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Ulysses in FocusGenetic, Textual, and Personal Views$

Michael Groden

Print publication date: 2010

Print ISBN-13: 9780813034980

Published to Florida Scholarship Online: September 2011

DOI: 10.5744/florida/9780813034980.001.0001

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(p.199) Appendix 2. Extant Manuscripts for Ulysses as of Summer 2002

(p.199) Appendix 2. Extant Manuscripts for Ulysses as of Summer 2002

A Chart

Source:
Ulysses in Focus
Publisher:
University Press of Florida

In trying to assess the changes in the archive of Ulysses manuscripts as a result of the National Library of Ireland’s acquisition of new materials in 2002 and the “Circe” and “Eumaeus” documents that surfaced in the two previous years, I prepared a chart that compares the state of the archive up to 2000 with that from after the National Library’s announcement of its new collection. To make this chart as complete as possible, for each extant document I’ve indicated its present location, its catalog number if one exists, and any published photoreproductions or transcriptions. A manuscript in the National Library is labeled with the abbreviation “NLI” and the library’s manuscript number. This chart fills in and supplements the episode-by-episode list of extant manuscripts that I provided in James Joyce’s Manuscripts: An Index.

Documents that existed before 2000 are designated by regular type, and those that have come to light since that date are in boldface type. An arrow indicates that a document leads directly to the next extant stage. A document’s position in a column indicates its approximate place in the composition sequence for an episode: the columns are subject to small and large corrections and do not indicate relationships between manuscripts for different episodes.

The chart covers the documents for Joyce’s work on each episode up to the Rosenbach Manuscript. At some point during his work on each episode he produced a final working draft or fair copy, and from that point on his revisions function almost exclusively to refine and especially to augment the episode’s existing shape. The Rosenbach Manuscript is the extant document (p.200)

Table 1. Extant Manuscripts for Ulysses as of Summer 2002

NOTES

Alphabetical Notebook (Cornell item 25; Archive 7:109–56; Workshop 92–105—partially used for Ulysses) / NLI 36,639/3

Buffalo VIII.A.5 (Archive 12:129–66; Notes and Early Drafts 11–33)

British Library 49975 (Archive 12:2–95; Notesheets)

Buffalo V.A.2 (Archive 12:97–125; Notes and Early Drafts 55–118) /NLI 36,639/4, NLI 36,639/5/A, NLI 36,639/5/B

TELEMACHUS

Rosenbach MS

NESTOR

Rosenbach MS

PROTEUS

NLI 36,639/7/A

Buffalo V.A.3 (Archive 12:238–58) →

Rosenbach MS

CALYPSO

Rosenbach MS

LOTUS EATERS

[lost final draft] / Rosenbach MS

HADES

[lost final draft] / Rosenbach MS

AEOLUS

[lost final draft] / Rosenbach MS

LESTRYGONIANS

[lost final draft] / Rosenbach MS

SCYLLA AND CHARYBDIS

[LaHune item 254; Slocum item 5.b.iii—now lost]

NLI 36,639/8/A–C

[lost final draft] / Rosenbach MS

WANDERING ROCKS

Rosenbach MS

SIRENS

NLI 36,639/7/A

NLI 36,639/9/; Buffalo V.A.5 (Archive 13:32–56)

[lost final draft] / Rosenbach MS

CYCLOPS

Buffalo V.A.8 (Archive 13:83–132; Notes and Early Drafts 152–77) / NLI 36,639/10

Buffalo V.A.6 (Archive 13:134a-h; Notes and Early Drafts 178–87)

Rosenbach MS

NAUSICAA

Buffalo V.A.10 (Archive 13:175–214) /Cornell 56A-B (Archive 13:215–44)

[lost final draft] / Rosenbach MS

OXEN OF THE SUN

Buffalo V.A.11–12 (Archive 14:5–56) /NLI 36,639/11/A–B

Buffalo V.A.13–18 (Archive 14:59–132) / NLI 36,639/11/C-F

Cornell (uncatalogued; draft of pp. 61–65; Archive 14:135–39) → pp. 61–66 of Rosenbach MS

[lost final draft] / Rosenbach MS

CIRCE

Buffalo V.A.19 (Archive 14:201–59; Notes and Early Drafts 191–249) →

NLI 36,639/12

NLI 36,639/12 (Quinn MS)

Rosenbach MS

EUMAEUS

”Eumeo” (current location unknown)

Buffalo V.A.21 (Archive 15:321–68)

Rosenbach MS

ITHACA

NLI 36,639/13

Rosenbach MS

PENELOPE

NLI 36,639/14

Rosenbach MS /Buffalo V.A.22 (Archive 16:293–97)

(p.201) representing the final-working-draft/fair-copy stage, but it is problematic, since only part of it is the working draft used by the typist for the next stage, whereas the other part is a fair copy which perhaps Joyce made from the working draft in order to sell John Quinn a better looking manuscript.1 When the Rosenbach Manuscript is the document that was used to prepare an episode’s typescript, I have listed only it in the last column. When a lost working draft was presumably used for the typescript, the last column says “[lost final draft]/Rosenbach MS.”

A few observations: the pre-2000 chart (the documents in regular type) looks as I imagined it would, with some clusters of extant manuscripts accompanied by many gaps. Flush with excitement from seeing all the new manuscripts, I eagerly anticipated the dramatically different results that I would see when I added the new manuscripts that surfaced in late 2000 and early 2001, and especially those from May 2002. What I saw when I finished it was more manuscripts (with some drafts now completed), somewhat fewer gaps, but basically still several clusters of extant manuscripts accompanied by many missing ones. While an extraordinary number of notes, drafts, and other documents for Ulysses are extant, a large amount is not. For eight of (p.202) the eighteen episodes of Ulysses, even now no pre–Rosenbach Manuscript materials exist at all.

I can think of at least two possible explanations for the patterns of extant and non-extant documents:

  1. 1. Joyce’s working habits changed. As he moved into what in “Ulysses” in Progress I called the middle stage (“Wandering Rocks,” “Sirens,” “Cyclops,” “Nausicaa,” “Oxen of the Sun”), he started taking more notes and saving more of his papers.2 Before 2000 only one pre-middle-stage, pre–Rosenbach Manuscript document—the Buffalo “Proteus” draft—was extant. Since late 2000 a few more drafts from early episodes have become extant, but the number remains very small: two drafts for “Proteus” and one for “Scylla and Charybdis.”

  2. 2. The pattern of extant manuscripts is related to where the documents ended up. Buffalo in the 1940s and 1950s and the National Library in 2002 acquired manuscripts that were in Paris. Cornell has materials that remained in Trieste. The National Library materials, in particular the manuscripts for “Sirens,” “Cyclops,” and “Oxen of the Sun” that are parts of the same draft stages as documents at Buffalo, highlight how easily documents that Joyce produced as a single draft stage of an episode became separated from each other. This isn’t particularly surprising, since he probably didn’t pay close attention to a manuscript’s location once he had finished using it. The separation of two linked documents, one perhaps tossed into one pile in Paris and another into a different pile, or one left in Trieste and the other sent to Paris, was likely more accidental than planned. Scholars first encountered this situation when the earlier collections were established and Buffalo acquired one “Nausicaa” copybook, which ended up in Paris, while Cornell obtained two other copybooks from the same draft stage of the episode that remained behind in Trieste.

When Rodney Wilson Owen studied the sparsely documented early years of Joyce’s work on Ulysses, he investigated Joyce’s use of notes from the so-called “Alphabetical Notebook” at Cornell (transcribed as “The Trieste Notebook” in Robert Scholes and Richard Kain’s Workshop of Daedalus) and concluded that “the presence of the notebook echoes in ‘Proteus,’ ‘Scylla,’ and to a lesser extent in ‘Sirens’ and ‘Wandering Rocks’ suggests these episodes were among the earliest planned.”3 Probably not coincidentally, the only two pre-middle-stage episodes for which any drafts have survived are “Proteus” and “Scylla and Charybdis” (two draft stages would be extant for both episodes (p.203) if the “Scylla” manuscript that Buffalo thought it had acquired when it bought the La Hune collection had reached Buffalo), and, with the two new drafts of “Sirens” at the National Library—perhaps the most tantalizing and unexpected materials in the new collection—a third episode is accounted for. Given this pattern, the complete absence of pre–Rosenbach Manuscript drafts for “Wandering Rocks” remains puzzling. If they ever do surface, they will probably be fascinating.

The new Ulysses materials will likely have only a minimal impact on the text of Ulysses. Almost all of them (the only exceptions are the three late Ulysses notebooks and the typescript of the schema) precede the Rosenbach Manuscript, or fair copy, stage. Once an episode reached that stage, whether in the extant Rosenbach Manuscript or in a missing final working draft, Joyce considered it finished, even if only provisionally and temporarily, and from then on his revisions mostly involved improving and augmenting an existing pattern. Those documents—the Rosenbach Manuscript and the typescripts and proofs that came after it—provide the most important materials for a textual editor to work with.

Although the new National Library materials will likely have only a small impact on editions, they will be of great interest to genetic critics. As in all his drafts, we can watch Joyce trying out ideas, sketching passages, rejecting some words and phrases, and expanding and revising others. These new documents will help genetic critics, as well as other critics interested in literary creation, catch a glimpse of the writing process that produced such a work as Ulysses and better understand some of the particularities and pleasures of both the writing process and Ulysses itself. (p.204)

Notes:

(1.) Groden, “Ulysses” in Progress, 205–17.

(2.) Ibid., 37–52, 115–65.

(3.) Owen, Joyce and the Beginnings of “Ulysses,” 68. For details about the “Alphabetical Notebook”/”Trieste Notebook,” see chapter 1, note 20.