An annotated Stephen Hero: 2016

[source]
James Joyce's Stephen Hero
Jorn Barger December 2000 (updated Feb2001)

[References to the published edition-- eg 'TS253'-- are to the 253-page 1963 US paperback. Amazon TS for Theodore Spencer, ed.]

Image of Ch18 ms: [pic]

Origins

I don't think Joyce started with any intention to write a novel or an autobiography-- he collected epiphanies as a way of developing his skills as a playwright, and these necessarily mirrored his life. By 1903 he had dozens, and called the collection 'Epiphany'. [SL14-- ie, Selected Letters p14]

When he writes new epiphanies in Paris he sees them as either insertions (ie, memories from the past) or additions (new experiences added to the end of the sequence). The result must have weighed most heavily towards the time-period they were being written: 1902-1903.
It may have been this sequence that JAJ described to AE in Aug 1902 [L2-12] as a 'comedy' he expected to finish in 5 years. While compiling all of SH at the rate of an epiphany or two per week sounds insane, it's entirely consistent with how he wrote Ulysses and Finnegans Wake, using the notebooks-apparatus.

Then suddenly in 1904 he decided he was ready to link them with conventional prose, in a style some thought most closely resembled George Meredith's.

Cf this c1910 notebook comment:

"He shrank from limning the features of his soul for he feared that no everlasting image of beauty could shine through an immature being." [wod95, no date]

Title

Joyce's brother Stanislaus after James's death claimed credit for the titles of several of Joyce's early works, including SH. I find this very implausible (who was the artist?!) and in particular I think the evidence of the opening sentence [qv] of the 1904 essay 'A Portrait of the Artist' (henceforth 'PoA04' or the Goblin Portrait) discredits all such claims.

The title of SH was derived from a folk ballad about the highwayman Dick Turpin that Joyce sang at parties, 'Turpin Hero' [lyric] lyric&info [info]

Thematically, it frames Stephen as a bold and witty thief who tricks and insults a series of wealthy victims, so we may think of the missing Clongowes and Belvedere events having this 'spin'. (The Mullingar episode, Ch14, shows it very neatly.)

For Stannie to have innovated the title James would have had to explain the Turpin Hero theme, and the Stephen Daedalus name, before he'd started writing.

(Stannie's claims about supplying the ideas for many Dubliners stories are also highly doubtful-- the letters especially just don't provide any confirmation.)

Ch0?

Curran claims [cpc54] that J later referred to the Goblin Portrait as an 'introductory chapter' to SH. (It covers mostly the years 1898-1903, though, and its internal chronological sequence is very obscure.)
It was written five months after his mother's death, supposedly in a single sitting on 07Jan 1904. [etext] [also avail in the Viking Critical Portrait cga257-266]

Surely he'd been thinking about it for a least a month first, so I've taken to calling it 'the Goblin Portrait' because Joyce in Dec 1903 was trying to start a daily newspaper called the Goblin, and would probably have begun composing a manifesto for its first issue.

So this journalistic impulse may have supplied the autobiographical 'filler' between epiphanies.

Ch1

?MS1-32 (estimated manuscript pagination, assuming a 32pg average chapter-length for chapters 1-14)
written 02Feb-10Feb 1904 at JSJ's Cabra house (dismally depicted in Wandering Rocks: qv)

Curran [where?] reports Ch1 was lyrical, with obscure reveries on distant happenings. (I take this to mean JAJ didn't begin the storytelling until Ch2.)

Surviving Ch1 insertion [wod69]: "'The middle age discovered America; our age has discovered heredity.' Thus do the ages exchange civilities like outgoing and incoming mayors. The spirit of our age is not to be confounded with its works; these are novel and progressive, mechanical bases for life; but the spirit wherever it is able to assert itself in this medley of machines is romantic and preterist. Our vanguard of politicians put up the banners of anarchy and communism; our artists seek the simple liberation of rhythms; our evangelists are pagan or neo-Christian, reactionaries." [S&K]

Stylistically, this is a perfect fit for the Goblin Portrait, though, so Ch1 may have been a simple rewrite... or maybe not even a rewrite? (But most of PoA04 is recycled in the text...?)

Ch2-7
?MS33-213

pre-Clongowes

Ellmann [e264] quotes at length from Stannie's unpublished 1907 Trieste Diary: "On September 8 he informed Stanislaus that as soon as he completed [The Dead], he would rewrite SH completely. 'He told me... he would omit all the first chapters and begin with Stephen, whom he will call Daly, going to school...'"

'all the first chapters' implies that Ch2 and Ch3, at least, were pre-Clongowes.

Almost the only external evidence about the pre-Clongowes chapters of SH is a long list of characters, compiled before Ch8 was begun in the spring of 1904.

Unfortunately, Joyce was apparently not looking back over characters already introduced, but only ahead to characters he'd be needing from Ch8 on... so these lists don't tell us much about the earlier chapters. [wod73]

Mary Daedalus
Simon Daedalus
Stephen Daedalus
Maurice Daedalus
Isabel Daedalus

It's barely possible that Mary-Simon-Stephen reflects the order they were introduced in Ch2. 'Isabel' may have stood in for sister Poppie (one year younger than JAJ) in the early memories of his homelife, but her main dramatic purpose was to die in Ch22, like 15yo brother Georgie in 1902.

Mrs Riordan
John Casey
Aunt Essie
Uncle John
Aunt Brigid
Uncle Jim

He kept the first two names in PoA: 'Dante Riordan' for Mrs Conway, and 'Mr Casey' for John Kelly.

Essie and John were Aunt Lillie and Uncle John Murray, Brigid and Jim were Aunt Jo and Uncle William Murray. Their earliest (only?) appearance in PoA is the epiphany of Mabel Hunter in ch2, so surely their SH roles were much greater. Maybe Essie and John figured first.

The cluster of female names at the end of the full list (see below) includes 'Eileen Dixon' for Eileen Vance. The following pre-Clongowes epiphany was recycled in PoA1 (with Dante replacing Vance), so it surely appeared in SH in some form (probably attributed to 'Mr Dixon'):

Bray: in the parlour of the house in Martello Terrace.
Mr Vance (comes in with a stick): "...O, you know, he'll have to apologise, Mrs Joyce."
Mrs Joyce: "O yes... Do you hear that, Jim?"
Mr Vance: "Or else-- if he doesn't the eagles'll come and pull out his eyes."
Mrs Joyce: "O, but I'm sure he will apologise."
Joyce (under the table, to himself):

"Pull out his eyes,
Apologise,
Apologise,
Pull out his eyes.
Apologise,
Pull out his eyes,
Pull out his eyes,
Apologise."

In PoA04 JAJ seems to allude to this as his awakening "to the ideas of eternal damnation, the necessity of penitence and the efficacy of prayer". In the Trieste version, it serves as the last image before Clongowes.

There's a reallife anecdote of Joyce playing the Devil in a children's game of Adam and Eve, with Stannie and Poppie. This might have fit thematically with the damnation-motif.

PoA2 also includes this flashback: "And he remembered the day when he and Eileen had stood looking into the hotel grounds, watching the waiters running up a trail of bunting on the flagstaff and the fox terrier scampering to and fro on the sunny lawn and how, all of a sudden, she had broken out into a peal of laughter and had run down the sloping curve of the path. Now, as then, he stood listlessly in his place, seemingly a tranquil watcher of the scene before him."

TS101 Ch19 and TS134 Ch20 refer to 'nNurse Sarah' in Bray, so she probably made some appearance in the early chapters. PoA1 [qv] mentions a 'Brigid' (not an aunt) who may be Sarah renamed. [via bob williams] (curiously, 'Sara' and 'Brigid' were both names JAJ used or contemplated for Aunt Jo. perhaps he swapped the names between SH and PoA/U.)

Clongowes

Ellmann [e264] again: "...on Dec 15 [JAJ] complained to [Stannie] that even as revised it did not satisfy him, for 'it began at a railway station like most college stories; there were three companions in it....' S tried to reassure him: the companions were not three but five..."

PoA2 [qv] retains a vestige of that second opening: "Stephen was once again seated beside his father in the corner of a railway carriage in Kingsbridge..." but we can't be sure the scene was originally in SH and not just the rewrite. Colum [ofjj39] remembers the phrase 'the chocolate-colored train' being cited by someone who'd read it (cf PoA1: qv).

If one of the five companions was at Clongowes, it would have been based on Tom Furlong, who appears briefly in PoA1 under his own name. (He's remembered as Joyce's reallife ally in various tales of Clongowes mischief-- raiding the orchard, and daring to ask for special favors.)

There was a first-communion scene though: [TS238, Ch14] "The carriage smelt strongly of peasants (an odour the debasing humanity of which Stephen remembered to have perceived in the little chapel of Clongowes on the morning of his first communion)..." Costello guesses [pc79] this was factually 21 Apr 1889 (Easter Sunday after 7th birthday).

TS184 has another memory of Clongowes: "He saw far away amid a flat rain-swept country a high plain building with windows that filtered the obscure daylight. Three hundred boys, noisy and hungry, sat at long tables eating beef fringed with green fat like blubber and junks of white damp bread, and one young boy, leaning upon his elbows, opened and closed the flaps of his ears while the noise of the diners reached him rhythmically as the wild gabble of animals." (cf PoA1: qv)

The bully 'Wells' of PoA1 [qv] (who pushed SD into the square-ditch, and teased him about kissing his mother, and whom cga485 identifies without proof as the reallife Charles Wells) appears at TS70 (Ch18), mentioning another Clongowes boy-- 'Roth' (maybe the Paddy Rath of fact and PoA1). Wells would have been useful as one of Stephen Hero's first wealthy victims.

But there seems to have been no pandying scene, for TS245 Ch14 says "He had sometimes watched the faces of prefects as they 'pandied' boys with a broad leather bat..." Surely if there had been any mention of pandying in the earlier chapters, this definition-of-terms would have been unnecessary.

(In fact, there may factually have been no protest by JAJ to Conmee-- no other memoirs claim to recall it, as far as I know-- though there were definitely at least two occasions of pandying, the first for not bringing a book to class, which may have been glasses-related, and the other for vulgar language. It would seem an obvious opportunity to show the first stage of Turpin-Hero-ism, so the omission from the earliest fictionalisation makes the fact much more doubtful.)

Dante and Casey reached A Portrait and Ulysses unscathed, so the Xmas fight in 1891 probably originated in SH. But cf this comment of JAJ to Stannie in reference to Ch12-14: "Mrs Riordan who has left the house in Bray returns you have forgotten, to the Xmas dinner-table in Dublin." [SL52, 07Feb 1905]

The first Xmas in Dublin was 1892, when Stannie was eight. 'you have forgotten' sounds to me like a reference to reallife, but it may instead be to a fictitious event in a chapter Stannie hadn't read since summer 1904.
Also, the 'pope's nose' anecdote is recorded in a 1910 notebook, so hadn't been included in SH in 1904. [wod104]

Stannie [mbk46] says the hasty departure from Blackrock (also in PoA2) described the undistributed sheets of the poem 'Parnell' being trodden underfoot, so we would have had a scene of it being composed and distributed, though probably not more than a few lines of the poem itself.

Ch8
?MS214-246

1) Business complications
2) Aspect of the city
3) Christmas party
4) Visits to friends
5) Belvedere decided on [wod73]

Before splitting with Gogarty, Joyce had told him he planned 63 chapters total, which suggests a possible architectual design based on nine sets of seven or seven sets of nine. (The bulk of the evidence weighs against this though, I think.)

If there were nine sets of seven chapters, Ch7 might have set up this new cycle with the Joyces' move north of the river in Nov 1892, a major stage in Jack's business complications. Belvedere was decided on in March 1893.

This epiphany from Fitzgibbon street (c1894) probably found a place here: 'Dublin: on Mountjoy Square'

Joyce-- (concludes)... That'll be forty thousand pounds.
Aunt Lillie-- (titters)-- O, laus! I was like that too... When I was a girl I was sure I'd marry a lord... or something...
Joyce-- (thinks)-- Is it possible she's comparing herself with me?

PoA2's epiphany-montage including the beautiful Mabel Hunter and the monkeywoman at Usher's Island may have fit in here.

The Xmas party mentioned in the notes may be the Dante-Parnell fiasco, or it may just be the children's party that survives in PoA2 [qv] where he fails to kiss Emma. Ch21 TS158 supports the latter guess: "He remembered the first mood of monstrous dissatisfaction which had overcome him on his entrance into Dublin life and how it was her beauty that had appeased him."

Mike Flynn
Richard Sleater
Vincent Hearne/Heron     [the slashed form here and below means
Fr MacNally               JAJ substituted the 2nd version]
Mr ?Demers/Tate

Stannie [mbk41] identifies 'Mike Flynn' (the trainer in PoA2) as Pat Harding, but associates him with 1897 not 1892. Since JAJ has apparently already moved it to the earlier date, 'Sleater' might be Raynold the Protestant (Aubrey Mills in PoA2) with whom Joyce wrote a novel in 1892, imitating Dumas.

But more likely Sleater is someone from Belvedere-- maybe even Byrne, who James already knew slightly there 1893-95. ('Brennan' below might fit better-- but 'Cranly' was also available, though never noted in this list.) Cranly appears with no introduction in Ch15 so he may well play a role at Belvedere.

Or Sleater might be Richard Sheehy, dissociated from the 'Hoeys' listed below, and the 'Daniels' they morphed into.

'Heron' in PoA2 was Albrecht Connolly, possibly with features from his brother Vincent Connolly, and/or Vincent Cosgrave, who was still on good terms with Joyce in 1904 and would figure prominently as 'Lynch' in later episodes.

'MacNally' is explained at Ch16 TS35 as the Rector of Belvedere (real name Father Henry), parodied by Stephen in the play of PoA2.
'Mr Tate' in PoA2 was Dempsey, and is mentioned in Ch14 below.
Conmee ought to be involved in the decision for Belvedere...?

The next set of names clearly refers mostly to later, University chapters, but some Belvedere hints may have slipped in:

Fr Webster      [Darlington, changed to 'Butt']
Fr Dillon       [UC president Delany]
Miles Davin     [Clancy, changed to 'Madden']
James Brennan   [Byrne?, changed to 'Cranly' if so]
Matthew Lister  [Thomas Lyster?]
Thomas Nash
Oliver Flanagan [Gogarty, mentioned briefly at TS225]
Patrick Hoey
Owen Hoey
Annie Hoey

Thomas Nash turns up in Mullingar in Ch14, where it appears he was Stephen's enemy at Belvedere-- in PoA2 he and Boland hold Stephen's arms during the attack by Heron. (So why is he not in the list with Heron?)
The Hoeys must be the Sheehys, changed to the 'Daniels' in SH. 'Annie Daniel' in Ch21 is definitely Hanna Sheehy, who would marry Skeffington ('McCann'). There were two Sheehy boys-- Eugene was younger, Richard was JAJ's age.

John ?Butler          [William Butler Yeats?]
William Judge         [AE?]
Joseph Magennis       [Eglinton? or UC real name]
John Andrews          [Wm Archer? or Yeats??]
Christopher McCann    [Skeffington?]
Hon Mrs Ambrose       [Lady Gregory?]
James MacCormack

Many gaps here! These seem to be University-or-later, but not James's friends.

Philip McCann was Joyce's godfather's real name, but he's transformed into 'Fulham' in SH (unrecognisable to Stannie). 'Phil McCann' in SH is Skeffington.

'MacCormack' may be the singer (John) who James visited in March 1904, and shared a platform with in August. (If so, the naming here is interesting!)

Missing: Hughes the Irish teacher; Artifoni/Ghezzi

Eileen Dixon            Clare Howard
Emma Clery                   Gertrude Mayne [exxed]
Martha Albin/Sarah Albin
Charlotte Harrington
Esther Osvalt
Elinor Forde

These interesting clues are surely much closer to truth about Joyce's youthful affections than anything in the later works.

Along with Eileen Vance, 'Eileen' has been identified with one or another of the Sheehy girls (cf Annie Hoey/Daniel above), or one of Aunt Jo's girls.

A Miss Howard appears in the Mullingar chapter of SH, apparently Fulham's heir.

The unidentified love-object in 'Araby' may be one of these. (Based on geography I judge her to be a Sheehy.) Peter Costello has definitely identified Emma as M.E. Cleary, with some added characteristics of Elizabeth Justice.

If JAJ had a serious crush on Maud Gonne, she'd have to be in here-- maybe also Eleanora Duse. 'Gertrude Mayne' has MG's initials.

There was another actress in the Yeats-Gregory company named Sara Allgood who may have contributed to 'Sarah Albin'. [pic]

Gerty and Martha (the names) are recycled in Ulysses.

Osvalt appears in Ulysses as a Parisian, probably a prostitute. (What a loss, then, that these Paris chapters were never written!)

Elinor Forde sounds rich and Protestant and inaccessible. (maybe derived from Eleanora Duse?)

Missing: Lucy the bird-girl

Ch9 "February 1893 to June 1893"
?MS247-279

Rivalry with Vincent Heron
Letter from Eileen Dixon: Eileen and Emma. 
Belvedere. Essays.  Reading.  
Mr Casey + himself. 
Fight with Heron
Epiphany of Mr. Tate. 
The Play at Whitsuntide:  Emma again. [WoD70-71]

This material also mostly looks familiar from PoA2.

The references to 1893 are peculiar, seeming to condense many years into one over the next few chapters. Eg, the play in PoA2 should have been 1898, just before graduation... but maybe there were several plays in SH, originally. PoA2 is also condensed, for it claims the play is in Stephen's second year at Belvedere.

Eileen and Emma are definitely distinct, with Emma being the one he loves more, Eileen going farther back.

Stephen in Portrait II has established a degree of nobility in spite of his father. He's known for his chaste habits-- no smoking, drinking, or swearing, but he's mischievous enough to parody the rector in public, on a dare. Presumably it's his brains that endear him to his teachers, making it worthwhile to try to please them in other ways.

The epiphany of Tate must be the heresy anecdote in Portrait II. It's presented there in a flashback to the year before, along with the fight with Heron (probably 1895). Stephen defers to Tate (not a priest, in fact), but passionately defends his preference for Byron over Tennyson, against Heron and his thugs. (Heron is also smart, but has not chosen chastity.)

Nash was probably in the Heron-fight, for TS245 calls him "his old enemy". TS70 mentions Heron's other ally in PoA2, 'Boland'. [qv]

Portrait II p78 makes a strange claim that Stephen was reading subversive writers: "All the leisure which his school life left him was passed in the company of subversive writers whose gibes and violence of speech set up a ferment in his brain before they passed out of it into his crude writings."

The sorts of writers we might expect him to be reading were Kipling, HG Wells, and Conan Doyle. The Capel street library offered more exotic fare like Rabelais, Balzac, and Zola, but we have no evidence Joyce was reading them this early, nor Thomas Hardy et al. More likely, if it's true at all, it refers to penny dreadfuls or the Police Gazette. (Portrait also claims he had ceased to pray, and was utterly consumed by the blackest lusts.)

He's mature enough though, in the PoA version of things (p82), to have recognised that novels falsify their stereotyped emotions, and to care little about the 'points of honour' that preoccupy Heron. Portrait II p83-84 offers a nice meditation on the various inner voices making demands on Stephen's future.

At the play, Stephen's consciousness of Emma's presence makes everything magical, briefly, fulfilling his expectation about woman's love (and again equating woman and inspiration!). But she disappears after, leaving him hugely frustrated. (SH's version of the play probably also included the parody of the Rector.)

Ch10 "June 1893 to September 1893"
?MS280-312

The affairs of Mr. Daedalus. 
The journey to Cork
Meeting with godfather in train coming home 
Her reproving eyes, his dreams.
Bray: Eileen and Wells.
Soixante-Neuf. (after a walk)
 
1) The day in Edinburgh 2) We cannot educate our fathers

CPC51: "another chapter-ending was 'interminable wastes of bogland, interminable servitude of mind'" "a journey through the Irish midlands-- perhaps to Mullingar-- when Stephen looks out from the railway carriage upon a dreary landscape, telegraph wires along the line rising and falling." But we now have the trip to Mullingar, and Stephen spends it observing the peasants, so this is either the trip back from Mullingar (still lost) or an earlier trip.

More Portrait II: Simon has abandoned the future for the past. Stephen is still embarrassed by him, but in many ways Simon is the better man, especially because Stephen is so alienated from his sexuality.

'Her reproving eyes' are surely Miss Howard's, accompanying Mr Fulham. SH14 p240 says "Her presence did not awe him as it had done when he had last met her and he thought that perhaps the uncontaminated nature which he had then imagined accusing him was no more than an unusual dignity of manner." so he already feels his own nature to be contaminated, despite his chaste reputation. He had discovered masturbation in 1895 (the experience with the pissing nursemaid), but the actual trips to Cork were in '93 and early '94, and to Edinburgh/Glasgow in summer '94. The 'foetus' epiphany in Cork also shows his spiritual paranoia at this early age.

Wells was a bully at Clongowes who'll be studying for the priesthood by SH18. It seems unlikely he's really paired with Eileen here-- they may be two separate encounters from his past. (This is one trick for doing theme-and-variations-- have the same characters reappear regularly, seen with different eyes.)

"69" is mind-boggling, but may survive in the Trieste Portrait as his first encounter with a prostitute (p100). However, Costello's researches date Joyce's first real encounter with a prostitute to Summer 1898, between Belvedere and University. So this '69' may have involved some girlfriend... but at age 11??? (He needed some kind of sexuality, to repent in Ch11.)

Portrait II also adds a scene before the prostitute, with Stephen's prize money inspiring a burst of false but sincere good works.

Curran recalls [cpc51] a chapter ending "interminable wastes of bogland, interminable servitude of mind" that sounds like it's seen from a train. But the notes here about Edinburgh are only ambiguously placed to follow the '69'.

CPC54: "in a few passages... coldly deliberate trangressions of 'the limits of decency'... recurring tirades and railings against Church, State, and nation and the other 'trolls' who were spreading the nets of convention about the feet of the aspiring artist."

CP Curran [cpc48-50] describes the MS he first saw on 23Jun 1904 as "a bulky wad of manuscript... clearly written script with remarkably few corrections or interlineations... 9.25 by 7.25 inch... neat and easily legible". This was probably the first 9 or 10 chapters, already about 300 pages before the hellfire retreat. Joyce termed it "the marvellous novel" in his cover letter.

(TS171 has a handwritten correction of 'appetite' for 'appeased' which may have been the eye skipping forward while copying an earlier draft.)

Ch11? "August 1893 to December 1893"
?MS313-414

Supposedly on 15 July 1904 (with Nora turning into a serious possibility), James wrote to Curran: "I have finished the awful chapter-- 102 pages-- and Russell (A.E.) has the book now. I shall send you the chapter in a week. I am writing a series of epicleti-- ten-- for a paper. I have written one. I call the series Dubliners to betray the soul of that hemiplegia or paralysis which many consider a city." [SL22]

Sometime in July Gogarty wrote to GNA Bell that JAJ would be staying at the Tower for the next year to finish SH, paying for his bed (and board?) by doing the housekeeping. Gogarty rented the Tower in mid-August but JAJ didn't join him until early Sept. [SL28]

1) Sensations coming home.
2) Gradual irreligiousness (Epiphany of Thornton)
3) Return to Belvedere: in second class:
     prefect at sodality: Fr MacNally.
4) Retreat before feast of S. Francis Xavier.
   Six lectures
1) Introductory, evening before 1st Day
2) Death         }  2nd
3) Judgment      }  Day
4) Hell    }    3rd
5) Hell    }    Day   (Epiphany of Hell)
6) Heaven        morning after 4th Day [WoD68]

PoA3 takes about 50 typeset pages, so 100pp of manuscript fits quite well. Joyce's Pinamonti sourcetext [qv] was wellknown in 1904 Dublin, so he was probably already using it in SH.

On 3Dec 1904 he wrote "I read Nora Chap XI which she thought remarkable but she cares nothing for my art." [SL46. why would he choose Ch11???]

As PoA3, this episode is distinctly central, but in SH it's-- at best-- midway thru the second group of seven chapters:

 one    two    three   four      five    six     seven
 Xmas  Heron    Cork  RETREAT   fervor birdgirl Mullingar
words students ethics esthetics speech apostasy  Daniels
Isabel  Emma     24     25
                       Paris
                   death of mother
                Gogarty in nighttown
                  Gogarty at Oxford
                       Nora

The August date here overlaps chapter ten's September, making it uncertain where he's "coming home" from (Cork? Bray? Edinburgh? Or most likely: just the 69 walk!). And there's a considerable quantity of material to cover before the Retreat, so he might have broken it into two... unless a numerological scheme made this inconvenient! Starting a chapter like this with a coming-home also seems like promising architectural evidence.

The epiphanies of Tate (SH9), Thornton, and Hell were surely already-written pieces, to be inserted at these points. Richard John Thornton was a model for Mr Kernan of "Grace"... but Joyce wouldn't have reused the SH epiphany in Dubliners, since SH was still planned for publication. Stannie claimed another Thornton brother was the model for the narrator of Cyclops... and it's highly likely that epiphanies cut from the Trieste Portrait would have been recycled in Ulysses! (So look for a U-Cyclops epiphany that might have hastened James's slide into irreligiousness?) And a Mrs Thornton was a midwife at some Joyce-family births. (Costello has a book in the works on the Thorntons and other families within the Joyce orbit.)

The Trieste Portrait III p102ff shows Stephen perfectly divided between Catholic moralism and pagan libertinism. The sermon there offers no insights into why sexuality is so unacceptable to the Catholic god, only a supremely vivid depiction of the same old 'eagles pulling out eyes'.
The likeliest date for JAJ's retreat was Nov 1896, with the fervor-phase lasting about a year.

The Hell epiphany survives, and holds the same relative position in the Trieste Portrait (p137): "A field of stiff weeds and thistles alive with confused forms, half-men, half-goats. Dragging their great tails they move hither and thither, aggressively. Their faces are lightly bearded, pointed and grey as indiarubber. A secret personal sin directs them, holding them now, as in reaction, to constant malevolence. One is clasping about his body a torn flannel jacket; another complains monotonously as his beard catches in the tufted weeds. They move about me, enclosing me, that old sin sharpening their eyes to cruelty, swishing through the fields in slow circles, thrusting upwards their terrific faces. Help!" (This is as good, early in 1904, as the Trieste Portrait in general. It's obviously a dream.)
CPC51: "a topographical slip which placed Smithfield east and not west of Church Street... points to the... chapter where Stephen goes to confession in the Capuchin Church." (also cited at TS177)

SH21 p156: "He thought of his own [fervid] spendthrift religiousness and airs of the cloister, he remembered having astonished a labourer in a wood near Malahide by an ecstasy of Oriental posture..." (At this late point in SH he's contrasting his early spirituality with Emma's lack of same.)

Timeline (cont, pre-University):

Sep96: Prefect of Sodality ( = head boy)
Nov96: Retreat
early 1897: Malahide fervor
c1894-1903: Sheehy parties?
1897 reading: Meredith, Hardy, maybe Rousseau
Sep97: more prizes
Jan98: Vice Versa play
Jun98: graduated Belvedere
Jul98: Lucy the birdgirl?
Aug98: first prostitute?
Sep98: more prizes, spent in Nighttown? (Monto)

SH21 p156: "...he wondered whether the God of the Roman Catholics would put him into hell because he had failed to understand that most marketable goodness which makes it possible to give comfortable assent to propositions without in the least ordering one's life in accordance with them..." This placement is after he's left the Church, implying he'll never understand it, except from the outside. (And he surely understood it from the outside long before.)

Simon is an example of this effortless hypocrisy... isn't he? Or Fulham and Heffernan are better ones. Or Father Dolan.

SH21 p156 (continuing from just above): "...and had failed to appreciate the digestive value of the sacraments."

Eg, Franciscans vs Jesuits. But James's interest in the Franciscans was more like 1902, wasn't it? SH22 p177: "...nor anxious to reveal themselves, in theory, at least, men of the world." (This anachronism may be evidence that the Retreat-crisis actually happened at University, after his first experience with a prostitute.)

From "Grace": ""Father Purdon? Father Purdon?" said the invalid. "O, you must know him, Tom," said Mr. Cunningham stoutly. "Fine, jolly fellow! He's a man of the world like ourselves.""

From the Trieste Portrait V (p190, of the University dean): "A desolating pity began to fall like a dew upon his easily embittered heart for this faithful servingman of the knightly Loyola, for this halfbrother of the clergy, more venal than they in speech, more steadfast of soul than they, one whom he would never call his ghostly father: and he thought how this man and his companions had earned the name of worldlings at the hands not of the unworldly only but of the worldly also for having pleaded, during all their history, at the bar of God's justice for the souls of the lax and the lukewarm and the prudent."

Joyce had scandalised everyone with his unworldliness by choosing the course in modern languages at the University-- normally the girls' domain. But the faculty appreciated his intelligence, and his essays were read as exemplary (and uncontroversial) in composition class, with publication being discussed. (See 'Force' and 'The Study of Languages' in "Critical Writings".) His favorite reading in 1898 included Macauley, Ruskin, maybe Yeats, and finally Ibsen.

In spite, however, of continued shocks, which drove him from breathless flights of zeal shamefully inwards, he was still soothed by devotional exercises when he entered the University.

So, even after his first experience with the prostitute, he continued to pursue his peculiar visions of saintliness...

This is where Stephen Hero picks up, but I don't think we see much of the devotional exercises there or in the Trieste Portrait. He did continue with the Sodality there, in his first year or three, but this fact is apparently inconvenient to Portrait's argument.

SH15 p29: "Already while the fever-fit of holiness lay upon him he had encountered but out of charity had declined to penetrate disillusioning forces. These shocks had driven him from breathless flights of zeal shamefully inwards and the most that devotional exercises could do for him was soothe him. This soothing he badly needed for he suffered greatly from contact with his new environment."

Trieste Portrait IV shows Stephen in the period between the Retreat and University, giving Catholic doctrine every chance to prove itself, but gradually accumulating a set of arguments against it that seem to him absolutely objective. (Each 'shock' may have strengthened these arguments.)

His scrupulous experiment qualifies him to pursue the office of priest, but this would require maintaining the wall around his sexuality, while the arguments supporting this grow shakier and shakier.

In mid-July 1904, JAJ gave the first ten or eleven chapters of SH to AE to read-- well knowing they'd be too explicit for his taste. There's no record what AE said, but it seems to have wounded JAJ enough he was motivated to compose the broadside 'The Holy Office' over the next few weeks. [etext]

Ch12
?MS415-447
finished 20 Oct 1904 [L2-67]
before he split with Gogarty on 15 Sept, Joyce had told OG that SH would have 63 chapters

Joyce's letter of 15 Sept 1904 [SL29] asking Starkey at the Tower to pack his things for pickup says "Also see that your host has not abstracted the twelfth chapter of my novel from my trunk" but a month later in Pola JAJ wrote "I have not written much of the novel-- only the end of the 11th [sic] chapter in Zurich." [SL44, 19Nov 1904]

If the 15July date is correct for Ch11, then Joyce's sustained rapid pace of composition suddenly plummeted for the next two months. This might have been due to a change of priorities-- Dubliners meant quick cash, and we know he wrote 'Sisters' (paid 23Jul) and 'Eveline' during this time, and somehow he determined there'd be eight others. And he apparently wrote 'Holy Office' in late July or early August. And he was obsessing on Nora, of course.

Since Ch11 presumably ends with the confession as in PoA3, Ch12 should have been about his zealous phase: "the episode of religious fervour which was fast becoming a memory had resulted in a certain outward self-control..." [TS29, ch15]

cf also Ch21 TS156: "He thought of his own [fervid] spendthrift religiousness and airs of the cloister, he remembered having astonished a labourer in a wood near Malahide by an ecstasy of Oriental posture..." (this image is always presented as flashback, never in realtime apparently)

Joyce sent Stannie Ch12-14 on 13Jan 1905, giving permission to show them only to Cosgrave and Curran, and to read them to Aunt Jo, and asking for comments. A followup letter of 07Feb responds to Stannie's comments: "The sentence 'to sustain in person &c' is not legitimate if the phrase, 'and to protect thereby' is between commas but is legitimate if the phrase is in brackets. I shall change the verb however. Mrs Riordan who has left the house in Bray returns you have forgotten, to the Xmas dinner-table in Dublin. The immateriality of Isabel is intended..." [SL52, 07Feb 1905]

19Nov 1904: "I am afraid I cannot finish my novel for a long time. I am discontented with a great deal of it and yet how is Stephen's nature to be expressed otherwise. Eh?" [SL44]

Ch13?
[correction Feb 2001: the fragment I describe here is apparently really part of ch13, strangely, so my page-numbering needs adjusting]
?MS448-480
TS237
MS477-478
finished 12 Dec 1904 [L2-74] ('After the Race' published 17Dec)

Lucy (the birdgirl) is discussed at TS230-231

all that survives is "...nations. They were held out to say: We are alone-- come: and the voices said with them: We are your people: and the air grew thick with their company as they called to him, their kinsman, making ready to go, shaking the wings of their exultant and terrible youth." A comment has been added "Departure for Paris" In PoA5 this becomes: "16 April: Away! Away! The spell of arms and voices: the white arms of roads, their promise of close embraces and the black arms of tall ships that stand against the moon, their tale of distant nations. They are held out to say: We are alone. Come. And the voices say with them: We are your kinsmen. And the air is thick with their company as they call to me, their kinsman, making ready to go, shaking the wings of their exultant and terrible youth." [etext]

CPC51: "The North Bull episode... was certainly in one section I read, treated with the same imagery of cloud and water, and closing with the figure of the girl gazing out to sea."

Joyce told Stannie "The effect of the prose piece 'The spell of arms' is to mark the precise point between boyhood (pueritia) and adolescence (adulescentia)-- 17 years. Is it possible you remark no change? ...Stephen's change of mind is not effected by that sight as you seem to think, but it is that small event so regarded which expresses the change. His first skin falls." [SL52, 07Feb 1905]

Ch14 [annotations]
TS237-253
MS481-506-?513
written Dec 1904 in Pola [SL47] (chapters 14-18 were written in Pola between Dec and Feb, mostly at cafes, while working 16 hours/week at Berlitz, studying German, translating Moore's Celibates into Italian with Francini Bruni, gaining weight, getting glasses, and cultivating the appearance of a respectable professor)

The earliest surviving fragments of SH are framed as being the summer before entering University, though they seem based on two visits to Mullingar that Joyce took with his father in the summers of 1900 and 1901. In SH, the Retreat has taken place the previous December.
(Stephen smokes cigarettes in the chapter!) Again, this may indicate that in both SH and the Trieste Portrait, Joyce has shifted his first year or two of University back onto Belvedere, which they more closely resembled in terms of conformity, etc.

epiphanies used: lame beggar, Examiner editor (realname Michael Tobin)
"new fervour of youth"

28yo in 1901

Clare Howard (there was a Howard family in the neighborhood) [j&c234]
Joyce told Stannie "Fulham is not old Sheehy-- he comes in later." [SL52, 07Feb 1905]

Joyce recycled the 'Fulham' name a few years later at the start of 'The Dead' [qv] as the landlord of the Usher's Island house-- actually a corn factor named Fagan [cite]

the drowning actually took place on 19Jul 1900. [j&c229]

Fulham's house is based on Awley Bannon [j&c233]

Ch15?
TS23-25: president of college, Madden, Butt (probably freshman year?)
MS519-?
TS25-31: theory of poetry, Butt's fire ["End of First Episode of V"]
?MS514-537
written Dec 1904- Jan 1905 [SL50] ('Clay' completed 19Jan but rejected, JAJ drops Dubliners for the next few months and concentrates entirely on SH)

When Joyce had finished Ch18 he predicted "The U. College episode will take about ten chapters" [SL58, 15Mar 1905] but by 27May [L2-90] that had grown to eleven.

Cranly appears with no introduction at TS39

self-description: debauchee
bursar, discipline, charm
Madden
Father Butt
[missing pages]

theory of stresses in verse, Skeats
"he began to see that people had leagued themselves together in a conspiracy of ignobility"
composition class, boldnesses not labored over, constructing manner
"for the youth had been apprised of another crisis and he wished to make ready for the shock of it" (crisis of exploding serious boldnesses)
SD explains theories to Butt: literary value vs marketplace value of words
Butt builds fire
Butt sentimentalizes Twelfth Night, Othello
SD's monster (of arrogance?)
fervor -> shocks (disillusioning forces) -> reserve
University a great stress
enjoys looking at ugliness of city faces
sound of vocables
fear of obviousness -> silence
"I must wait for the Eucharist to come to me."
prayers, flight from classroom, wandering, vocables
Byron full poem
Edward Augustus Freeman (1823-1892) [info&sample] [etext] [bio]
William Morris's News from Nowhere (eg, 1890) [links]
PoA5 [qv] specifies Newman's 'detain'
Byrne watched Darlington build the fire in Dec 1895.
When SD gets off the tram at Amiens instead of continuing to the Pillar, he's (incidentally) avoiding the spot [map] where Bloom is almost run over by a tram at the start of Circe [qv]
Eucharist: [Cath]
Final SH notes:

For 'University College':
The ice-cream Italian
The marsupials
Literature, Poetry, Lyric epic, dramatic
Art has the gift of tongues
Indignation
Special reporter novels
'We cannot educate our fathers'
The Day in Edinburgh
'It is a great mistake to have piratical ancestors' [WoD69-70]

Italian = Artifoni?
Novels about reporters having adventures while doing special reports?
Is it possible there was an unrecorded trip to Edinburgh during University?
Whose ancestors were pirates?

Fr Webster
Fr Dillon
Miles Davin
James Brennan
Matthew Lister
Thomas Nash
Oliver Flanagan
Patrick Hoey
Owen Hoey
Annie Hoey

Mostly University friends. [pic] [school]

Father Dillon in SH is the President of the University, who at first censors Stephen's speech on Drama and Life. Webster likely became Father Butt (real name Darlington).

Davin here was Clancy in life, Madden in SH and Ulysses, and Davin again in the Trieste Portrait.

Brennan is probably Jeff Byrne, Cranly in SH, the Trieste Portrait, and Ulysses. Ellmann's Plate V shows Joyce, Byrne, and Clancy posed as a group. [lo-res]

Lister might be Cosgrave/Lynch, or SH's Wells, Whelan, Temple, or Glynn. (or Lister?)

Thomas Nash survives in the Mullingar chapter of SH, where it appears he was Stephen's enemy at Belvedere-- in the Trieste Portrait he holds Stephen's arms in the fight with Heron and Boland. (So why is he not in the list with Heron?)

Flanagan is surely Gogarty (Goggins in the Trieste Portrait, Mulligan in Ulysses), and is mentioned by Temple as a new name at SH25 p225.

The Hoeys may be the Sheehys, called the Daniels in SH. Annie Daniel is called the oldest, ie Hanna Sheehy, appropriately being courted by Skeffington/McCann.

Missing here, present in SH: Father Moran (whose name was taken from Nora's personal history)

John ?Butter
William Judge
Joseph Magennis
John Andrews
Christopher McCann  [Skeffington?]
Hon Mrs Ambrose
James MacCormack

Many gaps here! These seem to be University-or-later, but not James's friends.

Magennis was a University professor who encouraged James, and appears in Ulysses.

Philip McCann was Joyce's godfather's real name, but he becomes Fulham in SH. Phil McCann in SH is Skeffington.

MacCormack may be the singer (John) who James visited in March 1904, and shared a platform with in August. (If so, the naming here is interesting!)
Missing: Hughes the Irish teacher; Artifoni
Also: Colum, Thomas Kelly the millionaire, Russell, Yeats, Lady Gregory, Eglinton, Archer, Kettle, the Sheehy boys

Ch16
TS32-47
?MS538-566
finished before 07Feb 1905 [L2-81]
solitariness, verse-obsession
"Isolation is the first principle of artistic economy."
searching for evolutionary theory of verse
SD contemptuous of students' laughing at his condemnation of Othello
students reject art, SD redoubles resistance to this 'conspiracy'
let them meet him on his ground
Europe was initiating revolutions
throwing caution to the wind, reputation for wildness, chastity abandoned
walks with Maurice, diary, shows poems
decadence "a process to life through corruption"
poem
cutting classes, walking, skirtchasing
spurns fraud of college life
howling dog epiphany
SD popular as personality, excused for artistic temperament
McCann, orator, Cranly, Madden
SD's manner excuses his mad tastes
talk scheduled
reporter baffled by Maeterlinck
Ibsen influence reconciles intelligence with 'monster'
like Rousseau above contradictions
SD spokesman for notoriety of Ibsen
Daniels' Sunday evenings, music and games and recitations
Ibsen who's who, stupidity of pretty daughter
Emma
announces 'Drama and Life' (actually Oct 1899)
Plesiosaurus
Lessing: [EB] Laocoon [German]
antiphon
07Feb 1905 "I am 'working in' Hairy Jaysus at present. Do you not think the search for heroics damn vulgar-- and yet how are we to describe Ibsen?" [L2-80]
Maeterlinck: Joyce's oldest known copies of M's works are dated 1899, but the conversation with the journalist was probably after the 1900 Ibsen review.
Rousseau stole a ribbon, not spoons
Berlin: Ibsen's "John Gabriel Borkmann" was probably produced in 1897
Cavalier beard: [pic]

Ch17
TS48-68
?MS567-604
written Feb 1905 [L2-81] (JAJ started wearing glasses again at this point, after ten years of nearsightedness)
Maurice forbidden walks, SD threatened with withdrawal of support
SD determined to live, rejoices in self-centeredness
finds solitude restful, making friends at school
writing paper to try and win converts
SD debates McCann's theories-- Socratic dialog
SD trembles to think of McCann's "unhorizoned doggedness working its way backwards" [ = frigging??? unhorizoned = shortsighted? backwards to virginity? to the womb?! sex is the spirit working backwards to womb??]
license as a sin against the future
Ibsen not a moralist
SD feigns interest in Irish to get close to Emma, via Madden
SD hates church more than English, Madden panders to church for support
SD sees no gain in Irish language
others adjust to idea of SD studying Irish
Maurice's retreat, SD marvels how far he's come, Maurice's seriousness
no 'companions'-- fear of SD?
Maurice's prosaic self-contemplation appalls SD
Wed night Irish class, Mr Hughes
the word for 'love' discomfits a young man
Citizen, Madden, Griffith in Cooney's
nationalism as bogus fraud
Bacon quote: [etext]
Silas Verney: historical novel of 17th C by Edgar Pickering
JAJ and JFB attend Gaelic meeting May 1900 [historical context]
Stannie's retreat Dec 1898
28Feb to Stannie: "It seems to me that what astonishes most people in the length of the novel is the extraordinary energy in the writer and his extraordinary patience. It would be easy for me to do short novels if I chose but what I want to wear away in this novel cannot be worn away except by constant dropping. Gogarty used to pipe '63' in treble when I told him the number of the chapters. I am not quite satisfied with the title 'Stephen Hero' and am thinking of restoring the original title of the article 'A Portrait of the Artist' or perhaps better 'Chapters in the Life of a Young Man'." [SL56]

Ch18
TS69-75, 76-98
?MS605-659
finished 15Mar 1905 (while writing this chapter, JAJ and Nora relocated from Pola to Trieste)
TS75 notes Joyce's later indication "End of Second Episode of V" (and Spencer unwisely edits this as if a chapter break in SH).
cf Mangan essay [info] [etext]
since Nov 1904, Joyce had been reading Aquinas looking for ways to frame SD's defense in Thomistic terms-- there's no sign he'd worked this out any earlier [cw146]
Newman/Kingsley background
Ch19 (chapter numbers from here on are one less than TS)
TS99-121
?MS660-699
Mangan essay read 01Feb 1902, Ibsen essay read 10Jan 1900
TS104: King Alfred and the cakes [etext]
[uoc77] quotes a letter from Gogarty to JAJ either 1903 when JAJ was in Paris or 1904 when OG was at Oxford, that anticipates a bit the dialog with Temple on TS107. OG describes the character only as 'J's pupil' or 'J's disciple' so it's apparently describing OG's first encounter with Elwood.
TS112: Lanty McHale cf U12.1585 from Charles Lever's lyric [etext]
These notes on Christ were probably made in April 1904: [wod72]

"Christ's unique relations with prostitutes [exxed for TS141]
?Enigmatical Christ [cf TS112] - ??enigmatical men ?connected with him
Christ and his Father: he knows him
Father recognizes him only once [exxed for TS117]
Satan and Christ: objectivised. [cf TS222]
A more imperfect type than Buddha or S. Francis [cf SH190]
Muhammed a maniac [cf SH190] Comparison with Hamlet Simple and complex.
His methods of generalship
Man of Grief: "Cause of our sorrow"
His pride and hatred of his race
Knowledge of men's hearts: writing in the sand.
Jesus wept || Christ and Leonardo: exoteric and esoteric.
"Whoso looketh upon a woman"
Not a eunuch priest. [exxed for TS141] Melchisedec.
A more intellectual type than Buddha or Francis
His two interpreters: Blake and Dante Creeping Jesus"

Ch20
TS122-143
?MS700-737
finished 04Apr 1905

Ch21
TS144-163
?MS738-772
written April 1905 [SL60]
Dante's 'frode' = fraud Canto 11
shared house w/Hughes from autumn 1899 to May 1900
ME Cleary was in Aran Islands summer 1901
Ch22
TS164-180
?MS773-803
written Apr-May 1905 "My entering for this competition [a newspaper puzzle with a £250 prize, lost from postal delays] has kept me a very long time on Chapter XXII but you may expect to receive the chapters of University College episode in a few weeks." [SL61] ('Painful Case' rewritten 08May)
Georgie died 03May 1902
2nd year UC Oct 1899
Aula Maxima = Great Hall
strange death of atheistic writer = Zola 28Sep 1902 [more]
Colonel Russell: [near miss]
Mad Mullah: [Somalia]
typo p178: 'old tunes' sb 'old times'
lobster: [more] Nerval: [more]
Ch23
TS181-199
?MS804-837
St Stephen's magazine first issue 01Jun 1901, edited by Hugh Kennedy (not Skeffington)
p182: 'Girilis' pun on 'Virilis' [def] cf FW112
'Sitio' = 'I thirst' (eg John 19:28 qv)
'magazine in her convent': Loreto College, Loreto Magazine [pc188]
Eschylus [etext]

Lo ye, a second sign-- these footsteps, looks-- Like to my own, a corresponsive print; And look, another footmark, --this his own, And that the foot of one who walked with him. Mark, how the heel and tendons' print combine, Measured exact, with mine coincident!

MS827/ TS194 is pictured at TS236
"I believe... I write much better now than when I was in Dublin and the incident in Chap. XXIII (?) where Stephen makes 'love' to Emma Clery I consider a remarkable piece of writing." [L2-93, 12Jul 1905, JAJ's qmark]
Ch24
TS200-218
?MS838-872
finished 07Jun 1905 [L2-91]
Book of Common Prayer [etext]
billiards: this may be a fictionalisation of Byrne's chess-playing? (I don't remember his biog mentioning billiards)
torpedo: Ibsen-reference: Til min Ven Revolutions-Taleren: 'I sørger for vandflom til verdensmarken. Jeg lægger med lyst torpédo under Arken' (You deluge the world to its topmost mark; with pleasure I will torpedo the Ark) [cite]
first epiphany probably late 1901
Ch25
TS219-234
MS873?-902
JAJ told Grant Richards SH had 914 pages, so 12 are lost at the end.
written June 1905 [L2-91]
Joyce saw this as the last of the eleven chapters of the 'University College episode'.

Ch63
28Feb 1905: "I have come to accept my present situation as a voluntary exile... it supplies me with the note on which I propose to bring my novel to a close." [SL56]

???
[mbk115] says SH referred to the early play 'A Brilliant Career'

Dubliners stories:
28Feb 1905 [SL55] "tell the torpid one [definitely Cosgrave] that I am going to write a 'Dubliner' on him." (Lenehan, maybe?)
Jul 1905: 'Boarding House', 'Counterparts', 'Painful Case'
Aug: 'Ivy Day'
Sep: 'Encounter', 'A Mother'
24Sept 1905, to Stannie: "You are a long time sitting on my novel. I wish you'd say what you think of it. The only book I know like it is Lermontoff's Hero of Our Days. Of course mine is much longer and L's hero is an aristocrat and a tired man and a brave animal. But there is a likeness in the aim and title and at times in the acid treatment." [SL77] Lermontov etexts: txt w/notes illustrated HTML HTML w/notes
Oct: 'Araby'
Oct 1905: Stannie comes to Trieste
Nov? 'Grace'
winter 1905-06: 'Two Gallants'
1906: 'Little Cloud'
Nov 1906: rewrites 'Clay'?
06Nov 1906, discussing "Gogarty & Co" as betrayers: "...if I begin to write my novel again it is in this way I shall treat them" [SL125]
13Nov 1906: "...my opinion is that if I put down a bucket into my own soul's well, sexual department, I draw up Griffith's and Ibsen's and Skeffington's and Bernard Vaughan's and St. Aloysius' and Shelley's and Renan's water along with my own. And I am going to do that in my novel (inter alia) and plank the bucket down before the shades and substances above mentioned to see how they like it: and if they don't like it I can't help them.... [continues]" [SL129]
10Jan 1907: "The other day I was thinking about my novel. How long am I at it now? Is there any use continuing it?" [SL143]
Sep 1907: 'The Dead'
22Aug 1912: "Roberts spoke to me today of my novel, and asked me to finish it... If only my book is published then I will plunge into my novel and finish it." [SL204]
6Jan 1920 to HSW "The 'original' original I tore up and threw in to the stove about eight years ago in a fit of rage on account of the trouble over Dubliners. The charred remains of the MS were rescued by the family fire brigade and tied up in an old sheet where they remained for some months. I then sorted them out and pieced them together as best I could and the present MS is the result." [SL247, 1912 makes sense]
====
The Dana 'manifesto' had led quickly to Stephen Hero, begun on 2 February, written consecutively, 1000 pages in 18 months. (Costello has recently begun to claim SH goes back years earlier, on the evidence of a sister's memory of Jim reading it to their mother. But I don't see any hint of this in the Dana Portrait or anywhere else.)
Its style is usually dismissed as banal, but this is the same Joyce who was crafting lyrics and epiphanies word by word, following the theories of his Aesthetic ('Paris') Notebook, so it deserves our full-bore attention.
(cf 1908 Trieste notebook: "Dedalus: He shrank from limning the features of his soul for he feared that no everlasting image of beauty could shine through an immature being.")
All of SH is lost up to the University episodes, but I'll quote the surviving notes below, in 'typewriter' font.
With his serious messiah complex, Joyce in SH would have wanted to surpass his autobiographical models for truthfulness: George Moore, George Meredith, Samuel Butler, and Thomas Hardy. He was also channeling the same energy that would have gone into his recent (failed) project for a new Dublin paper called the Goblin-- so he was aiming to awaken the slumbering masses, believing he understood the real solution to their problems. And he had stylistic models, too, in Ibsen, Flaubert, D'Annunzio, and Maeterlinck.
Stannie wrote (in the Dublin Diary, of which only a forged later copy survives): "The chapters are exceptionally well written in a style which seems to me altogether original. It is a lying autobiography and a raking satire.... Jim's style in prose writing many times is almost perfection in its kind, holding in periodic, balanced sentences and passages a great spiritual delicacy. But between these passages, instead of writing quietly and relying on his lifelike dialogue, he tortures his sentences in figurative psychology and writes strenuously." [DD20, 79]
He was anything but shy about showing SH around, to Stannie, CP Curran, Aunt Jo, and George Russell, who was inspired to commission the first Dubliners stories for his paper. Curran characterised the style with adjectives like: mature, formidable, sustained, copious detail, difficult reading, prevailing gloom, monotonous, oppressive.

we can deduce that SH allotted six chapters to Stephen's pre-Belvedere years, but almost certainly used the conventional narrative voice.
Curran reports that the first chapter of SH, finished on 10 Feb, was lyrical, with obscure reveries on distant happenings. (Perhaps it fleshed out these first sentences of the Dana Portrait?) He claims [cpc54] that J later referred to the Dana PoA as an 'introductory chapter'.
Stannie claims [mbk17] of Stephen Hero 'the idea he had in mind was that a man's character, like his body, develops from an embryo with constant traits. The accentuation of those traits, their reactions to hereditary influences and environment, were the main psychological lines he intended to follow, and, in fact, the purpose of the novel as originally planned.'
Looking for evidence that the first chapter of SH might have expanded on these first few Dana-sentences, we find this surviving note:

Chap. I: 'The middle age discovered America; 
our age has discovered heredity.'  Thus do the 
ages exchange civilities like outgoing and 
incoming mayors. The spirit of our age is not 
to be confounded with its works; these are 
novel and progressive, mechanical bases for 
life; but the spirit wherever it is able to 
assert itself in this medley of machines is 
romantic and preterist. Our vanguard of 
politicians put up the banners of anarchy and 
communism; our artists seek the simple 
liberation of rhythms; our evangelists are 
pagan or neo-Christian, reactionaries. 
[Workshop of Daedalus 69]

(Cf SH22 p174)
Is 'preterist' the opposite of 'progressive'? Are anarchy and communism seen as preterist in this sense? Is Joyce still making common cause with Yeats et al? (The Stephen of 16 June will be far less sociable.)
Is he setting the scene for Stephen's generation to exchange civilities with Simon's? The Linati schema characterises Nestor's theme as "The wisdom of the old world".

The plotting for the Belvedere period of SH is outlined in the same notebook:

Chap VIII: 
1) Business complications
2) Aspect of the city
3) Christmas party
4) Visits to friends
5) Belvedere decided on [WoD73]

So by elimination we have chapters 2 thru 7 as covering Clongowes and earlier. Joyce mentions an early plan for 63 chapters total (SL56, 2-28-05 to SJ), which suggests a possible architectual design based on nine sets of seven or seven sets of nine. Chapter seven might have set up this new cycle with the Joyces' move north of the river, a major stage in Jack's business complications.
Joyce's project, remember, required him to use these events to show the evolving curve of his emotions, the origin of the sense of sin, and the impractical spiritual idealism.
Simon's decline threatens Stephen's heroic fantasies-- unknown enemies are conspiring against them. Portrait II inserts epiphanies here, of the beautiful Mabel Hunter, and a senile aunt.
The Xmas party here survives in Portrait II (p69), where he fails to kiss Emma. SH21 p158: "He remembered the first mood of monstrous dissatisfaction which had overcome him on his entrance into Dublin life and how it was her beauty that had appeased him."
In Portrait II he's inspired to try a poem, and finds he knows how to do it. (Intuition again! He may personify this, below.)

Chapter IX: February 1893 to June 1893: 
Rivalry with Vincent Heron
Letter from Eileen Dixon: Eileen and Emma. 
Belvedere. Essays.  Reading.  
Mr Casey + himself. 
Fight with Heron
Epiphany of Mr. Tate. 
The Play at Whitsuntide:  Emma again. [WoD70-71]

This material also mostly looks familiar from Portrait II.
The references to 1893 are peculiar, seeming to condense many years into one over the next few chapters. Eg, the play in the Trieste Portrait II should have been 1898, just before graduation... but maybe there were several plays, originally. Portrait II p73 puts the play in Stephen's second year at Belvedere.
Eileen and Emma are definitely distinct, with Emma being the one he loves more, Eileen going farther back.
Stephen in Portrait II has established a degree of nobility in spite of his father. He's known for his chaste habits-- no smoking, drinking, or swearing, but he's mischievous enough to parody the rector in public, on a dare. Presumably it's his brains that endear him to his teachers, making it worthwhile to try to please them in other ways.
The epiphany of Tate must be the heresy anecdote in Portrait II. It's presented there in a flashback to the year before, along with the fight with Heron. Stephen defers to Tate (not a priest, in fact), but passionately defends his preference for Byron over Tennyson, against Heron and his thugs. (Heron is also smart, but has not chosen chastity.)
Biographical timeline:
Nov92: move north; Christian Brothers' school?
Apr93 to Jun98: Belvedere College (weekly essays for very appreciative Dempsey, written quickly without rough drafts)
Summer 1893: Cork trip ("FOETUS" paranoia at age 11?)
May94: Araby Bazaar
Jun94: Encounter w/perv
Summer 1894: Trip to Glasgow (and Edinburgh?)
Sep94: 1st academic prize?
c1894-97: battle with 'Heron' over Byron?
May95: Oscar Wilde's fall
1895-6? JAJ jiggles (frigs?) furiously (14th year or age 14?)
Portrait II p78 makes a strange claim that Stephen was reading subversive writers: "All the leisure which his school life left him was passed in the company of subversive writers whose gibes and violence of speech set up a ferment in his brain before they passed out of it into his crude writings."
The sorts of writers we might expect him to be reading were Kipling, HG Wells, and Conan Doyle. The Capel street library offered more exotic fare like Rabelais, Balzac, and Zola, but we have no evidence Joyce was reading them this early, nor Thomas Hardy et al. More likely, if it's true at all, it refers to penny dreadfuls or the Police Gazette. (Portrait also claims he had ceased to pray, and was utterly consumed by the blackest lusts.)
He's mature enough though, in the PoA version of things (p82), to have recognised that novels falsify their stereotyped emotions, though, and to care little about the 'points of honour' that preoccupy Heron. Portrait II p83-84 offers a nice meditation on the various inner voices making demands on Stephen's future.
At the play, Stephen's consciousness of Emma's presence makes everything magical, briefly, fulfilling his expectation about woman's love (and again equating woman and inspiration!). But she disappears after, leaving him hugely frustrated.

Chapter X: June 1893 to September 1893: 
The affairs of Mr. Daedalus. 
The journey to Cork
Meeting with godfather in train coming home 
Her reproving eyes, his dreams.
Bray: Eileen and Wells.
Soixante-Neuf. (after a walk)
 
1) The day in Edinburgh 2) We cannot educate our fathers

More Portrait II: Simon has abandoned the future for the past. Stephen is still embarrassed by him, but in many ways Simon is the better man, especially because Stephen is so alienated from his sexuality.
'Her reproving eyes' are surely Miss Howard's, accompanying Mr Fulham. SH14 p240 says "...perhaps the uncontaminated nature which he had then imagined accusing him..." so he already feels his own nature to be contaminated, despite his chaste reputation. He had discovered masturbation in 1895 or '96 (the experience with the pissing nursemaid), but the actual trips to Cork [old pix] were in '93 and early '94, and to Edinburgh/Glasgow in summer '94. The 'foetus' epiphany in Cork also shows his spiritual paranoia at this early age.
Wells was a bully at Clongowes who'll be studying for the priesthood by SH18. It seems unlikely he's really paired with Eileen here-- they may be two separate encounters from his past. (This is one trick for doing theme-and-variations-- have the same characters reappear regularly, seen with different eyes.)
"69" is mind-boggling, but may survive in the Trieste Portrait as his first encounter with a prostitute (p100). However, Costello's researches date Joyce's first real encounter with a prostitute to Summer 1898, between Belvedere and University. So this '69' may have involved some girlfriend... but at age 11???
Portrait II also adds a scene before the prostitute, with Stephen's prize money inspiring a burst of false but sincere good works.
Curran recalls a chapter ending "interminable wastes of bogland, interminable servitude of mind" that sounds like it's seen from a train. But the notes here about Edinburgh are only ambiguously placed to follow the '69'.

On 15 July 1904 (with Nora turning into a serious possibility), James wrote "I have finished the awful chapter-- 102 pages-- and Russell (A.E.) has the book now." This was probably the Retreat:

August 1893 to December 1893

1) Sensations coming home.
2) Gradual irreligiousness (Epiphany of Thornton)
3) Return to Belvedere: in second class:
     prefect at sodality: Fr MacNally.
4) Retreat before feast of S. Francis Xavier.
   Six lectures
1) Introductory, evening before 1st Day
2) Death         }  2nd
3) Judgment      }  Day
4) Hell    }    3rd
5) Hell    }    Day   (Epiphany of Hell)
6) Heaven        morning after 4th Day [WoD68]

The August date here overlaps chapter ten's September, making it uncertain where he's "coming home" from (Cork? Bray? Edinburgh? Or most likely: just the 69 walk!). And there's a considerable quantity of material to cover before the Retreat, so he might have broken it into two... unless a numerological scheme made this inconvenient! Starting a chapter like this with a coming-home also seems like promising architectural evidence.
The epiphanies of Tate (SH9), Thornton, and Hell were surely already-written pieces, to be inserted at these points. Richard John Thornton was a model for Mr Kernan of "Grace"... but Joyce wouldn't have reused the SH epiphany in Dubliners, since SH was still planned for publication. Stannie claimed another Thornton brother was the model for the narrator of Cyclops... and it's highly likely that epiphanies cut from the Trieste Portrait would have been recycled in Ulysses! (So look for a U-Cyclops epiphany that might have hastened James's slide into irreligiousness?) And a Mrs Thornton was a midwife at some Joyce-family births. (Costello has a book in the works on the Thorntons and other families within the Joyce orbit.)
The Trieste Portrait III p102ff shows Stephen perfectly divided between Catholic moralism and pagan libertinism. The sermon there offers no insights into why sexuality is so unacceptable to the Catholic god, only a supremely vivid depiction of the same old 'eagles pulling out eyes'.
The Hell epiphany survives, and holds the same relative position in the Trieste Portrait (p137): "A field of stiff weeds and thistles alive with confused forms, half-men, half-goats. Dragging their great tails they move hither and thither, aggressively. Their faces are lightly bearded, pointed and grey as indiarubber. A secret personal sin directs them, holding them now, as in reaction, to constant malevolence. One is clasping about his body a torn flannel jacket; another complains monotonously as his beard catches in the tufted weeds. They move about me, enclosing me, that old sin sharpening their eyes to cruelty, swishing through the fields in slow circles, thrusting upwards their terrific faces. Help!" (This is as good, early in 1904, as the Trieste Portrait in general. It's obviously a dream.)

SH21 p156: "He thought of his own [fervid] spendthrift religiousness and airs of the cloister, he remembered having astonished a labourer in a wood near Malahide by an ecstasy of Oriental posture..." (At this late point in SH he's contrasting his early spirituality with Emma's lack of same.)
Timeline (cont, pre-University):
Sep96: Prefect of Sodality ( = head boy)
Nov96: Retreat
early 1897: Malahide fervor
c1894-1903: Sheehy parties?
1897 reading: Meredith, Hardy, maybe Rousseau
Sep97: more prizes
Jan98: Vice Versa play
Jun98: graduated Belvedere
Jul98: Lucy the birdgirl?
Aug98: first prostitute?
Sep98: more prizes, spent in Nighttown? (Monto)

SH21 p156: "...he wondered whether the God of the Roman Catholics would put him into hell because he had failed to understand that most marketable goodness which makes it possible to give comfortable assent to propositions without in the least ordering one's life in accordance with them..." This placement is after he's left the Church, implying he'll never understand it, except from the outside. (And he surely understood it from the outside long before.)
Simon is an example of this effortless hypocrisy... isn't he? Or Fulham and Heffernan are better ones. Or Father Dolan.

SH21 p156 (continuing from just above): "...and had failed to appreciate the digestive value of the sacraments."
Eg, Franciscans vs Jesuits. But James's interest in the Franciscans was more like 1902, wasn't it? SH22 p177: "...nor anxious to reveal themselves, in theory, at least, men of the world." (This anachronism may be evidence that the Retreat-crisis actually happened at University, after his first experience with a prostitute.)
From "Grace": ""Father Purdon? Father Purdon?" said the invalid. "O, you must know him, Tom," said Mr. Cunningham stoutly. "Fine, jolly fellow! He's a man of the world like ourselves.""
From the Trieste Portrait V (p190, of the University dean): "A desolating pity began to fall like a dew upon his easily embittered heart for this faithful servingman of the knightly Loyola, for this halfbrother of the clergy, more venal than they in speech, more steadfast of soul than they, one whom he would never call his ghostly father: and he thought how this man and his companions had earned the name of worldlings at the hands not of the unworldly only but of the worldly also for having pleaded, during all their history, at the bar of God's justice for the souls of the lax and the lukewarm and the prudent."
Joyce had scandalised everyone with his unworldliness by choosing the course in modern languages at the University-- normally the girls' domain. But the faculty appreciated his intelligence, and his essays were read as exemplary (and uncontroversial) in composition class, with publication being discussed. (See 'Force' and 'The Study of Languages' in "Critical Writings".) His favorite reading in 1898 included Macauley, Ruskin, maybe Yeats, and finally Ibsen.

In spite, however, of continued shocks, which drove him from breathless flights of zeal shamefully inwards, he was still soothed by devotional exercises when he entered the University.

For 'University College':
The ice-cream Italian
The marsupials
Literature, Poetry, Lyric epic, dramatic
Art has the gift of tongues
Indignation
Special reporter novels
'We cannot educate our fathers'
The Day in Edinburgh
'It is a great mistake to have piratical ancestors' [WoD69-70]

Italian = Artifoni?
Novels about reporters having adventures while doing special reports?
Is it possible there was an unrecorded trip to Edinburgh during University?
Whose ancestors were pirates?

SH15 p27: "...he was busy constructing the enigma of a manner."

SH15 p29: "Besides this Stephen was quick enough to see that he must disentangle his affairs in secrecy and reserve had ever been a light penance for him."

SH15 p29: "His reluctance to debate scandal, to seem impolitely curious of others, aided him in his real indictment and was not without a satisfactory flavour of the heroic."

SH16 p34: "In spite of his surroundings Stephen continued his labours of research and all the more ardently since he imagined they had been put under ban. It was part of that ineradicable egoism which he was afterwards to call redeemer that he conceived converging to him the deeds and thoughts of his microcosm."

SH16 p34: "Is the mind of youth medieval that it is so divining of intrigue?"
Stephen and Cranly play handball in SH chapter 19 (called 20 by Spencer).
SH16 p34: "Field-sports (or their equivalent in the world of mentality) are perhaps the most effective cure and Anglo-Saxon educators favour rather a system of hard brutality."

SH16 p34: "But for this fantastic idealist, eluding the grunting booted apparition with a bound, the mimic warfare was no less ludicrous than unequal in a ground chosen to his disadvantage."

SH16 p34: "Behind the rapidly indurating shield the sensitive answered:"

SH16 p34: "Let the pack of enmities come tumbling and sniffing to my highlands after their game. There was his ground: and he flung them disdain from flashing antlers."

This and the next few sentences were recycled in SH22 p172ff: "Moynihan alluded also to the strange death of a French atheistic writer and implied that Emmanuel had chosen to revenge himself on the unhappy gentleman by privily tampering with his gas-stove. ...They admired Gladstone, physical science and the tragedies of Shakespeare; and they believed in the adjustment of Catholic teaching to everyday needs, in the church diplomatic."

SH22 p172: "...in their relations among themselves and towards their superiors they displayed a nervous and (whenever there was question of authority) a very English liberalism."

SH16 p35: "On his side chastity, having been found a great inconvenience, had been quietly abandoned and the youth amused himself in the company of certain of his fellow-students among whom (as the fame went) wild living was not unknown."

SH22 p172: "The memory of Terence MacManus was not less revered by them than the memory of Cardinal Cullen."

SH23 p193: "The mortifying atmosphere of the college crept about Stephen's heart. For his part he was at the difficult age, dispossessed and necessitous, sensible of all that was ignoble in such manners, who in revery, at least, had been acquainted with nobility."

SH21 p159: "...in the circle of foolish or grotesque virginities..."

Timeline (cont):
Feb99 Ibsen night at L&H (arouses interest of group "eager to back winners")
1899 readings: Dante, Aristotle, Yeats, Blake, Maeterlinck, D'Annunzio, Wagner, Skeat's Dictionary
Mar99: sees play "Magda" about "genius breaking out"
Sep99 essay: 'Ecce Homo'
Jan00: 'Drama and Life'
Feb00: Fortnightly Review buys Ibsen review
Apr00: London jaunt
May00: Gaelic classes
May00: return to London
May00 play: "A Brilliant Career" (dedication: "To My own Soul I dedicate the first true work of my life.")
Summer 1900: Mullingar
Sep00: Archer rejects play
1900 readings: Tolstoy, George Moore, Bruno, Aquinas?

SH20 p138ff "I must have liberty to do as I please. ...I want to live."

Timeline (cont):

1901 readings: Theosophists and mystics, Flaubert, Mangan, Nietzsche?, Whitman
1901 poems: "Shine and Dark" including poems called Wanhope, The Final Peace, Commonplace, The Passionate Poet, Tenebrae 1901: Peace-pledge incident described in PoA
Summer 1901: Mullingar again, translating Hauptmann
Sep01: Archer rejects poems
Oct01 essay: 'Day of the Rabblement'
Feb02 essay: 'James Clarence Mangan'
Mar02: Easter apostasy
May02: Georgie dies
1902 readings: Verlaine, Baudelaire, Poe, Swedenborg Aug02: proposes self to George Russell as Irish messiah

SH21 p176f explores Franciscan heretics. In the preceding pages, fictional sister Isabel died.
SH22 p179: "A certain extravagance began to tinge his life."
SH16 p33: "...saying solemnly to Maurice-- Isolation is the first principle of artistic economy."

Timeline (cont):

Autumn 1902: Jack Joyce's "Grace" retreat, followed by house purchase
Oct02: St Cecilia's med school; meets WB Yeats
Nov02: drops out of St C's
late 1902: suggestive postcard to ME Cleary (?)
Dec02: Paris
Xmas to mid-Jan03: back in Dublin for holidays
Jan-Apr03: Paris, Aesthetics notebook
Mar03: "My book of songs will be published in the spring of 1907. My first comedy about five years later. My 'Esthetic' about five years later again."
Apr03: mother's cancer diagnosed
Aug03: mother's death 1903 political readings: Benjamin Tucker, Bakunin, Kropotkin, Spencer

Curran remembers another chapter of SH ending with the girl in water, as in Portrait. James would explain to Stannie: "Stephen's change of mind is not effected by that sight as you seem to think, but it is that small event so regarded which expresses the change. His first skin falls." (to SJ 2-7-05)

Since that SH chapter doesn't survive, it too (like the Trieste Portrait) must have been predated to the summer before University.

Joyce's known poetry by this point (dates estimated):

1900 "Dream Stuff" (poems, under spell of EM Cleary, Stannie called it "prostitute poetry")

1901 poem: 'Nirvana'

1901 "Shine and Dark" (poems, titles incl: 'Wanhope', 'The Final Peace', 'Commonplace', 'The Passionate Poet', 'Tenebrae'. Sample quote: "And orient banners they outfling/ Before the ripple-bearded king." Title 'Shine and Dark' from Whitman's: "Earth of shine and dark mottling the tide of the river")

1901 songs-- halfdozen settings of poems, incl Yeats and Mangan

1901? "Moods": 50-60 lyrics

SH21 p162: "Even the value of his own life came into doubt with him. He laid a finger upon every falsehood it contained: egoism which proceeded bravely before men to be frightened by the least challenge of the conscience... mastery of an art understood by few which owed its very delicacy to a physical decrepitude, itself the brand and sign of vulgar ardours."

SH21, p162 "The vision of all those failures, and the vision, far more pitiful, of congenital lives, shuffling onwards amid yawn and howl, beset him with evil..."

==========

autobiography: Stephen Hero early notes: 63 chapters (SL56, 2-28-05 to SJ) condensing characters: Emma Clery, godfather? where was the ending fixed? first flight, second flight shielding and shedding, raising veils SL52: "Stephen's change of mind is not effected by that sight as you seem to think, but it is that small event so regarded which expresses the change. His first skin falls." (to SJ 2-7-05) written chronologically? childhood's style difficult but this is the author who was spending all day on a short epiphany, so this is not juvenilia! mimicking associates-- stealing their souls? a-clef: finetuning? (cf Proteus draft) (?? Dubliners) ms shows words changed, sentences rewritten, scenes marked for extension ("loth to go"), others to be added (Emma fancy dress ball) (but when were these marked?)

Feb 2: begun

??? WoD69: "Chap. I: 'The middle age discovered America; our age has discovered heredity.' Thus do the ages exchange civilities like outgoing and incoming mayors. Our age is not to be confounded with its works; these are novel and progressive, mechanical bases for life; but the spirit [is everywhere preterist] wherever it is able to assert itself in this medley of machines is romantic and preterist. Our vanguard of politicians put up the banners of anarchy and communism; our artists seek the simple liberation of rhythms; our evangelists are pagan or neo-Christian, reactionaries."

Feb 10: Chapter 1 "lyrical" CPC: early pages obscure reveries on distant happenings Conmee, surely squareditch, almost surely (Wells) Dantefight, surely Chapter 7- Belvedere showing it around-- written as an apologia/ non-apologia

WoD73: "Chap VIII: 1) Business complications 2) Aspect of the city. 3) Christmas party 4) Visits ?w friends [maybe 'to'] 5) Belvedere decided on"

WoD70-71: "Chapter IX: February 1893 to June 1893: Rivalry with Vincent Heron Letter from Eileen Dixon: Eileen and Emma. Belvedere. Essays. Reading Fight with Heron Epiphany of Mr. Tate. The Play at Whitsuntide: Emma again.

" Chapter X: June 1893 to September 1893 The affairs of Mr. Daedalus. The journey to Cork Meeting with godfather in train coming home Bray : Eileen and Wells. Soixante-Neuf. (after a walk)
1) The day in Edinburgh 2) We cannot educate our fathers"
CPC51: chapter ending: "interminable wastes of bogland, interminable servitude of mind" (or Ch. 14?)

WoD68: "August 1893 to December 1893 1) [Sensations coming home.] 2) Gradual irreligiousness [(Epiphany of Thornton)] 3) Return to Belvedere: in second class: prefect at sodality: Fr MacNally. 4) Retreat before feast of S. Francis Xavier. Six lectures 1) Introductory, evening before 1st Day 2) Death } 2nd 3) Judgment } Day 4) Hell } 3rd 5) Hell } Day >(Epiphany of Hell) 6) Heaven morning after 4th Day"
July 15 [Friday after July 11 loan for piano rental!] "I have finished the awful chapter-- 102 pages-- and Russell (A.E.) has the book now." ??? no contemporary notes this!?!? plagiarism of Pinamonti's Hell Opened to Christians??? National Library? Marsh's?? (apparently translated from the Italian) August: The Holy Office NOT "March 29" but late August (Matt Kane has already drowned!): thru Chapter 11 [why does Stannie pretend it's "almost April"???] DD20: "The chapters are exceptionally well written in a style which seems to me altogether original. It is a lying autobiography and a raking satire." DD79: "Jim's style in prose writing many times is almost perfection in its kind, holding in periodic, balanced sentences and passages a great spiritual delicacy. But between these passages, instead of writing quietly and relying on his lifelike dialogue, he tortures his sentences in figurative psychology and writes strenuously." 12th chapter begun by Sept 15? CPC51: girl in water as chapter ending (Lucy)

"The North Bull episode... treated with the same imagery of cloud and water, and closing with the figure of the girl gazing out to sea." [cpc51]
SL52: "Stephen's change of mind is not effected by that sight as you seem to think, but it is that small event so regarded which expresses the change. His first skin falls." (to SJ 2-7-05)

CPC51, 56: mature, formidable sustained copious detail quality difficult reading prevailing gloom monotonous oppressive

11th by Oct 20, 12th ditto??? "Christmas Eve" begun and abandoned 12-3 "half way through Chap XIII" 12-28 "now at Chap XV." 12-31-04 "I send Chaps XII, XIII, XIV tonight or tomorrow." to Aunt Jo 1-13 "finished Chap. XV and am now at Chap XVI." send University memories, lives of Jesus ch 14 (?13??): Mullingar trip p477-505 ch 15: meets Madden p519
WoD69-70: "For 'University College': The ice-cream Italian The marsupials Literature, Poetry Lyric epic, dramatic Art has the gift of tongues Indignation Special reporter novels 'We cannot educate our fathers' The Day in Edinburgh 'It is a great mistake to have piratical ancestors'"

WoD73: "Mary Daedalus | Simon Daedalus | Stephen Daedalus | Maurice Daedalus | Isabel Daedalus Mrs Riordan | John Casey | Aunt Essie | Uncle John | Aunt Brigid | Uncle Jim | Mike Flynn | Richard Sleater | Vincent He[?arne] | Fr MacNally | [Mr ?Demers] Fr Webster | Fr Dillon | Miles Davin | James Brennan | Matthew Lister | Thomas Nash | Oliver Flanagan | Patrick ?Hoey | Owen Hoey | Annie Hoey [maybe Holy?] John ?Butter | William Judge | Joseph Magennis | John Andrews | Christopher McCann | Hon Mrs Ambrose | James MacCormack | Eileen Dixon | Emma Clery [Gertrude Mayne] | [Martha] Albin | Charlotte Harrington | Esther Osvalt | Elinor Forde"

23: hits on Emma Clery 24: Cranly fails (1900? 1901?); by March 13 1906 = 914 pages, half book 25: p902? ???26-63 could have covered only 1902 thru 1903???

Feb- ch 1 Mar Apr May Jun Jul- 100 pages/ 200? pages Aug Sep- 12 chapters? Oct- ch 11 or 12 Belvedere Nov- Ch 13 Dec- 13+ chapters, 477 pages

trusted friends: Stannie, Cosgrave, Curran, Aunt Josephine (SL47) (not Byrne or Gogarty, not Pappie)

1906-13Mar "914 pages... 25 chapters, about half the book... 150,000 words" [TS8]

=1907=

The Dead architectural design?

Chamber Music published May, favorably received in Dublin

mid-May: rheumatic fever

An annotated Stephen Hero

Friday, May 13, 2016

Intro

Tuesday, May 10, 2016

Epiphany

Wednesday, April 27, 2016

Timeline

Tuesday, April 26, 2016

Barger's notes