this is totally not ready for primetime, but i'm trying to test the limits of a free web-based javascript 3d modelling engine called PlayCanvas for mocking up bloom's neighborhoods.
starting from a 'fork' of this very simple terrain demo, i mostly just upload my customised 'heightmap' to replace the one called 'Heightmap.jpg' in their Terrain entity.
i've been using 2048*2048 greyscale jpegs with tracings of the 1909 dublin map. pure black is the 'zero' height and i use trial and error to judge how gradually the black level should lighten. (weirdly, you need to 'flip horizontal' the map or left and right will be backwards.)
my primary goal is to give an intuitive sense of distances, so i want the building-fronts along each street to be approximately correct relative to the street widths. i have a huge problem with conical artifacts where i want flat right-angles. (update: jpegs default to color blending that causes some of the cones, but others are jaggies when the buildings aren't positioned along the right angles)
i haven't figured out how to set the 'camera's eyelevel-- usually when i lower it it falls thru the 'terrain' which seems to float slowly up into the lovely cloudy sky like graceful polygonal seagulls. (there's simulated gravity but no ground.)
the terrain claims to be divided into 250 subdivisions, and raising this number may reduce the cone problem, while slowing the rendering. (setting it to 256 causes artifacts though)
the 2048 width seems to result in serious averaging, so 256*256 may be the best compromise.
these early drafts mostly look like snow mazes: (w-a-s-d = forward-left-back-right)
eccles to butcher
sandymount
tower
tower b
tower b uses a 256*256 heightmap which can theoretically be optimised to capture tons more detail-- but it's not obvious how to efficiently attack this
Monday, March 14, 2016
Tuesday, February 2, 2016
Clone me, mirror me, fork me
My plan for this 'blog' is to encourage readers to download Blogger's 8Mb XML 'export' edition, do a single global search-and-replace so the internal links will point to their new mirror domain (like ulyssespages2.blogspot.com instead of ulyssespages.blogspot.com) and then reimport the whole blog to that (free) domain... and also download the ulysses-and-finnegans-wake html zip folder and do the same 'replace' on the ulysses file.
this should result in a personalised index to the whole 700-page mirror
(warning: blogger indexes the pages by date and i realised halfway thru that i could 'forge' the dates so each chapter would get its own month... so the dates are somewhat messy)
new ulysses etext w/.direct links to annotation pages
this should result in a personalised index to the whole 700-page mirror
(warning: blogger indexes the pages by date and i realised halfway thru that i could 'forge' the dates so each chapter would get its own month... so the dates are somewhat messy)
new ulysses etext w/.direct links to annotation pages
Thursday, January 28, 2016
[Trams and trains in 1904 Dublin]
Who rides trams and trains in Ulysses? (trains and trams both have tracks, trams have overhead power lines but share the street, trains have onboard engines)
1. Conmee in Wandering Rocks briefly rides a train
2. Artifoni in Wandering Rocks eventually catches a tram
3. Stephen may ride a train between episodes 2 and 3, and also maybe between 1 and 2?
4. Bloom's budget lists only two tramfares, one between episodes 5 and 6, and one between episodes 14 and 15. But he ought also to have ridden a tram between episodes 3 and 4, and between 6 and 7?
There's purposeful confusion at the end of Oxen and beginning of Circe regarding the Westland Row and Amiens train stations.
To and from Sandymount would be a long walk but the tram isn't mentioned?
Donnybrook tram in Two Gallants [bkgd]
1. Conmee in Wandering Rocks briefly rides a train
2. Artifoni in Wandering Rocks eventually catches a tram
3. Stephen may ride a train between episodes 2 and 3, and also maybe between 1 and 2?
4. Bloom's budget lists only two tramfares, one between episodes 5 and 6, and one between episodes 14 and 15. But he ought also to have ridden a tram between episodes 3 and 4, and between 6 and 7?
There's purposeful confusion at the end of Oxen and beginning of Circe regarding the Westland Row and Amiens train stations.
To and from Sandymount would be a long walk but the tram isn't mentioned?
Donnybrook tram in Two Gallants [bkgd]
Thursday, December 24, 2015
[Indenting in Ulysses]
[notes for a comparison of levels-of-indenting across editions]
my prediction is that stanzas are indented so that the longest line is centered... so the longer the line the smaller the indent
1922 measured in cm on a 21 cm wide page (at least 15 levels so far-- reduce to maybe 5? or add one 'em' for each step? how many em's in a iphone line? 30?):
<p>Mocker:</p> # 3 = 14%
That can enjoy 3.5
Doomed for a certain time to walk the earth. 3.5
That has been explained, I believe, by jurists. 3.5
You are my looking glass from night to morning. 4
<p>Dearest Papli,</p> # 4 = 19%
Whelps and dams of murderous foes whom none 4
<p><i>And let our crooked smokes climb to their nostrils</i></p> # 4.5 = 21%
'Twas rank and fame that tempted thee, 4.5
While his family weeps and mourns his loss 5
And in the porches of mine ear did pour. 5
<p class="indent">And therefore he left out her name</p> # 5.5 = 26%
<p>Dear Henry,</p> # 5.5cm = 26%
The hungry famished gull. 5.5
Waves o'er the waters dull. 5.5
Don Giovanni, thou hast me invited 5.5
O, won’t we have a merry time, 6
My father gave me seeds to sow. 6
<p><i>. . . . mentreche il vento, come fa, si tace.</i></p> # 6 = 29%
<p><i>To the High Sheriff of Dublin,</i></p> # 6 = 29%
Won’t you come to Sandymount, 6
O, Mairy lost the pin of her drawers. 6
How could you possibly do so? 6
Who fought with heart and hand. 6
Is coming! Is coming!! Is coming!!! 6
While you're coming through the rye. 6
Then he passed the female catheter. 6
Orchestral Satan, weeping many a rood 6
Bound thee forth, my booklet, quick 6
Never missed nor he never will.</i></p> # 6.5 = 31%
And no more turn aside and brood 6.5
Jubilantium te virginum. 6.5
The rocky road to Dublin. 6.5
Shall weave old England's winding sheet. 6.5
Then here’s a health to Mulligan’s aunt 6.5
Couch a hogshead with me then. 6.5
All dimpled cheeks and curls, 6.5
Co-ome thou dear one 6.5
'Tis time for this poor soul 7
And Ulster will be right. 7
He comes, pale vampire, 7
Don Giovanni, a cenar teco 7
<p>Miss Martha Clifford</p> # 8 = 38%
<p>Dolphin's barn lane</p> # 8 = 38%
Laud we the gods</i></p> # 8 = 38%
<p class="indent2">Him Satan fleers,</p> # 8 = 38%
O, O the boys of 8
Heigho! Heigho! 8
Plumtree’s Potted Meat? 8
Comes lo-ve’s old... 8
Là ci darem la mano 8
<p class="indent">c/o P. O.</p> # 9 = 43%
<p>Henry Flower, Esq,</p> # 9.5cm out of 21cm = 45%
You mean the will. 10
<p class="indent">c/o P. O. Westland Row,</p> # 11cm = 52%
<p class="indent2">Dublin.</p> # 12 = 57%
<p class="indent2"><i>Dublin.</i></p> #12 = 57%
<p><i>H. Rumbold,</i></p> #14 = 67%
<p class="right2">MARTHA</p> # 14.5cm = 69%
<p>— <i>7, Hunter Street,</i></p> # 14.5 = 69%
<p class="indent"><i>Liverpool.</i></p> #15 = 71%
<p class="indent2">City.</p> # 15cm = 71%
<p class="indent"><i>Master Barber.</i></p> #15 = 71%
<p class="right3"><i>(Laughter.)</i></p> # 15.5
<p class="right2">MILLY</p> # 16.5 = 79%
<p class="right2">M.</p> # 16.5 = 79%
z5 uses:
p {text-indent: 1em; margin: 0px;}
p.indent {text-indent: 5em;}
p.indent2 {text-indent: 10em;}
p.noind {text-indent: 0px;}
div.addrss {margin-left:10em;}
div.stanza {text-align: left; margin-left: 1em;}
div.center { text-align: center;}
div.stanza p { margin: 0px;}
p.quest {margin: 0px;}
span.floath {margin-left: -1em;}
p.spk {text-align: center;}
p.center {text-align: center;}
p.centerh {text-align: center;)
p.hangind {} #bloom's library p661ff
p.marg2 {} # skip a halfline??
p.right2 {}
p69:
<div class="addrss">
<p>Henry Flower, Esq,</p> # 9.5cm out of 21cm = 45%
<p class="indent">c/o P. O. Westland Row,</p> # 11cm = 52%
<p class="indent2">City.</p> # 15cm = 71%
</div>
p75:
<div class="stanza marg2">
<p>Dear Henry,</p> # 5.5cm = 26%
</div>
<p class="right2">MARTHA</p> # 14.5cm = 69%
<p class="marg">P. S. Do tell me what kind of perfume does your wife use. I want to know.</p>
<p class="marg2">He tore the flower gravely [...]</p>
p268:
<div class="addrss">
<p>Miss Martha Clifford</p> # 8 = 38%
<p class="indent">c/o P. O.</p> # 9 = 43%
<p>Dolphin's barn lane</p> # 8 = 38%
<p class="indent2">Dublin.</p> # 12 = 57%
</div>
p64:
<div class="stanza marg2">
<p>Dearest Papli,</p> # 4 = 19%
</div>
<p>Your fond daughter,</p>
<p class="right2">MILLY</p> # 16.5 = 79%
<p>P. S. Excuse bad writing, am in a hurry. Byby.</p>
<p class="right2">M.</p> # 16.5 = 79%
<p class="marg2">Fifteen yesterday. [...]</p>
p247:
<p class="marg2">Bronze by gold, Miss Douce's head by Miss Kennedy's head, over the crossblind of the Ormond bar heard the viceregal hoofs go by, ringing steel.</p>
p291:
<div class="addrss">
<p>— <i>7, Hunter Street,</i></p> # 14.5 = 69%
<p class="indent"><i>Liverpool.</i></p> #15 = 71%
</div>
<div class="stanza">
<p><i>To the High Sheriff of Dublin,</i></p> # 6 = 29%
<p class="indent2"><i>Dublin.</i></p> #12 = 57%
</div>
<p class="marg2"><i>Honoured sir i beg to offer my services in the abovementioned painful case i hanged Joe Gann in Bootle jail on the 12 of Febuary 1900 and i hanged...</i></p> <p>— Show us, Joe, says I.</p>
<p>— ... <i>private Arthur Chace for fowl murder of Jessie Tilsit in Pentonville prison and i was assistant when...</i></p>
<p>— Jesus, says I.</p>
<p>— ... <i>Billington executed the awful murderer Toad Smith...</i></p>
<p>The citizen made a grab at the letter.</p>
<p>— Hold hard, says Joe, <i>i have a special nack of putting the noose once in he can't get out hoping to be favoured i remain, honoured sir, my terms is five ginnees.</i></p>
<div class="addrss">
<p><i>H. Rumbold,</i></p> #14 = 67%
<p class="indent"><i>Master Barber.</i></p> #15 = 71%
</div>
<p class="marg2">— And a barbarous bloody barbarian he is too, says the citizen.</p>
p313:
<div class="right3">
<p><i>. . . . . . . . . . . . . . . la tua pace</i></p> # 6 = 29%
<p><i>. . . . . . . . . . . che parlar ti piace</i></p> #
<p><i>. . . . mentreche il vento, come fa, si tace.</i></p> #
</div>
p200:
<p class="right3"><i>(Laughter.)</i></p> # 15.5
p195:
<p>To whom thus Eglinton:</p> #
<div class="stanza">
<p class="indent2">You mean the will.</p> #10
<p>That has been explained, I believe, by jurists.</p> # 3.5
<p>She was entitled to her widow's dower</p>
<p>At common law. His legal knowledge was great</p>
<p>Our judges tell us.</p>
<p class="indent2">Him Satan fleers,</p> # 8 = 38%
<p>Mocker:</p> # 3 = 14%
<p class="indent">And therefore he left out her name</p> # 5.5 = 26%
<p>From the first draft but he did not leave out</p>
<p>The presents for his granddaughter, for his daughters,</p>
<p>For his sister, for his old cronies in Stratford</p>
<p>And in London. And therefore when he was urged,</p>
<p>As I believe, to name her</p>
<p>He left her his</p>
<p>Secondbest</p>
<p>Bed.</p>
</div>
<p class="center"><i>Punkt</i></p>
<div class="stanza">
<p>Leftherhis</p>
<p>Secondbest</p>
<p>Leftherhis</p>
<p>Bestabed</p>
<p>Secabest</p>
<p>Leftabed.</p>
</div>
p209:
<div class="stanza">
<p class="indent2"><i>Laud we the gods</i></p> # 8 = 38%
<p><i>And let our crooked smokes climb to their nostrils</i></p> # 4.5 = 21%
<p><i>From our bless'd altars.</i></p>
</div>
p579&c:
<div class="stanza">
<p class="indent2"><span class="floath">—</span> <i>Buffalo Bill shoots to kill,</i></p> #
<p class="indent2"><i>Never missed nor he never will.</i></p> # 6.5 = 31%
</div>
my prediction is that stanzas are indented so that the longest line is centered... so the longer the line the smaller the indent
1922 measured in cm on a 21 cm wide page (at least 15 levels so far-- reduce to maybe 5? or add one 'em' for each step? how many em's in a iphone line? 30?):
<p>Mocker:</p> # 3 = 14%
That can enjoy 3.5
Doomed for a certain time to walk the earth. 3.5
That has been explained, I believe, by jurists. 3.5
You are my looking glass from night to morning. 4
<p>Dearest Papli,</p> # 4 = 19%
Whelps and dams of murderous foes whom none 4
<p><i>And let our crooked smokes climb to their nostrils</i></p> # 4.5 = 21%
'Twas rank and fame that tempted thee, 4.5
While his family weeps and mourns his loss 5
And in the porches of mine ear did pour. 5
<p class="indent">And therefore he left out her name</p> # 5.5 = 26%
<p>Dear Henry,</p> # 5.5cm = 26%
The hungry famished gull. 5.5
Waves o'er the waters dull. 5.5
Don Giovanni, thou hast me invited 5.5
O, won’t we have a merry time, 6
My father gave me seeds to sow. 6
<p><i>. . . . mentreche il vento, come fa, si tace.</i></p> # 6 = 29%
<p><i>To the High Sheriff of Dublin,</i></p> # 6 = 29%
Won’t you come to Sandymount, 6
O, Mairy lost the pin of her drawers. 6
How could you possibly do so? 6
Who fought with heart and hand. 6
Is coming! Is coming!! Is coming!!! 6
While you're coming through the rye. 6
Then he passed the female catheter. 6
Orchestral Satan, weeping many a rood 6
Bound thee forth, my booklet, quick 6
Never missed nor he never will.</i></p> # 6.5 = 31%
And no more turn aside and brood 6.5
Jubilantium te virginum. 6.5
The rocky road to Dublin. 6.5
Shall weave old England's winding sheet. 6.5
Then here’s a health to Mulligan’s aunt 6.5
Couch a hogshead with me then. 6.5
All dimpled cheeks and curls, 6.5
Co-ome thou dear one 6.5
'Tis time for this poor soul 7
And Ulster will be right. 7
He comes, pale vampire, 7
Don Giovanni, a cenar teco 7
<p>Miss Martha Clifford</p> # 8 = 38%
<p>Dolphin's barn lane</p> # 8 = 38%
Laud we the gods</i></p> # 8 = 38%
<p class="indent2">Him Satan fleers,</p> # 8 = 38%
O, O the boys of 8
Heigho! Heigho! 8
Plumtree’s Potted Meat? 8
Comes lo-ve’s old... 8
Là ci darem la mano 8
<p class="indent">c/o P. O.</p> # 9 = 43%
<p>Henry Flower, Esq,</p> # 9.5cm out of 21cm = 45%
You mean the will. 10
<p class="indent">c/o P. O. Westland Row,</p> # 11cm = 52%
<p class="indent2">Dublin.</p> # 12 = 57%
<p class="indent2"><i>Dublin.</i></p> #12 = 57%
<p><i>H. Rumbold,</i></p> #14 = 67%
<p class="right2">MARTHA</p> # 14.5cm = 69%
<p>— <i>7, Hunter Street,</i></p> # 14.5 = 69%
<p class="indent"><i>Liverpool.</i></p> #15 = 71%
<p class="indent2">City.</p> # 15cm = 71%
<p class="indent"><i>Master Barber.</i></p> #15 = 71%
<p class="right3"><i>(Laughter.)</i></p> # 15.5
<p class="right2">MILLY</p> # 16.5 = 79%
<p class="right2">M.</p> # 16.5 = 79%
z5 uses:
p {text-indent: 1em; margin: 0px;}
p.indent {text-indent: 5em;}
p.indent2 {text-indent: 10em;}
p.noind {text-indent: 0px;}
div.addrss {margin-left:10em;}
div.stanza {text-align: left; margin-left: 1em;}
div.center { text-align: center;}
div.stanza p { margin: 0px;}
p.quest {margin: 0px;}
span.floath {margin-left: -1em;}
p.spk {text-align: center;}
p.center {text-align: center;}
p.centerh {text-align: center;)
p.hangind {} #bloom's library p661ff
p.marg2 {} # skip a halfline??
p.right2 {}
p69:
<div class="addrss">
<p>Henry Flower, Esq,</p> # 9.5cm out of 21cm = 45%
<p class="indent">c/o P. O. Westland Row,</p> # 11cm = 52%
<p class="indent2">City.</p> # 15cm = 71%
</div>
p75:
<div class="stanza marg2">
<p>Dear Henry,</p> # 5.5cm = 26%
</div>
<p class="right2">MARTHA</p> # 14.5cm = 69%
<p class="marg">P. S. Do tell me what kind of perfume does your wife use. I want to know.</p>
<p class="marg2">He tore the flower gravely [...]</p>
p268:
<div class="addrss">
<p>Miss Martha Clifford</p> # 8 = 38%
<p class="indent">c/o P. O.</p> # 9 = 43%
<p>Dolphin's barn lane</p> # 8 = 38%
<p class="indent2">Dublin.</p> # 12 = 57%
</div>
p64:
<div class="stanza marg2">
<p>Dearest Papli,</p> # 4 = 19%
</div>
<p>Your fond daughter,</p>
<p class="right2">MILLY</p> # 16.5 = 79%
<p>P. S. Excuse bad writing, am in a hurry. Byby.</p>
<p class="right2">M.</p> # 16.5 = 79%
<p class="marg2">Fifteen yesterday. [...]</p>
p247:
<p class="marg2">Bronze by gold, Miss Douce's head by Miss Kennedy's head, over the crossblind of the Ormond bar heard the viceregal hoofs go by, ringing steel.</p>
p291:
<div class="addrss">
<p>— <i>7, Hunter Street,</i></p> # 14.5 = 69%
<p class="indent"><i>Liverpool.</i></p> #15 = 71%
</div>
<div class="stanza">
<p><i>To the High Sheriff of Dublin,</i></p> # 6 = 29%
<p class="indent2"><i>Dublin.</i></p> #12 = 57%
</div>
<p class="marg2"><i>Honoured sir i beg to offer my services in the abovementioned painful case i hanged Joe Gann in Bootle jail on the 12 of Febuary 1900 and i hanged...</i></p> <p>— Show us, Joe, says I.</p>
<p>— ... <i>private Arthur Chace for fowl murder of Jessie Tilsit in Pentonville prison and i was assistant when...</i></p>
<p>— Jesus, says I.</p>
<p>— ... <i>Billington executed the awful murderer Toad Smith...</i></p>
<p>The citizen made a grab at the letter.</p>
<p>— Hold hard, says Joe, <i>i have a special nack of putting the noose once in he can't get out hoping to be favoured i remain, honoured sir, my terms is five ginnees.</i></p>
<div class="addrss">
<p><i>H. Rumbold,</i></p> #14 = 67%
<p class="indent"><i>Master Barber.</i></p> #15 = 71%
</div>
<p class="marg2">— And a barbarous bloody barbarian he is too, says the citizen.</p>
p313:
<div class="right3">
<p><i>. . . . . . . . . . . . . . . la tua pace</i></p> # 6 = 29%
<p><i>. . . . . . . . . . . che parlar ti piace</i></p> #
<p><i>. . . . mentreche il vento, come fa, si tace.</i></p> #
</div>
p200:
<p class="right3"><i>(Laughter.)</i></p> # 15.5
p195:
<p>To whom thus Eglinton:</p> #
<div class="stanza">
<p class="indent2">You mean the will.</p> #10
<p>That has been explained, I believe, by jurists.</p> # 3.5
<p>She was entitled to her widow's dower</p>
<p>At common law. His legal knowledge was great</p>
<p>Our judges tell us.</p>
<p class="indent2">Him Satan fleers,</p> # 8 = 38%
<p>Mocker:</p> # 3 = 14%
<p class="indent">And therefore he left out her name</p> # 5.5 = 26%
<p>From the first draft but he did not leave out</p>
<p>The presents for his granddaughter, for his daughters,</p>
<p>For his sister, for his old cronies in Stratford</p>
<p>And in London. And therefore when he was urged,</p>
<p>As I believe, to name her</p>
<p>He left her his</p>
<p>Secondbest</p>
<p>Bed.</p>
</div>
<p class="center"><i>Punkt</i></p>
<div class="stanza">
<p>Leftherhis</p>
<p>Secondbest</p>
<p>Leftherhis</p>
<p>Bestabed</p>
<p>Secabest</p>
<p>Leftabed.</p>
</div>
p209:
<div class="stanza">
<p class="indent2"><i>Laud we the gods</i></p> # 8 = 38%
<p><i>And let our crooked smokes climb to their nostrils</i></p> # 4.5 = 21%
<p><i>From our bless'd altars.</i></p>
</div>
p579&c:
<div class="stanza">
<p class="indent2"><span class="floath">—</span> <i>Buffalo Bill shoots to kill,</i></p> #
<p class="indent2"><i>Never missed nor he never will.</i></p> # 6.5 = 31%
</div>
Tuesday, December 8, 2015
Electricity in Ulysses
Dublin was just beginning to be electrified.
Neither the Tower nor 7 Eccles seems to have any electricity.
The Library does, the Pigeonhouse is a power station, the trams are electric.
Bloom dreams of electrical devices, and theorizes about its effects.
Some street lights have been converted from gas to electric.
The ballast office clock works by electric wire, and the race results come by telegraph.
The newspaper and some stores have telephones.
(Would the printing presses use electric motors?)
The theatres probably used arc lighting.
Neither the Tower nor 7 Eccles seems to have any electricity.
The Library does, the Pigeonhouse is a power station, the trams are electric.
Bloom dreams of electrical devices, and theorizes about its effects.
Some street lights have been converted from gas to electric.
The ballast office clock works by electric wire, and the race results come by telegraph.
The newspaper and some stores have telephones.
(Would the printing presses use electric motors?)
The theatres probably used arc lighting.
Sunday, December 6, 2015
The generic Ulysses project
The goal: optimized editions of Ulysses on every ebook platform
The text: start with 1922, fix the typos, avoid controversies by hewing to 1922 (or to current consensus when it's uncontroversial)
The platforms:
HTML plus CSS: using the simplest possible CSS classes, get the basic layout right, so others can tweak it easily; a single file c2Mb, ampersanded special characters
(recent draft: https://sites.google.com/site/ulyssestext/1922r.html )
epub: break out chapters
markdown: asterisks for italics, ledger-table, minimal indents using nbsp?
gitbook: add back br, center, and...?
pdf: two versions, one small, one pretty
kindle: ?
Pagination: not normally visible (too intrusive), maybe hidden 1922 pagination plus Gabler
Annotations: eventually support multiple-file (chapters) with interlinear notes?
Conversions:
gitbook exports simplified epub, pdf, and mobi
Calibre for Windows does conversions from epub
The text: start with 1922, fix the typos, avoid controversies by hewing to 1922 (or to current consensus when it's uncontroversial)
The platforms:
HTML plus CSS: using the simplest possible CSS classes, get the basic layout right, so others can tweak it easily; a single file c2Mb, ampersanded special characters
(recent draft: https://sites.google.com/site/ulyssestext/1922r.html )
epub: break out chapters
markdown: asterisks for italics, ledger-table, minimal indents using nbsp?
gitbook: add back br, center, and...?
pdf: two versions, one small, one pretty
kindle: ?
Pagination: not normally visible (too intrusive), maybe hidden 1922 pagination plus Gabler
Annotations: eventually support multiple-file (chapters) with interlinear notes?
Conversions:
gitbook exports simplified epub, pdf, and mobi
Calibre for Windows does conversions from epub
Tuesday, October 20, 2015
[Ulysses etexts]
(probing the question of a maximally flexible, minimally intrusive css design...)
Ulysses is remarkable for embedding transcriptions of various media: letters, ads, imaginary theatrical programs and scripts (contemporary and historical), an accounts book... Might Joyce have preferred to give these appropriate fonts, if the publisher had been willing? Apparently not, although Eolus got one special (weirdly inapt) font.
new:
onepage html
online options:
variorum
well-proofed epub
archive.org
multiple formats, page images, 1922
wikisource.org
unannotated, 1922, linebreaks, pages
wikisource.org
annotateable, 1922, italics, linebreaks, pages
online-literature.com
no italics, 1961, episodes
gutenberg.org
html, italics, radically simplified indenting, 1986? full book
geoffwilkins.net
pdf, italics, 1986? full book
archive.org-gutenberg
txt, CAPS for italics, linebreaks, 1986? full book, Col Choat
indenting styles:
1922 p3 indents everything the same
1986 has different indents for episode-start (w/asterisk), plain paragraph, and speech (no indent, em dash? no spaces)
Philly p1 indents paragraphs deeply (except no indent for episode-start), speeches not at all, but space after dashes
Slote39 p5 has small equal indents for paragraphs and speeches, but no indent for episode-start, and space after dashes
1961 p3 resembles Slote39 but puts the 1st two words on p2, all caps, and no space after dashes
so ideally we should let the stylesheet decide the indent for these three types of paragraph, and whether there's spacing after the dashes (is that even possible?). 1961 also distinguishes episode-starts that aren't also the start of one of the three 'books' but this is nonjoycean.
1.239-241 doesn't indent the stanza, and leads with a dash; ditto 1.300, but not 1.260 or 1.264 which are indented with no dash
1922 p9 indents deeply with no dash, p10 indents two stanzas less deeply (but identically, even though they're very different widths)
1961 has no dashes and widely varying indents
Slote p9-11 has no dashes, and slightly different indents
the dashes are logical to distinguish spoken/sung stanzas from thought, but they look highly unjoycean to me unless accompanied by a hanging indent as 1922 p13-- is it possible to leave those choices (display dash or not, hanging indent or not) to the stylesheet?
stanza-indents should be individually left-aligned and probably approximately centered if this is possible. with a hanging indent as well this could get messy.
in small windows, would it be possible/ make sense to use another level of hanging indent for wrapped lines? (FW2 does this, but FW1 used a weird square-bracket right-aligned overflow)
most editions skip a line before and after stanzas, but 1986 does not.
skipping lines between paragraphs should be a stylesheet decision-- i'm sure the main reason not to has been to save paper.
4.397-414 is Milly's letter (cf Martha's at 5.421ff). 1986 uses three special indents for the open and close.
1922 has one special indent for the open, and another very deep one for the two signatures p64 which are in small caps
both Slote and 1961 also have one special indent for the open, but right justify the two signatures in small caps
5.62-65 has Henry Flower's address on Martha's envelope. 1922 p69 uses three special indents, as does 1961. 1986 seems to treat it as a stanza with a deep hanging indent for the 3rd line.
5.144-147 is Plumtree's ad. 1922 p72, 1961 and Slote all treat it as a stanza. 1986 centers each line separately which looks much better to me. (is there a historical ad this could mimic? it seems a shame to create a special class otherwise)
Eolus needs centered headlines, all caps. 1922 p112 uses a funky 1922-era? font, and skips two lines before and after each headline. 1961 seems to skip 3 before and two after, along with an extrabold style. 1986 skips two lines before and one line after each. Slote skips a line before each, but not after. (nobody mixes large and small caps?) the breakpoints for linewrap should probably be fixed based on 1922, but 1922's were probably arbitrary unless jaj modified some...?
7.717-719 is a right-aligned stanza with 'ellipses' to approximate a left-alignment as well. the number of fullstops before the last line varies from 0-6.
8.15-16 is a stanza for 1922 p144, for 1961 and for Slote, but just two nonitalicised paragraphs for 1986. (if it's an ad like Plumtree's the lines could be centered separately) 8.90-93 is just such an ad for 1986. but for 1922 p146, for 1961 and for Slote it's 3 italicised 'paragraphs'.
9.118-121 is an 'ad' for everyone, eg 1922 p179, but 1961 and Slote use all caps for two of the lines.
9.190-191 is a single wrapped long stanza-line. 1961 and Slote don't indent it at all!
9.500 is typeset to align with the notes in the image (if it's included in the image, is that acceptable? it won't be searchable, and the font may not match...)
9.684ff is a mess, partially imitating the layout of an Elizabethan script, sort of like a stanza with no italics. 1922 p194-195. 1986 relocates the first line, and the weird italic 'Punkt' which everyone else centers with no fullstop. Elizabethan scripts aligned overlapping speakers when a line was split between them, some editions imitate this better than others.
9.893ff anticipates Circe's script layout, with the twist of not-quite-right-justified "(Laughter.)" or "(laughter)" eg 1922 p200,
9.1171-1176 is centered lines with dash in 1986, no dash in 1922 or 1961 or Slote
9.1181-1189 is a special nightmare with unindented small caps (indented and mixed in 1922 and Slote), indented "and"s, and that giant right brace that spans three lines vertically, bisecting the middle line
in 10 it's tempting to tag the intrusions, but joyce conspicuously didn't. sectionbreaks are marked with skipped lines and: a triangle of asterisks in 1922 p215, three asterisks in a row in 1986, one hollow star in 1961, one black star in Slote.
the overture to episode 10 is set off by one blank line except in 1961. everyone but 1986 indents each instrument, and 1986 is also the only one to use hanging indents when wrapping lines.
only 1922 p408ff uses hanging indents for stage directions. Slote skips lines only around name-lines. (1922 looks especially odd for the three-paragraph stage direction at p412-413. cf 10.131ff-- nobody skips lines between these) Slote also centers short stage directions.
1922 doesn't skip a line between question and answer in episode 17, but indents each. 1986 does skip one line, no indents, and skips two between questions. Slote and 1961 indent but don't skip the line.
Bloom's budget 17.1456ff, 1922 p664, has at least four aligned columns, with two headings centered over two each. all use hanging indents (except 1986 that doesn't need any), only 1922 fills lines with ellipses. only 1986 has a superscript 'd' in "recd".
Ulysses is remarkable for embedding transcriptions of various media: letters, ads, imaginary theatrical programs and scripts (contemporary and historical), an accounts book... Might Joyce have preferred to give these appropriate fonts, if the publisher had been willing? Apparently not, although Eolus got one special (weirdly inapt) font.
new:
onepage html
online options:
variorum
well-proofed epub
archive.org
multiple formats, page images, 1922
wikisource.org
unannotated, 1922, linebreaks, pages
wikisource.org
annotateable, 1922, italics, linebreaks, pages
online-literature.com
no italics, 1961, episodes
gutenberg.org
html, italics, radically simplified indenting, 1986? full book
geoffwilkins.net
pdf, italics, 1986? full book
archive.org-gutenberg
txt, CAPS for italics, linebreaks, 1986? full book, Col Choat
indenting styles:
1922 p3 indents everything the same
1986 has different indents for episode-start (w/asterisk), plain paragraph, and speech (no indent, em dash? no spaces)
Philly p1 indents paragraphs deeply (except no indent for episode-start), speeches not at all, but space after dashes
Slote39 p5 has small equal indents for paragraphs and speeches, but no indent for episode-start, and space after dashes
1961 p3 resembles Slote39 but puts the 1st two words on p2, all caps, and no space after dashes
so ideally we should let the stylesheet decide the indent for these three types of paragraph, and whether there's spacing after the dashes (is that even possible?). 1961 also distinguishes episode-starts that aren't also the start of one of the three 'books' but this is nonjoycean.
1.239-241 doesn't indent the stanza, and leads with a dash; ditto 1.300, but not 1.260 or 1.264 which are indented with no dash
1922 p9 indents deeply with no dash, p10 indents two stanzas less deeply (but identically, even though they're very different widths)
1961 has no dashes and widely varying indents
Slote p9-11 has no dashes, and slightly different indents
the dashes are logical to distinguish spoken/sung stanzas from thought, but they look highly unjoycean to me unless accompanied by a hanging indent as 1922 p13-- is it possible to leave those choices (display dash or not, hanging indent or not) to the stylesheet?
stanza-indents should be individually left-aligned and probably approximately centered if this is possible. with a hanging indent as well this could get messy.
in small windows, would it be possible/ make sense to use another level of hanging indent for wrapped lines? (FW2 does this, but FW1 used a weird square-bracket right-aligned overflow)
most editions skip a line before and after stanzas, but 1986 does not.
skipping lines between paragraphs should be a stylesheet decision-- i'm sure the main reason not to has been to save paper.
4.397-414 is Milly's letter (cf Martha's at 5.421ff). 1986 uses three special indents for the open and close.
1922 has one special indent for the open, and another very deep one for the two signatures p64 which are in small caps
both Slote and 1961 also have one special indent for the open, but right justify the two signatures in small caps
5.62-65 has Henry Flower's address on Martha's envelope. 1922 p69 uses three special indents, as does 1961. 1986 seems to treat it as a stanza with a deep hanging indent for the 3rd line.
5.144-147 is Plumtree's ad. 1922 p72, 1961 and Slote all treat it as a stanza. 1986 centers each line separately which looks much better to me. (is there a historical ad this could mimic? it seems a shame to create a special class otherwise)
Eolus needs centered headlines, all caps. 1922 p112 uses a funky 1922-era? font, and skips two lines before and after each headline. 1961 seems to skip 3 before and two after, along with an extrabold style. 1986 skips two lines before and one line after each. Slote skips a line before each, but not after. (nobody mixes large and small caps?) the breakpoints for linewrap should probably be fixed based on 1922, but 1922's were probably arbitrary unless jaj modified some...?
7.717-719 is a right-aligned stanza with 'ellipses' to approximate a left-alignment as well. the number of fullstops before the last line varies from 0-6.
8.15-16 is a stanza for 1922 p144, for 1961 and for Slote, but just two nonitalicised paragraphs for 1986. (if it's an ad like Plumtree's the lines could be centered separately) 8.90-93 is just such an ad for 1986. but for 1922 p146, for 1961 and for Slote it's 3 italicised 'paragraphs'.
9.118-121 is an 'ad' for everyone, eg 1922 p179, but 1961 and Slote use all caps for two of the lines.
9.190-191 is a single wrapped long stanza-line. 1961 and Slote don't indent it at all!
9.500 is typeset to align with the notes in the image (if it's included in the image, is that acceptable? it won't be searchable, and the font may not match...)
9.684ff is a mess, partially imitating the layout of an Elizabethan script, sort of like a stanza with no italics. 1922 p194-195. 1986 relocates the first line, and the weird italic 'Punkt' which everyone else centers with no fullstop. Elizabethan scripts aligned overlapping speakers when a line was split between them, some editions imitate this better than others.
9.893ff anticipates Circe's script layout, with the twist of not-quite-right-justified "(Laughter.)" or "(laughter)" eg 1922 p200,
9.1171-1176 is centered lines with dash in 1986, no dash in 1922 or 1961 or Slote
9.1181-1189 is a special nightmare with unindented small caps (indented and mixed in 1922 and Slote), indented "and"s, and that giant right brace that spans three lines vertically, bisecting the middle line
in 10 it's tempting to tag the intrusions, but joyce conspicuously didn't. sectionbreaks are marked with skipped lines and: a triangle of asterisks in 1922 p215, three asterisks in a row in 1986, one hollow star in 1961, one black star in Slote.
the overture to episode 10 is set off by one blank line except in 1961. everyone but 1986 indents each instrument, and 1986 is also the only one to use hanging indents when wrapping lines.
only 1922 p408ff uses hanging indents for stage directions. Slote skips lines only around name-lines. (1922 looks especially odd for the three-paragraph stage direction at p412-413. cf 10.131ff-- nobody skips lines between these) Slote also centers short stage directions.
1922 doesn't skip a line between question and answer in episode 17, but indents each. 1986 does skip one line, no indents, and skips two between questions. Slote and 1961 indent but don't skip the line.
Bloom's budget 17.1456ff, 1922 p664, has at least four aligned columns, with two headings centered over two each. all use hanging indents (except 1986 that doesn't need any), only 1922 fills lines with ellipses. only 1986 has a superscript 'd' in "recd".
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