James Joyce

International Conference JAMES JOYCE AND THE WORLD
saerTaSoriso konferencia `jeimz joisi da samyaro~ (26-27 seqtem-

beri, 2019), iseve rogorc winamdebare krebuli ganxorcielda SoTa
rusTavelis saqarTvelos erovnuli samecniero fondis grantis far-
glebSi #FR17_220. winamdebare publikaciaSi gamoTxmuli nebismieri
mosazreba ekuTvnis avtors da SesaZloa, ar asaxavdes fondis Sexed-
ulebebs.
International Conference JAMES JOYCE AND THE WORLD (September 26-

27, 2019) and publication of the book was financially supported by grant
#FR17_220 from SHOTA RUSTAVELI NATIONAL SCIENCE FOUNDATION. All
ideas expressed herewith are those of the author, and may not represent the
opinion of the Foundation itself.
www.rustaveli.org.ge
1
saerTaSoriso konferencia jeimz joisi da samyaro
2
ივანე ჯავახიშვილის სახელობის თბილისის

სახელმწიფო უნივერსიტეტი
Ivane Javakhishvili Tbilisi State University
saerTaSoriso konferencia
jeimz joisi da samyaro
International Conference
JAMES JOYCE AND THE WORLD
3
saerTaSoriso konferencia
jeimz joisi da samyaro
masalebi
International Conference
JAMES JOYCE AND THE WORLD
Proceedings
redaqtori
manana gelaSvili
Editor
Manana Gelashvili
4
CONTENTS:
FINN FORDHAM
UK, Oxford
Joyce’s worlds of words. ‘Whirled without end to end’ (582.20)
……………………………..
RICHARD BROWN
UK, Leeds
The Village in the World Picture of theLater
Joyce………………………………………….
SALOME DAVITULIANI
Georgia, Tbilisi
Exiles by James Joyce and Betrayal by Harold
Pinter……………………………………………
LIZI DZAGNIDZE
Georgia, Tbilisi
James Joyce and Otar Chkheidze - Painters and Chroni-
clers (according to Dublinersand Études of my Village)
……………………………………………………………………………
MANANA GELASHVILI
Georgia, Tbilisi
“Oxen of the Sun’’: Problem of its Adequate Translation into Geor-
gian………………………
TAMAR GELASHVILI
Georgia, Tbilisi
Transforming Shem into Shermadin (Some Difficulties of Translating Chapter VII of
Finnegans Wake) ………………………………………………………………………
………..
LILIANA GOGICHAISHVILI
Georgia, Tbilisi
Some Elements of John Donne’s Metaphysical Lyrics in James Joyce’s Poem “A
Prayer”……
5
ANDREW GOODSPEED
Macedonia, Tetovo
‘The Joyce I Knew’: Oliver St. John Gogarty’s Presentation of Joyce to American
Audiences
KETEVAN JMUKHADZE
Georgia, Tbilisi
City as a Mythical Space in James Joyce’s Ulysses
……………………………………………
MAYA KIASASHVILI
Georgia, Tbilisi
A Lifelong Journey: the Georgian Translation of Ulysses
……………………………………...
GIORGI KUPARADZE
Georgia, Tbilisi
Language and Style of James Joyce
……………………………………………………………
MARTINA NICOLLS, TAMAR ZHGHENTI
Georgia, Tbilisi
Joyce and His Paris World (The 14 residences of James Joyce in Paris) ……………..
ELISO PANTSKHAVA
Georgia, Kutaisi
Adolescence Cycle of Dubliners: Comparing Two Georgian Transla-
tions……………………
MARIA RAZMADZE
Georgia, Tbilisi
Joycean allusions in Salman Rushdie’s The Satanic Vers-
es…………………………………..
TATIA SIBASHVILI
Georgia, Tbilisi
Interior Monologue in James Joyce’s Ulysses and Otar Chiladze’s Novel The
Creel……….
IRAKLI TSKHVEDIANI
Georgia, Kutaisi
James Joyce Studies in Georgia………………………………………………
6
Preface
In September 26-27, 2019, Ivane Javakhishvili Tbilisi State University together with
James Joyce Association of Georgia hosted a two-day international conference “Joyce
and the World” to celebrate the 80th anniversary from the publication of Finnegans
Wake. The main goal of the conference was to explore, on one hand the diversity of
cultures and languages which went into making Joyce’s world and on the other hand
Joyce’s impact on world literature.
Finn Fordham (Royal Holloway University of London) and Richard Brown (Uni-
versity of Leeds) were invited as keynote speakers at the conference.
Needless to say that a special panel was devoted to Joyce’s translations and studies
in Georgia. The reception of James Joyce’s works in different European Cultures fol-
lowed divergent paths, largely depending on the cultural and political climate of the
country. When Modernism and Joyce’s works emerged, Georgia, a country with more
than a fifteen-century literary tradition, was under the Soviet regime with its strict cen-
sorship and ideological purge. Nevertheless, after Stalin’s death Joyce soon became
one of the most translated and studied authors in Georgia.
We cannot claim big names in Joyce studies and cannot boast to have his works
translated as early as in his lifetime. Nevertheless, the fact that most of his works have
been translated into a language spoken only by less than 4 million people, the number
of works dedicated to Joyce studies in Georgian and two international Conferences
held at Tbilisi State University already seem remarkable.
It was Nico Kiasashvili, head of the English Department and Centre for Shake-
speare Studies at Tbilisi State University who in the 60-70ies laid foundation to Joyce
studies in Georgia. A man of great industry and vast contacts with Western colleagues,
which was rare at that time, Nico was a real Kulturträger, whose impact on introducing
European culture into Georgia as well as raising generations of future translators and
scholars can never be underestimated. He published a number of articles introducing
writers then unknown in the USSR (Joyce, Lawrence, Pinter, Golding, etc.), translated
Giacomo Joyce both into Russian and Georgian from a copy sent to him by Richard
Ellmann soon after the publication of the text. He translated Ulysses (first three epi-
sodes were printed as early as in 1971 in an almanac; first ten episodes were published
as a book with his introduction and commentary in 1983), organized James Joyce Cen-
tenary Conference – the first Joyce Conference in the Soviet Union (1982) and edited a
book of Collected Papers of the Conference (1984).
7
In 2017 a group of Georgian scholars was awarded a research grant by Shota Rus-
taveli National Science Foundation to carry out the project: James Joyce translations
and studies in Georgia. The present Conference and the publication of this volume
became possible through the financial support of Shota Rustaveli National Science
Foundation Grant.
Manana Gelashvili
8
FINN FORDHAM
ROYAL HOLLOWAY, UNIVERSITY OF LONDON
Joyce’s worlds of words.

‘Whirled without end to end’ (582.20)
This paper responds directly to the title of the Tbilisi conference: ‘James Joyce and
the World’, which, sounding a broad theme, is a voluminous and fine net to capture any
topic, large or small.I don’t intend to sound sceptical about the motivations behind the
title, however: I am, after all, delighted to have been offered the bait, to have taken it,
and to have been reeled in along with everyone else here.I draw attention to the title
because I decided to take it at its word, rather than to fly by its nets.I have chosen -
quixotically perhaps – to examine not just Joyce, but ‘the world’, the mesh that we’re
in (which should perhaps read ‘the mess that we’re in’ if, like me, you’re from the UK).
And I hope from there to begin an exploration of ‘The World According to Joyce’,
especially in Finnegans Wake, which was initially conceived by Joyce as a history of
the world, and which has become an example, even an emblem, of ‘world literature’.
The exploration will be assisted by the word ‘world, as it is presented in the Oxford
English Dictionary (2nd edition), and as it is spun through Joyce’s works.
Joyce’s works, I suggest, are located within - and a key contribution to - a period
when meanings of ‘the world’ were shifting: one sense of the world (OED sense III.16),
the social ‘worldly’ world, had shrunk; while another sense of ‘world’ (OED sense
II.10), pointing to a relatively private system has expanded.In the latter the microcosm
of one’s immediate context is inflated through subjectivity into a macrocosm.The many
worlds of individual consciousnesses compensate perhaps for the loss of ‘the world’,
whether held in the safe pair of hands of a transcendent consciousness, or the less
safe pair of a liberal social conscience.This shift may suggest a narrative of modernity
as fragmentation and alienation, alongside the loss of any transcendent perspective.
Joyce’s exploration and reconstruction of private worlds, his expulsion of transcen-
dence through ironisation, makes him a contributor to this worldview.And yet, a new
shift has emerged since Joyce’s death: with an awareness of the antropocene, there is a
need a greater integration of ‘world’ and ‘earth’, and with it a return to a singular real
world.Can we find inspiration for doing this in Joyce’s modernist fabular world?
9
There are many ways in to Joyce’s world of words.I will enter via the word ‘world’
and its many distortions in Finnegans Wake.These include: ‘the whirled’ (582.20), ‘the
whirrld’ (147.22), ‘wonderwearlds’ (147.28) (which carries wonder, underworlds, and
underwear), ‘the walled’ (163.27), ‘the worrild’ (258.21), ‘whorled (without aimed)’
(272.04), ‘woyld’ (535.28), ‘worold’ (441.19) ‘the wurld’ (498.24), ‘the Wildew-
ide’ (98.20) (for ‘worldwide’), ‘the warld’ (608.34) ‘the Wohld’ (593.03), ‘the wold’
(284.24), ‘the wittold’ (505.32), ‘the wood’ (354.23), ‘the would’ (250.16), ‘the willed’
(272.04), ‘the wort’ (310.05), ‘the wauld’ (336.10), ‘the wormd’ (354.22), ‘the veilde’
(403.15)i.
The numerous variations in this morphing series resemble the many old forms of
the word ‘world’ as it changed over time or differed over space in diverse Old and
Middle English dialects.This can be seen in the OED’s list of forms for the word which
include: ‘woruld, weorold, wurold, worilt, worald, woreld, weoreld, wureld’ etc. These
variations diminish over time, leading eventually to a hegemony of the form ‘world’,
once print has come to dominate (though some variation from the norm is sanctioned).
This movement towards one correct spelling of the word coincides with globalisation, a
movement towards the idea of one ‘world’ densely networked, to form a global village.
The diversity of Joyce’s forms in general, by contrast, embodies a spirit that reverses
or resists such uniformity, even while Joyce hopes to appeal to a global audience.And
it reflects an experience of the diverse multiplicity of worlds which now populate the
world.Even though the form of the word has settled, the meaning has shifted and con-
tinues to shift, as we shall see. Joyce’s morphed and morphing signifiers may also rep-
resent the morphing of the signified.The variations in Finnegans Wake indicate Joyce’s
deep awareness of language change and also etymology which he gathered as a young
man reading Skeat (Stephen Hero 26).Etymologically, ‘World’, according to the OED,
stems from two Old German words: ‘were’ (man) + ‘old’ (old).So the world was once
imagined, wtih what Vico called poetic wisdom, as an old man, with the corollary
perhaps that an old man was imagined as the world. The old man of Finnegans Wake,
the aged HCE established in chapter one, can be imagined in this way: he is not our
planet or the ‘earthball’, which, as Gaea, is traditionally gendered as feminine, but is in-
stead the materially inhabited earth, Gaea masculinised, nature transformed by humans
into culture, the ‘worldwright’ (14.19), a world builder, ‘Finnegan, erse solid man’
(003.19-20), continually falling to earth and then raising it into structure, the occupant
beneath the ground and above it (the ‘humptyhillhead’ 003.20), with a tumulus or a
burrow marking the spot of his burial and resurrection.The river, his wife, plays over
10
and through the world’s surface, the river of time, language, story and song, bringing
stories relating to her husband: ‘all the news of the great big world’ (194.25).
But this original simple old ‘etym’ of ‘the world as old man’ grows and builds and,
like the world itself, becomes complex.As a set of things and as a set of ideas, ‘the
world’ becomes, in the words of the young Stephen Dedalus, ‘a very big thing to think
about’ (A P, 16), and it’s easy to get lost in both. We may know that we’re in the
world, and where we stand on the world, but we don’t know what or where that world
is.Our knowledge is always limited.Away from our immediate familiar environment,
the world is a labyrinth, its walls made by nature and by culture, and they’re always
shifting.This is one way that the world seems, to me, to appear to Joyce: as a maze.
And the artist, to represent that world, must make her art maze-like, so it is ‘Allmaziful’
(104.01).Not only is the world a vast maze, but the purpose behind its construction is
unclear, as Joyce makes clear in a brilliant rewriting of the close of the Pater Gloria,
which expresses our condition as ‘whirled without end to end’ (582.20).The phrase that
Joyce is adapting here is: ‘As it was in the beginning, and now, and ever shall be, world
without end’.Its promise of an eternal stable world suffused finally by God, who is its
purpose, has now been shattered.The adaptation describes both the large world turning
round its axis and around the sun, and the littler world of Finnegans Wake, which, like
the former, is circular, famously rounding on itself, a single line without an ending.
Both spin and are perhaps pointless. Finnegans Wake was, moreover, completed in
something of a rush, a whirl, deriving help from not having to know what its own end
was, being, that is, ‘without end’, other than to complete itself, that is, in order ‘to end’.
Navigating this labyrinth, there is no single end to guide our footsteps towards, and so
it won’t be easy to find our way out.
Dedalus - the pen-name which the young Joyce chose to mask himself and his name,
and which a slightly older Joyce used for his objectifying portrait of the artist – was of
course the maker of the labyrinth, and his presence emphasises the maze as a symbol
of the world, and Joyce’s quest for an extraterrestrial perspective.As in the world, so
too in Joyce’s worlds: we’re often lost.To orientate ourselves we move up and down
through space or through textual space, from the immediate local detail, the situated,
the here and now, to the more distant perspective, the wider horizon, the boundless
edge, beyond.This resembles the young Stephen Dedalus at school:
He turned to the flyleaf of the geography and read what he had written there: him-
self, his name and where he was.
Stephen Dedalus
11
Class of Elements
Clongowes Wood College
Sallins
County Kildare
Ireland
Europe
The World
The Universe
***
he read the flyleaf from the bottom to the top till he came to his own name. That
was he: and he read down the page again. What was after the universe? Nothing.
But was there anything round the universe to show where it stopped before the
nothing place began? It could not be a wall but there could be a thin thin line
there all round everything. It was very big to think about everything and every-
where. Only God could do that. He tried to think what a big thought that must
be but he could only think of God.(A P, 16)
The anxiety of unlimited space beyond what is beyond the world is curbed by the
thought of God.God, a supergiant and superintellectual, contains the universe and the
thought of it: as Salvator Mundi, he has the whole world in his hands.In the Augustini-
an tradition, ‘the verdict of the world is secure’, a reassuring phrase whose Latin form
(‘Securus iudicat orbis terrarum’) echoes seven times within Finnegans Wake, where
it insecurely and with far less reassurance, adopts several forms, undermining its own
content of ‘security’.Encountering this phrase was, after all, a destabilising moment
for John Henry Newman for whom it triggered his conversion to Catholicismiii. For
William Blake humans might be tempted to achieve this divine perspective and arrive
at the powerful perspective of a visionary: ‘Hold infinity in the palm of your hand’iv.
Can Joyce think his way round God when thinking beyond the limits of the Universe,
hold God in his hands?Does the attempt to do so ultimately produce Finnegans Wake,
as near as you can get to a boundless text within a boundless universe, for which it pro-
vides a metaphor in the word ‘chaosmos’ (118.21), a kind of cosmos, at once chaotic
and structured (“chiasmic”), but which is neither micro- nor macro-.
Given the instability of our place in the wider world, for the sake of orientation, I’m
going to direct my exploration of the ‘world’ through specific definitions of the word
‘world’, with structure provided by the OED, and deconstruction provided by Finneg-
ans Wake.Within the shifting history of these definitions, Finnegans Wake can be seen
12
as a symptom or reflection, but also a cause of the shifts.How are we going to structure
our senses of the word ‘world’?The OED lists 20 different senses arranged within four
‘branches’; it also provides 39 phrases (eg. ‘P2d. World without end’, or ‘P24, to set
the world on fire’), and 9 groups of compounds (like ‘world-famous’, ‘world cinema’,
etc.).I’m going to limit myself to the second and third of the OED’s four branches of
meanings, the headlines for which are: ‘II. The earth (also the universe) or a part of it;
a natural environment or system’, and ‘III. The inhabitants of the earth, or a section of
them.’
Using these senses, ‘the world’ is in danger of hardly being definable at all, since it
could refer to everything and everybody (‘(… the universe)’, the earth’s ‘inhabitants’)
or anything or any group (a ‘part’ or any division of it).This hardly narrows things
down.Both of these branch definitions indicate that the word ‘world’ is one of those
extremely free-floating signifiers.Its deployment, in widening and shrinking gyres, re-
sembles and justifies Stephen’s presentation of it to his sceptical audience in Ulyss-
es: ‘the world, macro and microcosm’ is ‘founded irremovably because founded …
upon the void’ (U 9:842).No wonder philosophers and poets have sought to pin the
concept down.Wittgenstein tried through positivism: ‘the world is everything that is
the case’;vwhile Shakespeare tried through metaphor: ‘all the world’s a stage’; as did
Joyce, in August 1935 when in despair, writing a letter about Lucia, in which he sum-
marized the world, with the reductive bitterness of a disappointed realist, as ‘a battered
cabman’s face’.viWe try to characterise the world through a metaphor as a means to
stop its definitions spinning around or swinging between macrocosm and microcosm.
Structuring our definitions seeks the same goal.I identify three sets of meanings for the
word ‘world’ from the OED: i) the world as a unitary planetary reality, ii) imaginary
parallel worlds, and iii) subsidiary worlds.
i) ‘This world’: ‘the glowing sensible world’ (P 171)

The first set of meanings comprises the world which is imagined as one, this one:
the one we live in, the real world, what Wordsworth irresistibly called ‘the very world’,
in Book 10 of The Prelude, where he was celebrating the French Revolution and its at-
tempt at a practical politics to build a new world order.In this French context the inten-
sive word that he used - ‘very’ - may very well carry its French origin, ‘vrai’, meaning
real or true in French:
13
-[They… the meek and the lofty]

Were called upon to exercise their skill,
Not in Utopia,—subterranean fields,—
Or some secreted island, Heaven knows where!
But in the very world, which is the world
Of all of us,—the place where, in the end,
We find our happiness, or not at all!vii
This world is the ‘real world’, the one in which we live and to which we all belong,
and the one where we should, as realists, be looking for happiness.Even if we might
fail to find happiness there, better to look where it might be found, than in some unreal
and unrealizable utopia.
It is, I suggest, ‘this world’, in so far as ‘this’ is the real world, that is alluded to on
the first page of the first fiction Joyce wrote: ‘The Sisters’. There we are told that the
Rev. James Flynn , dying from paralysis, says often he ‘is not long for this world’ (D
7), a cliché which defines this against the other world (Heaven knows where!).It is, I
suggest further, referred to as the ‘solid world’ on the last page of ‘The Dead’ (D 255),
where it is sadly dissolving for Gabriel, as he passes over into sleep, or spiritual paraly-
sis.And it returns more positively in A Portrait where it is ‘the glowing sensible world’
that Stephen thinks about. (P 171).
It is the world that aestheticism has to convince others it believes exists: thus Théo-
phile Gautier remarked that he was one for whom the ‘visible world existed’.The state-
ment implies it is a claim with a counter-claim: that there are some for whom the vis-
ible world does not exist, people for whom Descartes’s daring hypothesis has proved
to be correct.Gautier’s defence was quoted by Walter Pater, and then taken up by his
student Oscar Wilde who used it to refer to Dorian Grey’s relation to the world.Then
some time before 1923, Wilde’s spirit, now gone to another world, repeated the phrase
to an Irish spiritual medium, Hester Travers Smith, who transcribed it for her book
Psychic Messages from Oscar Wilde.Joyce read Smith’s book and took many notes,
and is thought (by Danis Rose) to have noted this phrase down, and soon adapted it for
Finnegans Wake into what would become chapter I.4.In a cross-examination during a
trial, a character is asked whether he is ‘one of those lucky cocks for whom the audi-
ble-visible-gnosible-edible world existed’ (88.06). It’s customary, at a criminal trial,
for the world’s existence to be assumed, but in Finnegans Wake no-one can assume
anything.In the context of the trial, it is a leading question, since, if such a world didn’t
exist, the witness would neither be able to hear nor answer.Joyce’s re-wording, an ex-
14
tended edition of Wilde’s original, mocks the idea and its implied counter-claim: that
there are ‘unlucky cocks’ for whom this world doesn’t exist, as if to be a nihilist is
to be somehow unlucky.And yet in amongst such recognisable words as audible and
visible, a neologism has been thrown: ‘Gnosible’.If we allow the nonce word ‘nose-
able’, meaning smell-able or sniffable to be heard, this might seem consistent in a list
of senses.But in this list there is another odd one out: ‘edible’ which amongst such a
list ought to be ‘tastable’.To be able to eat the world is to enjoy particular privileges of
consumption, lucky enough to live off the world’s substance by consuming it.Further-
more, ‘palpable’, corresponding to the sense of ‘touch’ is not there.This is not a fully
‘sensible’ world, in any sense of the word. And, in any case, it’s not ‘nose-able’ but
‘gnosible’, which implies ‘knowable’, from Greek ‘gnosis’.This is of a different order
from the senses that are listed: ‘knowing’ is not the same as sensing, being considered
usually as a consequence of sensing.Responding confidently that a ‘knowable’ world
exists is not a cautious response, given that it’s a trial where things prove to be in gen-
eral unknowable.For Stephen, and for Joyce as realist, the real ‘glowing sensible’ world
does exist: the senses cannot be denied.But is it gnosible, i.e. knowable?In the sense
that we cannot know for sure, it clearly is not (or g-not).Existing but knowable only in
parts, the totality of the real world is a sublime object for Joyce.
ii) imaginary parallel worlds: ‘all the other wonderwearlds (147.28)

So much for our first sense of the world: the real, the singular, the ‘very’ world we
live in, which we sense but do not really know.A secondary set of senses refer to those
worlds that are parallel to this sensible one: ‘the better world’ which the Priest in ‘The
Sisters’, according to one of his sisters, has now ‘gone to’ (D 14).This should, presum-
ably, be Heaven, but the discussion of the sisters casts enough doubts to make us think
it could be Hell, far from a better world, though perhaps only marginally worse than
the world of Dubliners where hope has been abandoned.This could be a netherworld,
an underworld, what Finnegans Wake, at one point, turns into ‘his unterwealth’ (78.10),
hitching the German word Welt (world) to ‘Wealth’, and thus pointing to banking,
mining, criminality, and investment in the rich soil, buried treasure, all together as un-
derworlds alongside which we live and hope to get rich from.This secondary set also
includes the ‘other world’ that Gabriel would preferably ‘pass boldly into’, in stead of
fading and withering dismally with age.(D 255)
These other worlds are adjacent to this world, are destinations for our soul, but
absent (‘secreted’ in Wordsworth’s brilliantly suspicious phrase).They are projected
15
imaginatively as of equal scale and complexity, and yet are also radically different; in-
habited by ever-living Gods or the dead, the saved or the damned, by shades or spirits.
Or by forms of a different order again - Platonic forms or Ideas.For a naïve realist, like
me, these are distorted projections of fragments of the real world, and are imaginary,
non-existent, tales to scare ourselves with, or distract ourselves from this world.The
belief in such worlds have been dissolved by science, rationality, materialism: their
imaginative power however lives on untarnished in narratives of many kinds, including
many of Joyce’s.It is a common reading of Finnegans Wake to read it as mapping out
such a world, through which dead souls are passing towards reincarnation, a Book of
the Dead. The borders between this and the other world are often blurry, as they were
for Gabriel, surrendering his attachment to this world.And Finnegans Wake does con-
tain at its heart, in its title, a resurrection story, so something does pass over into some
other world, and also returns from it.But to turn this idea into a key to the setting of the
book as a whole, suggesting that we are simply in a world of dead souls, is reductive,
as we shall see.There is more to say about parallel worlds, especially with reference to
Giordanno Bruno’s heretical beliefs in the idea of multiple worlds which is thought to
have attracted Joyce, but I will limit myself to the physical and social worlds, and their
macrocosmic and microcosmic appearances.
iii) Subsidiary worlds: ‘a selfmade world’ (252.26), ‘fictionable world’ (235.35)

A third set of senses for the word, and the largest set in terms of the word’s appli-
cation, are those which express subsidiary worlds, lesser worlds relative to the one big
real world.These ‘microcosms’ can be external or internal, real or imaginary.They exist
along a very wide scale, from massive to miniature, as the OED’s numerous illustra-
tions show.Examples of larger worlds (though none as large as the world) include the
Roman world, the Western World, the European world, the Old World, the New World,
the Christian world. Ulysses provides an example when Stephen invokes ‘the world of
men’ (U 9:254), which Shakespeare ‘gained’ once he’d left Stratford for London, and
Anne Hathaway behind him. Medium to small worlds include: ‘the Learned world,
the reading world, the fashionable world, the poultry world, the world of London jour-
nalism’. Dubliners provides an example of such a world, when Gabriel in ‘The Dead’
refers to the ‘Dublin musical world’ (D 233).
The OED, under sense 16, invokes ‘Human Society’ as a meaning for ‘the world’ and
provides a precise definition from Bishop Berkeley who described, from ‘far beyond
[its] verge’, ‘that great Whirlpool of Business, Faction, and Pleasure, which is called
16
the world’. Many poets have treated this world in scurrilous terms, a kind of exercise in
which poetry has already identified itself as ‘unworldly’, perhaps in revenge for being
treated poorly by the world.Henry Vaughan’s ‘The World’ and John Donne’s ‘Anatomy
of the World’ provide perfect examples of this.Wordsworth, in a more contemplative
mood than when he sympathised with the French revolutionaries, did much the same
when, in a sonnet, he announced, memorably, that ‘The world is too much with us, late
and soon /Getting and spending, we lay waste our powers.’ Obviously, by that stage in
his career, Wordsworth’s phone wouldn’t stop ringing.This is the world of the worldly:
a world of society, money, pleasure, ephemerality, politics, and corruption: one of the
three enemies of the soul, according to a strong tradition of Christian theology.This is
the world to which the soul of Baudelaire wishes to be taken by Baudelaire the poet:
‘N’importe où hors de ce monde!’.
The temporal world has its defenders, however, and from some unexpected quarters.
In his Parable of the Unrighteous Steward, Jesus provocatively concluded with the
words: ‘For the children of this world are in their generation wiser than the children of
light’.This is cited in Joyce’s short story, ‘Grace’, though its use there is as complicated
as its meaning in its original location, and we do not have world enough, or time, to
address this story now.Joyce remarked once that he was ‘no poet’.He was, of course,
a novelist, but the distinction indicates one way in which, as a writer, he was worldly.
Joyce was a family man, he tried his hand at business and journalism, did not shy away
from taking people to court, nor from courting patrons and publishers.He made no ef-
fort as a mature man to go on any retreats, traumatised perhaps from his experiences as
a young man.Seaside resorts and big hotels were more his style. Joyce was disappoint-
ed by the reaction to Finnegans Wake which people found remote and otherworldy,
unable to see its strata of worldly naturalism.He persuaded Frank Budgen to correct
this misapprehension.And so, in the late summer of 1939 (though the piece was not
published until after Joyce’s death in 1941), Budgen wrote as follows:
Joyce worked with the material of the marketplace, and …wrote out of the
centre of his consciousness where his own experience was at one with that of
his fellow-men.All the more strange that he should be sometimes regarded as
a dweller in an ivory tower.Ivory tower!You don’t get an Earwicker, sailor,
publican, city builder, and city father; an Anna Livia, lover, mother, and house
drudge … out of any ivory tower.
It is in this attention to a ‘shared experience’ of the material world, the built socio-eco-
nomic environment, that qualifies those views that set Finnegans Wake in a ‘netherworld’.
17
This sense of the ‘world’ as ‘Human Society’ (OED branch III) is a subset, or micro-
cosm, of the real world as a whole, the inhabited globe, as described in my first sense.
Overall, there are multiple forms of such ‘microcosms’ or‘little worlds’. That the macro-
cosm is made up of many microcosms is central to the argument of this paper, and it is
worth pausing on the relation between the micro and the macro. Shakespeare’s uses are
revealing. He uses the term ‘little world’ twice: once, famously, through John of Gaunt
in Richard II, to big up his country, England: ‘This little world, this precious stone set in
the silver sea’ (RII II.1. 36).Another time it is used to describe something smaller: a man,
Lear, who, as King, was a microcosm of his own country, but, battling with elements of
the world that are belittling him, he is reduced, striving “in his little world of man to out-
scorn /The to- and-fro-conflicting wind and rain” (KL III.1.10-11), deluded in his gran-
diloquence, vulnerable.Both are historical plays, one set in quite ancient England, and the
phrase ‘little world’ is perhaps already from a passing world, outmoded, medieval.
With Lear, as a ‘little world of man’, an individual as a world, we come to the
threshold between the public and private, the social external worlds and the individual,
internal, subjective worlds.This is an important border for Joyce, for whom there were
clearly both kinds of world, but of the two the internal world, the microcosm, was of
special interest, of underestimated complexity, under-explored and under-represented,
and one that may be preferable to inhabit.Stephen makes a sharp distinction between
inner and outer, and, as an aesthete, a priest of the imagination, he privileges the for-
mer.In A Portrait he identifies ‘the inner world of individual emotions’, from which ‘he
draws more pleasure’ than the contrasting real world, or ‘glowing sensible world’ (P
171). These private worlds are those that love may make for lovers and may make them
out of lovers, as John Donne does in ‘The Good Morrow’:
Love… makes one little room an Everywhere.
Let see discoverers to new worlds have gone,
Let maps to others, worlds on worlds have shown,
Let us possess one world, each hath one, and is one.
This lovers’ world is more reliable than the endlessly redrawn and remapped ‘outer
world’, and it is more knowable and singular.As with Stephen’s ‘inner world of indi-
vidual emotions’, the micro- is privileged over the macro-, since it is easier to be in
possession of the former. Leopold Bloom emphasises exactly this in his acrostic love
poem to his wife Molly, its five lines anchored in the letters of his nick-name ‘Poldy’.
The last line begins with a Y:
18
You are mine. The world is mine.(U 17.410)

To possess another is to possess a world.Each of us is a world, and not only that,
each is better than the world – because potentially possessable.Possession of the world
always disappoints any incipient megalomania.
Another set of microcosms, or subsidiary worlds are, of course, those created by
artists.Stephen Dedalus acknowledges Shakespeare’s powers of world creation, when
talking about ‘the note of banishment’ which he hears ‘in infinite variety everywhere in
the world he [Shakespeare] has created.’ (U 9.1012).And Joyce, it might be said, with
a similarly lazy hyperbole, also created a world.With his unprecedented range of lan-
guage and extraordinary control over it, and his mastery of languages in the plural, he
incorporated the world of words into his writings to form another world built of words.
The world is wide, so a wide reach of language (of lexis, but also syntactic form) in its
representation, will be necessary to reflect it.
The ability of the artist to do all this reflects a Romantic conception of the artist
who seeks to emulate the God of creation.The greatest ambition of an artist is to re-
shape their readers’ perceptions of the world, and provide a new model for it.Man
competes with God, and Joyce competes with Shakespeare who has, as Richard Best
says in ‘Scylla’, (quoting Alexandre Dumas), ‘after God created most.’ (U 9:1029).The
artist wields the logos - or at least, ‘a logos’: the word substitutes an imaginary for a
real world; or it gives order and meaning to a chaotic and pointless world; or the word
produces our world; and the world becomes word.Word and world are near-identical
twins, a coincidence of language, who playfully swap places.
A series of these swaps begins in Ulysses with a slip, a typist’s error, in a letter that
Leopold Bloom has received from a secret penpal with whom he’s started a risqué epis-
tolary relationship.The letter reads at one point:
I called you naughty boy because I do not like that other world.Please tell me
what is the real meaning of that word.(U 5:245-6).
At the moment the typist (who, we assume, is a lady as it’s signed ‘Martha Clifford’)
is trying to get the upper-hand by chastising him, she has slipped up, unintentionally
typing ‘world’ when the word she meant was ‘word’, confirmed in the second sentence.
Several critics - Herring, Sigler, Creasy, Conley, McCarthy - have made hay with this
slip.While the joke is on her, Bloom notices but passes over her original intention, and
takes the corrupt text literally.Her letter takes on a theological dimension.Bloom later
confirms that he doesn’t ‘like that other world’ either (U 6:1002), which might be hell,
19
but in any case, isn’t this real one.It is an unlikeable place to which error – sin - in our
post-lapsarian world, can lead us.But error can also open up unimagined worlds of
thought, of existential deliberation.Thus Bloom will later facilitate the word swapping
again, when he wonders ‘what is the real meaning of that world’.But does the world
have meaning in the same way that a word does?The question is brought on by the
exchangability of these words, something which happens again in Finnegans Wake at
several points such as: ‘that is nat language in any sinse of the world’ (82.12), where
the ‘sins of the world’ and the ‘sense of the word’ are fused; or in the phrase ‘one world
burrowing on another’ (275.06), where the idiom for a heated discussion – one word
borrowing from another - has been adapted to conjure up a kind of trench warfare be-
tween different worlds, a forecast of a Philip Pullman plot.
The word/world exchange is conceptually potent in still other ways, as it maps on to
representation (word) and reality (world).We have seen how the implied equivalence
between word and world, by which, without a word there is no world, is the Romantic
dream of the maker of a language-world.There is also an implied analogy between
word and world – insofar as both are parts of complex systems and structures of mean-
ings, while also having a free-floating quality.The analogic vision finds harmonious
patterns in microcosmic and macrocosmic structures, even seeing such structures as
identical.Such analogical vision is associated with a medieval world view, but also with
a poet already mentioned: William Blake.While he lectures on Shakespeare, Stephen
speaking to himself rejects Blake for this vision.
Through spaces smaller than red globules of man’s blood they [Blake’s fol-
lowers] creepycrawl after Blake’s buttocks into eternity of which this vegeta-
ble world is but a shadow. (U 9:86-88)
Given how fashionable Blake was at the time, Stephen’s contempt is iconoclastic: he
condemns Blake fans for shrinking into the very microscopic detail they observe (the
grain of sand, or the flea), of becoming invisible for ever up inside Blake’s arse, and of
treating the real world as a shadow, a danger particular to Platonism. The irony is that all
this is invisible from his audience, though not to us. The Blakean focus on the microscop-
ic and microcosmic is too limiting, it turns our backs on the real world, which is at most
‘just a shadow of eternity’.You might come to know a world made of words (the world
of Shakespeare, or Joyce, or Blake), and they are microcosms of a sort.But they will nev-
er be equal to the macrocosm, the ‘world’, and when words are treated as having more
20
reality than the world, both are diminished.No single word, or group of words, however
complex their structure, has as complex a structure as the world.
We might like to think they do as a means to simplify the complexity of the world.
These lesser worlds – these socially or artistically constructed microcosms - are closer
to us, make up our immediate or adjacent environment, are less unknown, less un-
bounded than the real world; are easier to understand and manage and, as such, are a
relief from the always changing unknowable largeness of the conceptually unencom-
passable real world that we inhabit.These multiplying multitudinous microcosms are
compensation for the limits of our knowledge. Stephen returns to the anchor of his
own consciousness, one which he can expand and manage, away from the edge of the
furthest imaginable domain.We build a wall against the dark ocean of uncertainty, close
the doors of perception on the chaos outside with relief. We build our own worlds: and
individualists claim each of these worlds may be radically different from every one
else’s, each set of perceptions being centred upon our distinctive selves with different
sets of experiences.Hence our talk of ‘separate spheres’, of ghettos, and silos, of living
in different mutually exclusive worlds, of operating in the echo chambers of social me-
dia.In Finnegans Wake such a world which contains within it mutually isolated worlds
is close to a prison, described as ‘the walled’ (163.27); confirmed at an earlier point
when the narrator offers a definition of the world as ‘a cell for citters to cit in’ (12.02).
There are as many such worlds as there are – and have been - individuals and groups of
people, since each now constitutes a ‘world’.A sign of political unease is how people
and politicians are thought to inhabit different worlds. The existence of multiple worlds
takes many forms.
Worlds come and go as each life passes, but traces of them – ruins - remain in the
world, are part of what makes up the macrocosm, an accumulation of the ruins of
worlds that have passed: ‘The world, mind, is, was and will be writing its wrunes for
ever’ (19.35-36). The world (the old man) works at many levels, always has and always
will: while it rights its own wrongs, and writes its own rules, and writes its own destruc-
tion, in an idiosyncratic private script (‘its own runes’).The world has its own language,
is its own interlocutor, speaks privately to itself.
Likewise, the world is rewritten by each generation, written anew as if it is their
own. As well as Donne’s poem where we hear that ‘worlds on worlds have shown’,this
appears in folk wisdom, as Joyce was aware, taking notes from O’Rahilly’s scholarly
work, A Miscellany of Irish Proverbs, (Dublin 1922).On page 88 he read the phrase: ‘Is
bith cáich ar uair an bith so’ and noted O’Rahilly’s translation of the phrase, in a slightly
21
compressed form: ‘world is world of everyone in turn’.For as long as you live the world
is yours, everyone has a go, you take your turn, but then you’re out.When Joyce came
to use the note, he dropped the first half ‘World is world of’ and hitched the remainder
to a new phrase, so its first appearance in the drafts of ‘Work in Progress’ reads: ‘out
of the backroom that was everyone’s in turns’. This was altered on the same draft level
to become ‘everywans in turruns’ (557.09)).The Irish Proverb has disappeared, and
the world has been revised, shrunk to the size of a backroom.So it’s now a backroom
that everyone uses in turn.It is perhaps a place of relief from the ‘front room’ of the
pub where the novel is set: a private world contrasting a public world.But does this
‘backroom’ store within it a memory of ‘the world’?Not without knowing the source.
Elsewhere, however, Joyce plays with the exchangeability of ‘room’ and ‘world’, when
he describes the ‘E’, one symbol for HCE, as ‘a cluekey to the worldroom beyond the
roomwhorld’ (100.29).You can see in ‘worldroom’ here a literal (and technically poor)
translation of the German ‘weltraum’, meaning outerspace (the space of worlds, if you
like).It is proposed that this world-as-room may be accessed with a single letter acting
as both clue-and-key, which will let you out of the room-as-world, or ‘roomwhorld’,
an intricately patterned interior (from ‘whorl’).Perhaps Finnegans Wake is all of these:
a room, a world, and a key.A microcosm, a macrocosm, and the instrument for passing
between them.
And this allows us to pass back to the ‘backroom’ which Joyce produced by sup-
planting ‘the world’ with a ‘room’. But this ‘world’ which the Irish Proverb originally
offered an observation about, doesn’t actually appear in Joyce’s final text.And this poses
difficult questions: without our genetic reconstruction (offering a clue/key, as it were)
how could the idea of the ‘world’ of the Irish Proverb ever be sketched in?Who sanctions
such shading of context?Did Joyce ever intend us to find the note, and then to seek and
find its source, and then to imagine its presence haunting the new object of the phrase?-
Did Joyce remember the source when he re-read his text?If he did, was it just a private
joke, part of a private language and a private world?Did he care whether we got it or
not?Should we care what or whether Joyce wanted or remembered or intended?Perhaps
- if it eases our reading, placing limits around the potentially unbounded unreadable text,
or planting signposts that assist our travels within it.But shouldn’t the text be sufficient
for itself?These kinds of questions are common enough in genetic intertextual studies of
Joyce, troubled by the ‘relevance’ of the notebook material.
We cannot ever resolve these troubles. But our incapacity is important to our top-
ic: it reminds us that individual’s intentions are often unknowable. Difficult questions
22
over intention affirm, in general, an element of mystery that exists around individu-
als’ inner worlds. ‘What is all the fuss about the mystery of the unconscious?’ Joyce
asked his friend Budgen,referring to psychoanalysis: ‘What about the mystery of the
conscious?What do they know about that’. Perhaps such a difference is what Joyce is
trying to express in the radical difference of form that Finnegans Wake takes, a way of
resisting the acceleration towards a single world culture, and a single world language.
This analysis has emphasised the plurality of worlds and the degree of isolation
between individual worlds.But we live simultaneously in many worlds, and many over-
lap: we have worlds in common partly because we have words in common.We don’t
only fail to communicate.Anna Livia, at the end of Finnegans Wake, towards the end
of her letter, as she herself nears the end of her life, announces to her audience: ‘Hence
we’ve lived in two worlds’ (619).She doesn’t tell us which two worlds she means,
which means we can think of her as resembling Joyce as he approaches the end of his
writing, referring retrospectively to the two worlds that he will have lived and worked
in, from the moment of having completed the work: the real and the imagined world of
the Wake that he’s created and inhabited. This predicts the end of the book and the end
of his life coinciding.
I have presented three different sets of definitions of ‘the world’, and illustrated
them from Joyce (and Company).The first set refers to the real world, proximate but
ultimately unknowable.The second set refers to the imagined adjacent parallel worlds,
heaven and hell, which are currently dispersing as an effect of numerous rationalisa-
tions.As to the third set, we have the multitidinous subsidiary inhabited worlds, both
external and internal, social and private, real and imaginary.These are multiplying.
Joyce is acutely aware of their multiplicity and complexity, and the degree of mystery
of the private worlds, in particular.
There are really only two sets of senses for ‘the world’ which matter, and which
we might call the one and the many: the real one and the constructed many.The par-
allel worlds, originally forming the second set, are really just part of the third. Joyce
believed in both sets.He respected the complexity of the internal worlds, but in his
distortions of words which extend our concepts, he mocks the laziness of our received
ideas and the way we repeat them, as with the concepts of the ‘world’ which then lose
their freshness.The first, the real, has primacy, it being the source and the resource for
his art.It is, to conjure up one last distortion from Finnegans Wake, what he called the
‘fictionable world’ (345.35).This is a refashioning of the phrase ‘fashionable world’, a
term that came into fashion in Georgian England, when there were puritanical satires
23
of an emerging consumerism.In its new clothes, ‘fictionable’ is ‘something that can be

fashioned into fiction’, which is what the world was for Joyce the novelist.
And these fictions are part of the world as much as the facts.We each live in micro-
cosms, worlds that are more or less fashionable; and we also live in a macrocosm, a
word which is ‘fictionable’. For Wittgenstein, in his Tractatus ‘the world is everything
that is the case’.For Joyce, in his fiction, ‘the world is everything that is the case and
also everything that is not the case.’The world is one world made of many worlds, real
and fantastical.We live in both kinds, in one and in many worlds.Finnegans Wake rep-
resents that sublime multiplicity of the many, and the mysterious complexity of the one
world, which is ‘whirled without end to end’.
And yet, a new shift has emerged since Joyce’s death and his work: with an aware-
ness of the antropocene, there is an understanding of a greater integration of ‘world’
and ‘earth’, and with it a return to a singular real world.The modernist fabular world of
Joyce’s subjective private worlds may be a strange place to look for such integration.
But of course it is there, emerging in the Ulysses episodes of ‘Ithaca’ and ‘Penelope’,
and in Finnegans Wake, Joyce’s comedy of the world of culture falling into the flooded
earth of nature: where ‘one touch of nature set the veiled world agrin’ (138-36-139.01).
24
i
James Joyce, Finnegans Wake, 3rd edition (London: Faber and Faber, 1975).
ii
See Chapter IV of Benadetto Croce, The Philosophy of Giambattista Vico, trans.
by R.G Collingwood (New York: Macmillan, 1913), 44-62.
iii
Cardinal John Henry Newman, Apologia Pro Vita Sua(London: Longmans, 1914),
129-130.
iv
William Blake, ‘Auguries of Innocence’ in The Complete Poems, 3rd edition, ed.
by W.H. Stevenson (London: Longman, 2007), 612.
v
Ludwig Wittgenstein, Tractatus Logico-Philosophicus, trans. by C.K. Ogden (Lon
don: Kegan Paul, 1922), 25.
vi
Letters of James Joyce, vol. 1, Edited by Stuart Gilbert (London: Faber, 1957), 379.
vii
William Wordsworth, The Prelude: 1799, 1805, 1850 ed. by Jonathan Wordsworth
et al. (New York: W.W. Norton, 1979), 398.
viii
See http://www.jjda.ie/main/JJDA/F/FF/fnbs/n13all.htm#n13056b
ix
See for example John Bishop, Book of the Dark (Madison: University of Wiscon
sin Press, 1986), 86-125.
x
OED, World, n. 16.
xi
William Wordsworth, Poems, 1800-1807, ed. by Jared Curtis (Ithaca, NY: Cornell Univer
siity Press, 1983), 150
xii
Luke, 16:8
xiii
Budgen, Frank, James Joyce and the Making of ‘Ulysses’ (1965), 339.
xiv
The Good Morrow’ in The Complete Poems of John Donne, ed. by Robin Robbins (Lon
don: Longman, 2010), 196-7.
xv
The Good Morrow’.
xvi
See http://www.jjda.ie/main/JJDA/F/FF/fnbs/ssaall.htm#sa0512ak
xvii
See http://www.jjda.ie/main/JJDA/F/flex/s/sC0d.htm#sa0512ak
xviii
Budgen, 356.
25
BIBLIOGRAPHY
Primary Texts Joyce, James, Finnegans Wake (Oxford: Oxford World Classics, 2012)
---, A Portrait of the Artist as a Young Man (London: Jonathan Cape, 1968)
---, Stephen Hero (London: Jonathan Cape, 1944)
---, Ulysses, ed. Gabler (Harmondsworth: Penguin, 1986)
---, Dubliners, ed. Scholes (London: Jonathan Cape, 1967)
---, Letters of James Joyce, Col. 1, Edited by Stuart Gilbert (London: Faber, 1957).
Secondary Texts
Bishop, John, James Joyce’s Book of the Dark (Madison: University of Wisconsin Press,
1986).
Blake, William, The Complete Poems, 3rd edition, ed. by W.H. Stevenson (London: Long-
man, 2007).
Croce, Benadetto, The Philosophy of Giambattista Vico, translated by R.G. Collingwood

(New York: Macmillan, 1913).
Donne, John, The Complete Poems of John Donne, ed. by Robin Robbins (London: Long-
mans, 2010)
Newman, Cardinal John Henry, Apologia Pro Vita Sua (London: Longmans, 1914).
Shakespeare, William, The Complete Works (New York: the Riverside Shakespeare, 1987)
Wittgenstein, Ludwig, Tractatus Logico-Philosophicus, trans. by C.K. Ogden (London: Ke-

gan Paul, 1922), p.25.
Wordsworth, William, The Prelude: 1799, 1805, 1850 ed. by Jonathan Wordsworth et al.
(New York: W.W. Norton, 1979) ---, Poems, 1800-1807, ed. by Jared Curtis (Ithaca, NY:
Cornell Universiity Press, 1983).
Websites:
<http://jjda.ie>, The James Joyce Digital Archive, edited by Danis Rose
<http://oed.com>,The Oxford English Dictionary, edited by various
<http://fweet.org>, edited by Raphael Slepon
26
RICHARD BROWN
SCHOOL OF ENGLISH, UNIVERSITY OF LEEDS
The Village in the World Picture of the

Later Joyce
The village of Saint-Gérand-le-Puy in the Alliers region of central southern France,

where the Joyces stayed for almost a year from 24 December 1939, is probably the
least well-known of Joyce’s many places of residence and often thought to be one of
the least congenial to him personally and least instructive to visit for the student of
his work. A walk around it can, nevertheless, provide us with a distinctive example
of Joyce reception as cultural heritage, add to our knowledge of the historical and
personal contexts for the completion of Finnegans Wake and his last years and invite
us to reassess the interest of the village locality as a way of understanding the Joycean
world picture or even “weltbilt” (to use the ambitious term from Heidegger’s “The
Age of the World Picture” ), in the later work, re-reading some passages to bring into
view the implications of Joyce’s experiments in language for his use of proper names
for places in a way that speaks to the local and the global challenges of the postmodern
contemporary world.
1. Saint-Gérand-le-Puy
Entering the central square of the village may surprise even the Joycean visitor with
the prominence of its recognition of its best known resident (fig.1).Overlooking the
square is the Hotel de la Paix where the Joyces first stayed (fig. 2) and also one of the
grandest buildings in the village which is now an Anna Livia Bibliothèque housing a
Joyce library and the village’s art event space, the “Espace de James Joyce” (fig. 3).
Joyce himself by no means anticipated this at the time since, as he complained, no-one
in the village seemed to know anything about his work.
Commemorative plaques mark what is an enjoyable if, at times, slightly puzzling
Joyce tour of the village which takes in the church and the hairdresser (with loose tex-
tual rather than biographical Joycean significance), the Hotel and house where the Joy-
ces stayed for part of the time and, on the village outskirts, the lavoir.Such communal
village washing places are a proud traditional feature of villages in the region and no
doubt it seemed a good idea in 1986, when the village’s Joycean makeover took place,
27
to make a link with the historic babbling washerwomen of Chapelizod whose voices
narrate the Anna Livia chapter of Finnegans Wake, a textual link which is re-inforced
with a scene of period-dressed figures on display there (fig. 4).
Most academic work on Joyce and geography necessarily focusses on the modern
city.Joyce first defended his Dubliners to Grant Richards on the basis that no writer had
“yet presented Dublin to the world”and the modernist realism of the stories, developed
further in Ulysses, famously required him to write with a rare meticulous fidelity to ac-
tual urban place. Modernist literary theory from Baudelaire to Benjamin draws deeply
on the embodied experience of urban place. In several essays, and even a number of
psychogeographical Joycean tours in the space beyond the book, I am among a large
number of Joycean critics who have worked with this aspect of his writing. One aspect
of the increasingly popular Debordian practice of psychogeographical city walking is
that it produces a certain kind of critical estrangement in relation to the urban space but
in this case we can experience a sense of estrangement from our usual understandings
of Joyce in the tiny “Square James Joyce” in a village side street in Saint-Gérand with
its quotation from “A Portrait of the Artist” (fig.5). No less estranging is the quotation
above the village café, presumably from the French translation of Stephen’s thoughts
about merchants (buying cheap and selling dear in “Nestor” then recapitulated in “Eu-
maeus” to express sympathy with the plight of the sex worker who buys dear and
sells cheap) but not very recognisable as Joycean in this form (fig. 6).The quotation
(as much of the Saint-Gérand tour) offers an unfamiliar picture of Joyce as a whole
let alone the “revolution dans la littérature mondiale” made by Ulysses and Finnegans
Wake according to the most monumental of the Saint-Gérand plaques, echoing these
words of the French editor of his Work in Progress Eugene Jolas.
So can we say more about this village and what it may tell us about place (and the
world) in Joyce in some way that is neither quite the same as the ways that Dublin, Tri-
este, Zürich, Paris or London might for the bulk of the work, or even the same as any
one of the many places named, half-named or even unnamed in the Deleuzian lines of
flight along the apparently arbitrary signifying chains of Joyce’s language in Finnegans
Wake might do?
The biographical record is interesting and vivid in a number of ways in its own right.
Saint-Gérand, as well as being his last place of residence in France was the place where
Joyce enjoyed his last Bloomsday. Visitors included Paul Léon (the heroic guardian of
Joyce’s abandoned Paris flat where he had to abandon his books and papers) and Sam-
uel Beckett and his partner Suzanne who were ultimately en route to the village where
28
they spent the war with the Résistance in Roussillon in the Luberon. What we know
about the stay comes from Ellmann’s account based on Joyce’s letters and the memoir
by Maria Jolas (of which a new translation was recently introduced by Neil Davison in
the James Joyce Quarterly).It was an especially difficult time for Joyce.His health was
rapidly declining.He was separated from Lucia who was in a clinic at the mouth of the
Loire, especially problematic in that, after the German occupation in May, it threatened
to become a war zone with a high risk of allied invasion. His daughter-in-law, Gior-
gio’s wife Helen, was also suffering severe mental health problems.Finnegans Wake
was finished but he feared a bad reception for it and (despite the fact that he managed
to compile a list of corrections with Paul Léon) it is not clear that any new project to
extend or follow the Wake was fully underway.
The identity card under which the Joyce’s travelled declared his nationality as “Bri-
tannique” (fig. 7) and he declined, apparently at some risk and inconvenience to himself
and his family, the offer to travel as an Irish citizen. His identity, already claimed by
many nations, was already too complex to be contained by any one, though he retained
his British nationality to the end. The card states that Joyce’s reason for travelling was
to visit his grandson or “petit fils” Stephen who was 8 years old. Maria Jolas had moved
her small private school from Neuilly Paris to “La Chapelle”, the country chateau of
one of her students which was located here, near Vichy, in the zone of occupied France
where the rigours of the occupation might have been easier for a radical avant-garde
set, who would have been condemned as decadent by the occupying Nazis or even
been thought Jewish (as Beckett, called Samuel, thought he might). Joyce ultimately
found a suitable and affordable clinic for Lucia in Switzerland; Giorgio cycled back
and forward to Vichy to sort out the paperwork and eventually drove his parents the 3
or 4 miles to Saint Germain des Fosses where the train could take them to Switzerland
where Joyce died in January 1941.
For all these personal and political difficulties, it was, according to Ellmann’s ac-
count in the Selected Letters, village life itself that was most irksome to Joyce, who
had been used to cities all his life and been for nearly twenty years the darling of cos-
mopolitan Paris: “he found the village life of St Gérand dull and more dull” (SL 401).
However, my Saint-Gérand visit reinforced in my mind the extent to which we might
see a later Joyce whose work had indeed become less exclusively concerned with the
city as such and indeed increasingly interested in representing the village.Finnegans
Wake is arguably “set”, if in any single location at all, not so much in Dublin, as in
Howth, or in Clontarf, in Book 1 Chapter 1, and in Chapelizod for the washerwomen
29
of Book 1 Chapter 7, the pub scene of Book 2 Chapter 3 and especially that of Book
3 Chapter 4.These are parts of the city of Dublin that had retained (and still retain) a
village character and history and they shape the experience of the Wake more than the
institutional urban centres that feature in the earlier work.
So what, we may ask, is a village? Conventionally defined as small as opposed to
large, agrarian as opposed to industrial, rural as opposed to urban, defined by close
community rather than the “alienations of modernity”, or, for Ellmann, dull as opposed
to interesting and full of distractions, the village (though Joyce might not for any num-
ber of reasons have found these qualities in Saint-Gérand itself at this time) had begun
to be redefined during the last century not so much in terms of its pastoral seclusion
and traditional pre-industrial economy, sense of community and aesthetic charm but as
a singular global locality that might equally be present within a larger city space but
still retain its “village character” or, even when physically removed from the city and
more apparently pastoral in character, be networked to everything else by electronic
infrastructure. Such a village may not in fact be a removal from or alternative to the
modern city so much as an intensification of its particularising and self-commodifying
character. Such a village or urban micro-district life has become a familiar everyday
experience for millions of us in the twenty-first century, who value the singularity of
our immediate localities whilst increasingly expecting everything from elsewhere to
be always already available to us by immediate delivery from Amazon, or by drone
wherever we are.
The village in this sense is that popularised by Marshall McLuhan in his Guten-
berg Galaxy (1962), a work which redefined the village in terms of the new electronic
media, bringing it into a new contact with pre-literate “tribal” supposedly primitive
societies of the third world or of pre-Athenian civilization in McLuhan’s view: “the
electromagnetic discoveries have recreated the simultaneous ‘field’ in all human affairs
so that the human family now exists under the conditions of a “global village”. McLu-
han’s works are themselves richly filled with quotations from and allusions to the Joyce
of Finnegans Wake and though he does not attach the village idea as such to Joyce, the
global village concept comes from his reading of Finnegans Wake as much as from any
other text which demonstrates, as he puts it, “a complex clairvoyance” in these terms.
So the village may not take us away from Joyce’s modernity so much as back to the
futurity of Finnegans Wake.
30
2. Howth Castle and Environs

In the inter-war period especially in England, rural and village life became appreci-
ated anew.Many small villages had experienced traumatic sacrifices of life in the First
War and village life became the centre of a new popular urban interest in the 1930s
as the middle classes became more mobile and it came to embody a sense of values
threatened by the prospect of a second war.Eliot’s turn in Four Quartets to the English
village locations of Burnt Norton, East Coker and Little Gidding is a prominent case
in modernist poetry and it might be argued that for Joyce something comparable took
place. One of the most influential recent contextualised readings of the encyclopae-
dism of modernism and of Joyce, Tense Future by Paul Saint-Amour, though it does
not address the village, addresses the encyclopaedic and hence the changing world
picture of this time in highly relevant terms. This becomes apparent if we consider an
example of another village that occurs in the composition of the Wake: the small town
or village of Hitchin in Hertfordshire that is present in 8 note items in Joyce’s notebook
VI.B.29.126-7 that are themselves drawn from several pages of notes from Reginald
Hine’s History of Hitchin (1921) in the University of Buffalo collection. Commenting
on these notes in his introduction to this volume of notes on cities and city building
Geert Lernout writes “it is not obvious why Joyce would have been interested” “be-
cause Hitchin is such a small village” but he goes on to quote from Hine’s conclusion
which enthuses “This clod of ground, this piece of England, this speck of the universe,
does it not contain in microcosm all we need to know”. Hine’s expansive book is thus
typical of a genre of local history especially popular throughout England in which
the apparently small and insignificant locality reveals a continuity of layered history
through such familiar phases as the prehistorical archaeological record, the traces of
the Roman and Viking occupations, mediaeval castle and church building in the middle
ages, the renaissance, grand country houses of the eighteenth century and so on.Hitchin
itself was relevant to Joyce as it was the place of residence of Joyce’s Zürich actor
friend Claude Sykes and indeed Sykes’s name appears among the signatories of this
large and expensive volume which was published by local public subscription. This
kind of local village history discourse has an impact, which goes well beyond the few
vocabulary items that survive from the notes into the final text of the Wake: a discourse
radically carnivalized in the avant-garde sense of the encyclopaedic and the global in
Joyce’s picture of the world in Finnegans Wake.The name Hitchin (and especially its
archaic name Hicce) contains the initial letters of Joyce’s ubiquitous Wake hero HCE,
Humphrey Chimpden Earwicker or Here Comes Everybody.
31
We need go no further than the first page of the Wake to test this hypothesis out,
with its creation of a picture of its setting in these lines:
riverrun, past Eve and Adam’s, from swerve of shore to bend
of bay, brings us by a commodius vicus of recirculation back to
Howth Castle and Environs.ix
To introduce Dublin as “Howth Castle and Environs”, as Joyce does here, is evi-
dently very different from calling it Eccles Street or Sackville/O’Connell Street or St
Stephen’s Green or the National Library and Museum and their surroundings (or places
you can get to on foot or by tram or even when drunk on foot to and from a lower mid-
dle class North Dublin residence) as he implicitly does in Ulysses and the earlier work.
The Howth Castle and its environs that open Finnegans Wake is not the same rho-
dodendron-filled open space that it was at the close of Ulysses where Molly “got him
to propose to me”, “asked him with my eyes to ask again” and Bloom said “yes”. It
is rather the stately residence on Howth Hill at the north end of Dublin Bay which (as
Joyce’s history throughout the Wake reminds us) had remained in the St Lawrence
family since the Norman or (what is for Joyce’s Irish historiography) “Anglo-Norman”
Conquest. It had escaped the ravages of many of the big houses in the Irish Civil War
as told by Elizabeth Bowen, William Trevor, J.G. Farrell and Sebastian Barry, indeed
had been restored in some style by famous English architect Edwin Lutyens in 1911
and was still owned by the St Lawrence family until last year when the site was sold
to a finance company for development as a golf course hotel. No Joyceans let alone
Wakeans seem to have put in an offer.
Joyce sketched a map of Howth and environs (fig. 8) in his November 1926 letter
to Harriet Shaw Weaver along with some hints and glosses to her as reader of the
passage she had commissioned that heads the book though was written well into its
process of composition. It is a very rough sketch and would have to be inverted to offer
a more helpful north-south orientation to track the course of the River Liffey and the
submerged giant Finnegan/HCE from beside Phoenix Park and Magazine Hill to the
Hill or “head” of Howth (and might then only make close geographical sense if you
imagined the course of the river to flow north between Bull Island and Clontarf rather
than following its central course as it now does between the harbour walls).For all that
it does in certain respects depict the weltbilt of the Wake as this is presented in the his-
toricalised geography of the scene that opens the book.
32
Sir Tristram, violer d’amores, fr’over the short sea, had passen-
core rearrived from North Armorica on this side the scraggy
isthmus of Europe Minor to wielderfight his penisolate war: nor
had topsawyer’s rocks by the stream Oconee exaggerated themselse
to Laurens County’s gorgios while they went doublin their mumper
all the time: nor avoice from afire bellowsed mishe mishe to
tauftauf thuartpeatrick not yet, though venissoon after, had a
kidscad buttended a bland old isaac: not yet, though all’s fair in
vanessy, were sosie sesthers wroth with twone nathandjoe. Rot a
peck of pa’s malt had Jhem or Shen brewed by arclight and rory
end to the regginbrow was to be seen ringsome on the aquaface.
To proceed through Book 1 of Finnegans Wake the new reader is well advised to
keep in mind the basic discursive paradigm of a tour guide or local historian narrator
figure who is describing the geography and history of the Dublin coast radiating from
and around the Anglo-Norman history of Howth Castle, the St Lawrence family and
the legend of Grace O’Malley and, shortly, the contiguous history around the battles
between localised Viking ruler Brian Boru and invading Vikings of the Sagas as well
as the basic ice-age pre-historical geography of the Hill that is Phoenix Park and the
watercourse that cuts a channel alongside it and into the sea that is the River Liffey.
The text invites, sustains, requires and rewards the reader who is curious about such
precise particularities of language and meaning yet (as the Weaver letter instructs) it
also requires a reader who is able to sustain a curiosity about particular times and plac-
es that are deterritorialised not least in the sense that they could not actually be located
together, a reader who can be amused or engaged by the curiosities of coincidental or
arbitrary similarity or analogy that allow such impossible proximities to be contem-
plated at all: the Biblical stories of Noah (including Noah Guinness), Isaac, Esau and
Jacob, the love-life of Jonathan Swift, a mythic buried, and here drowning, giant figure
with his eyebrows appearing about the water.
To be sure, not all of the chains of signification available here are arbitrary, sur-
real or gratuitous. Though there is no apparent etymological connection between Ar-
morique (Brittany can be called Armorica) and the Portuguese Amerigo Vespucci who
discovered the American continent, there are plausible reasons why North Armorica
and North America (which many first time Anglophone readers of the Wake will mis-
hear it as and which the passage goes on to name) might be connected and even sound
alike, which include the diasporic relations between the Northern European seabord
33
and the Americas since the C17 and (in this case) the diasporic movement of the celtic
peoples from continental Europe to Ireland and from thence to North America especial-
ly in the C19. Many connections are more or less arbitrary including the presence of a
musical instrument, the viola d’amore, the Peninsular War and the penis, Noah’s Ark
and an “arclight”, let alone the version of Georgia (the US state, though in Tblisi we
should consider an alternative locality), as gorgios which seems to depend on the fact
that much of Dublin’s surviving architectural heritage is Georgian and Joyce’s son was
called Giorgio, the Italian name for George.
3.The abnihlisation of the etym

Such a strange hybrid world picture or representation of place clearly emerges from
Joyce’s distinctive artistic practice of using the place name as a verbal sign, no longer a
proper name limited to its singular referent, but subject to the same possibilities of se-
mantic ambiguity as any other word, often a quasi-etymological or in some sense phil-
ological practice in which Joycean readers delight and which is memorably formulated
by Joyce in the pub scene in Book 2 Chapter 3 as the “abnihilsation” or (to emphasize
its toponymic aspect) the “expolodotonating” of the “etym”:
The abnihilisation of the etym by the grisning of the grosning
of the grinder of the grunder of the first lord of hurtreford ex-
polodotonates through Parsuralia with an ivanmorinthorrorumble
fragoromboassity amidwhiches general uttermosts confussion are
perceivable moletons skaping with mulicules which coventry
plumpkins fairlygosmotherthemselves in the Landaunelegants
of Pinkadindy. Similar scenatas are projectilised from Hullulullu,
Bawlawayo, empyreal Raum and mordern Atems. They were
precisely the twelves of clocks, noon minutes, none seconds.
At someseat of Oldanelang’s Konguerrig, by dawnybreak in
Aira. (FW353. 22-32)
In this account of the abnihilisation of the verbal atom or “etym”, which for Joyce
is further split between detonating and pollenating, there’s a prominent toponymic (or
let’s call it “geoglyphic”) quality, a play between the splitting of the verbal atom and
the extrapolation of locality across the world which is evident in turning Ernest Ruth-
erford’s name into Hurtreford (Dublin’s Irish name translates as Hurdleford Town),
and expanded into an expansive fallout as it “expolodotonates through Parsuralia”.
34
It touches on Poland, the Urals, Pharsalus in Greece (about which Lucan wrote his
Pharsalia), Coventry bumkins/pumpkins turning into the London elegance of Piccadil-
ly (landaus are carriages and pinkindindies were C18 nocturnal strollers who slashed
passers by with their sword points), Honolulu, Bulawayo, Imperial Rome, Modern
Athens (which may also be Edinburgh the Athens of the North as well as the ancient
Egypt of Atem), some seat (Somerset?) of Old Danish conquering (such as Clontarf)
or Danelaw kingdom by Donnybrook in Ireland (Eire, or area or perhaps aria).Since
raum in German is space then empyreal Raum is also empirical space as well as the
explosion projectilising backwards and forwards through history from Rutherford’s
1919 to the eighteenth century and ancient Greece and Rome and still being at the same
time of 12.00 o’clock “noon minutes” and no seconds.A key word here, perhaps, is
“admidwhiches” (with its slightly nautical flavor) which nicely captures the processes
of verbal separation and portmanteau which allow Joyce to accumulate linguistic ref-
erents inside others along whatever lines of associative connection come to hand from
anywhere around the world, giving the impression that where these places come from
is from within some non-place in-between, and making each place seem a microcosm
of all other places potentially contained within it, making each named place itself into
a world.
If we were to embark on a tour of the various occurrences of the word “world”
in Finnegans Wake (133 of them spelled conventionally let alone the distortions and
variations that can be explored) we would no doubt be especially impressed by the
various plays made on the near homonymy of word and world: in newspapers whose
titles declare themselves to be the world,the “fictionable world” of the novel and the
“reel world” of cinema, the repeated formulations about what is the best in the world
in Dublin local history discourse, the multiple worlds (including the play on the title of
theTwo Worlds Monthly in which Samuel Roth had pirated Ulysses in America) that
along with the encyclopaedia of specific place name references (first gathered in Louis
Mink’s Finnegans Wake Gazetteer and now available through such digital information
tools as Raphael Slepon’s fweet )that make up the weltbilt of the Wake.
We may also pause to remark the term “geoglyphy” that appears as a Joycean ver-
sion of geography in the phrase “We may pleasantly heal Geoglyphy’s 29 ways to say
goodbett” (FW 595.07).One memorable stop on my own privileged academic journey
around the world talking about James Joyce, was in Seoul, South Korea in 2004, for a
conference on “Glocalising Joyce”.There (in solidarity with the challenges sometimes
faced by my Asian hosts in distinguishing between the pronunciation of “l” and “r”
35
sounds in English) I used the term to work towards an understanding of theoretical

place and travelling in Joyce, inspired by the epoch-making essay “Ulysses Gramo-
phone: Hear say yes in Joyce” by Jacques Derrida which had theorised his own in-
vitation to travel from Japan to Frankfurt to speak at a Joyce conference in 1984. A
“glyph” is an elemental carving, typically on stone, or a sacred writing as in the word
“hieroglyph” and thus is a form of inscription which reaches back to the pre-literature
of McLuhan’s “village” space. More recently, reaching forward to his premonition of
the electromagnetic age, it has come to mean the particular form taken by a letter, for
example, in a particular digital typeface, as opposed to its general recognisable form.
It seemed and seems a good term to highlight Joyce’s distinctive ways of turning the
word or variations on the word into a newly formulated picture of the world and vice
versa.
Joyce’s writing and Joyce himself as a writer needed a special kind of audience, one
that reaches out beyond the limits of locality towards the world at large. This thesis
was put by the influential French world literature critic Pascale Casanova (who died
only last year) in her influential 1999 book The World Republic of Letters in which she
said that the writer such as Joyce (she also names Kafka and Beckett) seeks for a place
beyond the limits of a localised monoculture national literature in which to find artistic
“autonomy”, though she also acknowledges the need for interlingual translation for it
to do so The canonical authors of world literature such as Dante and Kafka, as David
Damrosch puts it, “function today less as a common patrimony than as rich nodes of
overlap among many different and highly individual groupings” and he too emphasizes
the value of translation.“World literature” as Franco Moretti has neatly put it “is not an
object, it’s a problem”.In Joyce this need is evident and expressed especially powerful-
ly in the writing itself, especially in the later work both in its hybrid world picture and
in its polylingualism which is to some extent still utopian or at least avant-garde, reach-
ing towards a world where everybody understands all the languages that can be spoken
all the time, rather than the real world where we are still dependent on the hard work
of translators translating from one language to another with the underlying assumption
that these languages are fundamentally independent and not mutually intelligible by
most users. But yet this utopian possibility may come increasingly into view.
I was thinking about the fascinating issues of translation in relation to the poly-
lingual Joyce world in preparation for this paper when (quite rarely for me) I clicked
onto Facebook and noticed a post from Fritz Senn Director of the Zürich James Joyce
Foundation and legendary figure in the Joyce world about the new Danish translation of
36
Ulysses. This quickly turned up a list of 65 names of people who had “liked” the post:
Alison Armstrong, Sam Slote, Eishiro Ito, Luke Thurston, 민태운, Gareth Downes,
Shinjini Chattopadhyay, Susan De Sola Rodstein, Arianna Autieri, Caetano W. Galin-
do, Alysia Lim, Annalisa Volpone, Richard Gerber, Paul Devine, Alexander Morozov,
Brian Caraher, Ulker Askerova, Dirce Waltrick Do Amarante, Muhammad Ajmal, Al-
exandros Karavas, Alicia JJ, Timea Venter, Frances Ilmberger, Aguinaldo Severino,
Monica Giovinazzi, Boris Wake, Sabine Doerlemann, Christa Schuenke, Alan Shock-
ley, Omid Ghahreman, Mina Djuric, Sabine Baumann, Beda Thornton Senn, Tamar
Ra, Noel O’ Grady, Syamantakshobhan Basu, Marija Girevska, Manana Gelashvili,
Catherine Rhatigan, Micaela Schweiger.
It’s a small world, you might be thinking, and one in which the global villages an-
ticipated by McLuhan may take many different forms beyond the village in its literal
geographicalsense as represented by Saint-Gérand-le-Puy. Indeed this deterritorialised
“village” community may be more familiar to Joyceans than either that particular vil-
lage or any other particular physical location could be. The list includes Joyceans form-
ing something like a world republic of letters located in Senn’s Zürich, in America, En-
gland, Ireland, Japan, Korea, India, Turkey, Azherbijan and, fortuitously, here in Tblisi,
all interested for one reason or another in Joyce’s Ulysses and many skilled in many
languages and translation, or indeed in Senn himself, though none apparently posting
“likes” from Denmark or apparently being members of the assumed target audience for
a Danish translation of Ulysses, at least one defined as a translation of book wr itten in
one language (English) but supposedly unreadable in another (Danish) until now and
required by the Danish reader as their first or sole means of access to Joyce.
Notwithstanding the populist nationalisms that have recently mushroomed in the
political world, in such communities we are to some extent denizens of a village that
is increasingly deterritorialised (for some euphorically and for some no doubt also dis-
turbingly) beyond the boundaries of nation and one that is increasingly recognisable
in the weltbilt or world picture offered in those aspects of Joyce work that so appealed
to McLuhan’s vision of the future. Joyce was Irish (in a sense used by Honorary Con-
sul Jeff Kent at the opening ceremony yesterday) but he was also British (as his 1940
Carte d’Identité shows), Italian, Swiss and French and, like Diogenes of Sinope, he
declared himself through his writing to be “cosmopolitan”: a citizen of the cosmos or
the world. Diogenes was a Cynic Philosopher and, as a recent study by Arthur Rose has
argued, such writers as Beckett, Borges, Coetzee and by extension Joyce may be said
to be “cynical cosmopolitans” inasmuch as they write in the cynic tradition, awkward-
37
ly placed at odds with particular localities and speaking a difficult truth beyond their
assumptions and concerns.
A walk around the charming village of Saint-Gérand-le-Puy where Joyce spent
much of 1940 can be unsettling for the Joyce student but also provoking and instruc-
tive in important ways.Though Joyce himself for any number of personal, professional
or political reasons may have felt awkward or displaced in the village, in Finnegans
Wake, Joycean world writing or “geoglyphy” had already set out the challenging proj-
ect of writing a new “village” condition of modernity in a new vocabulary, packed with
particulars that might make up the impression of global totality in particular locality
in a way that encourages the reader to annotate, compile indexes, make lists and glos-
saries and also theorise the encyclopaedic itself as a condition of the “global villages”
of a “tense future” world in an era of total war that anticipates McLuhan’s vision of
an electromagnetic future and has clear resonances for us still, especially as we move
towards contemporary political challenges in climate, migrancy, political community
and identity that have global as well as local dimensions for us all.
38
Martin Heidegger’s “The Age of the World Picture” in The Question Concerning Technol-
ogy and Other Essays, trans. W. Lovitt (New York: Harper & Row, 1977): 115–136.
James Joyce, Selected Letters (London: Faber, 1978): 78.
Richard Brown, “The Ghost Walks in London” etc. in James Joyce Broadsheet 104 (June
2016): 1-6. Richard Brown “Time, Space and the City in “Wandering Rocks” inJoyce’s
Wandering Rocks European Joyce Studies 12 edited by Andrew Gibson and Steven Mor-
rison (Amsterdam: Rodopi, 2002):57-72. Recent published work on Joyce and the city in-
cludes Metropolis and Experience: Defoe, Dickens, Joyce by Hye-Joon Yoon (Newcastle:
Cambridge Scholars, 2012) and James Joyce, Urban Planning and Irish Modernism: Dub-
lins of the Future by Liam Lanigan (London: Palgrave, 2014).
Richard Ellmann, James Joyce (Oxford: Oxford University Press, 1982): 728-39and Neil
Davidson “With Joyce in Saint-Gérand-le-Puy: Maria Jolas’s ‘Joyce en 1939-1940’ in
Translation” James Joyce Quarterly (Volume 52, Number 1, Fall 2014): 129-142.
Ellmann: 738; Jolas in Davidson; 139.
Marshall McLuhan, The Gutenberg Galaxy: The Making of Typographic Man (Toronto:
University of Toronto Press, 1962): 73.
Paul Saint-Amour, Tense Future: Modernism, Total War, Encyclopaedic Form (Oxford: Ox-
ford University Press, 2015).The special issue Encyclopaedia Joyce guest-edited by James
Blackwell and Kiron Ward James Joyce Quarterly (Volume 55, Nos 1-2 Fall 2017-Winter
2018) draw consistently on Saint Amour’s book.
Vincent Deane, Daniel Ferrer and Geert Lernout (eds.), James Joyce The Finnegans Wake
Notebooks at Buffalo: Notebook VI.B. 29(Brussels: Brepols, 2001): 8.
James Joyce Finnegans Wake (Oxford: OUP, 2012).
Selected Letters: 317.See Geert Lernout “The Beginning” in Luca Crispi and Sam Slote
How Joyce Wrote “Finnegans Wake”(Madison: University of Wisconsin Press, 2007): 49.
Louis Mink, A Finnegans Wake Gazeteer(Bloomington: Indian University Press, 1978).
Richard Brown, “From Stephen’s ‘Roads’ to Postmodern Places in the Later Joyce” James
Joyce Journal (Seoul: James Joyce Society of Korea) 14.2 (December 2008): 9-27.
Pascale Casanova, World Republic of Letters, trans. M.B. DeBevoise (Cambridge Mass.:
Harvard University Press, 2004).
39
David Damrosch, What is World Literature? (Princeton: Princeton University Press, 2003):
281.
Franco Moretti “Conjectures on World Literature” in New Left Review, 1 (2000): 55-67.
Arthur Rose, Literary Cynics: Borges, Beckett, Coetzee (London: Bloomsbury, 2017).
BIBLIOGRAPHY
Blackwell, James and Ward, Kiron. (Guest editors). Encyclopaedia Joyce . James Joyce
Quarterly. Volume 55, Nos 1-2 (Fall 2017-Winter 2018).
Brown, Richard. “The Ghost Walks in London” and other pieces. James Joyce Broadsheet
Issue 104 (June 2016): 1-6.
----- “Time, Space and the City in “Wandering Rocks”. In Joyce’s Wandering Rocks Euro-
pean Joyce Studies 12 edited by Andrew Gibson and Steven Morrison. Amsterdam: Rodopi,
2002: 57-72.
----- “From Stephen’s ‘Roads’ to Postmodern Places in the Later Joyce” James Joyce Jour-
nal . Seoul: James Joyce Society of Korea. 14.2 (December 2008): 9-27.
Casanova, Pascale. World Republic of Letters, trans. M.B. DeBevoise. Cambridge Mass.:
Harvard University Press, 2004.
Damrosch, David. What is World Literature? Princeton: Princeton University Press, 2003:
281.
Davidson. Neil. “With Joyce in Saint-Gérand-le-Puy: Maria Jolas’s ‘Joyce en 1939-1940’ in

Translation”. James Joyce Quarterly. Volume 52, Number 1 (Fall 2014): 129-142.
Deane, Vincent, Ferrer, Daniel and Lernout, Geert (editors).James Joyce The Finnegans
Wake Notebooks at Buffalo: Notebook VI.B. 29 . Brussels: Brepols, 2001: 8.
Ellmann, Richard. James Joyce. Oxford: Oxford University Press, 1982: 728-39.
Heidegger, Martin. “The Age of the World Picture” in The Question Concerning Technol-
ogy and Other Essays. Translated by W. Lovitt. New York: Harper & Row, 1977: 115–136.
Joyce, James. Selected Letters. London: Faber, 1978: 78.
----- Finnegans Wake. Edited by Robbert-Jan Henkes, Erik Bindervoet and Finn Fordham.
Oxford: OUP, 2012.
40
Lanigan, Liam. James Joyce, Urban Planning and Irish Modernism: Dublins of the Future.
London: Palgrave, 2014.
Lernout, Geert.“The Beginning”. In Luca Crispi and Sam Slote How Joyce Wrote “Finneg-
ans Wake”. Madison: University of Wisconsin Press, 2007: 49.
McLuhan, Marshall.The Gutenberg Galaxy: The Making of Typographic Man. Toronto:
University of Toronto Press, 1962: 73.
Mink, Louis. A Finnegans Wake Gazeteer. Bloomington: Indian University Press, 1978.
Moretti. Franco. “Conjectures on World Literature” in New Left Review, 1 (2000): 55-67.
Rose, Arthur. Literary Cynics: Borges, Beckett, Coetzee. London: Bloomsbury, 2017.Saint-
Amour, Paul. Tense Future: Modernism, Total War, Encyclopaedic Form. Oxford: Oxford
University Press, 2015.
Yoon. Hye-Joon. Metropolis and Experience: Defoe, Dickens, Joyce. Newcastle: Cam-
bridge Scholars, 2012.
41
SALOME DAVITULIANI
IVANE JAVAKHISHVILI TBILISI STATE UNIVERSITY
Exiles by James Joyce and Betrayal by

Harold Pinter
James Joyce, a failed poet and unsuccessful playwright, in his only dramatic piece
Exiles intended to create what he called “the naked drama” or the perception of a great
truth, or the opening up of a great question both having a more far-reaching importance
than mere stories about conflicting characters.
It is noteworthy that Harold Pinter, winner of the Nobel Prize in 2005 “who in his
plays uncovers the precipice under everyday prattle and forces entry into oppression’s
closed rooms”, one of the most acclaimed playwrights of the XX century was the sec-
ond person to put Exiles on stage in 1970.
Although Pinter himself strenuously denied any direct cause and effect, the expe-
rience of working on Exiles seems to have penetrated his artistic imagination. He sat
down to write Old Times in the winter of 1970 while saturated in Joyce’s play; and
while the two works are obviously very different, both deal with the contest between
two figures for the soul and body of a third, and wit the ultimate unpossessability of the
triumphant heroine. The influence of Exiles can be traced in Betrayal (1978) with both
plays examining the theme of friendship and betrayal.
Joyce in Exiles actively uses the comparative power of pastiche, exposing the flaws
of disparate theatrical forms by placing them in juxtaposition. Joyce appropriates com-
mon theatrical techniques, strips them of any authority, and, ultimately, exposes the gap
between character and communication. “Circe,” the closet drama nestled in the middle
of Joyce’s epic Ulysses achieves the same effect through a carnivalesque hallucination.
Other resemblance between Joyce and Pinter that was pointed out by Frank Mc-
Guiness, while Pinter was awarded the Honorary Doctorate on the hundredth anniver-
sary of Ulysses (which also cannot be accidental) is that both writers shared a “credo
of disobedience “non serviam”, since “art never, ever bows to the logic and lies of
authorities”
42
salome daviTuliani
ivane javaxiSvilis saxelobis
Tbilisis saxelmwifo universiteti
jeims joisis „gaZevebulni“ da harold

pinteris „Ralati“
xelovnebis sxvadasxva dargSi, iseve rogorc literaturaSic Zalian

didi da mniSvnelovani roli aqvs gamoxatvis formas. swored gamox-
atvis sxvadasxva formebi qmnidnen epoqebs da mimdinareobebs. meoce
saukunis erT-erTma yvelaze cnobilma avtorma jeims joisma SeZlo
da swored miseuli gamoxatvis gansakuTrebulebuli formiT Seqmna is
teqstebi, romelTa gareSec modernizmis epoqa warmoudgenelia. mas
Semdeg sxvadasxva avtori garkveulwilad ganicdida mis gavlenas.
„modernistuli mwerlobis gamaerTianebeli Tvisebebidan upirveles
yovlisa aRsaniSnavia imJamad axladaRmoCenili koleqtiuri aracnobi-
eris racionalizacia, misi literaturuli „gacnobiereba“ da modern-
istebis mier mxatvrul saSualebad gamoyeneba“ - wers Temur kobaxiZe,
maRali modernizmis Sesaxeb.aqedan gamomdinare, SegviZlia vifiqroT,
rom meoce saukunis miwurulis avtorisaTvis iseTi rogoric harold
pinteria, modernizmis epoqa, sadac ZiriTadi aqcenti „aracnobieris
racionalizmzea“ faqtobrivad ukve kargad nacnobi literaturu-
li mimdinareoba iyo. amavdroulad, aRsaniSnavia, is faqti, rom qro-
nologiurad TiTqmis erTmaneTis Semdgom literaturul mimdinare-
obebSi, iseTebSic ki, sadac garkveulwilad, sruliad moSlilia wina
mimdinareobis maxasiaTeblebi, garkveuli saerTo detalebi mainc rCe-
ba. SesaZloa, xSirad swored es saerTo detalebi aRiqmebodes xolme
gavlenad. Tumca, rodesac teqstebis ganxilvisas TiTqmis saerTo siu-
JtTan da saerTo TematikasTan mivdivarT, maTi personaJbis ambebisa
da istoriebis saerTo maxasiaTeblebiT, vfiqrob es ukve dasturia,
rom avtorebs Soris garkveuli gavlena namdvilad igrZnobida.
ukve Semdeg periodSi, absurdis dramis avtorad miCneuli, harold
43
pinteri mis erT-erT sityvaSi, bavSvobaSi momxdar, joisTan dakavSire-

bul ambavs ixsenebs:
I also managed to save up to buy a copy of Ulysses which I placed on the
bookshelf in the living room. My father told me to take it off the shelf. He
said he wouldn’t have a book like that in the room where my mother served
dinner.” ii
Tumca, pinteri Sors ar yofila joisiseuli teqstebidan da mogvi-
anebiT sxvadasxva kvlevis safuZvelze dadasturda, rom pinterTan
joisis teqstebis anareklebi gvxvdeba. pinteris erT-erTi mkvlevari,
ronald noulsi statiaSi,iii „pinteri da meoce saukunis drama“. (“Pinter
andthe Twentieth-century drama”), miiCnevs, rom piesaSi „Ralati“ (“The
Betrayal”) SegviZlia struqturuli msgavseba vipovoT joisis piesasTan
„gaZevebulni“ (“Exiles”).
rogorc cnobilia, „gaZevebulni“ (“Exiles”) joisis erTaderTi piesaa.
miiCneven, rom joisi cnobili norvegieli avtoris, heinrik ibsenis gav-
lenas ganicdida da Tvlian, rom misi personaJebic nawilobriv ibenis
bolo piesidan, „roca Cven mkvdrebi viRviZebT“ (“When We Dead Awak-
en”), irekleba.
joisis piesaSi „gaZevebulni“ riCardi da berta rva wlis vaJTan erTad
brundebian italiidan dublinSi, sadac realurad fizikurad saxlSi
imyofebian, magram dublinSi, im adgilas rasac „saxls“ uwodeben, sinam-
dvileSi Tavs sulierad devnilebad grZnoben. joisi piesaSi gadmogvcems
oTxi personaJis ambavs. isini periodulad ixseneben TavianT warsul
urTierTobebs da aseve aSkarad Cans, rom faqtobrivad ver axerxeben
awmyoSi realizebas. piesaSi Zveli megobrebi roberti da beatriCe mox-
arulebi arian riCardisa da bertas dabrunebiT. mTeli siuJeturi xazi,
ki agebulia maT yofil da axlandel sasiyvarulo urTierTobebze. am
urTierTobebidan gamomdinare SeiZleba iTqvas, rom arc erT personaJs
ar aqvs is maxasiaTeblebi, rac maT mkveTrad gansazRvravda.
noulsi dawvrilebiT gvTavazobs im detalebs rac gvarwmunebs mis
mosazrebaSi, rom pinteri meoce saukunis erT-erTi yvelaze mniSvnelo-
vani avtoris gavlenas ganicdida. igi wers, rom joisTan riCardi da
berta, robertisa da beatriCes Sesaxvedrad cxra wlis Semdeg brundebi-
an italiidan dublinSi da aseve, aRniSnavs, rom pinteris personaJebi,
jeri da emac cxra wlis Semdeg xvdebian erTmaneTs. aseve, „gaZevebul-
44
nis“ pirveli moqmedebis dasasruls berta gamoutydeba roCards, rom

robertTan flirti hqonda da igive detals vxvdebiT „RalatSi“ roca
ema jeris gamoutydeba, rom yvelaferi aRiara robertTan.
noulsi, aqve ganixilavs im pasaJs, piesaSi „gaZevebulni“ (“Exiles”) sad-
ac, riCardi robertis kotejisken miemarTeba da gzad roberts RalatSi
amxels, etyvis, rom yvelaferi icoda da xvdeboda dawyebamdec ki.
Richard:I know everything. I have known for some time… Since it

began between
you and her.
Robert: This afternoon?
Richard: No. Time after time, as it happened”.
Robert: And you never spoke! You had only to speak a word – to
save me from
myself.
analogiuri epizodi gvaqvs piesaSi „Ralati“, rodesac jerisTan stum-

rad misuli roberti etyvis jeris, rom yvelaferi bevrad adre icoda.
Robert: No, she didn’t. She didn’t tell me about you and her last night. She
told me about you and her four years ago. Pause. So she didn’t have to tell me
again last night. Because I knew. And she knew I knew because she told me
herself four years ago. Silence
noulsi ganixilavs im pasaJs, roca piesaSi „gaZevebulni“ (“Exiles”),

meore moqmedebis dasasruls riCardi bertas da roberts erTad da-
tovebs, daeWvebuli roberti ki bertas ekiTxeba, yvelaferi uTxra Tu
ara da berta pasuxobs, rom yvelaferi mouyva. aseTive epizodi gvxvde-
ba „RalatSi“ (“The Betrayal”) roca jeri emas ekiTxeba, mouyva Tu ara
guSin maTze roberts da emac pasuxobs, rom diax yvelaferi mouyva
roberts.
Jerry: You told him everything?
Emma: I had to.
Jerry: You told him everything . . . about us?
Emma: I had to.
45
aseve dawvrilebiT aRniSnavs noulsi im pasaJebs, sadac orive piesa-

Si personaJebi erTmaneTs ganixilaven ise rogrc „ucxos“. magaliTad,
piesa „gaZevebulnis“mesame moqmedebaSi berta riCards mimarTavs, rom
is ucxoa da igi Tavs sakmaod cudad grZnobs imis gamo, rom ucxosTan
erTad cxovrobs.
Bertha: Don’t touch me! You are a stranger to me. You do not understand any-
thing in me—not one thing in my heart or soul. A stranger! I am living with a
stranger!
noulsi iqve ganixilavs analogiur monakveTs piesidan „Ralati“

(„The Betrayal”), sadac roberti aRniSnavs, romsruliad ucxo adamianad
iqca emasTvis.
Robert: So let’s say I, whom they laughingly assume to be your husband, had
taken the letter, having declared myself to be your husband but in truth being
a total stranger.”

rogorc vxedavT ronald noulsi, am or piesas Soris, namdvilad bevr

saerTo detals gvTavazobs. Tumca, vfiqrob, aqve aucileblad unda
aRvniSnoT is damatebiTi detalebi, rasac pinteri TviTon gvawvdis. mag-
aliTad is rom „Ralatis“ personaJebic italiaSi kunZul torCeloze
yofnis periods ixseneben iseve rogorc roberti da berta.
pinteri aseve iseT avtorebs iyenebs Tavis piesaSi, visac aucileblad
irlandiasTan mivyavarT. magaliTad erT-erT monakveTSi, misi perso-
naJebi ganixilaven im periods, rodesac ieitss kiTxulobdnen.
pinteris erT-erTi mkvlevari, antoni roCe mis statiaSi „pinteri
da irlandia“ (“Pinter and Ireland”), Tvlis, rom cnobili irlandieli
avtori ieitsi did rols TamaSobs pinteris piesaSi „Ralati“ (“The
Betrayal”). roCe wers, rom piesis samive personaJi CarTuli arian lon-
donis gamomcemlobaSi da isini periodulad aRniSnaven, rom didebuli
SeTanxmeba dades vinme axalgazrda avtorTan. es axalgazrda avtori,
ki Tavis mxriv godos gvagonebs, radgan arasodes Cans piesaSi, Tum-
ca, sakmaod mniSvnelovani datvirTva aqvs.roCe aRniSnavs, rom piesaSi
ieitsis xseneba emociurad asxvaferebs movlenebs. da amis dasturad
ganixilavs pasaJs, sadac roberti da jeri ieitss ixseneben.
46
Robert: Have you read any good books lately?

Jerry: I’ve been reading Yeats.
Robert: Ah. Yeats. Yes. (Pause).
Jerry: You read Yeats on Torcello once.
Robert: On Torcello?
Jerry: Don’t you remember? Years ago. You went over to Torcello in the dawn,
alone. And read Yeats.
Robert: So I did. I told you that, yes. (Pause). Yes. (Pause). Where are you
going this summer, you and the family?
Jerry: The Lake District.
SeiZleba iTqvas, rom ieitsis xseneba piesaSi kidev erTxel migvaniS-

nebs irlandiisken. es SesaZloa, kidev erT magaliTad gamogvadges, ro-
melic gaamyarebs azrs imasTan dakavSirebiT, rom garkveul periodSi
pinterma didi irlandieli avtorebis gavlena ganicada.mniSvnelovnad
mimaCnia, ganvixiloT, is cnobili laTinuri sentencia, romlis mixed-
viTac „araferia axali mzisqveSeTSi“ (“nihil novi sub sole”). vfiqrob,
mocemuli sentencia gulisxmobs, rom nebismieri Cveni qmedeba pirveli
qmedebis gameorebaa da samyaroseuli ciklurobac garkveulwilad am-
yarebs am mosazrebas. igive azri SegviZlia movargoT pinteris perso-
naJebsac, isini kvlav imaves imeoreben da kvlav wreze dadian, TavianT
warsulSi iseve, rogorc joisis personaJebi. rogroc roCe aRniSnavs,
ieitsma icoda „ukan ocnebis“ potenciali dramaSi da iyenebda kidec
Tavis sxvadasxva piesebSi.
Every event so dreamed is the expression of some knot, some concentration
of feeling separating off some period of time… and the dream is as it were a
smoothing out or an unwinding.
mocemul frazas roCe warmoadgens Tavis statiaSi da aqve mianiSnebs,
imis Sesaxeb, rom am mosazrebas jorj mils harperi da volter keli
hudi, ganixilaven ieitsis „xilva“ (“A Vision”) kritikul gamocemaSi. (“A
critical edition of Yeats’ “A Vision”, 1925). Tavad roCe ki, mocemul mosazre-
baze dayrdnobiT miiCnevs, rom pinteris piesa „RalatSi“, swored am
formiT gvaqvs zogierTi scena warmodgenili. dayofili gvaqvs drois
47
periodebi da grZnobebis xarisxebi. aqve magaliTad mohyavs mesame sce-

nis epizodi, rodesac jeri aRniSnavs Tu rogori rTulia ori Seyva-
rebuli adamianisTvis Sexvedra. ema ki cxadad warmoaCens am yvelafers
da pasuxobs.
“Emma: You see, in the past . . . we were inventive, we were determined, it

was… it seemed impossible to meet . . . impossible . . . and yet we did. We met
here, we took this flat and we met in this flat because we wanted to.”
roCe aRniSnavs, rom mocemul pasaJSi vxedavT emas, romelis sityve-

bic „ukan ocnebisas“ TiTqos gambedaobas iZenen survilis fonze. aseve,
is aRwers, rom piesis ganmavlobaSi personaJebi erTdroulad ramden-
ime rols TamaSoben. isini cdiloben moirgon sakuTari Tavi da warsu-
li, maTsave momavalSi, sxvadassxva formebiT. es imaze mianiSnebs, rom
personaJebi, drois sxvadasxva monakveTebSi, sruliad gansxvavdebobd-
nen TavianTi Tavebisgan.
mocemuli msjelobidan gamomdinare, SegviZlia davaskvnaT, rom
faqti, romlis mixedviTac, joisis da pinteris personaJebi, TiTqmis
sruliad aisaxebian erTmaneTSi swored im azrs amyarebs, rom sxvadasxva
epoqebSi da sxvadasxva literaturul mimdinareobebSi, sruliad Sesa-
Zlebelia, rom erTi da igive Tematika da siuJeturi xazi warmoadgino.
es yvelaferi imis maniSnebelia, rom adamiani misi SegrZnebebiTa da
emociebiT arasodes Secvlila. antikuri periodidan dRemde isev ise
ganvicdiT da isev ise gvtkiva, gvixaria da SevigrZnobT rig movlenebs
rogorc manamde. icvleba mxolod gamoxatvis formebi da saSualebebi.
48
kobaxiZe, Temur. „tomas elioti da maRali modernizmis literaturuli

esTetika“. gamomcemloba „universali“. Tbilisi. 2015. gv.13.
„danazogiT movaxerxe ulises yidva, romelic misaReb oTaxSi wgnebis
Taroze Semovde. mamaCemma miTxra, rom Tarodan CamomeRo. man Tqva, rom
aseTi wigni ar iqneboda im oTaxSi sadac deda sadils awyobda xolme.“
(Pinter H. 2009:59)
Knowles Ronald. “Pinter and twentieth-century drama”. Cambridge University
Press. (2009) pp. 74-88.
„roberti: ara, mas ar, guSin ar uTqvams masze da Senze. Tqvenze oTxi wlis
win miTxra. pauza. ase, rom guSin isev Tqma aRar sWirdeboda. imitom rom
vicodi. da man icoda, rom me vicodi. Tavad miTxra oTxi wlis win. siCume“.
Pinter, Harold. Betrayal. Grove Press. (2013). p.21.
„jeri: yvelaferi mouyevi mas?ema: ase moxda. jeri: yvelaferi mouyevi...
Cvens Sesaxeb?ema: momixda.“ Pinter, Harold. Betrayal. Grove Press. (2013).
p.18
nu mexebi, Sen ucxo xar, araferi gesmis CemSi. arc Cemi gulis da arc
sulis, ucxo, me ucxosTan erTad vcxovrob. Joyce James. Exiles. Dover
publication. (2002). p.67
roberti: modi vTqvaT rom viRacebi sasacilod miicneven Cems qmrobas,
werilis rom miviRe aRmovaCine, rom ki, var Seni qmari, magram sruliad
ucxo. Pinter, Harold. Betrayal. Grove Press. (2013). p. 33.
Roche, Anthony. “Pinter and Ireland”. Cambridge University Press. (2009)
pp. 195-216.
„roberti: rame kargi wigni wagikiTxavs am bolo dros?
jeri: ieitss vkiTxulob.
roberti: ah. ieitsi. diax. pauza.
jeri: odesRac torCeloSi kiTxulobdi ieitss.

roberti: torCeloSi?

jeri: ar gaxsovs? wlebis win. torCeloSi waxvedi, marto. gamTniisas da
ieitsi waikiTxe.
roberti: egre vqeni. Tavad giTxari, diax. pauza. diax. sad midixar am zaf-
xuls, Sen da ojaxi?
jeri: poetebis tbebze.” Pinter, Harold. Betrayal. Grove Press. (2013). p.
23.
„yvela movlena ase naocnebari, kvanZis gamoxatvaa, raRac droisgan dayo-
fili SegrZnebebis koncentracia... da ocneba, TiTqos is iyo damsxvreuli
da danawevrebuli.“ https://epdf.pub/a-critical-edition-of-yeats-a-vi-
sion.html
„ema: xedav, warsulSi... Cven viyaviT gamogonilebi, Cven viyaviT gansaz-
Rvrulebi, es iyo... Sexvedra SeuZlebeli Canda... SeuZlebeli... da mainc
SevZeliT. Cven SevxvdiT aq, Cven es bina aviReT da SevxvdiT am binaSi, im-
49
itom rom ase gvindoda.“ Pinter, Harold. Betrayal. Grove Press. (2013).
bibliografia
James Joyce, Exiles: A Play in Three Acts. http://www.gutenberg.org/ebooks/55945

Pinter, Harold. Betrayal. (Grove Press, 2013).
Knowles Ronald. Pinter and twentieth-century drama. (Cambridge University
Press. 2009).
Roche, Anthony. Pinter and Ireland, (Cambridge University Press.,2009)
kobaxiZe, Temur. tomas elioti da maRali modernizmis literaturuli
esTetika. gamomcemloba „universali“. Tbilisi. 2015.
50
LIZI DZAGNIDZE
James Joyce and Otar Chkheidze - Painters and Chroniclers

(according to Dubliners and Études of my Village)
Writer’s job is not easy in any country, as it is the greatest responsibility towards
the past, one’s own time and the future. Empirical time and space mostly try to silence,
train and tame him and against all these, writers undoubtedly create literature that re-
mains forever in literary, cultural and public consciousness. As such can be considered
James Joyce for Irish people and Otar Chkheidze for Georgians; Both excellent artists
and chroniclers. The latter roles are well illustrated in the works Dubliners andÉtudes
of my Village. In them we see not only the specifics of urban and rural life but also
the problems, tribulations of the nation in general, while the books serve ashistorical
and documentary guides of sort. O. Chkeidze himself lauds Joyce for this reason in his
article ‘Nation of James Joyce‘
He diligently describes Ireland, Dublin. Like a true naturalist, a documentary-
ist. Describes so that if you remember well you will not be lost when you get
to Dublin. Ulysses will also serve as a guide“i
To begin with the style discussion, in the dialogue of Études of my VillageOtar Ch-
kheidze responds to the term “rural prose” which was prevalent in the critique of the
book and says that this is nothing but a working term, suggesting that its opposite is
“urban prose”, which author believes grinds down the writer as it shifts narration focus
on just landscape function . By this logic Dubliners does not fit into the specifics of just
“urban prose”, even though it is roughly to say about a provincial city. However, when
researching fiction, it is sometimes of little importance whether we seek universal in
particular or particular in universal because a person or his distress falls within a mi-
metic framework, as O. Chkheidze would say:
Man is a man: he is good, avid, he loves, hates, is wise, is lawless, is modest,
of a high spirit, classic literature does not know a man different than this, nor
does modernist literature know any different.”
Hence, when it comes to artistic expression, it doesn’t matter whether the character
is in the country or in the city, he is expressed in the same way. The main task for the
51
author is to deeply explore and understand the space in which he depicts his people,
characters, and in our case, both authors place great importance on the perception of
their space.
I returned to the country after graduating. Livimg in the country made me
think a lot:I had a better look at the city and the countrylifeitself from there. I
looked at the tragic existence of our country, our people. I hadn’t noticed this
pain in the city. Here, in my eyes, people were like each other. They stayed in
one establishment and shared the same interests”iii
While we read in Joyce’s 1921 letter to Arthur Power
They [writers] were national first, and it was the intensity of their own nation-
alism which made them international in the end [...] For myself, I always write
about Dublin because if I can get to the heart of Dublin I can get to the heart of
all the cities of the world. In the particular is contained the universal.iv
James Joyce’s Dubliners presents naturalistic display of the city, despite critics’ dis-
pute that it should not be interpreted in a naturalistic / realistic frame (as it plays a very
important role in forming author’smodernist structure), it is still quite a descriptive
collection of short stories (which in fact is such a bound and compositionally cohesive
integrity that can easily be perceived as a novel).In reality it is a collection of stories
that masterfully paint pictures of the daily, monotonous life of a provincial city, the
fate of little people and their mediocre existence. Early twentieth-century Irish city life,
people in the city - with misery and happiness, pain and joy, a middle-class colorless
daily life and human emotions. Joyce said –
My intention was to write a chapter of the moral history of my country and I
chose Dublin for the scene because that city seemed to me the centre of pa-
ralysisv
The writer’s thoughts on his own creation are not often credible, though in this case
Joyce accurately sets out both his and the Dubliners purpose. Falling is one of the main
themes in the book. It is noteworthy that in addition to the idea of paralysis, the word
“fall” runs in the background as a keynote- sometimes in a straightforward, sometimes
symbolic and sometimes metaphorical way. For example, in Grace, as used in a dia-
logue between Kernan’s friends - “The light music of whisky falling into glasses made
an agreeable interlude.” Let’s not forget the fact that Kernan falls down the stairs in
the direct sense of the word, and after this we begin to pay more attention to his moral
(or ideological) fall. The modernist writer makes extensive use of extratextual associ-
ations, symbols, ironic hints of Dublin presence, literary allusions to Dante, the Bible,
52
and so forth. By synthesizing all this, it achieves the “ambiguity” that Joseph Conrad,
who stands at the forefront of modernism, considered as a feature of great literature.vi
Joyce was able to portray Dublin as a side province, the country’s most remote prov-
ince. Dublin is a much larger city than can be seen in the work. What is most interesting
is that in describing these common people and simple situations, at least a monumental
figure was drawn from the young man, since Joyce was only 22 when he wrote the
Dubliners.
Like Joyce,in his vast artistic world Otar Chkheidze speaks of life and people who
resemble each other with fate and life. Like Joyce, he does it dynamically, without
haste, tasting every word rhythmically. He speaks of the diversity of life, of death, of
beauty and of chastity, of the fall and rise of man. Short stories in Études of my Village
feature a barbed-wire Georgian village - as a symbol of the country’s dramatic exis-
tence.vii
The whole hostory of Georgia’s twentieth century and the first five years of the 21st
century is described in Otar Chkheidze’s novels, short stories and essays. He traces
rhythm and breath of the era step by step with unparalleled mastery of artistic speech.
His novels Fog and Artistic Revolution [both in Georgian] are clear proof of that.
Therefore, Otar Chkheidze is fairly entitled to the title of chronicler.
Otar Chkheidze’s literary vocabulary in Études of my Village is enriched with folk
expressions, proverbs, legends, which in turn should be based on Georgian folklore and
ancient Georgian writings. In the book much attention is paid to the contextual use of
words. Like the analysis of James Joyce’s “Fall”, the author not only expresses a sub-
ject or event with them, but also analyzes and goes deeper into the intellectual and phil-
osophical aspects of the word itself. As if the word for him is a mystical entity. He often
focuses on the colors that create the tone of a scene. The same is true of James Joyce;
It is impossible to overlook “The Dead” in this regard, where Mervyn Browne sits at a
table with a brown goose, while Gabriel is und ecided about reciting a Browning poem
and the atmosphere is filled with what Joyce calls “brown imperturbable faces”.
From Études of my Villagewe see that unlike Joyce, Otar Chkheidze is a realist, in
this sense, the successor of Ilia Chavchavadze and Mikheil Javakhishvili and the ex-
tension of their paths. However, his realistic method is different. He enriches realism
by adding a tinge of documentary. In fact, he brings real people into this short stories,
and by preserving names and surnames, he creates completely new type of fictional
characters (for example, Geronti Kikodze and Leo Kiacheli in‚ Gamismtevlebi‘ [in
Georgian]).
53
Chkheidze’s works are all-encompassing; They represent the everyday, spiritual,

social, psychological, religious, political aspects of life, which means that the short-
comings of life are in excess. In the etudes the author presents the panorama of the fall
of the Georgians which again leads to the discussion of Joyce. Both books deal with
the routine lives of the characters, which makes life more intolerable and does not offer
any new, interesting prospects.viii
Ambiguity of the genre to some extent, like the Dubliners, applies to the etudes too.
The author himself writes in the afterword of the first book –
“If I had spared no effort, this would have been a novel - a novel. Now what
this is, I can’t easily say, the theory of the genres has been so mixed up [...] that
this will be an etude novel - miniature novel”.
One important feature with Joyce is that some of the stories of the Dubliners(‘Eve-
lyn’, ‘Two Gallants’) can stand alone and be read separately without missing the liter-
ary atmosphere that the writer creates from the very first page of the book. This applies
to Otar Chkheidze as well, since the story of ‘Kursha’ stands apart in the Études of my
Village.The author uses such a specific appeal, request, and supplication that the story
goes far beyond being mundane and is presented in a generalized way to a reader. We
easily see that “Kursha” is not an ordinary dog who suffers lying under the sun. Nor
is the new puppy in the yard an ordinary puppy. The greatest emphasis is on the over-
powering of the individual, the moral breakdown and the urge - to return to the old
greatness and courage. “Kursha would drop and fall in the middle of the yard,” just as
the ideals of the villagers were falling by pressuring and constraining bigger ideals (it
is worth noting that here, too, falling is a major keynote).Kursha’s yapping seems to be
a call to such people. With the mastery of the writer, the reader easily realizes that this
story is about something more than just the loss of a devoted family dog. This intona-
tion, expressiveness and sense of expectation highlight symbolization of Kursha as a
main character. The misery of Irish boys and girls is also a symbol of the devaluation
and decadence of a much greater ideal than just their personal predicaments.
In addition to the ideological and structural similarities, both writers encountered
obstacles with publishing and criticism. Court trials and scandalous reactions connect-
ed to James Joyce’s Ulysses is well known, the same can be said regarding Dubliners -
the book was written in 1905, published in 1914, when Joyce had it presented 18 times
to 15 different publishing houses (Maunsel & Roberts publishing house even burnt a
copy of Dubliners in 1909). Otar Chkheidze was also highly criticized for publishers
54
and Soviet public. To begin with, Otar Chkheidze’s novels were published in the 50’s of
the 20th Century: The Shoal (1958) and Mist (1955) [both in Georgian],appearance of
the latter caused great criticism and was not surprising in the reality of that time, as the
novel satirically expressed the full brilliance of the former Soviet Union and the fiercest
ideological struggle, at the instigation of the authorities. The first secretary of the Cen-
tral Committee of the Communist Party of the Soviet Union specifically mentioned it
in his report as “exaggerator of the negative and atypical aspects of our lives.” Nor was
Etudes of My Village an exception, in the author’s words it caused “a fierce fury” - “I
say a fierce fury and I stop and think maybe I am exaggerating, yeah, but no.”The sto-
ry ‘A Cradle’ [In Georgian] received a multifaceted response, in 1947 one newspaper
wrote that Otar Chkheidze was artificially limiting the ideological-social significance
of his work, since he avoided the true reflection of Soviet reality. The article ends with
the following message:
It is revolting that the young writer does not take into account criticism and public
opinion and stubbornly continues to go wrong.
At one time it might have been reprehensible but I think this is what sets Otar
Chkheidze’s modern readers in great sympathy for the author and his work. And the
literary criticism itself of that time also paints a picture of how opposed the author
was to the distorted, framed and falling thinking; This is how one critic depicts above
mentioned etude
[The author] humiliated and devastated his protagonist so much that upon visiting
renewed Soviet village, a great Soviet scientist only wanted to see his old cradle ”;
“This doesn’t seem to be a fair picture of life.”, “Couldn’t our young writer find any-
thing more interesting and important than this? [..].”
“The writer is a painter first and foremost, but he is also a chronicler of epochs” (O.
Chkheidze) . James Joyce and Otar Chkheidze are rightly entitled to both titles. Their
literary and cultural heritage has political, social, psychological, philosophical, and
above all, artistic significance. Any reader or literary critic will find endless treasure
in the form of this grand legacy. Both writers paint universal characters and universal
places, in both works, we deal with a description of the decline and the routine that
fades the lives of ideologically and morally oppressed people. James Joyce contributed
greatly to the formation of modernist literature, and Otar Chkheidze, along with a small
team of like-minded people, created a new era in Georgian prose history during the
toughest times in Georgia.
55
i
Otar Chkheidze. ‚Nation of James Joyce‘. Rkali. Tbilisi: Soviet Georgia, 1986 (p. 304-305)
Otar Chkheidze. ‘Etudes of My Village (Dialogue). Rkali. Tbilisi: Soviet Georgia, 1986
ii
(p. 343)
iii
Ibid, 345
iv
Richard Ellmann. James Joyce. Oxford: Oxford University Press, 1982 (p. 520)
v
Richard Ellmann. Letters of James Joyce. Vol. 2. London: Faber & Faber, 1966. (p.45)
vi
Temur Kobakhidze. Parody References in James Joyce’s “Grace”. Sjani. Tbilisi, 2018 (p.87)
Maia Jaliashvili. Crossing the Artistic and Historical Narrative by Otar Chkheidze’s
Vii
works. Otar Chkheidze - 90. Tbilisi: Shota Rustaveli Institute of Georgian Literature, 2009
(p. 50) [In Georgian]
Maia Jaliashvili. Holy Water Teller, Artist of the era Otar Chkheidze. Criticism. Tbilisi,
viii
2008 [In Georgian]
Otar Chkheidze. ‘Etudes of My Village (Dialogue). Rkali. Tbilisi: Soviet Georgia, 1986
ix
(p. 344)
x
Gordon Bowker. James Joyce: A New Biography. New York: Farrar, Straus and Giroux,
2012. (p.36)
xi
Otar Chkheidze. ‘Etudes of My Village (Dialogue). 1986 (p. 346)
xii
Ibid, 347
Lia Tsereteli. Land-Cradle, Icon-Veil. Otar Chkheidze, Scientific Conference. Tbilisi:

xiii
Shota Rustaveli Institute of Georgian Literature, 2011 (p. 83) [In Georgian]
Inga Milorava. The hidden, gray tragedy (One aspect of Otar Chkheidze’s Kvernaki).
xiii
Tbilisi: Republic of Georgia, 2017 (p.5) [In Georgian]
56
Bibliography
Gordon Bowker. James Joyce: A New Biography. (New York: Farrar, Straus and Giroux,
2012)
Otar Chkheidze. Etudes of My Village (Dialogue). In Rkali. (Tbilisi: Soviet Georgia, 1986).
[In Georgian]
Otar Chkheidze. Nation of James Joyce. In Rkali. (Tbilisi: Soviet Georgia, 1986) [In Geor-
gian]
Richard Ellman.James Joyce. London: Oxford University Press, 1965
Richard Ellmann. Letters of James Joyce. Vol. 2. London: Faber & Faber, 1966.
Temur Kobakhidze. Parody References in James Joyce’s “Grace”. Sjani, 2018[In Georgian]
Lia Tsereteli. Land-Cradle, Icon-Vail. Otar Chkheidze, Scientific Conferece. Tbilisi: Shota
Rustaveli Institute of Georgian Literature (2011) [In georgian]
Maia Jaliashvili. Holy Water Teller, Artist of the era Otar Chkheidze. Criticism. Tbilisi,
2008 [In Georgian]
Maia Jaliashvili. Crossing the Artistic and Historical Narrative by Otar Chkheidze’s works.
Otar Chkheidze - 90. Tbilisi: Shota Rustaveli Institute of Georgian Literature, 2009 [In
Georgian]
Inga Milorava. The hidden, gray tragedy (One aspect of Otar Chkheidze’s Kvernaki). Tbili-
si: Republic of Georgia, 2017 [In Georgian]
57
MANANA GELASHVILI
‘Oxen of the Sun’: Problem of its Adequate

Translation into Georgian
Hailed as one of the most difficult chapters in Ulysses, the fourteenth episode ‘Oxen
of the Sun’ confuses the reader with the multiplicity of styles between which Joyce’s
narrative shifts throughout the episode. It is acknowledged that in this episode Joyce
attempts to explore the history of the development of the English language and literary
style by parodying it. This evolution is represented by nine sections which correspond
to the period of nine months from conception to birth. The setting of the episode, a
maternity hospital, where the two protagonists Stephen Dedalus and Leopold Bloom
meet, also emphasizes Joyce’s concept of the episode: to express the development of
the language from its birth to his present time.
In a many-times cited letter to Frank Budgen (20 March, 1920) Joyce called
it a nineparted episode without divisions introduced by a Sallustian-Tacitean
prelude (the unfertilized ovum), then by way of earliest English alliterative
and monosyllabic and Anglo-Saxon (‘Before born the babe had bliss. Within
the womb he won worship.’ ‘Bloom dull dreamy heard: in held hat stony star-
ing’) then by way of Mandeville (‘there came forth a scholar of medicine that
men clepen etc’) then Malory’s Morte d’Arthur (‘but that franklin Lenehan
was prompt ever to pour them so that at the least way mirth should not lack’),
then the Elizabethan chronicle style (‘about that present time young Stephen
filled all cups’), then a passage solemn, as of Milton, Taylor, Hooker… so on
through Defoe-Swift 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.’i
However, later on Joyce scholars notediithat Joyce’s letter is not entirely trustworthy
and in this episodehis English prose style is not successive, sequential and pedantically
correct and that there are more authors and styles involved in its making.Don Giffordiii
identified as many as thirty-three different authors and styles that Joyce had parodied in
58
the episode. These studies, that go into such minute details to explore Joyce’s various
manuscripts, although give a fascinating and illuminating insight into the understand-
ing of the complexity of the text, but at the same time seem of little help and at times
even make the difficult task of translation of the text into another language even more
complicated.
Nico Kiasashvili, the Georgian translator of Ulysses decided not to follow Don Guil-
ford’s scrupulous genetic studies,iv but to return to Joyce’s declared intention of pre-
senting the development of the English literary style in nine periods and re-create the
same in his own cultural milieu. At the same time although Kiasashvili names some of
the Georgian authors that he thinks as representative of a certain literary movement and
epoch, it is quite obvious (as it is with Joyce who also enumerates a number of authors)
that neither Joyce nor the translator see the ‘Oxen of the Sun’ as a series of ad hominem
parodies. As Fritz Senn put it:
There are no real and adequate equivalents to the literary styles whose pro-
gression make up the Oxen of the Sun chapter. And still less can the styles of
individual and highly characteristic writers be parodied. ….
Translation too is the art of the possible and the perpetual squint at the orig-
inal cannot do justice to its full achievement. The only fact it brings out are
deficiencies.
The Georgian translator of Ulysses also seems to have viewed translation as ‘the art
of the possible’. Although, in the late sixties when Nico Kiasashvili started on trans-
lating Ulysses Socialist Realism was the mainstream in literature and culture but the
strategies chosen by the translator was not to create a literal word-for word translation.
He did not opt for a free translation either, which would have made it easier to make
Joyce’s text more understandable for his readers by filling in the gaps, using less ‘anom-
alous’ syntax and appropriating it to the culture of the target language. This strategy
must have been quite tempting: firstly because it was the strategy which dominated the
Georgian translational scene and secondly because ‘familiarizing’ Joyce’s text would
have made it more acceptable both to readers and critics. However, Nico Kiasashvili
attempted to create an aesthetic equivalent of the source text into the target text. It im-
plied understanding the main purpose of the particular episode together with the means
of achieving this purpose in the source language and recreating it in Georgian. In other
words, Kiasashvili’s aesthetic equivalent seems to be the same what Jolanta Wawrzyc-
ka terms as ‘trans-semantification’ or ‘re-languaging’.vi In most cases, Niko Kiasashvili
succeeded in ‘re-languaging’ the text, if we can speak of a success when evaluating any
59
translation of Ulysses. The episode ‘Oxen of the Sun’, which is discussed in the present
article, seems to be one of those successful parts of the book.
Needless to say that Joyce’s intention ‘to copy all their various styles of signature
so as one day to utter an epical’ (FW) is impossible to imitate in another language,
even when the source and the target languages belong to the same language family or
branch and the literatures created in these languages have more or less similar cultural
and historical backgrounds. The difficulty increases when it comes to rendering ‘Oxen
of the Sun’ into a completely new cultural realm. Nico Kiasashvili, tried to create an
equivalent effect by parodying the evolution of the Georgian language and literary
style beginning from the first hagiographic texts (birth of Georgian Literature) up to
the language of the first half of the 20th century. By using parody on both lexical and
syntactic levels, by creating new composites and using wordplay the translator created
a text which re-creates Joyce’s experimental prose in a different language.
To translate a multi-layered text like Ulysses it is not enough to have a good knowl-
edge of source and target languages. It also requires knowledge of numerous studies on
the text and as well as a broad knowledge of English (and not only English) literature
and Irish culture and history. As Jolanta Wawrzycka suggests in one of the interviews,
a criterion by which translations could be judged, is how far they can assimilate the re-
sults of the numerous critical studies on Ulysses.viiThe suggestion implies that a certain
preparation is necessary when dealing with a text like Ulysses and being a good and
experienced translator will not work.
When Kiasashvili started his work on Ulysses he was already an established scholar
of English Literature and particularly of Shakespeare (he had edited Shakespeare’s
Works, written extensively on Shakespeare, started publication and edited several col-
lected essays of Georgian scholars on Shakespeare, organized an International Confer-
ence in Tbilisi, founded the center for Shakespeare Studies at Tbilisi State University,
etc.). He started his work on Joyce as a scholar by publishing a number of articles on
Joyce, giving public lectures to introduce Georgian society with the author. His works
laid foundation to Joyce studies in Georgia. Needless to say that this experience con-
tributed greatly to the success of the translation.
However, the success of the translation depends also onthe literary standard of the
receptive language, its resources and ability to express a variety of styles, how it can
handle the wordplay, alliterations, cultural overtones, allusions, linguistic games and
many more.In this respect Nico Kiasashvili was lucky as the Georgian language and lit-
erature has a very long history with the first literary texts dating back to the 5th century.
60
However, the historical timeline of Georgian Literature differs greatly from the trends
apparent in most West European literatures.So that when rendering a particular style in
English, say alliterative prose or Addison-Steel’s journalistic style, it is impossible to
use the Georgian language and style of the same century as that of the source language.
The translator has to find an equivalent of the phenomenon according to the style and
not to the dating which surely would have worked when translating into French or Ger-
man where Enlightenment, Romanticism, etc. existed more or less in one and the same
period and shared a lot in common.
‘Oxen of the Sun’ opens with Roman incantatory prayer to fertility goddess: “Deshil
Holles Eamus. Deshil Holles Eamus. Deshil Holles Eamus’’, which translates as “Let
us go south to Holles Street,” followed by a prayer to the sungod/Dr. Horne (one of
the two doctors at the Maternity Hospital), and ending with a midwife’s celebratory
announcement ‘Boyaboy!’ (U 14. 1-6)viii
This paragraph is Georgian is rendered by the language of Christian hymns dating
back to the 6th century. Although the target language cannot evade narrowing down
the semantic ﬁeld, the range of possible associations and linguistic connectivity (e.g.
doctor ‘Horn’s name includes a reference to oxen and masculinity which gets lost in the
translation), but the overall incantatory effect of the paragraph which is sprinkled with
irony is re-created by using alliteration, elevated style in syntax as well as vocabulary.
gardmogvivline, sxivmosilo, naTelsaxovano, hornhorn, Zali umos-
wrafesi Sobirebisa da naSobi. gardmogvivline, sxivmosilo, naTel-
saxovano, hornhorn, Zali umoswrafesi Sobirebisa da naSobi. gard-
mogvivline, sxivmosilo, naTelsaxovano, hornhorn, Zali umoswrafesi
Sobirebisa da naSobi.hopla, biWia, biWi! hopla, biWia, biWi! hopla, bi-
Wia, biWi! (ulise 379)ix
Anglo-Saxon alliterative prose of Aelfric (‘Before born babe bliss had. Within womb
won he worship.’) (U 14.60)whichcontains mostly monosyllabic words, is impossi-
ble to render into Georgian, which has mostly two or three syllabic words. However,
by using a highly alliterative phrase stylized on ancient Georgian texts, the translator
achieves the goal to create an alliterative text with some incantation.
Svili jereT ar Sobila da saSoSive SeSundeba Sueba.’ (ulise 380)
Shvilijeret ar shobila da sashoshive sheshundeba shueba
As it is apparent from the transliteration of the Georgian text Kiasashvili managed

to put the same meaning in a Georgian sentence which is based on alliterating the same
61
consonant which is in the original text - B (3 times) and sh – which is repeated 7 times).
Medieval Latinate prose is translated by the language of hagiographic texts belong-
ing to the 5th -8th centuries and that of the New Testament and the psalms also trans-
lated in the same period. So, the translator’s choice seems justified and motivated by
the fact that translating Bible had a major impact on the Georgian language and culture,
just as translations from Latin influenced English:
Some man that wayfaring was stood by housedoor at night’s oncoming. Of
Israel’s folk was that man that on earth wandering far had fared. Stark ruth of
man his errand that him lone led till that house. (U 14.71-73).
kaci vieTime moaruli mosuliyo da damdgariyo karTan mimwux-
ris Jams.israelitelTa tomis iyo kaci igi romel exetiala qu-
eyanasa zeda da moeRwia Soreul alags. da ama kacma romelica
garna mxolo adamianuri Tana-lmobisa gamo iara martod, miaR-
wia saxlsa mas. (ulise 380).
When it comes to translation the text imitating the journalistic style of first English
essayists Joseph Addison and Richard Steele Kiasashvili had a difficult task to solve:
he had to decide whether to use the style of the same period, or neglect the existing
discrepancy in time frame and look for the similar phenomenon in Georgian Literature,
which means moving a century later as the period of rapid development of journalism
and importance of periodicals in Georgia fall on the second half of the 19th century.
This was a highly politicized time just as the post Glorious Revolution period was in
Britain. After becoming part of Russian Empire in 1801, Georgia not only lost its in-
dependence, but saw an unprecedented decline of the language, which was no longer
the official language of the country as Russian became the language of instruction at
school and the language of legal and official documents. So, that periodicals and theatre
were the places where the national language and spirit was kept alive. Although, as a
result of Russification the language of the period was heavily infected with Russian
barbarisms (sasamarTlos inpalnitelni...,stolnaCalniki)particularly in the
legal and juridical field. Thus, the following paragraph was ‘re-languaged’ as follows:
Our worthy acquaintance, Mr Malachi Mulligan, now appeared in the door-
way as the students were finishing their apologue accompanied with a friend
whom he had just rencountered, a young gentleman, his name Alec Bannon,
who had late come to town, it being his intention to buy a colour or a cornetcy
in the fencibles and list for the wars. (U 14. 651-5).
Cveni Rirseuli nacnobi, batoni malaqia maligani karis zRur-
62
blzed gamoCnda, roca studentebi Tavis apologias amTavrebd-

nen, megobarTan erTad, romelsac is-is aris Sehxvda. axal-
gazrda kaci, saxeli misi erik bensoni, gvian saRamos Camovida
qalaqSi, raime samxedro Cini rom eyida, iqneb praporSikisa an
kornetisa laSqarSi da sadme brZolaSic mieRo monawileoba.
(ulise 397).
There are certain passages which must have been relatively easier to put in Geor-
gian. One of them is the passage when the style shifts to nostalgic/romantic as it tells
of Bloom’s memories of various stages of his own growth and development: Bloom as
an 18-year-old high school student, as a door-to-door salesman for his father’s jewelry
business, then as a 20-something having his first sexual experience with a prostitute.
The secret lies in the target language which provided the translator with a tradition of a
highly developed Romantic/idyllic style.
saxlidan skolisken miiswrafvis... da a.S.(ulise 409)
We already mentioned above that the success of the translation depends not only
on the translator’s linguistic intuition, but also on the literary standard of the target
language. If it does not have a long, uninterrupted literary history it will be virtually
impossible to re-create ‘Oxen of the Sun’. Due to it some passages must have been
less difficult to put in the target language than others. From my student years when the
translation was in progress, I remember Nico Kiasashvili saying that it was much easier
for him to re-create a parody of a romantic or realistic style than translate The Coda, i.e.
the closing 150 lines of the episode where the prose disintegrates into muddled snatch-
es of slang and dialect. Joyce himself described this passage as a ‘frightful jumble of
Pidgin English, nigger English, Cockney, Irish, Bowery slang and broken doggerel’.
The difficulty for the translator is two-fold: the first is common for anyone either
researching or translating this part of the Oxen. This is to make out sense in this frag-
mented jumble, which anticipates the linguistic experimentation of the Wake. The other
difficulty which the Georgian translator must have experienced lies not only in the text
itself, but also in the history of Georgian Literature. Its rich heritage provided Nico
Kiasashvili with brilliant examples started with the first hagiographic texts through en-
lightenment, Romanticism, Realism and onto the aestheticism of the beginning of the
20th century. However, in the 70ies, when Nico Kiasashvili was working on the trans-
lation, a literary work using slang and colloquialism did not exist in Soviet Georgia.
Socialist realism would not allow in a literary work the vocabulary which was cruder
than formally educated speech. Thus, the translator had to be a pioneer in this respect as
63
well. Through the translation he had to allow into the literary text the language which
existed but was denied access into literature. It was a tough enterprise for two reasons:
first because this was something overtly resisted in the receiving culture and canons
by language purists (a tendency which has always been very strong in Georgia as the
language is identified with national identity, something which has always been under
threat through the country’s long history) and secondly because there was no text to
rely on. However, the examples below show that Nico Kiasashvili managed to keep
close to the text and at the same time not to par down the excesses of language and the
explosive humour of Joyce’s text. One of the most rhetorically high-wrought sentences
full of comically pretentious Latinisms and nonce verbiage runs as follows:
You move a motion? Steve boy, you’re going it some. More bluggy drunk-
ables? Will immensely splendiferous stander permit one stooder of most ex-
treme poverty and one largesize grandacious thirst to terminate one expensive
inaugurated libation? (U 14.1529)
Although Georgian cannot imitate Latinisms, the translator finds an ingenious way
to re-create the aesthetic message of the paragraph by retaining alliteration and mixing
a pretentions high style with slang which produces the ironic effect of the original.
When dealing with a text like Ulysses even some minor and simple things which at a
glance seem dead easy to translate pose difficulties and contribute greatly to the quality
of the translation. The phrase ‘Steve boy’ from the above cited paragraph is a good
example of such a case. In the original it is presumably used to express an approval of
Steve’s suggestion of having another drink. In Georgian it is rendered not by ‘jigari
biWo’, which would have been a word-for-word translation as the word means ‘a boy’
and at the same time in Georgian, exactly as it is in English, the word is used in excla-
mation to express strong feelings, especially of excitement or admiration. However,
the translator uses the word ‘jigari xar’ a slang which has been in use for more than
a century to express an approving way of speaking about somebody. The whole para-
graph in Georgian runs as follows:
winadadeba Semogaqvs? jigari xar stiv, darCa rame dasalevi? uaRre-
sad udidebulesi didsulovnad xom ar gaimetebda ukidures gasaWirSi
da uzarmazar dilixorSi myofisaTvis erT Zvirad Rirebul sazeimo
xaxis gasagrilebels? (ulise 424).
It is noteworthy that when using slang Kiasashvili would search for those that had
been used for a long time. I remember him saying that many of the colloquialisms used
64
in the translation were those which he had heard from his grandmother and her peers.
(e.g. afaxula, jigari xar, fara, miWyavis, dilixori, masti, Smotkebi,
viris abano, iuzgari).
Let us examine another passage which abounds in English deviant spelling, the
Georgian translator uses phonetic deformation which is generally characteristic for the
speech of non-native speakers of Georgian who find it impossible to pronounce some
Georgian consonants.
Kind Kristyann will yu help, yung man hoose frend tuk bungalo kee to find
plais
whear to lay crown off his hed 2 night. (U 14. 1539-40)
keTilo kristiano daexmare axalgazrda kacs romlis megobarma
saxlis gasagebi caartva da Cirdeba tavi sadme Seaparos2 game.
(ulise 424).
The paragraph below is a fine example of Joyce’s linguistic carnival where exagger-
ated high style with religious reminiscences is entwined with modern colloquialisms
and slang. Joyce’s juggling with words, his linguistic exuberance is at its best and cre-
ates a passage, which seems impossible to render in another language:
Elijah is coming washed in the Blood of the Lamb. Come on, you winefizzling
ginsizzling booseguzzling existences! Come on, you dog-gone, bullnecked,
beetlebrowed, hogjowled, peanutbrained, weaseleyed four flushers, false
alarms and excess baggage! (U 14.1580-1584).
The first sentence seems fairly easy to translate, as a parody of a pompous style filled
with religious reminiscences is not difficult to recreate in Georgian. However, it cer-
tainly must have been very hard to maintain a mock-heroic tone combined with collo-
quial words in the sentence, which follows and what is more, translate the words most
of which were created by Joyce. The Georgian translator seems to become a co-creator
of Joyce’s experimentation with words:
elia modis kravis sisxlSi ganbanili. modiT, yovelno Rvinomwrupav-
no, jinmwyurvalno, Sarafmylurwavno qmnilebano! modiT, Tqven, Ra-
ZlisSvilebo, xarkisrianebo, xoWoSublianebo, Rordingianebo, batit-
vinebo, eSmaTvalianebo TaRliTebo, enaWartalebo da danarCeno nagavo.
(ulise 425).
Once Fritz Senn remarked that translations almost inevitably foreshorten the po-
65
tential of Joyce’s original text, as translations, ‘are less Protean, less gushing, less
self-righting, less looming, less weaving, less misleading – also more misleading -,
less synecdochal, less dislocutory, less everything and – perhaps most bitterly – less
transluding’.x On the whole the statement is an exact evaluation of any (even a good)
translation of Ulysses. However, some paragraphs in Georgian Ulysses seem to be on
par with the original in managing to be ‘Protean’ and daring in pushing the language
to its limits.
‘Familiarizing’ a translation, adjusting it to the culture of the target language on the
whole cannot be termed as a right strategy. However, its occasional usage can be justi-
fied when it is used with subtlety and taste.E.g. there is nothing easier than to translate
the title of ‘The Colleen Bawn’, a melodramatic Irish play and opera mentioned in the
‘Oxen’. However, the title even if its origin and nature is explained in the commentary
will not work in the text whereas the phrase from a highly popular melodramatic Geor-
gian song (‘ax. turfav, turfav’), which Kiasashvili used instead speaks for itself.
Other difficulties are tongue-twisters, foreign words, portmanteau words. In most
cases the translator’s linguistic intuition finds a solution which works for the Geor-
gian readers.A tongue-twister (‘The Leith police dismisseth us’) according to Joyce a
sobriety test which the police sergeant asks drunkards to repeat and in answer gets a
distorted phrase - ‘The least tholice’ is rendered by a Georgian tongue-twister which is
represented first in the correct form and then distorted. ((erTsa kacsa bliskinel-
sa. klinbliskelsa).
Foreign words (from German, French, Spanish, etc.) which abound the whole book
and particularly The Coda e.g. ‘Ubermensh’, ‘Cramba’, ‘Les petites femmes) are not
translated in the text, but are given in the footnotes, which leaves Joyce’s text multilin-
gual as it should be. As to portmanteau words (like Christicles - Christ +testicles; Un-
derconstumble –understand + stumble) – although they are impossible to be translated
into a foreign language, but Kiasashvili manages to ‘re-langguage’ them with very
efficient phrases (Christicles - iesos yverebs vficav; Underconstumble - azrze
modixar?).
Another interesting point that must be noted concerns the lines 1356-78: (‘The
stranger still regarded...’) where Joyce parodies Walter Pater. Throughout the whole ep-
isode Kiasashvili’s strategy is to imitate and parody not so much any particular author,
but the spirit of the time, however, in this case he pinpoints a concrete person saying in
the commentary to the episode that it was the style of Erekle Tatishvili, which was used
to render Walter Pater’s passage in Georgian.
Erekle Tatishvili (1984-1946) was the founder of the Faculty of West European Lan-
66
guages and Literature at Tbilisi State University and the first chair ofModern Languag-
es. Educated in Germany, France and Britain he was a polyglot, erudite, philosopher,
essayist and translator, famous for his translation ofAlso Sprach Zarathustra, which
cost him an arrest under Stalin’s purge. He used to hold regular meetings at his house
with a group of students with literary interests. It was during these conversations that
the future translator of Ulysses, who was a student at that time, first heard about the
book. However, acknowledging Erekle Tatishvili’s contribution to Georgian literature
could not have been only paying homage to his great tutor.
The question whether the language of the translation is of equal importance with the
language of the original writing is controversial and pros and cons can easily be found.
The history of Georgian Literature definitely knows at least two translations which
played an important role in the development of the language and culture. One was the
translation of the Bible (10th century) and the other was the translations of William
Shakespeare by Ivane Machabeli (19th century).
By inserting the language of the translations in this episode of Ulysses and what is
more by paying readers’ attention to it in the comments Nico Kiasashvili clearly stated
his position about the importance of the translated text in the development of the lan-
guage, style and culture.
This opinion is apparent in an interview with Emily Tall (published in JJQ, 1990)xii-
where to the interviewer’s question what his translation brought to the Georgian prose,
Nico Kiasashvili replied that he did not want to devote a large part of his life to a job
which will only be a translation and added that he did not claim that his translation
could influence all Georgian Literature, but he had already noticed this influence in the
works of young writers in the style, wording, usage of interior monologue.
Indeed, by translating Ulysses, as well as by writing about Joyce and modernism, by
giving public lectures and readings, Nico Kiasashvili introduced the writer whose aes-
thetics was contrary to the accepted and trait norms and standards of literary language
and style. Kiasashvili’s translation expanded the boundaries of the Georgian language
by following Joyce in creating new words, allowing into the text colloquialisms, slang,
by exploring various styles, introducing interior monologue and stream-of-conscious-
ness technique. Georgian Ulysses opened up new horizons for perceptive minds and
undoubtedly had a strong influence on Georgian culture. A number of papers which
appeared recently give analysis of Joyce’s impact of various Georgian writers and even
artists. Two of such papers are represented in this volume.
67
James Joyce, Letters in three Volumes, vol. 1, ed. Stuart Gilbert (The Viking Press, New
i
York, 1966), pp. 139-40.
See Davison, Sarah, Joyce’s incorporation of literary sources in ‘Oxen of the Sun’. http://
ii
www.geneticjoycestudies.org/GJS9/GJS9_SarahDavisonOxen.htm
See Don Gifford, Notes for Joyce: An Annotation of James Joyce’s Ulysses (New York,
iii
1974).
See preface to episode XIV. In: Joyce, James, Ulysses translated and commented by Nico
iv
Kiasashvili. Translation completed and publication prepared by Maya Kiasashvili. Tbilisi:

Publishing House Bakur Sulakauri., 2012, 830. (In Georgian).
v
Fritz Senn, Ulysses in Translation. Approaches to Ulysses: Ten Essays. edited by Thomas
F. Staley, Bernard Benstock.(The University of Pittsburgh press, 1970).
Wawrzycka, Jolanta, Introduction: Translatorial Joyce (Guest-Editor) James Joyce Quar-

vi
terly, Vol. 47, Number 4, Summer 2010.
Mihálycsa E., Wawrzycka J. “I Am a Far-Fetcher by Constitution.”Conversation with

vii
Fritz Senn. Scientia Traductionis. 2012, n. 12: 205-248.p.242. https://periodicos.ufsc.br/in-

dex.php/scientia/article/view/1980-4237.2012n12p205/24035 (Accessed on: 12 November
2019.
Citations from English Ulysses throughout this paper from: James Joyce, Ulysses. Ed by
viii
Hans Walter Gabler with Wolfhard Steppe and Claus Melchior. Afterword by Michael Gro-
den, The Bodley Head, London.
ix
Georgian translation is cited from: ((jeimz joisi, ulise“, inglisuridan Targm-
na niko yiasaSvilma. bakur sulakauris gamomcemloba, 2012) Joyce, James,
Ulysses translated and commented by Nico Kiasashvili. Translation completed and publi-
cation prepared by Maya Kiasashvili. Tbilisi: Publishing House Bakur Sulakauri., 2012. (In
Georgian).
x
SeeMihálycsa Erika and Wawrzycka, Jolanta, “Far-fetcher by Constitution:” Conversation
with Fritz Senn. https://www.academia.edu/16214487/Conversation_with_Fritz_Senn_Trans-
lation_Joyce_Homer(accessed on November 10, 2019). ‘Transluding’ - Joyce’s neologism
from FW alluding to a translation as a language play.
See Cohn, Alan M.,‘‘Joyce’s Notes on the End of ‘Oxen of the Sun,’’’ James Joyce Quar-
xi
terly 4, no. 3. (Translation Issue, spring 1967), 194-201
68
Tall, Emily, Interview with Nico Kiasashvili, Georgian Translator of “Ulysses”. James
xii
Joyce Quarterly Vol. 27, No. 3 (Spring, 1990), 479-487
BIBLIOGRAPHY
Cohn, Alan M., ‘‘Joyce’s Notes on the End of ‘Oxen of the Sun,’’ JJQ 4, no. 3. (Translation
Issue, spring 1967), 194-201
Davison, Sarah, Joyce’s incorporation of literary sources in ‘Oxen of the Sun’. GENET-
IC JOYCE STUDIES - Issue 9 (Spring 2009) http://www.geneticjoycestudies.org/GJS9/
GJS9_SarahDavisonOxen.htm
Gifford, Don, Notes for Joyce: An Annotation of James Joyce’s Ulysses (New York, 1974).
Joyce, James, Ulysses, ed. by Hans Walter Gabler with Wolfhard Steppe and Claus Melchi-
or. Afterword by Michael Groden, (London: The Bodley Head, 2002).
Joyce, James, Letters of James Joyce, ed. Stuart Gilbert.3 Volumes, vol. 1 (New York: The
Viking Press, 1966).
Joyce, James, Ulysses.Translated and commented by Nico Kiasashvili. Translation com-

pleted and publication prepared by Maya Kiasashvili. (Tbilisi: Publishing House Bakur
Sulakauri, 2012). (In Georgian).
Mihálycsa, Erika, Wawrzycka, Jolanta ‘’Far-fetcher by Constitution:” Conversation with

Fritz Senn.https://www.academia.edu/16214487/Conversation_with_Fritz_Senn_Transla-
tion_Joyce_Homer
Senn, Fritz, Ulysses in Translation. Approaches to Ulysses: TenEssays, edited by Thomas F.

Staley, Bernard Benstock. (The University of Pittsburgh press, 1970), 249-286
Tall, Emily, Interview with Nico Kiasashvili, Georgian Translator of “Ulysses”. James
Joyce Quarterly Vol. 27, No. 3 (Spring, 1990), 479-487
69
TAMAR GELASHVILI
Transforming Shem into Shermadin

(Some Difficulties of Translating Chapter VII of Finnegans Wake)
In a lecture held at Cornell University, on March 4, 1983 dealing with Walter Ben-
jamin’s The Task of the Translator Paul de Man argued, that
The translation belongs not to the life of the original, the original is already
dead, but the translation belongs to the afterlife of the original, thus assuming
and confirming the death of the original [….] translation also reveals the death
of the original.i
The idea of ‘the death of the original’ at a glance seems quite plausible, because
sometimes translations are unable to convey the style or the depths of the original work,
but at the same time a good translation becomes ‘an afterlife’ of the original, enriching
the culture of the translating country. Georgian literary critic and translator Vakhtang
Chelidze’s opinion, in his article ‘About Translation’ resonates with the above said and
declares that ‘translated work becomes somewhat the ‘property’ of the target language,
because it becomes an inseparable part of its literature’. Thus, the translator’s task is
‘to find the intention toward the language into which the work is to be translated, on the
basis of which an echo of the original can be awakened in it’ii.
The notion that Finnegans Wake is ‘untranslatable’ has become some kind of a cli-
ché in Joyce scholarship. Umberto Eco even claimed that Finnegans Wake is ‘pointless
to translate’ because, by virtue (or vice) of its multilingualism, it is already translated.
Nevertheless, Finnegans Wake has been translated into numerous languages and the
Georgian Translation of Book I is currently a Work in Progress.
The present paper entitled ‘Transforming Shem into Shermadin’iii deals with some of
the difficulties that a Georgian translator faces while translating and annotating Joyce’s
magnum opus. It is also an attempt of making the text more accessible for the Georgian
public and hence ‘the ends justifying the means’.
As Fritz Senn suggested ‘Translations should be admired, not trusted’, meaning that
70
each and every literary text is more or less an interpretation of the translator, particularly
when we have to deal with a text by Joyce. He stresses the same idea in Transmutation
in Disgress, suggesting that ‘Translation is inevitably based on preliminary interpre-
tation: one must determine beforehand what a passage ‘means’ even if ‘meaning’ can
never be defined. The question then becomes – which of the multiple interpretations to
be preferred?iv. Hence, each new translation is somewhat a new approach to the text.
Therefore, the task of the translator is not only to convert words from one language to
another, but at the same time convey the meaning behind each word, which becomes
rather tricky when dealing with Finnegans Wake and especially while translating it into
the Georgian language.
The idea on the importance of interpretation can be traced in Finn Fordham’s book
Lots of Fun at Finnegans Wakewhere Fordham argues that ‘Finnegans Wake for Fritz
Senn is what we do with it. But it is also what it does with us. We produce a wake by
the way we steer, but we also steer by the Wake that we produce’.
The debate about translation, its importance and possibilities will be discussed way
ahead in the XXI century; but Umberto Eco in Experiences in Translation suggested that
Every sensible and rigorous theory of language shows that a perfect transla-
tion is an impossible dream. In spite of this, people translate. It is like the par-
adox of Achilles and the turtle. Theoretically speaking, Achilles should never
reach the turtle. But in reality, he does. No rigorous philosophical approach to
that paradox can underestimate the fact that, not just Achilles, but any one of
us, could beat a turtle at the Olympic Gamesvi
Thus, the aim of the Georgian translation of is not only to be a new chapter in the
History of Translating Joyce, but to enhance the Georgian language, culture and liter-
ature as well.
The foremost problem with Finnegans Wake is that it as if unites disunited languag-
es again and ‘it talks several languages at once’ . Joyce attempts to ‘babelize’ words
by giving them simultaneous existences in different languages, taking them back to the
tower of Babel, right before ‘sense emerged in disunited languages’viii (European Joyce
Studies, 1990)ix.As Walter Benjamin puts it, ‘all translation is only a somewhat provi-
sional way of coming to terms with the foreignness of languages’x.
Although Joyce ‘with increasing lack of interest in [….] semantics’ (FW 173:32)
used over 60 languages while creating his ‘édition de ténèbres’ Georgian was not on
his list. This makes its translation more complicated than in other languages.Let’s take
71
a look at one ‘normal’ sentence on page 485, which would instantly point out the dif-
ficulties: ‘Are we speachin d’anglas landadge or are you sprakin sea Djoytsch?’ (FW
485:12-13). Even with a basic knowledge of French and German the reader can under-
stand what Joyce is implying, and thus when translating it either in French or German
it is possible to render the wordplay. However, this wordplay gets lost no matter how
creative and inventive a Georgian translator might be. In Georgian ‘speachin/sprakin’
is saubari/laparaki (saubari, laparaki), ‘d’anglas’’ inglisuri (inglisuri), ‘lan-
dadge’ (land, language) mitsa/ena (miwa, ena), ‘Djoytsch’ germanuli (germanuli).
What is more ‘sea’ on the one hand is ‘Sea’ and on the other refers to the German word
‘Sie’.
The thing is that Georgian Language belongs to the Kartvelian languages, which
does not belong to the Indo-European family. The Kartvelian language family con-
sists of four closely related languages (Georgian, Svan, Megrelian (chiefly spoken in
Northwest Georgia) and Laz (chiefly spoken along the Black Sea coast of Turkey, from
Melyat, Rize, to the Georgian frontier), which form a dialect continuum. Thus, it is no
wonder that Georgian grammar is remarkably different from those of European lan-
guages and has many distinct features, such as split ergativity and a polypersonal verb
agreement system, which makes translating Finnegans Wake a nightmaze of’Catche-
catche and couchamed!’ (FW 502:28)
From the translator’s point of view presumable one of the greatest technical obsta-
cles arevarious types of word-play: play on one word in different senses; on different
words similar in shape; the multi-lingual puns; the slight change in proverbs and other
fixed phrases; prosodic features involving meter, rime, alliteration, assonance, and the
like. Some of these difficulties are exemplified in my article. Thus, to begin from the
very start of Chapter 7, which at a glance seems a relatively simple and understandable
sentence, compared to many others one has to face while dealing with Joyce’s ‘Book
of the Dark’:
Shem is as short for Shemus as Jem is joky for Jacob.
Even though four out of twelve words are names, translating them into Georgian
still creates a number of difficulties: firstly, the alliteration which is in the original. The
first part ‘Shem is as short for Shemus’ can be rendered unaltered because ‘short’ in
Georgian is ‘shemoklebit’ (SemoklebiT), fitting perfectly with ‘Shem’ and ‘Shemus’
and creating a sense of alliteration
Shemi shemoklebit igive shemusia’ (Cemi SemoklebiT igive Semusia).
72
Nevertheless, the Georgian translation fails to bring in the notion of ‘shame’, which
is apparent in the original text. The second part of the sentence becomes quite tricky
because ‘joky’ is ‘xumrobit’ (xumrobiT) in Georgian and ‘Jacob’s’ Georgian equiv-
alent is ‘Iakobi’ (iakobi). Thus, the question arises whether to leave ‘Jacob’ as it is
or its Georgian version, and even if one leaves ‘Jacob’ untouched what should one to
with ‘joky’ whose Georgian equivalent destroys the sense of alliteration of the original
text. Thus, after several attempts (and sleepless nights) another word struck my mind
for ‘joky’, although it is not exactly the same, but still gives the reader the essence of
‘joke’ but a bit in a ‘clownish’ way. This word is jambazi (joker/clown). Therefore, the
sentence in the last version of my translation sounds as following:
Semi SemoklebiT igive Semusia, rogorc jemia jambazurad
jeikobi.
shemi shemoklebit igive shemusia, rogorc jemia jambazurad jeikobi
As one can notice from the sentence above, the Georgian script makes no distinction
between upper and lower case. However, some Georgian fonts include capitals, which
are just larger versions of the letters, and certain modern writers have experimented
with using the obsolete Asomtavruli letters as capitals. Thus, while rendering this pas-
sage from Finnegans Wake, the decision to change the Font came instantly to mind:
Feel his lambs! Ex! Feel how sheap! Exex! His liver too is great value, a spa-
tiality! Exexex! COMMUNICATED.]’ (FW 172:8-10)
aZoen kravni Cemni! ehei! damwysen cxovarni Cemni! ehehei! misi
RviZli didad fasobs, rogori gansasivrculia! ehehehehei!
gankveTilia..
Although the current Georgian alphabet is Mkhedruli a number of people are famil-
iar with Asomtavruli letters. Another reason why the change in Font can be justified is
that the passage is an allusion to John 21:15-17: ‘Feed my lambs... Feed my sheep’xiand
as the Georgian language would not have allowed to transfer all the ‘possible’ meanings
that Joyce had meant, because ‘wordplay’ in Georgian would not have worked properly
in this case, because ‘sheep’ is tskhvari (cxvari) and cheap – iapi (iafi), so I decided
to use the ‘‘Feed my lambs... Feed my sheep’ as it appears in the Georgian translation
of the Bible. Another difficulty poses the prefix ‘ex’ being mentioned several times,
which is doubled and tripled after its first appearance. The ‘ex’ is preparing the reader
for the last word of the passage ‘communicated’ giving it a negative connotation , but in
73
Georgian ‘excommunicate’ is gankvetilia (gankveTilia) and writing ‘gan’, ‘gangan’,

‘gangangan’ would have made absolutely no sense, that is why I used ‘ehei’ (ehei’)
an exclamation used by shepherds, which goes nicely with the allusion of ‘feeding the
lambs and sheep’. And using the Asomtavruli letters at the end of the passage continues
the general sense of antiquity that prevails in the translation.
Presumably, the question that arises here is how one should treat Justius on page
187 and Mercius on page 193, which are also given in capital letters, and moreover are
interesting in several regards:
JUSTIUS (to himother)
samarTlianusi (Zmasa Tvissa)
MERCIUS (of hisself): Domine vopiscus! (FW 193:31)
mitevebiusi (spontanuri): Domine vopiscus!
In both cases, Joyce capitalizes the names, puts ‘to himother’ ‘of hisself’ in brackets
and shows off his extensive knowledge of Latin (as in many other cases) and Roman
History.
Using Asomtavruli would not serve its purpose in this case that is why my deci-
sion was based on the Georgian words for ‘justice’ and ‘mercy’. As neither Justius nor
Mercius are distinct personalities in Roman history (as far as the annotations suggest),
thus I created a new Latinized name, which would convey the sense of ‘justice’ and
‘mercy’, calling Justius – Samartlianus (samarTlianus) and Mercius as Mitevebius
(mitevebius).
In the case of personal pronouns he/she/it in Georgian has simply one equivalent – is
(is), without specifying the gender and the same happens in the case of possessive pro-
nouns, where his/her/its equals to misi (misi). In Justius’ case, where he is addressing
his brother, without any wordplay (him other, his brother) I put Dzmassa Tvissa (Zmas-
sa Tvissa), an addressing to a brother that we come across in the Georgian translation
of the Gospel of Matthew and which is a bit archaic. As for Mercius ‘of hisself’ is
defined as ‘spontaneously, without the instigation or aid of another’, so I inserted spon-
tanurad (spontanurad) in the brackets disregarding the ‘him’ and ‘his’, which the
Georgian language is unable to produce. As for the exclamation by Mercius, which is
in Latin and includes a whole range of interpretations , my decision was to leave as it is
without translating, because translation on the one hand would lose the idea that Joyce
is aiming to convey and on the other hand leaving the sentence in Latin makes perfect
sense with Mitevebius, who himself is of Latin origin.
74
If one leaves the Latin exclamation unaltered, what should the approach be to ‘In-
somnia, somnia somniorum’xiv followed by the interesting ‘Awmawm’ mentioned just
before Mercius begins his speech. This small three word sentence (if one may call it so)
is packed with various meanings, which even the most inexperienced readers of Fin-
negans Wake area able to notice. Of course, what a naïve reader will see here is mere
sleeplessness and yawning at the ending, missing the mockery of liturgy as well as the
holly syllable of the Upanishads ‘AUM’ (or OM as it may also be written).
In one of his interviews Fritz Senn noted ‘one of my disadvantages is that I never
took a Joyce course. One of my advantages is that I never took a Joyce course. You
can observe things better [from the outside]’’xv and while dealing with Finnegans Wake
one of the questions I am frequently asked is whether the ‘knowledge’ of the text really
helps me as a translator or on the contrary creates more difficulties, which is quite a
tricky one because it both aids you and at the same time creates the problems, which
would not have been there if one had not read all those scholarly books, articles, re-
searches.
Even if we take this simple passage, on which Clive Hart in Structure and Motif in
Finnegans Wake makes an excellent remark: ‘Justius concludes his denunciation of
Shem with the yawning religious formula: ‘Insomnia, somnia somniorum. Awmawm’.
No doubt without realising what he is doing, Shaun is intoning the holy syllable. Not
only is AUM clearly present in ‘ Awmawm’, but the words ‘ Insomnia, somnia somn-
iorum’ would seem to represent respectively the Waking State, Sleep (with Dreams),
and Deep Sleep. Further, ‘Awmawm’ may also include the word maunam, meaning ‘ si-
lence’—here the fourth element surrounding and containing AUM—so that the whole
phrase is equivalent to AUM plus its concomitant Silence two or three times over. This
typical condensation forms the silent pause marking the end of the major cycle of chap-
ter 1.7.’xvi The task of the translator even hardens after it, because one has to try their
best in order to convey the idea and meanings meant in the original.
Hence, leaving ‘Awmawm’ seemed most appropriate in this case, as for ‘Insomnia,
somnia somniorum’ the decision was to make a parody of ‘per omnia saecula saeculo-
rum, amen’ using insomnia and the traditional ending (awda maradis da ukuniTi
ukunisamde) (ats da maradis da ukuniti ukunisamde). As for insomnia, although it
is a disease, and in Georgian ‘insomnia’ is frequently used, still my decision was to
replace it with ‘udziloba’ (uZiloba) or sleeplessness, because it fits better with the
general tone of antiquity of the sentence.
75
He points the deathbone and the quick are still. Insomnia, somnia somniorum.
Awmawm. (FW 193: 29-30)
momakvdinebel Zvals miuSvers da cocxalni dadumebulan. uZi-
loba, aw da maradis da ukuniTi ukunisamde. aumaun.
The number of biblical references may seem quite helpful, but at the same time
Joyce packs each word with so many different allusions that it becomes hard for the
translator, especially when one is obliged to choose between this or that interpretation
because her mother tongue does not allow more. One of the crucial themes which Joyce
plays with in this chapter is ‘Shem’ and ‘Shame’, which fits perfectly in Indo-European
languages, but in Georgian the name ‘Shem’ is shemi (Semi) and ‘Shame’ is sircxvili
(sircxvili).
Therefore, the only alternative seemed to create a new word using both the name and
shame notion and so „shemmarcxveneli’’ (Semmarcxveneli) the shameful one came
to mind. By doubling the consonant ‘m’ both the name Shem and shame are evident.
[.....]— when he is a — yours till the rending of the rocks, — Sham. (FW
170:23-24)
[.....]— roca is iqneba - sanam iZvreba miwa da daskdebian kldeni
- Semmarcxveneli.
‘Rocks’ is a word packed with meanings, like Shame at the end of the sentence. on
Slang it means testicles (i.e. castration, eunuch); It is also an allusion to Matthew 27:51:
‘and the earth did quake, and the rocks rent’ as well as Matthew 16:18: ‘And I also say
to you that you are Peter, and on this rock I will build My church’ and of course ren-
dering of the rocks reminds the reader of Ragnarøkr - the last battle of the Norse gods
leading to their destruction. In Georgian ‘Rock’ is Klde (klde) and no matter how
hard one tries no connection either with testicles or Ragnarøkr is possible to convey.
Thus, even though, in the commentaries I am sharing all the possible allusions that this
word might contain, I am explaining that choosing the Georgian translation of Matthew
27:51 ‘sanam mitsa idzvreba da daskdebian kldeni’ (sanam miwa iZvreba da dask-
debian kldeni) seemed the best option, otherwise I would lose even that.
As for Sham, Adaline Glasheen in Third census of Finnegans Wake explains it as
follows ‘sham - a spurious imitation + shaman (i.e. Jim is shaman) + Sham, Shame
- combines Shem and Ham. Suffering the first hangover, Noah dispossessed his black
son, Ham, made him servant to his brothers, Shem and Japheth, who represented the
Jews and the Gentiles. ‘Sham’ represents a later time when Jews and blacks were alike
76
dispossessed and ‘Shamrock’ adds on the dispossessed Irish. Shaun, the Aryan suprem-
acist, puts down his brother Shem by calling him ‘Sham,’ i.e., black and ham, a meat
forbidden Jews. Wyndham Lewis is model for the Aryan supremacist’. Again Joyce is
packing one ‘simple’ word with loads of allusions, but as I was not possible to play with
the name ‘Ham’ and the food ‘Ham’ (because in Georgian Noah’s son is called qami
(qami) and ham is lori (lori) my choice was to play on the name Shem and Shame
resulting into shemmarcxveneli (Semmarcxveneli), which fits greatly with the fol-
lowing sentence of the novel ‘Shem was a sham and a low sham and his lowness […..]’
One of the hardest parts in Chapter VII was translating and annotating the passage
on London Street Games at the beginning of page 176. The reason why it created so
much difficulty was that although Street Games was a rather popular pastime in Tbilisi
in the 70s and 80s of the past century, with the entrance of modern technology and
social media they seem to have disappeared from the yards. Thus, the question I was
pondering was whether to find the Georgian equivalent of the London Street Games or
to leave the Games as they were and explain in the commentaries which Game meant
what as how Joyce transformed them in this passage.
Substituting London Street Games in this case did not seem appropriate, plus it
would also mean that I would lose the multiple meaning that Joyce had meant, there-
fore my decision was against ‘Georgianizing’ the passage, although in the commentary
section which is over three pages long, I outlined the Georgian equivalent of the Lon-
don Games, so it may be of some help to the Georgian readers.
….games like Thom Thom the Thonderman, Put the Wind up the Peeler,
Hat in the Ring, Prisson your Pritchards and Play WithersTeam, Mikel on
the Luckypig, Nickel in the Slot, Sheila Harnett and her Cow, Adam and Ell
[…….] Hops of Fun at Miliken’s Make, I seen the Toothbrush with Pat Farrel,
Here’s the Fat to graze the Priest’s Boots,When his Steam was like a Raim-
brandt round Mac Garvey.(FW 176:1-18)
In conclusion, as Fritz Senn put it in one of the interviews as Finnegans Wake is
impossible to translate, it is the untranslatability that ‘has to be attempted. A sort of
Beckett syndrome: Try to fail better!’ xix
Thus, the Georgian translation of Finnegans Wake is another attempt to fail better in
a different language.
77
Paul De Mann “On Walter Benjamin’s The Task of the Translator” Yale French Studies,
i
No. 69, 1985
Benjamin, Walter. “The Task of the Translator.” Illuminations. New York: Schocken Books,
ii
1968.
iii
Shermadin, now a Georgian name, comes from Arabic and means “conscience”
iv
Senn, Fritz. Transmutation in Disgress, James Joyce Quarterly, Summer 2010.
v
Fordham, Finn. Lots of Fun at Finnegans Wake. Oxford University Press, Oxford. UK.
2007
Eco, Umberto. Experiences in Translation. Translated by Alastair Mcewen, University of

vi
Toronto Press, Toronto. Canada. 2001
Derrida, Jacques. “Two Words for Joyce.” Post-Structuralist Joyce: Essays from the
vii
French. Eds. Derek Attridge and Daniel Ferrer. Cambridge: Cambridge UP, 1984.
Laurent Milesi’s also connects this with the man’s fall: “like the Bible, Finnegans Wake
viii
leitmotivistically repeats a few basic narrative patterns and just as the Bible parallels man’s
arrogant construction of the Babel Tower, from which sense emerged in disunited languag-
es, with the sexual sin consumed by eating from the tree of knowledge, thus drawing lan-
guage and sex together, the Wake’s quest for the protohero’s sexual fall in the Phoenix
Park is equated with the felix culpa of language, the medium which enables it to be forever
conducted”.
Milesi, Laurent. “Metaphors of the Quest in Finnegans Wake.” Finnegans Wake: Fifty
ix
Years. Ed. Geert Lernout. European Joyce Studies. Vol. 2. Amsterdam and Atlanta, GA:
Rodopi, 1990.
x
Benjamin, Walter. “The Task of the Translator.” Illuminations. New York: Schocken Books,
1968.
xi
The King James Version of the Holy Bible
excommunicate - (Eccl.) To cut off from communion; to exclude, by an authoritative sen-

xii
tence, from participation in the sacraments and services of the church, or from religious rites
in general
Domine (l) - O Lord + vopiscus (l) - survivor of a pair of twins (born alive after premature
xiii
death of other) + Vopiscus, Flavius - One of the six authors of Augustan History (AD. 117
- 284) + Dominus vobiscum (l) - the Lord [be] with you.
78
insomnia - inability to sleep, sleeplessness + insomnia, somnia somniorum (l) - sleepness-

xiv
ness, dreams of dreams + (notebook 1930): ‘insomnia, somnia somniorum’ + per omnia
saecula saeculorum, amen (l) - for ever and ever, amen (liturgy).
Interview with Fritz Senn by Lara May O’Muirithe, New Dublin Press, June 15, 2014
xv
Available online at: http://newdublin-press-old.squarespace.com/updates/fritz-senn
Hart Clive, Structure and motif in Finnegans Wake, Evanston, Illinois: Northwestern Uni-
xvi
versity Press, 1962
Glasheen, Adaline, Third census of Finnegans wakeBerkeley, California: University of

xvii
California Press, 1977
The translation of this whole passage in Georgian is as follows: iseTi TamaSebi ro-
xviii
goricaa tonton tamtam quxilkaca, SeaSine striptiziori policieli,

miiRe gamowveva, miqela iRbalgoWaze, nikelis moneta slotis saTamaSod,
krazana Seilaxviii da misi Zroxa, adami da elixviii patara madmoazeli, Tavaziani
bJuturi, magi aris kedelzexviii, orebi da samebi, amerikuli naxtomi, mela
gamovida bunagidan, gatexuli boTlebi, saxeSi gasalawunebeli dawerili
werili, askinkila tkblilia, xeibari henriko garicxulia, fostalionis
kakuni, sworad varT warmoCenilni? solomoni Cumad kiTxulobs, vaSlis
xe daTvis qva, erT mrecxavs vicnob, savadmyofoebi, roca mivseirnobdi,
dramkolierSi viRacis saxlia, vaterlos brZola, ferebi, kvercxebi buC-
qSi, haberdaSeriSer, sizmarT moTxroba, ra droa, waTvlema, dediko ixvi,
fexze mdgomi bolo kaci, hali babun da ormoci yaCaRun, Tvalebis fsoba
da smenis xSoba, xelqorwinebaSi mxolod erTxel cxovrebaSi da amnair
codvas raRa Camadeninebs, zip tkbileuli, indauri CalaSi, ai es aris is
Tu rogor movimkeT grZeli da mgznebare dilis mosavali, mxiaruli xto-
miali milikenis najafze, me minaxavs kbilis jagrisi pit farelTan erTad,
aha cximi mRvdlis Ceqmis gasapoxad, maSin roca misi nakaduli makgreivis
garSemo reimbrantiviT hqonda Semortymuli.
xix
Senn, Fritz. Irish Literary Supplement, Volume 34, Number 2, 1 March 2015.
79
Bibliography:
Benjamin, Walter. The Task of the Translator. Illuminations. New York: Schocken Books,
1968.
De Mann, Paul. On Walter Benjamin’s The Task of the Translator. Yale French Studies,
No. 69, 1985
Eco, Umberto. Experiences in Translation. Translated by Alastair Mcewen, University of
Toronto Press, Toronto. Canada. 2001
Fordham, Finn. Lots of Fun at Finnegans Wake. Oxford University Press, Oxford. UK. 2007
Glasheen, Adaline. Third census of Finnegans wakeBerkeley, California: University of Cal-
ifornia Press, 1977
Hart, Clive. Structure and motif in Finnegans Wake, Evanston, Illinois: Northwestern Uni-
versity Press, 1962
Interview with Fritz Senn by Lara May O’Muirithe, New Dublin Press, June 15, 2014.
Available online at: http://newdublin-press-old.squarespace.com/updates/fritz-senn Joyce,

James. Finnegans Wake. Oxford University Press, Oxford: UK. 2012.
Milesi, Laurent. Metaphors of the Quest in Finnegans Wake. Finnegans Wake: Fifty Years.
Ed. Geert Lernout. European Joyce Studies. Vol. 2. Amsterdam and Atlanta, GA: Rodopi,
1990
Senn, Fritz. Transmutation in Disgress, James Joyce Quarterly, Summer 2010.
Senn, Fritz. Irish Literary Supplement, Volume 34, Number 2, 1 March 2015.
The King James Version of the Holy Bible. Available online at: http://www.o-bible.com/
kjv.html
80
LILIANA GOGICHAISHVILI
Some Elements of John Donne’s Metaphysical Lyrics in

James Joyce’s Poem “A Prayer”
Recent literary criticism regards James Joyce’s collection of poems, Pomes Pen-
yeach, in terms of a biographical sketch underlining the various influences and rela-
tionships in his life of its creator between 1913 and 1927. Adriaan van der Weel and
Ruud Hisgen even suggested that it is “an odyssey of Joyce’s emotional life”, or an
assortment of Joyce’s private emotions.
However, a closer look at the poems, clearly shows that Joyce’s biography only
serves as a basis for the collection, when in reality Joyce is using late-Victorian forms
and images to redefine the modernist age and underline the decadence nature of his
period.
In this regard, echoing the general sense of decadence, “A Prayer” (the last poem in
the collection), which is in line with the long tradition of inverted prayers (Baudelaire’s
litany in the Fleurs du mal to Francis Thompson’s The Hound of Heaven), mostly al-
ludes to John Donne’s Holy Sonnet XIV. What both poems have in common at a glance
is the poems’ imperative tone and sexual implications, which at the same time is en-
twined with religious musings deeply rooted in both authors’ backgrounds. But unlike
Donne’s persona who implores God to ravish him and thus courts his own physical
disintegration, Joyce’s speaker concludes his atheistic prayer for amorous death with
the ultimate request to be spared.
The present paper serves as a close reading in order to throw light at the particular
themes, motives, symbols, differences and similarities in both poems.
81
liliana gogiCaiSvili
ivane javaxiSvilis saxelobis
Tbilisis saxelmwifo universiteti
jon donis metafizikuri lirikis elementebi

jeimz joisis leqsSi „locva“
XVIIsaukunis metafizikur poeziasa da misgan sami saukuniT daSore-

bul modernistul literaturaze saubrisas maT Soris arsebuli araer-
Ti saerTo xazi ikveTeba. orive epoqis avtorTa umravlesoba sakuTari
SemoqmedebiT adamianuri arsebobis Zireuli problemebis gadaWras cdi-
lobs; pirovnebis idumali, amoucnobi da dualisturi bunebis SeswavliT
arian dakavebulni ori mTavari epoqis umniSvnelovanesi warmomadgenle-
bi jon doni da jeimz joisi.isini adamianis warmosaxvis yvelaze idum-
al SreebSi aRweven da saaSkaraoze gamoaqvT iseTi fiqrebi, romelTa
arsebobis gamomJRavnebis kacobriobas odiTganve eSinia. orive avtoris
mocemuli lirikuli nawarmoebis mTavari mxatvruli meTodi paradoqsia,
romlis Zireuli upiratesoba sruliad urTierTgamomricxavi cnebebisa
da suraT-xatebis erTmaneTTan idealuradSerwymis unarSi gamoixateba.
leqsebSi me-14 „wminda soneti“ da „locva“ kargad Cansrogorc donis,
ise joisis adamianuri arsebobis problemebiT daintereseba.
modernizmis mTavar mwerlad aRiarebuli jeimz joisis Semoqmede-
baSi garda prozisa, vxvdebiT poetur nawarmoebebsac. “Pomes Penyeach“
avtoris mier gamoqveynebul poeziis krebulebs Soris meore da ukanask-
nelia. is qronologiurad dalagebuli cameti leqsisgan Sedgeba, ro-
melTagan TiToeuls Tan axlavs Seqmnis TariRi da adgili, saidanac
irkveva, rom leqsebi oci wlis ganmavlobaSi evropis sxvadasxva qalaq-
sa Tu qveyanaSi iwereboda. joisma Tavis ukanaskneli leqsebis krebuls
iumoriT “Pomes Penyeach” uwoda, sadac “Pomes” erTis mxriv moiazre-
ba rogorc “poems”, xolo meores mxriv mogvagonebs imave JReradobis
frangul sityvas “pommes”, rac vaSlebs aRniSnavs. krebulis Torme-
ti leqsidan TiToeuli avtorma ironiulad TiTo Silingad Seafasa,
xolo mecamete leqsi “baker’sdozen” principiT mkiTxvels saCuqrad uZ-
Rvna. „saCuqars „A Prayer”- „locva“ uwoda da amiT daagvirgvina rogorc
82
krebuli, ise mTlianad misi poeturi moRvaweoba.

leqsi „locva“1924 wlis maisSi, safrangeTSi daiwera. es paradoqse-
biT savse leqsi SesaZloa ramdenimenairad gaviazroT. erTis mxriv, is
SeiZleba Seyvarebuli mamakacis sakuTari qalabtonisadmi warmoTqmul
mimarTvad an mowodebad aRviqvaT, meores mxriv ki SeiZleba, momakvdavi
adaminis sikvdilis Taobaze SeTxzul monologad miviCnioT; SesaZloa
es ori mosazreba, sulac, saerTo saxiT warmovadginoT da CavTvaloT,
rom avtori qalis saxiT SeniRbul sikvdils esaubreba. nebismierSe-
mTxvevaSi, mkiTxvelis yuradRebas, pirvel rigSi, leqsis mbrZaneblu-
ri toni, urTierTsawinaaRmdego suraT-xatebi, faruli seqsualuri
qveteqsti da agresiuli ganwyoba ipyrobs:
Again!
Come, give, yield all your strength to me!
From far a low word breathes on the breaking brain
Its cruel calm, submission’s misery,
Gentling her awe as to a soul predestined.
Cease, silent love! My doom!
kvlav!
modi, momeci, damiTme mTeli Seni Zala!
Soridan Cumi sityva sunTqavs msxvrevad gonebaze,
misi sastiki simSvide, morCilebis tanjva
amSvidebs Cum SiSs, rogorc bedisweragansazRvrul suls.
SeCerdi Cemo siyvarulo! Cemo damRupvelo!ii
leqsis pirvelive taepi paradoqsuli xasiaTisaa-avtori erTis mx-
riv Tavisken uxmobs misT vis damRupvel Zalas, meores mxriv ki Se-
Cerebisken mouwodebs mas. mimarTvis obieqtisadmi aseTi bundovani,
orazrovani da paradoqsuli damokidebuleba, erTdroulad siyvar-
uliT, SiSiTa da sinanuliT savse toni mogvagonebs joisis epoqamde
sami saukuniT adre daweril sxva lirikul nawarmoebs, romlis avtori
joisisgan gansxvavebiT mkiTxvelisTvis ZiriTadad Tavis poeturi qm-
nilebebiT gaxda dasamaxsoverbeli. metafizikuri skolis mTavari war-
momadgenlis jon donis me-14 „wminda sonetic“„irlandieli avtoris
„locvis“ msgavsad mkiTxvelSi orazrovan damokidebulebas aRZravs.
leqsis mTavari gmiri,TviTganaxlebisa da TviTganwmendis mizniT,Rmer-
83
Tisgan bolomde ganadgurebasa da gaubedurebas iTxovs:

Batter my heart, three-person’d God, for you
As yet but knock, breathe, shine, and seek to mend;
That I may rise and stand, o’erthrow me, and bend
Your force to break, blow, burn, and make me new
gangmire guli Cemi, samsaxovano RmerTo,
jer gulis karzemikakunebdi, suls miberavdi, gzas minaTebdi,
gamrTelebas lamobdi;
im imediT romaRvdgebodi.gamanadgure, Seni Zala ki
Cems gasatexad, gamosafxizeblad, dasawvelad gamoiyene, raTa
ganvaxlde.
maSin rocajoisTan mimarTvis mTavari obieqti qalia, donis perso-
naJi aSkarad mamakacuri Zalis mqone RmerTs mimarTavs. leqsis Semdgom
taepebSi gamoxatuli calsaxa seqsualuri qveteqstisa da protagonis-
tis datyvevebul qalaqTan gaigivebis miuxedavad, (I, like an usurp’d town
to another due, Labor to admit you, but oh, to no end iii) mainc rTulia
imis mtkiceba, romdonis mocemuli leqsismTavari personaJi ueWvelad
qalia, genderuli sakiTxi avtors am SemTxvevaSi Riad aqvs datovebu-
li. sqesTa gansxvaveba ufro TvalsaCinodaa warmodgenili joisis le-
qsSi, sadac sikvdili, aSkarad, qalis saxiT gvevlineba, protagonisti
ki, udaod, mamakacia. amis dasturi leqsis pirvel taepSi sikvdilTan
mimarTebiT gamoyenebuli kuTvnilebiTinacvalsaxeli her da leqsis
meore taepis bolo epizodia:
My slow life! Bend deeper on me, threatening head,
Proud by my downfall, remembering, pitying
Him who is, him who was!
Cemo dune sicocxlev! Cemsken moidrike Tavi Seni, muqariTsavse
Cemi dacemiT amays gaxsovdes, gebralebodes
is vinc aris, is vinc iyo.
am SemTxvevaSic, protagonistis sikvdilisadmidamokidebuleba, misi
swrafad cvalebadi da moulodneli survilebi mkiTxvels kvlav epi-
zodis seqsualur qveteqstze miuTiTebs. Tuki erTgan mas sikvdilis
„civi Sexeba aSinebs“, meore wams is masTan ufro Rrmad kavSirisken
miiswrafvis. (Bend deeper on me) mocemuli taepis bolo epizodSi gaJRe-
84
rebuli winadadeba ki leqsis bolo taepis winaswarmetyvelebasaviT

JRers da mTxrobelis sikvdilTan damarcxebisTvis niadags amzadebs.
protagonisti veRar ewinaaRmdegebaerotiuli SinaarsiT gajerebuli
sikvdilis Cum, idumal xmas da sabolood nebdeba:
Again!
Together, folded by the night, they lay on earth. I hear
From far her low word breathe on my breaking brain.
Come! I yield. Bend deeper upon me! I am here.
Subduer, do not leave me! Only joy, only anguish,
Take me, save me, soothe me, O spare me!
kvlav!
erTad, RamiT danaoWebulni, isini wvanan dedamiwaze.
Soridan mesmis misi Cumi sityvis sunTqva msxvrevad gonebaze.
modi! gnebdebi. ufro Rrmad Semodi CemSi! me aq var.
damipyari, ar damtovo! mxolod sixaruli, mxolod gamouTqmeli
tanjva.
wamiyvane, Semifare, maziare WeSmaritebas, Semiwyale!
joisis leqsis mocemuli monakveTi gansakuTrebiT kargad exmianeba
donis me-14 „wminda sonets“.rogorc es metafizikosi poetebisaTvis da
Semdeg ukve modernistebisTvisiyo damaxasiaTebeli, donis mocemuli
sonetis mTavari mxatvruli xerxic paradoqsia. metafizikuri maxvil-
gonierebiT gajerebuli leqsis orazrovani da urTierTsawinaaRmde-
go xasiaTi kargad vlindeba mis ukanasknel epizodSi, sadac avtori
RmerTs evedreba, rom daipyros, masze iZalados da amgvarad ganwmind-
os da boroti Zalisgan gaaTavisuflos.iv
Take me to you, imprison me, for I,

Except you enthrall me, never shall be free,
Nor ever chaste, except you ravish me.
SenTan wamiyvane, damapatimre,
radgan Sen Tu ar damipyrob, verasdros gavTavisufldebi,
verc verasdros gnaviwmindebi, Sen Tu ar gamaupatiureb.
85
aq gaJRerebul ideaTa urTierTgamomricxav xasiaTs rom Tavi da-

vaneboT, gverds ver avuvliT leqsis aSkara ukmex, agresiul tons,
(…o’erthrow me, and bend your force to break, blow, burn…Take me to you, im-
prison me, enthrall me, ravish me…) rac gvafiqrebinebs, rom leqsis saer-
To ganwyoba winaaRmdegobaSia mis saTaursa da saTauriT gamowveul
molodinTan, vinaidan aq warmodgenili Zaladobrivi SeZaxilebi ara
RmerTisadmi warmoTqmul vedrebad, aramed, ufro, daukmayofilebe-
li adamianis sapirispiro sqesisadmi wayenebul moTxovnebad JRers.
analogiuri SeiZleba iTqvas joisis leqsis SemTxvevaSic, sadac momak-
vdavi adamianis sikvdilisadmi Tqmuli sityvebi Zlier waagavs vnebaaS-
lili kacis satrfialo monologs.
amgvarad, jeimz joisis leqsis „locva“ da jon donis me-14 „wminda
sonetis“ SedarebiTi analizis safuZvelze gamoikveTa azrobrivi da
poetikuri siaxlove or erTmaneTisgan saukuneebiT daSorebul liri-
kul nawarmoebebs Soris. orive avtori sakuTar CaxlarTul emociebs
seqsualuri qveteqstis mqone leqsikis meSveobiT gadmogvcems; orive
SemTxvevaSileqsebi urTierTsawinaaRmdego gancdebiTaa savse, maTSi
gaJRerebuli azrebi ki paradoqsis formiT arian gadmocemulni.
86
Lennartz,N. “The Ache of Modernism”: James Joyce’s Pomes Penyeach and Their Literary
i
Context. University of Vechta
ii
es Targmani, iseve, rogorc am statiaSi warmodgenili sxva teqstebis
Targmani ekuTvnis avtors.
iii
alyaSi moqceuli qalaqis msgavsad, vcdilob Sens CemSi SemoSvebas, Tumca
amaod.
Campbell-Jones, B.Symbolism meaning: Donne’s Holy Sonnet xi. https://www.ukessays.

iv
com/essays/english-literature/symbolism-meaning-of-donnes-holy-sonnet-xiv-english-lit-
erature-essay.php?fbclid=IwAR2CmEkmyNl2_GsjKXrcdSEL9n1sz2CovXgvf9QXJYgN-
BlV3MK8Pujel7zQ
87
ANDREW GOODSPEED
SOUTH EAST EUROPEAN UNIVERSITY
The Joyce I Knew: Oliver St. John Gogarty’s Presentation of

Joyce to American Audiences
The relationship between James Joyce and Oliver St. John Gogarty is commonly re-
garded as a complete triumph for Joyce, but it must have been perplexing and vexatious
to Gogarty himself. In his mid-forties, Gogarty—then a man of distinction and success
in Dublin—suddenly found himself sharing his life with an unwelcome doppelganger,
Buck Mulligan, who resembled Gogarty too closely to banish. It was an unflattering
portrait. Mulligan is a witty and amusing but ultimately frivolous and unreliable young
medical student. It would have been a baffling experience in normal circumstances,
but to find one’s carefree and bawdy youth preserved in the most significant novel of
the century must have been immensely frustrating for Gogarty. It was also effectively
unanswerable.
Yet Gogarty did try to reply.
This paper does not pretend to resolve all the ambiguities of Gogarty’s relationship
with Joyce, but it perceives value in examining Gogarty’s version of his interactions
with Joyce, and of Joyce’s fictionalization of them. It seeks specifically to investigate
Gogarty’s presentation of Joyce to audiences in the United States, in two articles, one
entitled ‘The Joyce I Knew’ (which appeared in The Saturday Review of Literature,
New York, issue for 25 January 1941) and ‘James Augustine Joyce’ (which appeared
in the ‘Book News’ of the Dallas Times Herald issue for 3 April 1949, and was sub-
sequently republished as a booklet in an edition of 1050 copies by the Texas Western
College Press, El Paso). This essay postulates that these articles are of interest for the
Joyce community for several reasons: 1) that they partially elucidate Gogarty’s think-
ing about Joyce later in life, 2) that they help to explain how Gogarty made tactical and
rhetorical errors in his testimonies about Joyce, to the detriment of his reputation, and
3) that they have not been widely utilized by Joyce scholars.
It is worth beginning, however, with the general critical consensus of Joyce’s re-
lation with Gogarty, because Gogarty has been uncommonly luckless in his critical
standing amongst scholars of Irish literature. Helene Cixous, for example, character-
istically misses the mark when she observes of Gogarty that ‘Dr. O. St. John Gogarty
88
realizes that he has miscalculated—he has not bought Joyce’s silence by his generosity
in buying him drinks, he has acquired nothing but the role of the most unsympathetic,
most unattractive and least likeable citizen of Dublin with the name and attributes of
Buck Mulligan…i’Although one may dislike Gogarty, it is difficult to maintain that he,
or Mulligan, is ‘the most unsympathetic, most unattractive, and least likeable citizen of
Dublin,’ given that Dublin has the same murderers, rapists, pimps, and criminals to be
found in any city of comparable size. (One might recall the Phoenix Park murders…).
Note also that his transgression here was buying Joyce drinks, which is something
known to happen sociably in Dublin; one wonders what condemnation of Gogarty a
genuine assault might have provoked.
Richard Ellmann is predictably on more moderate ground when he observes of Joyce
and Gogarty that ‘Gogarty and Joyce never dueled on top of the Sugarloaf Mountain, but
they took part in a lifelong battle in which Gogarty was severely worsted.’iiAs a scholarly
judgment, this is certainly a defensible assertion. Gogarty’s primary fame now is in the
field of Joyce studies, and his main interest to scholars is his relationship to Joyce and
to Joyce’s work. Yet it should also be noted to Gogarty’s credit that his life was hardly
one of being locked in relentless battle with his former friend. Gogarty had real enemies
armed with more than pencils; he was famously kidnapped by gunmen and had to escape
by leaping into the Liffey and swimming to safety, which episode was a prelude to his
country home in Galway being burnt. Thus, to note several of the major achievements of
his life is not special pleading on Gogarty’s behalf—it serves to complicate this narrative
of a man who allegedly spent a lifetime grappling with Joyce. Gogarty was educated at
Trinity College Dublin and Oxford, and thus had a formidable education; he became a
distinguished otolaryngologist (Ear-Nose-and-Throat doctor); he was a Senator of Ire-
land; he was a champion bicyclist and an amateur pilot; he was financially successful,
owning homes in Ely Place in Dublin and a large home in Renvyle, Connemara (and
also owned one of the first privately-owned Rolls Royce automobile in Ireland)iii; he was
a classical poet with a reputation for capable if antiquarian poetry; and he maintained
personal friendships with people of the distinction of William Butler Yeats, AE (George
Russell), George Moore, Augustus John, Arthur Griffith, and Michael Collins. Whatever
we may conclude about Gogarty’s relations with Joyce, his life was generally a credit
to himself and a benefit to his community. One would be unlikely to foretell so distin-
guished, varied, and publicly useful a career for Buck Mulligan.
Yet Gogarty, by the late 1930s, was disillusioned by DeValera’s Ireland, and had
lived off and on in England for several years in a manner of self-imposed exile. He
89
turned his hand more seriously to writing, producing his most accomplished work in
1937, As I was Going Down Sackville Street. And in 1939 he embarked on a lecture
tour of the United States. This was to be determinative for Gogarty’s remaining two
decades of life, as he did not return permanently to Ireland or Britain after the outbreak
of the war in Europe (Gogarty obtained his visa on 14 September 1939)iv. He spent the
rest of his life (with occasional visits to Ireland after the war ended) as a resident of
New York City.
Gogarty thus found himself in a new country and needing income. Although he
now had more time for his writing than he had enjoyed previously, he was also canny
enough to recognize that the United States’ enthusiasm for Irish literature and Irish
culture made his memories and anecdotes saleable. He therefore pursued the lucrative
lecture circuit in North America, essentially making the easy money of telling anec-
dotes and memories of his own life.
Here, however, we may begin to glimpse some of the frustrations of touring a conti-
nent and retelling one’s youthful adventures to paying audiences. Let us here examine
just one report of a Gogarty speech: in this case, a report from 21 November 1945,
appearing in The Nebraskan, a newspaper serving the University of Nebraska. On the
front page, under an unsigned article entitled ‘Irish Poet Speaks at UN Convocation,’
The Nebraskan reports that ‘Oliver St. John Gogarty, famed Irish poet and wit, speak-
ing on “Poets I Have Known,” will be presented as the speaker for the third all-uni-
versity convocation Monday […] Since he led the opposition to DeValera, Irish Prime
Minister and the Sinn Feiners, he was obliged to live in exile for a time in England.
Gogarty has intimately known William Butler Yeats, George Russell, Lord Dunsany
and George Moore. He is known as the inspiration for the character “Buck Mulligan”
in James Joyce’s novel “Ulysses.”v
The article in The Nebraskan is not notable for anything particularly memorable that
occurred at Gogarty’s lecture. Indeed, it is the unexceptional quality of it that enables
us to glimpse Gogarty’s potential frustration during this period. He is identified as
‘famed Irish poet and wit,’ whilst his friends Yeats, Russell, Dunsany, and Moore are
all named without identification: the presumable message being that their contributions
are recognizably well-known, whilst Gogarty needs to be introduced as a ‘poet and wit’
to his audience. This leads into his lecture topic, which is announced as ‘Poets I Have
Known.’ He was to recycle anecdotes about Yeats and Moore for the rest of his life, and
some of these are indeed engaging essays. Yet it must have been dispiriting for a man
of Gogarty’s social proximity to the most illustrious Irishmen of his era to be reduced
90
to the peripatetic retelling of stories about other people. His topic implies that it is the
people he has known who are interesting, not he himself. Finally, he is unambiguously
identified as being the inspiration for Buck Mulligan, which demonstrates that even in
1945 Gogarty could not escape the fact that his interest for audiences was indissociable
from Joyce’s depiction of him. It must have been disheartening.
Let us therefore turn to the first of Gogarty’s articles to be surveyed in this pa-
per, ‘The Joyce I Knew,’ from The Saturday Review of Literature of 25 January 1941.
The date is suggestive; Gogarty must surely have written it at speed upon learning of
Joyce’s death. For this reason—Gogarty’s potential compositional haste—it is not ab-
solutely certain how considered his comments are as a reflection of his mature reaction
to Joyce and Joyce’s creative writing. Yet Gogarty committed to them on paper, and
seems never to have retracted them. How, therefore, does he present the Joyce he knew,
less than a fortnight after Joyce’s death?
There are passages of praise, which are indeed consistent with memories or recol-
lections recorded by others. He lauds Joyce’s singing voice, for example, something
he must have known Joyce prided himself on: ‘I never heard a voice to compare with
his.’viHe also testifies to Joyce’s uncommon erudition even as a young man: ‘No man
had more erudition at so early an age…his reading must have been as prodigious as his
memory was.’Indeed, even when paying Joyce the back-handed compliment of being
so work-driven as to be uncompanionable, he still testifies to Joyce’s incredible self-be-
lief and tenacity in writing: ‘The obstinate courage which enabled him for twenty years
to keep on writing, all in longhand, a work of over a thousand pages without hope of a
publisher, is an outstanding proof of that unswerving belief in himself and his self-ex-
pression, which made him anything but a genial companion.’viii
These passages of praise are notable because they are effectively independently ver-
ifiable. We have other testimonies to these characteristics of Joyce. Joyce’s pleasure in
his voice was remembered decades later by Samuel Beckett, who recalled that even in
the 1930s Joyce sang with what Beckett recalled as ‘his marvelous remains of a ten-
or voice.’ix Gogarty’s praise of Joyce’s erudition and reading is consistent with what
Stanislaus Joyce records of James as a young man: ‘My brother was not only the most
brilliant pupil in the college, and, at that time at least, of exemplary diligence, but also
an omnivorous reader…’ And James Joyce’s lifelong work ethic is multiply attested.
Beyond those recollections of Joyce, Gogarty perhaps unexpectedly offers some
praise of even Joyce’s most relentlessly experimental work, Finnegans Wake. Although
temperamentally disinclined towards literary Modernism, Gogarty was at least able to
91
understand and to recognize Joyce’s conception: ‘In Anna Livia Plurabelle his experi-
ment is at its best. Here there is intelligible evidence of that for which he was striving
and that was to make words in a surrealistic way show roots as well as blossoms. His
stupendous erudition is evident in every word.’xi Even consequential experimentalists
have reacted less sympathetically to Finnegans Wake: Ezra Pound famously noted that
‘nothing short of divine vision or a new cure for the clapp can possibly be worth all
the circumambient peripherization,’xii and Vladimir Nabokov dismissed the novel as
‘nothing but a formless and dull mass of phony folklore, a cold pudding of a book,
a persistent snore in the next room, most aggravating to the insomniac I am.’xiii Yet
despite Gogarty’s published appreciation for the accomplishment of Anna Livia Plura-
belle, two points remain to be made. First, despite this appreciation of a brief passage in
Finnegans Wake, there is little evidence that Gogarty had enthusiasm for any other pas-
sages in the novel. His commendation confines itself to one of the most approachable
passages of Finnegans Wake. More importantly, however, we note also here Gogarty’s
elision of the boundary between the Joyce he knew, and the Joyce of Finnegans Wake.
We shall see, in both this essay and his later piece for the Dallas Times Herald, that
Gogarty awkwardly mixes his recollections with literary criticism and general opinion,
a tendency that significantly undermines his authority as someone who knew Joyce.
If Gogarty was worth attending to about Joyce, it was because he had known him; his
authority as a reader of Joyce is undercut by his inability or unwillingness to distin-
guish between the young Joyce of Dublin and the mature Joyce who wrote Ulysses and
Finnegans Wake.
This tendency to offer opinion as informed personal knowledge is worrisomely ev-
ident in several of Gogarty’s more extreme dismissals of Joyce’s work. Consider the
following passage: ‘the national spirit was recreating itself through the art of Yeats.
With savage indignation against all that was bad form and was holy, Joyce, a dishev-
eled harbinger of the Bolshevik revolution flung himself away from beauty and harmo-
ny to howl outcast for the rest of his life through the dark recesses of the soul.’ This is
ludicrous; whatever Joyce’s strengths or weaknesses, it is positively Miltonic to claim
that he howled outcast through the dark recesses of his soul. But even the invective
is clumsy. To associate Joyce with Bolshevism is a bafflingly lazy identification, ap-
parently based on the idea that Joyce—like the Bolsheviks—represented a disorderly
break with the harmonious, the beautiful, and the established. Yet this is an excessively
provocative and unusable connection. To accuse Joyce of being in any way associable
with Bolshevism is to discredit one’s own perceptions by willfully substituting antip-
92
athy for recollection. The Joyce Gogarty knew was, if nothing else, no Bolshevik, and
it diminishes Gogarty’s eyewitness testimony not to have resisted this defamatory and
aberrant identification.
Gogarty makes a comparable rhetorical error in the following passage: ‘There is
room in this world of ours for every form of literature. But those whose gaze is clear
and undimmed and steadfastly fixed on the Vision Beautiful as Yeats’s was, must see
what a waste of ingenuity and what nonsense this vast concordance represents. To me
it is like a shattered cathedral through the ruins of which, buried deep and muted under
the debris, the organ still sounds with all its stops pulled out at once.’xiv Here we may
note how outdated Gogarty’s literary criticism is; it is so obstinately unfashionable
(‘gaze is clear and undimmed and steadfastly fixed on the Vision Beautiful’) that one
suspects Gogarty intentionally attempted to evoke an older, more traditional approach
to literature, without conceding that such an approach would have little pertinence to
Joyce or his work. Additionally, we note also that Gogarty’s description of Ulysses as
being ‘a waste of ingenuity and what nonsense’ seems deliberately contrarian, and car-
ries Gogarty away from that area in which he could claim personal knowledge, which
is Joyce himself as a young man. It is a surprisingly graceless attack on a man who had
only just died, and is too old-fashioned to be persuasive as literary criticism.
Another observation should be advanced here of ‘The Joyce I Knew’ which is that
Gogarty begins to establish a personal defense. He notes that in Ulysses ‘a figure with
smoke blue eyes and glistening teeth emerges carrying shaving materials preparatory
to going out to swim. The person so described is said to be myself as it well may be, so
alien is that gay, water-loving character who moved not sullen in the sweet air to all the
thwarted, mad, miserable phantoms of the rest of that terrible exposition of indignation
and revolt.’xvThis is apparently consistent with the impression Gogarty made on his
fellows—even Stanislaus Joyce, who detested Gogarty, conceded that he cut a cheerful
figure in a dismal Dublin:‘He was full of bustling energy, wit, and profanity, and had a
seemingly inexhaustible supply of bawdy rhymes […] He was, moreover, in loquacious
revolt against the drabness and smugness of Dublin life.’xvi Here is a more intriguing
line of approach, in that Gogarty affirms that Buck Mulligan may be intended to rep-
resent him, but that Buck Mulligan at least shows some signs of having a happy spirit
and enjoying life. This is an understandably biased reading of Mulligan’s role in the
novel, yet it is not entirely eccentric; Mulligan does seem insouciant, witty, and happy.
Another unexpected commentator makes a similar observation of Mulligan, as Wynd-
ham Lewis calls Mulligan ‘the jolly, attractive Wild Irishman’ who stands in contrast
93
to Stephen Dedalus, whom Lewis terms ‘the really wooden figure,’ and who is ‘”the
poet” to an uncomfortable, a dismal, a ridiculous, even a pulverizing degree.’xviiThis all
indicates that Gogarty had available to him a less vitriolic response to being depicted as
‘Buck Mulligan,’ and might not have harmed his reputation so gravely had he merely
continued to assert that Mulligan had the merit of being vital, and refrained attacking
Joyce personally. As we have seen, and will continue to see, his most significant errors
were conflating literary criticism with personal recollection, and an apparent desire to
denigrate Joyce and his admirers.
One final note occurs to the reader of ‘The Joyce I Knew’ which is that Gogarty,
troublingly for a memoirist, makes what appear to be significant errors of fact. When
discussing the rental of the Martello Tower in which Ulysses begins, Gogarty writes:
‘[Joyce] kept eight pounds to pay one year’s rent of one of those fortresses with which
the British Government dotted the east coast of Ireland after the threat of a French
invasion during the Napoleonic wars.’xviii No scholar appears to concur with Gogarty’s
crediting Joyce with paying that rent; Gogarty seems to have paid it himself. Ellmann
believes that this was an attempt at civility, writing that ‘Gogarty said courteously lat-
er that it was Joyce who like Stephen Dedalus rented the tower from the Secretary of
State for War, but the records show it was Gogarty who did so and paid the annual £8
rent.’xixSimilarly, Gogarty gets the chronology of this stay wrong, noting that ‘For two
years we lived off and on in this impregnable place,’xx and that ‘For months all went
well.’xxiAgain, no scholar agrees with Gogarty on the claim of years, nor even months;
Ellmann specifically dates Joyce’s residence in the Tower as beginning on 9 Septem-
ber 1904xxiiand ending on 14 September of that year.xxiii Such errors are excusable, and
perhaps even permissible in amusing anecdotes presented for a casual audience, but
they become deeply problematic when one launches an attack on a major writer’s rep-
utation, and claims as one’s authority that one had personally been present at important
events. If one is provably wrong about even details where no one contests one’s person-
al presence, it makes one’s recollections and opinions eminently disputable.
It is now here appropriate to move our attention to Gogarty’s other essay, ‘James
Augustine Joyce,’ and we must first examine the somewhat uncertain textual history of
this essay. The essay apparently first appeared in the Dallas Times Herald on 3 April
1949, and was later (evidently that same year) published as a separate booklet by the
Texas Western College Press, El Paso.xxiv The essay, however, seems to have been ex-
panded by Gogarty for later publication as ‘They Think They Know Joyce’ in The Sat-
urday Review of Literature of 18 March 1950. There is a significant amount of verbatim
94
replication in the later publication, but several additional passages of interest appear,
and therefore this paper will examine first ‘James Augustine Joyce’ by itself, then pro-
ceed to note those additions worth observing in ‘They Think They Know Joyce.’
In ‘James Augustine Joyce’ Gogarty expands his criticism of Joyce as a disruptive
figure promoting disorder. As he writes ‘About this time the obscene bulk of Gertrude
Stein appeared on the scene. She began making nonsense of the language and presenting
the potpourri to a public which could be reached by people of her sort who controlled
the avenues of publicity. “A Portrait of Mabel Dodge at the Villa Curona” appeared
about 1907. It stated among other messages that “Blankets are warmer in the Summer:
the explicit visit: there has been William.” Disruption of the standards of literature took
place almost contemporaneously with the revolutionary brew in Russia.’xxvHere again
Gogarty somehow conflates Modernist experimentation with revolutionary upheaval
and disorder in Russia, and is not more successful in this accusation than he had been in
‘The Joyce I Knew.’ Indeed, this assertion may be even less compelling, in part because
it is aligned with the suggestion that Gertrude Stein was influential on—or at least
paved the way for—Joyce. There is no evidence that Joyce was influenced by Stein, or
felt that he owed his accomplishment to her precedent. Again, Gogarty’s opinionated
dismissal of Joyce and Stein as two representatives of Bolshevism or disorder renders
his literary criticism dubitable, and his claim to personal knowledge unconvincing.
Gogarty pursues another troubling line of argument in the following passage. In
this quotation he again asserts the primacy of personal information over a sympathetic
reading of Joyce: ‘When I read those who, although they have never been in Dublin,
set themselves up as “guides” to Joyce or as masters of “the master,” I feel sorrow for
their illiteracy and then anger at their presumption. I know how Joyce, who used a
grim attitude long sustained when he was acting rather than “making” a joke, would
laugh at these “fans” of his—and dupes.’It is incontestable that possessing knowledge
of Dublin is an advantage to reading Joyce. Yet notice here how easily—and uncon-
vincingly—Gogarty moves from those who lack a precise knowledge of Dublin to
attacking the body of Joyce’s admirers. In Gogarty’s view, to be a Joyce enthusiast is to
be illiterate, presumptuous, and a dupe. Those who knew him well—although decades
earlier—apparently see through Joyce’s artistic trickery. He thus privileges his personal
knowledge of Joyce as a young man over the potentially more sensitive readings of
Joyce scholars who never met him. This is a disturbingly personal approach to literary
criticism, but it is exacerbated when one’s own literary perceptions seem willfully un-
informed (Stein’s implied role in Joyce’s development) or perplexingly insupportable
95
(accusing both of them of being manifestations of trends comparable to Bolshevism).

One wonders who he thought his audience was at this point.
As noted above, what appears to have been an expanded version of this text was
published in The Saturday Review of Literature for 18 March 1950. It is extended,
but not better. That the article is titled ‘They Think They Know Joyce’ represents an
intriguing shift from his earlier essay in the same journal, as it shifts from the prima-
cy of his personal knowledge of Joyce (‘The Joyce I Knew’) to an attack on Joyce’s
followers (‘They Think They Know Joyce’). It is unclear who provided these titles, so
unless a typescript or manuscript emerges it is wise not to place too much judgmental
value on these titles alone. But the titles do accurately reflect the primary trajectory of
the essays: the first asserts that Gogarty knew Joyce, and the latter asserts that Joyce’s
fans are presumptuous and mistaken.
In ‘They Think They Know Joyce,’ we encounter an elaborated interpretation of
Joyce as a joking perpetrator of a hoax who suddenly found himself celebrated—a
reading of Joyce that insults both Joyce and Joyce’s admirers. Gogarty writes ‘I wonder
what all the worshippers of Joyce would say if they realized that they had become the
victims of a gigantic hoax, of one of the most enormous leg-pulls in history.’xxviiGog-
arty then expatiates on what he thought motivated Joyce: ‘On the backside of beauty
he would inscribe his name. If the writing proved to be indelible, all the better.’xxviii
To dismiss Joyce’s intense compositional effort as mere schoolboy vandalism is both
insulting to the man, and revealing of how little Gogarty truly understood the under-
taking Joyce had set himself in Ulysses and Finnegans Wake. Yet he continues, noting
that upon the success of Ulysses ‘Joyce found that his leg-pull had acquired an inter-
national audience. Suddenly he discovered that to write his name on the backside of
beauty was the most significant action of his life. He dared not retract; money and fame
were at stake. He dared not let anyone into a joke that had gone too far and been taken
too seriously.’xxix At this point Gogarty is simply insulting not just Joyce’s admirers,
but Joyce himself. To reduce Ulysses to a prank, and to assert that Joyce then devoted
the rest of his life to maintaining a hoax because he sought money and fame, is patent
calumny. In a sense, Gogarty created a situation almost exactly opposite to what he
intended: Gogarty’s earlier assertions that his former friendship with Joyce made him
particularly competent to comment on Ulysses and Finnegans Wake have now become
such cranky and under-evidenced readings of Joyce that their only interest lies in that
personal acquaintance. It is hard to imagine such an essay being published without it
coming from the pen of ‘Buck Mulligan.’
96
In a sense, Gogarty in his later years is a deeply compelling individual. He was far
from his home and society, making a substantially reduced living through writing and
public lecturing. His biographer refers to him at this time as being ‘lonely, hard-up
and at a loose end in Manhattan.’xxx All the while, however, his dead friend’s reputa-
tion continued to rise. It must have been a bitter and painful denouement to his life
and ambitions. Joyce had eclipsed him, primarily on the strength of a book in which
Joyce had depicted him, and Gogarty now found himself chiefly of interest because
of that connection. It helps to explain—if not to justify—why he insisted upon per-
sonal knowledge of Dublin and Joyce as being necessary to understanding Joyce’s
work. Gogarty had that knowledge, and to assert it as necessary made him an authority.
Yet Gogarty’s intemperate dismissal of Joyce’s works, his factual imprecision, and his
needless abuse of Joyce’s fans, were opinions he would more wisely have left unprint-
ed, and unexpressed. Had he moderated himself in this manner, his reputation would
almost certainly have been higher today than it is. Had Gogarty merely restricted his
comments on Joyce to the observation—which, as we have seen, he advanced in ‘The
Joyce I Knew’—that Buck Mulligan is a light, witty, and exuberant fellow, similar to
what Gogarty had been in youth, he might have earned the more positive position in
Irish literary history that his writings merit. He was not the titan that Joyce became,
but his more modest achievement has been utterly lost to literary critics because of his
grumpy and discreditable prolongation of a feud with a dead man.
97
i
Helene Cixous, The Exile of James Joyce. NY: David Lewis Publisher, 1972. (p.112)
ii
Richard Ellmann, James Joyce. Oxford: Oxford University Press, 1982. (p.207)
iii
J. B. Lyons. Oliver St. John Gogarty: The Man of Many Talents. Dublin: Blackwater.
1980 . (p.71)
J. B. Lyons. Oliver St. John Gogarty:The Man of Many Talents. Dublin: Blackwater. 1980.
iv
(p. 239)
v
The Nebraskan, ‘Irish Poet Speaks at UN Convocation.’ 21 November 1945. (p.1)
Oliver St. John Gogarty, ‘The Joyce I Knew.’ The Saturday Review of Literature, Vol.
vi
XXIII, No, 14 (25 January 1941). (p.15)
vii
viii
James & Elizabeth Knowlson, Beckett Remembering/Remembering Beckett. New York:

ix
Arcade Publishing. 2006. ([/ 46)
x
Stanislaus Joyce, My Brother’s Keeper. New York: Viking, 1958. (p.73)
xi
xii
Cited in Richard Ellmann, James Joyce. Oxford: Oxford University Press, 1982. (p.584)
Alfred Appel, Jr. ‘An Interview with Vladimir Nabokov,’ Wisconsin Studies in Contempo
xiii
rary Literature, Vol. 8, no. 2. (Spring, 1967), (p. 134)
xiv
xv
xvi
Stanislaus Joyce, My Brother’s Keeper. New York: Viking, 1958. (p.175)
xvii
Wyndham Lewis. Time and Western Man. Boston: Beacon Press, 1957. (p.97)
98
xviii
xix
Richard Ellmann, James Joyce. Oxford: Oxford University Press, 1982. (p 172)
xx
xxi
xxii
Richard Ellmann, James Joyce. Oxford: Oxford University Press, 1982. (p. 171)
xxiii
Richard Ellmann, James Joyce. Oxford: Oxford University Press, 1982. (p.175)
Oliver St. John Gogarty. ‘James Augustine Joyce.’ Dallas Times Herald,. (Texas Western
xxiv
College Press), 1949. (n.p.)
xxv
xxvi
Oliver St. John Gogarty. ‘They Think They Know Joyce’ (in) The Saturday Review Gal
xxvii
lery. New York: Simon and Schuster, 1959. (p. 262)
Oliver St. John Gogarty. ‘They Think They Know Joyce’ (in) The Saturday Review
xxviii
Gallery. New York: Simon and Schuster, 1959. (p. 264)
Oliver St. John Gogarty. ‘They Think They Know Joyce’ (in) The Saturday Review Gal
xxix
lery. New York: Simon and Schuster, 1959. (p. 265)
J. B. Lyons. Oliver St. John Gogarty:The Man of Many Talents. Dublin: Blackwater.
xxx
1980. (p. 282)
99
BIBLIOGRAPHY
Alfred Appel, Jr. ‘An Interview with Vladimir Nabokov,’ Wisconsin Studies in Contempo
rary Literature, Vol. 8, no. 2. (Spring, 1967).
Helene Cixous, The Exile of James Joyce. NY: David Lewis Publisher, 1972.
Richard Ellmann, James Joyce. Oxford: Oxford University Press, 1982.
XXIII, No, 14 (25 January 1941).
College Press), 1949.
Oliver St. John Gogarty. ‘They Think They Know Joyce’ (in) The Saturday Review Gallery.
New York: Simon and Schuster, 1959.
Stanislaus Joyce, My Brother’s Keeper. New York: Viking, 1958.
Wyndham Lewis. Time and Western Man. Boston: Beacon Press, 1957.
J. B. Lyons. Oliver St. John Gogarty: The Man of Many Talents. Dublin: Blackwater. 1980.
The Nebraskan, ‘Irish Poet Speaks at UN Convocation.’ 21 November 1945.
100
KETEVAN JMUKHADZE
ity as a Mythical Space in James Joyce’s

Ulysses
Modernist literature perceived as urban with its alienated modern man as a prod-
uct of big cities has become a cliché in Literary Studies. City in High Modernism has
become a kind of experimental Space, with its distinguished aesthetic function and a
symbolic meaning behind.
Dublin depicted in James Joyce’s Ulysses is rather an interesting material in this re-
spect. Joyce’s approach towards Dublin on the one hand is rather realistic (sometimes
even naturalistic) minuteness, and on the other hand charges the city with a symbolic
dimension. The same is evident while dealing with time: even though, objective time is
observed with pedantic exactness with the reader knowing exactly when and where the
action takes place, but at the same time chronological time serves only as a background
and Joyce’s aim is to give an image of a space where all times meet.
City for Joyce becomes imago mundi - an area confined with boundaries and closed
for outer world. Dublin, where Leopold Bloom, Stephen Dedalus and many others
wonder, is exactly such a space. At the same time Bloom’s contemporary Dublin, an-
cient Ithaca, Calypso’s cave, mythical country of the Lotus Eaters, Hades, land of the
Sirens and Cyclops, Scylla and Charybdis all exist at one and the same time. It means
that the city becomes a space where all times co-exist in one eternal present moment.
Thus, the paper shows that Joyce aims at creating a chronotope that is free from lim-
itations of time and space and represents the most general mythical model of the world,
although being deeply rooted in the real city.
101
qeTevan jmuxaZe
ivane javaxiSvilis saxelobis Tbilisis
saxelmwifo universiteti
qalaqi, rogorc miTosuri sivrce, jeimz joisis

romanSi „ulise“
TiTqmis yovelTvis mxatvruli literaturis nimuSis protagonisti

sulieri qmnilebaa, personaJi, romelic nawarmoebis erTgvari centria
da romlis garSemoc sruldeba qmedebaTa jaWvi, an romelic TviTon
asrulebs am moqmedebaTa serias. avtoris mier SerCeuli dro da moq-
medebis areali ki xSirad damxmare saSualebebad gvevlineba, romlebic
konkretul epoqasa da sivrceSi axvedreben personaJebs, siuJetis gan-
viTarebisaTvis garkveul fons qmnian da/an mkiTxvels erTgvar mimar-
Tulebas aZleven, warmodgenas uqmnian romelime konkretul drosa da
sivrceSi arsebul mdgomareobasa Tu adamianTa yofa-cxovrebaze. am
mxriv, erTi SexedviT, gamonaklisi arc jeimz joisis „ulisea“. nawar-
moebs sami mTavari gmiri hyavs leopold blumis, stiven dedalosisa
da moli blumis saxiT. moqmedebis dro 1904 wlis 16 ivnisi, xolo
nawarmoebis mxatvruli sivrce qalaqi dublinia. sainteresoa, „uli-
seze“ saubrisas ra mimarTulebiT warmarTavs msjelobas varaudi, rom
romanis moqmedebis areali - dublini amavdroulad nawarmoebis pro-
tagonistia? miuxedavad imisa, rom avtori mkiTxvels leopold blum-
Tan da stiven dedalosTan erTad qalaqSi realurad arsebuli quCe-
biTa da marSrutiT atarebs, cxadia, joisis mier aRweril dublins
saerTo araferi aqvs geografiul rukaze konkretuli adgilmdebare-
obis mqone qalaqTan da saqme gvaqvs avtoriseul, mis gonebaSi arsebul
simboluri mniSvnelobis mqone sivrcesTan.
mniSvnelovania, aRiniSnos, rom modernistul literaturaSi ro-
gorc nawarmoebis mxatvruli dro, aseve sivrce eqsperimentis sagnis
saxes iZens da gacnobierebul, poetikur saSualebad gvevlineba. Ta-
namedrove romanis sivrculi Tavisebureba gulisxmobs imas, rom moq-
medebis areali mkacrad Semofargluli da daxSulia ise, TiTqos mis
miRma araferi arsebobs, arsebobis SemTxvevaSi ki garesamyaroSi mim-
102
dinare movlenebs mniSvneloba ar gaaCniaT da maTTvis kari saimedodaa

daxuruli. aseT mkacrad lokalizebul sivrceebad modernistuli
literaturis teqstebSi SeiZleba mogvevlinos mTa, romlis xsenebasac
asociaciurad imTaviTve Tomas manis „jadosnuri mTisaken“ mivyavarT,
erTi oTaxi, romelic uiliam folknerma SearCia mxatvrul sivrced
moTxrobisaTvis „vardi emilisTvis“, da, ra Tqma unda, qalaqi - joi-
sisaTvis dublinis, Tomas eliotisaTvis veneciis, folknerisaTvis
jefersonis urbanuli garemoebi. naxsenebi sivrceebi ganasaxiereben
moqmedebis eqsperimentul arealsa da modernistuli romanis fiqci-
ur samyaros, romelsac centraluri mxatvruli elementis funqcia da
roli ekisreba.
qalaqis, rogorc gansakuTrebuli mniSvnelobis mqone sivrcis, aRqma
araxalia, Tumca modernistuli literaturis warmomadgenlebma igi
axleburad gaiazres da axali sicocxle SesZines ukve meoce saukuneSi
Seqmnil teqstebSi. anTropologi mirCa eliade naSromSi „maradiuli
dabrunebis miTi“ saubrobs qalaqis, rogorc miTosuri sivrcis, mniS-
vnelobaze. eliade wers, rom qalaqebs, taZrebTan da sasaxleebTan er-
Tad, TavianTi RvTaebrivi prototipebi, zeciuri modelebi gaaCniaT,
romelTac maradisobaSi ukaviaT adgili. samyaroSi miwis yvela naWers,
qalaqsa Tu taZars Tavisi zemiwieri prototipi gaaCnia, romelic „ro-
gorc erTgvari winaswar Cafiqrebuli „gegma-proeqti“, an „modeli“,
anda SeiZleba rogorc misi wminda wylis oreuli, sadRac umaRles
kosmiur doneze arsebobs“.i TiToeuli wminda qalaqi samyaros centrSi
mdebareobs da, radgan cisa da dedamiwis erTmaneTTan kveTis werti-
lad gvevlineba, Tavad xdeba kosmosis centri, RerZi.ii
Tu davuSvebT, rom joisiseuli dublini aris adgili, romelic ga-
nasaxierebs sivrcesa da droSi ganfenil uzogades modelsa da sam-
yaros pirobiT simbolosa da xats, adgils, romelsac saerTo araferi
aqvs realurad arsebul qalaqTan, gamodis rom dublini esaa profan-
ulisagan gansxvavebuli, sakraluri zona da eliadeseuli „centri“,
sadac absoluturi realoba sufevs. esaa qalaqi, romelic Caketil
wres ganasaxierebs, sadac yvela da yvelaferi iyris Tavs. dublinSi
erTdroulad da erT sivrceSi Tavmoyrilia iTaka, kalifsos mRvime,
lotofagebis qveyana, skila da qaribda, hadesis, sirinozebisa Tu cik-
lopis samflobeloebi. swored amgvar, yovlismomcvel da, amavdrou-
103
lad, mkafiod SemosazRvrul sivrceSi amogzaurebs joisi leopold

blums.
Tu dakvirvebis areals kidev ufro mivuaxlovdebiT, rTulad Sesa-
mCnevi ar iqneba samyaros centr dublinSi arsebuli lokaluri centri
- leopold blumis saxli. am gagebiT, romanSi blumis gza centri-
dan gamomavali gzaa, romelic isev ukan, saxliskenaa mimarTuli. „cen-
trisken mimavali gza - „rTuli gzaa“ (dūrohana)“, wers eliade.iii blumis
erTi dRis ganmavlobaSi ganfenili xetiali saxlidan ukan saxlisaken
im kacis msvlelobas unda hgavdes, vinc samyarosa Tu sakuTari Tav-
is Sesamecneblad adgas gzas da vinc sakuTari raobis „centrisken“,
Sesabamisad, efemerulobidan mudmivobisaken, profanulidan sakral-
urisaken midis, sinamdvileSi ki xelT gvrCeba leopold blumi, rome-
lic saxlSi dabrunebas gamiznulad ajanjlebs, molis rom RalatSi
ar SeuSalos xeli, amasobaSi ki sruli sisavsiT aRiqvas qalaqisagan
misken gamoSverili koleqtiuri TiTi. aqedan gamomdinare, leopold
blumi naxsenebi maZiebeli gmiris parodiuli gansaxierebaa imdenad,
ramdenadac misTvis „centrSi“ dabruneba iniciaciis tolfasi ar aris.
simboluria, rom blumi saxlis gasaRebs ver poulobs da RamiT Sin
dabrunebuls, stiven dedalosTan erTad, galavanze gadasvla uwevs.
arc dedaloss aqvs Tan martelos koSkis gasaRebi. rogorc qalaqi,
ise personaJebis sacxovrebeli maTTvis Caketil, daxSul sivrces war-
moadgens, sadac SeRweva garkveul siZneleebTanaa dakavSirebuli.
dublini SeiZleba aRviqvaT maradiul qalaqad, sadac arsebiTad
araferi icvleba da sadac mudmivi „aq“ da „axlaa“. „uliseSi“ aRbe-
Wdili erTi dRe mTel cikls moicavs, romelic kvlavganmeorebadia
da arsebiTi mniSvneloba ar eniWeba drois periods, erTi dRe iqneba
es, erTi weli Tu erTi wami. 1904 wlis 16 ivnisi is erTi usaSvelod
gawelili wamia, sadac warsuli, awmyo da momavali erTiandeba da ro-
melic Toma aqvineliseul nunc stans-s (maradiuli axla) ganasaxierebs.
„iqneb maradisobaSi mivabijeb sendimauntis sanapiroTi?“, kiTxvas svams
stiven dedalosi.vi cxadia, naxsenebi geografiuli obieqti dedalo-
sis gonebaSi zedroul, Seucnobel sivrced transformirdeba, sadac
mogzauroba sakuTar TavTan SexvedriT da arsebobis raobis amoxsniT
unda dasruldes. stivenis personaJi amas srulad acnobierebs da az-
ris sicxadisTvis imowmebs meterlinks: „Tu sokrate dRes saxlidan
104
gava, naxavs mis karis direze mjdar brZens. Tu iuda amaRam gaudga gzas,
igi mas iudasTan miiyvans.“v iqve amatebs: „yoveli sicocxle bevri dRea,
dRidan dRemde. sakuTar arsebaSi daviarebiT da vxvdebiT yaCaRebs,
moCvenebebs, goliaTebs, bebrebs, ymawvilebs, colebs, qvrivebs, sulier
Zmebs. magram isev da isev, mudam sakuTar Tavs vxvdebiT... es yvelaferi
sivrceSi arsebobs da Tavis droze mec unda mivide masTan, gardauva-
lad“.vi amgvarad, dedalosis gza sakuTari Tavis saZieblad gasavleli
centriskenuli gzaa, romelic zemiwier qalaqSi xorcieldeba.
dublinSi, romelic samyaros anareklia (imago mundi) da aq misi yve-
la wesi da kanoni vrceldeba, yvelaferi ucvlelia. qalaqSi momx-
dari yoveli mcire cvlileba aucileblad anazRaurdeba, Canacvldeba
meoriT. miwas mibarebul petrik dignamis adgils qalaqis axali mkvid-
ri, qalbatoni piurfois axalSobili daikavebs, nawarmoebis mxatvru-
li sivrce ki, Sesabamisad, sasaflaodan samSobiaroSi gadainacvlebs.
amgvarad, dublinSi aravis eniWeba personaluri mniSvneloba da arc
gardacvaleba da arc dabadeba emociurobis TvalsazrisiT arsebi-
Ti ar aris. qalaqi erTi mTliani organizmia, romelSic, mTavaria, ar
dairRves pirvelyofili wesrigi da wyoba. leopold blumis fiqrTa
nakadi am sakiTxsac wvdeba da Semdegnairad formulirdeba: „sityvebis
raxaruxi. yvelaferi Zveleburad miedineba, dRidandRemde... tramvais
vagonebi centrisken da ukan... dignamma Tqveni Wiri waiRo. gasivebuli
muceli, maina piurfoi sawolze gminavs, bavSvs rodis gamomaZrobe-
no. yovel wamSi erTi ibadeba sadme. sxva kvdeba yovel wamSi... mTeli
qalaqi kvdeba, meore mTeli qlaqi Cndeba. mere isic midis: axla sxva
modis, midis... aravin arafers ar warmoadgens“.vii
dublinis, rogorc erTi mTlianobis, aRsaqmelad joisi romanSi
erTdroulobis, simultanurobis efeqts qmnis. es imas niSnavs, rom
mkiTxveli erTsa da imave dros qalaqis sxvadasxva wertilSi momxdar
movlenebs erTmaneTTan TanxvedraSi aRiqvams, TiTqos avtorma qalaqi
misi maxvili Tvalis qveS gadaSala da masze zemodan dakvirvebis sa-
Sualeba misca.
swored am azrs exmianeba literaturis mkvlevari jozef frenki
naSromSi Spatial Form in Modern Literature. frenkis Tanaxmad, Tanamedrove
romanma da poeziam veqtori nawarmoebis gasivrculebisaken mimarTa.
es imas niSnavs, rom eliotis, paundis, prustisa Tu joisis mkiTxvelma
105
maTi nawarmoebebSi mimdinare movlenebi erTdroulad, da ara Tanmim-

devrulad, unda aRiqvas, erT sivrcesa da wamSi moaqcios da gonebaSi
erT mTlianobad gamosaxos.viii
„ulises“ Sesaxeb jozef frenki wers, rom joisis Canafiqri aSkaraa.
avtors surs, mkiTxvels Tvalwin gadauSalos dublinis, rogorc erTi
mTelis, suraTi da rom mas, floberis msgavsad, amoZravebs survili,
sxvadasxva adgilas momxdari erTdrouli qmedebebi mkiTxvelma erTma-
neTTan TanxvedraSi aRiqvas.ix dasaxuli miznis misaRwevad da dublinis
erTian suraTad aRsaqmelad, frenki joiss miawers survils, mkiTxveli
gaadublinelos, qalaqis garemocvaSi Caayenos da srulad gaaTviTcno-
bieros mis warsulsa da awmyoSi. swored amgvarad SeZlebs is mravali
fragmentis awyobas da dublinis, rogorc erTi organizmis aRqmas.
aRniSnuli teqnikis gamoyenebis saukeTeso magaliTebad SesaZloa mi-
viCnioT „ulises“ VII da X epizodebi, „eolosi“ da „moxetiale kldee-
bi“, romlebSic joisi Txrobis qronologiur teqnikas uaryofs da,
sanacvlod, mimdinare movlenebs erTmaneTTan TanxvedraSi, erTdrou-
lobis principiT aRwers.
„eolosis“ dasawyis nawilSi mTxrobeli qalaqis oTxi sxvadasxva
wertilis suraTs aRwers: nelsonis svetTan tramvaebis mimosvlas,
mTavari fostis SesasvlelTan fexsacmlis mwmendavebis yoveldRiur
saqmianobas, prinsis sardafebSi momuSave mtvirTavebis xmaursa da re-
daqciaSi misuli blumis saqmianobas. moqmedebis dro erTi da igivea.
simultanurobis teqnikis gamoyenebiT mkiTxvels saSualeba aqvs sru-
li sicxadiT aRiqvas qalaqis yoveldRiuroba da misi mcxovreblebis
cxovrebis ritmi.
meaTe epizodSi „moxetiale kldeebi“ joisi ganagrZobs da kidev
ufro farTo masStabebs sZens Txrobas erTdroulobis principis sa-
fuZvelze. epizodi mTlianadaa sivrceSi ganfenili. romanis perso-
naJebi erTsa da imave dros, dRis 3 saaTze, dublinis sxvadasxva quCeb-
Si gadaadgildebian. TiTqos mTeli qalaqi gareTaa gamofenili. saimon
dedalosi quCaSi Tavis qaliSvils gadaawydeba, ra drosac leopold
blumi bukinistTan wignebs yidulobs, briala boilani molisTan stum-
robisTvis emzadeba da a.S.
XVIII epizodi „iTaka“ sruldeba kiTxviT: „sad?“, romelze pasuxic
bundovania. avtori sapasuxod wertils svams. kiTxva miemarTeba mog-
zaurs, leopold blums, romelic dublinis quCebSi mTeli dRis xetia-
106
lis Semdeg saxlSi dabrunda da embrionis pozaSi mwoliare gvevlineba.

sad imyofeba an sad midis blumi, igive odisevsi, igive sindbadi zR-
vaosani, igive pirvelyofili adamianis Canasaxi, vinc ki odesme gas-
dgomia gzas sakuTari gonebisa Tu garemomcveli fizikuri samyaros
bnel labirinTebSi? miuxedavad imisa, rom joisi kiTxvas Riad, inter-
pretirebis sagnad tovebs, erTi ram cxadia, rom momdevno dRes, 17
ivniss, leopold blumi da stiven dedalosi isev gamovlen dublinis
quCebSi saxetialod. rogorc dedalosis Sinagani monologi gvamcnobs:
„cxovreba bevri dRea. es erTic dasruldeba“.x
107
i
eliade, m. maradiuli dabrunebis miTi, Tb.: alefi, 2017, gv. 28
ii
iqve, gv. 31
iii
iqve, gv. 38
iv
jeimz joisi, ulise“, inglisuridan Targmna niko yiasaSvilma. bak
ur sulakauris gamomcemloba, 2012, gv. 37
v
iqve, gv. 209
vi
iqve, gv. 209-213
vii
iqve, gv. 158
viii
Frank, Joseph, Spatial Form in Modern Literature, The Johns Hopkins University
Press, 1945, p.225
ix
iqve, gv. 233
x
j. joisi, ulise, gv. 210
bibliografia
jeimz joisi, ulise“, inglisuridan Targmna niko yiasaSvilma. bakur

sulakauris gamomcemloba, 2012.
eliade, m., maradiuli dabrunebis miTi, Tb.: alefi, 2017.
Frank, Joseph, Spatial Form in Modern Literature, The Johns Hopkins University
Press, 1945.
108
MAYA KIASASHVILI
TRANSLATOR/INDEPENDENT SCHOLAR
A Lifelong Journey: the Georgian

Translation of Ulysses:
It took Odysseus twenty years to reach home. Nico Kiasashvili spent even longer
completing the translation of Ulysses into Georgian: it was an arduous journey that
forced him to pass between Scylla of the Soviet ideology and Charybdis of the hostile
reception of the novel by some critics who flatly refused to accept such an ‘alien’ nar-
rative.
It is difficult enough to write about Ulysses, but twice harder when it is connected
to the translator, my father, Nico Kiasashvili, who shared his woes and little victories
while translating with me, which determined my bold decision to become the co-trans-
lator and editor of the novel after he passed away.
Ever since Joyce was mentioned by his university lecturer, N. Kiasashvili’s
interest only intensified over the years and every time he had the opportunity to par-
ticipate in conferences abroad, mainly devoted to Shakespeare, he tried to enrich his
personal library with the latest publications on Joyce. Needless to say, anything even
remotely connected to Western literature was scarce in the Soviet Union, particularly
the materials about such an ‘unorthodox’ writer as James Joyce. He also succeeded in
maintaining contacts with many scholars, among them: Richard Ellmann, Fritz Senn
(Zurich James Joyce Foundation), Kristian Smidt (Oslo University), Giorgio Melchiori
(Universita Degli Studi di Roma), Thomas F. Staley (The University of Tulsa), Emily
Tall (State University of New York at Buffalo), Richard Brown (Leeds University) and
many others.
Before embarking on the seemingly impossible task of translating Ulysses and in-
troducing it to Georgian readers, the translator tried to somehow prepare them for the
non-traditional novel. It is not my aim to analyze the political conditions of the time
when, directly or indirectly, it was banned to translate any kind of literature ‘alien’ to
the Soviet principles. The same applied to films and art in general, because any form
of art that opposed the ruling dogmatic standards was considered unacceptable. At the
109
same time there were those Georgian intellectuals who refused to conform to the of-
ficial attitude, pursuing their own style in all forms of art. Under the circumstances, it
doesn’t look surprising that Nico Kiasashvili’s aim was to familiarize the society with
the modern west European literature. However, strictly speaking, by then the modernist
writers such as J. Joyce, V. Wolf, W. Faulkner and others had already been acknowl-
edged as classical writers, but remained quite unknown in Soviet Georgia.
Prior to publishing the episodes of Ulysses, the translator devoted several articles to
the stream-of-consciousness technique and Joyce’s literary style in general. However,
the publication of Giacomo Joyce truly proved to be a breakthrough, paving the road to
the novel. The translator planned for his both translations into Georgian and Russian to
appear simultaneously, so they were published in two literary magazines in 1969, both
with his introductions.
One of the first reviews referring to the issues inspired by the Georgian Giacomo
Joyce belongs to Irakli Kenchoshvili, who quotes the translator’s supposition that the
main character is devoid of heroism and is completely de-romanticized. He sees the
work as a sample of grotesque realism, linking it to the ancient Roman ornament, be-
cause Joyce intertwines the opposing and brings it all together, similar to those old
mosaics. The Russian translation was reviewed by Yekaterina Genieva, who wrote
that it was highly professional, done with the profound understanding of the language
and intricate allusions hidden in this short piece of prose. Quite recently an article by
Elena Fomenko was devoted to the comparison of the translations into the Russian
and Ukrainian languages. She analyses numerous instances with the original – lexi-
cal, rhythmic, structural and stylistic elements – and concludes that Nico Kiasashvili’s
translation is much closer to Joyce’s style, which is the reason there has been no other
attempt to translate Giacomo Joyce into Russian since 1969. In this respect it might be
appropriate to mention that for many years Nico Kiasashvili’s Russian translation has
appeared in various publications devoted to Joyce without any changes.
The intellectual prose of Giacomo, abounding in literary, historical, mythological
and biblical allusions, was the focus of Nelly Sakvarelidze’s review. Herself an expert
translator, Sakvarelidze stressed that one of the biggest challenges facing any translator
is decoding the metaphoric and symbolic forms of the original and finding their equiv-
alents in the target language. She sees the difficulty in the unusually condensed expres-
sive means, the compositional elements, constantly changing rhythm and an amazing
courage in word choice. She believes that the translator has to show the same bravery,
but above all, if an author is allowed such freedom, a translator is often blamed for any-
110
thing anomalous for or uncharacteristic of the target language. This might mostly hap-
pen when readers are unable to appreciate the original and compare it to the translation.
She concludes that the translator opted for the hard way of preserving Joyce’s style and
experimenting with Georgian, which resulted in an ultimately excellent translation.
The first attempt to introduce Ulysses to Georgian readers was made in July 1967
when the translation of several opening pages of the novel with comments were pub-
lished in a literary newspaper Literaruruli Sakartvelo. Along with purely academic
articles devoted to Joyce’s prose, Ulysses in particular, that appeared over the years,
Nico Kiasashvili also arranged regular public readings of separate episodes at the De-
partment of West European Studies of Tbilisi State University. The first ten episodes
with his introduction and notes appeared in various literary magazines between 1971
and 1983, published as a book the same year. The translator had a hard time convincing
the publishing house Merani that certain ‘strange’ words and grammar of the transla-
tion had to be retained: it all seemed completely non-Georgian.
It is no secret that Ulysses poses a serious challenge to any reader, requiring vast
background knowledge in order to understand the allusions linked to mythology, phi-
losophy, social and political issues, religion, music, literature and Irish folklore along
other areas. This usually results in copious comments and notes accompanying the
novel, but any responsible translator has to ensure all the references and allusions are
checked properly. Nico Kiasashvili certainly belonged to the category: at his desk he
kept a long list of experts in various spheres and consulted them before finalizing the
Georgian version. The same applies to getting advice when comparing the novel’s
French, German or Spanish translations, when he would consult his colleagues fluent in
these languages. In the final, complete edition of the novel, I thanked all those experts
for their invaluable assistance.
Although a number of highly interested readers were already familiar with Ulysses
thanks to public readings, professional critics demonstrated amazing indifference when
the episodes began to be published. Partly, this can be explained by their attitude to-
wards what was ‘worthy’ to be published, thus popularized. On the other hand, many
were irritated by the narrative style and linguistic experiments of the novel, but refused
to admit it.
One of the authors who had the courage to voice his discontent was Nodar Tsuleiski-
ri whose review was published in Mnatobi magazine (8, 1977). His main concern was
the amount of comments that followed every episode: while he dwelled on a number
or explanations supplied by the translator and their necessity, he also complained that
111
some notes needed to be more precise. The author said nothing about the translation as
such, neither did Revaz Japaridze in his brief overview (Tsiskari, 2, 1978) of the pre-
vious year’s publications. The author believed that there should be no comments at all
because they confused readers further instead of clarifying the content.
Other critical publications were more in-depth and highly positive, among them
Jansug Gvinjilia’s review (Literarturuli Sakartvelo, 5 June 1981) in which he mentions
the translator’s success in rendering such a complex novel into Georgian and Manana
Khergiani’s article (7 Dge, 9-15 July 1993), in which she notes that the translation has
enriched Georgian literature due to its exceptional quality.
Numerous articles dedicated to Nico Kiasashvili’s academic and pedagogical
achievements appeared after his death, but until now Nelly Sakvarelidze’s review of his
translation of Ulysses remains the most professional and profound (Ulysses in Geor-
gian, Literaturuli Sakartvelo, 27 April 1984). Although the author noted that it was not
her aim to review the translation, in fact she answered all the comments and criticism
– voiced, implied or not voiced – in connection with the novel. She mentions that it is
absolutely erroneous to analyze the translation with the norms of the standard Georgian
in mind because ultimately Joyce in experimenting, which is the translator’s duty to
follow if one wishes to produce an adequate translation. After providing examples she
considers successful instances, the author concludes that rather than mechanically re-
peating Joyce’s linguistic experiment, the translator actually becomes involved in this
endeavour, demonstrating that he is a courageous innovator himself.
In the meantime, Nico Kiasashvili continued to publish articles devoted to Joyce
with the aim of further familiarizing the author to Georgian readers. The majority was
in Russian, the fact explained by a simple practical reasoning: he tried to secure the
position the Georgian studies of Joyce held in the Soviet Union. Also, more western
critics could get acquainted with those publications compared to a handful of those
who could read the Georgian ones. True, there is some information about the studies
of James Joyce and the translation of Giacomo and Ulysses in foreign periodicals, but
they are scarce and for obvious reasons none of them dwell on the quality of the trans-
lation itself.
One of the major events related to promoting James Joyce was the centenary con-
ference organized in 1982 by N. Kiasashvili at Tbilisi State University: the two-day
academic session was quite modest by today’s standards, but without exaggeration
it can be said that it was a milestone, because it was the first of its kind in the Soviet
Union. The conference materials were published in 1984 (James Joyce – 100, Tbilisi
112
State University Publishing) with summaries in Russian and English. It is only fair to
mention that in 2012 a truly international conference was organized by Prof. Manana
Gelashvili, which reflects a completely different political atmosphere compared to the
first one. The conference materials were published in the book James Joyce – 130, with
articles in Georgian and English.
The fact that Ulysses is considered difficult to read and understand doesn’t sound
particularly informative. At the same time, each episode poses a different set of prob-
lems to a reader as well as to a translator, especially if it is translated into a language
that has no lexical, structural, historical or cultural proximity to English. If even edu-
cated English speakers face a number of difficulties trying to find their way through the
tangle of allusions, intertextual references and innumerable other pitfalls, the translator
into the Georgian language had to struggle ten times harder in order to reach the goal.
In one of his articles the translator expressed his opinion that the theory of ‘untranslat-
able’ Ulysses was supported by those who cannot accept modernism in literature and
art in general; that their stance was not the result of their puritan attitudes but rather
determined by Joyce’s style of narrative, those innovative means he chose to adopt. He
believed that the responsibility of any translator of Joyce into their languages is to seek
adequate resources in the depths of their respective languages with the aim of rendering
the stream-of-consciousness technique and other peculiarities of Joyce’s prose.
The aim of the present article is to look at the linguistic and stylistic issues that the
translator had to deal with, rather than analyzing the novel, its structure, meaning and
symbolism. To start with, I would like to dwell on its certain characteristic features that
the translator had to maintain in the Georgian version.
The most obvious, and possibly the most straightforward, idiosyncratic moment is an
extremely scarce use of traditional punctuation, especially speech markers, not to men-
tion Molly Bloom’s monologue that is completely devoid of any punctuation. The seem-
ingly formal organization of such prose is practically unimaginable in Georgian, which
uses more punctuation marks, especially commas. With very few exceptions, the transla-
tor followed Joyce’s choice in this respect, ignoring the norms of the Georgian language.
Apart from other things, Joyce experiments with words, coining new, joining two or
three words, turning composite nouns or even phrases into verbs, e.g.: dewsilky, sea-
wardpointed ears, gumheavy serpentplants, milkoozing fruits, smiledyawnednodded,
etc. In these cases, the translator was lucky because he could use the ability of Georgian
to create composites, but in the translation these look as unusual as in the original, thus
the desired effect is achieved.
113
The same applies to Joyce’s syntax, such as: ‘Eglintoneyes, quick with pleasure,
looked up shybrightly. Gladly glancing, a merry puritan, through twisted eglantine.’
Having maintained the first composite, the translator treated the second phrase more
freely, making a pun of the proper name. Often body parts seem to have a life of their
own, e.g.: ‘His hand turned the page over’, ‘His lips lipped and mouthed fleshless lips
of air’, or ‘His eyes sought answer from the river’ – in all these cases, the Georgian
translation maintains the same structure.
Needless to say, there are many instances when the translator was obliged to divert
from the original because: either there was no equivalent in Georgian to reach the same
effect as is has on English speakers, or the specific meaning or implication was more
important. E.g., the tongue twister that follows Piper’s appearance in Episode 8 is sub-
stituted with a Georgian one, though it meant changing the character’s name; or the
horse’s name Throwaway that features in the novel, causing misunderstanding in the
narrative – the Georgian version is based on Bloom’s phrase ‘I was just going to throw
it away’ but uses another name, roughly translated as ‘a promotional leaflet’.
Occasionally, the translator deliberately gives a word-for-word translation of the
original phrase, thus keeping its colourful imagery or rendering the specific meaning
within the immediate context. For instance, ‘May your shadow never grow less’ is an
excellent example of Irish generosity and hospitality, which is also characteristic of
the Georgians, but using a typical Georgian toast would only create a comical effect,
thus the decision to keep the original wording. Another example can be ‘Could hear
a pin drop’ – a Georgian would naturally say ‘could hear a fly’, but keeping in mind
that Bloom remembers a church service, keeping ‘a pin’ was a good choice, especially
considering that pins were widely used on hats and ties at the time.
One of the serious difficulties the translator faced was connected to the nobility and
clergy titles, because Georgian has no equivalents: our history, social structure and
religious matters differ greatly from those of European countries. Ultimately it means
that the translator had to often invent new words or borrow them directly from English,
e.g., yeomen. Yet another difficulty is linked to finding compatible phrases in Georgian
when it concerns Shakespeare: most works were translated long ago, becoming classi-
cal texts and easily recognized by educated readers. However, when it is connected to
textual references in Ulysses, mechanical quotation of traditional Georgian translations
can lose the intended meaning of the original. For that reason, the translator applied
certain discretion in deciding whether to provide a new version or use the traditional
translation of Shakespeare’s phrases.
114
Although each episode presents its own unique difficulty to a translator and a reader,
I would like to focus on some aspects the Georgian translator had to deal with. The fol-
lowing is a brief list of peculiarities that had to be adequately rendered into Georgian.
The lexical building material as well as their rhythmic arrangement of Episode 7
create the illusion of draught and wind blowing, and it abounds in some rhetorical fig-
ures of speech, such as enthymeme, pleonasm, epanorthosis, metathesis and others. In
Episode 11 the opening 60 phrases had to reflect the rhythmic and acoustic structure
of the entire episode, as well as containing many references to songs, arias and other
musical allusions.
Generally speaking, the passages that have close stylistic or lexical equivalents in
Georgian literature proved relatively easy to translate. In this respect, the literary dis-
cussion from Episode 9 and the passages of the past glory and national pride parodied in
Episode 12 translated more naturally than those depicting everyday life, pub and street
scenes, races and box related events, or imitating parliamentary debates and Bloom’s
calculations. In the first case, when Joyce demonstrates an amazing knowledge of all
theories (whether confirmed or dubious) connected to Shakespeare through Stephen,
the translator had to supply not only matching traditional translations of phrases, but
work through numerous references linked to theology, philosophy and world literature
in general. It is only natural that this episode was the closest to Nico Kiasashvili’s mind
and soul, because half of his life, at least before Joyce, was devoted to Shakespearean
studies.
Although the parodied grandeur of Irish history, its achievements in industries, cul-
ture and sports were relatively easy to render in Georgian, Episode 12 presented serious
difficulties when it came to finding equivalents to the Victorian clichés related to par-
liamentary debates, references to esoteric theories and spiritualism, passages imitating
trials and describing clerical gathering. When dealing with the passage of the social
event, the translator aptly created names of the same ‘floral’ character.
When questioned about the complexity of translating Ulysses into different languag-
es, various translators single out various aspects, but everyone agrees that the novel is
among the hardest pieces of prose, probably coming second to Finnegan’s Wake. Per-
sonally, I believe that Episode 14 proved to be the most challenging for the Georgian
translator because it reflects the entire history of development of the English language.
Through imitating 32 different writers or distinct literary periods, Joyce achieved the
desired effect: comparing language development to that of an embryo. It is hardly con-
ceivable to identify matching styles in Georgian literature due to the fact that Georgian
115
evolved completely differently, more slowly than English, and was influenced and en-
riched by other linguistic sources compared to English. And although the first Georgian
novel dates back to the 5th century, followed by an unbroken history of producing a
variety of prose and poetry pieces, the translator resolved to choose nine distinct styles
in order to preserve the overarching intention of the original: they symbolically coin-
cide with nine months needed for an embryo to develop.
Now I would like to dwell on the period of preparing the complete edition of Ulysses
and its difference from its previously published episodes.
Ever since the first ten episodes were published in 1983, the translator continued
working on the remaining part as well as editing the published ones. The fact is that
by then Ulysses: A Critical and Synoptic Edition (prepared by Hand Walter Gabler,
Garland Publishing, New York and London, 1984) was available to him, so having
such a reliable source together with certain comments and advice received over the
years from his colleagues, among them Nelly Sakvarelidze, Medea Zaalishvili and
Tamuna Japaridze, inspired him to introduce some changes to the previously published
episodes. Sadly, my father’s declining health didn’t allow him to put as much effort and
time into his work as he was able to in the 1970s. Also, it is highly unfortunate that he
wasn’t familiar with the computer and although I tried to help him with preparing some
passages by typing them up on my computer, he still preferred his three typewriters
(Georgian, English and Russian) he got so used to over the years.
In the 1990s he involved me more and more into his working process: he would read
the freshly translated passages to me, share his ‘little victories’, as he called them, when
finding a particularly apt equivalent to the original phrase, that’s the only reason I found
the courage to carry on editing not only the already published episodes but to complete
the remaining part. It was only after his death that I discovered that some episodes
were translated in full but not edited, while others were incomplete with some passages
missing. If not for Tamaz Chiladze, writer and editor of magazine Mnatobi, I probably
wouldn’t have completed my father’s lifelong work: Tamaz Chiladze offered to publish
the remaining eight episodes in installments, which appeared in 1998-1999 in Mnatobi.
The final, complete version of the novel was published in 2012 by Bakur Sulakauri
Publishing with the following main features that differ it from the 1983 edition as well
as from the magazine installments:
Proper names, street and place names underwent certain changes, bringing them
closer to the original pronunciation, for instance, maintaining street, row, walk, ter-
race, corner, lane and others forming place names without change in Georgian. Some
116
sentence structures were changed in accordance with the translator’s handwritten cor-
rections of the already published episodes mainly because he thought they matched
Georgian better than the earlier version.
Joyce’s choice of punctuation might present certain difficulty for English-speak-
ing readers, but for Georgians it would make the novel virtually unreadable. It is a
well-known fact how particular Joyce was in this respect, insisting on preserving his
non-traditional manner, especially when it came to the stream-of-consciousness pas-
sages. A certain compromise has been adopted for those passages that seemed too hard
for many reasons, not only the absence of punctuation, but abundance of other, textual
inferences. In this respect, the leading principle was to make the sense and symbolism
or imagery understandable, even at the expense of violating the punctuation system of
the original. Episode 18, consisting of eight lengthy run-on sentences is now presented
with one divergence: numerous song and opera quotations that occur in Molly Bloom’s
soliloquy are italicized, enhancing their differentiation from her thoughts.
Arguably, the most challenging aspect for any interpreter (and certainly a reader) is
to untangle a massive number of references, allusions and puns of the novel. Consid-
ering historical, cultural and linguistic differences between the original and the target
language, Georgian readers have to put more effort into deciphering the hidden layers
of Ulysses, thus the decision to provide two kinds of comments. The first is in the form
of footnotes, giving translations of French, Latin, Italian, German or Spanish words
and phrases, of which there are numerous instances. The comments provided at the
end of the edition (pp. 708-864) are designed to make it easier for readers to grasp the
meaning in full and to clarify textual implications. I am convinced that without them,
much of the unfamiliar references would be lost forever for the reader. This is partic-
ularly important bearing in mind that comments often refer readers to earlier passages
because Ulysses has numerous inter-textual allusions or references to Joyce’s earlier
works, as well as facts from his personal life. Also, whenever possible, the names of
writers, philosophers and other figures are given not only in Georgian transcript but
in their original form as well, which enables anyone interested to find out more about
them using the limitless Internet sources available today.
From the very first days when parts of Ulysses appeared in Georgian periodicals,
the necessity and essence of comments have been questioned. However, some young
people have told me that they sometimes read the comments irrespective of the novel,
viewing them as a particularly interesting source of information. True, it wasn’t the
translator’s aim to analyze or evaluate some historic events mentioned or referred to in
117
the novel, but the comments give sufficient material to compare the dramatic relation-
ship between Ireland and Britain at the period and draw certain parallels with that of
Russia and Georgia.
I firmly believe the number of comments should not cause frustration or other hard
feelings because if one chooses to ignore them, it is their decision: notes are given at
the end, without numbering, which means the text proper can be read without being
distracted by reference marking. The fact that some translations into European lan-
guages are published with short accompanying notes or without them does not serve
as an example in our case, because they have more affiliation with English, to historic
facts and events related to Britain and Ireland, their social structure and folklore. In
the 1970s, some critics blamed the translator for inventing the comments, while it was
mentioned from the start that he based most of the notes on Gifford, Don; Seidman,
Robert J., Notes for Joyce, An Annotation of James Joyce’s Ulysses, New York, 1974,
which went through several editions with very little changes, thus the majority of the
translator’s comments were verified against this valuable book and were not the result
of his rich imagination.
In cases when allusions relate to well-known figures or facts, the comments only
mention them briefly. The same applies to the Bible allowing readers to compare the
textual reference to the source, but sometimes the allusion is complex, involving sev-
eral sources, for instance: ‘... in all of us, ostler and butcher, and would be bawd and
cuckold too but that in the economy of heaven, foretold by Hamlet, there are no more
marriages, glorified man, an androgynous angel, being a wife unto himself’ (p. 459) –
combines allusions to Hamlet and Matthew’s Gospel; or: ‘Born all in the dark wormy
earth, cold specks of fire, evil, lights shining in the darkness. Where fallen archangels
flung the stars of their brows. Muddy swinesnouts, hands, root and root, gripe and wrest
them’ (p. 519) – echoes Milton’s Paradise Lost, as well as John’s Gospel and Revela-
tion.
The necessity to include certain notions, figures and events in the comments was
inevitable, because apart from losing the contextual meaning, the reader wouldn’t be
able to relate the narrative with the implication, for instance: Mananaan MacLir, Kath-
leen ni Houlihan, Baumont and Fletcher, Gilbert and Sullivan, Danu, De Wet, Robert
Emmet, Daniel O’Connell, Charles Stewart Parnell and many others need additional
explanation, because they are virtually unknown outside well-educated English-speak-
ing public.
The same can be said about the comments referring to numerous instances linked
118
to the Catholic Church, Jewish traditions and rituals, Jesuits and Free Masons, etc.,
when in order to understand the contextual meaning and symbolism, one needs to know
about them so as to appreciate the author’s implication: in most cases the true nature of
these rites and rituals are either misunderstood by the characters or parodied by Joyce.
Finally, I would like to mention how helpful and patient Bakur Sulakauri Publishing
was while we prepared the complete edition of Ulysses: the director Tina Mamulashvi-
li, who spent years trying to negotiate with the James Joyce Estate, and Tea Kitoshvili,
the editor, who proved easier to convince that the non-traditional and ‘strange’ ele-
ments were as unusual for English as they were for the Georgian language.
In his article Homage to a Spoilt God (Independent on Sunday, 26 July 1998),
Roy Foster writes that James Joyce’s two books (Ulysses and Portrait of the Artist
as a Young Man) were voted into the top three novels of the century by the editorial
board of Random House’s Modern Library (including Antonia Byatt, Gore Vidal, Ar-
thur Schlesinger Jnr and William Styron). ‘Somewhere, behind his impenetrably thick
glasses, the old artificer must be smiling’, and later ‘He never doubted his art, and he
was right’. However debatable such lists might be, it is a fact that Joyce’s three nov-
els are invariably among the top ten best prose pieces in America and Britain. It only
proves that the interest towards Joyce has not diminished and every new generation
discovers new layers in these novels, often getting completely immersed in his style.
Molly Bloom’s bedtime monologue ends with a positive ‘Yes’, giving hope that studies
regarding Joyce and his legacy will continue into the future.
119
N. Kiasashvili, The Stream-of-Consciousness Literature in England, Mnatobi, 4, 1966 (in

i
Georgian); N. Kiasashvili, Who Should be Considered a Modernist Writer? Literaturuli

Sakartvelo, 10 Feb. 1967 (in Georgian); N. Kiasashvili, A Portrait of James Joyce, Khomli,
1, 1968 (in Georgian); N. Kiasashvili, Padenie vlastelina prirody (The Fall of the master of
Nature), Molodezh Gruzii, 14 July 1969 (in Russian); N. Kiasashvili, Tragikomicheskoye
videnie zhizni: zazmyshlenia ob angliskom romane XX veka (The Tragicomic Vision of Life:
Thoughts on the 20th Century English Novel), Molodezh Gruzii, 11 Sept. 1969 (in Russian).
Giacomo Joyce, Russian trans., intro. and notes, N. Kiasashvili, Literaturnaia Gruzia,
ii
9-10, 1969 (pp. 79-86). Giacomo Joyce, Georgian trans., intro and notes, N. Kiasashvili,
Tsiskari, 11, 1969 (pp. 80-89).
Irakli Kenchoshvili, Giacomo Joyce and Thoughts about Grotesque Realism, Literaturuli
iii
Sakartvelo, 14.08.1970.
Yekaterina Genieva, Giacomo Joyce Resurrected in Russian, Literaturnaia Gruzia, 9,

iv
1979 (in Russian).
v
Elena Fomenko, Is Joyce Lost in Translation? Jazik a kultura, 8, 2011.
vi
Nelly Sakvarelidze, Giacomo Joyce in Georgian, Kritika, 4, 1981.
Apart from the articles that appeared in Georgian periodic editions, the following are
vii
worth mentioning: N. Kiasashvili, Some Aspects of James Joyce’s Stream-of-Conscious-

ness Method, Staatliche Universität Tbilissi, Friedrich Schiller Universität Jena, B2 140,
1971 (Abstracts in Russian and German); N. Kiasashvili, The Shakespearean Tradition and
Some Problems of the 20th Century English Literature, in Vol. 4 of The Georgian Shake-
speare Studies, Tbilisi, 1975; N. Kiasashvili, For the 100th Anniversary of James Joyce,
Voprosy litaraturi, 6, 1982 (in Russian); N. Kiasashvili, The Russian Odyssey of Ulysses,
Inostrannaya literatura, 1, 1990.
Emily Tall, The Joyce Centenary in the Soviet Union: Making the Way for Ulysses, James
viii
Joyce Quarterly, vol. 21, N. 2, winter 1984 (pp. 107-122); Emily Tall, Ulysses Returns to
Russia: Background and First Reactions, Irish Slavonic Studies, 1984; Interview with Nico
Kiasashvili, Georgian Translator of Ulysses, James Joyce Quarterly, vol. 3, spring 1990;
Emily Tall, The Reception of James Joyce in Russia, in The Reception of James Joyce in
Europe, vol. 1, Theommes Continuum, Lnd. – N.Y., 2004.
N. Kiasashvili, All the Woes and Joys of the Ordeal: Comments of the Translator of Ulyss-
ix
es, Literaturnaia Gruzia, 10, 1988 (in Russian).
120
Bibliography
Joyce James, Ulysses: A Critical and Synoptic Edition (prepared by Hand Walter Gabler, G
arland Publishing, New York and London, 1984).
Joyce, James, Ulysses. Translated and commented by Nico Kiasashvili. Translation com-
pleted and publication prepared by Maya Kiasashvili. (Tbilisi: Publishing House Bakur
Sulakauri, 2012). (In Georgian).
Ellmann, Richard, James Joyce, the New and Revised Edition, (Oxford University
Press,1983).
Ellmann, Richard, Ulysses on the Liffey, (NY-Oxford University Press, 1972).
Kiasashvili, All the Woes and Joys of the Ordeal: Comments of the Translator of Ulysses,
Literaturnaia Gruzia, 10, 1988 (in Russian).
121
GIORGI KUPARADZE
Language and Style of James Joyce
Scholarly literary opinion is that James Joyce revolutionized the novel in the twenti-
eth century by abandoning conventional narrative for stream of consciousness and un-
precedented play of language. When the Irish Literary Renaissance was ending James
Joyce was just beginning. During this time Joyce brought new techniques of writing
that no one had ever used before. His new method was writing in a modernism style.
He utilized symbols and imagery to make his works complex. Joyce opened many eyes
to this new style of writing. Through the use of modernism Joyce wrote about very
controversial topics such as the Catholic Church and sexual issues. Joyce was seen as
a rebel for his new writing style and, many of his books were often banned and were
always under protest from his critics. Today, his works have become some of the most
read novels in the world. The strong topics found in his books can be explained with
Joyce earlier life as he began to spend money on prostitutes. This is why many of his
novel refer in varies occasions to the sexual desires of men.
Although Joyce is frequently praised for his mastery of the stream-of-consciousness
narrative technique, his distinctive use of imagery has contributed much to the artistic
development of the twentieth-century novel. A close reading of his works will produce
many more images and language peculiarities within these patterns. Joyce’s use of
them is essential as he constructs his intricate thematic structure.
To justify his style, he mentions and speaks of ‘scrupulous meanness’. The term
‘meanness’ connotes stinginess or the lack of generosity. Joyce uses it to describe the
economy of language applying to his stories. However, the interpretation demands a
more complicated understanding of the term. ‘Scrupulousness’ is a crucial element
both in Joyce’s use of language, and in the structure and form of the stories. ‘Scrupu-
lous meanness’ refers to a most complex and heavily allusive style that determines the
reading of his works.
From the minimum of words Joyce succeeds to extract the maximum effect so that
the very economy of his style gives his novels such concentration and resonance that it
“passes through realism into symbolism. Joyce introduces his writing technique in the
style of ‘scrupulous meanness’ right away.
122
The three words ‘Paralysis’, ‘simony’ and ‘gnomon’ are key words that describe
Joyce’s ‘scrupulous meanness’ while leading the reader through the story. ‘Simony’
and ‘gnomon’ are words of biblical origin which help to emphasize the image that
Joyce attempts to draw of the Irish Catholic Church through placing Father Flynn in
the center of his story.
There is some evidence also that Joyce believed near the end of his life that he had gone
wrong in this way. In any case, his experiments in narrative mode have had little influence
among writers who followed him. A few passages here and there that adapt his techniques
and the occasional work that takes a wholly stream-of-consciousness approach — though
even then usually in a less difficult fashion, presenting characters’ interior monologues in
colloquial language. It could be argued moreover that these efforts might have developed
as they did without Joyce’s massive tomes pointing the way.i
Dubliners is a collection of fifteen short stories by Joyce, first published in 1914.
They form a naturalistic depiction of Irish middle class life in and around Dublin in the
early years of the 20th century.
The stories were written when Irish nationalism was at its peak and a search for a
national identity and purpose was raging; at a crossroads of history and culture, Ireland
was jolted by converging ideas and influences. The stories center on Joyce’s idea of an
epiphany: a moment when a character experiences a life-changing self-understanding
or illumination. Many of the characters in Dubliners later appear in minor roles in
Joyce’s novel Ulysses. The initial stories in the collection are narrated by child protago-
nists. Subsequent stories deal with the lives and concerns of progressively older people.
This aligns with Joyce’s tripartite division of the collection into childhood, adolescence
and maturity.
A Portrait of the Artist as a Young Man is a nearly complete rewrite of the aban-
doned novel. Joyce attempted to burn the original manuscript in a fit of rage during
an argument with Nora, though to his subsequent relief it was rescued by his sister. A
Künstlerroman (Artist’s novel), Portrait is a heavily autobiographical coming-of-age
novel depicting the childhood and adolescence of the protagonist Stephen Dedalus and
his gradual growth into artistic self-consciousness. Some hints of the techniques Joyce
frequently employed in later works, such as stream-of-consciousness technique interior
monologue, and references to a character’s psychic reality rather than to his external
surroundings are evident throughout this novel.
The wet/dry imagery, for example, is symbolic of Stephen’s natural response to the
world versus a learned response. As a small child, Stephen learns that any expression
123
of a natural inclination (such as wetting the bed) is labeled “wrong”; the wet sheets
will be replaced by a dry, reinforcing “oilsheet” — and a swift, unpleasant correction
for inappropriate behavior. Thus, wet things relate to natural responses and dry things
relate to learned behavior.
Other examples of this wet/dry imagery include the wetness of the cesspool (the
square ditch) that Stephen is shoved into and the illness which follows; likewise, the
“flood” of adolescent sexual feelings which engulf Stephen in “wavelet[s],” causing
him guilt and shame. Seemingly, “wet” is bad; “dry” is good.
With the appearance of Ulysses, 1922 was a key year in the history of English-lan-
guage literary modernism. In Ulysses, Joyce employs stream-of-consciousness tech-
nique, parody, jokes, and virtually every known literary technique to present his char-
acters.
The action of the novel, which takes place in a single day, 16 June 1904, sets the
characters and incidents of the Odyssey by Homer in modern Dublin and represents
Odysseus (Ulysses), Penelope and Telemachus in the characters of Leopold Bloom,
his wife Molly Bloom and Stephen Dedalus, parodically contrasted with their lofty
models. The book explores various areas of Dublin life, dwelling on its squalor and
monotony. Nevertheless, the book is also an affectionately detailed study of the city,
and Joyce claimed that if Dublin were to be destroyed in some catastrophe it could be
rebuilt, brick by brick, using his work as a model.
The book consists of 18 chapters, each covering roughly one hour of the day, be-
ginning around about 8 a.m. and ending sometime after 2 a.m. the following morning.
Each of the 18 chapters of the novel employs its own literary style. Each chapter also
refers to a specific episode in Homer’s Odyssey and has a specific colour, art or science
and bodily organ associated with it. This combination of kaleidoscopic writing with an
extreme formal, schematic structure represents one of the book’s major contributions
to the development of 20th century modernist literature.
The use of myth as a framework for his book and the near-obsessive focus on
external detail creates an interesting mixture in the book in which much of the signif-
icant action is happening inside the minds of the characters. Later on Joyce admitted
to Samuel Beckett that, “I may have over systematized Ulysses,”ii and played down
the mythic correspondences by eliminating the chapter titles that had been taken from
Homer. Joyce was reluctant to publish the chapter titles because he wanted his work to
stand separately from the Greek form. It was only when Stuart Gilbert published his
critical work on Ulysses in 1930 that the schema was supplied by Joyce to Gilbert. But
124
as Terrence Killeen points out this schema was developed after the novel had been writ-
ten and was not something that Joyce consulted or followed while writing the novel.iii
Joyce’s method of stream of consciousness, literary allusions and free dream associ-
ations was pushed to the limit in Finnegans Wake, which abandoned all conventions
of plot and character construction and is written in a peculiar and obscure English,
based mainly on complex multi-level puns. The approach which is similar to Ulysses,
but far more extensive has led many readers and critics to apply Joyce’s oft-quoted
description in the Wake of Ulysses as his “uselessly unreadable Blue Book of Eccles”
to the Wake itself. However, readers have been able to reach a consensus about the
central cast of characters and general plot.
Much of the wordplay in the book stems from the use of multilingual puns which
draw on a wide range of languages. The role played by Beckett and other assistants in-
cluded collating words from these languages on cards for Joyce to use and, as Joyce’s
eyesight worsened, of writing the text from the author’s dictation.
In conclusion, James Joyce opened many peoples’ eyes to modernism through his
writing. With this new style, many people understood the modernism movement. Read-
ers could now see the beauty and art in literature. Although Joyce’s books were some-
what controversial, people were able to see past the controversial issues and get a feel
for Modernism. Joyce is one of many writers who opened the door for Modernism to
become mainstream and his works will be used for years to come. Although during his
times his novels were unwelcome and criticized, James Joyce created the groundwork
for writer who came after him. James Joyce has become one of the most read and in-
fluential writers and serving as a founder of a literary movement has a great deal to do
with it.
Contrary to what you might expect, most of Joyce’s literary works have been inter-
preted in films.
125
Joyce, James, Letters of James Joyce, Col. 1, Edited by Stuart Gilbert (London: Faber,
i
1957).
ii
Ellman Richard, James Joyce, p.715
Killeen, Terence, Ulysses Unbound: A Reader’s Companion to James Joyce’s Ulysses.

iii
(University Press of Florida, 2018).
BIBLIOGRAPHY
Michael Groden,”Notes on James Joyce’s Ulysses”. (The University of Western Ontario,

2005), Archived from the original.
Sherry, Vincent B, James Joyce: Ulysses. (Cambridge University Press, 2004).
Adams, David, Colonial Odysseys: Empire and Epic in the Modernist Novel. (Cornell Uni-
versity Press, 2003).
Dettmar, Kevin J.H. Rereading the New: A Backward Glance at Modernism. (University of
Michigan Press, 1992).
126
MARTINA NICOLLS
WRITER/ INDEPENDENT SCHOLAR
TAMAR ZHGHENTI
INDEPENDENT SCHOLAR
JOYCE AND HIS PARIS WORLD

The 14 residences of James Joyce in Paris
INTRODUCTION
Let’s take a whirlwind walk through James Joyce’s Paris in the 1920s and 1930s,
where he lived and worked while completing Ulysses and Finnegans Wake. This pre-
sentation includes PowerPoint slides of photographs, taken between February and Au-
gust 2019. It only includes residences in Paris, not in Passy.
James Joyce (1882-1941) had already begun writing poems before attending the
University College Dublin (UCD) in 1898. After graduating in 1902, he travelled to
Paris to study medicine. He returned to Dublin in 1903, claiming ill health in the cold
climate, although biographer Richard Ellmann suggests that the course, taught only in
French, may have been too difficult for him. Between 1904 and 1920, Joyce lived in
Zurich, Trieste, and Rome, frequenting London where his works were published. By
1919, Joyce was a published author, with four works in print: the poetry collection
Chamber Music (1907), the short stories of The Dubliners (1914), his first novel A Por-
trait of the Artist as a Young Man (1916), and his first play Exiles (1918). By 1920 he
was six years into his work Ulysses, with his inspiration stemming from The Dubliners.
In June 1920 in Trieste, Joyce wrote to his friend, American poet Ezra Pound, that
he was short of funds and needed a quiet place to finish Ulysses. ‘Pound, always eager
to help, recommended France as the cheapest place he knew of, offering to find him
accommodation there plus 1,000 lire towards the fare.’
James Joyce arrived in Paris by train on July 8, 1920, with Nora Barnacle and their
two children Giorgio and Lucia. Joyce was thirty-eight years old; Nora was thirty-six;
127
Giorgio had his fifteenth birthday the previous month; and Lucia would be thirteen on
July 26.
Joyce’s intended short stay, of a few months, led to twenty years in Paris and France,
from July 1920 to December 1940. However, in those twenty years, he never bought a
home of his own. He lived in rental apartments and hotels. Depending on his funds, the
residences, from cheap to luxurious, varied in size, style, and location.
Only one residence has a plaque of remembrance, and only because it was the home
of French poet Valery Larbaud. His visible legacy can be seen today in the naming of
a garden—the Jardin James Joyce—and the English-language bookshop Shakespeare
and Company, an ever-enduring tourist destination, named after the original book-
store of Sylvia Beach—the person who published Ulysses (1922) and Finnegans Wake
(1939). Of the fourteen residences in Paris, six were rental apartments and eight were
hotels. Joyce favored the sixth, seventh, and eighth municipalities, called arrondisse-
ments, where he lived in twelve residences: The remaining two residences were located
in the 14th and 16th arrondissements.
RESIDENCE 1: 9 RUE DE L’UNIVERSITÉ—A PRIVATE HOTEL

University Street is a fitting place to start life in Paris. The small corner hotel at 9 rue
de L’Université on the Left Bank of Paris, near the river Seine and in the heart of Saint-
Germain-des-Prés in the 7th arrondissement, was the first residence of the Joyce family
in Paris. It was a private hotel and the original name is unknown, but Richard Eder
wrote that it was called Hotel Lenox in 1982. Today, in 2019, it is the Le Saint Hotel.
From July 8-14, the Joyce family resided in the hotel while Pound continued to
search for a more permanent abode. For a family of four, the rooms were not cheap and
not expensive, but small. Joyce described their room as damp and matchbox-sized, to
which his thirteen-year-old daughter Lucia added that it was ‘stuck together with spit.’
The hotel has the typical Haussmann five-floor façade of cream limestone, without
ornate adornments and balconies, and without the Mansard roof, commonly called the
French roof, which has two slopes, similar to a barn house, but with windows.
Ezra Pound sought assistance from his friend Ludmilla Bloch-Savitsky, a Rus-
sian-born French translator, and on July 15 the Joyce family moved into her apartment
in Passy, west of Paris, rent-free. ‘The flat was small and bare, there was no electricity
and just one double bed.’ He would likely have taken the new metro line into Paris. By
October, the family moved back to the hotel at rue de L’Université.
Rue de l’Université is an historical street—long, flat, and narrow—running parallel
128
to the Seine. The street began near the hotel and curved gently as it followed the Seine
in a westerly direction for 2,785 meters (1.7 miles) ending near the Eiffel Tower. Joyce
could take an easy stroll for thirty-five minutes to stand beside the iconic tower, but
he could not easily see it from the three-tiered hotel. Joyce returned regularly to this
hotel—in between changes of residences—and after periods abroad.
RESIDENCE 2: 5 BOULEVARD RASPAIL

Fortunately, Joyce signed an apartment lease in December, so by the end of 1920,
Joyce decided to remain in Paris. ‘Finally, on 1 December Joyce took a six-month lease
on a luxury apartment at 5 Boulevard Raspail at Notre-Dame-des-Champs in Montpar-
nasse, costing £300 a year.’ In the 6th arrondissement, on a wide, airy boulevard, the
apartment had a telephone and a piano. It was luxurious indeed. There must have been
an audible sigh of relief when the family moved in. Everything was more expansive,
bringing communication, music, nature, light, and air to Joyce’s life.
In his correspondence to English author John Rodker, Joyce wrote that he was
‘amazed at his transformation’ since coming to Paris, from ‘homeless and barefoot’ to
‘living in luxury’ where he resumed work after problems with his eyes.’
He was still trying to finish Ulysses, but the luxury of his apartment enabled him to
work productively. With only two chapters remaining, he felt a surge of energy. Harriet
Shaw Weaver, his wealthy patron in London, sent him funds from sales of A Portrait of
the Artist as a Young Man, so he was feeling flush and fluid. However, towards the end
of May 1921, the lease of Joyce’s expensive flat was about to expire.
RESIDENCE 3: 71 RUE CARDINAL LEMOINE

French author and publisher Valery Larbaud resided at 71 rue Cardinal Lemoine in
the 5th arrondissement of Paris near the Pantheon, where he lived from 1919 to 1937.
Hearing that Joyce was looking for an apartment, Larbaud offered his place in the
Latin Quarter, rent-free. Larbaud was going to England on vacation, so the timing was
perfect.
‘On 3 June, the Joyce family moved to the French writer’s newly decorated, taste-
fully furnished flat … close to the Seine just opposite Notre-Dame. Joyce liked his new
surroundings, ‘a charming little quarter situated in a kind of park’ he wrote, ‘with …
absolute silence, great trees, birds … like being a hundred kilometers from Paris.’ It
was also close to Sylvia’s Beach’s Shakespeare and Company bookstore.
129
There are two plaques on the building exterior: one commemorating Valery Lar-
baud, and the other commemorating James Joyce. Joyce’s plaque states: James JOYCE
(1882-1941) British writer of Irish descent, welcomed by Valery Larbaud, completed
his novel “Ulysses,” a major work of 20th century literature, here. This plaque confirms
that, at last, while residing in Larbaud’s comfortable apartment for from June to Sep-
tember 1921, Joyce finished the novel he commenced in 1914.
Larbaud returned to his apartment in early October. Joyce returned to the hotel at 9
rue de L’Université, but this time, he booked two rooms—a separate room for his chil-
dren. At this time, Sylvia Beach was preparing to publish and promote Ulysses, which
was released on February 2, 1922, on Joyce’s fortieth birthday.
He left Paris on August 17, 1922, to go to London, returning to Paris by September
18. The hotel at rue de L’Université, where the Joyce family had been for a year, was
under minor renovations. The constant noise, and his intense eye pains, forced Joyce to
seriously look for an apartment.
RESIDENCE 4: 26 AVENUE CHARLES FLOQUET

From November 1, 1922, the Joyce family moved from the hotel at rue de L’Univer-
sité into an apartment on the Avenue Charles Floquet, close to the Eiffel Tower in the
7th arrondissement.
Irish artist, Arthur Power, who later wrote Conversations with James Joyce (1978),
first met Joyce in April 1921 at Sylvia Beach’s party to announce her decision to pub-
lish Ulysses. Power liked Joyce’s ‘fine and airy’ Avenue Charles Floquet apartment,
which he said was ‘the most attractive of his many habitations’ for it ‘looked out onto
the Eiffel Tower, and since it was near the military academy, through the trees one oc-
casionally caught a glimpse of uniformed officers riding past in the Parc du Champ de
Mars.’
The seven-month lease enabled the Joyce family to have a more settled life. Lucia
was enrolled at a Paris school and Giorgio has a bank job. Joyce had not written any-
thing new since the completion of Ulysses, but on March 10, he wrote to Weaver that
he had written two pages. From these two pages, two sentences are in his next novel,
Finnegans Wake.
In April, he had two dental operations which ‘left him toothless’ and an eye opera-
tion. During this time, Joyce is likely to have commenced wearing his iconic eye patch,
for Bowker states that in May he managed his first theatre trip in a year, wearing what
he called ‘that sempiternal black patch.’
130
In June 1923, when the apartment lease expired, Joyce put their furniture in storage
and on June 18 took a vacation with his family to Bognor, a British seaside. Joyce was
so relaxed in Bognor that he commenced writing another book—marked A, which was
the beginning of Finnegans Wake. In early August, he was back in Paris.
RESIDENCE 5: 6 RUE BLAISE DESGOFFE—HOTEL VICTORIA PALACE

In August 1923, Joyce booked into the Hotel Victoria Palace at 6 rue Blaise Desgof-
fe in the 6th arrondissement and began apartment hunting. He was receiving a consid-
erable amount of funds from Harriet Weaver, enabling him to reside in the hotel for a
year.
It was the weather that forced Joyce out of the Hotel Victoria Palace. In May 1924,
the heat made hotel residents ‘throw open their windows, laughing and talking in loud
voices … Joyce stopped writing and put all his manuscripts into storage at Beach’s
bookshop’—the Shakespeare and Company. Joyce and Nora went to London for a
long summer vacation. The Joyce family returned to Avenue Charles Floquet from
September 1924 taking a six-month lease, and retrieving their furniture from storage.
On February 25, 1925, Joyce extended the lease.
RESIDENCE 6: 3 RUE DE BOURGOGNE—HOTEL BOURGOGNE &

MONTANA
Before James Joyce and his family could move into their new apartment at 2 Square
Robiac in the 7th arrondissement, it needed renovations, so for two weeks, the family
moved into a nearby hotel—the Hotel Bourgogne & Montana.
RESIDENCE 7: 2 SQUARE DE ROBIAC

In June 1925, the Joyce family moved into a ‘spacious flat at 2 Square Robiac, just
off the rue de Grenelle, cost 20,000 francs per annum, and would be their home for the
next six months.’ Harriet Weaver, on vacation in Paris, visited the new apartment and
the ongoing renovations. She was ‘shocked by the chaos, but finally Joyce had found
a home he could properly inhabit.’ The Square Robiac apartment with ‘three living
rooms, one decorated with yellow hangings, and a drawing room with blue hangings’
was a place where Joyce ‘could now rehang the family portraits and unpack his papers.’
The initial six-month lease was extended and extended for six years, from 1925 to
1931. It was the Joyce family’s longest residential home since Zurich, Switzerland,
131
where he lived during the first World War for five years, from 1915 to 1920. In April
1927, when his landlord renewed the rental contract, it required a down-payment and,
even worse, the rent was doubled from October. Nevertheless, Joyce remained there
and on November 2, he invited about twenty-five people for a recitation of passages
from Anna Livia in Finnegans Wake, including Valery Larbaud and Ernest Hemingway.
Cyril Connelly, the twenty-five-year-old literary editor of a British cultural mag-
azine, visited Joyce in Paris at the end of 1928, and thought Joyce’s apartment was
‘rather smart … and nicely furnished.’ The American artist Myron Nutting and his
wife Helen visited at Christmas, and Helen described the apartment as ‘a room of soft
lights, a piano …’ with Irish friends singing Irish songs. These friends included Aldous
Huxley, D.H. Lawrence, and Samuel Beckett.
His eye doctor, Louis Borsch, died in February 1929, and Joyce travelled to Al-
fred Vogt in Switzerland for future treatments. On October 29, 1929, the American
Wall Street Stock Exchange crashed, which put an end to the many Americans living
cheaply in France. The Nutting family was one of the first to leave Paris. On February
2, 1931, Joyce wrote to Harriet that he had ‘the worst birthday in history’ because he
had no money. After six years in the Square Robiac apartment, Joyce put his books in
storage, and gave the piano to Giorgio in preparation to leave Paris for London.
RESIDENCE 8: 52 RUE FRANCOIS 1-ER – HOTEL POWERS

Before leaving Paris, the Joyce family stayed at the Hotel Grand Powers, near the
Champs-Élysées, in the 8th arrondissement for two weeks in April 1931.
RESIDENCE 9: 41 AVENUE PIERRE 1-ER DE SERBIE – LA RÉSIDENCE

In London, he became a resident of the United Kingdom, and he married Nora on
July 4. By the end of September, Joyce decided to return to Paris. He found accom-
modation at 41 Avenue Pierre 1er de Serbie, just off the Champs-Élysées, in the 8th
arrondissement, where the family stayed for one month. In 2019, the building is the
Hotel de Sers, but in 1931 it was a called ‘La Résidence.’
After a month in ‘La Résidence’ Joyce moved into a furnished flat at the end of Oc-
tober on a four-month lease in Passy. Mary Colum, an Irish author and friend of Sylvia
Beach, said it was not the cheeriest home they had—it was a gloomy flat in a gloomy
district. To add to the gloom, Joyce was not permitted to have a piano in the flat. When
the Passy lease expired, Joyce planned to return to London with Nora and Lucia. On
132
April 17, at the railway station in Paris, Lucia had a forty-five-minute screaming fit,
ending that plan. Luggage in hand, they went to a hotel instead.
RESIDENCE 10: 30 RUE DE BASSANO—HOTEL BELMONT

After Lucia’s violent screaming episode at the railway station Joyce took a taxi to
the Hotel Belmont in the 16th arrondissement near the Champs-Élysées. By May 15,
James, Nora, and Lucia moved back to the apartment in Passy. When the lease expired
in July, James and Nora took a vacation in Switzerland. On October 20, they were back
in Paris.
RESIDENCE 11: 5 RUE CHATEAUBRIAND—HOTEL LORD BYRON

On October 20, 1932, the Joyce family moved into the Hotel Lord Byron in the 8th
arrondissement, again near the Champs-Élysées, but closer to the Arc de Triomphe.
They left Hotel Lord Byron on November 17. At the time of viewing the hotel in 2019,
it was under renovation.
RESIDENCE 12: 42 RUE GALILÉE

After staying at the Hotel Lord Byron, the Joyce family returned briefly to the hotel
at 9 rue de L’Université in the 7th arrondissement on November 17, 1932. At the end
of November, Joyce paid a one-month deposit on a flat in the rue de Galilée in the 16th
arrondissement, describing it to Harriet Weaver as a ‘comfortable home sweet home’
that even Lucia would like. British diplomat and author friend Harold Nicolson said
the apartment was ‘a little furnished flat and stuffy and prim as a hotel bedroom. The
sitting-room was like a small salon at a provincial hotel.’ Although it was small, Joyce
extended the lease.
From March 24 to April 17, James and Nora went to Zurich with friends. After seven
months at flat 42 rue de Galilée, Joyce signed another lease for another apartment.
RESIDENCE 13: 7 RUE EDMOND VALENTIN

On Friday July 13, 1934, James and Nora ‘signed the lease of an elegant apartment
just off the Avenue Bosquet at 7 rue Edmond-Valentin at an annual rent of 11,500 francs.
In the 7th arrondissement, ‘it was a well-heated fourth-floor flat, with five rooms, and a
lift, in a quiet street with little traffic.’ It was his last rental apartment in Paris, residing
here for five years until 1939.
133
Nino Frank, Italian-French film critic and writer, thought the apartment was sim-
ilar to the one at Square Robiac, ‘substantial and anonymous’ with ‘a vast drawing
room, where Mrs. Joyce’s portrait occupied the place of honour.’ Swiss writer Jacques
Mercanton described its ‘sober and elegant furniture, a big reproduction of a Vermeer,
photographs, fine editions of Ulysses in the glazed bookcase.’
James and Nora left for Switzerland in February 1938 to visit Dr. Vogt. When they
returned to Paris at the end of March, there was news that German troops had marched
into Austria. In early December, he collapsed due to overwork—he was almost finished
Finnegans Wake, working on final edits. He declared it finished on January 1, 1939.
The apartment lease, due to expire again in July, inspired Joyce to sell and give away
his books and furniture after five years. The Joyce family moved into an apartment in
Passy on April 15, a month after the German occupation of Czechoslovakia. Sylvia
Beach published Finnegans Wake on May 4.
RESIDENCE 14: 45 BOULEVARD RASPAIL—HOTEL LUTÉTIA

The last residence of James Joyce in Paris was the Hotel Lutétia at 45 Boulevard
Raspail in the 6th arrondissement, where it exists today, albeit with room rates of about
US$940 per night. James, Nora, Giorgio, and his seven-year-old son Stephen James,
moved into the hotel in mid-October 1939. Lucia and Giorgio’s wife Helen were in
sanitariums near Paris.
It was war that ended the magical years for many expatriates in Paris. Due to the
outbreak of the Second World War in September 1939, Joyce left Paris on December
23, and went first to Saint-Gérand-le-Puy, near Vichy in central France, where Maria
Jolas had a country home, and then to Vichy the exile town of Valery Larbaud, and back
to Saint-Gérand-le-Puy. Germany occupied Paris on June 14, 1940. The Joyces left
France on December 14, 1940, arriving in Zurich on December 17. Paris was liberated
on August 25, 1944, years after Joyce’s death in Switzerland on January 14, 1941.
CONCLUSION
James Joyce was constantly affected by eye operations—cataracts, iritis, and glau-
coma—having nine operations by May 1930, and about twenty operations throughout
his life. He was in pain. His eyes, his head, and his teeth caused him pain. His pain
made him depressed. The lack of money made him depressed. He argued with Harriet
Weaver and Sylvia Beach over money, continuously asking them for financial support.
134
Thus, he led a roller-coaster life, with the lows of pain and the highs of being paid.
Money brought the joy of seaside holidays and spacious apartments, where he could
entertain guests with singing and piano-playing.
The constant movement often inspired his writing, but it affected his moods and
his productivity. He was adaptable to his environment, but he was also sensitive to his
surroundings. This sensitivity resulted in bouts of gloom and bursts of energy: endless
days of flowing creativity and months of tedious editing. He needed light to write and
darkness to protect his eyes. It had to be right to write.
His greatest works evolved over many years: seven years to write Ulysses and six-
teen years to write Finnegans Wake. Happiness and contentment in his surroundings
were important to him — his first luxurious apartment at 5 Boulevard Raspail, and the
elegant environment of Valery Larbaud’s home at 73 rue Cardinal Lemoine enabled
him to finish Ulysses. The seaside vacations that he loved so much, with his family,
where he was peaceful (and paid) were long and joyful. The English coast of Bognor
inspired Finnegans Wake, but it was the settled life in Paris of six years at 2 Square
Robiac and five years at 7 rue Edmond Valentin that enabled him to finish it.
It was in Paris, surrounded by creative, supportive, influential, and financially gen-
erous friends from around the world, where he found his niche. Paris in the 1920s was
described as the crazy years, the luminous years, and the magical decade. In the 1930s,
it lost none of its allure for literary luminaries. It was the place of escape, inspiration,
freedom, and fame: to be seen or just to be.
135
1
Gordon Bowker, James Joyce: A Biography, 2011, p273.
2
Irish Paris, lists 19 residences, which includes three in Passy, and two additional ho-
tels—the Hôtel Elysée and The Lancaster, but I have found no confirmed evidence
of these. http://www.irishmeninparis.org/writers-and-journalists/james-joyce
3
Richard Eder, “In the Footsteps of James Joyce: The pilgrim’s road leads from Dub-
lin to Paris, by way of Trieste,”
4
5
Gordon Bowker, p275. This Passy residence is not included in this article. The
neighboring town of Passy, incorporating the Bois de Boulogne (Boulogne Woods)
and the Arc de Triomphe (Arch of Triumph), was annexed to Paris in 1859, but
considered to be ‘outer Paris’ in the 1920s. It is now the 16th arrondissement on the
Right Bank and the largest arrondissement in Paris.
6
7
Gordon Bowker, p284.
Gordon Bowker, p292. Bowker indicated that the address was 74 rue Cardinal
8
Lemoine, but it is actually 73 rue Cardinal Lemoine.

9
Gordon Bowker, , p315.
10
Gordon Bowker, p318-320.
11
Gordon Bowker, p320. Sempiternal means eternal.
12
13
Gordon Bowker, p343. The sum of 20,000 francs was equivalent to £267.
14
Gordon Bowker, p343-344.
15
16
17
18
19
Gordon Bowker, p425. This Passy residence is not included in this article.
20
21
Gordon Bowker, 2011, p445.
22
Gordon Bowker, 2011, p473-474.
136
BIBLIOGRAPHY
Beach, Sylvia, Shakespeare and Company. (1st Bison Book, New Edition 1991, first
published in 1959).
Bowker, Gordon, James Joyce: A Biography. (Weidenfeld & Nicolson. 2011).
Breathnach, Sarah, “James Joyce in Paris: Following in the Author’s Footsteps on
Bloomsday.” Bonjour Paris: The Insider’s Guide. (June 16, 2016). https://bonjour-
paris.com/
Coville, d’Inès (undated). “Valery Larbaud: portrait d’un médiateur oublié”, alalettre.
com, http://www.alalettre.com/larbaud-bio.php.
Eder, Richard, “In the Footsteps of James Joyce: The pilgrim’s road leads from
Dublin to Paris, by way of Trieste,” The New York Times Archives, page 010014.
(January 17, 1982).
Ellmann, Richard James Joyce. (Oxford University Press, 1959, revised edition
1982).
Girard, Xavier (2012). Kiki de Montparnasse: Paris in the 1920s. Assouline Pub-
lishing.
Hemingway, Ernest A Moveable Feast. (Vintage Classics, 2012, first published in
1964).
Irish Paris, http://www.irishmeninparis.org/writers-and-journalists/james-joyce.
Meisler, Stanley, Shocking Paris: Soutine, Chagall and the Outsiders of Montpar-
nasse. (St. Martin’s Press, 2015).
Power, Arthur Conversations with James Joyce. (Lilliput Press, 1978, revised edi-
tion 2000).
The James Joyce Centre (April 28, 2014). On this Day … 28 April.
137
ELISO PANTSKHAVA
AKAKI TSERETELI STATE UNIVERSITY
Adolescence Cycle of Dubliners:

Comparing Two Georgian Translations
In a preface of his book Experiences in Translation Umberto Eco declares the fol-
lowing: “Every sensible and rigorous theory of language shows that a perfect transla-
tion is an impossible dream.” “Impossibility” of an ideal translation becomes even
more apparent when one has to deal with James Joyce. Having read and compared
numerous translations of Joyce’s works in Georgian I have to agree with Jolanta Waw-
rzycka “that knowledge of the English language alone, no matter how perfect, is not
necessarily a passport to translating Joyce, just as knowledge of Greek is not a license
to translate Homer or of Italian to translate Dante and so on…Joyce is exceptionally
difficult to translate because his texts require translators also to be scholars of Joyce,
not only fully immersed in the basic facets of Joycean scholarship but also with full
access to the Joyce materials such as archives and criticism, published in English.”
Despite the above-mentioned difficulties, nearly all major works by James Joyce are
translated in Georgian and the fact that Nico Kiasashvili, the best translator of James
Joyce was also an eminent James Joyce scholar only proves the truth of Jolanta Waw-
rzycka’s words. I had to mention Nico Kiasashvili, the father of all Georgian Joyce
scholars simply to show that the translators of next generation, while dealing with
Joyce not only had to struggle with an extremely difficult text, but also competed with
a very high translation standard, set by Niko, who dedicated nearly half of his life- 25
years to Ulysses.
In case of Dubliners we have two — Soviet and Post-Soviet —translations of the
book in Georgian language: It was first translated in 1970 by Lia Imerlishvili and Mzia
Shatberashvili. (Shatberashvili translated only the last story of the collection.) The col-
lection was published by “Sabchota Sakartvelo” and accompanied with the foreword
by Nico Kiasashvili. As for the post-Soviet period, in 2014 “Palitra L” published a
new translation of the collection, by David Akriani. The overall effect from comparing
both translations is that the older version is a far more successful attempt of conveying
138
Joyce’s language, stylistic innovations or imagery in good, fluent Georgian, whereas

the new one, trying to stick to “word for word” translation method, frequently makes
the text sound rather unnatural in target language, going far beyond the scope of typical
dichotomies a translator has to face, like free vs. literal translation or domestication vs.
foreignization.
The difference between two translations is noticeable as soon as one looks at the
titles of the stories in the contents section: some titles are identical in both versions:
“Sisters” –„debi“, “An Encounter”- „Sexvedra“, “Boarding House”-„pansioni“,
“Little Cloud”-„patara Rrubeli“, “Mother”-„deda“, but we trace the difference
in the name of the last story of “Childhood cycle”- “Araby” , Imerlishvili translates it
as “arabeTi“ and Akriani prefers the word “arabia“-Akriani’s version contains a fal-
lacy: “arabia“ is either the distorted version of Russian „Аравия” or the adoption of
the pronunciation of English “Arabia” (a modern version of Araby). As for “Counter-
parts” – in Imerlishvili’s translation the title sounds as “aslebi“and Akriani’s version
is „Аравия“. The first one refers to the copy or duplication of a legal document and is
in perfect accordance with Farrington’s monotonous job, as for Akriani’s „oreule-
bi“- the meaning of the word coincides with another definition of “counterpart”- “a
person or thing that corresponds to or has the same function as another person or thing
in a different place or situation”, but is not quite relevant to the story. As for the story
“Grace”- Imerlishvili translates it as „RvTis wyaloba“(“God’s Mercy”) and Akriani
translates it as-„wyaloba“(“Mercy”). None of the titles seem relevant, according to
Temur Kobakhidze, who claims in his article “Parody Associations in James Joyce’s
story “Grace” that the title must be translated as „madli“, correspondent to catholic
(gratia), which is different from „wyaloba“ (misericordia) and in case of James Joyce
the catholic symbols and terms always bear a special importance, hence, need to be
handled with care. The problem of translating the titles of the collection is an interest-
ing issue, especially if we compare the aforementioned two Georgian translations with
the Russian translation, but this can be the focal point of a more profound and volumi-
nous research, so let’s get back to 4 stories of “adolescence cycle”.
The first story of the cycle is “Eveline.” And as nearly in every story of “Dubliners,”
the translators differ in rendering proper names:
Miss Gavan(Joyce)/mis gavani (Akriani)/is geveni (Imerlishvili);
Ernest(Joyce)/ernesti (Akriani)/ ernsti (Imerlishvili);
Eveline(Joyce)/ evilin(Akriani)/evilini (Imerlishvili).
the Devines, the Waters, the Dunns, little Keogh the cripple. (D 42)
139
devinsebi, uotersebi, dansebi, patara invalidi gogona keo..“ (Akriani

36)
divainebi, uotersebi, dannebi, patara xeibari kou.. (Imerlishvili 40)
Translating the sentence “The children of the avenue used to play together in that
field—the Devines, the Waters, the Dunns, little Keogh the cripple, she and her broth-
ers and sisters” (D 42) Akriani makes a strange decision to tie the personal pronoun
“she” to “little Keogh the cripple,” who is actually a male character (After a sentence
or two we read: “usually little Keogh used to keep nix and call out when he saw her
father coming.“ (D 42). — „„uwin im mindorze gverdigverd TamaSobdnen
prospeqtis bavSvebi: devinsebi, uotersebi, dansebi, patara invalidi
gogona keo, misi Zmebi da debi.“ (Akriani 36) He fails to see that “she” refers to
Eveline, not Keogh, so afterwards Eveline’s father turns into Keogh’s father in Geor-
gian text: “Her father used often to hunt them in out of the field with his blackthorn
stick;“ (D 42) /„keos mama xSirad erekeboda bavSvebs mindvridan kvrinCxis
joxiT“ (Akriani 36)/ Imerlishvili never makes such a mistake, although we have to
mention that she renders “ blackthorn stick” as “a black stick with a bumpy surface”
— „„mamamisi xSirad erekeboda xolme bavSvebs mindvridan Tavisi Savi,
koJrebiani joxiT.“ (Imerlishvili 40), but at least, here we understand that the au-
thor talks about Eveline’s father.
There are a number of stylistic discrepancies and awkward constructions in Akri-
ani’s translation that you will never find in Imerlishvili’s version. Let’s just bring some
examples to illustrate this:
When they were growing up he had never gone for her like he used to go for
Harry and Ernest, because she was a girl; but latterly he had begun to threaten
her and say what he would do to her only for her dead mother’s sake. (D 44)
mama arasodes epyroboda evilins ise, rogorc haris an ernests,
radgan is gogona iyo. magram mogvianebiT damuqreba dauwyo: ai,
ras gizam Tundac mkvdari dedaSenis gamoo.“ (Akriani 38)
The translation shows that Eveline’s father is ready to beat his daughter BECAUSE
of his dead wife. Hence, in Akriani’s translation mother’s figure provokes the violence,
instead of hindering it.
mamas arasodes ucemia ise, rogorc ernstsa da haris scemda
xolme. imitom rom gogo iyo. mere ki xSirad emuqreboda. eub-
neboda, marto imitom ar gaxleb xels, rom dedaSenis xsovnas
vcem pativso. (Imerlishvili 42)
140
Imerlishvili’s translation shows that ONLY the memory of his dead wife keeps the
man from violence against his daughter). Another example:
Sometimes he could be very nice. Not long before, when she had been laid
up for a day, he had read her out a ghost story and made toast for her at the
fire. (D 46).
„zogjer mama Zalian sasiamovno saurTierTo iyo. arc ise didi
xnis win, mas Semdeg, rac evilinma dRis sanovage moitana, mamam
moCvenebebis istoria uambo da misi sadRegrZeloc Sesva bux-
arTan““ (Akriani 39-40)
Back translation of Akriani’s text will result as follows: “ Eveline brought home
the daily products ” and “father drank in honour of his daughter.” Toast can be
translated in two different ways in Georgian: as a) “a piece of bread” and b) “drinking
in honour of another person” and Akriani chooses the wrong version whereas Imerlish-
vili sticks to the proper meanings of the original text.
„zogjer keTilic ki iyo. erTxel, arcTu didi xnis winaT,
roca evilini avad gaxda da mTeli dRe loginidan ar amdgara,
mama moCvenebebis ambavs ukiTxavda da cecxlze purs uxuxavda“
(Imerlishvili 44)
Finally the following sentence “Ernest had been her favourite but she liked Har-
ry too“(D 46), which is translated by Imerlishvili as follows: „misi saTayvano Zma
ernsti iyo, magram haric uyvarda“ (Imerlishvili 44), is altogether omitted in
Akriani’s translation which cannot be regarded it as a mere technical error. As we all
know, Ernest, Eveline’s brother is dead and this sentence reveals that once again, death
has a priority over life in the paralyzed world of “Dubliners.”
The second story of the Cycle is “After the Race” and the translators render proper
names differently again:
Charles Segouin (Joyce)/Sarl sekuini (Akriani)/Sarl segueni (Imerl-
ishvili);
Routh (Joyce) / rausi (Akriani)/rauti (Imerlishvili);
Farley (Joyce)/ farli (Akriani)/ forli (Imerlishvili).
While translating the names of the streets Imerlishvili uses hyphen and Akriani
writes them as compounds:
141
Naas Road; Dame Street; Grafton Street (Joyce)

neisroudze; deimstrits; graftonstritisken (Akriani)
naas-roudi; deim-stritze; grafton-stritisaken (Imerlishvili)
Comparison of two translations of the sentence “Now and again the clumps of peo-
ple raised the cheer of the gratefully oppressed” (D 49) once again illustrates the fact
that Imerlishvili’s interpretation of the original text work better than Akriani’ method
of “word for word” translation. Imerlishvili renders the near-oxymoron “gratefully
oppressed,” as „beCavi gulkeToili irlandielebi’, – so, as we see the figure
of speech is lost in translation but the meaning of the Georgian substitute very closely
corresponds with Joyce’s idea of meek and harmless people, who do not seem to protest
against their oppression, moreover, they even seem eager to embrace it, whereas Akri-
ani’s version „drodadro adamianTa jgufebs, sasiamovnod daTrgunvilTa,
SeZaxilebi aRmoxdebodaT xolme““ (Akriani 42) maintains the near-oxymoron
combination in the target language, but the structure of the sentence seems rather un-
natural and faulty in Georgian.
While translating the following sentence Akriani changes the object of focal interest:
His father, remonstrative, but covertly proud of the excess, had paid his bills
and brought him home. (D 50-51).
mamam--iolad arafris damTmobma, Tumca farulad moamayem sim-
didriT--jimis valebi gadaixada da Sin daabruna““ (Akriani 43).
According to his translation, Jim’s father is secretly proud of his own wealth, not
of his son’s extravagant, excessive expenses—hence, the accent shifts from young Jim
to Mr. Doyle, which seems wrong. Imerlishvili maintains Joyce’s intention and Jim
remains the main “hero” in this case:
mamamisma bevri ibuzRuna, datuqsa kidec, roca mis valebs is-
tumrebda, magram gulSi mainc amayobda Svilis xelgaSlilobiT“
(Imerlishvili 50). (back translation: deep down in his heart he was proud of his
son’s extravagance).
While translating the description of a card game, Akriani uses Russian barbarism,
which, unfortunately, is not an exceptional case in his translation of “Dubliners”:
They drank the health of the Queen of Hearts and of the Queen of Diamonds
(D 56).
Sesves gulis damis da aguris damis sadRegrZeloebi (Akriani 48).
dalies agurisa da gulis qalebis sadRegrZelo (Imerlishvili 56).
142
The third story of the youth cycle—“Two Gallants” conveys sharp irony in its title,
which is rendered differently by Georgian translators: Akriani translates it as “Two
Cavaliers” and Imerlishvili prefers “Two Knights.” To my mind, the latter makes Geor-
gian reader to feel Joyce’s irony in a more ample scope, as it sounds far more familiar
than the foreign “kavaleri “. Keeping in mind chivalrous images of the knights from
Georgian epic “The Knight in Panther’s Skin,” Georgian reader sees that these two
young men are absolutely devoid of all essential features of knighthood.
This story is a rare case, when the translators render names of the characters similar-
ly, though they still remain different in their treatment of the street naming. And it also
is the story, where Imerlishvili omits an important detail. As we know, the story begins
with a sentence: “The grey warm evening of August had descended upon the city..,”
(D 58) and the paragraph ends with the phrase: “sent up into the warm grey evening
air an unchanging, unceasing murmur.” (D 58) The word “grey” is lost in both cases in
Imerlishvili’s translation:„qalaqSi agvistos Tbili saRamos bindi Camowva.“
(Imerlishvili 58) and „msubuqma siom ise Camouqrola quCebs, TiTqos zaf-
xulis gamosaTxovari salamiao..“(Imerlishvili 58)
Akriani maintains the above-mentioned word in both cases:
qalaqis Tavze agvistos nacrisferi, Tbili saRamo daSvebuli-
yo“ “ and „Tbili, nacrisferi saRamos haerSi ucvlel, ganuwyve-
tel CurCuls gzavnida.. (Akriani 49)
It is well-known that colours acquire special symbolic meaning in Joyce’s text and
grey is one of the essential hues on Dubliners palette, emphasizing the drab, lifeless
existence of the paralyzed city, hence the word should have been kept in translation.
The effect of contrast is lost, when Akriani fails to maintain the conjunction “but” while
translating the sentence:
His breeches, his white rubber shoes and his jauntily slung waterproof ex-
pressed youth. But his figure fell into rotundity at the waist, his hair was scant
and grey and his face, when the waves of expression had passed over it, had a
ravaged look. (D 59).
brijebi, rezinis TeTri fexsacmelebi da daudevrad mogdebuli
labada maTi patronis siWabukeze metyvelebda. figura welTan
simrgvaleSi gadasdioda, ruxi feris Tma SesTxeleboda, saxeze
ki, roca zed sxvadasxva gamometyvelebis talRebi uvlida, ga-
partaxebuli ieri edeboda. (Akriani 50)
143
The transition is lost and the translation does not reveal that although Lennehen
seems quite young, he is not in the prime of his youth.
misi Sarvali, rezinisZiriani TeTri fexsacmelebi da mxarze
daudevrad mogdebuli sawvimari mis axalgazrdobaze me-
tyvelebda, magram tani ukve Semrgvaleboda, Tma gasTxeleboda
da gasWaRaraveboda, saxeze ki, roca mxiaruli talRebi gauqre-
boda, daRliloba da SeSfoTeba exateboda.. (Imerlishvili 59)
In her article Jolanta Wawrzycka’s provides one phrase from the story to illustrate
the way how the translators of James Joyce sometimes substitute his “not very com-
fortable,” “rude” words with euphemisms: “She’s a fine decent tart,’ he said, with
appreciation; ‘that’s what she is” (D 56) —these are Corley’s words about the servant
girl. The definition of the word “tart,” according to Merriam –Webster, is “a promiscu-
ous woman: a woman who has many sexual partners,” both Georgian translators chose
absolutely neutral and harmless euphemism for its translation: “A nice girl”:
mSvenieri keTilsindisieri gogoa,--Tqva dafasebiT,--swore-
dac.. (Akriani 55)/
mSvenieri gogoa, Zmao,--daaskvna bolos,---rac marTalia, mar-
Talia.. (Imerlishvili 65)
We cannot claim, though that rude and obscene words or slang are always substitut-
ed with euphemisms and literary English in Georgian translations of the story. Whereas
in “Sisters” the heteroglossia of the characters is completely lost in both translations
and instead of illiterate speech of Eliza or old Cotter we see proper literary English
(thus, the prominent means of characterization is missing in both Georgian versions of
the story), here the peculiar speech o two Gallants is maintained in most cases. Though
some discrepancies with idioms are apparent:
I was afraid, man, she’d get in the family way. But she’s up to the dodge. (D
60).
meSinoda, ar daorsuldes meTqi, magram arc egeTi arifi iyo
(Imerlishvili 60)
Back translation of the text will be as follows: ‘’I was afraid she should get pregnant
but she was no fool/ novice in matters like these.”
„SemeSinda, kaco, ojaxis wevriviT iqceoda. eSmakobs, ra“ “ (Akri-
ani 52).
Back translation: “I got scared, man; she acted like a family member. She’s a
sly one, you know”.
144
It is obvious from the back translations that Akriani’s translation is a misunderstand-

ing of the original text.
A rather comic impression is created by Akriani’s “word for word” translation of
a phrase: “Are you trying to get inside me?” (D 65). Imerlishvili renders this part
as: „warTmevas mipireb?“ (Imerlishvili 65) / back translation: “Are you going to
take her away from me?” –maybe not the exact analogue of the original, but far better
than Akrianis mechanically correct: „CemSi Semosvlas lamob?“ (Akriani 55) /back
translation: Are you trying to penetrate into me?
In the last story of the cycle, “The Boarding House” we hardly see any dialogues, so
not much can be said about the preservation of heteroglossia in translations, but both
Georgian translators successfully manage to render the passage where Joyce illustrates
Polly’s illiteracy through the characterization of her speech:
She was a little vulgar; some times she said “I seen” and “If I had’ve known.”(D
81).
poli cotaTi mdabio iyo. xandaxan ambobda: „me naxuli maqvs“ an
„Tu me mcodnoda.“ (Akriani 67)
poli cota xeprec iyo. laparaki ar uvargoda, zogjer ityoda
xolme--„minaxnia,“ „reebs ambob.“ (Imerlishvili 81)
In Akriani’s translation of this story some sentences considerably diverge from the
meaning of the original text creating a completely new meaning, whereas Imerlishvili
closely follows the original. Here are some examples from the texts:
1. When he met his friends he had always a good one to tell them and he was
always sure to be on to a good thing-that is to say, a likely horse or a likely artiste.”
(D 75).
„„megobrebTan Sexvedrisas mudam moepoveboda romelime Zelga ux-
amsoba da yovelTvis darwmunebuli iyo, rom magar rames ambobda: an sa-
Tanado cxenis rolSi gamodioda, an saTanado mxedris.“ (Akriani 63) / back
translation: “he acted like a proper horse or a proper horseman”
„amxanagebTan Sexvedrisas yovelTvis mzad hqonda moswrebuli aneg-
doti, arafers daakldeboda; Tu sadme rame axali da saintereso, mag-
aliTad, lamazi cxeni an lamazi msaxiobi qali gamoCndeboda, pirveli is
gaigebda xolme.“ (Imerishvili 75) / back translation: “he was always the first one to
learn about a beautiful horse or a beautiful actress.”
2. “The music-hall artistes would oblige; and Sheridan played waltzes and polkas
and vamped accompaniments.” (D 75)
145
„miuzikholis msaxiobebi iTxovdnen da Seridanic ukravda valsebs,

polkebsa da improvizirebul akompanimentebs“ (Akriani 63) / back transla-
tion: asked for
„miuzik-holis msaxiobebi pativs dasdebdnen xolme TavianTi mo-
brZanebiT. Seridani valsebsa da polkebs ukravda, saxeldaxelod Tx-
zavda akompaniments.“ (Imerlishvili 5-6)/back translation: descended to; agreed to
3 “She counted all her cards again before sending Mary up to Mr. Doran’s room”(D
79) “She did not think he would face publicity.“ (D 79)
„kidev erTxel gadaTvala Tavisi qaRaldebi, sanam meris gagzavnida
mister doranis oTaxSi“ (Akriani 66)/ back translation: She counted her papers/
documents once again.
„misis munim kidev erTxel aswon-daswona yvelaferi, vidre meris ah-
gzavnida mister doranis oTaxSi“ (Imerlishvili 79)/ back translation: she mea-
sured everything carefully.
While translating a sentence “Besides, young men like to feel that there is a young
woman not very far away” (D 76), Akriani employs a neologism, created by the emi-
nent Georgian poet, Galaktion Tabidze ,,,,ealubleboda” „garda amisa, biWebs
ealublebodaT imis SegrZneba, rom Soriaxlos gogona imyofeboda.“.“
(Akriani 64) I miserably failed in providing the back translation of this highly poetic
coinage (something like “made their hearts blossom like a cherry-tree,” perhaps), but
this word does make a rather neutral “like to feel” sound extremely pathetic, pomp-
ous and out-of its element in Georgian version. Imerlishvili’s neutral substitute “uy-
varT/ back translation: “like, love” seems more proper in this case. „„garda amisa,
ymawvilebsac uyvarT, roca TavianT axlos axalgazrda qals xedaven.“
(Imerlishvili 76)
After comparing two Georgian translations and discussing the ways both translators
employed neologisms, euphemisms, omissions in translation, rendered proper names
and so on, we can claim that the previous translation is far more accurate and careful
in its treatment of James Joyce’s text than the new one. Quite a paradox, if we compare
the possibilities of having access to such authors as Joyce (including both works and
criticism) in Soviet and present-day worlds. Summing up, the fact itself that Georgian
readers already have two versions of “Dubliners” in their native language is quite an
achievement, although I would always recommend the older translation to non-English
readers of Joyce.
146
Umberto Eco, Experiences in Translation; University of Toronto Press Incorporat-

i
ed, 2001, p.IX

Jolanta W. Wawrzycka “Text at the Crossroads: Multilingual Transformation of
ii
James Joyce’s “Dubliners” in “ReJoycing: New Readings of “Dubliners” ; Rosa M.

Bollettieri Bosinelli, Harold F. Mosher, University Press of Kentucky, 1998 p.70
James Joyce, Dubliners. New York, B.W.Huebsch,1917. All citations from Dublin-
iii
ers in this paper are from this edition.

James Joyce, Dubliners. Translated into Georgian by Dato Akriani. (Pslitra L.,
iv
Tbilisi , 2014) (Hereafter cited as Akriani+ page number).

v
James Joyce, Dubliners. Translated into Georgian by Lia Imerlishvili. (Sabchota
Sakartvelo, Tbilisi, 1970). (Hereafter cited as Imerlishvili+ page number).
147
MARIAM RAZMADZE
Joycean allusions in Salman Rushdie’s

The Satanic Verses
James Joyce, one of the most influential writers of the XX century, who as Salman
Rushdie remarked “built a universe out of a grain of sand”, continues to inspire writers
with his “silence, exile, and cunning”. Salman Rushdie, forced to leave his homeland
for creating “blasphemy against Islam”, features a great deal of Joycean allusions in
The Satanic Verses.
In one of his interviews Rushdie said that “Ulysses is a grand homage to the country
that has never understood him” and Rushdie himself is experimenting in The Satanic
Verses. Apart from exile, what the two writers share is constant preoccupation with
the language – Joyce’s endeavor to create new English is somewhat similar to those
changes that English has undergone though the stream of immigrants who are the main
characters in Rushdie’s novel. One more aspect that Rushdie finds particularly impres-
sive is Joyce’s inclination to parody clichés.
In The Satanic Verses Rushdie aims at creating a postmodern mock-comic the be-
ginning of which alludes to the fall of mankind (main characters Gibreel Farishta and
Saladin Chamcha both actors of Indian Muslim background magically survived from
an explosion of a hijacked plane by means of a miraculous transformation) and strongly
resembles the beginning of Finnegans Wake. Rushdie calls his book ‘a castigation of
Western materialism’ in a comic form which puts him in line with Joyce’s Rabelaisian
irony.
148
mariam razmaZe
joisuri aluziebi salman ruSdis romanSi

„eSmakeuli aiebi“
Tanamedrove inglisuri literaturis erT-erTi mniSvnelovani

avtori salman ruSdi, romelsac skandaluri popularoba moutana ro-
manma „eSmakeuli aiebi“, jeimz joisis Sesaxeb interviuSi ambobs: „joi-
si yovelTvis Cems gonebaSia da mudam Tan damyveba...man mTeli samyaro
ubralo qviSis marcvlebisgan Seqmna“.
miuxedavad imisa, rom jeimz joisi da salman ruSdi sxvadasxva epoq-
is, kulturisa da literaturuli mimdinareobis warmomadgenlebi ar-
ian, erTmaneTTan bevri saerTo aqvT. ruSdis aRtaceba da siyvaruli
joisis mimarT, albaT, garkveulwilad, maTi cxovrebisuli istoriis
msgavsebiTaa ganpirobebuli. joisis msgavsad, nebayoflobiT emigra-
ciaSi wavida ruSdic, Tumca yovelTvis samSobloSi arsebul proble-
mebze (indoeTze) wers da cdilobs mkiTxvels daanaxos sirTuleebi,
romlebTanac gamkalaveba uwevdaT da uwevT kolonializmisa da post-
kolonializmis pirobebSi. analogiurad, samSoblodan gaqceul joiss
civsisxlian kosmopolitobas abralebdnen, Tumca miiCneva, rom mis
mTavar sazrunavad mainc irlandia rCeboda.
inglisi orivesTvis „dampyrobeli“ qveyanaa. inglisuri ena ki arcer-
TisTvis ar warmoadgens mSobliurs, Tumca orivem SeZlo dampyrobeli
eris enis „damorCileba“. rogorc ruSdi aRniSnavs, joisma Seqmna ara-
inglisuri inglisuri ena, kiTxvaze, iyo Tu ara misi survilic Seeqmna
gansxvavebuli ena, ruSdi dadebiTad pasuxobs da ambobs, rom „enas
sWirdeba cvlilebebi. Tuca, joisis Rvawli am mxriv upiratesia da
yvela unda mihyves mis magaliTs.“
149
romanSi „sircxvili” (Shame) salman ruSdi wers:
me naTargmni kaci var,romelic sazRvrebs miRma daibada. zoga-

dad iTvleba, rom Targmanisas raRacas yovelTvis kargav, da me
amis mjera... Tumca raRacas iZen kidec“
faqts, rom Targmnis dros raimes dakargviT an gamotovebiT, raRac
axlis miRweva SeiZleba efuZvneba joisis „RamisTeva fineganisTvis“.
romanis weris maneriT joisi sakuTar Tavs inglisuri enis sazRvrebs
miRma gardaqmnis da amasTan, mSobliur enasTan nebayoflobiTi kav-
Siris gawyvetiT Tavisuflebas iZens. rogorc avstrieli mwerali Ste-
fan cvaigi Tavis wignSi „The World of Yesterday“ ixsenebs, erT-erTi
Sexvedrisas joiss masTan saubarSi aRuniSnavs:
me momwons ena, romelic yvela enas aRemateba, ena romelsac
yvela danarCeni emsaxureba. ar SemiZlia gamovxato sakuTari
Tavi inglisuri eniT, Tu ar vekuTvni mis tradicias.
Tamamad SeiZleba iTqvas, rom joisma sakuTari ena Seeqmna, romelic
Tavis TavSi moicavs sxvadasxva qveynebis enebis Tu dialeqtebis leqsi-
kas da, amasTan, is cdilobs sxvadasxvagvari kombinaciebiT sruliad
axali konstruqciebis Seqmnas (magaliTisTvis, rogorc cnobilia ir-
landiuri bgerebis Casawerad inglisur asoebs iyenebda.) analogiurad,
ruSdis romanebic polifoniuria, rac ganpirobebulia, erTis mxriv,
mesame samyaros qveynebisTvis damaxasiaTebeli enebisa da dialeqtebis
simravliT, meores mxriv ki, dampyrobeli eris enisa da adgilobrivi
enebis SereviT miRebuli hibriduli formebiT da amasTan, joisis ro-
manebis msgavsad aratradiciuli sintaqsuri wesebis gamoyenebiT.
ruSdi erT-erTi interviuSi saubrobs mis romanebSi joisis enis
gavlenaze. Tumca, joisis gavlena am kuTxiT aramxolod ruSdis Semo-
qmedebaze vrceldeba, aramed zogadad postkolonialistur liter-
aturaze. robert maikl kirSens Tavis naSromSi mohyavs postkolo-
nialisturi literaturis erT-erTi mkvlevaris feroza jusavalas
sityvebi, sadac is aRniSnavs:
„1922 wlis TebervalSi, rodesac joisis ulise daibeWda post-
kolonialisturi literatura dajildovda- saCuqari ki in-
150
glisur enaze eqsperimentebis Catarebis nebarTvis ufleba

iyo“. rogorc amave naSromSi vkiTxulobT, aRniSnul mosazre-
bas ruSdi srulebiT iziarebs da ambobs, rom „sityvebiT TamaSi
aris literaturuli gamoxatulebis mniSvnelovani mxare. ar-
amxolod misTvis, aramed nebismieri mwerlisTvis, romelic in-
glisurad wers 1950 wlis Semdeg“.
am ori avtoris biografiaSi kidev erTi saerToa: joisis msgavsad,

ruSdic mkrexelobasa da garyvnilebaSi amxiles, misi samSoblo indoe-
Ti pirveli iyo, romelSic „eSmakeuli aiebi“ aikrZala da miuxeda-
vad imisa, rom romanma msoflio aRiareba moipova, indoeTSi dRemde
akrZaluli wignebis siaSi rCeba. analogiurad iyo joisis SemTxveva-
Sic, rogorc cnobilia, misi romanebi irlandiaSi gvian iTargmna da
aRiarebac yvelaze bolos samSobloSi moipova.
erTis mxriv msgavsma cxovrebiseulma gamocdilebam, meores mxriv
ki joisis, rogorc Semoqmedis genialurobam imdenad moxibla ruSdi,
rom erT-erT interviuSi kiTxvaze: vin aris Tqveni gmiri, pasuxobs,
rom es jeimz joisia, radgan misgan Tavdablobisa da ubraloebis swav-
la SeiZleba. amasTan, is yovelTvis Cvenze ukeTesi iqneba“.
gasakviri ar aris, rom bevri avtoris msgavsad, ruSdic ganicdis
joisis gavlenas. religiuri Tu miTologiuri siuJetebis Semotana Tx-
robaSi arc erTi avtorisTvis ucxo araa. ruSdis „eSmakeuli aiebis“
dasawyisSve ucnaurad viTardeba movlenebi: ori mTavari personaJi
TviTmfrinavis bortze Sexvdebian erTmaneTs, romelic indoeTidan
inglisisken mifrinavs. teroristebis mier gatacebuli TviTmfrina-
vi„bostan“, reisi 420 haerSi feTqdeba da ori mTavari moqmedi piri,
saladin CamCa da jabrail fariSta zecidan Tavqve mofrinaven 29.004
futis simaRlidan- yovelgvari paraSutebis Tu frTebis gareSe:
afeTqebisagan mcireodnav tvingamolayebulni, jabraili da
saladini mofrinavdnen Tavqve, rogorc ram ugergilo yaryatis
dafCenili niskartidan gamomsxltari ori TeTri fuTa.
saladinis da jabrailis vardnis procesi saintereso asociaciebs
aCens. im faqtis gaTvaliswinebiT, rom TviTmfrinavs, romlidanac per-
sonaJebi vardebian bostan anu baRi, edemi hqvia, bunebrivia, Cndeba
151
pirveli adamianebis dacemisa da maTi samoTxidan gamoZevebis aluzia.

faqtobrivad, ruSdi gvTavazobs kacobriobis dacemis motivis post-
modernistul, amavdroulad alegiorul versias magiuri Txrobis
elementebiT:
gadamSrali, orad gadatexili Zveli sigaridan gadmocvenili
Tambaqos nafrCxvenebiviT gadmoiyarnen sivrcesa da droSi.maTs
zemoT, qvemoT, ukan da gverdiT bzrial-trialiT moeqaneboda
gadasawevsazurgiani gorgolaWebiani magida, ryevissawinaaRmde-
go gamawonasworeblis namsxvrevebi, videoTamaSebiani kasetebi,
mgzavrTa pirovnebis damadasturebeli baraTebi, wnuli Taroe-
bi xelbargisTvis, muyaos Wiqebi, pledebi, Jangbadis niRbebi...
profesori qiT bukeri, romelic Tanamedrove literaturas ikvlevs
ambobs, rom kacobriobis dacemis miTi, rom Cven yvela adam da evas
codvis gamo visjebiT, aseve mniSvnelovan rols asrulebs jeimz joi-
sis „fineganis gamoRviZebaSi“. xolo kembelisa da robinsonis Tanaxmad
„fineganis gamoRviZeba“ warmoadgens „kacobriobis dacemisa da aRd-
gomis erTgvar alegorias“
„RamisTeva fineganisTvisac“ swored dacemis epizodiT iwyeba:
„ambavi dacemisa (bababadalindquxiaiapmexfinquxberZmexital-
gvrgviniadialeqtquxprotorquxilvarunanSvedquxdanmexgel-
mex!) erTi volstritis beberi parisa, romelzedac mudmivad
saubroben loginSic da cxovrebaSic da romelzedac qristiani
moxetiale musikosebi da poetebi mRerian. kvercxis cemadidi
kedlidan ise swrafad da fuivardnulad moxda fineganisTavs,
seriozuli irlandieli mamakaci, rom cotaTi kuzianic saswra-
fod afrens erTs dasavleTisaken raTa man CaZiruli atlanti-
da moiZios“
garda bibliuri motivisa, saladinisa da jabrailis daSveba ama-
vdroulad ZvelberZnul miTsac mogvagonebs dedalosisa da ikarosis
Sesaxeb. miTis Tanaxmad,dedalosma da ikarosma frTebi miimagres da
caSi aiWrnen. vinc xmeleTidan maT CitiviT frenas Sehyurebda, fiqrob-
da, rom ori RmerTi misrialebda cis laJvardze. eSmakeul aiebSi ki
mTxrobeli migvaniSnebs saladinis da jabrailis msgavsebas Zvelber-
Znuli miTis personaJebTan: „gana ra ucnaurobas amCnev? ubralod, ori
152
Savtuxa mamakaci dabla ecema gvarianad. raa amaSi uCveulo? zedmiwev-

niT maRla abobRdnen, sakuTar Tavebs gadaaxtnen, xatovnad rom vTq-
vaT, mere mzesac sul axlos Caufrines ...“
aRniSnuli aluzia mogvagonebs cnobil ikarusis msgavs personaJs
stiven dedaluss romelsac msgavsad ikaurisas mamasTan rTuli urT-
ierToba hqonda. stiven dedalosisa da mamamisis urTierToba ki,Tavis
mxriv, mogvagonebs „satanur aiebSi“ saladinisa da mamamisis urTier-
Tobas. mTeli cxovrebis ganmavlobaSi, stivenis msgavsad saladinic
cdilobs mamisgan Sors yofnas:
biWi darwmunda mamamisi arasdros SeeSveboda,mudmivad ZirSive
amoZirkvavda yvela mis imedsa Tu mcdelobas, da amitomac gad-
awyvita okeanis miRma gadaxvewiliyo, mTebi da udabnoebi Caedga
massa da am didze-did kacs Soris.
joisisa da ruSdis personaJebs aerTianebT mSobliuri qalaqidan
gaqcevis survilic, isini emigrantebi xdebian, stiveni irlandias
tovebs, saladini ki indoeTidan garbis.
„eSmakeul aiebSi“ joisis romanebis araerTi Ria da daufaravi alu-
zia gvxvdeba, naxsenebia martelos koSki, romelic bunebrivia gvaxsen-
ebs „ulises“ „mTvarian sanapiroze, zed wylis pirze, martelos koSkis
mimarTulebiT, zorba, zrdasruli nanda mirboda“ (ruSdi 2015:240).
policiis sammarTvelos sazogadoebasTan urTierTobis oficers ki
stiven kinCi hqvia.
ruSdis gansakuTrebul interess “RamisTeva fineganisTvis“ iwvevs.
romanis gmirebi orjer moixsenieben mas. erT-erT epizodSi mimi mamu-
liani cdilobs, saladini moxiblos Tavisi ganaTlebulobiT da ambobs:
gaiTvaliswine inteleqtiT gaJRenTili Zu gaxlavarT da ara
viRac gombio. „fineganis aRapic“ wakiTxuli maq da dasavleTis
postmodernistuli kritikis azrzec var ...
saladins kidev erTxel maSin axsendeba „RamisTeva fineganisTvis“,
rodesac mZime seniT daavadebuli mamamisis sanaxavad mosuli stumrebisa
da Tavad Cingiz CamCavelas moCvenebiT drostarebas adevnebs Tvalyurs:
es yvelaferi raRac dabadebis dRis aRniSvnas ufro emgvaneba
nel-nela,- gaifiqra salahudinma, an iqneb - fineganis aRaps.
micvalebuli, uars romaa ganisvenos da cocxlebs drostarebis
saSualebas aZlevs.
153
kidev erTi joisur aluzias vxvdebiT romanis mesame karSi. CamCas

cols, pamelas axsendeba qmris yofili megobrisa da Tavis sayvarl-
is, jamSid joSis disk-Jokeobis ambavi, rodesac is sakuTari yviTeli
avtobusidan turistebs arTobda. am yviTel avtobuss saladini Sem-
degnairad moixseniebs:„Finn’s Thumb in honor of the legendery sleeping
giant of Irland, Finn MacCool, another sucker“. fin maquli, erTi mxriv,
irlandiuri folkloris gmiria, romelic miTis mixedviT miZinebu-
lia da swored maSin gamoiRviZebs, rodesac irlandias yvelaze metad
dasWirdeba da gadaarCens. amavdroulad, joisi mas Tavisi romanis,
„RamisTeva fineganisTvis“ personaJad aqcevs. romanis mixedviT, fin
maquli sakmaod Zlevamosili mefea. sibereSi colad SeirTavs axal-
gazrda qals, granias, romelic romans gaabams finis rCeul meomar
diramuTTan. ruSdi,bunebrivia, fin maquls SemTxveviT ar axsenebs.
faqtobrivad, msgavsi siuJeti TamaSdeba „eSmakeul aiebSic“: granias
msgavsad, pamelac qmars saukeTeso megobarTan Ralatobs.
rogorc zemoT moyvanili magaliTebidan Cans da bukeri aRniSnavs,
fineganis gamoRviZebasa da eSmakeul aiebs bevri saerTo aqvT: „orive
wigni, didwilad, iyenebs sizmris metaforas, rom maTi personaJebi
gaeqcnen realobaSi arsebul SezRudvebs, am xerxiT isini amkvidreben
kompleqsuri weris praqtikas, rac Tanadroulad ramdenime sxvadasxva
teqstualuri saxeobis: parodiis, alegoriis, poeziisa da amavdroulad
ontologiur doneze sizmrebis, halucinaciebis, miTebis, filimebis ga-
moyenebis saSualebas iZleva. aRniSnuli romanebis teqstebi uaRresad
refleqsiuri da SemaSfoTebelia Tavisi kompoziciurobiT da aram-
arto. rogorc „eSmakeuli aiebSi“, aseve joisis romanebSi „ulise“ „Ra-
misTeva fineganisTvis“ warmodgenilia samyaro, romelSic personaJebi
ganicdian metamorfozebs da gaurkveveli ontologiuri mdgomareo-
ba erTiani, stabiluri, avtonomiuri subieqtebis tradiciul aRqmas
eWvqveS ayenebs. idea, romelsac joisi da ruSdi poliTeizmidan iReben
- joisi berZnuli miTologiidan, xolo ruSdi induizmidan da budizmi-
dan, aris e.w „sulTa gadasaxleba“ anu metemfsiqozi- erTgvari religi-
ur-mistiuri Sexeduleba sulis reinkarnaciis, gardasaxvis Sesaxeb.
metemfsiqozi uliseSi iCens Tavs, rodesac leopold blumi meoTxe
epizodSi „kalifso“ moli blums uxsnis sityva metemfsiqozis mniSvn-
elobas:
154
„zogs swams, rom Cveni sikvdilis Semdeg sxva sxeulSi ganva-

grZobT sicocxles. rom TiTqos Cven yvelas adrec gvecxov-
ros, aTasi wlis winaT, dedamiwaze an sxva planetaze. ambo-
ben, dagvaviwydao. zogi amtkicebs, rom Tavisi wina arsebobac
axsovs. ... metamfsiqozs Zveli berZnebi eZaxdnen. maT swamdaT,
rom SeiZleba cxovelad an, vTqvaT, xed iqce...“

terminis ganmarteba da misi mravalferovani gamoyeneba gvxvdeba

ruSdis romanSi „eSmakeuli aiebi“:
„alaod myofi jabrailisTvis es sulTa fericvaleba erTgvar
krebiT raobad iqca, romelic rom babilonuri simravlis cne-
bebs moicavda: sakuTari ferflidan aRmsdgari feniqsi, qristes
aRdgoma, metemfsiqozi, dalai-lamas sikvdilisSemdgomi garda-
mosvla axalSobilis sxeulSi... yvelaferi es viSnus avatareb-
sa Tu iupiteris metamorfozebSi aTqvefiliyo... xelaxla rom
daibado, jer unda mokvde...
aRniSnuli epizodi, bunebrivia, aluziurad gvaxsenebs Cven mier ze-
moT moyvanil epizods joisis ulisedan.
amgvarad, am ori avtoris cxovrebiseuli gamocdileba da xedvebi
erTmaneTs Zalian hgavs. aSkaraa, rom ruSdi ganicdis joisis gavle-
nas cnobier Tu aracnobier doneze, Tumca es misi, rogorc avtoris
mniSvnelovnebas ar akninebs, piriqiT zemoT moyvanili joisuri aluz-
iebisa da miseuli teqnikis gamoyeneba kidev ufro sainteresos da siR-
rmiseuls xdis ruSdis romanebs. is axerxebs ukve nacnobi aluziebis
saSualebiT sruliad axali, individualuri teqstis Seqmnas.
rac Seexeba lingvistur Tvalsazriss, rogorc aRvniSneT joisis ms-
gavsad, ruSdic cdilobs sruliad axali enis Seqmnas, Tumca misgan
gansxvavebuli meTodebiT. joisis msgavsad, man, rogorc avtorma, zus-
tad icis, rogor gamoiyenos ukve arsebuli gamocdileba da amavdrou-
lad, gaxdes axali tradiciis Semoqmedi.
155
i
Dijkgraaf, Margot. Salman Rushdie talk about James Joyce. January 1, 2008.
https://salman-rushdie.blogspot.com/2008/01/salman-rushdie-talk-about-
james-joyce.html
yvela Targmani, Tu sxvagavard ar aris miTiTebuli, ekuTvnis statiis
avtors.
Rushdie, Salman,
ii
Shame, Picador USA, 2000. (p.41) https://b-ok.cc/
book/928736/698b59
Zweig, Stefan, The world of yesterday, Translated from the German by Anthea
iii
Bell, Pushkin Press London, 2008. (p.133) https://b-ok.cc/book/4220500/841597
Kirschen, Michael, James Joyce and post-imperial bildung: influences on Salman

iv
Rushdie, TayebSalih, and TsitsiDangarembga, University of Nevada, Las Vegas,

May 1, 2013. (p.85) https://digitalscholarship.unlv.edu/cgi/viewcontent.cgi?arti-
cle=2850&context=thesesdissertations
v
Acharya, Dipal, My London : Salman Rushdie, 28 September, 2017 https://www.
standard.co.uk/lifestyle/esmagazine/my-london-salman-rushdie-a3644876.html
vi
ruSdi, salman, „eSmakeuli aiebi“, Targmani gia WumburiZisa, gamomcemlo-
ba „diogene“, Tbilisi, 2015. gv. 20
vii
ruSdi , salman, „eSmakeuli aiebi“,gv.19.
Booker, M. Keith. Finnegans Wake and the Satanic Versis: Two Modren Myths
viii
of the Fall, 1991.(p. 192)

ix
ruSdi, salman, „eSmakeuli aiebi“, Targmani gia WumburiZisa, gamomcemloba
„diogene“, Tbilisi, 2015. (gv. 22)
x
Booker, M. Keith. Finnegans Wake and the Satanic Versis: Two Modren Myths of
the Fall, 1991.(p.193)
xi
ruSdi, salman, „eSmakeuli aiebi“, Targmani gia WumburiZisa, gamomcemloba
„diogene“, Tbilisi, 2015,gv.70
xii
ruSdi, „eSmakeuli aiebi“, gv. 402
xiii
xiv
Rushdie, Salman, The Satanic Verses, The Viking Press, 1989. (p. 21) https://
156
b-ok.cc/book/1114769/eac5bf citirebuli fraza qarTul TargmanSi gamo-

tovebulia.
xv
joisi, jeimz, „ulise“, Targmani niko yiasaSvilisa, gamomcemloba merani,
Tbilisi, 1983, gv. 86
xvi
bibliografia
Acharya, Dipal, My London : Salman Rushdie, 28 September, 2017
Booker, M. Keith. Finnegans Wake and the Satanic Versis: Two Modren Myths of
the Fall, 1991.
Dijkgraaf, Margot. Salman Rushdie talk about James Joyce. January 1, 2008.
Kirschen, Michael, James Joyce and post-imperial bildung: influences on Salman

Rushdie, TayebSalih, and TsitsiDangarembga, University of Nevada, Las Vegas,
May 1, 2013.
Rushdie, Salman, The Satanic Verses, The Viking Press, 1989.
Rushdie, Salman, Shame, Picador USA, 2000.
ruSdi , salman, „eSmakeuli aiebi“, Targmani gia WumburiZisa, gamomcemloba

„diogene“, Tbilisi, 2015.
Zweig, Stefan, The world of yesterday, Translated from the German by Anthea
Bell, Pushkin Press London, 2008.
joisi, jeimz, „ulise“, Targmani niko yiasaSvilisa, gamomcemloba merani,

Tbilisi, 1983.
157
TATIA SIBASHVILI
Interior Monologue in James Joyce’s Ulysses and Otar

Chiladze’s Novel The Creel
Interior Monologue first used extensively by the French writer Édouard Dujardin at
the end of the XIX century, became a characteristic device of the Modernist Novel of
the XX century along with the stream-of-consciousness technique.
Otar Chiladze, (1933-2009) a great Georgian novelist, poet and playwright, not only
had a lifelong interest in Joyce’s Ulysses, but was also an active supporter of its pub-
lication in Georgian. Moreover, his novels with its extensive usage of various types of
interior monologue (direct, indirect) are particularly interesting.
Unlike Joyce’s first person direct stream-of-consciousness technique, Otar Chiladze
often uses a third-person narrative to render the thoughts of his characters, thus making
it difficult determine the boundaries between the author’s voice and that of the protag-
onist. In Chiladze’s novel interior monologue encompasses several forms, including
dramatized inner conflicts, self-analysis, and imagined dialogues.
The present paper analysis The Creel by Otar Chiladze’s written in 2003, considered
as one of his most important novels. It is a Novel-Saga reflecting the tragic history of
Georgia from the end of the 19th century to the Soviet period. Chiladze’s attempt to
show the moral degradation of the nation aims at awakening the ‘nation’s conscience’
in the way as James Joyce had done in his great works by creating the “moral history”
of Ireland.
One more resemblance that it bears with Joyce’s Ulysses is that the last chapter is
told by the female character Liziko, written though the usage of direct interior mono-
logue, and her recollections of her hard life and finally accepting life as it is brings
Molly Bloom’s ‘Yes’ to mind.
158
TaTia sibaSvili
Sinagani monologi jeimz joisis ,,ulisesa’’ da oTar

WilaZis romanSi “godori”
msoflio literaturis istoriaSi meoce saukunis ociani wlebi gar-

damtexi mniSvnelobis aRmoCnda. swored am droidan yalibdeba maRali
modernizmi, rogorc literaturuli mimdinareoba da mas iseTi mwer-
lebi uyrian safuZvels rogorebic arian jeimz joisi, tomas elioti,
virjinia vulfi, ezra paundi da a.S. am drois literaturam faqto-
brivad axali gamomsaxvelobiTi formebi Semoitana msoflio liter-
aturaSi, Seicvala mxatvrul nawarmoebSi droisa da sivrcis aRqma.
meoce saukunis krizisuli msoflaRqma, raRa Tqma unda, yvela mwerlis
nawarmoebSi mZafrad iCens Tavs, amavdroulad, TiTqmis yvela mwer-
ali uars ambobs e.w tradiciul Txrobaze da nacvlad amisa perso-
naJebis Sinagan samyaroze amaxvilebs yuradRebas, xdeba romanisa da
siuJetis CaSinaganeba da personaJebis Sinagan samyaroSi ufro Rrmad
Casvla, rac literaturaTmcodneobaSi „cnobierebis nakadis teqnikis“
saxeliT aris cnobili. roca Tavs uflebas vaZlevT cnobierebis na-
kadis teqnikaze vilaparakoT albaT joisis „ulise“ aris is sanimuSo
wingi romelic gvaxsendeba, Tumca Tavs uflebas ra Tqma unda ar miv-
cem da ar vapireb ulises detalurad ganxilvas. ubralod Sevecdebi
SemogTavazoT Tu ra msgavsebaa jeimz joisisa da oTar WilaZis am or
romanSi.
rogorc qarTveli literaturaTmcodne paata CxeiZe aRniSnavs, mod-
ernistuli tendenciebi saqarTveloSi mogvianebiT Semovida, radganac,
roca joisi saqarTveloSi unda Semosuliyo, Semovidnen wiTlebi. Tum-
ca, mogvianebiT man mainc SeZlo qveyanaSi Semosvla da amis dasturia
iseTi mwerlebis Semoqmedeba, rogorebic arian oTar CxeiZe, oTar Wi-
laZe, Tamaz WilaZe, guram doCanaSvili, ediSer yifiani da a.S.
meoce saukunis meore naxevridan saqarTveloSic gacnobierebulad
159
moxda iseTi tendenciebis gamoyeneba, rogoricaa droisa da sivrcis

problema miTosuri pirvelsqemebis, miTologiisa da antikuri lit-
eraturisken mibruneba da maTi xelaxla gadaazreba. am mxriv yvelaze
gamorCeuli mwerali Cemi azriT oTar WilaZea, romlis jer kidev pir-
vel romanSic „gzaze erTi kaci midioda“ aSkarad Cans yvela zemoT
CamoTvlili niSan-Tviseba. TumcaRa, am mxriv yvelaze rTuli mainc
misi meeqvse da bolo romani „godoria“, romelic Tamamad SeiZleba
CavTvaloT saqarTvelos mTeli bolodroindeli istoriis Semajameb-
el nawarmoebad. „godori“ sam nawilad aris dayofili da erTi gvaris
- kaSelebis istorias mogviTxrobs.
malxaz xarbedia, 2006 wlis gamocemis bolosityvaobaSi „ mumlis
burusi“ aRniSnavs:
godori erTi mxriv ideaTa romania, xolo meore mxriv ki romani
saga. masSi mZlavri publicisturi paTosi epikur, miTologiur,
arqetipul saxeebTanaa Sezavebuli da aseTi SezavebiT miRebu-
li enobrivi qsovili cxadia, garkveul problemebs uqmnis ko-
mentators... veravin ityvis, romeli ufro rTulia e.w „godris
kacis“ publicisturi saxis Camoqna, gamokveTa da realur situ-
aciebTan misi misadageba Tu misTvis zogadsakacobrio Tu yve-
la droisTvis gamosadegi paradigmis statusis miniWeba.
romanis dasawyisi erTi SexedviT tradiciulia da Tavidan SeiZleba
vifiqroT rom joisis teqstTan WilaZis am romans araferi saerTo ar
gaaCnia, TumcaRa maleve vxvdebiT rom WilaZe am romanSi publicistur
paToss urevs epikur da miTologiur saxeebs, swored amaSi mdgomare-
obs romanis mTeli sirTule. xSirad Zalian rTuli gasarCevia Tu sad
mTavrdeba avtoriseuli Txroba da sad iwyeba ama Tu im personaJis
Sinagani monologi. Tu „uliseSi“ moqmedeba erT dReSi xdeba, WilaZis
romanSi faqtobrivad droa gaCerebuli.
man maSin Sewyvita mdinareba, rodesac saqarTvelo, rogorc erTiani
qveyana, mokvda. ase rom, XV saukuneSi romis papisgan sagangebo misiiT
gamogzavnil elCs ludoviko boloniels saqarTvelod wodebuli qvey-
ana aRar daxvda. drois gaqrobam sivrce daaWaoba da romanSi swored
es Waobia aRwerili, simbolurad, godris dinastiis aRzeveba da dace-
ma. mwerali erTgvari palimfesturi meTodiT warmoaCens drois sxva-
dasxva Sreebs, erTmaneTze wafenils da mTxrobelisa Tu personaJTa
mexsierebis sacavidan mkiTxvels gadmouSlis.
160
mkvlevari manana kvaWantiraZe WilaZis romanebs, „kulturuli mex-

sierebis veeberTela rezervuarebs uwodebs, sadac Senaxulia Cveni is-
toriuli cnobierebis TiTqmis yvela monapovari“.
igive SeiZleba iTqvas joiszec, romelmac marTalia irlandia
fizikurad datova, Tumca mis SemoqmedebaSi am qveyanas yovelTvis cen-
traluri adgili ekava da amis magaliTad misi dublinelebi, portreti
da ulise gamodgeba.
joisis uliseSi sxva mraval TemasTan erTad pirvelive TavSi vxe-
davT inglisisa da irlandiis dapirispirebis Temas, ( pirveli Tavi
mTavrdeba sityviT uzurpatori)
WilaZis ,,godorSic’’ erT-erTi mTavari Tema swored ruseT saqarT-
velos urTierTobaa da is damRupveli Sedegebi rac ruseTma saqarT-
velos moutana.
swored ruseTis batonobidan iwyeba godris kacebis istoriac, rom-
lis pirveli naSieri raJden kaSelia.is mTaSi mcxovrebi Wkuasusti
mwyemsis colisa da didi albaTobiT im „uradnikis“ Svilia, romelic
yoveldRe dadis mwyemsi kacis colTan da dedamisic bavSvma xeli rom
ar SeuSalos godorSi svams mas, roca sayvareli saxlSi ewveva. mwyemsi
Tavdapirvelad Tvals xuWavs yvelaferze da cdilobs Tavi moityu-
os,TumcaRa, erT dRes mezoblebi mwyemsis cols mokluls ipovian da
raJden kaSeli, jer kidev bavSvi, romelic godorSi zis am yvelafers
aRgznebuli adevnebs Tvals. mamas (Tuki namdvilad misi mamaa ) misi
mokvla veRar mouswria da aki ityvis kidevac Tqven mokaliT, magisgan
kaci aRar dadgebao. Tumca mezoblebs rasakvirvelia bavSvi ar mouk-
lavT da „verc moklavdnen, gindac guliT sdomebodaT imis sikvdili.
ruseTis imperiis ukana xvrelidan male saqarTvelos axali saxeoba
unda dabadebuliyo da is biWic im saqarTvelosTvis yavda gankuTvnili
gangebas... mas unda daedo saTave sruliad axali modgmisTvis, romel-
ic TviTonve Tu amoWamda sakuTar Tavs, Torem sxva araviTari Zala ar
moiZebneboda bunebaSi misi momrevi.“
godris kaci raJden kaSeli bevrs ivlis, bolos ilias mkvleloba-
Si erT-erTi eWvmitanilic gaxdeba da ruseTSi Seafarebs Tavs, sadac
kazak qal klavaze iqorwinebs da 1921 wels meTerTmete armiaSi mox-
alisad Cawerili is da misi meuRle saqarTveloSi brundebian. Svili
ki simbolurad sworedac rom Tbilisis aRebis dRes uCndebaT, riTi
161
avtori migvaniSnebs rom kaSelebis kidev erTi Taoba unda daepatronos

qveyanas da rogorc avtori aRniSnavs sabWoTa xelisufleba sworedac
rom anton kaSelis CxaviliT Semovida saqarTveloSi, romelic mamis
msgavsad gaugonari sisastikiT iyo ganTqmuli da romelmac qveyanas
kniaJna qeTusiasTan qorwinebis Semdeg ( sxvaTa Soris mamisa da qmris
daxvretis Semdeg SeirTo colad ) kidev erTi raJden kaSeli mouv-
lina qveyanas da SeiZleba iTqvas rom mTeli wignic swored kaSelebis
mesame da meoTxe Taobaze ese igi raJden kaSelisa da misi Svilis an-
ton kaSelis garSemo trialebs da paralelurad qveyanaSi mimdinare
movlenebsac mTeli simwvaviTa da sicxadiT warmogviCens. swored am
monakveTidan nawarmoebSi Semodis kidev erTi mTavari gmiri liziko,
anton kaSelis axladSerTuli meuRle, romelic mwerlis qaliSvilia,
im mwerlisa romelic erT-erTia imaTTagan vinc raJden kaSelis aga-
rakze isvenebs qviSxeTSi da misi „wyalobis Semyurea“. WilaZe saocrad
rTuli eniT da teqnikiT iwyebs im situaciis aRweras rac qveyanaSi
kaSelebis meSveobiT gamefebula da male imasac vigebT rom raJden
kaSels jer kidev bavSvi lizikosTvis daudgams Tvali, SvilisTvisac
swored imitom SeurTavs rom sakuTari rZali xelSi Caigdos da say-
varlad gaixados.
sagulisxmoa isic, rom WilaZe am romanSi yvelaze sastiki da pirda-
piria, misi Sedarebebi da Txrobis realisturi manera saocar gav-
lenas axdens mkiTxvelze da suliT-xorcamde Zravs raJden kaSelis
binZuri fiqrebi. esec avtoris gamiznuli Canafiqria, imitom rom
surs miaxvedros sazogadoeba Tu ramxela WaobSia Cafluli qveyana
da is maRali Rirebulebebic gacamtverebulia rodesac qveynisa da
Rirsebis gulisTvis Cveni mefeebi sakuTari nebiT kunZze debdnen
Tavs da dedoflebi ki ZuZuebs aglejinebdnen jalaTs. am saqarTve-
loSi, swored im droidan roca general maiori totlebeni Semovida
da rusmac sakuTari wesrigi daamyara axali Rirebulebebi damkvidrda,
swored amitomacaa zaxgasmuli nawarmoebis dasawyisSi rom totlebe-
nis Tanamedrove mRvdelmTavari dosiTeoz nekreseli, am erTmorwmune
„moyvris“ zrunvisgan Wkuidan SeSlili ( gnebavT gapoetebuli) batis
frTas nela awobs melanSi, romelic yvavilebisgan aris damzadebuli
da pergamentze asoebi gamohyavs: „ ara ars isreT tkbili viT mamulis
siyvarulio“ dosiTeoz nekreseli-poeti da romantikosi, Tan ruseTis
162
sisastikisgan Wkuidan gadamcdari mRvdelmTavari SesaZloa imis saxea

rom ukve axali saxeobis saqarTveloSi mwerlebi da yofna ar yofnaze
mofiqrali xalxi giJadac iTvleba da aRaravis aRar dasWirdeba imitom
rom aq praqtikosi da sastiki kaSelebis mmarTvelobis xana damdgara.
rogorc maia jaliaSvili aRniSnavs Tavis statiaSi romanis centrSi
ori ojaxia _ isini eris or Zalas ganasaxiereben_ inteleqtualursa
da Zalauflebrivs. erTi mxriv, mwerali elizbars warmoaCens, Tavisi
maRali idealebiT, meore mxriv _ raJden kaSels, Tavisi TavgadasavliT.
orive saqarTvelos saxea. elizbaris ukan qarTuli mwerloba, misi
kultura dgas. mis fesvebzea amozrdili, e.i. is eris sulieri kul-
turis matarebelia, raJdenis ukan „xelovnurad“ gamoyvanili winapre-
bis Taobaa, mwerali pirobiTad mas „godris“ Taobas uwodebs. godori
Caketili sivrcis simboloa. am TvalsazrisiT, romanSi sxva daxSuli
sivrceebic gvxvdeba, romelTa garRvevasac lamobs axali Taoba, eliz-
barisa da raJdenis STamomavlebi. mwerali am or ojaxs daanaTesavebs,
raTa srulyofilad warmoaCinos eris Rirseba-naklovaneba.
romanSi Txrobis tempi Senelebuli da mdore, Txroba ufro metad
rTuldeba maSin roca nawarmoebSi erT-erTi mniSvnelovani simbolo mum-
li Cndeba. mumlia yvelgan agarakze, savarZelze, gzaSi. misiT aris Sed-
edebuli da damZimebuli haeri. bunebrivia mumlis xsenebaze mkiTxvels
nacnobi striqonebi unda gaaxsendes. „mumli muxasa, gars exveoda“ rasac
anton kaSeli ukuRma imeorebs da es fraza refrenis saxiT gasdevs mTel
nawarmoebs.“ilmum asaxum srag adoevxe“ rac imis maniSnebeli unda iyos
rom am etapze saqarTveloSi yvela Rirebuleba gaufasurebulia.
iseve rogorc „uliseSi“, ,,godorSic’’ erTerTi mTavari Tema mama-
sa da Svils Soris dapirispireba da gaucxoebaa. stiven dedalosis
msgavsad antonsac igive problema aqvs, SeiZleba iTqvas rom orive
mamas eZiebs biologiur mamasTan saerTos ver naxulobs. Tu stiven
dedalosisTvis aseTi adamiani leopold blumia, anton kaSelisTvis
sulier mamas sakuTari simamri warmoadgens, romelic mweralia, Tumca
cdilobs ise weros rom arc xalxi da arc am qveynis Zlevamosili da
gavleniani wreebi ar gaaRizianos, zedmetad TvalSi aravis moxvdes da
Svilsac amgvari suliskveTebiT zrdis, morCilebas da Semgueblobas
aCvevs da aswavlis. lizikoc Tavis tragediaSi mTavar gmirad swored
mamas miiCnevs da adanaSaulebs.
163
antoni Tavisi fiqrebiT da miswrafebebiT hamleturi gmiria, igi mx-

olod warmosaxvaSi klavs sakuTar mamas da Tu ratom ar axorcielebs
am yvelafers fizikurad es albaT cxadicaa, imitom rom Tu is realu-
rad mkvlelobis faqts ganaxorcielebs Tavadac mkvleli gamodis. am-
itomac ver moaxerxebs Tavi daaixsnas godoridan, im Caketili wridan
razec dadis misi modgma. Tumca is am wris garRvevas axerxebs.
kidev erTi Zalian mniSvnelovani da TvalSisacemi saerTo rac am
or nawarmoebs aqvT isaa rom orive romani qalis cnobierebis nakadis
teqnikiT sruldeba. liziko sakuTari cnobierebis nakadis teqnikiT
cdilobs aRidginos momxdari:
„mTeli maRazia daitbora, daxlianad, noqrianad, da bolos, mec

gamomacala fexqveS miwa, mec cimcim gamitana quCaSi Cemi sisx-
lis niaRvarma...
quCac Cemi sisxliT iyo gadawiTlebuli... Cemi sisxlis gubeeb-
Si
miSlapunobdnen gamvlelebi, miSxuodnen manqanebi... mere aRar
maxsovs... ara,
rogor ara! mere, viTom, qviSxeTSi viyavi, oRond, uantonod...
pirvelad Cems
sicocxleSi. qviSxeTi erTaderTi adgilia albaT, sadac siam-
ovnebiT ver
movkvdebodi. Tumca, yovelTvis maRizianebda da mabrazebda,
mamaCems Ramis
gasaTevi adgilic rom ar hqonda iq, imaT ki, sasaxle edgaT...
gansakuTrebiT,
didi TeTri qvebis meCeCi miyvars, bondis qvemoT... cxenis Con-
CxiviT gdia
mdinareSi da Toliebi dastrialeben Tavs, svavebiviT... albaT
mamis
jibriTac momivida, rac momivida... araferi gagikvirdeT Ce-
mgan. SeiZleba,
elisos movuge niSni, Tvali davuyene, ai, Sen visTvis iklavdi
Tavs da ai, vin
iklavs CemTvis Tavs-meTqi... Tavs ver davdeb, marTla ase mox-
da-meTqi, magram
164
cxadad maxsovs, rogor davusxlti xelidan, rogor gavxseni

seifi, rogor
aviRe revolveri... ar gabriyvdeo, damiyvira Cemma Wkvianma
dedamTilma. erTi
ki gavifiqre, esec xom ar mivayolo-meTqi, magram tyvia aRar
damrCa. erTi.
ori. sami. oTxi. xuTi. eqvsi. Svidi... davcxrile saceriviT. Sa-
drevaniviT
asxamda sisxls natyviarebidan. laCari. laCari... ver vitan
laCar kacs. arada,
aravin meguleboda imis momrevi. bavSvobidanve ase gavizarde,
ase mwamda.
yvelas eSinoda. CurCuliT laparakobdnen imaze... manqanidan
rom gadmovidoda, uneburad ukan ixevdnen. Svilis ki, SeeSinda.
Svilma culi
mouRera da, aba ba ba ba... luRluRebda raRacas. aba ba ba ba...’’
WilaZe, iseve rogorc joisi, Tvlis rom qali aris axali cxovre-
bis sawyisi, maradiulobis dasamabi da swored qalma unda Svas axali
sicocxle, godors gamoTavisuflebuli Taoba. amitom ise rogorc
uliseSi moli blumi ambobs kis, aqac liziko axels Tvals - „swored
am dros, wablis xeze isev daiCxavla kaWkaWma da lizikom Tvali gaaxi-
la...“ da cxovrebas kis eubneba.
165
i
xarbedia, malxaz, „mumlis burusi“, „godori“, meore gamocema, gamomcem-
loba „arete“, 2006.
ii
jaliaSvili, maia, dakarguli qveynis Zieba- oTar WilaZis „godoris“ mixed-
viT, http://maiajaliashvili.blogspot.com/2010/12/blog-post_1243.html
kvaWantiraZe, manana, oTar WilaZis gangaSis romanebi, https://burusi.word-
iii
press.com/2009/05/13/%E1%83%9B%E1%83%90%E1%83%9C%E1%83%90%
E1%83%9C%E1%83%90%E1%83%99%E1%83%95%E1%83%90%E1%83%9C%
E1%83%A2%E1%83%98%E1%83%A0%E1%83%90%E1%83%AB%E1%83%94-
%E1%83%92%E1%83%90%E1%83%9C/
iv
WilaZe, oTar, „godori“, gamomcemloba „arete“, 2006. gv. 20
v
iqve, gv. 203
vi
iqve, gv. 210
bibliografia:
WilaZe, oTar, „godori“, gamomcemloba „arete“, 2006

kvaWantiraZe, manana, oTar WilaZis gangaSis romanebi, https://burusi.word-
press.com/2009/05/13/%E1%83%9B%E1%83%90%E1%83%9C%E1%83%90%
E1%83%9C%E1%83%90%E1%83%99%E1%83%95%E1%83%90%E1%83%9C%
E1%83%A2%E1%83%98%E1%83%A0%E1%83%90%E1%83%AB%E1%83%94-
%E1%83%92%E1%83%90%E1%83%9C/
xarbedia, malxaz, „mumlis burusi“, „godori“, meore gamocema, gamomcem-
loba „arete“, 2006.
jaliaSvili, maia, dakarguli qveynis Zieba- oTar WilaZis „godoris“ mixed-
viT, http://maiajaliashvili.blogspot.com/2010/12/blog-post_1243.html
166
IRAKLI TSKHVEDIANI
AKAKI TSERETELI STATE UNIVERSITY
James Joyce Studies in Georgia

From its banning in the 1930s to its sensational publication in Russia in 1989, Ulyss-
es has always served as a bellwether of cultural freedom in the Soviet Union. However,
Georgia was years ahead of the capital city of Moscow in publishing long forbidden
classics. As Emily Tall notes, Nico Kiasashvili, head of the English Department of
Tbilisi State University, began publishing his translation in the literary journal Khomli
in 1971, long before anyone dared to do it in Moscow.
An internationally renowned Shakespeare scholar, founding member of the Inter-
national Shakespeare Association and director of the program in the twentieth-century
Western literature at Tbilisi State University, Kiasashvili was the first ‘madman’, as he
used to refer to himself, who translated Ulysses in the vast Soviet Empire. Before him
there was only one translation of “The Dead” as early as the 1930s, but it was done
from Russian. Kiasashvili started by translating Giacomo Joyce – its first 1968 edition,
with an introduction and notes by Richard Ellmann, was almost immediately followed
by Nico Kiasashvili’s Georgian and Russian translations. As he himself admits in an in-
terview with Emily Tall from the University of New York at Buffalo, for him this trans-
lation was very important as a prelude to his magnum opus, Georgian translation of
Ulysses. As a matter of fact, he devoted almost half of his life to translating Ulysses. In
1983 the first ten episodes of the novel, with comprehensive introduction and extensive
commentaries, appeared as a book. From then until his death in 1996 Nico Kiasashvili
managed to finish the translation – the remaining eight episodes were serialized in the
literary journals Saunje and Mnatobi in 1988 and 1998-1999, respectively; but it took
about sixteen years after his death to publish the full Georgian translation – the full text
of Ulysses in the Georgian language, edited and corrected by the translator’s daughter
Maia Kiasashvili, was first published in 2012. The translation has been unanimously
assessed as congenial by Georgian literary critics.
Nico Kiasashvili also made a major contribution to the development of James Joyce
studies in Georgia. In 1982 he organized a centennial conference dedicated to the
100th anniversary of Joyce’s birth at Tbilisi State University. In 1984 the conference
papers were published as a volume. The volume turned out to be pivotal in shaping the
167
reception of Joyce and establishing his reputation in Georgia. It included eleven essays
by prominent Georgian literary scholars such as Nico Kiasashvili, Nodar Kakabadze,
Rezo Karalashvili, Maia Natadze, Neli Sakvarelidze, Temur Kobakhidze and others. In
1992 Nico Kiasashvili published a book of essays on Western literature titled Between
Scylla and Charybdis, or What Did You Say, Mr. Joyce? that included some compre-
hensive essays on James Joyce and his work.
When most Soviet critics viewed Ulysses as an anti-humanistic book, reflecting the
crisis of bourgeois society, and Joyce himself was regarded as a writer ruined by his
own “inner contradictions”, Nico Kiasashvili, defying all pseudo-aesthetic and ideolog-
ical clichés of Soviet literary criticism and ignoring the vulgar-sociological approach
of Soviet literary scholarship, considered that Ulysses was one of the greatest books
ever written. He thought that it was a document of crisis but that did not detract from
its literary merit. On the contrary, in his opinion, if the crisis was shown in such a great
novel, that was the author’s strength.
Soon after Nico Kiasashvili’s death, the first PhD dissertation on Joyce was defend-
ed in Georgia – namely, in 1998 Eliso Panstkava from Kutaisi Akaki Tsereteli State
University, under the guidance of Professor Manana Gelashvili, defended her doctoral
thesis concerned with the evolution of Stephen Dedalus in James Joyce’s fiction from
Stephen the Hero to A Portrait of the Artist as a Young Man to Ulysses. In 2014, the
dissertation was published as a monograph titled Stephen Dedalus – A Young Joycean
Protagonist. Eliso Pantskhava has also published over ten academic essays on Dublin-
ers, A Portrait and Ulysses, concentrating on the analysis of protagonists. In her essays
Eliso Pantskhava deals with: the central theme of Dubliners, paralysis, in the context
of social and political life of Ireland at the turn of the 20th century; Shakespearean
allusions and parallels associated with Stephen Dedalus; innovative character-building
techniques in Ulysses; Leopold Bloom as an androgynous character; the history of
publication of Ulysses as well as young, adult and female protagonists of Dubliners etc.
Eliso Pantskhava has organized a James Joyce Reading Club at Akaki Tsereteli State
University in Kutaisi, Georgia. She regularly holds the Club meetings for students and
faculty members.
Following Eliso Panstkhava’s dissertation, in 2002 another doctoral thesis super-
vised by Manana Gelashvili was defended by Irakli Tskhvediani, also a graduate of
Kutaisi Akaki Tsereteli State University. In 2006 the dissertation was published as a
book titled The Poetics of Myth in James Joyce’s Ulysses.
The book explores James Joyce’s “mythical method” as manifested in his mock-he-
168
roic epic Ulysses within the framework of modernistic renaissance of myth. It is di-
vided into three chapters: 1. Mythos and the Poetics of Modernist Novel. 2. Homeric
Parallels in Ulysses. 3. Mythos and Literary-Religious Sources of Ulysses.
The introductory chapter deals with the methodological problems, mythological
theories and “remyhtologizing” in philosophy and culture studies at the end of the
19th and the beginning of the 20th century. In employing the term “myth” Irakli Tskh-
vediani is following the lead of Northrop Frye who defines myth in literary criticism
as “mythos, a structural organizing principle of literary form”. In his sense of mythoi,
myths operate as basic plot forms which control all narrative discourse.
The second chapter focuses on the function of Homeric parallels in Ulysses. Mythos,
united with in-depth micro-psychology and symbolic leitmotifs, is viewed as an instru-
ment of material organization, a convenient language for description of eternal mod-
els (archetypes) of personal and social behavior, certain existential laws of social and
natural cosmos; Homeric model of Odysseus myth is considered to be an instrument
of the structural analysis of the narrative, rid of social-historic and space-time aspects,
focusing upon revealing in-depth the metaphorically eternal generalized contents.
The third chapter focuses on the study of Shakespearean and Biblical allusions in
the novel. Allusions to Shakespeare and The Bible are extensively used in Ulysses in
order to keep the underlying mythic motive of Farther-Son relationship on the surface.
Shakespeare’s Hamlet and Christian myth, being closely related to the Homeric paral-
lel, function as additional paradigmatic associative plots.
In the final analysis, mythos in Ulysses is viewed as basis for the whole construc-
tion, as a fundamental device bringing together all the elements and transforming them
into an ordered system. Using the mythical motif of “Father-Son relationship” in Ul-
ysses as a “bone structure” of the novel, enables Joyce to transform textual chaos of
heterogeneous raw material into an ordered aesthetic whole: all allusions and parallels
are, directly or indirectly, in an immediate or more remote way, subordinated to the
basic mythical pattern, which is meant in the last analysis to act as a guiding principle
towards which everything converges – establishing order in the characters’ random
associations and universalizing values.
Irakli Tskhvediani has also published over forty academic essays on modernist
mythopoeia, James Joyce’s ‘mythical method’, structure and style/s of Ulysses, and
urban imagery in modernist literature.
In 2007, James Joyce Association of Georgia (JJAG) was founded by a group of
Joyce scholars and enthusiasts including Irakli Tskhvediani, Eliso Pantskhava, Manana
169
Gelashvili, Temur Kobakhidze, Gia Beradze and others. JJAG is carrying out various
activities regularly in Georgia, including Conferences in Humanities, Bloomsday Cel-
ebrations, book presentations, etc.
In 2009, Irakli Tskhvediani chaired a panel at the North American James Joyce con-
ference “Eire on the Erie” held at the University of New York at Buffalo where he
presented a paper titled “Spatial Form in James Joyce’s Ulysses: “Nausicaa” Episode”.
In 2015 he presented a revised version of this paper titled “Dissolving Temporal Se-
quence: Spatial From in James Joyce’s Ulysses (“Nausicaa” Episode)” at the interna-
tional symposium “Time and Space in T. S. Eliot and His Contemporaries” in Florence;
later it was published in a peer-review open access Journal of Literature and Art Stud-
ies. The paper is an attempt to apply Joseph Frank’s conception of spatial form to the
“Nausicaa” episode in Ulysses. The author argues that in “Nausicaa” episode Joyce
dissolves temporal sequence by cutting back and forth between the various levels of
action to achieve the unified impact, the sense of simultaneous activity occurring in
different places. For the duration of the episode the time-flow of the narrative is halted:
various levels of action are juxtaposed independently of the progress of the narrative.
Joyce, in this fragmentation of narrative structure, proceeded on the assumption that
a unified spatial apprehension of not only separate episodes but his entire work would
ultimately be possible.
In 2012, Manana Gelashvili & Irakli Tskhvediani co-organized a two-day interna-
tional conference “James Joyce’s International Impact on Literature” to celebrate the
130th anniversary of Joyce’s birth and 90th anniversary from the publication of Ulyss-
es. The same year conference papers, co-edited by Manana Gelashvili & Irakli Tskh-
vediani, were put together as a volume.
In 2014-2015, Irakli Tskhvediani, as a post-doctoral research fellow at the University
of Graz (Austria), worked on his research project concerned with urban aesthetics and
city imagery in James Joyce and John Dos Passos. His forthcoming book will be titled
“James Joyce and John Dos Passos: Fictionalizing the City in the Modernist Novel”.
The monograph explores the ways in which fictional images of Dublin and New York
are represented in the experimental narratives of James Joyce and John Dos Passos
(Ulysses and Manhattan Transfer, respectively) as paradigmatic examples of a trans-
atlantic system of competing yet mutually informing urban aesthetic philosophies and
critical ideologies. The Joyce-Passos connection is viewed as central to an emerging
transatlantic modernist discourse that focuses on the city as the primary site of modern
experience. The author argues that in modernist discourse the city was understood in
170
local as well as universal terms and viewed as a historical-cultural palimpsest in which

one language is written, or indeed scribbled, on top of another. It was not merely one
city but an embodiment of all cities of all times, in a word, an eternal, mythical city,
historical and transhistorical at the same time.
In 2014, Manana Gelashvili, one of the leading scholars of modernist studies in
Georgia and an advisor of two PhD dissertations on James Joyce, delivered a lecture
on James Joyce studies in Georgia at Zurich James Joyce foundation. Professor Gelas-
hvili regularly participates in annual James Joyce conferences organized by the Italian
James Joyce Foundation in Rome. Her insightful essays on James Joyce focus on time
and space/chronotope in Joyce’s fiction as well as the problems of translating Joyce
into Georgian and his influence on Georgian arts and literature.
In 2016, at Tbilisi State University, another PhD dissertation on James Joyce was
defended by Tamari Gelashvili under the guidance of the late Professor Natalya Or-
lovskaya, replaced by Professor David Maziashvili after her death, and Irakli Tskhvedi-
ani. The dissertation was titled “The Function of Allusions in James Joyce’s Finnegans
Wake”. That was the first extensive scholarly work on Finnegans Wake in Georgia.
Discussing multiple literary and mythical allusions, Tamar Gelashvili concludes that
through the usage of Mythology as well as presenting this or that God/Goddess/Hero in
the dramatis personae of the novel, Joyce attempted to destroy the objective time and
thus make his characters timeless and spaceless, belonging to eternity.
It is noteworthy that Tamar Gelashvili’s Georgian translation of Giacomo Joyce,
with her own illustrations and notes, and with a forword by Manana Gelashvili, was
published in 2017 ; she is currently working on the translation of some episodes from
Finnegans Wake.
In 2013-2014, Tamar Gelashvili received Shota Rustaveli National Science Foun-
dation grant for her PhD research on James Joyce’s Finnegans Wake; in 2015, she was
awarded Trieste James Joyce Foundation two-week research grant to conduct research
in Trieste, Italy; she attended Zurich James Joyce Workshop organized by Zurich James
Joyce Foundation twice – in 2016 and 2017. Tamari is a very active and talented young
scholar who regularly participates in James Joyce conferences organized by the Italian
James Joyce Foundation as well as other international symposia in Georgia and abroad.
Her conference papers focus on James Joyce’s last and most enigmatic novel Finneg-
ans Wake. Tamar Gelashvili’s academic essays deal with Joycean allusions to such
diverse authors as William Shakespeare, Lewis Carroll, T. S. Eliot, W. B. Yeats, Norse
and Irish mythology etc. In her works Tamar Gelashvili clearly demonstrates that one
171
of the challenges of interpreting Finnegans Wake, which even nowadays remains one
of the greatest puzzles in English literature, is its multilayered intertextuality and com-
plex imagery, puns and allusions making the text suggestive and open to diverse inter-
pretations.
In 2017, at Tbilisi State University, Ilia Patchkoria, under the guidance of Profes-
sor Temur Kobakhidze, defended doctoral dissertation titled Associative Perception
of Hamlet in Modernism and Postmodernism (James Joyce and Tom Stoppard). The
dissertation was later published as a book.
In 2017, a team of Georgian James Joyce scholars (Manana Gelashvili, Eliso
Pantskhava, Irakli Tskhvediani, Tamar Gelashvili, Maya Kiasahvili) received a grant
for the research project “James Joyce Studies and Translations in Georgia” from the
Shota Rustaveli National Science Foundation. Within the framework of this research
project they organized two panels chaired by the project leader, Professor Manana Ge-
lashvili at international James Joyce conferences: James Joyce Studies and Transla-
tions in Georgia (“The Art of James Joyce”: 26th International James Joyce Sympo-
sium, Antwerp, Belgium, June 11-16, 2018) and Translating Joyce: The Georgian Case
(“Joyce’s Feast of Languages”: The XII James Joyce Italian Foundation Conference,
Rome, Italy, January 31-February 1, 2019).
In 2019, Ivane Javakhishvili Tbilisi State University together with James Joyce As-
sociation of Georgia hosted a two-day international conference to celebrate the 80th
anniversary from the publication of Finnegans Wake (International Conference “Joyce
and the World”, Tbilisi, Georgia, September 26-27, 2019). The main goal of the con-
ference was to explore, on the one hand, the diversity of cultures and languages which
went into making Joyce’s world and on the other hand Joyce’s impact on world litera-
ture. The making of Joyce’s works, Joyce and modernism, Joyce and Postmodernism,
Joyce’s impact on other countries’ literatures, Joyce’s translations and studies in the
world – these and other topics were discussed within the frames of the event. Richard
Brown (University of Leeds) and Finn Fordham (Royal Holloway University of Lon-
don) were invited as keynote speakers at the conference. The conference volume is
under submission and will be published soon.
Currently, within the framework of the above-mentioned research project, Georgian
Joyceans are working to publish a book on James Joyce studies and translations in
Georgia. That’s their joint work in progress.
172
Emily Tall & Nico Kiasashvili. “Interview with Nico Kiasashvili, Georgian Translator of
i
“Ulysses”. James Joyce Quarterly. Vol. 27, No. 3 (Spring, 1990): 479-487.
Emily Tall & Nico Kiasashvili. “Interview with Nico Kiasashvili, Georgian Translator of
ii
“Ulysses”. James Joyce Quarterly. Vol. 17, No. 4 (Summer, 1980): 347-349.
James Joyce. Ulysses. Translated into Georgian with Forward and Notes by Nico Kiasash-
iii
vili. Tbilisi: Merani, 1983.

Nico Kiasashvili (ed.). James Joyce 100: A Jubilee Volume. Tbilisi: Tbilisi State Universi-
iv
ty Press, 1984 (in Georgian).

v
Nico Kiasashvili. Between Scylla and Charybdis or What Did You Say, Mr. Joyce? Tbilisi:
Sakartvelo, 1992 (in Georgian).
Eliso Pantskhava. Stephen Dedalus - A Young Joycean Protagonist. Kutaisi: Akaki Tser-
vi
eteli State University Press, 2014 (in Georgian).

Irakli Tskhvediani. The Poetics of Myth in James Joyce’s Ulysses. Kutaisi: Akaki Tsereteli
vii
State University Press, 2006 (in Georgian).

Irakli Tskhvediani. “Dissolving Temporal Sequence: Spatial Form in James Joyce’s Ul-
viii
ysses (“Nausicaa” Episode)”. Journal of Literature and Art Studies, Volume 8, Number 3,
March 2018 http://davidpublisher.com/index.php/Home/Article/index?id=34729.html
The conference program is available at: https://www.tsu.ge/data/file_db/news/programme.
ix
pdf
x
M. Gelashvili & I. Tskhvediani (eds.). James Joyce 130. Collected Papers of the Inter-
national Conference. Tbilisi: “Universal”, 2012 http://norman.hrc.utexas.edu/jamesjoyce-
checklist/browse_results.cfm?author=118295
James Joyce. Giacomo Joyce. Translated into Georgian and Illustrations Done by Tamar
xi
Gelashvili. Forward by Manana Gelashvili. Tbilisi: “Universal”, 2017.

Patchkoria, I. Hamlet, Modernism and Postmodernism. Tbilisi: “Universal”, 2018 (in
xii
Georgian).
Conference program is available at: http://uahost.uantwerpen.be/joyce2018/wpcontent/
xiii
files_joyce2018/2018/06/schedule.pdf
Conference program is available at: https://thejamesjoyceitalianfoundation.wordpress.
xiv
com/category/conferenzeconferences/
173
Selected Bibliography
(Publications, Lectures, Presentations)
Gelashvili, M. “James Joyce in Georgia”. James Joyce Broadsheet, School of English Uni-
versity of Leeds, October 2018, No 111
Gelashvili, M. “Giacomo Joyce: A Portrait of the Artist in Love?” Forward. James Joyce.
Giacomo Joyce. Translated into Georgian and Illustrations Done by Tamar Gelashvili.
Tbilisi: “Universal”, 2017
Gelashvili, M. “Giacomo Joyce: A Portrait of the Artist?” James Joyce 130: Collected Pa-
pers of the International Conference James Joyce 130, Tbilisi State University, 2012: 52-57
(in English)
Gelashvili, M. “Time and Space in Dubliners”. The Seventh Annual UCD James Joyce
Research Colloquium: The Centenary of Dubliners: Historical and Archival Approaches.
UCD, Dublin, 10–12 April 2014
Gelashvili, M. “James Joyce Studies in Georgia”. Zurich James Joyce Foundation. 28 Oc-
tober, 2014.
Gelashvili, M. “James Joyce: Language as a Problem”. JJIF Conference: Joyce, Yeats, and
the Irish Revival. Università ROMA TRE, Rome, Februry 1-3, 2015
Gelashvili, M. “Characteristic Features of “Oxen of the Sun”, and the Problem of its Ade-
quate Translation into Georgian“. Proceedings of the Seventh International Symposium on
Kartvelian Studies. Tbilisi, 2016: 431-434
Gelashvili, M. “Mythical Chronotope of Ulysses“. The X JJIF Conference: Joyce’s Fiction
and the New Rise of the Novel. Università ROMA TRE, Rome, Februry 2-3, 2017.
Gelashvili, M. “Exile as a Theme and a Narrative Strategy”. The X JJIF Conference: JAMES
JOYCE: THE JOYS OF EXILE. Università ROMA TRE, Rome, Februry 2-3, 2018.
Gelashvili, T. “ALLUSIONS ON LEWIS CARROLL IN JAMES JOYCE’S FINNEGANS
WAKE.” International Journal of Research in Humanities, Arts and Literature, Vol. 4, Issue
5: 47-54
Gelashvili, T. “ALLUSIONS TO WILLIAM SHAKESPEARE’S JULIUS CAESAR IN
JAMES JOYCE’S FINNEGANS WAKE”. Humanities and Social Sciences Review, Vol.
5, Number 3: 181-185
Gelashvili, T. “ALLUSIONS TO T.S. ELIOT IN JAMES JOYCE’S FINNEGANS WAKE”.
Modernism in Literature: Proceedings of X International Symposium, Part I, Tbilisi: TSU
Press, 2016: 64-75
Gelashvili, T. “ONE ASPECT OF IRISH MYTHOLOGY IN JAMES JOYCE’S FINNEG-
ANS WAKE”. Bilingual Scholarly Peer-Reviewed Journal Spekali, Issue 9, 2014
174
Gelashvili, T. “The Importance of Colors in James Joyce Dubliners”. In: M. Gelashvili &
I. Tskhvediani (eds.), James Joyce 130: Collected Papers of the International Conference.
Tbilisi: Universal, 2012: 56-62.
Gelashvili, T. “‘Self exiled in upon his ego’: A lingerous longerous book of the dark of the
Exiled Self”. International Conference. James Joyce Italian Foundation, Univesita Roma
Tre, 2018 January 31- February 2
Gelashvili, T. “The Use of the German Language in James Joyce’s Finnegans Wake”. Hum-
boldt Conference, 20-22 September 2017, Tbilisi, Georgia
Gelashvili, T. “PrapsPosterous Joyce”. Zurich Workshop: Post, Zurich James Joyce Foun-
dation, 2017, 30 July - 5 August, Zurich, Switzerland
Gelashvili, T. “Allusions to Norse Mythology in James Joyce’s Finnegans Wake”. Ivane
Javakhishvili Tbilisi State University, Faculty of Humanities, IX Conference, 13-14 June,
Tbilisi, Georgia
Gelashvili, T. “Buttafaian Poly-Fooling (Butt’s and Taff’s Polyphinic Fooling)”. Interna-
tional Conference. James Joyce Italian Foundation, Univesita Roma Tre, 2017, 2-3 February
Gelashvili, T. “From Patrick W. Shakespeare to Shikespower” In: Shakespeare 400: A Jubi-

lee Volume. Ivane Javakhishvili Tbilisi State Univeristy, Tbilisi, Georgia
Gelashvili, T. “An Untitled Mamafesta Memoralizing Edgar Quinet”. Zurich Workshop:
Genetics (from Genesis to Revelations), Zurich James Joyce Foundation, 2016, 30 July - 5
August, Zurich, Switzerland
Gelashvili, T. “‘Camelot Prince of Dinmurk’ or Tracing Hamlet in Finnegans Wake”. The
IX James Joyce Italian Foundation Conference, 2016, 1-3 February, Rome, Italy
Gelashvili, T. James Joyce’s Vision of W.B Yeats’ A Vision”. The VIII James Joyce Italian
Foundation Conference, 2015, 1-3 February, Rome, Italy
Gelashvili, T. “Finnegans Wake – A Modern Ironic Epic, Irony: Framing (Post)Modernity”.
Lisbon Catholic University, 2014, 23-24 January, Lisbon, Portugal
Imedashvili, N. Art and Artist in the English Novel of the 1st Half of the 20th Century
(James Joyce and Somerset Maugham). Kutaisi: ATSU Press, 2017
Kiasashvili, N (ed.). James Joyce 100: A Jubilee Volume. Tbilisi: TSU Press, 1984
Kiasashvili, N. Between Scylla and Charybdis or, What did you say, Mr. Joyce? Tbilisi:
Sakartvelo, 1992
Kiasashvili, N. “Foreword”. J. Joyce, Ulysses. Translated into Georgian with Foreword and
Notes by N. Kiasashvili. Tbilisi: Merani, 1983.
Kobakhidze, T. “James Joyce and T. S. Eliot: The Quest for Order and Myth”. N. Kiasash-
vili (ed.). James Joyce 100: A Jubilee Volume. Tbilisi: Tbilisi State University Press, 1984
175
Kobakhidze, T. “Parody References in James Joyce’s Grace”. Literary Journal Sjani, 2018,
#19: 86-112
Kobakhidze, T. “Rouen is the rainiest place”: Joyce’s Parodies on T. S. Eliot”. Joyce and
World Literature, Tbilisi, 2012
Kobakhidze, T. “Banned Books: James Joyce’s Ulysses”. L. Bughadze (ed.), Dialogue on
Censure. Tbilisi: Open Society-Georgia, 2014
Pantskhava, E. Stephen Dedalus - A Young Joycean Protagonist. Kutaisi: Akaki Tsereteli
State University Press, 2014
Pantskhava, E. “Female Protagonists of Joyce’s Dubliners”. Modern Interdisciplinary Stud-
ies and Humanities: Proceedings of III International Conference, Kutaisi, 2017
Pantskhava, E. “Adult Protagonists in Dubliners”. Proceedings of IRCEELT: The 6th Inter-
national Research Conference on Education, Language and Literature, IBSU, Tbilisi, 2016
Pantskhava, E. “A Problem of a Young Protagonist in James Joyce’s Dubliners”. Modern
Interdisciplinary Studies and Humanities: Proceedings of II International Conference, Ku-
taisi: ATSU Press, 2015
Pantskhava, E. “A Childhood Cycle in Dubliners”. Proceedings of the II International Con-
ference, Batumi: Shota Rustaveli State University Press, 2014
Pantskhava, E. “On Publication of Ulysses in The Little Review”. American Studies Peri-
odical, Vol. 5, Tbilisi: IBSU, 2013.
Pantskhava, E. “On Leopold Bloom’s Androgyny in Ulysses”. Modern Interdisciplinary
Studies and Humanities: Proceedings of the I International Conference, Kutaisi: ATSU
Press, 2013
Pantskhava, E. “Stephen Dedalus and the Innovative Character-Building Techniques in
James Joyce’s Ulysses”. ATSU Scholarly Journal Moambe, #2, Kutaisi, 2013
Pantskhava, E. “Stephen Dedalus in the Context of Shakespearean Archetype in Ulysses.
Iv. Javakhishvili Tbilisi State University, Centre of Shakespearean Studies. Tbilisi: Univer-
sal, 2013
Pantskhava, E. “James Joyce’s Ulysses: Main Archetypes of the Novel and Symetry of
Characters”. Guram Tavartkiladze University Scientific Journal, # 26, Tbilisi: Universal,
2012
Pantskhava, E. “Paralysis in Dubliners”. In: M. Gelashvili & I. Tskhvediani (eds.), James
Joyce 130: Collected Papers of the International Conference. Tbilisi: Universal, 2012
Patchkoria, I. Hamlet, Modernism and Postmodernism. Tbilisi: “Universal”, 2018
Tskhvediani, I. James Joyce and John Dos Passos: Fictionalizing the City in the Modernist
Novel. (forthcoming)
176
Tskhvediani, I., & M. Gelashvili (eds.). James Joyce 130: Collected Papers of the Interna-
tional Conference. Tbilisi: Universal, 2012
Tskhvediani, I. The Poetics of Myth in James Joyce’s Ulysses. Kutaisi: Akaki Tsereteli State
University Press, 2006
Tskhvediani, I. “Dissolving Temporal Sequence: Spatial Form in James Joyce’s Ulysses
(“Nausicaa” Episode)”. Journal of Literature and Art Studies, Volume 8, Number 3, March
2018
Tskhvediani, I. “Shakespearean Parallel as an Element of Mythic Structure in James Joyce’s
Ulysses”. In: M. Gelashvili & D. Maziashvili (eds.), Shakespeare 450: A Jubilee Volume.
Tbilisi: Universal, 2015
Tskhvediani, I. “‘All events brought grist to his mill’: Joyce’s Use of Shakespeare as Mate-
ria Poetica”. In: M. Gelashvili (ed.), The World of Shakespeare: Collected Papers of the In-
ternational Conference. Centre for Shakespeare Studies at Ivane Javakhishvili Tbilisi State
University. Tbilisi: Universal, 2013
Tskhvediani, I. “Modernist City: James Joyce’s Dublin and John Dos Passos’ New York”.
In: M. Gelashvili & I. Tskhvediani (eds.), James Joyce 130: Collected Papers of the Interna-
tional Conference. Tbilisi: Universal, 2012
Tskhvediani, I. “James Joyce and Modernism”. In: M. Gelashvili (ed.), Modernism and
Postmodernism: Collected Papers of the International Conference. Tbilisi: Universal, 2012
Tskhvediani, I. “James Joyce and Leo Tolstoy”. In: Proceedings of the Faculty of Human-
ities, Vol. XI, Kutaisi: Akaki Tsereteli State University Press, 2010
Tskhvediani, I. “James Joyce and European Cultural Tradition”. In: Current Issues of West-
ern European Literature and Georgian-Western Literary Relations. Tbilisi: Universal, 2010
Tskhvediani, I. “James Joyce’s Ulysses: Mythos and Structure”. In: T. Barbakadze (ed.),
Scholarly Journal Semiotics, Vol. VIII. Tbilisi: Centre for Semiotic Studies, Ilia State Uni-
versity Press, 2010
Tskhvediani, I. “Spatial Form in J. Joyce’s Ulysses: “Nausicaa” Episode”. In: Works. Appli-
cation Appendix to the Journal Newsletters of Academy of Education Sciences of Georgia,
1 (16), 2010
Tskhvediani, I. “James Joyce’s Ulysses and Homer’s Odyssey: The Mytheme of Quest and
Mythic Time”. In: N. Chikhladze (ed.), Language as Intercultural Mediator: Collected Pa-
pers of the International Conference. Kutaisi: ATSU Press, 2010
Tskhvediani, I. “Typological Analysis of Monologue Interior in James Joyce and Leo
Tolstoy”. In: I. Krotenko (ed.), Slavic Studies in the International Context, Kutaisi: ATSU
Press, 2009
177
Tskhvediani, I. “James Joyce’s Ulysses: Texture and Structure”. In: T. Barbakadze (ed.),
Scholarly Journal Semiotics, Vol. VI. Tbilisi: Centre for Semiotic Studies, Ilia State Uni-
versity Press, 2009
Tskhvediani, I. “Homeric Parallels in James Joyce’s Ulysses”. In: Style and the Traditions
of Figurative Speech. St. Petersburg: St. Petersburg State University Press, 2009
Tskhvediani, I. “Modernist Mythopoeia: Towards a Methodology”. In: Proceedings of the
Faculty of Arts, Vol. X (II), Kutaisi: ATSU Press, 2008
Tskhvediani, I. “Christian Myth as a Structural Device in J. Joyce’s Ulysses”. In: Proceed-
ings of the Faculty of Arts, Vol. IX (II), Kutaisi: ATSU Press, 2007
Tskhvediani, I. “James Joyce and John Dos Passos: A Poetics of Transatlantic Literary Mod-
ernism”. In: V. Amaglobeli (ed.), American Literature and Georgian-American Relations:
Proceedings of the 3rd International Conference on American Studies. Kutaisi: ATSU Press,
2006
Tskhvediani, I. “Mythos as a Structural Device in the Modernist Novel”. In: Proceedings of
the Faculty of Arts, vol. VIII (II), Kutaisi: ATSU Press, 2006
Tskhvediani, I. “J. Joyce’s Ulysses: Detail, Symbol, Leitmotif”. In: Proceedings of the Fac-
ulty of Arts, Vol. VII (II), Kutaisi: ATSU Press, 2005
Tskhvediani, I. “J. Joyce’s Ulysses: Structure as Hierarchy”. In: Proceedings of the Faculty
of Arts, Vol. VII (II), Kutaisi: ATSU Press, 2005
Tskhvediani, I. “On One Function of the Technique of Leitmotif in J. Joyce’s Ulysses.” In:
Proceedings of the Faculty of European Languages and Literature, vol. IV, Kutaisi: KSU
Press, 2003
Tskhvediani, I. “T. S. Eliot on Ulysses”. In: Proceedings of the Faculty of European Lan-
guages and Literature, Vol. IV, Kutaisi: KSU Press, 2003
Tskhvediani, I. “The Perception of Shakespeare as an Author in J. Joyce’s Ulysses”. In: Pro-
ceedings of the 1st Republican Conference of the Association of Young Scientists. Tbilisi:
Logos Press, 2003
Tskhvediani, I. “Myth in J. Joyce’s Ulysses and W. Faulkner’s The Sound and the Fury
(Comparative Study)”. In: V. Amaglobeli (ed.), XX Century American Literature and An-
glo-American Literary Relations: Proceedings of the 1st International Conference on Amer-
ican Studies. Kutaisi: KSU Press, 2002
Tskhvediani, I. “J. Joyce’s Ulysses: Symbolism vs Naturalism?” In: Proceedings of the Fac-
ulty of European Languages and Literature, vol. I, Kutaisi: KSU Press, 2001
Tskhvediani, I. “Mythos and Musical Principles of Composition in J. Joyce’s Ulysses”. In:
Literary Journal Gantiadi, 2001, #5
178
Tskhvediani, I. “Some Functions of Shakespearean Allusions in James Joyce’s Ulysses.”

In: Works of Tbilisi Iv. Javakhishvili State University, Western European Languages and
Literature Series, 334 (2), Tbilisi: Tbilisi State University Press, 2000
Tskhvediani, I. “James Joyce’s Ulysses: Mythos and Structure”. In: Literary Journal Gan-
tiadi, 2000, #3-4
179
Village Information
Hotel de la Paix
180
Anna Livia Bibliotheque
Lavoir
181
Square James Joyce
Cafe Quotation
182
James Joyce ID Card
James Joyce Sketch Map
183

James Joyce

Uploaded by

Document Information

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

James Joyce

Uploaded by

Copyright:

Available Formats

International Conference JAMES JOYCE AND THE WORLD

saerTaSoriso konferencia `jeimz joisi da samyaro~ (26-27 seqtem-

International Conference JAMES JOYCE AND THE WORLD (September 26-

ივანე ჯავახიშვილის სახელობის თბილისის

Ivane Javakhishvili Tbilisi State University

Joyce’s worlds of words.

i) ‘This world’: ‘the glowing sensible world’ (P 171)

-[They… the meek and the lofty]

ii) imaginary parallel worlds: ‘all the other wonderwearlds (147.28)

iii) Subsidiary worlds: ‘a selfmade world’ (252.26), ‘fictionable world’ (235.35)

You are mine. The world is mine.(U 17.410)

of an emerging consumerism.In its new clothes, ‘fictionable’ is ‘something that can be

Croce, Benadetto, The Philosophy of Giambattista Vico, translated by R.G. Collingwood

Wittgenstein, Ludwig, Tractatus Logico-Philosophicus, trans. by C.K. Ogden (London: Ke-

<http://jjda.ie>, The James Joyce Digital Archive, edited by Danis Rose

<http://oed.com>,The Oxford English Dictionary, edited by various

<http://fweet.org>, edited by Raphael Slepon

The Village in the World Picture of the

The village of Saint-Gérand-le-Puy in the Alliers region of central southern France,

2. Howth Castle and Environs

3.The abnihlisation of the etym

sounds in English) I used the term to work towards an understanding of theoretical

James Joyce, Selected Letters (London: Faber, 1978): 78.

Ellmann: 738; Jolas in Davidson; 139.

James Joyce Finnegans Wake (Oxford: OUP, 2012).

Louis Mink, A Finnegans Wake Gazeteer(Bloomington: Indian University Press, 1978).

Davidson. Neil. “With Joyce in Saint-Gérand-le-Puy: Maria Jolas’s ‘Joyce en 1939-1940’ in

Exiles by James Joyce and Betrayal by

jeims joisis „gaZevebulni“ da harold

xelovnebis sxvadasxva dargSi, iseve rogorc literaturaSic Zalian

pinteri mis erT-erT sityvaSi, bavSvobaSi momxdar, joisTan dakavSire-

nis“ pirveli moqmedebis dasasruls berta gamoutydeba roCards, rom

Richard:I know everything. I have known for some time… Since it

analogiuri epizodi gvaqvs piesaSi „Ralati“, rodesac jerisTan stum-

noulsi ganixilavs im pasaJs, roca piesaSi „gaZevebulni“ (“Exiles”),

aseve dawvrilebiT aRniSnavs noulsi im pasaJebs, sadac orive piesa-

noulsi iqve ganixilavs analogiur monakveTs piesidan „Ralati“

rogorc vxedavT ronald noulsi, am or piesas Soris, namdvilad bevr

Robert: Have you read any good books lately?

Jerry: The Lake District.

SeiZleba iTqvas, rom ieitsis xseneba piesaSi kidev erTxel migvaniS-

periodebi da grZnobebis xarisxebi. aqve magaliTad mohyavs mesame sce-

“Emma: You see, in the past . . . we were inventive, we were determined, it

roCe aRniSnavs, rom mocemul pasaJSi vxedavT emas, romelis sityve-

kobaxiZe, Temur. „tomas elioti da maRali modernizmis literaturuli

James Joyce, Exiles: A Play in Three Acts. http://www.gutenberg.org/ebooks/55945

James Joyce and Otar Chkheidze - Painters and Chroniclers

Chkheidze’s works are all-encompassing; They represent the everyday, spiritual,

2008 [In Georgian]

Lia Tsereteli. Land-Cradle, Icon-Veil. Otar Chkheidze, Scientific Conference. Tbilisi:

Tbilisi: Republic of Georgia, 2017 (p.5) [In Georgian]

Richard Ellman.James Joyce. London: Oxford University Press, 1965

‘Oxen of the Sun’: Problem of its Adequate

As it is apparent from the transliteration of the Georgian text Kiasashvili managed

blzed gamoCnda, roca studentebi Tavis apologias amTavrebd-

York, 1966), pp. 139-40.

Kiasashvili. Translation completed and publication prepared by Maya Kiasashvili. Tbilisi:

Wawrzycka, Jolanta, Introduction: Translatorial Joyce (Guest-Editor) James Joyce Quar-

terly, Vol. 47, Number 4, Summer 2010.

Mihálycsa E., Wawrzycka J. “I Am a Far-Fetcher by Constitution.”Conversation with

Fritz Senn. Scientia Traductionis. 2012, n. 12: 205-248.p.242. https://periodicos.ufsc.br/in-

terly 4, no. 3. (Translation Issue, spring 1967), 194-201

Joyce Quarterly Vol. 27, No. 3 (Spring, 1990), 479-487

Joyce, James, Ulysses.Translated and commented by Nico Kiasashvili. Translation com-