Wake

Forms:

wake, waken, waking, wakening, awake, awaken

Related terms:

core/corps/corpse, custom, end, occupy, rise, sight, up

Explication

In Ulysses, “wake” is most commonly used as an adjective when describing ones current state or presence after having been asleep, whether it be forceful, mistakenly, or naturally. In addition to this, for some of the characters, there are instances where either positive or negative connotations can be applied, in that being awake is an escape from a nightmare, “History, Stephen said, is a nightmare from which I am trying to awake” (U 2.377) or being asleep is an escape from reality, “No more pain. Wake no more. Nobody owns.” (U 6.365).

Joyce also uses this term in terms the “following” or “aftermath” of a person or thing by another, “Both smiled over the crossblind at the file of capering newsboys in Mr Bloom’s wake, the last zigzagging white on the breeze a mocking kite, a tail of white bowknots” (U 7.444-445). This “following” can either be unwanted or unavoidable, and serves as a reminder that there is more than meets the eye.

Moreover, Joyce refers to “wake” in terms of the religious ceremony that precedes a funeral. Throughout the story, there are several instances where we are given constant references to Dignam’s death and funeral. It is almost as though there is always a reminder (like a ghost) about his death. Not only that, we get many scenes where characters are watching someone or something. A wake refers to the watch over a person’s body, which many do outside of a religious aspect.

From these three instances, “wake” serves a very interesting role as a connection between life, death, and the afterlife. Because Joyce is able to manipulate “wake” in these ways, when taken out of contect in some cases, it is interesting to see the differences each definition makes when switched with another.

Definitions and Examples

I. n., The state of wakefulness esp. during normal hours of sleep. Obs. exc. in sleep and (or) wake, wake and dream.

II. n., The watching (esp. by night) of relatives and friends beside the body of a dead person from death to burial, or during a part of that time; the drinking, feasting, and other observances incidental to this. Now chiefly Anglo-Irish or with reference to Irish custom. Also applied to similar funeral customs in other times or among non-Christian peoples.

• “Relics of old decency. Mourning too. Terrible comedown, poor wretch! Kicked about like snuff at a wake” (U 6.234-35)
  • This particular quote is interesting becuase Joyce uses a play on words with “awake” and “a wake.”

III. Used by Hogg for: A serenade, nocturnal song.

IV. With unfavourable implication: To sit up late for pleasure or revelry; to turn night into day.

V. To be active, alert, stirring, vigilant. Const. as above; also, to be diligent, exert oneself to(do something). to wake over, to occupy one’s mind with. Obs.”

VI. Phrases. to fetch (get, get into, have) the wake of (a pursued vessel): to get so close to her as to be able to see, and steer by, her wake. to stay a weather of a wake:

• “The ball bobbed unheeded on the wake of swells, floated under by the bridgepiers” (U 8.58-9)
• “She trudges, schlepps, trains, drags, trascines her load. A tide westering, moondrawn, in her wake.” (U 3.392-93)

VII. The disturbance caused by a body swimming, or moved, in water

VIII. Naut. or quasi-nautical. in the wake of (a vessel); in her (its) wake, etc.: immediately behind, and (properly) in the actual track made by, a vessel; immediately backward and along the track made. Also used of any person or persons aboard, as in his, our, etc., wake; behind his, our, etc., vessel.

Related Topics:

Alive, sleep, death, after life, celebration, dream, consciousness, aware, follow

Bertolini, C. D. “Bloom’s Death in “Ithaca,” or the END of Ulysses.” Journal of Modern Literature, vol. 31 no. 2, 2008, pp. 39-52. Project MUSE, muse.jhu.edu/article/233963.

In this journal, Bertolini examines the possibility that Leopold Bloom may have died in Episode 17 “Ithaca.” The journal looks at the relationship between both Molly and Bloom and how from the beginning we see the ways in which they communicate are often attributed to the unspoken. This idea that such communication exists, paired with the notion that there is tension between fact and opinion, shows how the narrative technique begins to take shape using a series of questions and answers. Bertolini references Hugh Kenner, who says that “Bloom’s question is a response to ‘a murmur the narrator has not transcribed’ or to a nonexistent question he calls a ‘no-murmur’ or ‘no-questions’ “ (42) The fact that there is such a technique illustrates to the reader that information does not necessarily need to be communicated out loud, as demonstrated by Bloom and Molly, and Bloom’s moments of streams of consciousness.

Throughout all of Ulysses, there have been several instances where questions were asked in a whimsical, albeit philosophical, sense. Characters such as Stephen and Bloom would ask themselves “what if” or “why” questions (some of which end up not having any answers). At times, these questions interrupted their train of thought as they went about their day. In addition to this, characters also asked questions of each other simply with the hopes of gaining new information: such as where a certain person was, or what they were doing, etc. Looking at these two types of questions, it is clear that Joyce is combining them both in the sense of relating to art and science. Questions related to art don’t necessarily need to have solid answers and said answers can be opinionated. On the other hand, while some questions that are related to science are also opinionated, they also deal with factual evidence.

Because there are two themes of science and art, we are able to compare this to both Bloom and Stephen in the sense that Bloom is a man of science, whereas Stephen is more of a man of art. Additionally, certain questions in each episode pertain to themes in Ulysses and are debatable among the characters. For one, in Episode 14, the men discuss the question of whether or not, when in danger, a mother should be saved or her baby. The aftermath of such a downfall is alluded to in terms of religion. According to Stephen, “both babe and parent now glorify their Maker, the one in limbo gloom, the other in purgefire.” (14.224). The theme of motherhood, gender, religion and mortality are explored in this short section.

Wake

Forms:

wake, waken, waking, wakening, awake, awaken

Related terms:

core/corps/corpse, custom, end, occupy, rise, sight, up

Explication

In Ulysses, “wake” is most commonly used as an adjective when describing ones current state or presence after having been asleep, whether it be forceful, mistakenly, or naturally. In addition to this, for some of the characters, there are instances where either positive or negative connotations can be applied, in that being awake is an escape from a nightmare, “History, Stephen said, is a nightmare from which I am trying to awake” (U 2.377) or being asleep is an escape from reality, “No more pain. Wake no more. Nobody owns.” (U 6.365).

Joyce also uses this term in terms the “following” or “aftermath” of a person or thing by another, “Both smiled over the crossblind at the file of capering newsboys in Mr Bloom’s wake, the last zigzagging white on the breeze a mocking kite, a tail of white bowknots” (U 7.444-445). This “following” can either be unwanted or unavoidable, and serves as a reminder that there is more than meets the eye.

Moreover, Joyce refers to “wake” in terms of the religious ceremony that precedes a funeral. Throughout the story, there are several instances where we are given constant references to Dignam’s death and funeral. It is almost as though there is always a reminder (like a ghost) about his death. Not only that, we get many scenes where characters are watching someone or something. A wake refers to the watch over a person’s body, which many do outside of a religious aspect.

From these three instances, “wake” serves a very interesting role as a connection between life, death, and the afterlife.

Definitions and Examples

I. n., The state of wakefulness esp. during normal hours of sleep. Obs. exc. in sleep and (or) wake, wake and dream.

II. n., The watching (esp. by night) of relatives and friends beside the body of a dead person from death to burial, or during a part of that time; the drinking, feasting, and other observances incidental to this. Now chiefly Anglo-Irish or with reference to Irish custom. Also applied to similar funeral customs in other times or among non-Christian peoples.

• “Relics of old decency. Mourning too. Terrible comedown, poor wretch! Kicked about like snuff at a wake” (U 6.234-35)
  • This particular quote is interesting becuase Joyce uses a play on words with “awake” and “a wake.”

III. Used by Hogg for: A serenade, nocturnal song.

IV. With unfavourable implication: To sit up late for pleasure or revelry; to turn night into day.

V. To be active, alert, stirring, vigilant. Const. as above; also, to be diligent, exert oneself to(do something). to wake over, to occupy one’s mind with. Obs.”

VI. Phrases. to fetch (get, get into, have) the wake of (a pursued vessel): to get so close to her as to be able to see, and steer by, her wake. to stay a weather of a wake:

• “The ball bobbed unheeded on the wake of swells, floated under by the bridgepiers” (U 8.58-9)
• “She trudges, schlepps, trains, drags, trascines her load. A tide westering, moondrawn, in her wake.” (U 3.392-93)

VII. The disturbance caused by a body swimming, or moved, in water

VIII. Naut. or quasi-nautical. in the wake of (a vessel); in her (its) wake, etc.: immediately behind, and (properly) in the actual track made by, a vessel; immediately backward and along the track made. Also used of any person or persons aboard, as in his, our, etc., wake; behind his, our, etc., vessel.

Related Topics:

Alive, sleep, death, after life, celebration, dream, consciousness, aware, follow

Throughout Episode 18, Molly rapidly goes through constant thoughts, feelings, and ideas. The pacing of this episode almost seemed as though we were fast-forwarding from the beginning to the end of Ulysses, with no breaks in between (or as though Molly’s voice had been silenced throughout the entirety of the novel that she needed to voice her opinions before the book ended).

At first, it was a little difficult for me to distinguish what questions there were in the episode. In the past episodes, I was able to quickly determine what they were, analyze them, etc. because of both the punctuation marks and the tones of the narration as I read. However, as I continued to process this episode, I saw that Molly’s thoughts that were preceded with wonderment, held the key to my obsession.

Molly wonders things like:

-If Boylan was satisfied with her, and/or if he is awake thinking of her

-Why men bother asking women to marry them if they are going to end up unhappy in the end

-If Bloom ripped a hole in his pants when he was climbing over a railing

-If Boylan made her pregnant

For the most part, it would seem in this episode that Molly is thinking about Bloom and Boylan and her own life more so than the general aspect. As a person, we see that Molly still cares for Bloom, despite the fact that he had slept with other women or that he has not touched her in nearly 10 years. We see this in the little memories that she shares and by the final lines of when she accepted his proposal. It would seem that Joyce wants the reader to see a lot of Ulysses from a different perspective than what we had originally concluded. Because it comes from a character that had no voice, we are able to delve deeper into the characters lives and personalities.

While reading the second half of “Circe”, there was one portion that caught my eye and brought me back to the “Sirens” chapter. Bella asks “Which of you was playing the dead march from Saul?” (U 15.3500) to which Zoe replies “Me. Mind your cornflowers” (U 15.3501). This particular question is interesting because previously, we had no knowledge that Zoe was playing this song (probably) until this moment. This causes the audience to question whether or not it actually happened or if it was an unspoken occurrence.  However, such a song makes one think of a depressing or somber scene, which had occurred previously with Stephen’s illusion of his mother as well as the appearance of the Sins of the Past. This makes me wonder if the funeral march was in reference to this scene like a soundtrack playing in the background.

Right after this, we see Stephen ask for his potato back from Zoe, “Give me back that potato, will you?” (U 15.3509). He then follows by saying that the potato is a memory of his mother, which is interesting, seeing as how in our previous class we discussed the sexual innuendo of it’s presence. The phrasing of this question is very curt and almost dominating. Zoe then replies with, “Give a thing and take it back / God’ll ask you where is that / You’ll say you don’t know / God’ll send you down below” (U 15.3515-3518). This is a very childlike response to Bloom’s request for something that is both associated with Bloom’s mother and sexual innuendos.

In Episode 15 of Ulysses, Joyce presents us with brief and bizarre illusions that occur in Bloom’s mind. It becomes apparent that in each illusion, there are elements from the story, that we’ve already seen, appearing once again (in almost a recap fashion). Not only that, we learn more about each character and about things that occurred before the story began.

In one of Bloom’s illusions, two police officers question his identity, to which Bloom responds with different answers. He starts off by saying that he is a highly-regarded dentist who owns half of Egypt. Interestingly enough, he does use his real name in this first “fake” introduction. However, following this, he does introduce himself afterwards as Henry Flower, a member of the Junior Army and Navy. This introduction is prompted only because a card falls out of his hat with the name Henry Flower on it (which I would argue could be a direct connection to his real name Leopold Bloom).

When asked for his alibi, Bloom pulls out a yellow flower from his jacket and simply states that,”This is the flower in question. It was given me by a man I don’t know his name. (plausibly) You know that old joke, a rose of Castile. Bloom. The change of name. Virag” (U 15.738-741). There appear to be many misconceptions of who Bloom is in this illusions of his that also seem to be projecting an “ideal” Bloom, no matter how ridiculous. These identities that Bloom takes on seem to all be interesting, well-regarded characters that he projects as admirable.

Wake

Forms:

wake, waken, wakening, awake, awaken

Related terms:

core/corps/corpse, custom, end, occupy, rise, sight, up

Explication

In Ulysses, “wake” is most commonly used as an adjective when describing ones current state or presence after having been asleep, whether it be forceful, mistakenly, or naturally. In addition to this, for some of the characters, there are instances where either positive or negative connotations can be applied, in that being awake is an escape from a nightmare, “History, Stephen said, is a nightmare from which I am trying to awake” (U 2.377) or being asleep is an escape from reality, “No more pain. Wake no more. Nobody owns.” (U 6.365).

Joyce also uses this term in terms the “following” or “aftermath” of a person or thing by another, “Both smiled over the crossblind at the file of capering newsboys in Mr Bloom’s wake, the last zigzagging white on the breeze a mocking kite, a tail of white bowknots” (U 7.444-445). This “following” can either be unwanted or unavoidable, and serves as a reminder that there is more than meets the eye.

Moreover, Joyce refers to “wake” in terms of the religious ceremony that precedes a funeral. Throughout the story, there are several instances where we are given constant references to Dignam’s death and funeral. It is almost as though there is always a reminder (like a ghost) about his death. Not only that, we get many scenes where characters are watching someone or something. A wake refers to the watch over a person’s body, which many do outside of a religious aspect.

Definitions and Examples

I. n., The state of wakefulness esp. during normal hours of sleep. Obs. exc. in sleep and (or) wake, wake and dream.

II. n., The watching (esp. by night) of relatives and friends beside the body of a dead person from death to burial, or during a part of that time; the drinking, feasting, and other observances incidental to this. Now chiefly Anglo-Irish or with reference to Irish custom. Also applied to similar funeral customs in other times or among non-Christian peoples.

• “Relics of old decency. Mourning too. Terrible comedown, poor wretch! Kicked about like snuff at a wake” (U 6.234-35)

III. Used by Hogg for: A serenade, nocturnal song.

IV. With unfavourable implication: To sit up late for pleasure or revelry; to turn night into day.

V. To be active, alert, stirring, vigilant. Const. as above; also, to be diligent, exert oneself to(do something). to wake over, to occupy one’s mind with. Obs.”

VI. Phrases. to fetch (get, get into, have) the wake of (a pursued vessel): to get so close to her as to be able to see, and steer by, her wake. to stay a weather of a wake:

• “The ball bobbed unheeded on the wake of swells, floated under by the bridgepiers” (U 8.58-9)
• “She trudges, schlepps, trains, drags, trascines her load. A tide westering, moondrawn, in her wake.” (U 3.392-93)

VII. The disturbance caused by a body swimming, or moved, in water

VIII. Naut. or quasi-nautical. in the wake of (a vessel); in her (its) wake, etc.: immediately behind, and (properly) in the actual track made by, a vessel; immediately backward and along the track made. Also used of any person or persons aboard, as in his, our, etc., wake; behind his, our, etc., vessel.

In Episode 14, the men discuss the well-argued question of whether or not, when in danger, a mother should be saved or her baby. The aftermath of such a downfall are alluded to in terms of religion. According to Stephen, “both babe and parent now glorify their Maker, the one in limbo gloom, the other in purgefire.” (14.224).  This question of who should survive bounces back and forth between the characters and incorporates religious-themed opinions from that of Stephen and Blooms avoiding the question of whether or not he would put Molly through such a decision. This avoidance causes Bloom to once again think about his son, whom he has already lost.

Stephen also brings up the idea of contraception into the conversation, saying “But, gramercy, what of those Godpossibled souls that we nightly impossiblise, which is the sin against the Holy Ghost, Very God, Lord and Giver of Life?”  In these comparisons, it almost seems like there must be sacrifice for someone, whether it be in terms of death, or the prevention of life in the first place.

In “Scylla and Charybdis”, Russell states that “the supreme question about a work of art is out of how deep a life does it spring.” (9, ll.49-50). In other words, he is saying that the most important part of our view of any form of art is how it affects us. According to him, the ideas that come forth are simply just that and they don’t go beyond that. Joyce on the other hand seems to be delving deeper into this statement with the discussion of Hamlet. By arguing that Shakespeare is playing the role of the ghost of Hamlet’s father, or that Ann Hathaway portrayed Queen Gertrude, Joyce opens up the possibility of his own characters representing others. Shakespeare’s son Hamnet, for instance, could be represented by Bloom’s son Rudy, as both boys died young.

We  had discussed in class that Joyce is speaking through some of his characters, like Stephen Dedalus and Leopold Bloom. In this instance, Joyce is zooming out even further, showing that not only to his characters relate to other fictional literary characters, but they can also serve as real people. Questioning the deeper meaning of a work of art, whether it be in written form or painting, allows the audience to make connections to both the real and literary world.