‘When Israel went out from Egypt … The sea looked and fled’ (Psalm 114: 1-3) … an illustration in the ‘Passover Haggadah’ by the Polish-American artists Arthur Szyk
Patrick Comerford
In the Calendar of the Church, this is Ordinary Time. Two of us are staying in Lichfield, and planning to return to the Chapel of Saint John's Hospital and Lichfield Cathedral later today. But, before this day begins, I am taking some time this morning to continue my reflections drawing on the Psalms.
In my blog, I am reflecting each morning in this Prayer Diary in these ways:
1, Short reflections on a psalm or psalms;
2, reading the psalm or psalms;
3, a prayer from the USPG prayer diary.
Psalm 114:
Psalm 114 is the second of the six psalms (Psalms 113-118) comprising the Hallel (הַלֵּל, ‘Praise’). It is sometimes known by its opening phrase in Latin, In exitu Israel. In the slightly different numbering system in the Greek Septuagint and in the Latin Vulgate, this psalm is the first part of Psalm 113.
Psalms 113-118 are among the earliest prayers written to be recited in the Temple on days of national celebration. They were sung as accompaniment to the Pesach or Passover sacrifice. Early rabbinic sources suggest that these psalms were said on the pilgrimage festivals – Pesach, Shavuot and Sukkot.
These psalms are known as the ‘Egyptian Hallel’ because of the references in this psalm to the Exodus from Egypt.
Psalm 114 is a lyrical account of how nature itself trembled and rejoiced at the Exodus, when the Supreme Power intervened and recused the powerless.
This psalm begins with the Hebrew:
בְּצֵאת יִשְׂרָאֵל, מִמִּצְרָיִם; בֵּית יַעֲקֹב, מֵעַם לֹעֵז
In Hebrew this is an acrostic poem. At eight verses, this psalm is comparatively concise. It is composed of four stanzas of two lines, which the word Jacob envelops. The two central stanzas evoke with images full of life the miracle of the Red Sea and the passage of the Jordan. God is evoked only at the end of the Psalm, doubtless to arouse the expectation.
The first stanza recalls by the verb that the Hebrew people are born in the Exodus. The words sanctuary and domain designate the entire inheritance of God, not only in the geographical sense but also in a spiritual sense. The miracles that allow Israel to cross the Red Sea and cross the River Jordan are poetically enhanced by the process of hyperbole and by images evoking a life of natural elements, water and mountains. It is a means of manifesting all creation, with Israel and actively participating in its march towards the Promised Land.
1, Verses 1-3 recall the Exodus and its initial and final events: the people led Egypt, and were able to cross the Red Sea and the Jordan.
2, Verse 4 may be referring to the earth tremors that accompanied God’s appearance on Mount Sinai.
3, Verses 5-6 ask why these miracles too place.
4, Verses 7-8 tell us this was because the Lord of all creation was present. He commanded water to spring from the rock, quenching the thirst of the people during the Exodus.
As the physical earth responded to God’s command then, how do we respond?
Part of the Psalm 114 is quoted at the beginning of Dante’s Purgatorio, and this psalm was associated with burial and funeral rites in the Mediaeval Church. Later, John Milton wrote ‘A Paraphrase on Psalm 114’ among his poems of 1645.
‘The Lord … turns the rock into a pool of water’ (Psalm 114: 7-8) … rocks by the beach at Preveli on the south coast of Crete (Photograph: Patrick Comerford, 2021)
Psalm 114 (NRSVA):
1 When Israel went out from Egypt,
the house of Jacob from a people of strange language,
2 Judah became God’s sanctuary,
Israel his dominion.
3 The sea looked and fled;
Jordan turned back.
4 The mountains skipped like rams,
the hills like lambs.
5 Why is it, O sea, that you flee?
O Jordan, that you turn back?
6 O mountains, that you skip like rams?
O hills, like lambs?
7 Tremble, O earth, at the presence of the Lord,
at the presence of the God of Jacob,
8 who turns the rock into a pool of water,
the flint into a spring of water.
Today’s Prayer:
The theme this week in the prayer diary of the Anglican mission agency USPG (United Society Partners in the Gospel) is ‘Focus 9/99,’ which was introduced on Sunday by the Revd M Benjamin Inbaraj, Director of the Church of South India’s SEVA department.
Friday 17 June 2022:
The USPG Prayer invites us to pray today in these words:
We give thanks for ecumenism and the ecumenical example shown by the Church of South India. May we remember that we have much in common with different denominations across the world.
Yesterday’s reflection
Continued tomorrow
Scripture quotations are from the New Revised Standard Version Bible: Anglicised Edition copyright © 1989, 1995, National Council of the Churches of Christ in the United States of America. Used by permission. All rights reserved worldwide. http://nrsvbibles.org
17 June 2022
Bloomsday and recalling
James Joyce’s forgotten
months in a flat in London
Ulysses, a wine label in Malta seen in a restaurant in Valletta … today is Bloomsday and this year marks the centenary of ‘Ulysses’ (Photograph: Patrick Comerford, 2022)
Patrick Comerford
‘Stately, plump Buck Mulligan came from the stairhead, bearing a bowl of lather on which a mirror and a razor lay crossed.’
The opening line of Ulysses is known to many people, even if they have never read Ulysses. But of course, Buck Mulligan has no link at all with the Bucks of Buckinghamshire; nor could James Joyce have ever known about the plans for Milton Keynes.
Nor, for that matter, did Buck Mulligan, Leopold Bloom or James Joyce have any associations with Ulysses, a wine label I came across in Malta earlier this year.
Today is Bloomsday, and this year marks the centenary of the publication of Ulysses. I normally associate James Joyce with Dublin, whose streets he celebrates in Ulysses, Trieste and Zurich, where he lived in exile, and Paris, where Ulysses was first published 100 years ago in 1922.
But until two of us visited London last week, I had forgotten that Joyce also lived in London in 1931. Ulysses celebrated the day James Joyce and Nora Barnacle first met in 1904, but the couple did not marry until they were living in London almost three decades later.
No 28B Campden Grove, near Holland Park, was the home of James Joyce in 1931, and while living in this Kensington flat he married Nora Barnacle, and worked on his manuscript for Finnegans Wake.
Joyce was working on his first draft of A Portrait of the Artist as a Young Man in 1904 when he met Nora Barnacle (1884-1951) from Galway. They eloped and spent much of their lives in Trieste, Zurich and Paris.
Many writers, including WB Yeats, Ezra Pound and TS Eliot, moved to London to pursue their literary careers. Joyce first visited London in 1900, where he met TP O’Connor (1848-1929), a journalist, Irish Parliamentary Party MP, and later Father of the House in the House of Commons. Joyce hoped O’Connor could help him find employment on Fleet Street.
During later visits to London in 1902 and 1903, WB Yeats introduced Joyce to a number of literary editors and writers.
Although Joyce eloped with Nora Barnacle to Europe in 1904, London was still vital in his career plans. While he was in Trieste, he was constantly approaching London publishers and writers in order to have his work published in London.
Most of Joyce’s work was published in London, including first collection of poetry, Chamber Music (1907), Dubliners (1914), A Portrait of the Artist as a Young Man (1914), and his play Exiles (1918).
Most orders for A Portrait during the period 1918-1920 came from London, with Hatchards of Piccadilly, London’s oldest bookshop, placing most of those orders, including an order for A Portrait for HMS Monarch. Copies of A Portrait were also ordered by highly successful commercial ventures: the book club run by The Times and Mudie’s circulating library, a private book lending scheme.
However, English printers and publishers were afraid of prosecution for typesetting a book considered by some to be obscene, and Ulysses was first published in Paris in 1922. Yet Ulysses (1922) became one of the greatest literary masterpieces of the 20th century, bringing Joyce both acclaim and infamy: it was banned in the US until 1934 and in Britain until 1936.
His work continued to feature in many edited collections, anthologies, and magazines published in London. Joyce was constantly moving between hotels and flats across Europe throughout his life. His decision to buy a flat in London with a long-term lease in May 1931 shows a shift in his life: he wanted to abandon Paris, where he was living, to pursue publishing success in London.
Joyce lived at the flat at 28B Campden Grove, Kensington from early May until early September 1931. Those five months in London were remarkably settled by Joyce’s own standards, and he intended to make London his permanent home.
He relaunched his career in London, thanks to the support of TS Eliot, who was a director at Faber and Faber. During that time he was occupied with Finnegans Wake (1939), and Nora Barnacle and James Joyce were married at a Kensington registry office on 4 July 1931.
When Joyce was in London, he often enjoyed evenings with Irish people there, including the musician Herbert Hughes, the writers Robert and Sylvia Lynd, and the Irish Free State High Commissioner or ambassador John Dulanty. The restaurants they dined at included the Monico by Piccadilly Circus, a favourite haunt of London’s Fin de siècle writers and Kettner’s in Soho, frequented by Oscar Wilde.
When Joyce was not in the city, he would write to friends about aspects of the city that he missed, from the pantomime theatre at Drury Lane to luxury menswear shops. Bond Street and Savile Row, famous for their men’s tailoring shops, are mentioned in Finnegans Wake, which also includes extensive references to London’s restaurants, shops, streets, squares, parks, the tube, and major tourist attractions, including the British Museum, which Joyce visited in 1927.
Joyce’s experience of London is imaginatively recorded in Finnegans Wake in distinctive wordplay and sentence structures. Barker’s department store, down the road from Joyce’s flat, is also referred to in Finnegans Wake, along with Harrod’s, Schoolbred’s and Whiteley’s: ‘if he outharrods against barkers, to the schoolbred he acts whitely.’
The phrase ‘his sole admirers … with Annie Oakley deadliness’ (p 52 line 01) alludes not only to the location of the editorial offices of the Egoist at Oakley House, but also to the editors’ admiration for Joyce’s work and the deadlines they used to set him.
TS Eliot also worked at the Egoist magazine, which serialised Joyce’s A Portrait and Ulysses, while the Egoist Press published and promoted Eliot’s Prufrock and Other Observations and Joyce’s A Portrait.
However, Joyce was constantly hounded by the press, and his view of London soured. He started to refer to Campden Grove as ‘Campden Grave’, to be inhabited by mummies. The flat was let, and Joyce never again set foot in England.
Yet, in Finnegans Wake Joyce pays tribute to the city that helped him launch his career and which he so often returned to, both physically and imaginatively. TS Eliot oversaw the arrangements for the contract for Finnegans Wake (1939), and the publication and dissemination of pamphlets and books, as well as a gramophone disc with Joyce reading of the final pages of Anna Livia Plurabelle.
Faber also used a crossword puzzle in The Times to promote Joyce’s work. This attention helped end the ban on Ulysses and its legal publication by John Lane in London in 1936.
Contrary to popular belief, James Joyce's Ulysses was technically never banned in Ireland, but this was because for many years it was never imported and offered for sale, for fear of such a ban and the costs that would ensue.
An English Heritage blue plaque was placed on the wall of 28B Campden Grove in 1994 to commemorate Joyce’s short time there in 1931. It reads: ‘James Joyce 1882-1941 Author lived here in 1931.’
A plaque at the Bailey remembers the first Bloomsday celebrations in Dublin (Photograph: Patrick Comerford, 2022)
Patrick Comerford
‘Stately, plump Buck Mulligan came from the stairhead, bearing a bowl of lather on which a mirror and a razor lay crossed.’
The opening line of Ulysses is known to many people, even if they have never read Ulysses. But of course, Buck Mulligan has no link at all with the Bucks of Buckinghamshire; nor could James Joyce have ever known about the plans for Milton Keynes.
Nor, for that matter, did Buck Mulligan, Leopold Bloom or James Joyce have any associations with Ulysses, a wine label I came across in Malta earlier this year.
Today is Bloomsday, and this year marks the centenary of the publication of Ulysses. I normally associate James Joyce with Dublin, whose streets he celebrates in Ulysses, Trieste and Zurich, where he lived in exile, and Paris, where Ulysses was first published 100 years ago in 1922.
But until two of us visited London last week, I had forgotten that Joyce also lived in London in 1931. Ulysses celebrated the day James Joyce and Nora Barnacle first met in 1904, but the couple did not marry until they were living in London almost three decades later.
No 28B Campden Grove, near Holland Park, was the home of James Joyce in 1931, and while living in this Kensington flat he married Nora Barnacle, and worked on his manuscript for Finnegans Wake.
Joyce was working on his first draft of A Portrait of the Artist as a Young Man in 1904 when he met Nora Barnacle (1884-1951) from Galway. They eloped and spent much of their lives in Trieste, Zurich and Paris.
Many writers, including WB Yeats, Ezra Pound and TS Eliot, moved to London to pursue their literary careers. Joyce first visited London in 1900, where he met TP O’Connor (1848-1929), a journalist, Irish Parliamentary Party MP, and later Father of the House in the House of Commons. Joyce hoped O’Connor could help him find employment on Fleet Street.
During later visits to London in 1902 and 1903, WB Yeats introduced Joyce to a number of literary editors and writers.
Although Joyce eloped with Nora Barnacle to Europe in 1904, London was still vital in his career plans. While he was in Trieste, he was constantly approaching London publishers and writers in order to have his work published in London.
Most of Joyce’s work was published in London, including first collection of poetry, Chamber Music (1907), Dubliners (1914), A Portrait of the Artist as a Young Man (1914), and his play Exiles (1918).
Most orders for A Portrait during the period 1918-1920 came from London, with Hatchards of Piccadilly, London’s oldest bookshop, placing most of those orders, including an order for A Portrait for HMS Monarch. Copies of A Portrait were also ordered by highly successful commercial ventures: the book club run by The Times and Mudie’s circulating library, a private book lending scheme.
However, English printers and publishers were afraid of prosecution for typesetting a book considered by some to be obscene, and Ulysses was first published in Paris in 1922. Yet Ulysses (1922) became one of the greatest literary masterpieces of the 20th century, bringing Joyce both acclaim and infamy: it was banned in the US until 1934 and in Britain until 1936.
His work continued to feature in many edited collections, anthologies, and magazines published in London. Joyce was constantly moving between hotels and flats across Europe throughout his life. His decision to buy a flat in London with a long-term lease in May 1931 shows a shift in his life: he wanted to abandon Paris, where he was living, to pursue publishing success in London.
Joyce lived at the flat at 28B Campden Grove, Kensington from early May until early September 1931. Those five months in London were remarkably settled by Joyce’s own standards, and he intended to make London his permanent home.
He relaunched his career in London, thanks to the support of TS Eliot, who was a director at Faber and Faber. During that time he was occupied with Finnegans Wake (1939), and Nora Barnacle and James Joyce were married at a Kensington registry office on 4 July 1931.
When Joyce was in London, he often enjoyed evenings with Irish people there, including the musician Herbert Hughes, the writers Robert and Sylvia Lynd, and the Irish Free State High Commissioner or ambassador John Dulanty. The restaurants they dined at included the Monico by Piccadilly Circus, a favourite haunt of London’s Fin de siècle writers and Kettner’s in Soho, frequented by Oscar Wilde.
When Joyce was not in the city, he would write to friends about aspects of the city that he missed, from the pantomime theatre at Drury Lane to luxury menswear shops. Bond Street and Savile Row, famous for their men’s tailoring shops, are mentioned in Finnegans Wake, which also includes extensive references to London’s restaurants, shops, streets, squares, parks, the tube, and major tourist attractions, including the British Museum, which Joyce visited in 1927.
Joyce’s experience of London is imaginatively recorded in Finnegans Wake in distinctive wordplay and sentence structures. Barker’s department store, down the road from Joyce’s flat, is also referred to in Finnegans Wake, along with Harrod’s, Schoolbred’s and Whiteley’s: ‘if he outharrods against barkers, to the schoolbred he acts whitely.’
The phrase ‘his sole admirers … with Annie Oakley deadliness’ (p 52 line 01) alludes not only to the location of the editorial offices of the Egoist at Oakley House, but also to the editors’ admiration for Joyce’s work and the deadlines they used to set him.
TS Eliot also worked at the Egoist magazine, which serialised Joyce’s A Portrait and Ulysses, while the Egoist Press published and promoted Eliot’s Prufrock and Other Observations and Joyce’s A Portrait.
However, Joyce was constantly hounded by the press, and his view of London soured. He started to refer to Campden Grove as ‘Campden Grave’, to be inhabited by mummies. The flat was let, and Joyce never again set foot in England.
Yet, in Finnegans Wake Joyce pays tribute to the city that helped him launch his career and which he so often returned to, both physically and imaginatively. TS Eliot oversaw the arrangements for the contract for Finnegans Wake (1939), and the publication and dissemination of pamphlets and books, as well as a gramophone disc with Joyce reading of the final pages of Anna Livia Plurabelle.
Faber also used a crossword puzzle in The Times to promote Joyce’s work. This attention helped end the ban on Ulysses and its legal publication by John Lane in London in 1936.
Contrary to popular belief, James Joyce's Ulysses was technically never banned in Ireland, but this was because for many years it was never imported and offered for sale, for fear of such a ban and the costs that would ensue.
An English Heritage blue plaque was placed on the wall of 28B Campden Grove in 1994 to commemorate Joyce’s short time there in 1931. It reads: ‘James Joyce 1882-1941 Author lived here in 1931.’
A plaque at the Bailey remembers the first Bloomsday celebrations in Dublin (Photograph: Patrick Comerford, 2022)
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