Brief Update, Eumaeus and Ithaca
I ultimately don’t have all that much to add since Monday’s class, although I would like to include some of the points that I mentioned in class, most of which were not part of Monday’s post.
First of all, the feminization of Bloom in the “Little Larry Hughes” song given that he is equated to the “jew’s daughter” in the song as he invites Stephen to stay at his house soon after the conclusion of the song. Although this is not a new characterization of Bloom (in fact it’s probably one of the most consistent things in the book), it is, as far as I can remember, the only time that song is used to establish that point.
The disconnection between the sheet music and the version which Stephen sings is also notable in the sense that Joyce himself could not have “written” that portion. This, however, does not explain why the lyrics between the two don’t match up, and my best guess is still the abundant variations of the song which exist, given that the song was originally passed down through the folk tradition.
As I’m guessing is the case with almost everyone’s obsession, it simply is not possible to make definitive statements with the “if a, then b” structure, but I guess I’ll close this post with some very general conclusions on music and song thus far.
-The nationality of the song (or composer) is usually tied into the sentiment of the scene in which it appears.
-Thomas Moore’s songs figure heavily in the work, and usually function differently than most songs.
-The performance of music is usually tied to contemplation, at least for Bloom (in both Sirens and Ithaca).
-The demarcation between music and sound is often fuzzy, and sound is often thought of similarly to light in a mathematic sense.