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Nov. 4th, 2007 03:50 pm![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
proximoceptionJoyce:
His notes to Exiles (under Nora's initials):
13 Nov. 1913
Moon: Shelley's grave in Rome. He is rising from it: blond she weeps for him. He has fought in vain for an ideal and died killed by the world. Yet he rises. Graveyard at Rahoon by moonlight where Bodkin's grave is. He lies in the grave. She sees his tomb (family vault) and weeps. The name is homely. Shelley's is strange and wild. He is dark, unrisen, killed by love and life, young. The earth holds him.
Bodkin died. Kearns died. In the convent they called her the man-killer: (woman-killer was one of her names for me). I live in soul and body.
She is the earth, dark, formless, mother, made beautiful by the moonlit night, darkly conscious of her instincts. Shelley whom she has held in her womb or grave rises: the part of Richard which neither love nor life can do away with; the part for which she loves him: the part she must try to kill, never be able to kill and rejoice at her impotence.
From somebody on the web:
'The Dead' was written in Rome, a city in which the presence of the dead and of the past is uniquely overpowering. Joyce visited Shelley's tomb there with Nora, who 'responded with a string of morbid romantic associations that moved him deeply' (Maddox, 75). These concerned her dead sweetheart, the model for Michael Furey in 'The Dead'.
There aren't enough exclamation points. Right there that moment happened. And then the play too. Ibsen's horns and now this.
His notes to Exiles (under Nora's initials):
13 Nov. 1913
Moon: Shelley's grave in Rome. He is rising from it: blond she weeps for him. He has fought in vain for an ideal and died killed by the world. Yet he rises. Graveyard at Rahoon by moonlight where Bodkin's grave is. He lies in the grave. She sees his tomb (family vault) and weeps. The name is homely. Shelley's is strange and wild. He is dark, unrisen, killed by love and life, young. The earth holds him.
Bodkin died. Kearns died. In the convent they called her the man-killer: (woman-killer was one of her names for me). I live in soul and body.
She is the earth, dark, formless, mother, made beautiful by the moonlit night, darkly conscious of her instincts. Shelley whom she has held in her womb or grave rises: the part of Richard which neither love nor life can do away with; the part for which she loves him: the part she must try to kill, never be able to kill and rejoice at her impotence.
From somebody on the web:
'The Dead' was written in Rome, a city in which the presence of the dead and of the past is uniquely overpowering. Joyce visited Shelley's tomb there with Nora, who 'responded with a string of morbid romantic associations that moved him deeply' (Maddox, 75). These concerned her dead sweetheart, the model for Michael Furey in 'The Dead'.
There aren't enough exclamation points. Right there that moment happened. And then the play too. Ibsen's horns and now this.
