توضیحات
A Preface to James Joyce by Sydney bolt provides a fascinating account of one of the greatest twentieth-century writers and will be essential reading for anyone interested in reading the works of Joyce. One of the most attractive topics presented in A Preface to James Joyce by Sydney bolt is Joyce’s dedication, though a perpetual exile, to his old Irish life.
Epic books, like football teams, need homecomings, and a study of this writer has to acknowledge his tenacious memory and disciplined imagination which kept a firm grip on every street of his native city, sending the reader to a city map as on p. 194 to substantiate the author’s massive narrations and meditation. Many of our readers will turn first to Mr Bolt’s elegant discussion of A Portrait, Joyce’s most widely appreciated book. Clear topic outlines and a wealth of significant detail mark the explications below and must prompt the reader towards an appreciation of the aesthetic and linguistic forms created by Joyce’s massive wit.
Formidable though the later work of Joyce is, the adventurous reader is drawn towards Ulysses and will then explore the appropriate section of this critique organized again under similar headings, its material codified in accordance with the intriguing categories which Joyce himself offered as a help to readers. Indeed, as far as I am aware most of the material in this book is unsurpassed in any other introductory monograph of this size and scope. Paradoxically, Joyce’s books are the work of a master of the modern movement and an heir of medieval traditions at the same time.
In fact, he seems to have synthesized in them the Irish literary consciousness as a whole. I’m not thinking only of the admired Irish Renaissance with its tiny dynamic Abbey Theatre but of the comic spirit that Swift, Sheridan, Wilde and Shaw exploited in different ways. Further back too I am thinking of Celtic legend and the country’s medieval heritage of medieval manuscripts whose skilled penmanship created the free-ranging design and fantasy embodied in the Book of Kells in Dublin’s Trinity College. Joyce’s pages may be interpreted as the creation of a series of central issues packed in between the lines and interlaced with all manner of bizarre materials in much the same way. Medieval readers were accustomed to universal and encyclopaedic scholars. Isn’t this what we have in (Joyce also? Having identified, for instance, the Homeric parallels in Ulysses we should find it entirely natural to discover other hidden schemes built into the text. Medieval scholars delighted in the hidden web of correspondences that encircles all known aspects of reality and emanates from God the Creator. Such thinking was a most acceptable precursor for Joyce’s own, and the Irish literary tradition provided it for him.
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