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Our only equipment was a shelf of dictionaries, the Blue Guide to Ireland, and a general knowledge of literature and history which widened and deepened as our task progressed.

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That its language was difficult and its structure complex were readily admitted by everyone who seriously attempted to read it.

Yet sincere efforts to unravel its meaning were rewarded so generously that some readers continued to struggle for the unimaginable prize of complete understanding.

Our purpose has not been to elaborate any passage or group of images, but merely to indicate the fundamental narrative itself. Many passages were so charming and amusing that we could not forbear to let them contribute to the life and colour of our own pages.

Other passages, darker and more difficult, have been rendered more fully than the original plan required.

7 8 FOREWORD Furthermore, from sentence to sentence we had to select and again select (among the crowding, curiously melting nuances of implication) precisely the one or two lines to be fixed and rendered.

Wherever possible we have clung to Joyce’s own language, but in order to stress the narrative we have freely condensed, simplified, and paraphrased the heavily freighted text.

All time occurs simultaneously; Tristram and the Duke of Wellington, Father Adam and Humpty Dumpty merge in a single percept.

Multiple meanings are present in every line; interlocking allusions to key words and phrases are woven like fugal themes into the pattern of the work.

No one can be more conscious than ourselves of our numberless inept de- cisions.

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