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Behind the bronze gold heard the clatter of steel hooves.
Bespardon dondondon.
Motes, scraping motes from a hardened fingernail. Motes.
Terrible! And the gold turned redder.
He blew a hoarse note with a flute.
Blown out. Oh, Bloom, lost soul.
Golden hair crown.
A rose sways on a satin-clad chest, the rose of Castile.
Humming, singing: Adolores.
Well, who do we have ... golden-haired?
The bell to the regretful bronze tinkled plaintively.
And the sound is clear, long, vibrating. Slowly fading sound.
Alluring. Gentle word. Look! The stars are already fading. Oh rose! Notes chirping answer. Castile. Morning dawns.
The carriage rolled with a rattling sound.
The coin jingled. The cuckoo cuckooed. [eleven]
Here the imitation of the musical form is evident. There is no doubt that Joyce managed in a rare, almost unheard-of way to fill and permeate his text with musicality. The letter is skillfully saturated with a variety of sound and musical effects. We hear melodies, rhythms, overflows, rich sound instrumentation; we catch the effects of staccato (You? I. I want. To), glissando (cap-cap-bloop-bloop-bloom-bloop), fermata (endless and without edge - paradise - paradise). The impression is enhanced by the content: the music enters the action, fills the thoughts of the hero, excellent figurative descriptions of the element of singing, the flowing human voice are given ... And in the end, leaving aside the scholastic desire for a fugue with the canon, we can admit that the author managed to achieve, to be maybe the ultimate convergence of the verbal and musical elements. It is said that Joyce wrote this episode for five months, all this time being completely immersed in the musical element; he was constantly at the opera, at concerts, only talking about music. But then - how cut off. For some time after the end of Sirens, he simply could not listen to her anymore.
The Nausicaa chapter is a plug-in novella. The plot is based on a girl and a stranger on the beach. Leading devices are the stream of consciousness of Gertie, the heroine, and a parody of "low-grade" women's novels. These techniques allow Joyce to explore female psychology, to show the mental and speech differences between the sexes. A lively, real voice is heard in her immediate reactions, in the hairpins addressed to her comrades, in her thoughts about her boy. The other, made up of clichés and clichés, ready-made blocks of the puppet world of fashion magazines and sentimental reading material, sounds in her dreams about her fate, in her ideas about the world, about proper behavior, about the appearance and manners of a real young lady, "a subject of Her Majesty Fashion." The main thoughts are spoken by the author not by the content, but by the form. In this respect, Nausicaa is one of the first examples of postmodern literature.
But who is Gertie?
Gertie McDowell sat not far from her friends, thinking and looking off into the distance. The wildest imagination could not have imagined a more charming image of an Irish girl. All her acquaintances unanimously declared her a beauty, although they sometimes noticed that she went more to the Giltraps than to the McDowells. She had a dainty, thin figure, perhaps even frail, although the iron pills she had begun to take had helped her greatly (unlike Widow Welch's pills), reducing the leaks she used to have and taking away the feeling of being overwhelmed.
The waxy pallor of her face, which had the purity of ivory, was almost unearthly, but the lips, in their antique perfection, made one recall the rosebud and Cupid's bow. Her slender-fingered hands were like blue-veined marble, as white as lemon juice and Queen's Cream could deliver, though it was the worst fantasy that she wore kid gloves at night and washed her feet in milk. Once Bertha Suple said this about her to Eddie Boardman, but she just made it up, because at that time she was with Gertie on knives (of course, our girlfriends sometimes had their little quarrels, like all mortals) and she also told her to for nothing in the world did she let out who told her, otherwise she would not talk to her all her life. No.
To each according to merit. Gertie had an innate refinement, a kind of languid hauteur, even something regal, the graceful lines of her hands and her high-stepped leg left no doubt about that. [12]
Let us turn to the episode "Aeolus" already considered by us. Throughout the episode, it specifically demonstrates the art of rhetoric, provides examples of eloquence. The Irish are reputed to be a talkative nation, and rhetoric is developed and appreciated here; it also has a lot of space in the Jesuit school that Joyce went through. In the "Aeolus" there are all without exception the figures and speech techniques known in the classical manuals.
The text of this episode outwardly resembles short newspaper notes, sketches, which not only recreates the “spirit” of the editorial office, but also demonstrates the principle of journalistic thinking and word creation. The headlines of "Eol" mimic the style of tabloid headlines. Of course, in this episode, a parody of newspaper "masterpieces" is also clearly manifested.
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