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STAFF AND FEATHER
"His Eminence has called twice this morning," Red Merry said respectfully.
They watched knees, legs, shoes disappear from their eyes. Neck.
A boy, a peddler of telegrams, flew in, threw a package on the counter, flew out at telegraph speed, throwing only a word:
- Freeman!
Mr Bloom said slowly:
- Well, he really is one of our saviors.
A meek smile accompanied him when he raised the lid of the counter and when he went out through the side doors and walked down the dark and warm stairs and then down the passage along the boards, which were already quite loose. Will he save the circulation of the newspaper? Knock. The sound of cars.
He pushed open the glass doors and entered, stepping over a pile of wrapping paper. Passing between the clanking machines, he followed the partition where Nannetti's desk stood.[13]
The decisive stage is the episode "Bulls of the Sun". Leopold Bloom ends up in a maternity hospital. Translators, keeping the style of Joyce, found an analogue of his method: the episode is written in the old Russian book language. An explanation for this can be found in the following semantic parallel. Maternity hospital - the birth of a child - the birth of a literary language. Let us cite a small excerpt from this episode as an illustration: “And so it is said that the human soul is breathed in by the end of another month, and that our Holy Mother nourishes the souls of everyone and always, the earthly mother is nothing more than a female, bearing offspring in the image of cattle, and this is befitting according to the canon of her perish, this is more than a fisherman’s seal, Peter himself is blessed, on his own stone the Holy Church was built for all time. ”[14]
A special place in the novel is occupied by the reception of contrasting writing. Its essence is that the text pushes together two mutually opposite, polar syllables: extremely compressed and extremely stretched, moreover, already difficult, meaningful places are compressed, while the simplest, trivial ones are stretched. If we compare the text with the conditional parameter "semantic saturation", then we will see that there are surprisingly few places in the novel with normal, average values of this parameter: as a rule, these values are either incredibly high or incredibly small. Thus, the reception has a strong effect; he creates a sharp, defiant style that hits the reader's perception.
Empty talk, speech polar to laconism, is a much rarer means. In the history of literature, it is closely associated with the element of comedy. Joyce's novel greatly enriched and expanded the palette of literary idle talk. There are absolutely all of its types here, from the most traditional to new and previously unknown. The first include examples of oratorical idle talk in Aeolus, lawyers in Circe, and so on. Further, idle talk parodies professional speech: scientific in the Bulls of the Sun, medical in Circe, commercial contracts in Cyclopes, financial papers in Ithaca ...
A more traditional element is hyper-lists, in which, between articles of the same type, the most unexpected and inappropriate ones are suddenly inserted. Joyce has many of them: 19 admiral titles are listed in Cyclopes, 35 guilds and workshops in Circe, 45 properties of the water element in Ithaca... Such lists are one of the oldest and most popular means of comic style, found in all of his classics - Rabelais, Grimmelshausen, Gogol, Joyce's favorite Swift and Stern ... In "Ulysses", however, these lists are made immeasurably longer, sometimes reaching some already incredible length - like, say, lists of 82 saints in "Cyclops" or 79 Bloom's pursuers in Circe. As a result , their effect here is not only, and perhaps not so much, comical: they puzzle the reader, alienate and complicate the style.
The combination of idle talk and laconicism in a single technique of contrasting writing is a major stylistic novelty, which greatly reflected Joyce's personal style with his brilliant technicality, his love of riddle, challenge and clash of extremes.[15]
A special place in the novel is occupied by parody as an artistic device. There are especially many parodies in Cyclopes, and then something is found in almost every episode: a subtle interweaving of parody and stream of consciousness in Nausicaa, a grandiose series of stylistic models in Bulls of the Sun, parodies of judicial, medical, scientific speech, to the preaching of "born Christians" in "Circe" and again the parody of various special types of speech in "Ithaca". The writer is clearly drawn to these forms, drawn to disassemble, try on, try out every existing style and method of writing. When there is a neutral analytical interest behind this attraction, a pure stylization arises, a pastiche, or rather, a model, because only the form of the prototype is always reproduced, with complete detachment from its content and ideas. When interest is tinged with a critical, polemical, ironic attitude towards the prototype, parody arises. There is a lot of both in Ulysses, for Joyce lived in literature as in his own house, knew the prose of all times, peoples and genres thoroughly, and in his reactions there was always both ironic skepticism and technical interest.
Often both motifs are mixed, so that the text is a kind of interworld of parody and pastiche. Thus, the insertions into the Narrator's speech in the Cyclopes are pure and unmistakable parody; the prose models of Mandeville, Defoe, or the medieval morality in Bulls of the Sun are just as undeniably pastiche; and Ithaca, or many other models of the Bulls (say Goldsmith, Stern, Ruskin) can be regarded as both a parody and a mere exercise in style at will. [sixteen]
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