphanies', and to define Stephen's attitudes by a stringent process of exclusion; later in his career he attempted to define by a process of inclusion. The earlier method implies that there is a significance, a 'quidditas', residing in each thing, and that the task of the artist is to discover this significance by a process of distillation. In the later method it is the artist who creates the significance through language. Thus in the Portrait a single gesture may reveal a character's essential nature; but in Finnegans Wake Humphrey Chimpden Earwicker's nature is established by multiple relationships with all the fallen heroes of history and legend.

Succeeding chapters will examine in more detail the implications of Joyce's late work on Ulysses, and attempt to formulate those artistic ideals which emerged during the making of Ulysses and governed all of his work on Finnegans Wake. However, it seems appropriate at this point to seek for the reasons behind Joyce's growing interest in formal--almost mechanical-designs. What rationale can we provide for the elaborate patterns of analogy characteristic of each episode, patterns which often (as in Oxen of the Sun) seem grotesquely over-elaborate? To what extent is the schema of the novel an essential adjunct to the human drama?

First it must be acknowledged that the 'epic' proportions of Ulysses are absolutely dependent on the major Homeric analogues and, to a lesser extent, on the other ordering frames. But can we justify these intricate elaborations solely on this ground? I do not think so; at least two other factors must be considered.

One of these is Joyce's increasing preoccupation with linguistic experimentation, his desire to stretch the potentialities of English prose in all directions. This desire was bound up with a sheer delight in verbal manipulation, a delight which permeates these remarks to Frank Budgen concerning Oxen of the Sun:

Am working hard at Oxen of the Sun, the idea being the crime committed against fecundity by sterilizing the act of coition. Scene: Lying-in-hospital. Technique: a nine part episode without divisions introduced by a Sallustian-Tacitean prelude (the unfertilized ovum), then by way of earliest English alliterative and monosyllabic and AngloSaxon ('Before born the babe had bliss. Within the womb he won worship.' ' Bloom dull dreamy heard: in held hat stony staring.') then by way of Mandeville . . . then Malory Morte d'Arthur. . . then a passage solemn, as of Milton, Taylor, Hooker, followed by a Latingossipy bit, style of Burton/Browne, then a passage Bunyanesque . . . After a diary-style bit Pepys-Evelyn . . . and so on through DefoeSwift and Steele-Addison-Sterne and Landor-Pater-Newman until it ends in a frightful jumble of pidgin English, nigger English, Cockney, Irish, Bowery slang and broken doggerel. This procession is also linked back at each part subtly with some foregoing episode of the day and, besides this, with the natural stages of development in the embryo and the periods of faunal evolution in general. The double-thudding Anglo-Saxon motive recurs from time to time ('Loth to move from Horne's house') to give the sense of the hoofs of oxen. Bloom is the spermatozoon, the hospital the womb, the nurse the ovum, Stephen the embryo. How's that for High? 

But beyond the function of the schema as an essential vehicle for Joyce's themes, and as a vehicle for his restless experimentation, we must acknowledge its function as the source of 'neutral' but controlling designs. In his attempt to compose an epic of a single day, and to record the internal as well as the external lives of his characters, Joyce sacrificed many of the traditional unities of the novel. The well-made novel of the nineteenth century, founded on chronological action and composed of dramatic and expository passages ( Henry James's 'drama' and 'picture'), possessed a form which Joyce could no longer employ. In 1919, while part of Ulysses was being serialized in the Little Review and the Egoist, Virginia Woolf defined Joyce's break with traditional forms of expression:. 

. . he is concerned at all costs to reveal the flickerings of that innermost flame which flashes its messages through the brain, and in order to preserve it he disregards with complete courage whatever seems to him adventitious, whether it be probability, or coherence or any other of these signposts which for generations have served to support the imagination of a reader when called upon to imagine what he can neither touch nor see. 

Here is a clear recognition that Joyce consciously rejected those traditional 'supports' which provided order for both author and reader; but Virginia Woolf does not describe the radical innovations which replaced them. In his attempt to bring the effects of poetry to the novel, to 'internalize' the narration and record various levels of consciousness, Joyce needed as many formal orders as possible to encompass and control his work. And as conventional representation decreased in importance toward the end of Ulysses, the need for other patterns increased. The multiple designs Joyce wove into Ulysses provide a stable scaffold for the reader, but the 'support' they gave to Joyce may have been even greater. Most criticism of Ulysses is founded on the assumption that the essential life of the novel lies in the elaborate scheme of correspondences which Joyce revealed to his early commentators; but anyone who has examined his worksheets will realize that many of the correspondences represented for Joyce a kind of 'neutral' order. They provided frames which could control his diverse materials without merging into them. Deprived of the traditional orders of home, country and religion, Joyce had a desperate and rather untidy passion for order of any kind. All sorts of mechanical systems are used on the note-sheets to organize the diverse elements. While writing the last episode Joyce kept a sketch-map of Gibraltar before him, not because there is a complicated use of geographical detail in Molly's monologue but because the map provided Joyce with fixed points of reference. Similarly, there are many more Homeric references on the Ulysses note-sheets than ever made their way into the text, and we are forced to conclude that the parallel with the Odyssey was more useful to Joyce during the process of composition than it is to us while we read the book. Time and again he spoke of the comfort he derived from the narrative order of the Odyssey: it provided him--in his own words--with fixed 'ports of call'. The major parallels between the wanderings of Mr. Bloom and those of Ulysses are an important dimension of the novel, but in working out the trivial details of the Homeric correspondence Joyce was exploring his own materials, not preparing clues for future readers.

We have already seen the care Joyce took during the course of composition to define the various qualities symbolized by 'Moly', the magic herb which saves Ulysses from Circe's magic. But are we as readers expected to discover and relate to each other the multiple equivalents enumerated on the note-sheets? Probably not. In this case, as in so many others, the detailed working-out of a 'correspondence' was primarily for Joyce's benefit, a part of the rigid discipline he had to undergo in order to control his disparate materials. Many of these detailed schemes lurk in the background of the novel, like the discarded scaffolding of a building which reflects its external form but tells us little of the essential nature. It would be a grave mistake to found any interpretation of Ulysses on Joyce schema, rather than on the human actions of Stephen, and Molly, and Mr. Leopold Bloom”.

---A. Walton Litz. “The Art of James Joyce: Method and Design in Ulysses and Finnegans Wake, 87-97