Gerty wished to goodness she could read in Greek and Latin

And understand the pattern

Of the sillygistic form.

At home she’d hoped to hone her love of Homer

Agamemnon put her in a coma

And neither coaching nor my coaxing could reform.

Instead she upped all night with Ratty, Mole and Toad

With iambic pentameter she measured up the road

And bunkered for the storm.

With well-thought out stretching and psychometric testing

And several hours of resting

She could not meet the form.

Francis Winifred 1988
COPYRIGHT © 2017 GRANT FENTON – ALL RIGHTS RESERVED

Description by Alexis Ingram 

The above work offers a glimpse into the inner thoughts and struggles of the character Gerty, who yearns to delve into the intricacies of Greek and Latin literature. The desire to comprehend the “sillygistic form” suggests a longing for intellectual engagement and a deep connection with classical works, specifically referencing Homer’s epic, “Agamemnon.”

Drawing parallels between Gerty’s aspirations and James Joyce’s Ulysses, one can discern several thematic elements. Ulysses, a groundbreaking novel in modernist literature, explores the consciousness and experiences of its characters over the course of a single day in Dublin. The poem and Ulysses both touch upon the idea of the pursuit of knowledge, with Gerty’s yearning for Greek and Latin echoing the intellectual pursuits and references scattered throughout Joyce’s work.

In Ulysses, Joyce employs a stream-of-consciousness narrative style, weaving together multiple perspectives and layers of meaning. Gerty’s inner thoughts, as revealed in the poem, mirror the stream-of-consciousness technique, expressing a complex blend of longing, frustration, and determination. The disjointed syntax and fragmented thoughts in the poem reflect the modernist approach seen in Ulysses, where the narrative structure challenges conventional storytelling norms.

Furthermore, the allusion to Agamemnon in the poem aligns with Joyce’s penchant for incorporating classical references in Ulysses. The novel is replete with allusions to ancient myths, literature, and history, creating a rich tapestry of intertextuality. By interweaving these references, Joyce invites readers to engage with a myriad of cultural and literary sources, adding depth and complexity to the narrative. Gerty’s encounter with Agamemnon’s story becomes a microcosm of Joyce’s larger project in Ulysses, where characters grapple with their own personal odysseys against the backdrop of classical and literary influences.

The poem also touches on the challenges and setbacks in the pursuit of intellectual and artistic goals. Gerty’s struggle with Agamemnon, which “put her in a coma,” reflects the difficulties one may face in understanding and interpreting complex works of literature. Similarly, in Ulysses, the characters navigate the complexities of their lives, facing obstacles and moments of confusion. The juxtaposition of Gerty’s efforts with the allusions to characters like Ratty, Mole, and Toad, from Kenneth Grahame’s “The Wind in the Willows,” adds a layer of irony and complexity. The blending of high and low culture, a hallmark of Joyce’s style, is evident in both the poem and Ulysses, challenging traditional distinctions between literary forms.

As a writer, the exploration of these themes in Ulysses offers valuable insights. Joyce’s innovative narrative techniques and fearless engagement with a wide array of cultural references encourage writers to push boundaries and experiment with form. The fusion of the personal and the universal, the highbrow and the lowbrow, invites reflection on the interconnectedness of human experience and the power of literature to transcend boundaries.

However, the challenges presented by the dense and allusive nature of Ulysses also highlight potential pitfalls for writers. Striking a balance between intellectual rigor and accessibility is crucial to ensure that the narrative remains engaging for a diverse audience. The risk of alienating readers with an overreliance on obscure references is a consideration, and writers must carefully navigate the fine line between complexity and clarity.

In conclusion, the quoted poem serves as a microcosm of the themes and challenges found in James Joyce’s Ulysses. The pursuit of knowledge, the interplay of high and low culture, and the complexities of artistic expression are all evident in both the poem and the novel. As a writer, one can draw inspiration from Joyce’s fearless experimentation while remaining mindful of the need for accessibility and clarity in conveying complex ideas to a diverse readership.

Gerty MacDowell is a character in James Joyce’s Ulysses, and she plays a significant role in the novel, particularly in the “Nausicaa” episode (Chapter 13). Gerty’s character stands out as a reflection of Joyce’s exploration of female consciousness and desire, and her presence adds depth to the multifaceted narrative of Ulysses.

Gerty is introduced as a young woman watching fireworks on the beach during the annual celebration of the Feast of the Assumption. Her physical description highlights her innocence and youth, with Joyce emphasizing her blond hair, white frock, and overall angelic appearance. However, Gerty’s innocence is contrasted with her awareness of her own sensuality, making her a complex and intriguing character.

The “Nausicaa” episode is centered around Gerty’s voyeuristic encounter with Leopold Bloom, the novel’s protagonist, who is observing the fireworks from a distance. Gerty is aware of Bloom’s gaze, and as she becomes more conscious of being watched, she deliberately exposes her undergarments, creating a moment of charged eroticism. This scene is a crucial exploration of sexual desire and voyeurism, offering a nuanced perspective on the female experience in a society marked by sexual repression.

Gerty’s role is not limited to this moment of voyeurism. Through her internal monologue, Joyce delves into Gerty’s thoughts and desires, revealing her yearning for romance and connection. Gerty daydreams about love and imagines herself as a romantic heroine. This introspective exploration of a woman’s inner life is a departure from the predominantly male perspectives found elsewhere in Ulysses, showcasing Joyce’s commitment to portraying the full spectrum of human experience.

Gerty’s physical disability becomes another layer to her character. She has a limp, the result of a previous accident involving fireworks. This disability adds vulnerability to her character, complicating traditional notions of beauty and challenging societal expectations. Gerty’s vulnerability is juxtaposed with her moments of assertiveness, particularly when she deliberately captures Bloom’s attention during the fireworks display.

The character of Gerty also contributes to Joyce’s larger thematic exploration of the relationship between art and life. Gerty, in her daydreams and fantasies, envisions herself as a character in a romantic story, emphasizing the influence of literature on individual perceptions of reality. This intertwining of fiction and lived experience aligns with Joyce’s broader modernist project, where the boundaries between internal and external worlds are blurred.

Gerty’s role in Ulysses serves to humanize and complicate the portrayal of women in literature. Her character challenges stereotypes and provides a window into the inner life of a young woman grappling with societal expectations, desires, and the complexities of self-perception. By incorporating Gerty’s perspective, Joyce contributes to a more inclusive and nuanced representation of female characters in the literary canon.

In summary, Gerty MacDowell in Ulysses is a complex character who embodies Joyce’s exploration of female consciousness, desire, and the interplay between art and life. Her role in the “Nausicaa” episode offers a unique perspective on sexuality, vulnerability, and the complexities of identity in early 20th-century Dublin. Gerty contributes to the richness of Ulysses by challenging conventional representations of women in literature and adding layers of depth to the novel’s exploration of the human experience.