Symbol and Context in Ulysses
Joyce's "Bowl of Bitter Waters" and Passover
Bibliographic Data
| ID | 16007395 |
|---|---|
| Authors | Daniel Mark Fogel (corresponding author) |
| Year | 1979 |
| Volume | 46 |
| Issue | 4 |
| Pages | 710-710 |
| Publication date | 1979-01-01 |
| Open Access | No |
| Type | ARTICLE |
| Venue | ELH (JOURNAL) |
| Journal identifiers | ISSN: 0013-8304 • E-ISSN: 1080-6547 |
| Publisher | JSTOR (PUBLISHER) |
| DOI | 10.2307/2872486 |
| OpenAlex | W2335739847 |
| Language | EN |
| Citations received | 1 |
That phrase is in part shaped by immediate context in Stephen's stream of consciousness has been widely recognized. In order of their appearance in text, these items play into of bitter image: Buck Mulligan's shaving bowl; Buck's description of sea as grey sweet and as 9snotgreen (U, p. 5); dull mass of liquid held in the ring of bay and skyline, reminding Stephen of of white china that his dying mother had filled with green sluggish (U, p. 5); and Buck Mulligan's singing of a snatch of Yeats's Who Goes With Fergus? with its promise of escape from bitter mystery (U, p. 9). Stephen's image may be readily understood as a conflation of these elements: the ring of bay and skyline form a bowl of waters that are literally bitter because salt water of Dublin Bay is bitter and figuratively bitter because Stephen is reminded of bitterness of his mother's death, of bitter bile in bowl beside her deathbed, and of her tears For those words, Stephen: love's bitter mystery. Characteristically, Stephen's an
Archaeology · Art · Context (archaeology · Linguistics · Literature · Symbol (formal · History · Irish and British Studies · Modernist Literature and Criticism · Philosophy
| Citations per year | 0.17 |
|---|---|
| Citation span | 2020 - 2020 (1) |
| Highly cited | No |