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ENGL2035: Modernism
Short assignment

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Short assignment
Research essay
 
Key
Using critical reading
Fair usage and plagiarism
Criteria

On this page:

The assignment in brief |
The passage |
Some suggestions |
Aims | 
Graduate Attributes  

  
Date notified:  week 2 (in your usual tutorial time)
Date due:  week 4 (in your usual tutorial time)
Length:  800 words
Weighting:  15%
 
The assignment in brief

Below is a passage from the fifth chapter of Ulysses ("Lotus Eaters"). Comment on it in no more than 800 words. Where does it take place, and who is involved? What does it suggest about the events of the novel, and about the characters involved in those events? Comment on the style and its effects.

 
The passage

      Answered anyhow. He slipped card and letter into his sidepocket, reviewing again the soldiers on parade. Where's old Tweedy's regiment? Castoff soldier. There: bearskin cap and hackle plume. No, he's a grenadier. Pointed cuffs. There he is: royal Dublin fusiliers. Redcoats. Too showy. That must be why the women go after them. Uniform. Easier to enlist and drill. Maud Gonne's letter about taking them off O'Connell street at night: disgrace to our Irish capital. Griffith's paper is on the same tack now: an army rotten with venereal disease: overseas or halfseasover empire. Half baked they look: hypnotised like. Eyes front. Mark time. Table: able. Bed: ed. The King's own. Never see him dressed up as a fireman or a bobby. A mason, yes.
     
He strolled out of the postoffice and turned to the right. Talk: as if that would mend matters. His hand went into his pocket and a forefinger felt its way under the flap of the envelope, ripping it open in jerks. Women will pay a lot of heed, I don't think. His fingers drew forth the letter and crumpled the envelope in his pocket. Something pinned on: photo perhaps. Hair? No.
     
M'Coy. Get rid of him quickly. Take me out of my way. Hate company when you.
-- Hello, Bloom. Where are you off to?
-- Hello, M'Coy. Nowhere in particular.
-- How's the body?
-- Fine. How are you?
-- Just keeping alive, M'Coy said.
     
His eyes on the black tie and clothes he asked with low respect:
-- Is there any... no trouble I hope? I see you're...
-- O no, Mr Bloom said. Poor Dignam, you know. The funeral is today.
-- To be sure, poor fellow. So it is. What time?
     
A photo it isn't. A badge maybe.
-- E... eleven, Mr Bloom answered.
-- I must try to get out there, M'Coy said. Eleven, is it? I only heard it last night. Who was telling me? Holohan. You know Hoppy?
-- I know.
     
Mr Bloom gazed across the road at the outsider drawn up before the door of the Grosvenor. The porter hoisted the valise up on the well. She stood still, waiting, while the man, husband, brother, like her, searched his pockets for change. Stylish kind of coat with that roll collar, warm for a day like this, looks like blanketcloth. Careless stand of her with her hands in those patch pockets. Like that haughty creature at the polo match. Women all for caste till you touch the spot. Handsome is and handsome does. Reserved about to yield. The honourable Mrs and Brutus is an honourable man. Possess her once take the starch out of her.
-- I was with Bob Doran, he's on one of his periodical bends, and what do you call him Bantam Lyons. Just down there in Conway's we were.
     
Doran, Lyons in Conway's. She raised a gloved hand to her hair. In came Hoppy. Having a wet. Drawing back his head and gazing far from beneath his veiled eyelids he saw the bright fawn skin shine in theglare, the braided drums. Clearly I can see today. Moisture about gives long sight perhaps. Talking of one thing or another. Lady's hand. Which side will she get up?
-- And he said: Sad thing about our poor friend Paddy! What Paddy? I said. Poor little Paddy Dignam, he said.
     
Off to the country: Broadstone probably. High brown boots with laces dangling. Well turned foot. What is he fostering over that change for? Sees me looking. Eye out for other fellow always. Good fallback. Two strings to her bow.
-- Why? I said. What's wrong with him? I said.
     
Proud: rich: silk stockings.
-- Yes, Mr Bloom said.
     
He moved a little to the side of M'Coy's talking head. Getting up in a minute.
-- What's wrong with him? he said. He's dead, he said. And, faith, he filled up. Is it Paddy Dignam? I said. I couldn't believe it when I heard it. I was with him no later than Friday last or Thursday was it in the Arch. Yes, he said. He's gone. He died on Monday, poor fellow.
     
Watch! Watch! Silk flash rich stockings white. Watch!
     
A heavy tramcar honking its gong slewed between.
     
Lost it. Curse your noisy pugnose. Feels locked out of it. Paradise and the peri. Always happening like that. The very moment. Girl in Eustace street hallway. Monday was it settling her garter. Her friend covering the display of. Esprit de corps. Well, what are you gaping at?
-- Yes, yes, Mr Bloom said after a dull sigh. Another gone.
-- One of the best, M'Coy said.
     
The tram passed. They drove off towards the Loop Line bridge, her rich gloved hand on the steel grip. Flicker, flicker: the laceflare of her hat in the sun: flicker, flick.
-- Wife well, I suppose? M'Coy's changed voice said.
-- O yes, Mr Bloom said. Tiptop, thanks.
     
He unrolled the newspaper baton idly and read idly:

What is home without
Plumtree's Potted Meat?
Incomplete.
With it an abode of bliss.

-- My missus has just got an engagement. At least it's not settled yet.
     
Valise tack again. By the way no harm. I'm off that, thanks.
     
Mr Bloom turned his largelidded eyes with unhasty friendliness.
-- My wife too, he said. She's going to sing at a swagger affair in the Ulster hall, Belfast, on the twentyfifth.
-- That so? M'Coy said. Glad to hear that, old man. Who's getting it up?
      Mrs Marion Bloom. Not up yet. Queen was in her bedroom eating bread and. No book. Blackened court cards laid along her thigh by sevens. Dark lady and fair man. Cat furry black ball. Torn strip of envelope.

Love's
Old
Sweet
Song
Comes lo-ve's old..
.

-- It's a kind of a tour, don't you see? Mr Bloom said thoughtfully. Sweet song. There's a committee formed. Part shares and part profits.
     
M'Coy nodded, picking at his moustache stubble.
-- O well, he said. That's good news.
     
He moved to go.
-- Well, glad to see you looking fit, he said. Meet you knocking around.
-- Yes, Mr Bloom said.
-- Tell you what, M'Coy said. You might put down my name at the funeral, will you? I'd like to go but I mightn't be able, you see. There's a drowning case at Sandycove may turn up and then the coroner and myself would have to go down if the body is found. You just shove in my name if I'm not there, will you?
-- I'll do that, Mr Bloom said, moving to get off. That'll be all right.
-- Right, M'Coy said brightly. Thanks, old man. I'd go if I possibly could. Well, tolloll. Just C. P. M'Coy will do.
-- That will be done, Mr Bloom answered firmly.
     
Didn't catch me napping that wheeze. The quick touch. Soft mark. I'd like my job. Valise I have a particular fancy for. Leather. Capped corners, riveted edges, double action lever lock. Bob Cowley lent him his for the Wicklow regatta concert last year and never heard tidings of it from that good day to this.
     
Mr Bloom, strolling towards Brunswick street, smiled. My missus has just got an. Reedy freckled soprano. Cheeseparing nose. Nice enough in its way: for a little ballad. No guts in it. You and me, don't you know? In the same boat. Softsoaping. Give you the needle that would. Can't he hear the difference? Think he's that way inclined a bit. Against my grain somehow. Thought that Belfast would fetch him. I hope that smallpox up there doesn't get worse. Suppose she wouldn't let herself be vaccinated again. Your wife and my wife.
     
Wonder is he pimping after me?

James Joyce, Ulysses, chapter 5 ("Lotus Eaters")

 
Some suggestions

This an exercise in close reading, which takes off from the reading of the previous chapter, "Calypso," that we did in tutorials in week 2. It asks you to do the same thing with a section of the next chapter of the book. Your best preparation for it is to read chapters 4 and 5 closely a couple of times, and piece together what's going on from what you know of Ulysses, and from what we've said about it in the tutorial sessions.

If you've already read chapters 1 to 3, well and good. If you haven't, don't rush through them in order to do this exercise, as they won't shed light on what's going on here. As you know, chapters 1 to 3 are not about Bloom at all: they're focussed entirely on Stephen Dedalus, whose path will cross Bloom's later in the day.

Don't worry if you don't feel you can identify everything that's going on in this passage. This assignment isn't looking for a complete exegesis of everything that's here. That can't be done. For a start, the passage has more words in it than there should be in your assignment. This is not because I want to set you an impossible job of compression, but because I want to give you room to move. I'm perfectly happy for you to focus on a small part of this passage and look at it in detail. I want you to be able to get an idea of the concrete realities the text is all about (a conversation, on a street), and

Note that this is not a research assignment. You are not required to do further critical reading for it, and further reading is not a separate criterion on the criteria sheet. You may find the notes in Jeri Johnson's Oxford UP edition (or in Declan Kiberd's for Penguin, if you've got that one), but don't get bogged down in them and make the mistake of thinking that chasing up references is what will make the passage clear. They may help, of course, but they won't give you the answers. For example, it's invaluable to know that "Love's Old Sweet Song" is the name of a song everyone knew at the time. But once you know that bit of information, what you need to do is consider just why a burst of the song comes up at this point in the text, where or who it comes from, and what it might mean.

Though it's not expected of you and receives no direct recognition in the criteria sheet, you may (and not surprisingly) find that it's useful and reassuring to read some of the published material on and guides to Ulysses, just to anchor yourself. If you want to do this, the resource guide to Joyce on this site will give you a number of good places to start. If you do draw on critical material, you must, of course—as is always the case with academic work—scrupulously document all uses you make of it in the assignment, and include a list of Works Consulted. Failure to do this will result in a mark of 0 for this assignment, and you will also have to show cause in order to be considered for a pass in the course. Make sure you read and understand the linked guides to Fair Use and Plagiarism and Critical Reading.

 
Aims

The aims of this assignment are:

  • to develop skills in the close reading of a literary text. Modernist texts often have an immense formal inventiveness, which requires and repays this sort of close attention, so this exercise will stand you in good stead for the rest of the course and for the later research essay.
  • to give you some quick and early feedback on your progress in the course.
 
Graduate Attributes

The Graduate Attributes this assignment fosters are:

  • Effective Communication:   This assignment is concerned with developing your ability to analyse and organise your ideas on a specific text.
  • Critical Judgement:   This assignment asks you to analyse and apply critical reasoning, while reflecting on the justifications and grounds for the decisions you make.
 
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Short assignment | Research essay            Key | Using critical reading | Fair usage and plagiarism
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