sábado, 26 de diciembre de 2015

Pound/Joyce

Letter from James Joyce to Ezra Pound, dated October 29, 1921, announcing the completion "this evening" of Ulysses. This note, clearly penned within an hour or so of finishing the novel, testifies to the intimate relationship between Joyce and Pound. Pound had been reading and reacting to Ulyssesthroughout its gestation, and played an important role in bringing it to the attention of the broader literary world.Also displayed is the telegram Joyce sent to Pound the day the book appeared (on Joyce's own birthday), February 2, 1922: "Ulysses published thanks for all your help".Letter from Harriet Weaver, publisher of Ulysses, to Kate Buss, dated February 7, 1924. Weaver explains that an English edition of the novel was published in London by The Egoist Press in an edition of 2000 copies for private subscription, of which 400 "were seized and burned by the New York postal censorship authorities".  Ulysses was not allowed to enter or be published in the United States until 1934, twelve years after its initial appearance. Weaver also mentions that Joyce is working "though under very difficult conditions [cause of his eye problems] at his new book" (Finnegans Wake, finally published in 1939).Postcard from George Bernard Shaw to Ezra Pound, dated March 8, 1922, about his refusal to subscribe to Ulysses, beginning "What aileth three, Ezra?"… and stating he would see Joyce and his lady bookseller "d------------d first" before he would pay "fifty times what M. Joyce could buy my entire works for." Pound was taking Shaw to task for stating that Ulysses was "a revolting record of a disgusting phase of civilization." On a second card dated March 16, Shaw declares "Joyce has any quantity of literary and even of dramatic competence; but he has to please me and not you before he can succeed, because I am through with my wild oats, whilst you are still larking with life."Pictorial postcard from George Bernard Shaw to Ezra Pound, dated 20 March, 1922, reproducing Ribera's The Dead Christ, inscribed by Shaw: "Miss Shakespeare consoling James Joyce, who has fainted on hearing of the refusal of his countryman to subscribe for Ulysses. Isn't it like him?"Letter from W.B. Yeats to Ezra Pound, dated May 18, 1924, concerning the seizure of copies of Ulysses. Here Pound tries to enlist the help of his older friend Yeats in getting copies into Ireland, where the book was never officially banned, since it had not been published there. Yeats, always cautious, replies: "You could probably get copies sent in here if nobody knows anything about it but it would be ruinous to let the fact be whispered in Government Offices. Here we have a few intelligent men who have to keep always on the watch not to give clerical ignorance an opportunity to attack."

jueves, 24 de diciembre de 2015

La Palabra

En el principio ya existía la Palabra, y la Palabra estaba junto a Dios, y la Palabra era Dios. La Palabra en el principio estaba junto a Dios. Por medio de la Palabra se hizo todo, y sin ella no se hizo nada de lo que se ha hecho. En la Palabra había vida, y la vida era la luz de los hombres. La luz brilla en la tiniebla, y la tiniebla no la recibió. Surgió un hombre enviado por Dios, que se llamaba Juan: éste venía como testigo para dar testimonio de la luz, para que por él todos vinieran a la fe. No era él la luz sino testigo de la luz. La Palabra era la luz verdadera, que alumbra a todo hombre. Al mundo vino, y en el mundo estaba; el mundo se hizo por medio de ella, y el mundo no la conoció. Vino a su casa y los suyos no la recibieron. Pero a cuantos la recibieron, les da poder para ser hijos de Dios, si creen en su nombre. Éstos no han nacido de sangre, ni de amor carnal, ni de amor humano, sino de Dios. Y la Palabra se hizo carne y acampó entre nosotros, y hemos contemplado su gloria: gloria propia del Hijo único del Padre, lleno de gracia y de verdad. Juan da testimonio de él y grita diciendo: “Éste de quien dije: “El que viene detrás de mí pasa delante de mí, porque existía antes que yo”. Pues de su plenitud todos hemos recibido gracia tras gracia. Porque la Ley se dio por medio de Moisés, la gracia y la verdad vinieron por medio de Jesucristo. A Dios nadie lo ha visto jamás: Dios Hijo único, que está en el seno del Padre, es quien lo ha dado a conocer.
Juan 1, 1-18 

Merry Christmas


miércoles, 14 de octubre de 2015

A Cradle Song, Yeats and Joyce

A Cradle Song



THE angels are stooping
Above your bed;
They weary of trooping
With the whimpering dead.
God's laughing in Heaven
To see you so good;
The Sailing Seven
Are gay with His mood.
I sigh that kiss you,
For I must own
That I shall miss you
When you have grown.

domingo, 11 de octubre de 2015

Me dicen que llame a P, para que él me de ideas. Como me gustaría ser como Myles Crawford

(...) Los movimientos que producen las revoluciones en el mundo nacen de los sueños y visiones en el corazón de un campesino en la ladera. Para ellos la tierra no es un terreno explotable sino la madre viva. El aire enrarecido de la academia y del terreno de competición producen la novela de seis chelines, la canción de café cantante(...).

Escila y Caribdis

miércoles, 23 de septiembre de 2015

National Library of Ireland.


Episode 9 - Scylla And Charybdis.

Smile. Smile Cranly's smile.
First he tickled her
Then he patted her
Then he passed the female catheter.
For he was a medical
jolly old medi.

Te esperamos el 28 de octubre.

Este sábado nos reunimos con la Yeats Society

martes, 1 de septiembre de 2015

Arran Q Henderson


Arran ha organizado unos paseos por el Dublín georgiano en julio y agosto. Visita su enlace y acaso te animes a conocer la ciudad de James Joyce el próximo verano.


http://arranqhenderson.com/2015/07/01/5-georgian-walks-dates-for-your-diary-july-and-august/

lunes, 31 de agosto de 2015

Jackson Pollock

En los anaqueles de la casa de The Springs, Ulises y Finnegans Wake. Todo Joyce en Pollock

viernes, 24 de julio de 2015

El sonido del silencio



La inutilidad de lo útil

Lo útil de la inutilidad


La utilidad de lo inútil, Nuccio Ordine

Qué libro

Sligo

domingo, 28 de junio de 2015

Richard Hunter. Love's Old Sweet Song. Bloomsday 2015 en Madrid



James Duggan and Michael Connolly. Nausicaa. Bloomsday 2015 en Madrid



Richard Carlow. Calipso. Bloomsday 2015 en Madrid.




Jim Trainor. Telémaco. Bloomsday 2015 en Madrid




The Wolfe Tones - The Night Before Larry Was Stretched

Michael Connolly. Who goes with Fergus? Bloomsday 2015 en Madrid




Embajador Cooney, de la República de Irlanda


jueves, 18 de junio de 2015

Bloomsday 2015 en Madrid

El pasado martes, 16 de junio, se celebró en Madrid el Bloomsday 2015, organizado por la Embajada de Irlanda y la Bloomsday Society,  en el Círculo Catalán. 

El Embajador Cooney, inauguró el acto con la lectura de “Stately, plump Buck Mulligan came from the stairhead, bearing a bowl of lather on which a mirror and a razor lay crossed…” 

A continuación, Joaquím Mallafré habló de las dificultades a las que  se enfrentó al traducir  la novela al catalán, y Madrid Players y miembros de la Bloomsday Society leyeron extractos del Ulises  y amenizaron el acto con canciones, acompañados al piano por Richard Hunter. 

Al finalizar, el casi centenar de asistentes, brindaron con una copa de cava.

Gracias a todos por vuestra asistencia y apoyo.  

martes, 16 de junio de 2015

Bloomsday


BLOOMSDAY – THE HISTORY
Bloomsday celebrates the day on which the action of James Joyce’s novel Ulysses takes place on 16 June 1904. According to Richard Ellmann’s biography, Joyce chose June 16th as a gift to his partner and later wife, Nora – to commemorate the day on which she first went for a romantic stroll with him and changed his life forever.
The day is named after Leopold Bloom, the central character in Ulysses. The novel follows the life and thoughts of Leopold Bloom and a host of other characters – real and fictional – from 8am on 16 June through to the early hours of the following morning.
One of the earliest Bloomsday celebrations was a Ulysses lunch, organised by Sylvia Beach, publisher ofUlysses, and her partner Adrienne Monnier in France in June 1929. Joyce and thirty other guests were invited to a luncheon at the Léopold restaurant near Versailles, to honour both the publication of the French translation of Ulysses and Bloomsday’s 25th anniversary.
Bloomsday as we now know it, owes its origin to the fiftieth anniversary celebration in Dublin, on 16 June 1954. Irish writers Flann O’Brien and John Ryan organised a group of Dublin’s intelligentsia for  what was to be a day long pilgrimage along the Ulysses route. Ryan had engaged two horse drawn cabs of the old-fashioned kind, which in Ulysses Mr. Bloom and his friends drive to poor Paddy Dignam’s funeral. They planned to travel round the city through the day, visiting in turn the scenes of the novel, ending at night in what had once been the brothel quarter of the city, the area which Joyce had called Nighttown. The pilgrimage was abandoned halfway through, when the weary Lestrygonianssuccumbed to inebriation and rancour at the Bailey pub in the city centre, which Ryan then owned.
On June 16 1967, a gathering of Joyce scholars took place in Dublin for the inaugural James Joyce Symposium. This biennial event has grown from strength to strength and will be held in Dublin for the seventh time in 2012. Sponsored by the International James Joyce Foundation, the symposium has also taken place in many of the cities in which Joyce lived, Zurich, Trieste, Rome, and Paris. The symposium has also travelled to lots of other European cities, including Copenhagen, Venice, Frankfurt, Monaco, Seville, London, Budapest, Tours, and Prague.

sábado, 13 de junio de 2015

viernes, 5 de junio de 2015

BLOOMSDAY 2015. Joaquim Mallafré y Gavaldá, traductor del Ulises al catalán, disertará sobre "Tribus y Polis en Ulysses/Ulisses. Bases para una traducción".




Joaquim Mallafré y Gavaldà (Reus, 1941) es profesor, escritor, ensayista y traductor. Licenciado y doctor en filosofía y letras por la Universidad de Barcelona, ​​ejerce de profesor en la Universidad Rovira i Virgili. Ha sido también docente y catedrático de inglés en el Instituto de Bachillerato Gaudí de Reus.

A lo largo de su trayectoria profesional ha dictado conferencias en pueblos y ciudades de Cataluña y también en Madrid, Praga y Delfos, entre otras ciudades. Ha impartido cursos y seminarios en diferentes universidades de los Países Catalanes, como la Universidad Autónoma de Barcelona, ​​la Universidad de Lleida y la Universidad de Alicante, así como en otros puntos del territorio español y de Europa, como Sevilla, Vigo, Dublín y Trieste.
Es socio del Centro de Lectura de Reus desde los años sesenta y ha ejercido diversos cargos directivos. Actualmente es miembro de la Comisión Artística del Teatro Bartrina.Entre 1999 y 2002 fue vicepresidente de la Sección Filológica del Instituto de Estudios Catalanes, corporación de la que es miembro desde 1991, en la que ha trabajado especialmente en la Comisión de Gramática y la Comisión de Lexicografía.

Ha recibido varios premios y distinciones (por la traducción de Ulises, por la traducción deQuién en casa vuelve y por el libro Lengua de tribu y lengua de polis), y en 1998 le fue concedida la Cruz de San Jorge de la Generalidad de Cataluña por su labor pedagógica y traductora.

viernes, 29 de mayo de 2015

Yeats en el Ateneo

Dear friends,

In light of the celebrations taking place world-wide to honour the 150th anniversary of the birth of one of our most beloved poets, W. B. Yeats, the Embassy and the Yeats Society in Madrid are delighted to inform you of the upcoming art exhibition “Of this place” which will take place in the Ateneo de Madrid (Sala Prado 19), Calle Prado 19, from 2-14 June (11.30-9pm daily). The exhibition features 32 paintings and sculptures by eight contemporary Irish visual artists inspired by the very landscapes that helped shape Yeats’ poetry. 

To complement the art from Ireland, Madrid designer Sandra Ruiz Bellew will exhibit her “Minnaloushe Poetry in Jewellery” collection, inspired by Yeats’ poetry and the women in his life. There will also be a third exhibition on the life and works of Yeats, “La Vida y Obra de William Butler Yeats”, courtesy of the Irish Embassy.

On Thursday 11 June at 7pm we will be hosting a special evening at the Ateneo to honour the poet with readings, song and music. We hope to see you there.

Admission to the exhibition is free and everyone is welcome. Please tell all your family and friends. Please see attached for more details.

Regards

*********************************

Queridos amigos,

Dentro de las celebraciones que tendrán lugar a nivel mundial para conmemorar el 150 aniversario del nacimiento de unos de nuestros más queridos poetas, W.B. Yeats, la Embajada de Irlanda y la Yeats Society en Madrid tienen el placer de informaros de la exposición de arte"Of this place” que tendrá lugar en el Ateneo de Madrid (Sala Prado 19), C/Prado 19,  del 2 al 14 de junio (11.30-21.00 todos los días).  En ella podrán ver 32 cuadros y esculturas, obra de ocho artistas visuales irlandeses contemporáneos, inspirados en el mismo paisaje que ayudó a Yeats a dar forma a su poesía. 

Como complemento del arte llegado de Irlanda, la diseñadora madrileña Sandra Ruiz Bellew expondrá su colección “Minnaloushe: poesía en joyería”, inspirada en la poesía de Yeats y las mujeres de su vida. 

Ambas muestras estarán acompañadas por la exposición “La vida y obra de William Butler Yeats”, cortesía de la Embajada de Irlanda. 

El jueves 11 de junio a las 19.00h, habrá una velada especial en el Ateneo para honrar al poeta con lecturas, canciones y música. Esperamos veros allí.

El acceso es gratuito y todos serán bienvenidos; por favor, compartirlo con vuestra familia y amigos. Se adjunta más información sobre las distintas exposiciones.

Saludos

Te esperamos en la inauguración del Festival Yeats, el 2 de junio a las 18:00 en el Ateneo


domingo, 10 de mayo de 2015

The Dreaming of the Bones, by W.B.Yeats.


TWO PLAYS FOR DANCERS

PREFACE

In a note at the end of my last book 'The Wild Swans at Coole' (Cuala Press.) I explained why I preferred this kind of drama, and where I had found my models, and where and how my first play after this kind was performed, and when and how I would have it performed in the future. I can but refer the reader to the note or to the long introduction to 'Certain Noble Plays of Japan' (Cuala Press.)
W. B. Yeats. October 11th. 1918
P. S. That I might write 'The Dreaming of the Bones,' Mr. W. A. Henderson with great kindness wrote out for me all historical allusions to Dervorgilla.

THE DREAMING OF THE BONES

The stage is any bare place in a room close to the wall. A screen with a pattern of mountain and sky can stand against the wall, or a curtain with a like pattern hang upon it, but the pattern must only symbolize or suggest. One musician enters and then two others, the first stands singing while the others take their places. Then all three sit down against the wall by their instruments, which are already there—a drum, a zither, and a flute. Or they unfold a cloth as in 'The Hawk's Well,' while the instruments are carried in.

FIRST MUSICIAN

(or all three musicians, singing)Why does my heart beat so?Did not a shadow pass?It passed but a moment ago.Who can have trod in the grass?What rogue is night-wandering?Have not old writers saidThat dizzy dreams can springFrom the dry bones of the dead?And many a night it seemsThat all the valley fillsWith those fantastic dreams.They overflow the hills,So passionate is a shade,[Pg 2]Like wine that fills to the topA grey-green cup of jade,Or maybe an agate cup.(speaking) The hour before dawn and the moon covered up.The little village of Abbey is covered up;The little narrow trodden way that runsFrom the white road to the Abbey of CorcomroeIs covered up; and all about the hillsAre like a circle of Agate or of Jade.Somewhere among great rocks on the scarce grassBirds cry, they cry their loneliness.Even the sunlight can be lonely here,Even hot noon is lonely. I hear a footfall—A young man with a lantern comes this way.He seems an Aran fisher, for he wearsThe flannel bawneen and the cow-hide shoe.He stumbles wearily, and stumbling prays.
(A young man enters, praying in Irish)
Once more the birds cry in their loneliness,But now they wheel about our heads; and nowThey have dropped on the grey stone to the north-east.
(A man and a girl both in the costume of a past time, come in. They wear heroic masks)

YOUNG MAN

(raising his lantern)Who is there? I cannot see what you are like,Come to the light.

STRANGER

But what have you to fear?

YOUNG MAN

And why have you come creeping through the dark.
(The Girl blows out lantern)

Lestrygonians o Lestrigones

The Lestrygonians episode was first published in the January 1919 number of Little Review. It was in interesting company: it appeared along with a Yeats play. The Dreaming of the Bones, written in the manner of Japanese Noh drama; a symposium on Exiles; and the first instalment of a story by May Sinclair, "Mary Olivier: A Life".

El párrafo de Friedman me traslada a Tokio, a aquel septiembre de hace algunos años, la kabukiza inmóvil y muda, epítome de femenidad, epítome de opresión, acaso. El arte y el derecho no danzan al mismo son.
Los Lestrigones a mi querido Davy Byrnes. Nos sentábamos en el salón del fondo, salon decorado con pinturas inspiradas, May, Muriel, Don, todos reíamos después de las reuniones en la Biblioteca Nacional, para dejar que el cuerpo se aflojara y hacernos la vida más agradable. Infusiones y sandwiches abiertos de gambas. Don y las historias de sus romances, historias algo inventadas, porque todas sabíamos. He is fond of you, me decía May. Robinson Crusoe, da vueltas a la isla y Stephen y Poldy lo miran desde los colores.




sábado, 2 de mayo de 2015

Aquel Dublín de las retóricas III


Son las doce,  parece que no llueve, tic, tac, tic, y Poldy zigzague por O'Connell para enfrentarse a Myles Crawford, Eolo enfurecido, hombre de retóricas escatólogicas, que zarandea también a Stephen, quien inventa la parábola de las ciruelas, cuidado que llueven semillas de ciruelo desde la columna de Nelson. A todas nos encantaría que las semillas les diera en los parietales a los parásitos de retóricas putrefactas.

Stephen ha dejado la carta de la glosopeda de su empleador Deasy en el Telegraph y levanta la sesión para irse a Mooney's con el  señor de las reales posaderas, el profesor y Lenehans.

Keyes y fiebre aftosa se miran, él observa, sí Poldy, botas nuevas, el "padre" y el "hijo" no se dirigen la palabra todavía. El espíritu de la creación difumina las casi sesenta interrupciones.

Mal andaban los asuntos políticos en Irlanda, Moises, Parnell, Cristo. Y Poldy que no puede o no quiere gobernar Eccles.

Exordium,  narratio, divisio, confirmatio, refutatio...conclusio. Ay! el discurso de Taylor

El viento sur nos empujará a Carlisle Bridge, los lestrigones nos esperan, gigantes antropófagos, qué miedo.

miércoles, 29 de abril de 2015

Aquel Dublín de las retóricas II


Aquel Dublín de las retóricas

Parece que Poldy es el único que trabaja en la metrópoli hiberniana. El otro día un columnista poco generoso con el premio nobel fallecido, se atrevía a decir que "nuestro" Poldy era hombre de silencios. En Duke me enseñaron muchas reglas, pero la que no se me ha olvidado, la regla angular, es decir tres cosas buenas de los vivos y los muertos antes de hacer una crítica. En fin, que ya empezamos con la digresión y eso que no me he atrevido a desobedecer a Eolo. Hasta los escritores encantadores parecen envidiosos si no lo hacen. Tres, tres, tres, mi admirado.
El viento norte asusta a las palomas y olmo llora.
En el Sabath no se trabaja, pero estamos a jueves y esa clase se arremolina alrededor de la columna de Nelson, "En el corazón de la metrópoli hiberniana".La columna que voló el IRA en los sesenta, un trabajo impecable, decía mi querida amiga May Moroony. Stephen y Poldy trabajan, también las meretrices y las camareras, debemos respirar profundo para ganarnos la vida. Limpiabotas y Edward Rex.
 Exordium magnífico que me lleva a Blackrock a Sandymount Green. Son tantos los recuerdos.
Macintosh, has anybody seen Kelly, sí Macintosh, es él. ¿Quién habla?
Ibsen fue el primero, los iguales se reconocen. Y Joyce aprendió noruego y danés.

Limpiabotas, Edward Rex, carreteros, cerveza y Poldy preocupado por su cliente Alexander Keyes. No puedo escribir Llavees. Poldy trabaja deprisa, queda mucho día para meditar y los placeres eróticos.Freeman´s Journal y "esos señores de prensa", Red Murry, el tío de Joyce y de Stephen...

martes, 21 de abril de 2015

Episode VII AEOLUS -- Presented by Terence Killeen

James Joyce reading from Ulysses

Recording

First Recording – ‘Aeolus’ – 1924
The first recording of Joyce reading from his work was organised by Sylvia Beach, the publisher of Ulysses. Late in 1924, she went to the Paris branch of the Gramophone Company (which owned the label His Master’s Voice) and asked if they would make a recording of Joyce reading. She was directed to Piero Coppola, an Italian composer and conductor, who was then artistic director of His Master’s Voice in Paris.
Coppola told Beach there was no public demand for anything other than music recordings, but he agreed they could make a recording for her. However, the recording would have to be made at her expense, and it wouldn’t have the ‘His Master’s Voice’ label on it or be listed in their catalogue. Beach agreed to his terms.
According to Beach, Joyce himself was anxious to make this recording. Joyce had chosen to read John F Taylor’s speech from the ‘Aeolus’ episode, claiming it was the only passage that could be lifted out of Ulysses, and that being declamatory in style it was therefore suitable for recital.
But Beach believed he hadn’t chosen it for these reasons alone. She felt that the passage “expressed something he wanted said and preserved in his own voice” (Beach: 171). MJC Hodgart, writing later about the same passage, claimed that it is “a truly inspired statement of Joyce’s artistic credo…” (Hodgart: 121).
(It’s not clear, however, if Joyce had originally intended to read from a different part of Ulysses. On 16 November 1924, he wrote to Harriet Weaver saying that he was learning a page of the ‘Sirens’ episode for the recording, and he repeats this to Valery Larbaud in a letter of 20 November, just a week before the recording was due to happen.)
As Joyce was preparing for the recording session, he was suffering with severe eye problems. His eye specialist, Doctor Borsch, decided at the beginning of November that Joyce would have to undergo another eye operation and had scheduled it for November 27. However, Joyce asked for it to be deferred until 28 November so that he could make the recording.
On Thursday 27 November 1924, Joyce travelled with Sylvia Beach by taxi to the Paris suburb of Billancourt, where the record company’s factory was located. The journey seemed long, and Joyce was suffering both from his eyes and from nerves, but he soon felt at home with Piero Coppola, with whom he discussed music in Italian.
Beach says that the recording was an ordeal for Joyce. The first attempt to record failed – apparently because Joyce faltered – and they had to begin again. In the end, the recording took up one side of a twelve-inch disc and it lasts just over four minutes. Two days after the recording, Joyce underwent his sixth eye operation, to remove a cataract from his left eye.
Given that the Gramophone Company wouldn’t produce the record under the HMV label, it seems that Joyce took the time to design his own record label. His sketch for a record label is now in the James Joyce Collection at the University at Buffalo, along with several of the original records.
In her memoirs, Sylvia Beach acknowledged that the HMV recording was rather primitive and not a technical success. However, it remains the only recording Joyce made from Ulysses, and Beach said it was her favourite of the two recordings: “I think the Ulysses record is a wonderful performance. I never hear it without being deeply moved” (Beach: 171).
Sylvia Beach ordered thirty copies of the record, to be paid for on delivery. The records were not intended for sale, and most of the copies were given to Joyce who gave them away to friends and family. Beach kept a couple of records herself, and admitted that she later sold them at a stiff price when she was hard up.

lunes, 13 de abril de 2015

Aeolus


The Rhetorics of Fiction and Politics in the Aeolus Episode of Ulysses


"They had heard, or had heard said, or had heard said written" Finnegans Wake 369:16


As everyone has remarked, the business of this episode is rhetoric. But in a fairly obvious sense the business of all the episodes is rhetoric: how to find a style that best communicates the thoughts of a half-educated man as he goes about his business in a provincial capital of the British Empire in 1904; the thoughts of his uneducated wife mulling over her past and present without melancholy in the middle of the night; the musings of an overeducated young man walking alone with his thoughts on a beach; the conversation of a group of intellectuals discussing literary history; the talk of another group of educated men discussing and practicing rhetoric as here in this episode. 1
How do you convey the rather chaotic reality of a group conversation in a place of business with its many interruptions without at the same time presenting the reader with chaos? How do you make the report an artistic daedalian construct that displays the individual parts without seeming like a collection of disjecta membra? It is the question that Stephen Dedalus tried to grapple with on the beach in "Proteus": how to turn the protean flux of life into an artistic "thing".
1

In James Joyce's Ulysses (194-8) Stuart Gilbert has four pages of rhetorical forms used in this episode. An appendix doing much the same can be found in Don Gifford's Ulysses Annotated (2nd ed., Berkeley: U of California Press, 1988), p.635 ff.
12 (...) 

Thomond Gate