Beschreibung:

JOYCE, James (1882-1941). Typescript carbon page from the "Circe" episode of "Ulysses," paginated in type "9," WITH EXTENSIVE HOLOGRAPH ADDITIONS BY JOYCE, comprising some 120 words of additional dialogue. [Paris, circa 1921]. 1 page, 10¾ x 8¼ in., purple ink carbon typescript on linen bond paper. [ With :] BEACH, Sylvia. Autograph note signed ("S.B.") on a small sheet, folded to serve as a standing label: "Page of the typescript of 'Ulysses' from the 'Circe' episode with corrections in the author's handwriting (page 466) S.B." "PROFESSOR BLOOM IS A FINISHED EXAMPLE OF THE NEW WOMANLY MAN" Ulysses was originally conceived as an additional story to be added to Dubliners . Joyce stated that he began to work on it in Rome in about 1909-10, although no manuscripts earlier than about 1916 are extant. Ezra Pound had introduced Joyce to Harriet Shaw Weaver, editor of The Egoist , published in London, and in 1919 the first serial installments were published there. Pound also helped arrange for serial publication in America, in The Little Review , published in New York under the direction of Margaret Anderson and Jane Heap. Between September 1917 and 29 October 1921, when Joyce announced, prematurely, in a letter to Claud Sykes that Ulysses was finished, Joyce's working routine involved the use of different typists to prepare at least two carbons of each page, and "it was his habit to correct two of them extensively, but to leave the third aside with only its initial revisions" (B. Arnold, The Scandal of Ulysses , p.14). Joyce freely intermingled the top copies with the two carbons. It was apparently Joyce's intention that Ulysses would eventually be published in book form by the same two publishers who had undertaken its serial publication; these typescripts, it was thought, would serve each set of printers with setting copy. In the end serial publication was abandoned due to legal battles in both American and English courts. At this point, when obstacles to its publication seemed insurmountable, Sylvia Beach, proprietor of the Left Bank bookshop, stepped in. As she relates "...Here in my little bookshop sat James Joyce, sighing deeply. It occurred to me that something might be done, and I asked: 'Would you let Shakespeare and Company have the honor of bringing out your Ulysses?' He accepted my offer immediately and joyfully..." ( Shakespeare and Company , p.56). The present leaf is evidently from the final typescript used by Beach's printer, Darantiere, to set type for the first proofs; all but a few stray leaves like the present are now in the Joyce Collection of the State University of New York at Buffalo (see Peter Spielberg, James Joyce's Manuscripts and Letters at the University of Buffalo: A Catalogue , V.B.13.h, pp.66-67). The leaf is numbered "9," at top right. In her handwritten label, Beach notes that the text presented here corresponds to p.466 (in the 1922 first edition). The Buffalo typescript V.B.13.i contains an uncorrected carbon leaf coresponding to the present. Joyce added a considerable quantity of new text to the pages of the V.B.13.h typescript, and it is likely that the extensive autograph changes exhibited by the present leaf caused it to be selected from the typescript by Sylvia Beach as a gift. The leaf shows Joyce making highly interesting additions to the "Messianic Scene" in the "Circe" episode, in particular the dialoge involving Leopold Bloom, Dr. Dixon a Nursetender and "A Voice." At the top of the page is Dr. Punch Costello's observation the "The fetor judaicus is most perceptible" (Gabler edn. line 1796). To the line in which Dr. Dixon appeals for clemency, Joyce adds "in the name of the most sacred word our vocal organs have ever been called upon to speak." And, to Bloom's bill of health declaimed by the Doctor, Joyce adds "He is practically a total abstainer and I can affirm that he sleeps on a straw litter and eats the most Spartan food, cold dried grocer's peas. He wears a hair shirt winter a