Jack Weaver explains all of Joyce's writing in terms of music and
evaluates the music -- its form, kind, and technique -- in each
work. Using Joyce's own rhetoric of theme and variation, Weaver
moves from one character to another, through the poems, fiction,
and drama, noting improvisations and finding intricate musical
patterns throughout the canon.
As Joyce's work grows in philosophical complexity, Weaver says,
its music becomes more recognizable. In Chamber Music and part of
Dubliners, Joyce at first merely mentions musical titles,
instruments, and forms. In other stories in Dubliners, he alludes
to them. His writing in A Portrait of the Artist as a Young Man
begins to approximate musical techniques, and music reflects and
dominates its story and characters. By the time of Finnegans Wake,
it replaces both. Within the works, Weaver cites examples of
musical augmentation, diminution, harmony, counterpoint, and key
signatures, showing how the works become more experimental and
increasingly dissonant in the manner of avantgarde composers.
Exploring fresh territory in the study of Joyce and music and of
music and literature, Weaver argues that Joyce's characters and
works operate between the extremes of order and disorder, harmony
and chaos, music and noise, and that these polarities both signal
and contribute to the rhetoric within the texts. Finally, he says,
Joyce's rhetoric itself becomes music.
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