Édouard Dujardin

Édouard DujardinFrench writer of poetry, novels, drama and of studies of art, music and religion. As part of the publicity for Ulysses, JJ claimed that the interior monologue technique had been invented by Dujardin in his novel Les lauriers sont coupés which he had bought because Dujardin was the dedicatee of George Moore's Irish novel The Lake.As a young man Dujardin was a well-connected Parisian dandy who lost most of his family's fortune on his early plays and other artistic schemes. While publishing poetry, drama and prose, in 1885 he founded the Revue Wagnérienne which a year later became Revue indépendante, the most important magazine of the French symbolist movement of the eighties of the nineteenth century. This journal (which first published Les lauriers sont coupés) was a hotbed of experimental art, from Wagner's music to the neo-impressionist painters and the literary work of Jules Laforgue and Stéphane Mallarmé.It is in this radical and anti-clerical context that Dujardin met George Moore, who lived in Paris at the time. The two writers remained friends until Moore's death. With Moore, the French writer shared an interest in the early history of Christianity, on which he lectured and published in the twenties and thirties.JJ knew of Dujardin through Moore's mention of him in The Lake and in Dana, and JJ had told Valéry Larbaud about the source of his use of the interior monologue, which Larbaud then explained in his introduction to a new edition of Les lauriers sont coupés in 1925. By that time, the old French maître was honored by JJ's insistence on his role in literary history and in 1931 he published a study of the interior monologue and its role in his own and in JJ's work. Geert Lernout

埃德瓦·杜雅丹，法国诗人、小说家、戏剧家，亦为艺术、音乐与宗教之研究家。作为《尤利西斯》宣传的一部分，詹姆斯·乔伊斯宣称内省独白技巧由杜雅丹在其小说《剪下的桂冠》中发明，而他购买此书的原因是杜雅丹是乔治·摩尔爱尔兰小说《湖泊》的题献者。杜雅丹年轻时是一位社交广泛的巴黎花花公子，其早期戏剧及其他艺术计划使家族大部分财产付诸东流。在出版诗歌、戏剧和散文的同时，1885年他创立了《瓦格纳评论》，一年后该杂志更名为《独立评论》，成为19世纪80年代法国象征主义运动最重要的杂志。该杂志（首先发表了《剪下的桂冠》）是实验艺术的温床，从瓦格纳的音乐到新印象派画家，以及朱尔·拉福格和斯特凡·马拉美的文学作品。正是在这样一场激进且反教会的背景下，杜雅丹结识了当时居住在巴黎的乔治·摩尔，两位作家直至摩尔去世一直保持着友谊。与摩尔一同，杜雅丹对基督教的早期历史产生了共同的兴趣，在20世纪20年代和30年代，他在这一领域进行了讲座和出版。乔伊斯通过摩尔在《湖泊》和《达纳》中提及杜雅丹而认识他，并向瓦莱里·拉罗布提及他使用内省独白技巧的来源，拉罗布随后在1925年新版《剪下的桂冠》的序言中对此进行了阐释。到那时，这位年迈的法国大师因乔伊斯坚持其在文学史上的角色而受到尊敬，并于1931年出版了关于内省独白及其在自己及乔伊斯作品中的角色的一篇研究。