James Joyce was born in Dublin as the son of John Stanislaus Joyce, impoverished gentleman, who had failed in a distillery business and tried all kinds of professions, including politics and tax collecting. Joyce's mother, Mary Jane Murray, was ten years younger than her husband. She was an accomplished pianist, whose life was dominated by the Roman Catholic Church and her husband. In spite of the poverty, the family struggled to maintain solid middle-class facade.
From the age of six Joyce, was educated by Jesuits at Clongowes Wood College, at Clane, and then at Belvedere College in Dublin (1893-97). Later the author thanked Jesuits for teaching him to think straight, although he rejected their religious instructions. At school he once broke his glasses and was unable to do his lessons. This episode was recounted in A PORTRAIT OF THE ARTIST AS A YOUNG MAN (1916). In 1898 he entered the University College, Dublin, where he found his early inspirations from the works of Henrik Ibsen, St.Thomas Aquinas and W.B. Yeats. Joyce's first publication was an essay on Ibsen's play When We Dead Awaken. It appeared in Fortnightly Review in 1900. At this time he began writing lyric poems.
After graduation in 1902 the twenty-year-old Joyce went to Paris, where he worked as a journalist, teacher and in other occupations in difficult financial conditions. He spent in France a year, returning when a telegram arrived saying his mother was dying. Not long after her death, Joyce was traveling again. He left Dublin in 1904 with Nora Barnacle, a chambermaid (they married in 1931), staying in Pola, Austria-Hungary, and in Trieste, which was the world’s seventh busiest port. Joyce gave English lessons and talked about setting up an agency to sell Irish tweed. Refused a post teaching Italian literature in Dublin, he continued to live abroad.
The Trieste years were nomadic, poverty-stricken, and productive. Joyce and Nora loved this cosmopolitan port city at the head of the Adriatic Sea, where they lived in a number of different addresses. During this period Joyce wrote most of DUBLINERS (1914), all of A Portrait of the Artist as a Young Man, the play, EXILES (1918), and large sections of Ulysses. Several of Joyce's siblings joined them, and two children, Giorgio and Lucia, were born. The children grew up speakin the Trieste dialect of Italian. Joyce and Nora stayed together althoug Joyce fell in love with Anny Schleimer, the daughter of an Austrian banker, and Roberto Prezioso, the editor of the newspaper Il Piccolo della Sera, tried to seduce Nora. After a short stint in Rome in 1906-07 as a bank clerk ended in illness, Joyce returned to Trieste.
In 1907 Joyce published a collection of poems, CHAMBER MUSIC. The title was suggested, as the author later stated, by the sound of urine tinkling into a prostitute's chamber pot. The poems have with their open vowels and repetitions such musical quality that many of them have been made into songs. "I have left my book, / I have left my room, / For I heard you singing / Through the gloom." Joyce himself had a fine tenor voice; he liked opera and bel canto.
In 1909 Joyce opened a cinema in Dublin, but this affair failed and he was soon back in Trieste, still broke and working as a teacher, tweed salesman, journalist and lecturer. In 1912 he was in Ireland, trying to persuade Maunsel & Co to fulfill their contract to publish Dubliners. The work contained a series of short stories, dealing with the lives of ordinary people, youth, adolescence, young adulthood, and maturity. The last story, 'The Dead', was adapted into screen by John Huston in 1987.
It was Joyce's last journey to his home country. However, he had became friends with Ezra Pound, who began to market his works. In 1916 appeared Portrait of the Artist as a Young Man, an autobiographical novel. It apparently began as a quasi-biographical memoir entitled Stephen Hero between 1904 and 1906. Only a fragment of the original manuscript has survived. The book follows the life of the protagonist, Stephen Dedalus, from childhood towards maturity, his education at University College, Dublin, and rebellion to free himself from the claims of family and Irish nationalism. Stephen takes religion seriously, and considers entering a seminary, but then also rejects Roman Catholicism. "-Look here, Cranly, he said. You have asked me what I would do and what I would not do. I will tell you what I will do and what I will not do. I will not serve that in which I no longer believe, whether it call itself my home, my fatherland, or my church: and I will try to express myself in some mode of life or art as freely as I can and as wholly as I can, using my defence the only arms I allow myself to use - silence, exile, and cunning." At the end Stephen resolves to leave Ireland for Paris to encounter "the reality of experience". He wants to establish himself as a writer.
There once was a lounger named Stephen
Whose youth was most odd and uneven
--He throve on the smell
--Of a horrible hell
That a Hottentot wouldn't believe in.
(Joyce's limerick on the book's protagonist)
At the outset of the First World War, Joyce moved with his family to Zürich, where Lenin and the poet essayist Tristan Tzara had found their refuge. Joyce's WW I years with the legendary Russian revolutionary and Tzara, who founded the dadaist movement at the Cabaret Voltaire, provide the basis for Tom Stoppard's play Travesties (1974).
In Zürich Joyce started to develop the early chapters of Ulysses, which was first published in France, because of censorship troubles in the Great Britain and the United States, where the book became legally available 1933. The theme of jealousy was based partly on a story a former friend of Joyce told: he claimed that he had been sexually intimate with the author's wife, Nora, even while Joyce was courting her. Ulysses takes place on one day in Dublin (June 16, 1904) and reflected the classic work of Homer (fl. 9th or 8th century BC?).
The main characters are Leopold Bloom, a Jewish advertising canvasser, his wife Molly, and Stephen Dedalus, the hero from Portrait of the Artist as a Young Man. They are intended to be modern counterparts of Telemachus, Ulysses, and Penelope. Barmaids are the famous Sirens. One of the models for Bloom was Ettore Schmitz (Italo Svevo), a novelist and businessman who was Joyce's student at the Berlitz school in Trieste. The story, using stream-of-consciousness technique, parallel the major events in Odysseus' journey home. However, Bloom's adventures are less heroic and his homecoming is less violent. Bloom makes his trip to the underworld by attending a funeral at Glasnevin Cemetary. "We are praying now for the repose of his soul. Hoping you're well and not in hell. Nice change of air. Out of the fryingpan of life into the fire of purgatory." The paths of Stephen and Bloom cross and recross through the day. Joyce's technical innovations in the art of the novel include an extensive use of interior monologue; he used a complex network of symbolic parallels drawn from the mythology, history, and literature.
From 1917 to 1930 Joyce endured several eye operations, being totally blind for short intervals. (According to tradition, Homer was also blind.) In March 1923 Joyce started in Paris his second major work, Finnegans Wake, suffering at the same time chronic eye troubles caused by glaucoma. The first segment of the novel appeared in Ford Madox Ford's transatlantic review in April 1924, as part of what Joyce called Work in Progress. Wake occupied Joyce's time for the next sixteen years - its final version was completed late in 1938. A copy of the novel was present at Joyce's birthday celebration on February 1939.
Joyce's daughter Lucia, born in Trieste in 1907, became Carl Jung's patient in 1934. In her teens, she studied dance, and later The Paris Times praised her skills as choreocrapher, linguist, and performer. With her father she collaborated in POMES PENYEACH (1927), for which she did some illustrations. Lucia's great love was Samuel Beckett, who was not interested in her. In the 1930s, she started to behave erratically. At the Burgh?lz psychiatric clinic in Zurich, where Jung worked, she was diagnosed schizophrenic. Joyce was left bitter at Jung's analysis of his daughter - Jung thought she was too close with her father's psychic system. In revenge, Joyce played in Finnegans Wake with Jung's concepts of Animus and Anima. Lucia died in a mental hospital in Northampton, England, in 1982.
After the fall of France in WWII, Joyce returned to Zürich, where he died on January 13, 1941, still disappointed with the reception of Finnegans Wake. The book was partly based on Freud's dream psychology, Bruno's theory of the complementary but conflicting nature of opposites, and the cyclic theory of history of Giambattista Vico (1668-1744).
乔伊斯出生于都柏林的儿子约翰stanislaus乔伊斯,贫穷的绅士, 如未能在酒厂的业务和尝试各种专业领域,包括政治和收税. 乔伊斯的母亲Mary Jane利,是10岁,比她的丈夫. 她是一位出色的钢琴家,他的生命是由罗马天主教会和她的丈夫. 尽管贫困的家庭竭力维持坚实的中产阶级的门面. 从6岁开始乔伊斯,于一九四三年由耶稣clongowes木学院, clane , 然后在丽高校在都柏林( 1893-97 ) . 稍后撰文感谢耶稣教他直认为,尽管他拒绝接受他们的宗教指令. 在学校,他曾一度打断了他的眼镜,而无法做他的教训. 这段叙述一个艺术家的画像作为一个年轻人( 1916 ) . 1898年他进入大学,都柏林 在那里他发现他的早期启示的作品易卜生,托马斯阿奎那和w.b. 耶茨. 乔伊斯的第一出版物是一篇关于易卜生发挥我们在睡梦中死亡. 看来,雷震在回顾1900年. 在这个时候,他开始写作抒情诗. 毕业后,于1902年21岁的乔伊斯前往巴黎,他在那里工作,作为记者, 教师和其他行业的财政困难的条件. 他花了在法国的一年,回国时抵达贺电说,母亲是奄奄一息. 不久后她去世,乔伊斯趟. 他离开都柏林在1904年与诺拉barnacle ,一位女服务员(已婚,他们在1931年) ,留在波拉,奥匈帝国, 而在的里雅斯特,这是世界上第七繁忙的港口. 乔伊斯发表英文教训,畅谈了成立一个机构,以出售爱尔兰花呢. 拒绝后的教学意大利文学在都柏林举行,但他仍然住在国外. 的里雅斯特年,是游牧,生活贫困,并富有成效. 乔伊斯与诺拉爱这个国际性港口城市为龙头的亚得里亚海, 当他们住在许多不同的地址. 在此期间乔伊斯写道大部分dubliners ( 1914 ) , 所有艺术家的画像作为一个年轻人,这部戏,流亡者( 1918 ) , 而大部份尤利西斯. 几个乔伊斯的兄弟姐妹们一起,和两个孩子, giorgio和鲁西亚,出生. 孩子长大speakin雅斯特方言的意大利人. 乔伊斯和诺拉在一起althoug乔伊斯爱上anny schleimer ,女儿是奥地利银行家 罗伯托prezioso ,报纸的编辑il piccolo della sera ,试图诱引诺拉. 经过短暂stint在罗马1906-07作为银行秘书名额疾病,乔伊斯返回雅斯特. 1907年乔伊斯出版了诗集,室内乐. 标题与会者建议,如作者事后表示,以健全的尿液玲玲变成妓女的便器. 诗与他们公开元音和重复这样的音乐素质,很多人已制成 歌曲. "我离开我的书, /我离开我的房间, /我听到你唱歌/透过阴郁. " 乔伊斯本人已被罚款男高音的声音; 他喜欢歌剧和美声唱法. 1909年乔伊斯开辟了电影院在都柏林举行,但这次事件失败了,他很快又回到里雅斯特 还打破和工作作为一名教师,花呢推销员,记者和讲师. 1912年,他在爱尔兰,试图说服maunsel有限公司履行合同出版都柏林. 工作包含一系列的短篇小说,对付普通百姓的生命,青年,少年,青壮年, 和成熟. 最后的故事中, '死' ,被改编屏幕由约翰休斯顿在1987年. 据乔伊斯的最后旅程,他的母国. 但是,他已经成了朋友,与庞德,他们开始向市场的作品. 在1916年出现了艺术家的画像作为一个年轻人,一本自传小说. 它显然一开始是一个半传记回忆文章斯蒂芬英雄, 1904年至1906年. 只是一个片段的原始手稿已经成活. 这本书采用生活中的主角,斯蒂芬dedalus ,从童年走向成熟,他的学历在大学学院 都柏林,与反抗摆脱债权家人和爱尔兰民族主义. 斯蒂芬以宗教的重视,认为进入一个福音,但也拒绝接受罗马天主教. "看看这里, cranly , 他说. 你问我什么我做什么,我不会做. 我会告诉你 我会做什么,我不会做的. 我不会说,我不再 相信,不论它自称是我的家,我的祖国,我的教会: 我将设法用语言来表达自己的某种方式的生命或艺术的自由,我可以和 作为全我所能,用我的辩护唯一的武器,我让自己使用-沉默,流放, 狡诈. " 在结束斯蒂芬决心离开爱尔兰前往法国巴黎,遇到"现实的经验" . 他是要建立自己作为一个作家. 从前有一个椅名叫斯蒂芬的青年是最奇怪不平衡-- throve他对气味-- 恐怖的地狱, hottentot不会相信吋(乔伊斯的打油诗对本书的主角)下午开始的 第一次世界大战期间,乔伊斯举家搬迁到苏黎世, 在列宁与诗人散文家特里斯坦文库已经找到了救星. 乔伊斯第一次世界大战几年传奇的俄国革命和文库, 创办者是达达运动在歌厅伏尔泰,提供了依据,为汤姆斯托帕德游戏travesties ( 1974年) . 在苏黎世的乔伊斯开始发展初章尤利西斯,这是首次在法国出版, 因为检查的麻烦,在英国和美国,这本书成为法律许可的1933年. 主题嫉妒是部分基于第一个故事,前一个朋友告诉乔伊斯: 他声称,他曾遭到性亲密与作者的妻子,诺拉,尽管乔伊斯是尊王她. 尤利西斯发生的前一天,在都柏林举行( 1916年6月, 1904年) ,反映了典型的工作荷马( fl.第九或第八世纪公元前? ) . 主要特点是布卢姆是一个犹太人广告助选,他的妻子莫莉,斯蒂芬dedalus , 英雄从艺术家的画像作为一个年轻人. 他们的本意是现代对口telemachus ,尤利西斯, penelope . barmaids是著名的警报器. 一个模式供坯实业schmitz ( italo svevo ) 小说家和商人,被乔伊斯的学生在校berlitz雅斯特. 这个故事,用意识流技术,并行的重大事件奥德修斯的归途. 不过,布鲁姆的冒险少英雄和他的同学是暴力较少. 布鲁姆使得他这次来的黑道出席了葬礼在glasnevin坟场. "我们现在祈祷,为他的灵魂. 希望你和没有地狱. 尼斯变化 空气. 出的fryingpan的生命之火的炼狱. " 山径斯蒂芬和Bloom十字架recross通过一天. 乔伊斯的技术创新,在艺术的小说,包括了广泛使用的内心独白; 他用一个复杂的网络符号parallels来自神话,历史和文学. 从1917年至1930年乔伊斯经历了几次眼部手术在内双目失明为短区间. (根据传统,荷马也是盲人) . 在1923年3月开始,乔伊斯在巴黎他的第二项主要工作, 芬尼根守灵,痛苦的同时慢性眼部麻烦,造成青光眼. 第一部分小说出现在福特madox福特的大西洋审查,在1924年4月, 作为乔伊斯什么所谓的工作进度. 继占领乔伊斯的时间,未来16年,其最后文本的完成,晚于1938年. 一份新颖出席乔伊斯的生日庆典1939年2月. 乔伊斯的女儿露西亚,出生在的里雅斯特1907年,成了荣格的病人在1934年. 在她十几岁,她学习舞蹈,后来在巴黎时报称赞她的技巧作为choreocrapher ,语言学家和表演. 与父亲同她合谋pomes penyeach ( 1927年) ,为她做了一些插图. 露西亚的大爱是贝克特,谁不关心她. 早在三十年代,她开始表现不寻常. 在burgh?lz精神科诊所,在苏黎世荣格那里工作,她被确诊患有精神分裂症. 乔伊斯留下惨痛在榕的分析,他的女儿荣认为她太接近她的父亲 psychic制度. 为了报复,乔伊斯发挥芬尼根守灵与荣格的概念和animus anima . 卢死在精神病院诺坦普敦,英格兰在1982年. 垮台后的法国,在二战期间,乔伊斯返回苏黎世,在那里他死于1941年1月13日, 还是失望接待芬尼根守灵. 这本书部分基于弗洛伊德梦心理学,布鲁诺的理论上的互补性,但矛盾的性质的对立, 和循环论历史维柯( 1668-1744