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ARIELA FREEDMAN ``the greybounding slowrolling amplyheaving metamorphoseous'' (FW 190.31) ``but here till youre martimorphysed please sit still face to face'' (FW 434.312) ``metandmorefussed to decide whereagainwhen to meet themselves'' (FW 513.31) On September 21, 1920, James Joyce sent a letter to Carlo Linati proposing to send ``una specie di sunto--chiave--scheletro--schema'' for his novel in progress, Ulysses (SL 270). To this he added the bracketed caveat: ``per uso puramente domestico.''1 Despite Joyce's instructions that the scheme was meant solely for private consumption, the elaborate list of correspondences that he outlined first for Linati and later, in a slightly different form, for Frank Budgen, quickly moved from the domestic to the public sphere.2 When Joyce first conceived of the story of a Dublin salesman who would mirror the adventures of Odysseus around 1906, he began to sow the seeds for what would grow into an elaborate set of correspondences between Homer's epic and his own. The publication of a version of the schema in Stuart Gilbert's James Joyce's Ulysses in 1930 made evident the extent of Joyce's structural interplay with Homer, and the parallels, parodies, and subversions of Homer's epic have provided ample material for critics intent on tracing the
Joyce Studies Annual – Fordham University Press
Published: Feb 3, 2010
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