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The Self-Reflexive Arranger in the Initial Style of Joyce's "Ulysses"Author(s): John SomerSource: James Joyce Quarterly, Vol. 31, No. 2 (Winter, 1994), pp. 65-79Published by: University of TulsaStable URL: http://www.jstor.org/stable/25485420
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musm
The
Self-Reflexive
Arranger
in
the Initial
Style
of
Joyce's
Ulysses1
John
Somer
Emporia
State
University
In
1970,
when
David
Hayman
announced
the
presence
of
the
arranger
in
James
Joyce's Ulysses,
he seemed to offer an
approach
to readers who
had
puzzled
over
the
novel
since
1922.2
From
the
beginning,
readers
struggled
with
the
book's
extravagant
adherence
to,
and exuberant deviation
from,
mimetic
representation.
For
S.
L.
Goldberg
in
1961,
for
example,
the
first
half of
the novel
was
realistic
and
the last
a
rather
pretentious
parade
of
literary
machinery 3
It is
common
knowledge
now
that the
mimetic
illusion of the entire
novel
is
disrupted by
numerous
devices,
among
them
a
traveling
point
of
view,
a
disjointed plot,
and
an
unresolved
conclusion.
Ulysses
fails, then,
to
sustain
a
traditional
realistic
structure.
While
earlier
critics,
such as T. S. Eliot and
Joseph
Frank,
found
meaning
in
its
poetic
structure,
they
did
not
resolve
its
narrative
problems.4
Their
work
did
suggest,
however,
that
there
are
meaningful
patterns
in
the
text.
Hayman
seems
to
draw from
both
positions,
and
while
he
sees
Ulysses
as a
realistic
novel,
containing
'lifelike
situations,
he
recognizes
its
structural difficulties.
He
prefers,
however,
to
see
the
novel's
multifarious
parts
as
functional
aspects
of
the book's
mean
ing
(Hayman
xi-xii).
During
his discussion of the mechanics of
Ulysses,
Hayman
intro
duces
the
arranger
and
defines
it
as
a
figure
or
a
presence
that
can
be
identified neither
with
the author
nor
with
his
narrators,
but that
exercises
an
increasing degree
of
overt
control
over
increasingly
challenging
materials
(84).
Gradually,
the
narrator of
the
early
episodes
evolves,
Hayman
adds,
into
the artist-God
as
cosmic
joker,
and
eventually
becomes,
in
the
second half of
Ulysses,
the
arranger,
a
creature of
many
faces
but
a
single
impulse,
a
larger
version
of
his
characters
with
a
larger
field
of
vision
and
many
more
perceptions
to
control
(93).
In
his
1982
revised
Ulysses :
The
Me
chanics
of
Meaning, Hayman
offers
a
second definition:
The
arranger
should be seen as
something
between a
persona
and a
function,
somewhere
between
the
narrator
and
the
implied
author,
65
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One is
tempted
to
speak
of
him
as
an
it. ...
Perhaps
it
would
be
best
to
see
the
arranger
as...
an
unstated
but
inescapable
source
of
control.
(122-23)
After
acknowledging
the
work
of other
critics
on
the
concept
of the
arranger,
he insists
that the
arranger
is
the
sum
of the
narrative
process
rather
than
a
component
of
it
(124).
For
Hayman,
the
arranger
subtly
penetrates
the
fabric of the
narrative
at
a
variety
of
points
and
in
a
variety
of
ways
(124).
As
he
develops
the
variety
of
ways,
he
comes as
close
as
he
ever
does
to
providing
a
descrip
tion
of
the functions
of
the
arranger.
We
are
told the
arranger
is
in
the initial
action of
Ulysses_It
is
also behind...
the
style
shifts
that mark
each
of
the
early
chapters_Furthermore,
the
arranger
controls
the
suppression
of
information and
action-Indeed,
just
about
any
intrusive
or
arbitrary phenomenon
should
be
attributed
to
the arranging persona. (125)
The
arranger,
then,
is
one
of the
creative
forces behind
the
text
of
Ulysses,
but
it
remains,
for
Hayman,
an
amorphous
entity
undefined
by
presence
or
purpose.
While
Hayman's
approach
to
the
novel
has
remained
influential,
his
work
with the
arranger
has
been
emulated,
ignored,
or
de
nounced.
Hugh
Kenner
is
the
arranger's
greatest
champion, analyz
ing
and
illustrating
its actions
in
1980.5
Many
recent
critics,
however,
such
as
Marilyn
French and
Karen
Lawrence,
ignore
the
arranger
and its potential to justify the novel's fragmentation because they
view
the
uncertainties
of the novel
as
its
point
and theme.6
Likewise,
John
Paul
Riquelme
and Dermot
Kelly
see
the novel's
problems
as
symbolic
expressions
of
psychic
and
mythic
dimensions
that could
be articulated
no
other
way7
Others attack
the
arranger.
Shari
and
Bernard
Benstock,
for
example,
argue
that the
story
does
not
issue
from
either
a
narrator
or an
arranger
but
generates
itself
as
it
pro
ceeds.8
Patrick
McGee believes that
it is
an error
to
personify
the
arranger
because
it is
merely
a
principle
of
arrangement. 9
While
recent
critics
share
Hayman's
view
that the technical
problems
in
Ulysses
are amanifestation of its theme, most do not share
Hayman's
interest
in
the
arranger.10
Perhaps
they
see
the
arranger
as
a
sim
plistic
and
reductive
answer
to
the
novel's
problems
and,
thus,
as a
misrepresentation
and
betrayal
of
Joyce's
attack
upon
simplistic
and
reductive
conceptions
of
reality11
The
concept
of
the
arranger,
however,
is
nearly
as
complex
as
Ulysses
itself.
To
study
this
device,
I
will
first discuss
its
relation to
a
narrator in both
realistic
and
self-reflexive
fiction,
and
then I
will
discuss its
relevance
to
the
struggle
between
the
mimetic
and
self
66
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reflexive traditions.
Third,
I
will
compare
its functions
to
those of
a
narrator.
Next,
I
will
explain
how
the
initial
style
(Joyce's
name
for
the
style
of the
first ten
episodes
of
Ulysses)
creates
the
arranger
by
failing
to
achieve
a
dramatic
mimesis in
the
first
six
episodes.12
Finally,
Iwill
identify
the
five
self-reflexive
devices
that
constitute
the
arranger's
actions in the first six
episodes
of
Ulysses
before the
arranger
formally
presents
itself
in
the
headlines of
the
seventh
episode,
Aeolus.
An
arranger
is
that
part
of
an
author's
creative
persona responsi
ble for
weighing
creative
options,
for
selecting
a
narrative
strategy,
and
finally
for
designing
a
fictional
world.
A
narrator
is
that
part
of
that
same
persona
who carries
out
the decisions
of
the
arranger
and
who, thus,
manifests
the
arranger's
fictional
world
in
language.
In
realistic
fiction,
the
arranger
remains
behind
the
author while
the
narrator
stands
in
front
of
him.
In
novels
narrated
by
an
omniscient
third-person
narrator,
the
distinctions
among
the
author,
arranger,
and
narrator
tend
to
disappear,
creating
the illusion
that
the
author,
an
omniscient
witness of
history,
is
speaking
truthfully
to
the
reader
about
events
shaped by
fate,
not
by
an
arranger.
In
realistic
stories
narrated
by
a
first-person
narrator,
the
author
is
clearly
dis
tinguished
from the narrator but
not
the
arranger.
As the
narrator
describes
the world
from his
vantage
point,
the
author
and
arranger
work
together
to
orient
the
reader both
to
the
story
and
to
the
narrator
by
manipulating
a
world
larger
than
the narrator's.
In
Ken
Kesey's One Flew
over
the Cuckoo's Nest, for example, Kesey's arrang
ing
persona
defends
the
novel
from
the
charge
of antifeminism
by
adding
the
Jap
nurse,
a
sympathetic
portrait
of
a
woman.13 Since
the narrator's
story
does
not
causally
require
the
nurse,
her
ap
pearance
reveals
the
presence
of
Kesey,
arranging
events
behind
the
narrator?Chief
Bromden. In
mimetic
stories,
then,
the author
may
disassociate
himself from his
narrators,
but he does
not
distinguish
himself
from the
arranger.
In
self-reflexive
fiction,
however,
the
arranger
exists
indepen
dently
from the
author,
standing
in
front
of
him and
his
narrator.
The arranger demonstrates his omniscient control over the narrative
by
arranging
the surface of the
text
before
a
reader's
eyes.
While
Joyce
in
Ulysses
disassociates himself
from his
numerous
narrators
and
himself and
his
narrators from
his
arranger,
self-reflexive
writ
ers
tend
to
revise his
strategy.
With
notable
exceptions,
such
as
Tim
O'Brien's
Going
After
Cacciato,14
they
tend
to unite
the
narrator
with
the
arranger.
The
result
is
that the
narrator
must
voice
the
narrative
strategies
of
the
arranger.
In
Vladimir
Nabokov's
The
Leonardo,
for
example,
the
arranger
describes
through
the
narrator
the
con
67
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tours
of
the
world
it has
established:
Now
this
is
the
way
we'll
arrange
the
world:
every
man
shall
sweat,
every
man
shall eat.
There will be
work,
there will be
belly-cheer,
there
will
be
a
clean,
warm,
sunny-. 15
As
the
arranger
sketches
the social and moral
perimeters
of
this
world,
it
excludes the
life of the intellect.
Clearly,
the
arranger
forces the reader to watch it create a
literary
universe
and
to
see
itsmimetic
limitations,
its
arbitrary
boundaries,
which
are
sufficient, however,
to
contain the
story
of
the
Leonardo. The value
of
the
arranger
to
self-reflexive
writers
is that
it
provides
a
vehicle
for
them to
demonstrate
their
skepticism
of
knowledge,
just
as
an
omniscient
narrator once
manifested
faith
in
knowledge.
The
exis
tential
resonance
of
the
arranger
can
best be
seen,
however,
in
its
contribution
to
the
tradition of self-reflexion.
Because
Joyce's
arranger
is
distinct from the author
and his
nar
rators
arguably
for the first
time
in
literary
history,
Ulysses
is
the
first
direct assault
on
the
presumptions
of realism
by
the
conventions
of
self-reflexion.16
One
of
the
central
themes
of this novel
is
the
dis
crepancy
between the
mimetic
written-oral
tradition
and
the
self
reflexive
written
tradition,
a
distinction
not
clearly
drawn before
1922.
The
mimetic
written-oral
tradition
is
a
complex
of
written
narrative conventions
that fosters
the illusion that
a
real
story
is
being
told
orally.
In
contrast,
the self-reflexive tradition
is
a
complex
of
written
narrative conventions
that
numerically
represents
the
way
writers
use
narrative devices
to
create
the illusion
of
mimesis.
The
mimetic written-oral
tradition encourages readers
to
feel that
the
story
they
are
reading
is
believable
and
that
they
have lived
alongside
its
characters and have learned
as
much
or more
than
they
have. The
mimetic
written-oral
tradition
achieves this illusion
in
two
ways.
First,
the
texture
of the
story
must
seem
to
mirror
plausible
characters
doing possible
things.
Second,
the
structure of
the
story
must
seem
to
incorporate
the
workings
of
destiny
itself. Because the
narrator,
especially
the
third-person,
omniscient
narrator,
embodies
both
the novel's
texture
and
form,
he
is
the
heart
of the
mimetic
illusion. While the
narrator
animates the
novel's
moral and
intellec
tual vision, it is, paradoxically, the personal appeal of his voice
speaking
directly
to
readers
that humanizes this
omniscient witness
of
history
and
makes him
accessible
and,
thus,
credible. His author
ity
derives
from
his
voice.
The
distinguishing
feature of the
written
oral
tradition, then,
is
the
presence
of
a
narrator
who
pretends
to
speak
to
readers.
Perhaps
this
convention
derives from the novel's
desire
to
tell the
secrets
of
men's
hearts
with the
authority
of
an
oral
singer.
As
Robert
Scholes and Robert
Kellogg
note,
however,
the
authority
of this
convention
is
compromised
in
the written-oral
68
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tradition
because
in
any
written
narrative
there
is
at
least
a
poten
tial,
and
usually
an
actual,
ironic
disparity
between
the
knowledge
and
values
of the
author
and
those
of the
narrator. 17
The
oral
narrator, then,
with
its
siren
call,
is
both
the
strength
and
weakness
of
the
written-oral
tradition.
Inexperienced
readers,
seduced
by
a
craving
for a reliable
authority
tend to
ignore
the
disparity
between
authors
and
narrators
and
to
hear what
they
want to
hear.
The
mimetic written-oral
tradition,
then,
tends
to
reinforce the
per
vasive human
tendency
to
reject
the
world
of
experience
for
a
more
congenial
and
fanciful
one.
The
self-reflexive
written
tradition,
on
the
other
hand,
ejects
readers from
the fancied
illusion
of
the
narrative
and
immerses
them
in
the sensual
reality
of
processing
on
paper.
Upon
finishing
a
self-reflexive
story
readers
are
supposed
to
feel
that
they
have lived
the life of
the author
as
he
creates
a
story
before their
eyes.
Certainly,
they
will
become
acquainted
with
the
devices
that
an
author
uses
and the
way
he
uses
them
to create
the illusion
that
he
is
mirroring
reality.
Possibly,
readers
may
even come
to
see
that
stories
are
writ
ten
by
mere
people
about
ways
to
negotiate
imaginatively
with
a
world that
resists
rational
apprehension.
The self-reflexive tradition
generates
such
perceptions
in
two
ways.
First,
the texture
of
the
story
must
suggest,
however
faintly,
the
presence
of
characters,
and
it
must
reveal the author's methods
of
developing
them.
Second,
the
structure
of the
story
must
incorporate
the
author's
conscious
use
of
a
paradigm
to
provide
an
orderly
and
meaningful shape
to
the
story.
Because
the
arranger
selects the
story's
texture
and form
and, thus,
determines
its
moral and intellectual
value,
the
arranger
is
the mind
of
the
self-reflexive
experience.
Perhaps
the
arranger
issues
from the
ironic
disparity
between
authors
and
narrators
in
written
texts
whose
aspiration
is
to
reveal
the
secrets
of
men's
hearts.
By
man
ifesting
this
disparity,
the
arranger,
superior
to
a
narrator,
shows
men's
real secret-their
means
of
creating
a
formal
order.
Because
inexperienced
readers tend
to
ignore
this
disparity
they
require
an
arranger
to
jar
them from
this
misperception.
Free
of
the
spell
of the
narrator, they will then have the power to focus upon the mystery of
language
and the elusive
juncture
between the
world
and the
mind.
The self-reflexive
written
tradition,
then,
invites readers
to
reject
a
congenial
fanciful
vision
and
to
accept
the
human
quandary,
how
ever
mystifying
it
may
appear
to
be.
Since
the
narrator
and the
arranger
embody
their
respective
liter
ary
traditions,
itwill
be
helpful
to
compare
their functions.
A
nar
rator,
reminiscent
of
the
author's
voice,
is
a
literary
device
that
fosters the
illusion
in
readers that
they
are
hearing
the
words
they
69
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read
on
the
page.
The
arranger,
reminiscent
of
the author's
mind and
hand,
is
a
literary
device
that
forces
readers
to
acknowledge
that
they
are
reading.
While
a
narrator
may
appeal
to
a
reader's mental
ear,
the
arranger
frequently
appeals
to
a
reader's
physical
eye.
While
a
narrator
draws the
reader
into the
narrative's
illusion,
the
arranger
alerts the reader to its
typographical
reality.
A narrator
springs
to life
in
his
voice?his
cadences,
his
diction?and becomes
a
familiar
personality
The
arranger,
on
the
other
hand,
arranges
type
before
the
reader's
eyes
and,
because
of
the
unexpected
nature
of
its
work,
remains
foreign
and
appears
manipulative.
As
different
as
a
nar
rator
and
an
arranger
might
appear
to
be,
however,
they
share
many
important
duties.
Just
as a
narrator
masks
the
author,
standing
between him
or
her
and
the
text,
so
too
can
an
arranger.
Just
as
a
narrator
becomes
a
character
by
setting
his
own
agenda,
beginning
his
story
where
he
wishes,
shaping
the
story
to
reveal
his
point,
and
embodying
in his
story
the flow of his
mind,
so too can an
arranger.
The
arranger,
then,
has the
potential
to
grow
and
develop
as
any
character
in
a
story.
Joyce
appears
to
see
the
arranger
as a
character
because he drama
tizes
its
origins
so
carefully
in
the
first
six
episodes
of
Ulysses
before
he
formally
introduces
it in
Aeolus. Like the
mythic
figure
Daedalus,
the
arranger
rises from
a
labyrinth,
a
fabulous artifice
the initial
style.
The
most venturesome form
of mimesis
ever
haz
arded
by
a
novelist,
the initial
style
clarifies
the
aspirations
of
the
mimetic
written-oral tradition by attempting
to
present reality
ob
jectively
and,
as a
result,
authoritatively.
Such
goals
are
implicit
in
the
conclusion of
Stephen
Dedalus's aesthetic
as
articulated
in
A
Portrait
of
the
Artist
as
a
Young
Man.
While
Stephen
and his
friend,
Lynch,
stroll
through
the
streets
of
Dublin,
Stephen
discusses
three
issues:
the
purpose
of
art,
the
nature
of
beauty,
and the
forms
of
art.
At this
stage
of
his
career,
Stephen's
aesthetic
reaches
its
crescendo
in
his
final
point.
Art,
he
says,
has three
forms,
the
lyrical
(the
most
subjective),
the
epical,
and
the
dramatic
(the
most
objective).
If
art
is
to
represent
life
truly,
the
artist
must
provide
his
audience
no more
help with his narrative than God provides them with life. The artist
should remain within
or
behind
or
beyond
or
above
his
handiwork,
invisible,
refined
out of
existence,
indifferent,
paring
his
fingernails
(P 215).
According
to
Stephen,
if
art
is
to
be
authoritative,
it
must
be
objective,
that
is,
dramatic
in
form.
While
Joyce
strove
for
a
dramatic
and
objective style
in
both
Dubliners and
A
Portrait,
the
initial
style
seems
to
be
Joyce's
fullest
expression
of
Stephen's
aesthetic.18 The
distinguishing
feature
of
the initial
style
is
the
limited role of the
omniscient
narrator.
To
70
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demote the
narrator,
Joyce
surrounds it
with
interior
monologues
and
with
free indirect discourses. The
introduction
of
the
novel
illustrates
the
initial
style.
Its
first
sentence,
Stately
plump
Buck
Mulligan
came
from the
stairhead,
bearing
a
bowl
of lather
on
which
a
mirror and
a razor
lay
crossed
(U 1.01-02),
is
the
work
of
an
omniscient narrator.19 The narrator continues to describe the actions
of
Buck
Mulligan
and
Stephen
Dedalus and
to introduce their di
alogue
on
top
of Martello
tower
on
the
morning
of
16
June.
Before
the
first
page
is
finished,
however,
Joyce
seemingly
leaves the
omnis
cient
narrator
for
a one
word
interior
monologue,
a
device that
allows the
reader
to
leave the
narrator
and
enter
the
minds of
characters
to
experience
directly
what
they
are
thinking
and
feel
ing.20
Within
pages,
Joyce
adds
a
third
narrative
device
to
the initial
style?free
indirect
discourse.
With this
device,
the
narrator
adopts
the
idiom
of
one
character
or
another
and sometimes
even a
scene,
and thus allows the reader
the
sensation
of
being
in
the
mind
of the
characters
or
in the ambience of
a scene
without
actually leaving
the
grasp
of the
omniscient
narrator.21
Unlike
the interior
monologue,
which
reveals
what
a
character
consciously
knows,
free
indirect
discourse
can
reveal
both
what
a
character
is
aware
of and
what he
is
ignorant
of. The fusion of these
narrative
devices enables
the initial
style
to
present
objective
events
and
to
reveal
the
subjective
world
to
almost
any
degree.
As
the
omniscient
narrator
recedes
into
the
background
and
surrenders
more
and
more
of the
narrative
to
interior monologues
and
free
indirect
discourses,
even
the
dialogue,
rather
than
appearing
to
be
reported,
seems
to
exist
independently
of
the
narrator,
hinged by
the
merest
of transitions.
Thus
con
stituted,
the initial
style
removes
from
the
text
all
but
the last
rem
nant
of the narrator's
presence,
apparently
allowing
readers
to
enter
Ulysses
directly.
As
a
result,
the
initial
style
seems
to
create
for
Joyce
a
flexible
and
nearly
invisible
means
of
drawing
readers
into
the
story
without
reminding
them
that
they
are
actually
reading
a
book. The
initial
style,
therefore,
is
ostensibly
a
technical
attempt
to
refine the
artist
from the
story
and
to
achieve
the
dramatic mode of
mimesis.
By appearing to present reality without filtering it through a nar
rator,
the
style
seems,
paradoxically,
to
mask
the
ironic
disparity
between
authors
and
narrators,
seems
to
reveal
to
the world
from
every
side
and
to
expose
the
secrets
of
men's
hearts,
and,
finally,
seems
to
achieve
the
objectivity
of
Stephen's
aesthetic
and
the
au
thenticity
of
an
oral
singer.
Unfortunately,
the
initial
style,
despite
the
apparent
success
of
its
dramatic
fusion of
the
effaced
narrator
and
interior
monologue,
fails
to achieve
such
authority
and
instead intensifies
the
flaw
within
the
71
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written-oral
tradition
because the initial
style
has
two
fundamental
weaknesses: the
effaced
narrator
and free indirect discourse.
For
tunately,
however,
this
same
combination
of weaknesses
creates
Joyce's original
response
to
the
irony
inherent
in
the written-oral
tradition:
that
is,
the
self-reflexive
strategy
of the
arranger.
Thus,
the
initial
style
is the narrative
juncture
between mimesis and self
reflexion.
The
first
problem
with the initial
style
is
the
effaced
narrator. As
the
omniscient
narrator
shrinks
within the
text,
the
narrative
seems
to
advance itself
as
it
moves
from
one
narrative device
to
another.
In
the
first
episode,
for
example,
the
narrator
describes Buck
Mulligan
as
he descends from
the
top
of Martello
Tower:
His head vanished
but the
drone of his
descending
voice
boomed
out
of
the
stairhead
(U
1.237-38).
Then
dialogue
appears
as
Buck
quotes
from
W.
B.
Yeats's
Who Goes
with
Fergus :
-And
no
more
turn
aside
and
brood
I
Upon
love's bitter
mystery
I
For
Fergus
rules the brazen cars
(U
1.242-47).22
In
the
next
paragraph,
the
style
shifts
immediately
to
free indirect
discourse,
and the
narrator,
assuming
the
romantic
diction
and
vision
of
early
Yeats,
describes
the
morning
scene,
Woodshadows
floated
silently
by
through
the
morning
peace
from
the stairhead
seaward
where
he
gazed_White
breast of the dim
sea_Wavewhite wedded
words
shimmering
on
the
dim
tide
(U
1.242-47).
The
narrator returns
in
the next
paragraph
and
describes
the
same
scene,
A
cloud
began
to
cover
the
sun
slowly, wholly,
shadowing the bay in deeper green (U 1.248-49). Then the narrator,
assuming
free
indirect
discourse,
describes the
bay
using
an
image
from
Stephen
Dedalus's
memory
of his
mother's
deathbed:
It
lay
beneath
him,
a
bowl
of
bitter
waters
(U 1.249).
Next
the
paragraph
shifts without
warning
to
Stephen's
interior
monologue,
Fergus'
song:
I
sang
it
alone
in
the
house
(U
1.249-50). (As
his mother
lay
on
her deathbed
nearly
a
year
before the
novel's
time,
she
had
asked
her
son
to
pray
for her and
instead heard
him
sing
Yeats's
poem.)
Stephen's monologue
continues
for
several
sentences,
ending
with
his
quoting
his
mother,
who
repeated
Stephen's
words
from
Yeats's
poem: For those words, Stephen: love's bitter mystery (U
1.252-53).
As this
brief
passage
illustrates,
the
initial
style
shifts
often
and
unexpectedly
from
one
narrative
mode
to
another.
In
order for these
shifts
to
occur
economically
the narrator
shrinks
within
the
text
and,
consequently,
gives
readers the
opportunity
to
encounter the
narrative
without
a
narrator
and
to
experience
what
Stephen
De
dalus calls the dramatic
form
of
narration. The
initial
style
gener
ates,
then,
within
its
audience the
feeling
that
they
are
in
contact
72
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10/16
with
a
reality
that
is
rendered
directly
to
them and
not
one
mediated
through
a
prejudiced
sensibility.
In
the written-oral
tradition,
how
ever,
this confidence
is
short-lived
because
readers
simply
have
time-which
they
would
not
have
if
they
were
really
auditors
and
not
readers-time
to
consider
a
passage,
such
as
the
one
described
above and to
question
it. For
example,
if the narrator is refined from
the
narrative,
who
makes
the decisions
to
move
from
description
to
dialogue,
to
free indirect
discourse,
and
to
interior
monologue?
The
answer,
of
course,
is
James
Joyce.
Since that
is
true,
the
artist
literally
is
not
being
refined from
Ulysses,
only
the
narrator
is,
and
they
are
ironically
disparate.
As
a
result,
the initial
style,
with
its
effaced
narrator,
seems
to
fulfill
Stephen
Dedalus's
artistic
objective.
It
not
only
fails
to
eliminate the ironic
distance
between
Joyce
and his
narrator,
but,
ironically,
it
identifies,
as no
omniscient
narrator
ever
could,
exactly
where the
subjective
author
is in
this
seemingly
objective
novel.
It
reveals
each and
every
decision that the author's
arranging
persona
makes.
The initial
style
with
its intricate mix
of
narrative
techniques,
ostensibly designed
to
suggest
to
a
reader that
he
or
she
is
experiencing
directly
the novel's
imagined reality,
finally
has
the
opposite
effect.
The effaced
narrator
forces
a
reader
to
confront
the fact that he
or
she
is
merely
reading
a
human construct
and
is
not
actually 'living
this
story.
In
short,
the
effaced
narrator
points
to
the real
drama
behind
its mimetic
illusion,
the life
of the
arranger.
Free indirect
discourse
is
not
only
the
second
reason
the initial
style
fails
to
achieve
an
authoritative
mimesis;
it is also
the
trapdoor
through
which the
arranger
springs
onto
the dramatic
set
of
Ulys
ses.23
Free
indirect
discourse
is
essentially
mimicry,
which
in
Ulysses
creates
an
ironic
distance,
at
least between
the
mimic
and
his
or
her
object.24
To
implement
this
technique,
an
omniscient
narrator
dons
with the
ease
of
a
consummate
actor
a
character's
reality by
mimick
ing
his
or
her
language.
Since the effaced
narrator of
Ulysses
is
the
mimic
in
free
indirect
discourse,
it
finds itself
paradoxically
in
the
hearts
and
souls
of
its
characters and
in
the
grammar
and
syntax
of
the novel.25 While the narrator struggles to remain backstage, free
indirect
discourse
forces
it
to center
stage
where
it
manifests
the
ironic
distance
between
narrator
and
character
and,
thus,
drama
tizes
the
ironic
disparity
between
author
and narrator.26
Within
this
manifestation
of the
labyrinthian
nature
of
writing,
the
arranger,
the
agent
of
self-reflexion,
is
born,
and
with
it
the
fragile
mimetic
al
liance
between
an
author,
a
story,
and
a
reader
is
altered.
While
the
effaced narrator and free
indirect
discourse
create the
arranger
in
the
initial
style,
they
are
not
its
only
manifestations.
73
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11/16
Once the
arranger
is
in the
text
of the
first
six
episodes,
it
begins
to
disrupt
their
mimetic
order
in
five
ways,
the first three
appearing
pervasively
throughout
the first
six
episodes
of
the
novel.
First,
it
renders
language
opaque
so
that
it
points
to
itself,
rather than
pointing
through
itself
to
the
narrative.
Kenner
has identified
a
good
illustration of the
arranger's
work in the unorthodox
spelling
of the
mewing
of
Bloom's
cat
(66).
The cat
answers
Bloom with
an
unlikely
and
unsightly, Mkgnao
(U
4.16).
Later
in
the
same
episode,
both
the
narrator and
Bloom
demonstrate
amore
conventional
spelling
of
that
sound
(U
4.456,
462).
While
Mkgnao
fails
to
suggest
the
ordinary
sound
of
a
cat,
it
does
manifest
the
arranger's
fondness for
arranging type.
Next
the
arranger
uses
narrative
devices
that
divert
readers from
their
experience
of the
narrative
to
their
experience
of
reading
the
text.
One
of
Bloom's
interior
monologues
in
Hades
is
a
case
in
point.
It
draws readers into
such
an
intense
engagement
with
the
novel's
Active
reality
that
they
ironically
experience
their
own
plea
sure
in
reading
the
passage.
While
the
men
wait
in
their
carriage
to
follow
Paddy
Dignam's
corpse
to
the
cemetery,
the
arranger
seizes
the
reins
of
the
narrative:
All
waited.
Then wheels
were
heard
from
in
front,
turning:
then
nearer:
then
horses'
hoofs.
A
jolt.
Their
carriage
began
to
move,
creaking
and
swaying.
Other hoofs
and
creaking
wheels
started
be
hind. The
blinds
of
the
avenue
passed
and
number
nine
with
its
craped knocker, door ajar.At walking pace. (U 6.24-28)
Bloom's
experiences
here,
both sensual
and
conceptual,
are
pre
sented
with
such
immediacy
in
the
interior
monologue
that
readers
admire
the
novelty
of
the
passage
and
savor
the
experience
of
having
read
it.
The
arranger
invites
readers
to
enjoy
their
own
experiences
over
those
of
the
fictive characters.
The
arranger
also
manipulates
the narrative voice
to
reveal
the
divisions
within
itself.
In
Hades,
after
nearly
three
complete
epi
sodes
about
Bloom,
readers
might
come
to think
momentarily
of
the
perspective
of the novel as that of an omniscient narrator limited to
the
central
intelligence
of
Leopold
Bloom.
Readers
are
jarred
from
their
comfortable
relationship
with
this
narrator,
however,
when
he
begins
reporting
events in
Bloom's absence.
Moreover,
readers
are
not
given
the
opportunity
to
read
over
these
two
brief
lapses
in
consistency
because,
in
both
instances
(U
6.526-34,
690-707),
the
content
is
gossip
about
Bloom.
The
narrative invites
readers,
then,
to
think
about
Bloom
and
to
question
how
the
narrator
is
able
to
function
independently
of
him.
Thus,
the
arranger
encourages
the
74
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12/16
reader
to
see
the divisions that reside within the novel's narrative
strategy.
In
addition
to
rendering language
opaque,
to
focusing
readers'
attention
on
themselves,
and to
dividing
the
narrative
voice,
the
arranger
also
reveals
two
seemingly
contradictory
traits.
While the
arranger
demonstrates an ideal
memory
of the text
by
having
it
repeat, quote,
or
parody
itself,
it
also creates
mysteries
within
the
narrative that
nullify
a
reader's
use
of
memory
and
reason.
An
example
of
the
arranger's
textual
memory,
a
faculty
that
makes
the
arranger
the
author's ideal
reader,
occurs
in
Calypso
when
the
narrator
repeats
a
passage
from
over
forty
pages
earlier:
A
cloud
began
to cover
the
sun
slowly,
wholly
(171.248,4.218).27
The
repeti
tion
invites
readers
to
seek
parallels
between
Stephen
and
Bloom
as,
episodes
apart, they
see
the
same
cloud,
yet
it
covertly
undermines
this
invitation
by
encouraging
readers
to
ask
questions
that have
no
answers.
Ironically,
such
covert
attacks
on
the novel's
mimetic
con
tract with
a
reader
help
to
generate
the
narrative
mysteries
in
the
novel. While the
entire
text
of
Ulysses might
be
properly
described
as
a
mystery,
the first
real
example
of
a
narrative
mystery
occurs
in
Hades,
when
an
unknown
figure
wearing
a
macintosh
attends
Paddy Dignam's
funeral.
This
figure
appears
throughout
the
novel,
but
he
is
never
accurately
identified
and
remains
as
an
inexplicable
problem
in
Ulysses,
someone
mistakenly
referred
to
as
MTntosh
(U
6.891-96).
As
different
as
these last
two
devices
may
be,
they
further expand the arranger's ability
to
disrupt
the
mimetic
illusion
of the
initial
style.
Together,
these five
devices
alert
readers
to
the
mimetic
fallacy
of
the
initial
style
and
begin
their
education
in
the
ways
of
the
self-reflexive
arranger.
Consequently,
before
the
arranger
shouts
his
presence
in,
then
impishly
hides
among,
the headlines
blazoned
in
block
capitals
across
the
initial
style
of
the seventh
episode, Aeolus,
Joyce
has
carefully
and
systematically
introduced the
arranger
in
the
first
six
episodes
of
Ulysses.
In
them,
Joyce
dramatizes the
aspiration
and
failure
of
the
mimetic
written-oral tradition
to
capture
the
authority
of an oral singer, the tendency of mimesis when carried to extremes
to turn
into
self-reflexion,
and
the
union
of five self-reflexive
devices
that
constitute
the
first
manifestation
of
the
arranger.
A careful
reading
of
the
text
of
Ulysses
will
reveal,
I
believe,
that
the
novel's
various
styles
reflect the
arranger's
attempt
to
learn the
ways
of
narration.
By
the seventh
episode,
the
arranger
appears
to
challenge
the
narrator for control of the
novel,
and
by
the
eleventh
episode,
Sirens,
it
seems
to
have
succeeded.
By Penelope,
it
seems to
have
learned
to
balance self-reflexive and
mimetic
conventions,
to
influ
75
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ence
both
the
surf
ace
of
the
text
and
a
reader's
apprehension
of
it,
to
have
created
an
art
object
that
acquires
its
life somewhere between
its
pages
and
a
reader-at
a
magical
juncture
where
and
imagination
merge
and flow
into
one
another.
It is
likely,
then,
that
the
arranger
is
the dominant character
in
Ulysses
and that the deci
sions itmakes and the actions it takes constitute the essential
plot
of
the
novel,
a
plot
measured
not
by
a
narrator's
developing
portrait
of
reality
but
by
an
arranger's growing
mastery
of
style.28
If
such
is the
case,
the
artist,
clearly
distinct
from
his
narrators and
even
from
his
arranger,
remains
invisible,
refined
out
of
existence,
indifferent,
paring
his
fingernails,
and
Ulysses
achieves
an
authority
derived
from
an
honest
encounter
with
the
human
quandary,
not
from
a
parody
of
an
oral
singer.
This idea of the
arranger
is
not
exactly
what
Hayman
had
in
mind.
He
never
explicitly
identifies it
as a
creative
entity
with
a
coherent
narrative
strategy
for
Ulysses.
Once
this identification
is
made,
how
ever,
the narrator
(the
mimetic
agent)
and the
arranger
(the
self
reflexive
agent)
share
equal
billing
as
sources
of the
narrative,
and
their
struggle
for control of
Ulysses structurally
accounts
for,
and
thematically
justifies,
the contradictions
and
irregularities
in
the
text.
Joyce
alludes
to
something
like the
arranger
with
Stephen's
appellation
for
the
classical
Daedalus- fabulous artificer
(P
169).
But
we
have
the
word
arranger,
and while
many
doubt
its
existence,
and others
dispute
its
purpose,
a
persistent
few share Kenner's
observation that Joyce's creation of the arranger is perhaps the most
radical,
the
most
disconcerting
innovation
in
all of
Ulysses
(64).
NOTES
1
The research
for
this
study
was
sponsored by
a
grant
from
the Research
and
Creativity
Committee
at
Emporia
State
University.
2
David
Hayman,
Ulysses :
The
Mechanics
of
Meaning,
rev.
and
exp.
(1970;
Madison: Univ.
of
Wisconsin
Press,
1982),
pp.
88-104,122-25.
Further
refer
ences
will be
cited
parenthetically
in
the
text.
3
S.
L.
Goldberg,
The
Classical
Temper:
A
Study of James Joyces Ulysses
(London:
Chatto
&
Windus,
1963),
p.
22.
4
T. S.
Eliot,
Ulysses,
Order,
and
Myth,
Dial,
75
(November
1923),
480-83;
rpt.
James
Joyce:
Tlvo
Decades
of
Criticism,
ed. Seon
Givens
(New
York:
Vanguard,
1963),
pp.
198-202;
Givens,
pp.
201-02;
Joseph
Frank,
Spatial
Form inModern
Literature,
Sewanee
Review,
53
(1945);
rev.
in
The
Widening
Gyre:
Crisis
and
Mastery
in
Modern
Literature
(Bloomington:
Indiana
Univ.
Press,
1963),
pp.
3-62.
5
Hugh
Kenner,
Ulysses,
rev.
ed.
(Baltimore:
Johns
Hopkins
Univ.
Press,
1987).
While
Kenner
demonstrates the
presence
of
the
arranger
in
the first
half
of
the
novel,
he
also
attributes
most
of the
arranger's
indifference
76
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toward the
reader
to
the sour
xenophobic
indifference
(p.
65)
of
Dublin
toward its visitors. Even
though
Kenner
sees
the
arranger
as
responsible
for
the
quirks
in
the
text,
he
insists that
Joyce
is the
governing
consciousness
behind
it.
See
pp.
61-71,
especially
pp.
65,
68-69. Further
references will
be
cited
parenthetically
in
the
text.
6
Marilyn
French attributes
the narrative twists
in
Ulysses
to
Joyce's
use
of
Einsteinian ideas; see The Book asWorld:
James
Joyce's Ulysses
(Cambridge:
Harvard Univ.
Press,
1976),
pp.
3-22,
especially
p.
4. Karen
Lawrence
acknowledges
the
arranger
as
an
excellent
term for
capturing
the
sense
of
intrusion
in
the
text
but
rejects
it
because it
posits
the
existence
of
a
narrative
consciousness,
which
suggests
that there
is
an
absolute
way
to
order
experience.
See
The
Odyssey
of Style
in
Ulysses
(Princeton:
Princeton
Univ.
Press,
1981), pp.
14, 64,
208.
Further
references
to
the
Lawrence
work
will
be
cited
parenthetically
in
the
text.
7
See
John
Paul
Riquelme,
Teller
and Tale
in
Joyce's
Fiction:
Oscillating
Perspectives
(Baltimore:
Johns
Hopkins
Univ.
Press,
1983),
p.
xv
and Dermot
Kelly,
Narrative
Strategies
in
Joyce's
Ulysses
(Ann
Arbor:
UMI
Press,
1988),
p.
2.
8
Shari Benstock
and
Bernard
Benstock,
The
Benstock
Principle,
The
Seventh
of Joyce,
ed. Bernard
Benstock
(Bloomington:
Indiana
Univ.
Press;
Sussex:
Harvester,
1982),
pp.
10-21.
They
argue
that
if
the
term narrator is
inadequate
to
describe the
narrative
strategy
of
Ulysses,
then
arranger
will
fail
also?p.
18.
9
Patrick
McGee,
Paperspace:
Style
as
Ideology
in
Joyce's
Ulysses
(Lincoln:
Univ.
of
Nebraska
Press,
1988),
pp.
72-74.
10
Naomi
Segal
attributes
the
stylistic play
to
the
implied
author ;
see
Style
indirect
libre
to
Stream-of-Consciousness:
Flaubert,
Joyce,
Schnitzler,
Woolf,
Modernism and the
European
Unconscious,
ed.
Peter Collier and
Judy
Davies
(New
York: St.
Martin's
Press,
1990),
p.
101. Further references
will
be cited
parenthetically
in the text.
11
For
an
argument
that
Ulysses
debunks
monocausality
as a
literary
device
and
as a
philosophical
proposition,
see
Robert
E.
Spoo, Teleology,
Monocausality,
and
Marriage
in
Ulysses,
ELH,
56
(Summer
1989),
439-62.
12
See
LettersI,
p.
129. Both
Hayman
and
Kenner
note
the
arranger's
presence
in
the initial
style,
but
neither
speculates
upon
its
origins.
See
Hayman,
pp.
124-25
and
Kenner,
p.
71.
13
Ken
Kesey,
One
Flew
Over
the Cuckoo's Nest
(New
York:
Viking
Press,
1962).
14
Tim
O'Brien,
Going After
Cacciato
(New
York: Delacorte
Press,
1978).
15
Vladimir
Nabokov,
A
Russian
Beauty
and Other Stories
(New
York:
McGraw
Hill, 1973), p.
12.
16
For
Jerome
Klinkowitz,
Joyce,
for
all
his
language games,
is
a
modern
ist
trying
to find
out
if
culture
can
survive without the
confident
assump
tions of
nineteenth-century
science and
philosophy ;
see
The
Self-Apparent
Word:
Fiction
as
Language
I
Language
as
Fiction
(Carbondale:
Southern
Illinois
Univ.
Press,
1984),
pp.
41-42.
I
do
not
deny
Joyce's
modernist
agenda
but
hope
to
clarify
postmodernism's
debt
to
Joyce. Ulysses
slowly
introduces
self-reflexive
conventions
among
the
realistic
ones
and
finally
creates
a
satisfactory
blend.
Perhaps
such
a
conclusion
awaits
postmodernism
itself.
17
Robert
Scholes and Robert
Kellogg,
The Nature
of
Narrative
(London:
Oxford
Univ.
Press,
1966),
pp.
51-53.
77
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18
Many
critics
doubt
the relevance of
Stephen's
aesthetic
to
Ulysses.
Scholes
and
Marlena G.
Corcoran
argue
that
Joyce
merely
took
his
own
juvenilia
and
polished
it
to
support
[Stephen's]
claim
to
artistic status
inA
Portrait;
see
The Aesthetic
Theory
and
the
Critical
Writings,
A
Companion
to
Joyce
Studies,
ed.
Zack Bowen
and
James
F.
Carens
(Westport:
Greenwood
Publishers,
1984),
pp.
689,
694.
19
Experienced
readers of
Ulysses
may
see this sentence as the free indirect
discourse of
either
Mulligan
or
Dedalus.
A
reader
new
to
the
text,
however,
will
see
it
in
conventional
terms,
creating
what
Lawrence
calls
a
narrative
norm,
pp.
38-53.
20
Kenner
observes
that
as
Stephen
looks
into Buck's
mouth,
he
sees
his
gold
fillings
and
thinks,
Chrysostomos
(U 1.26),
an
allusion
to
eloquence
or
to
one
who is
golden-mouthed,
p.
35.
21
After Buck
Mulligan
recites
a
passage
from
W.
B.
Yeats's
Who Goes
with
Fergus,
Collected Poems
(New
York:
Macmillan,
1956),
p.
43,
the
nar
rator,
assuming
the romantic
diction and
vision
of
early
Yeats,
describes
the
morning
scene,
Woodshadows
floated
silently by
through
the
morning
peace
from the stairhead
seaward
where he
gazed_Wavewhite
wedded
words
shimmering
on
the dim
tide
(U
1.242-47).
For
discussions
of this
technique,
see
Lawrence,
pp.
19-20,
and
Kenner,
Joyces
Voices
(Berkeley:
Univ. of California
Press,
1978),
especially
The
Uncle
Charles
Principle,
pp.
15-38.
22
See endnote
21.
23
While
experienced
readers
may
see
the
arranger's
hand in
the
first
words of the
novel,
the
arranger
first
overtly
appears
in
the
passage
from
Telemachus
(U 1.242-47),
quoted
in
endnote
19,
and, thus,
begins
the
education of
a
reader
new
to
the
text. Lawrence also
sees
free indirect
discourse
as an
antecedent
of
the
radical
stylistic
developments
in
Ulysses
rather than
the stream-of-consciousness
technique,
p.
24.
24Not all free indirect discourse is
mimicry
as demonstrated
by
Segal
(p.
110)
and
Roy
Pascal,
The Dual
Voice:
Free
Indirect
Speech
and Its
Functioning
in the
Nineteenth-Century
European
Novel
(Manchester,
Eng.:
Manchester
Univ.
Press; Totowa,
N.J.:
Rowman and
Iittlefield,
1977),
pp.
45-60.
In
such
cases,
the
author/narrator shares
a
language
with the characters.
When
free
indirect
discourse
is
mimicry,
however,
it
contributes
to
self-reflexion
be
cause,
as
M.
M.
Bakhtin
argues,
mimicry rips
the
word
away
from
its
object ;
see
The
Dialogic Imagination
(Austin:
Univ. of
Texas
Press,
1981),
p.
55.
25
Roy
K.
Gottfried
agrees
that
the
artist-god
is
present
in
the
novel's
language;
see
The
Art
of
Joyce's Syntax
in
Ulysses
(Athens:
Univ.
of
Georgia
Press, 1980), p.
160.
26
Segal
notes
the
same
phenomenon
in
Flaubert
(p.
98).
As
much
as
he
tries
to
remove
himself
from
his
texts,
his
use
of
free indirect discourse
focuses
readers'
attention
upon
him.
27
In
the second
instance
the clause
terminates
in
a
period.
Kenner
says
that
the
arranger's
knowledge
of
the
text
is
superior
to
mere
memory
and
suggests
the
arranger
has
access
to
a
printed
book,
p.
65.
28
I
believe
that the
composition
history
of
Ulysses
supports
such
an
hypothesis.
Michael
Groden,
in
Ulysses
in
Progress
(Princeton:
Princeton
Univ.
Press,
1977),
notes
that
Ulysses
iswritten
in
three
styles.
When
Joyce
started
to
use a
new
style,
he did
not
obscure the
earlier
one
but
allowed
it
to
78
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16/16
stand as
if
to
present
Ulysses
as a
palimpsest involving
all three
stages
of
composition
(p.
4).
Groden
suggests
that
Joyce
did
not have
an
initial
overview
that sustained him
throughout
the
writing
of
the
novel and had
to
wait
until climactic
episodes
taught
him
how
to
revise
his
artistic
impulses
(pp.
37,77,126,158,165-68,194).
Normally,
when
a
writer
changes
his
style,
he
completely
revises
the
text,
as
Joyce
did when
he abandoned
Stephen
Hero and started over with A Portrait. Ibelieve that the
composition
history
argues
that
the end
of
the
novel is
anticipated
by
its
beginning. Why
else
would
Joyce
superimpose
the
headlines,
the
first
blatant
sign
of
the
ar
ranger,
on
the initial
style
in
Aeolus after he had invented the
final
style,
if
he
had not
seen
a
connection
between the two?
79