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James Joyce - após mais
uma operação aos olhos - no
sul de França, 1922
In view of the apparent conception of James Joyce as a blind bard and the corresponding stock remark
that his compensatory aural acuity largely informed his ultimate novel, the neglected fact that
Joyce clearly belongs to a tradition of blind bards, including Homer, Dante, and Milton, calls for critical recognition. An additional reason for uncovering the promising field of thematic
blindness lies in the advantage of joining together various autonomous aspects of Joyce
scholarship, such as the theory of the senses, the notions of prophecy and epiphany, and the
question of the father-son reconciliation that lies at the heart of Joyce’s 1922 novel.
Rather than formulating a general taxonomy of possible case-studies and research methods, the present study consists of various preliminary explorations of a relatively new field of
study. By focusing on the literary resonances of Joyce’s defective eyesight and correlating the
(prophetic) implications of his near-blindness with the literary tradition of the blind prophet, we can extend in both time and space the critical parameters of Joyce scholarship, thereby
adding new dimensions and unforeseen interrelationships to the extensive critical industry of
James Joyce.Let me state beforehand that an adequate treatment of the literary work of James Joyce, in
particular his later prose fiction, Ulysses and Finnegans Wake, would require far more space
than can be given here. Following some characteristics of the Dutch critical reception of
Joyce, I largely “favour a non-theoretical approach in which close reading takes centre
stage.” In the light of my original intention to unearth a relatively new field in Joyce
scholarship, I therefore merely expect to work in a preliminary fashion, since “[t]o attempt to
do more than scratch the surface of […] Finnegans Wake, [for example,] would clearly
exceed any reasonable limits of time and space.”
Irisitis
The present study starts from the relatively simple premise of regarding the ocular disorder
Joyce developed during his life as a clear influence on Ulysses and Finnegans Wake,
epitomized by the striking correspondence between sign and reference in the case of ‘irisitis.’
Although the common designation to describe an inflammation of the eye is ‘iritis,’ a word
generally employed by Joyce and the majority of his critics to refer to the writer’s eye
troubles, the alternative spelling ‘irisitis,’ an etymologically more exact orthographic
rendering to be found in nineteenth-century medical lexicons, constitutes a proper
denominator for the subject at hand, simultaneously conveying a distinct sense of Joyce’s
textual play and extreme use of polysemy. Linguistically speaking, the word ‘irisitis,’ a
derivational compound made up of the originally Greek morphemes ‘iris’ and ‘-itis,’ contains
three unstressed syllables next to the stressed penult. Apart from the denotation of ‘irisitis,’
which refers to the inflammation of the colored part of the eye surrounding the black pupil,
the term obviously echoes two defining elements in the life and art of James Joyce, namely
his distinctly Irish background and his progressive loss of sight. According to a homophonic
correspondence, the latter also echoes the (in)distinct historical geography of Ulysses and
Finnegans Wake and refers to the extensive intertextual references to be found in both works,
which have excited such a vast amount of intellectual despair.
Interestingly, the obsolete term as a whole sounds much like the self-referential
pronouncement “I recite this,” which denotes the predominance of sound and musical
qualities in both Milton’s poetry and Joyce’s later prose, a fact that prompted T.S. Eliot to
proclaim James Joyce the greatest master of the English language since Milton, whom he
considered mainly to be a writer for the ear. Contrary to the more common denomination for
the inflammation of the iris, iritis (read: ‘I write this’), which clearly accommodates
Gottfried’s genetic reading of and semiotic approach to Ulysses, the term ‘irisitis’ fully
characterizes Joyce’s compromised eyesight and eventual near-blindness that progressively
led him to dictate his ultimate novel to various assistants.
Milton
dita o Paradise Lost -
Eugene Delacroix, 1826
Immediately related to the deficiency of sight and greater musical ear of both Milton and
Joyce, ‘irisitis’ reads like a circular proposition, which designates the overall conjunction of
ear and eye in Ulysses and the Wake. When we suppose, in fact, that ‘irisitis’ consists of four
monosyllables that make up a pair of trochees, and the first word starts with a long Gaelic vowel, as exemplified by the phrase “talk earish with his eyes shut,” then the line would run
as follows: ear is sight is. Besides the fact that ‘irisitis,’ in this way, aptly summarizes the
tenor of our argument, it also successfully evokes the circular structure and infinitely
suspended last sentence of the Wake.
When viewed in the light of temporal/spatial relations, moreover, the proposition’s implied
modes of the audible and the visible, which Stephen Dedalus, following Schopenhauer’s
example, designates as respectively Nacheinander (an image of time) and Nebeneinander (an
image of space) in the “Proteus” section of Ulysses, immediately relate to Joyce’s
revolutionary poetical program.
Already questioning the basic assumptions of temporal and
spatial reality in his modernistic masterpiece, Ulysses, the linguistic cosmogony of Joyce’s
ultimate novel would infinitely expand the relatively narrow parameters of fictional time and
space. In “Circe,” for example, the invocation of Paddy Dignam’s servile ghost, who cannot
but respond to his master voice, prompts Leopold Bloom to remark triumphantly, “You
hear?” Echoing Dante’s startling encounter with his former mentor Brunetto Latini in the
seventh circle of hell, the passage alternately summons up the modality of the audible (time)
and the unity of place. Through the allusion to Dante, which transmigrates the scene and its
protagonist into the past, and numerous acts of metempsychosis, involving for instance the
image of a beardless William Shakespeare superimposed upon the reflection of Bloom and
Stephen gazing in the mirror, Joyce crosses the traditional boundaries of time and space, although Ulysses as a whole remarkably adheres to the neoclassical principles of dramatic
structure. It should be remembered that the polysemous affliction Joyce repeatedly suffered from
partakes of a general tendency of mistakes and contingencies in his personal life which he, as
a “man of genius,” deemed “volitional” and designated as “portals of discovery.”
As famously exemplified by Frank O’Connor’s anecdote about Joyce placing a picture of Cork in
a cork frame, Joyce’s lifelong attempt to “establish a direct correspondence between
substance and style” makes up one of his major artistic techniques. Accordingly, the
meaningful coincidence of irisitis illuminates the important relationship between form and
content in the literary work of James Joyce.
It is important to recognize, furthermore, that any artistic notion of chance Joyce may have
had, whether observing in his life meaningful coincidences or downright ‘luck of the Irish,’
presupposes an intricate relationship between life and art. To be sure, the personal events of
Joyce’s life are so inextricably woven into his work, that many believed his first novel,
A Portrait of the Artist as a Young Man, to be a genuine autobiography. Even Joyce’s ultimate
novel, which exhibits an apparent meaninglessness in the verisimilitude of everyday life, has
been read by some as his confession and autobiography.
According to Thornton Wilder, for
example, “Finnegans Wake is […] an agonized journey into the private life of James Joyce.” As Roy Gottfried, among others, has amply demonstrated, the systematic uncertainty and
obscurity of Ulysses and Finnegans Wake run parallel to Joyce’s pathology. In this sense, the
notion of blindness can be seen as more than an analogy, since Joyce “wrote over every
square inch of the only foolscap available, his own body.”
Therefore, rather than attempting
to deconstruct life’s intricate relation to art, we will proceed instead from the basic
assumption regarding the significant mutual influence of Joyce’s personal life on the
development of his fiction.
Ultimately, the imperative mood of ‘irisitis’ (read: ‘Eye, resight this’) alludes to the notion
of second sight which, following the internal logic of a subsequently primary and secondary
order of vision, makes up the alternate, albeit related, point of departure for the present study.
On His Blindness
A further observation that has instigated the current research has to do with the tradition of the
blind, prophetic bard to which the historical figure of James Joyce arguably belongs. Extending
from Homer, with whom the blind bard has become synonymous, the literary tradition
of the blind seer or the sightless poet who has been accorded the gift of prophecy includes the
illustrious cases of Tiresias, “the Theban seer whose blindness proved his great
illumination,” and John Milton, the blind epic poet who turned blind in mid-life and
subsequently used his own biography to develop the theme of blindness in his literary work.
O Cego
Tirésias com um Rapaz
John Flaxman, séc. XVIII
In his “Defence of Poetry” (1821), Shelley praised the latter as the third great epic poet after
Homer and Dante, and he closely connected Milton’s Paradise Lost with La Divina
Commedia. To be sure, it remains a singular fact that two of the three greatest epic poets of
Western literature were blind, while the third, Dante Alighieri, suffered from a considerable
visual impairment in his later years. When we consider, furthermore, the fact that the novel
has replaced the epic as the major literary form in English, as well as Georg Lukács’
definition of the novel as “the epic of an age in which the extensive totality of life is no longer
directly given,” the destiny Joyce shared with Homer, Milton, and Dante becomes all the
more intriguing. In this light, their respective blindness can be “interpreted as a threshold
between physical mortality and literary immortality.”
As stated before, the literary tradition of the blind bard originated with Homer, the Ionian
bard who has been credited with the authorship of the
Iliad and the Odyssey.
As Adaline
Glasheen puts it in her offhand way, “[i]t probably mattered to Joyce that Homer was
blind.” The extent to which Joyce was preoccupied with the striking analogy is difficult to
retrace, although, in any case, Joyce, in 1922, had to be reassured by his ophthalmologist Dr.
Borsch that there was no imminent danger of glaucoma foudroyant, “the disease which […]
was probably the cause of Homer’s blindness.”
A
Apoteose de Homero -
Ingres, 1827
By itself, the ancient life of “[b]lind Melesigenes, thence Homer call’d,” interwoven with
mythography and ancient popular etymology, remains a matter of strong controversy. Even
though it has been virtually impossible to retrace the original author of both epics handed
down by oral tradition, the cultural archetype of the blind bard nonetheless has firmly taken
root in Western literature. Whether or not Homer, in his rendering of Demodocus, utilized his
own sightless experience, the blind bard who recites in the eight book of the Odyssey a couple
of Ulysses’ adventures, including his ploy of the Trojan horse, has constituted the age-old
association between the topic of blindness and the inward vision of the bard.
In Derek
Walcott’s epic poem Omeros (1990), for example, the rich allegory of the blind poet is
celebrated in the title character, who possesses the gift of inner vision. In particular, Homer’s
St. Lucian avatar, a blind old sailor named Seven Seas, presents “a fascinating genealogy
composed of Homer, Demodocus, Joyce, as well as distant echoes of the mythical figure of
the blind Argentine poet, Jorge Luis Borges.” When James Joyce, in a discussion with his language pupil Georges Borach in 1917, answered for his lifelong preoccupation with Homer’s Odyssey, he observed that “[t]he most
beautiful, all-embracing theme is that of the Odyssey. […] Dante tires one quickly; it is like
looking into the sun.”
Interestingly, Joyce’s observation regarding the blinding effect of
Dante’s literary work precisely echoes the great symbolic value the latter attaches to light, darkness, vision, and blindness in his Commedia. In the twenty-fifth canto of Paradiso, for
instance, Dante loses his sight when he looks into the luminous presence of St. John the
Evangelist. In the following canto, the eventual restoration of his sight by Beatrice ends the
account of his examination by St. John on the virtue of love. In the thirty-second canto of
Purgatorio, the pilgrim Dante is likewise temporarily blinded, when he stares, for the first
time in ten years, into the face of Beatrice. Subsequently, “her enamelled eyes” transmit the divine light that in effect will raise Dante to the first sphere of heaven, “indergoading him on
to the vierge violetian.”
There is reason to believe that Dante had chronic eye troubles. Like Milton, who went blind
by excessive study, Dante sometimes strained his eyes by “[p]oring over manuscripts late
into the night by candlelight, as well as [by] naked-eye gazing at the stars.” In Il Convivio, after discussing at length the Aristotelian diaphane, to which Stephen Dedalus refers in the
“Proteus” episode of Ulysses, Dante lists the painful experience of temporarily losing his sight
as a result of an intense period of reading:
[B]y greatly straining my vision through assiduous reading I weakened my visual spirits
so much that the stars seemed to me completely overcast by a kind of white haze. But by
resting at length in dark and cool places and by cooling the surface of my eyes with clear
water, I regained that power which had undergone deterioration, so that I returned to my
former state of healthy
vision. Interestingly, Dante’s description of his convalescence closely resembles the incapacitating
blindness Joyce repeatedly suffered from during the strenuous materialization of Ulysses. At
such relapses of his earlier ophthalmological symptoms like iritis and glaucoma, Joyce, in
fact, would lay immobilized in a darkened room, while Nora generally would stay at his side, “dipping a cloth into ice water and applying it to his eyes.” Apart from the fact that Dante
occasionally overstrained his eyes by excessive study, it remains unclear whether he, like
Joyce, suffered from a visual impairment that reached deplorable proportions. In any case, the
Florentine poet’s real or imputed eye troubles, added to the recurrent theme of occluded and
remediated vision in the Divina Commedia, underlines his distinct association with the
literary tradition of the blind bard.
Comparable with the pilgrim Dante who, deprived of outer light, looks at the inner light of
divinity through the eyes of Beatrice, the blind bard in the third book Milton’s
Paradise Lost, through the medium of the heavenly muse, “may inhabit a landscape he cannot see and can be
invited into the celestial vision that none of the seeing world can directly experience.”
Drawing upon extremely personal references, since his own eyes would “roll in vain / to find
[God’s] piercing ray and find no dawn,” John Milton, in the so-called “Hymn to Light” at
the beginning of Book Three, “is using his own biography to develop the principal themes of
the digression, relating the paradoxes of deprivation of light to the hymn’s salutation to
Celestial Light.” Evoking the figure of Maeonides (Homer) and emphasizing their
biographical convergence, Milton creates a blind bard who, like the pilgrim Dante, “is a
visitor to the realms of Chaos and Eternal Night, returned safely to the realms of light.” In
line with the sharpened inner vision that traditionally compensates the visually impaired bard
or seer, Milton further invokes the Celestial Light to “shine inward and the mind through all
her powers / irradiate; there plant eyes; all mist from thence / purge and disperse, that I may
see and tell / of things invisible to mortal sight.”
As stated before, the theme of blindness has become a twofold expression in the literary
tradition. Especially with the definition of the Romantic ideology of poetic vision, “the topics
of blindness and second sight [became] closely linked.” As Patricia Novillo-Corvalán puts
it, “[w]hat the unseeing, inert eyes of the poet cannot perceive is compensated for by the vast, unlimited vision afforded by the eye of the imagination, as the poet exchanges eyesight for the
craft of versifying.”
In Romanticism, the seer might therefore be easily confused with the
bard, since the prophetic or poetic vision attributed to the artist immediately relates to divine
inspiration or inspired divination.
Apart from the literary tradition of the blind bard, which originated with Homer, Joyce’s
physical blindness as an appropriate indicator of his poetic vision has a distinct cultural
background much closer to home.
In “The Celtic Bard of Romanticism,” Edward Larrissy, in
fact, states that the topics of physical blindness and ‘second sight’ have been associated with
the Celtic bard since the early eighteenth century, even before the appearance of
MacPherson’s Ossian. According to Larrissy, “Irish tradition played a small but indubitable part in fashioning the image of the visionary, and sometimes blind, bard.”
The belief in
‘second sight,’ furthermore, “was part of the common inheritance of Ireland,” as famously
rendered by Synge’s Riders to the Sea or Yeats’s folklore writings.
The present study, in short, will not attempt to trace Joyce’s literary precursors or any
precedent for the sightless poet in English literature or elsewhere, for that would be an
unending task.
Apart from the fact that the important literary relationship between Joyce and
respectively Homer, Dante, and Milton clearly lies beyond the scope of this thesis, various
scholars, furthermore, have already explored a range of (intertextual) connections and
formulated, through detailed parallel readings, significant theories of influence and
intertextuality.
In the light of Joyce’s progressive eye troubles and his related affiliation with
the literary tradition of the blind bard, this study will neither attempt to recover his private
thoughts on these matters. We shall be concerned, instead, with Joyce’s explicit references to
the topics of (figurative) blindness and myopia in his literary work, and especially with the
sensory apparatus in Ulysses and Finnegans Wake. Rather than touching upon matters that
have really been worked into the ground, such as the use of music or the aural mode in
Joyce’s later prose fictions, or copying a simple study of influence from authoritative critical
contributions, I will attempt to unearth a relatively new field of study in which blindness as a
twofold expression constitutes a framework for the thematic discussion of Joyce’s occluded
vision.
ϟ
In January 1926, to demonstrate his improving
vision, Joyce picked up a thick black pencil and made a few squiggles on a sheet
of paper, along with a caricature of a mischievous man in a bowler hat and a
wide moustache –Leopold Bloom -, the protagonist of
Ulysses.
-
c1888: (6
years old)
glasses
prescribed
for
nearsightedness
(broken but
replaced)
He had tried
to spell out
the headline
for himself
though he
knew already
what it was
for it was
the last of
the book.
Zeal without
prudence is
like a ship
adrift. But
the lines of
the letters
were like
fine
invisible
threads and
it was only
by closing
his right
eye tight
tight and
staring out
of the left
eye that he
could make
out the full
curves of
the capital.
[in
"A Portrait
Of The
Artist As A
Young Man"]
-
c1894: (12
years old)
advised by
'foolish
doctor' to
put aside
glasses (Richard Ellman 26)
/ school
medical
officer (Peter
Costello
129)
-
1904 June:
can't tell
if it's Nora
at
rendezvous
-
1905 Feb to
Stannie: "I
was examined
by the
doctor of
the Naval
Hospital
here last
week and I
now wear
pince-nez
glasses on a
string for
reading. My
number is
very strong
-- could you
find out
what is
Pappie's." [E192]
-
1907 Jul:
rheumatic
fever
initiates
eye problems;
Lucia named
after patron
saint of
eyesight
(E262, 268)
-
1908: iritis
(Costello
276)
-
1909 Dec:
iritis in
Dublin (Costello
290)
-
1910:
drinking in
Pirano (near
Trieste)
later blamed
for eye
problems
(E535)
-
1917 Aug:
attack of
glaucoma,
insensible
with pain
for 20min,
iridectomy
by Sidler on
right eye
for
glaucoma,
exudation
permanenty
reduced
vision
(E417)
-
1918 Jul:
iritis
returns in
both eyes,
almost
incapacitated
for a week
or more "dangerously
ill and in
danger of
blindness"
(E442)
-
1918 Nov:
eye troubles
recur
-
1919 Feb: "my
eyes are so
capricious...
This time
the attack
was in my
'good?' eye
so that the
decisive
symptoms of
iritis never
really set
in. It has
been light
but
intermittent
so that for
five weeks I
could do
little or
nothing
except lie
constantly
near a stove"
(E454)
-
1921 Jul:
five weeks
recuperating
from iritis
attack w/cocaine,
lying in
darkened
room, came
to a head in
three hours
(E517)
-
1921 Aug: "I
write and
revise and
correct with
one or two
eyes about
twelve hours
a day I
should say,
stopping for
intervals of
five minutes
or so when I
can't see
any more."
(E517)
-
1922 May:
iritis
recurs,
spread to
left eye
(E535) "a
furious eye
attack
lasting
until [October]"
(E538)
-
1922 July :
Berman
advises
complete
extraction
of teeth
(E536)
-
late 1922:
everything (or
eyes
themselves?)
looks red
(E537)
-
1922 Oct :
leeches and
dionine from
Dr Collin
(E538)
-
1923 Apr:
teeth
extracted,
Borach
performs
sphincterectomy
on eye,
unable to
read until
June (???)
(E543)
-
1924 Apr:
Borsch
notices
secretion
forming in
conjunctiva
of left eye
(E564)
-
1924 June:
second
iridectomy
on left eye,
nightmarish
visions
after (E566)
-
1924 Jul:
eyepatch
(E567)
-
1924 Nov:
sight dims
again,
cataract
removed from
left (E568)
-
1925 Feb:
conjunctivitis
in right,
pain,
leeches and
morphine
(E569)
-
1925 March:
fresh
trouble in
right "one
eye
sightless
and the
other
inflamed"
(E570)
-
1925 April:
operation on
left, slight
return of
vision;
right can
read print
w/magnifying
glass (E570)
scopolamine
treatments
-
1925 Aug:
sight too
poor to walk
on beach
(E572)
-
1925 Oct:
eyes better
(E573)
-
1925 Dec:
operation on
left, quite
blind after
(E573)
-
1926:
switches to
large
writing
(E573)
-
1926
spring-summer:
eyes better
ϟ
excerto de:
Joyce’s
Myopia, Irisitis, and
Blind Prophecy
autor: Jan Leendert van
Velze
Dissertação em
Literatura Comparada
Universidade de
Utrecht, Holanda
17.Jan.2012
Publicado por
MJA
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