…The big question of Ulysses is: exactly the wasteland. Now let us ask ourselves what a wasteland in our world really really is. Joyce speaks of the usurpers in his house. Stephen speaks of the usurpers in his house. His house is Ireland it has been…

…whenever he sees something we hear more about the way he feels about it than about the actual natural continuity of the object. Joyce is more interested throughout that book in telling you what the response of the young man is to the objects that he…

…a separation simply an effect of space, time and causality thinking? And does it really exist? Now these terms that Joyce uses for these, what he calls the nebeneinander and the nacheinander, are from Schopenhauer. That's Schopenhauer's Language for this…

…and the nacheinander, are from Schopenhauer. That's Schopenhauer's Language for this mystery. So I'm going to use Schopenhauer and Joyce uses him also to speak about this question. Are we really separated from each other? Schopenhauer asked this question.…

…an experience of your identity with the other and that is what I was talking about earlier when I spoke of pity. This is what Joyce means by pity. So Stephen is sitting here or walking here by the sea, and he thinks of the drowned man out there in…

…mean here comes everybody in character and the two together constitute that man woman unit which is the image of god on earth. Joyce had this whole series of works the portrait, Ulysses and the Finnegan's wake in his mind at once by the time he sat…

…the middle, the beginning of a dissolution and opening toward purgatory, toward purging of this. And Finnegan's wake is the purgatory of Joyce. Let me just let you hear something of the first page so that I can tell you something about how he resolves…

…companion for this lonesome woolly. And finally god has the brilliant idea of putting him to sleep and bringing forth the rib, as Joyce says, the cutlet sized consort. There she stands and here we are. The point here is that it was not god who himself…

…speaking about this morning we have occasional scenes. But you don't have an aesthetically separated out field that thing which Joyce called integritas, the separation, so that the field itself becomes a separate thing. Within that field there is a…

…is the essence of poetry, it is the essence of art to show the radiance shining through the forms of time and space. Joyce in the portrait of the artist as a young man has a wonderful section in which Stephen Daedalus is discussing aesthetics and how…

…he do with them? And god finally thought of something else. So he put this lonesome, lonesome one to sleep and drew forth what Joyce has called the cutlet sized consort. Then he looked and he said: well at last you know and now look what happened here…

…Baptiste De Vico said that man's first notion of the voice of god came with the voice of the thunder, that terrifying crack. Joyce uses it in Finnegan's wake all the time, on the very first page. When Finnegan falls from the ladder, the sound of his…

…his head goes a little dizzy the sound of god's voice comes down the fall, that's the thunderbolt. That's the thunderbolt of Joyce. And then the star, the first light of the heavenly dimension. Now the revelation. The light revelation is of about four…

…about the group spirit. So the individual quest is an individual quest and you've got to find it, otherwise you become what Joyce calls an ordinary dime a dozen type. You don't have an individuality you just haven't found yourself you are a stuffed shirt…

…to concretize its own symbol system. He had released himself and found the whole sense of the holy land in his own place, and so Joyce does this with the river and the city. His holy land you might say, was Dublin, as ours is New York on the Hudson.…

…them three rings of light one, two, three rings of light. So I used that as my text to this picture in Finnegan's wake, Joyce has the cycle. The book begins with the second half of the sentence with which the book ends: away, alas alone aloved along…

…get my point. It's a big one, and this is what Mann is working on. This is what Jung is working on, this is what Joyce is working on, this is what everyone's working on who's trying to retain the positive values that are in this heritage and at the…

…and the magic mountain of Mann and Joyce's Ulysses and Finnegan's wake, and also after years of work on mythology. And it was Joyce and Mann who brought out this great cycle of the departure from the world in which everybody is living, the flatland and…

…them three rings of light, one, two, three rings of light. So I used that as my text to this picture in Finnegan's wake Joyce has the cycle. The book begins with the second half of a sentence with which the book ends: away, alas alone aloved along the…

…to concretize its own symbol system. He had released himself and found the whole sense of the holy land in his own place, and so Joyce does this with the river and the city. His holy land you might say, was Dublin, as ours is New York on the Hudson.…