GENETIC JOYCE STUDIES - Issue 8 (Spring 2008)
Proof^finder:
Placards
Introduction [skip]
by
Ronan Crowley
In November 1920 Joyce wrote to John Quinn, who was then involved in
talks with Huebsch about the possibility of a New York publication of Ulysses. After receiving word of the Little Review trial and Huebsch’s
subsequent pusillanimity, Joyce went on to withdraw Ulysses “by cable an hour after receipt” of letter from Harriet
Shaw Weaver (LIII: 40), but while the negotiations were underway, he had
written to Quinn specifying the conditions of any possible New York printing.
I must stipulate to have three sendings of proofs
(preferably a widemargined one must be pulled), namely:
(1) A
galley-page proof of all the book up to and including Circe.
(2) A
similar proof of the three chapters of the Nostos.
(3) A
complete proof of the book in page form (LIII: 30–31).
Clearly, this is actually a request for only two “sendings of
proofs”: a galley proof of the whole book and page proofs of the whole book. In
November 1920 Joyce was at work on the last of the adventures, “Circe,” and
perhaps envisaged working on the galley proofs of the first fifteen episodes as
he completed the Nostos. With publication finally arranged through Beach and
the Dijon works, Joyce’s anticipation of the first proofs is evident. “J’attends
les premiéres èpreuves d’ Ulysse au
10” he writes to Valery Larbaud on June 5 1921 (LIII: 43). Two days later
he tells Alessandro Francini Bruni, “aspetto
le prime bozze domani l’altro” (LIII: 45). Ellmann dates the
first galley proofs to 10 June 1921 (JJII: 513) but the earliest proofs, now
located at Harvard, are actually dated 11 June (JJA 17.002).
This first sending of proofs, the marked épreuves en placard of Ulysses, was deposited at the Houghton
Library by Marian Willard Johnson on November 29, 1950. The ‘placards,’ as they are more usually
called, correspond, in the Anglophone printing-world, to slip proofs or galley
proofs. A placard is a proof taken
from composed type before page composition to allow for the detection and
correction of errors. They are printed on one side only and with wide margins
to cater for the author’s inspection and corrections. Large sheets of paper
generally measuring 470 x 744 mm, each placard
contains eight unnumbered pages of text, four across and two high, arranged
with the second page printed below the first, the fourth below the third, the
sixth below the fifth and the eighth below the seventh. Each placard was pulled three times and Joyce
usually made his corrections and additions to a single copy. There are
exceptions to this general rule, however: the first setting of “Sirens” Placard 31, for example, was pulled five times
at the end of September 1921 and Joyce marked up two of these copies with different corrections and additions. Six
copies of the second setting of Placard 42, for “Oxen of the Sun,” are at Princeton (one of
these is marked). The usual printers’ practice is, once the marked placard is returned and its corrections
set, to divided the type up into pages, insert the page numbers and submit a
further proof––the page proof––to the author (this
happened in the case of the first five episodes of Ulysses). Such was the weight of Joyce’s additions, however, that
Darantiere began to pull the revised settings as placards (and again, generally in sets of three copies).
The printers worked sequentially through the
episodes of Ulysses, setting
typescript as Joyce supplied it and successive placards are demarcated by rising numerals. As well as leading
towards the first edition, the placards were
also circulated among Joyce’s patrons and promoters––whether to
Harriet Shaw Weaver (LIII: 52) or to Valery Larbaud. In late October, Joyce
sent Larbaud the five galleys, “uncorrected and incomplete,”
that constituted the first setting of “Penelope” in type (LIII: 51). Though the
printers had only reached “Nausicaa” the final episode was pushed forward to
prepare Larbaud for the December séance in
the Maison des Amis des Livres bookshop––though Joyce hoped the conférence would take place two weeks
earlier (LIII: 53) and had actually sent the typescript to Darantiere in late
September.1
Because they were printed out of line, these five placards are demarcated not numerically
but alphabetically. Four settings of the resultant Placards A to E were made; copies of the first setting were
dispatched on 20 October (LIII: 51). The following table shows the number of
copies of each “Penelope” placard
that Joyce corrected at each setting level.
|
|
Pl.
A |
Pl.
B |
Pl.
C |
Pl.
D |
Pl.
E |
|
First setting |
2 |
1 |
1 |
3 |
1 |
|
Second
setting |
2 |
2 |
1 |
2 |
1 |
|
Third setting |
2 |
2 |
2 |
2 |
2 |
|
Fourth setting |
1 |
1 |
1 |
1 |
1 |
The dip in the number of copies marked in the final setting should
not be taken as evidence that the proofing process had abated. On 6 December
Joyce reported to Weaver that the episode “in printed proof (the 4th) is so
illegible with interlineations that it would be useless to send it” (LI: 178).
Looking across the placards of the
first setting, all three copies of Placard
D are marked. One might imagine that “Penelope” was not quite as
“uncorrected and incomplete” as Joyce claimed when dispatching it (and since
the second setting of Placards A–D
was pulled from November 2 onward––JJA 21.163––it must have been the first setting that
was sent to Larbaud). Consulting the documents at Harvard, however, the
markings on one of the copies amount to no more than French glosses of Molly
Bloom’s Hiberno-Englishisms. Presumably these translations were prepared with
the Paris reading in mind. For the placard
numbers of the remaining Nostos episodes Darantiere switched from his
previous format of rising numerals and printed “Eumaeus” and “Ithaca” on placards labelled III-1
to III-13. Two settings of these were made and Joyce often marked up two copies
of each setting of a placard.
Roman numerals are
also present in the labels attached to some early placards. The printers had pulled the first five episodes of Ulysses in placard over the course of a week in early June 1921. Joyce’s
corrections were set and the second sending of proofs––page
proofs––pulled at the end of the month. The page proofs, which
split placard text into pages and add
headlines and page numbers, went through two settings before Darantiere decided
on the unusual course of reverting to placards
for the reset text. Not only had
some confusion regarding episode versus tripartite-section breaks finally been
resolved by a letter from Joyce, dated 10 August 1921, but such was the weight
of additions to the second setting of the page proofs that Darantiere
reinstated placard printing to
accommodate the further growth he expected. Only when the second placards were returned, as he informed
Beach on 31 August, would he set “la mise
en pages définitive [the definitive make-up].”2
The printing of a long sequence of placards
for the episodes from “Hades” to “Scylla and Charybdis” had continued in
the meantime, however, commencing around 10 August, so when the eleven placards of the first five episodes were
repulled from 18 August onward, they were labelled I–XI.
Unlike all the others, these eleven placards
are paginated. It seems that in returning to the pulling of galley proofs from
page proofs the compositors had not bothered to remove the page numbers from
the set type, which they were rearranging for galleys. For the placards from number 10 onward,
consisting of text being set for the first time, Darantiere pulled two or three
settings of each before proceeding to page proofs. These placards revert, of course, to the more usual unpaginated format.
Another portion of the text of Ulysses
that was set out of sequence was the Messianic scene of “Circe.” Joyce had
composed the scene long after “Circe” was completed and typed up, but before he
had submitted the episode to Darantiere’s printers. Each of the two extant
typescript exemplars of “Circe” contains a coloured line to denote the point of
insertion of the Messianic scene typescript but, for whatever reason, the
printers set this latter portion of the text first. Again parting with
numerical sequence, the resultant Placards Y and Z
went through four settings when they were pulled beginning on 20 October 1921.
Only on 3 December did the setting of the rest of the episode catch up on what
was to have been an insertion, and the end of Placard 52
contains, after the final words “their reign is over for ever” (now U 15.1397), the printed instruction
“(ICI, pl. Y, Y bis et Z)” (JJA 20.056).
Provenance of the marked placards.
As each marked copy was set the dirty proof was returned to Joyce and
Beach along with copies of the new setting. In 1935, at the mercy of the Great
Depression and having ceded the rights to Ulysses,
Beach prepared a sixteen-page catalogue of her collection offering the “great
treasures” given to her by Joyce,3
among them all the proofs then in her possession. She describes them as “abundantly
corrected and added to by the author. About 600 pages contain 5 to 10 lines of
autograph corrections, others are almost completely covered with manuscript.”4 Most of the collection, including
the unmarked placards, remained in
Beach’s possession until it was acquired by Buffalo and Princeton but the
marked placards were disposed of
around the time she issued her catalogue. She recounts the period in her memoir
Shakespeare and Company.
I issued a little catalogue of my own. Perhaps this
catalogue failed to reach the Joyce collectors––or perhaps few were
collecting Joyce in the thirties. At any rate, most of the letters I got asked
whether I had anything of Hemingway’s. […]
On a trip to the United States at
about this time, I visited my friend Miss Marian Willard, now Mrs. Dan Johnson
of the Willard Gallery, in New York. I relinquished to her my set of the
corrected proofs of Ulysses.5
Here and elsewhere Beach’s reference to the “corrected proofs of Ulysses” is ambiguous as she does not
distinguish between the galley proofs and the subsequent compositional stratum,
the page proofs. From the reproduction included on the inside front cover of
Beach’s catalogue (the first page of Placard
13 setting one: JJA 18.03) and
the material holdings now at Harvard, however, it is clear that of the
“complete set, and several incomplete sets” of proofs which she describes one
is the marked placards.6 Initially on deposit, the
marked copies formally joined the Houghton Library collection in August 1969
through part purchase by the college and a partial gift by Mrs. Johnson, in
memory of Beach. The unmarked placards are
at Buffalo, V.C.1.A–C [V.C.3 and V.C.4], and Princeton, IV.B.125 and
IV.B.126.7
Different settings or versions of the same placard illustrate the expansive nature of Ulysses at this time. A placard’s
first setting generally contains thirty-seven lines of text to a page, unless
some typographical peculiarity such as the “Circe” speakers’ names has intruded
on regular spacing. On each version of a placard,
the same portion of the text of Ulysses is
generally found but because of the volume of additions that Joyce made, each placard was pulled in from one to four
settings. As a marked copy was returned and the additions set, the first and
last lines of each of the eight pages of the placard forme remained the same, with the text in between swelling.
(A forme is that whole assemblage of tightly bound pages of type, steel wedges
and wood furniture from which an impression is made.) From the printers’
point-of-view, one readily discerns typographical exigencies rather than
aesthetic deliberations to be at the forefront of such conservatism. If the act
of resetting were to push lines of type onto the following page not only would
material be shunted across the eight pages of an individual placard forme but also, in all
likelihood, across a number of formes, necessitating copious resetting in an
already perplexing print job.
In the case of the earlier placards, when the space required to meet Joyce’s additions was too
great, additional lines were tagged onto the page of type; again, rather than
to force the resetting of a number of pages. Thus, the second page of “Hades” Placard 11 moves from thirty-seven lines in
the first setting (JJA 17.222) to
forty-five in the second (JJA 17.230)
to forty-nine in the third (JJA 17.238).
As the compositors learned to expect heavy additions from Joyce––a
visitation no doubt marked by Darantiere’s “characteristic gesture [of]
throwing up his hands in despair” (JJII: 513)––they used large
quantities of blank pieces of type when the proof was in galley, inserting them
between the justification points to pad out the individual lines of the forme’s
pages. Setting an addition, therefore, did not require a lot of the type to be
broken up or ‘killed.’ Instead the blank type––the
quadrats––were removed and the compositors only had mere patches of
type to reset with Joyce’s additions incorporated. Enough quadrats were removed
so that the page could be reset with the minimum number of line-breaks
disrupted. Thus, the remainder of the page went unchanged. A drama ensues, a
two-hander played between Joyce’s expansive practices and the printers’
attempts to accommodate that growth, the enacting of which can be seen in the
marked placards. Joyce frequently vetoes undesirable line-breaks, insisting,
consequently, that the type be killed and reset. The integration of F. O. T. E.
I. Kriegfried Überallgemein’s title (now U
12.0567–69) serves as a memorable example of this back-and-forth
(compare JJA 19.131 and 19.139 where
Joyce instructs the compositor to “finir
la parole dans la ligne”).
Even these two solutions were not always
efficacious; placards that were
heavily worked over and went through numerous settings––or received
other typographical complications––required portions of text to be
shunted onto subsequent pages. The three settings of Placard 13,
the opening of “Aeolus,” give a
visually arresting example of this practice. The portion of text covered
remains a constant across the three settings (JJA 18.03–032; now U 7.001–372)
but with Joyce’s addition of the headlines on the first version and other long
passages the text waxes and finally overflows. The first page of the first
version contains twenty-six lines of text (JJA
18.3; U 7.021–037,
040–053) but once Joyce’s additions are set this swells to forty-three
lines on the first page of the second version (JJA 18.013; U 7.01–016,
021–037, 040–053). Both pages end with Bloom’s thoughts about
“Mario the tenor” (U 7.053). By the
third version of the placard,
however, Joyce’s additions are so copious that incorporating them means that
the first page has to be reset (as U 7.01–030;
JJA 18.021) and Mario is pushed on to
the middle of the second page (JJA 18.022).
The same principle of negotiable constancy holds
true at the level of the first and last line of the entire placard. Eventually, if additions continue beyond the physical
possibilities of a single eight-page forme, the content spills over into a
short supplementary placard (denoted
‘bis’). This was the case with the final setting of “Penelope,” for example.
The flurry of activity in the third setting of the episode, in which two copies
of each of the five placards were
marked, coupled with the weight of additions made to the previous settings,
meant that the final setting of the episode was too extensive for five placard formes. The point of rupture was
the beginning of the episode, Placard A
(U 18.001–364). The additions
made on six previous placard exemplars
combined to force some forty-one lines in the fourth setting (now U 18.320–364) onto a newly set single page (JJA 21.204).
The three settings of “Aeolus” Placard 13 also resulted in a bis placard. As did the resettings of Placard Y of the Messianic scene and Placard 34.
In the latter case, a “Cyclops” proof, Joyce incorporated a lengthy manuscript
addition beginning “A posse of Dublin Metropolitan police” (U 12.0534ff.) into the first setting. He supplied the printer with a
two-sheet fair copy of his text (Buffalo MS V.A.9) and left an instruction on
the first setting of the October 1 Placard
34, “Insérez ici le passage sur les
deux feuilles en manuscrit sans interrompre le paragraph” (JJA 19.123). Such were Joyce’s revision
to “Cyclops” that its placards
actually required a second bis. When the second setting of Placard 36
came to be reset the compositors realized they would require a supplement: the
instruction “Pla. 36 bis” appears scrawled on Joyce’s marked copy (JJA 19.179). And when the text was reset,
a bis placard was accordingly pulled
to accommodate the overflow caused by Joyce’s additions.
Sometimes a bis placard
was pulled to complete an episode––rather than have it running
over into the subsequent placard. The
first setting of Ulysses in type,
consisting of the first five episodes, for example, amounts to nine placards and a single-page Placard 9bis, which was necessary to cover
the end of “Lotus Eaters” (JJA
17.93). Similarly, Placard III-5bis completes
“Eumaeus.” On the two settings of Placard 23, by
contrast, which complete “Scylla and Charybdis,” the final two pages of the
proof were left blank––this may not have been due to any reluctance
on the part of the printers to set the beginning of “Wandering Rocks,” however,
but rather because they had run out of typescript to set. Darantiere informed
Beach on 12 August 1921 that the typesetters were nearing the end of the
portion of typescript then in their possession.8
In any event, the atmosphere of
effluxion was matched in the expense of printing Ulysses. An early estimate reckoned Fr 27,875.96 for the entire
job; by 3 December the extra cost incurred for Joyce’s revisions alone came to
3,852 francs.9
Joseph Prescott was perhaps the first scholar to work with the placards. In 1944, while he was
preparing a doctorate at Harvard, Marian Willard Johnson made the marked copies
available to him.10 In his
dissertation Prescott examined the various types of revisions that Joyce had
made to the galley proofs––since he focused on the placards, however, his study
concentrated on the late stage of composition from 1921–1922 and he could
only document Joyce’s accretive methods, as very few erasures occur in the
proofs of Ulysses.11
Joyce’s revisions represent almost exclusively a
process of elaboration. Great numbers of additions gravitate into patterned
constellations of purpose and method, and innumerable details, in the final
text as well as in the additions, become luminous with meaning.12
Using the placards-finder.
The following table prioritizes the placards as material documents and arranges them according to their
placement in the Archive. Individual
documents are denoted by ‘Pl’
followed by their Darantiere numeration / alphabetization and the setting
number. To distinguish placards from
page proofs, the setting is demarcated with a lower case Roman numeral. The
entire range of each placard is
recorded below––both in terms of text covered (using Gabler’s line
numbers) and Archive pagination.
Click on the episode-specific line numbers to go to that placard’s position in the episode-by-episode listing of all proofs.
Information regarding when Joyce used a particular placard can also be accessed from there.
Notes for the
introduction.
1. XIV.32: Maurice Darantiere to Slyvia
Beach; 23 September 1921. T. l. s.: 1l.
and XIV.33:
Darantiere to Beach; 26 September 1921. T. l. s.: 1l.
2. XIV.21: Maurice Hirchwald to Beach
enclosed with XIV.20: Darantiere to Beach; 11 August 1921. T. n. s.: 1l. and XIV.23: Darantiere to Beach; 31
August 1921. T. l. s.: 1l.
3. Letter from Beach to Holly Beach Dennis, early 1935,
quoted in Noel Riley Fitch, Sylvia Beach
and the Lost Generation (New York: Norton, c1983), p. 353.
4. Sylvia Beach, Catalogue
of a Collection Containing Manuscripts & Rare Editions of James Joyce, a
Few Manuscripts of Walt Whitman, and Two Drawings by William Blake Belonging to
Miss Sylvia Beach and for Sale at Her Shop Shakespeare and Company, 12, rue de
l'Odeon, Paris VIe (Paris: Shakespeare and Co., 1935), p. 3, item 2.
5. Sylvia Beach, Shakespeare
and Company (London: Faber and Faber, 1960, c1959), pp. 211–12.
6. Beach Catalogue,
pp. 2–3. Beach also refers to the placards
as the “corrected proofs of Ulysses”
in unpublished letters to Oscar A. Silverman and William A. Jackson, both dated
16 February 1960, that are now at the Poetry Collection, University at Buffalo.
In these letters she also explicitly states that the placards belong to Johnson.
7. Information taken from Harvard University’s Online
Archival Search Information System (accessed 10 May 2008) and, for the
Princeton material, from Howard C. Rice et.
al., “Sylvia
Beach Papers” (accessed 10 May 2008).
8. Buffalo XIV.22: Darantiere to Beach; 12 August 1921. T.
l. s.: 1l.
9. Buffalo XIV.3: Darantiere to Beach; 18 April 1921. T.
l. s.: 1l. and Buffalo XIV.51:
Darantiere to Beach; 3 December 1921. T. l. s.: 1l.
10. Joseph Prescott, “Stylistic Realism in Joyce’s Ulysses”, A James Joyce Miscellany (Second Series), Marvin Magalaner, ed.
(Carbondale, IL: Southern Illinois University Press, 1959), p. 48.
11. Joseph Prescott, “James Joyce’s Ulysses as a Work in Progress” (Ph.D dissertation: Harvard
University, 1944). Portions of the dissertation have contributed to “Stylistic
Realism in Joyce’s Ulysses,” pp. 15–66 and a series of papers on
characterization in Ulysses: Stephen
in Letterature Moderne, IX (March–April, 1959), pp. 145–63; a summary on Bloom in Literature and Psychology, IX (Winter
1959), pp. 3–4; and Molly in A James Joyce Miscellany (Third series),
Marvin Magalaner, ed. (Carbondale, IL: Southern Illinois University Press,
1962), pp. 79–126. All of the
above appeared as chapters in Joseph Prescott, Exploring James Joyce (Carbondale: Southern Illinois Univ.
Press, 1964).
12. Joseph Prescott, “Stylistic Realism in Joyce’s Ulysses,” p. 44.
Proof-finder: Placards
|
Text 1986 |
Setting |
CSE Level |
JJA |
Marked Copies |
Duplicates |
|
1 |
17.002–010 |
Harvard |
1 Yale, 1 Harvard |
||
|
1 |
17.013–020 |
Harvard |
2 Buffalo |
||
|
1 & 1 |
17.023–030 |
Harvard |
2 Buffalo |
||
|
1 |
17.033–040 |
Harvard |
2 Buffalo |
||
|
1 |
17.043–052 |
Harvard |
2 Harvard |
||
|
1
& 1 |
17.055–062 |
Harvard |
2 Buffalo |
||
|
1 |
17.064–072 |
Harvard |
2 Buffalo |
||
|
1
& 1 |
17.075–082 |
Harvard |
2 Buffalo |
||
|
1 |
17.084–092 |
Harvard |
2 Buffalo |
||
|
1 |
17.093 |
Harvard |
2 Buffalo |
||
|
1.0001–0219 (1) |
4 |
17.096–104 |
Harvard |
1 Buffalo |
|
|
4 |
17.107–114 |
Harvard |
1 Buffalo |
||
|
4 & 4 |
17.117–124 |
Harvard |
1 Buffalo |
||
|
4 |
17.127–134 |
Harvard |
1 Buffalo |
||
|
4 & 4 |
17.137–144 |
Harvard |
2 Buffalo |
||
|
4 |
17.147–154 |
Harvard |
2 Buffalo |
||
|
3.0435–0505
& 4.0001–0142 (2) |
4 & 4 |
17.157–164 |
Harvard |
2 Buffalo |
|
|
4 |
17.167–174 |
Harvard |
2 Buffalo |
||
|
4 |
17.177–184 |
Harvard |
2 Buffalo |
||
|
5.0179–0406 (3) |
4 |
17.187–195 |
Harvard |
2 Buffalo |
|
|
5.0406–0572 (4) |
4 |
17.197–200 |
Harvard |
2 Buffalo |
|
|
Text 1986 |
Setting |
CSE Level |
JJA |
Marked Copies |
Duplicates |
|
1 |
17.203–210 |
Harvard |
2 Buffalo |
||
|
2 |
17.211–218 |
Harvard |
2 Buffalo |
||
|
1 |
17.220–228 |
Harvard |
2 Buffalo |
||
|
2 |
17.229–236 |
Harvard |
2 Buffalo |
||
|
3 |
17.237–244 |
Harvard |
1 Harvard, 1 Buffalo |
||
|
1 |
17.246–254 |
Harvard |
2 Buffalo |
||
|
2 |
17.255–262 |
Harvard |
2 Buffalo |
||
|
3 |
17.263–270 |
Harvard |
2 Buffalo |
||
|
1 |
18.003–010 |
Harvard |
2 Buffalo |
||
|
2 |
18.012–020 |
Harvard |
2 Buffalo |
||
|
7.0001–0282 (5) |
3 |
18.021–028 |
Harvard |
2 Buffalo |
|
|
3 |
18.029–032 |
Harvard |
2 Buffalo |
||
|
1 |
18.034–042 |
Harvard |
2 Buffalo |
||
|
2 |
18.043–050 |
Harvard |
2 Buffalo |
||
|
3 |
18.051–058 |
Harvard |
2 Buffalo |
||
|
1 |
18.061–068 |
Harvard |
2 Buffalo |
||
|
7.0702–1041 (6) |
2 |
18.069–076 |
Harvard |
2 Buffalo |
|
|
3 |
18.077–084 |
Harvard |
2 Buffalo |
||
|
1 |
18.087–094 |
Harvard |
2 Buffalo |
||
|
2 |
18.095–102 |
Harvard |
2 Buffalo |
||
|
1 |
18.105–112 |
Harvard |
2 Buffalo |
||
|
2 |
18.113–120 |
Harvard |
2 Buffalo |
||
|
1 |
18.123–130 |
Harvard |
2 Buffalo |
||
|
2 |
18.131–138 |
Harvard |
2 Buffalo |
||
|
8.1007–1193
& 9.0001–0099
(7) |
1 |
18.140–148 |
Harvard |
2 Buffalo |
|
|
2 |
18.149–156 |
Harvard |
2 Buffalo |
||
|
1 |
18.159–166 |
Harvard |
2 Buffalo |
||
|
2 |
18.167–174 |
Harvard |
2 Buffalo |
||
|
1 |
18.176–184 |
Harvard |
2 Buffalo |
||
|
2 |
18.185–192 |
Harvard |
2 Buffalo |
||
|
1 |
18.195–202 |
Harvard |
2 Buffalo |
||
|
2 |
18.203–210 |
Harvard |
2 Buffalo |
||
|
9.1022–1225 (8) |
1 |
18.213–220 |
Harvard |
2 Buffalo |
|
|
9.1022–1225 (9) |
2 |
18.221–228 |
Harvard |
2 Buffalo |
|
|
Text 1986 |
Setting |
CSE Level |
JJA |
Marked Copies |
Duplicates |
|
1 |
18.230–238 |
Harvard |
2 Buffalo |
||
|
2 |
18.239–246 |
Harvard |
2 Buffalo |
||
|
1 |
18.249–256 |
Harvard |
2 Buffalo |
||
|
2 |
18.257–264 |
Harvard |
2 Buffalo |
||
|
1 |
18.266–274 |
Harvard |
2 Buffalo |
||
|
2 |
18.275–282 |
Harvard |
2 Buffalo |
||
|
1 |
18.285–292 |
Harvard |
2 Buffalo |
||
|
2 |
18.293–300 |
Harvard |
2 Buffalo |
||
|
3
& 1 |
18.303–305
& 19.003–010 |
Harvard |
2 Buffalo |
||
|
4 & 2 |
18.306–308 & 19.011–018 |
Harvard |
2 Buffalo |
||
|
1 |
19.021–028 |
Harvard |
1 Buffalo, 1
Princeton |
||
|
2 |
19.029–036 |
Harvard |
1 Buffalo, 1 Princeton |
||
|
1 |
19.039–046 |
Harvard |
2 Princeton |
||
|
2 |
19.047–054 |
Harvard |
2 Princeton |
||
|
Pl 31.i.b |
1 |
19.057–064 19.065–072 |
Harvard Princeton |
1 Harvard, 3
Princeton |
|
|
2 |
19.075–082 |
Princeton |
2 Princeton |
||
|
1
& 1 |
19.085–092 |
Harvard |
2 Princeton |
||
|
2 & 2 |
19.093–100 |
Harvard |
2 Princeton |
||
|
1 |
19.103–110 |
Harvard |
2 Princeton |
||
|
2 |
19.111–118 |
Harvard |
2 Princeton |
||
|
1 |
19.121–128 |
Harvard |
2 Princeton |
||
|
2 |
19.129–136 |
Harvard |
2 Princeton |
||
|
3 |
19.137–144 |
Harvard |
2 Princeton |
||
|
2 |
19.145 |
Harvard |
2 Princeton |
||
|
3 |
19.146 |
Harvard |
2 Princeton |
||
|
1 |
19.149–156 |
Harvard |
2 Princeton |
||
|
2 |
19.157–164 |
Harvard |
2 Princeton |
||
|
1 |
19.167–174 |
Harvard |
2 Princeton |
||
|
2 |
19.175–182 |
Harvard |
2 Princeton |
||
|
3 |
19.183–190 |
Harvard |
2 Princeton |
||
|
4 |
19.191–198 |
Harvard |
2 Princeton |
||
|
3 |
19.199 |
Harvard |
2 Princeton |
||
|
4 |
19.200 |
Harvard |
2 Princeton |
||
|
1 |
19.203–210 |
Harvard |
2 Princeton |
||
|
2 |
19.211–218 |
Harvard |
2 Princeton |
||
|
3 |
19.219–226 |
Harvard |
2 Princeton |
||
|
4 |
19.227–234 |
Harvard |
2 Princeton |
||
|
Text 1986 |
Setting |
CSE Level |
JJA |
Marked Copies |
Duplicates |
|
1 |
19.237–244 |
Harvard |
2 Princeton |
||
|
2 |
19.245–252 |
Harvard |
2 Princeton |
||
|
1 |
19.255–262 |
Harvard |
2 Princeton |
||
|
2 |
19.263–270 |
Harvard |
2 Princeton |
||
|
1 |
19.273–280 |
Harvard |
2 Princeton |
||
|
2 |
19.281–288 |
Harvard |
2 Princeton |
||
|
1
& 1 |
19.291–298 |
Harvard |
2 Princeton |
||
|
2 |
19.299–306 |
Harvard |
2 Princeton |
||
|
1 |
19.309–316 |
Harvard |
2 Princeton |
||
|
2 |
19.317–324 |
Harvard |
5 Princeton |
||
|
2 |
19.325 |
Harvard |
5 Princeton |
||
|
1 |
19.327–334 |
Harvard |
2 Princeton |
||
|
2 |
19.335–342 |
Princeton |
2 Princeton |
||
|
1 |
19.345–352 |
Princeton |
2 Princeton |
||
|
2 |
19.353–360 |
Harvard |
2 Princeton |
||
|
2 |
19.363–370 |
Harvard |
2 Princeton |
||
|
2 |
19.373–380 |
Harvard |
2 Princeton |
||
|
3 |
20.003–010 |
Harvard |
2 Princeton |
||
|
3 |
20.013–020 |
Harvard |
2 Princeton |
||
|
3 |
20.023–030 |
Harvard |
2 Princeton |
||
|
5 |
20.033–040 |
Harvard |
2 Princeton |
||
|
5 |
20.043–050 |
Harvard |
2 Princeton |
||
|
5 |
20.053–056 |
Harvard |
2 Princeton |
||
|
1 |
20.059–066 |
Harvard |
2 Princeton |
||
|
2 |
20.067–074 |
Harvard |
2 Princeton |
||
|
3 |
20.075–082 |
Harvard |
2 Princeton |
||
|
4 |
20.083–090 |
Harvard |
2 Princeton |
||
|
2 |
20.091–092 |
Harvard |
2 Princeton |
||
|
3 |
20.093–095 |
Harvard |
2 Princeton |
||
|
4 |
20.096–097 |
Harvard |
2 Princeton |
||
|
1 |
20.099–102 |
Harvard |
1 Harvard, 1
Princeton |
||
|
2 |
20.103–106 |
Harvard |
1 Princeton |
||
|
3 |
20.107–110 |
Harvard |
1 Princeton |
||
|
4 |
20.111–114 |
Harvard |
4 Princeton |
||
|
Pl 53.i.b |
5 |
20.117–124 20.125–132 |
Harvard Harvard |
1 Princeton |
|
|
5 |
20.135–142 |
Harvard |
2 Princeton |
||
|
5 |
20.145–152 |
Harvard |
2 Princeton |
||
|
5 |
20.155–162 |
Harvard |
2 Princeton |
||
|
5 |
20.163–164 |
Harvard |
2 Princeton |
||
|
7 |
20.167–174 |
Harvard |
2 Princeton |
||
|
7 |
20.177–184 |
Harvard |
2 Princeton |
||
|
7 |
20.187–194 |
Harvard |
2 Princeton |
||
|
7 |
20.197–204 |
Harvard |
2 Princeton |
||
|
7 |
20.207–214 |
Harvard |
2 Princeton |
||
|
7 |
20.217–224 |
Harvard |
2 Princeton |
||
|
7 |
20.227–234 |
Harvard |
2 Princeton |
||
|
Text 1986 |
Setting |
CSE Level |
JJA |
Marked Copies |
Duplicates |
|
1 |
20.237–244 |
Harvard |
2 Princeton |
||
|
Pl III-1.ii.b |
2 |
20.245–252 20.253–260 |
Harvard Harvard |
1 Princeton |
|
|
1 |
20.263–270 |
Harvard |
2 Princeton |
||
|
(17) |
Pl III-2.ii.b |
2 |
20.271–278 20.279–286 |
Harvard Harvard |
1 Princeton |
|
Pl
III-3.i.b |
1 |
20.289–296 20.297–305 |
Harvard Harvard |
1 Harvard |
|
|
2 |
20.307–314 |
Harvard |
2 Princeton |
||
|
Pl
III-4.i.b |
1 |
20.317–324 20.325–332 |
Harvard Harvard |
1 Princeton |
|
|
2 |
20.333–340 |
Harvard |
2 Princeton |
||
|
Pl
III-5.i.b |
1 |
20.343–350 20.351–358 |
Harvard Harvard |
1 Princeton |
|
|
2 |
20.359–366 |
Harvard |
2 Princeton |
||
|
Pl
III-5bis.i.b |
1 |
20.367 20.368 |
Harvard Harvard |
1 Princeton |
|
|
2 |
20.369–370 |
Harvard |
2 Princeton |
||
|
Pl
III-6.i.b |
1 |
21.003–010 21.011–018 |
Harvard Harvard |
Princeton |
|
|
2 |
21.019–026 |
Harvard |
2 Princeton |
||
|
1 |
21.029–036 |
Harvard |
2 Princeton |
||
|
2 |
21.037–044 |
Harvard |
2 Princeton |
||
|
1 |
21.047–054 |
Harvard |
2 Princeton |
||
|
2 |
21.055–062 |
Harvard |
2 Princeton |
||
|
1 |
21.065–072 |
Harvard |
2 Princeton |
||
|
2 |
21.073–080 |
Harvard |
2 Princeton |
||
|
1 |
21.083–090 |
Harvard |
2 Princeton |
||
|
2 |
21.091–098 |
Harvard |
2 Princeton |
||
|
1 |
21.101–108 |
Harvard |
2 Princeton |
||
|
2 |
21.109–116 |
Harvard |
2 Princeton |
||
|
1 |
21.119–126 |
Harvard |
2 Princeton |
||
|
2 |
21.127–134 |
Harvard |
2 Princeton |
||
|
1 |
21.137–140 |
Harvard |
2 Princeton |
||
|
2 |
21.141–144 |
Harvard |
2 Princeton |
||
|
Text 1986 |
CSE Level |
JJA |
Marked Copies |
Duplicates |
|
|
Pl A.i.b |
1 |
21.147–154 21.155–162
|
Harvard Harvard |
1 Princeton |
|
|
Pl
A.ii.b |
2 |
21.163–170 21.171–178 |
Harvard Harvard |
1 Princeton |
|
|
Pl A.iii.b |
3 |
21.179–186 21.187–194
|
Harvard Harvard |
|
|
|
4 |
21.195–202 |
Harvard |
2 Princeton |
||
|
4 |
21.204 |
Harvard |
2 Princeton |
||
|
1 |
21.207–214 |
Harvard |
2 Princeton |
||
|
2 |
21.215–222 21.223–230 |
Harvard Harvard |
1 Princeton |
||
|
Pl
B.iii.b |
3 |
21.231–238 21.239–246 |
Harvard Harvard |
|
|
|
4 |
21.247–254 |
Harvard |
1 Harvard, 1
Princeton |
||
|
1 |
21.257–264 |
Harvard |
1 Harvard, 1 Princeton |
||
|
2 |
21.265–272 |
Harvard |
2 Princeton |
||
|
Pl
C.iii.b |
3 |
21.273–280 21.281–288 |
Harvard Harvard |
|
|
|
4 |
21.289–296 |
Harvard |
2 Princeton |
||
|
Pl
D.i.b Pl
D.i.c |
1 |
21.299–306 21.307–314 21.315–322 |
Harvard Harvard Harvard |
|
|
|
Pl D.ii.b |
2 |
21.323–330 21.331–338 |
Harvard Harvard |
1 Princeton |
|
|
Pl
D.iii.b |
3 |
21.339–346 21.347–354 |
Harvard Harvard |
|
|
|
4 |
21.355–362 |
Harvard |
2 Princeton |
||
|
1 |
21.365–366 |
Harvard |
2 Princeton |
||
|
2 |
21.367–368 |
Harvard |
2 Princeton |
||
|
Pl
E.iii.b |
3 |
21.369–370 21.371–372 |
Harvard Harvard |
|
|
|
4 |
21.373–376 |
Harvard |
2 Princeton |
1. Placards I–XI
are paginated. See the introduction to the placards-finder.
2. Placard VII is a
reset of PP 4.2.b.
3. The seventh and eighth pages of Placard X are blank. Joyce’s additions continue into this portion
of the sheet.
4. Placard XI has only
four pages. There are no blanks, however, as only a half sheet was pulled.
5. The final page of Pl 13.iii
is blank.
6. The seventh and eighth pages of Pl 15.ii are set incorrectly. The Archive reproduces the two in the correct order (JJA 18.075–76).
7. The fifth page of the placard has
“19bis” written on the top of it (JJA 18.145).
No such document was pulled.
8. The last two pages of Pl
23.i are blank. The printers may have run out of typescript to set at this
stage. Darantiere informed Beach on 12 August 1921 that the typesetters were
nearing the end of the portion of typescript then in their possession. Buffalo
XIV.22: Darantiere to Beach; 12 August 1921. T. l. s.: 1l.
9. The last two pages of Pl
23.ii are blank.
10. The fifth
page of the placard has “Pla. 36 bis”
written on the top of it (JJA 19.179).
11. Pl 37.i contains
the draft text of some material for Gathering 17. In the upper border of the
third page of the placard, Joyce’s
draft of two elements appears (JJA 19.205).
The second of these has not been identified, but the first is Joyce’s sketch
for “Siopold” (now U 11.0751).
Lionel
Leopold
Simon <Richsiopold> Siopold
Richie
The second exclamation was added to “Sirens” on PP
17.1––at the same time Joyce was working on the placards of “Cyclops” (i.e. early
October 1921).
12. The fifth page of the placard
has “46bis” written on the top of it (JJA
19.377). No second setting of the placard
(with or without a bis) was pulled.
13. Placard 52 has
only four pages. There are no blanks, however, as only a half sheet was pulled.
On the final page, after the words “their reign is over for ever” (now U 15.1397), the printed instruction
“(ICI, pl. Y, Y bis et Z)” appears (JJA 20.056).
14. Placards Y and Z––the Messianic scene of “Circe”––were set and pulled out of sequence.
Joyce had composed the scene long after “Circe” was completed and typed up, but
before he had submitted the episode to Darantiere’s printers. Each of the two
extant typescript exemplars of “Circe” contains a coloured line to denote the
point of insertion of the Messianic scene typescript but, for whatever reason,
the printers set this latter portion of the text first.
15. Material was accidentally set twice at the end of Placard 61. The compositor, who was
working through Darantiere’s copy of the typescript, came to page 135 (JJA 15.286) and halfway down the page––having set “that carman is waiting” (now
U 15.4424)––went back a page and set the text U 15.4405–13 from “(To the crowd.) No, I was with the
private” to “Noble art of self-pretence” a second time. Perhaps there had been
a break in the setting and when the compositor resumed his work he started at
the wrong place. The typescript page which covers the duplicate material (JJA 15.285) has a mark around the word
“Personally,” which becomes the first word of the next placard, again duplicating material already set (U 15.4414–24) on the previous placard. Joyce crosses out the duplicate
material at the end of Placard 61 and
beginning of Placard 62.
16. The two ‘b’ copies of the second setting of Placards III-1 and III-2 contain nothing more than the correction
of a number of literals; no new material is added.
17. On the
fourth page of Placard III-2.ii.b Hirchwald has
written “Joyce all other spellings of
this expression have been a propos without italics?” (JJA 20.282).
18. The four ‘b’ copies of the first setting of Placards III-3, III-4, III-5 and III-5bis contain nothing more than
the correction of a number of literals; no new material is added.