Why should you read James Joyce's "Ulysses"? - Sam Slote

3,009,329 views ใƒป 2017-10-24

TED-Ed


ืื ื ืœื—ืฅ ืคืขืžื™ื™ื ืขืœ ื”ื›ืชื•ื‘ื™ื•ืช ื‘ืื ื’ืœื™ืช ืœืžื˜ื” ื›ื“ื™ ืœื”ืคืขื™ืœ ืืช ื”ืกืจื˜ื•ืŸ.

ืชืจื’ื•ื: Ido Dekkers ืขืจื™ื›ื”: Sigal Tifferet
00:08
James Joyce's "Ulysses" is widely considered to be both a literary masterpiece
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"ื™ื•ืœื™ืกืก" ืฉืœ ื’'ื™ื™ืžืก ื’'ื•ื™ื™ืก ื ื—ืฉื‘ืช ื’ื ื™ืฆื™ืจืช ืžื•ืคืช ืกืคืจื•ืชื™ืช
00:13
and one of the hardest works of literature to read.
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ื•ืื—ืช ื”ื™ืฆื™ืจื•ืช ื”ื›ื™ ืงืฉื•ืช ื‘ืกืคืจื•ืช ืœืงืจื™ืื”.
00:16
It inspires such devotion that once a year on a day called Bloomsday,
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ื”ื™ื ื ื•ืชื ืช ื”ืฉืจืื” ืœื›ื–ืืช ืžืกื™ืจื•ืช ืฉืคืขื ื‘ืฉื ื” ื‘ื™ื•ื ืฉื ืงืจื ื‘ืœื•ืžืกื“ื™ื™,
00:21
thousands of people all over the world dress up like the characters,
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ืืœืคื™ ืื ืฉื™ื ื‘ื›ืœ ื”ืขื•ืœื ืžืชืœื‘ืฉื™ื ื›ืžื• ื”ื“ืžื•ื™ื•ืช,
00:24
take to the streets,
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ื™ื•ืฆืื™ื ืœืจื—ื•ื‘ื•ืช,
00:26
and read the book aloud.
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ื•ืงื•ืจืื™ื ืืช ื”ืกืคืจ ื‘ืงื•ืœ.
00:28
And some even make a pilgrimage to Dublin
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ื•ื›ืžื” ืืคื™ืœื• ืขื•ืœื™ื ืœืจื’ืœ ืœื“ืื‘ืœื™ืŸ
00:31
just to visit the places so vividly depicted in Joyce's opus.
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ืจืง ื›ื“ื™ ืœื‘ืงืจ ืืช ื”ืžืงื•ืžื•ืช ืฉืชื•ืืจื• ื›ืœ ื›ืš ื‘ืคืจื•ื˜ ื‘ืื•ืคื•ืก ืฉืœ ื’'ื•ื™ื™ืก.
00:36
So what is it about this famously difficult novel
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ืื– ืžื” ื‘ื ื•ื‘ืœื” ื”ืงืฉื” ื•ื”ืžืคื•ืจืกืžืช ื”ื–ื•
00:38
that inspires so many people?
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ื ื•ืชืŸ ื”ืฉืจืื” ืœื›ืœ ื›ืš ื”ืจื‘ื” ืื ืฉื™ื?
00:42
There's no one simple answer to that question,
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ืื™ืŸ ืชืฉื•ื‘ื” ืคืฉื•ื˜ื” ืœืฉืืœื” ื”ื–ื•,
00:44
but there are a few remarkable things about the book
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ืื‘ืœ ื™ืฉ ื›ืžื” ื“ื‘ืจื™ื ื™ื•ืฆืื™ ื“ื•ืคืŸ ื‘ื ื•ื’ืข ืœืกืคืจ
00:47
that keep people coming back.
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ืฉื’ื•ืจืžื™ื ืœืื ืฉื™ื ืœื—ื–ื•ืจ.
00:49
The plot, which transpires over the course of a single day,
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ื”ืขืœื™ืœื”, ืฉืžืชืžืฉื›ืช ืœืื•ืจืš ื™ื•ื ื‘ื•ื“ื“.
00:52
is a story of three characters:
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ื”ื™ื ืกื™ืคื•ืจ ืขืœ ืฉืœื•ืฉ ื“ืžื•ื™ื•ืช:
00:55
Stephen Dedalus, reprised from Joyce's earlier novel,
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ืกื˜ืคืŸ ื“ื“ืœื•ืก, ืฉื”ื’ื™ืข ืžื ื•ื‘ืœื” ืžื•ืงื“ืžืช ืฉืœ ื’'ื•ื™ื™ืก,
00:58
"A Portrait of the Artist as a Young Man";
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"ื“ื™ื•ืงืŸ ื”ืืžืŸ ื›ืื™ืฉ ืฆืขื™ืจ":
01:01
Leopold Bloom, a half-Jewish advertising canvasser for a Dublin newspaper;
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ืœืื•ืคื•ืœื“ ื‘ืœื•ื, ืื™ืฉ ืคืจืกื•ื ื—ืฆื™ ื™ื”ื•ื“ื™ ืฉืœ ืขื™ืชื•ืŸ ื‘ื“ืื‘ืœื™ืŸ
01:06
and Bloom's wife Molly, who is about to embark on an affair.
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ื•ืืฉืชื• ืฉืœ ื‘ืœื•ื ืžื•ืœื™, ืฉืขื•ืžื“ืช ืœืคืชื•ื— ื‘ืจื•ืžืŸ.
01:11
Stephen is depressed because of his mother's recent death.
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ืกื˜ืคืŸ ืžื“ื•ื›ื ื‘ื’ืœืœ ืžื•ืชื” ื”ื˜ืจื™ ืฉืœ ืืžื•.
01:14
Meanwhile, Bloom wanders throughout the city.
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ื‘ื™ื ืชื™ื, ื‘ืœื•ื ืžืชื”ืœืš ื‘ืขื™ืจ.
01:17
He goes to a funeral,
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ื”ื•ื ื”ื•ืœืš ืœืœื•ื•ื™ื”,
01:18
his work,
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ืœืขื‘ื•ื“ื” ืฉืœื•,
01:19
a pub,
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ืคืื‘,
01:20
and so on,
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ื•ื›ืš ื”ืœืื”,
01:21
avoiding going home because Molly is about to begin her affair.
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ื ืžื ืข ืžื”ื‘ื™ืช ื‘ื’ืœืœ ืฉืžื•ืœื™ ืขื•ืžื“ืช ืœืคืชื•ื— ื‘ืจื•ืžืŸ ืฉืœื”.
01:26
Where it really starts to get interesting, though,
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ืขื ื–ืืช ื”ืžืงื•ื ื‘ื• ื–ื” ื‘ืืžืช ืžืชื—ื™ืœ ืœื”ื™ื•ืช ืžืขื ื™ื™ืŸ,
01:28
is how the story's told.
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ื”ื•ื ืื™ืš ื”ืกื™ืคื•ืจ ืžืกื•ืคืจ.
01:30
Each chapter is written in a different style.
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ื›ืœ ืคืจืง ื ื›ืชื‘ ื‘ืกื’ื ื•ืŸ ืื—ืจ.
01:33
15 is a play,
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15 ื”ื•ื ืžื—ื–ื”,
01:35
13 is like a cheesy romance novel,
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13 ื”ื•ื ื›ืžื• ืกื™ืคื•ืจ ืจื•ืžื ื˜ื™ ืงืœื™ืฉืืชื™,
01:38
12 is a story with bizarre, exaggerated interruptions,
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12 ื”ื•ื ืกื™ืคื•ืจ ืขื ื”ืคืจืขื•ืช ืžื•ื–ืจื•ืช ื•ืžื•ื’ื–ืžื•ืช,
01:43
11 uses techniques, like onomatopoeia, repetitions, and alliteration
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11 ืžืฉืชืžืฉ ื‘ืฉื™ื˜ื•ืช ื›ืžื• ืื•ื ื•ืžื˜ื•ืคืื”, ื—ื–ืจื•ืช, ื•ืืœื™ื˜ืจืฆื™ื”
01:47
to imitate music,
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ื›ื“ื™ ืœื—ืงื•ืช ืžื•ื–ื™ืงื”,
01:49
and 14 reproduces the evolution of English literary prose style,
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ื• 14 ืžืฉื—ื–ืจ ืืช ื”ื”ืชืคืชื—ื•ืช ืฉืœ ืกื’ื ื•ืŸ ื”ืคืจื•ื–ื” ื”ืกืคืจื•ืชื™ ื”ืื ื’ืœื™,
01:54
from its beginnings in Anglo-Saxon right up to the 20th century.
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ืžืชื—ื™ืœืชื• ื‘ืื ื’ืœื• ืกืืงืกื•ื ื™ื ืžืžืฉ ืขื“ ื”ืžืื” ื” 20.
01:59
That all culminates in the final chapter
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ื›ืœ ื–ื” ืžื’ื™ืข ืœืฉื™ื ื‘ืคืจืง ื”ืื—ืจื•ืŸ
02:02
which follows Molly's stream of consciousness
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ืฉืขื•ืงื‘ ืื—ืจื™ ื–ืจื ื”ืžื•ื“ืขื•ืช ืฉืœ ืžื•ืœื™
02:05
as it spools out in just eight long paragraphs
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ื›ืฉื”ื•ื ืžืชื’ืœื” ื‘ืฉืžื•ื ื” ืคืกืงืื•ืช ืืจื•ื›ื•ืช ื‘ืœื‘ื“
02:08
with almost no punctuation.
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ื›ืžืขื˜ ืœืœื ืกื™ืžื ื™ ืคื™ืกื•ืง ื‘ื›ืœืœ.
02:11
The range of styles Joyce uses in "Ulysses"
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ืžื ืขื“ ื”ืกื’ื ื•ื ื•ืช ื‘ื”ื ื’'ื•ื™ื™ืก ืžืฉืชืžืฉ ื‘"ื™ื•ืœื™ืกืก"
02:13
is one of the things that makes it so difficult,
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ื”ื•ื ืื—ื“ ื”ื“ื‘ืจื™ื ืฉื”ื•ืคืš ืื•ืชื• ืœื›ืœ ื›ืš ืงืฉื”,
02:16
but it also helps make it enjoyable.
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ืื‘ืœ ื’ื ืขื•ื–ืจ ืœื”ืคื•ืš ืื•ืชื• ืœืžื”ื ื”.
02:18
And it's one of the reasons that the book is held up
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ื•ื–ื• ืื—ืช ื”ืกื™ื‘ื•ืช ืฉื”ืกืคืจ ื”ื—ื–ื™ืง
02:21
as one of the key texts of literary modernism,
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ื›ืื—ื“ ืžืกืคืจื™ ื”ืžืคืชื— ืฉืœ ื”ืžื•ื“ืจื ื™ื–ื ื”ืกืคืจื•ืชื™,
02:24
a movement characterized by overturning traditional modes of writing.
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ืชื ื•ืขื” ืฉืžืื•ืคื™ื™ื ืช ื‘ื”ืคื™ื›ืช ื”ืžื•ื“ืœ ื”ืžืกื•ืจืชื™ ืฉืœ ื”ื›ืชื™ื‘ื”.
02:30
Joyce fills his narrative gymnastic routines
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ื’'ื•ื™ื™ืก ืžืžืœื ืืช ืฉื’ืจื•ืช ื”ื ืจื˜ื™ื‘ื™ื ื”ื’ืžื™ืฉื™ื ืฉืœื•
02:32
with some of the most imaginative use of language you'll find anywhere.
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ื‘ื›ืžื” ืžื”ืฉื™ืžื•ืฉื™ื ืžืœืื™ ื”ื“ืžื™ื•ืŸ ื‘ืฉืคื” ืฉืื™ ืคืขื ืชืžืฆืื• ื‘ืžืงื•ื ื›ืœืฉื”ื•.
02:37
Take, for instance,
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ืงื—ื• ืœื“ื•ื’ืžื”,
02:38
"The figure seated on a large boulder at the foot of a round tower
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"ื”ืฆื•ืจื” ื”ื™ืฉื•ื‘ื” ืขืœ ืกืœืข ื’ื“ื•ืœ ืœืžืจื’ืœื•ืช ืžื’ื“ืœ ืขื’ื•ืœ
02:42
was that of a broadshouldered deepchested stronglimbed frankeyed redhaired
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ื”ื™ืชื” ืฉืœ ื’ื™ื‘ื•ืจ ืื“ื•ื ืฉื™ืขืจ ืจื—ื‘ ื›ืชืคื™ื™ื ื•ื—ื–ื” ืขื ื–ืจื•ืขื•ืช ื—ืกื•ื ื•ืช
02:48
freelyfreckled shaggybearded widemouthed largenosed longheaded deepvoiced
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ืžืœื ื ืžืฉื™ื ืขื ื–ืงืŸ ืžื“ื•ื‘ืœืœ ืคื” ืจื—ื‘ ืืฃ ื’ื“ื•ืœ ืจืืฉ ืืจื•ืš ืงื•ืœ ืขืžื•ืง
02:54
barekneed brawnyhanded hairlegged ruddyfaced sinewyarmed hero."
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ื—ืฉื•ืฃ ื‘ืจืš ื™ื“ื™ื ื™ื‘ืฉื•ืช ืฉืขื™ืจ ืจื’ืœื™ื™ื ื•ืื“ื•ื ืคื ื™ื."
03:00
Here, Joyce exaggerates the description of a mangy old man in a pub
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ืคื”, ื’'ื•ื™ื™ืก ืžื’ื–ื™ื ื‘ืชืื•ืจ ืฉืœ ืื“ื ื–ืงืŸ ื‘ืคืื‘
03:04
to make him seem like an improbably gigantesque hero.
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ื›ื“ื™ ืœื’ืจื•ื ืœื• ืœื”ืจืื•ืช ื›ืžื• ื’ื™ื‘ื•ืจ ืœื ืกื‘ื™ืจ.
03:08
It's true that some sections are impenetrably dense at first glance,
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ื–ื” ื ื›ื•ืŸ ืฉื›ืžื” ื—ืœืงื™ื ื“ื—ื•ืกื™ื ื‘ื™ื•ืชืจ ื‘ืžื‘ื˜ ืจืืฉื•ืŸ,
03:12
but it's up to the reader to let their eyes skim over them
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ืื‘ืœ ื–ื” ืชืœื•ื™ ื‘ืงื•ืจื ืœืชืช ืœืขื™ื ื™ื™ื ืฉืœื• ืœืจื—ืฃ ืขืœื™ื”ื
03:15
or break out a shovel and dig in.
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ืื• ืœื”ื•ืฆื™ื ืืช ื—ืคื™ืจื” ื•ืœื—ืคื•ืจ.
03:18
And once you start excavating the text,
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ื•ื‘ืจื’ืข ืฉืืชื ืžืชื—ื™ืœื™ื ืœื—ืคื•ืจ ื‘ื˜ืงืกื˜,
03:20
you'll find the book to be an encyclopedic treasure trove.
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ืชื’ืœื• ืฉื”ืกืคืจ ื”ื•ื ืื•ืฆืจ ืื ืฆื™ืงืœื•ืคื“ื™.
03:24
It's filled with all manner of references and allusions
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ื”ื•ื ืžืœื ื‘ื›ืœ ืกื•ื’ื™ ื”ืื–ื›ื•ืจื™ื ื•ื”ืจืžื™ื–ื•ืช
03:27
from medieval philosophy to the symbolism of tattoos,
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ืžื”ืคื™ืœื•ืกื•ืคื™ื” ืฉืœ ื™ืžื™ ื”ื‘ื™ื ื™ื™ื ืœืกื™ืžื‘ื•ืœื™ื•ืช ืฉืœ ืงืขืงื•ืขื™ื,
03:30
and from Dante to Dublin slang.
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ื•ืžื“ืื ื˜ื” ืœืกืœื ื’ ืฉืœ ื“ืื‘ืœื™ืŸ.
03:33
As suggested by the title, some of these allusions revolve around Homer's "Odyssey."
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ื›ืžื• ืฉืžืชื•ืืจ ื‘ืฉื, ื›ืžื” ืžื”ืจืžื™ื–ื•ืช ืกื•ื‘ื‘ื•ืช ืกื‘ื™ื‘ ื”ืื•ื“ื™ืกืื” ืฉืœ ื”ื•ืžืจ.
03:37
Each chapter is named after a character or episode from the "Odyssey,"
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ื›ืœ ืคืจืง ื ืงืจื ืขืœ ืฉื ื“ืžื•ืช ืื• ืคืจืง ื‘ืื•ื“ื™ืกืื”,
03:41
but the literary references are often coy, debatable, sarcastic, or disguised.
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ืื‘ืœ ื”ืงื™ืฉื•ืจื™ื ื”ืกืคืจื•ืชื™ื™ื ื”ืจื‘ื” ืคืขืžื™ื ืžืชื—ืžืงื™ื, ื ืชื•ื ื™ื ืœื•ื•ื™ื›ื•ื—, ืกืจืงืกื˜ื™ื ืื• ืžืกื•ื•ื™ื.
03:47
For example, Homer's Odysseus, after an epic 20-year-long journey,
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ืœื“ื•ื’ืžื”, ืื•ื“ื™ืกืื•ืก ืฉืœ ื”ื•ืžืจ, ืื—ืจื™ ืžืกืข ืืคื™ ื‘ืŸ 20 ืฉื ื”,
03:51
returns home to Ithaca and reunites with his faithful wife.
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ื—ื•ื–ืจ ื”ื‘ื™ืชื” ืœืื™ืช'ืงื” ื•ืžืชืื—ื“ ืขื ืืฉืชื• ื”ื ืืžื ื”.
03:56
In contrast, Joyce's Bloom wanders around Dublin for a day
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ื‘ื ื™ื’ื•ื“, ื‘ืœื•ื ืฉืœ ื’'ื•ื™ื™ืก ืžืกืชื•ื‘ื‘ ื‘ื“ืื‘ืœื™ืŸ ืœื™ื•ื
03:59
and returns home to his unfaithful wife.
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ื•ื—ื•ื–ืจ ื”ื‘ื™ืชื” ืœืืฉืชื• ื”ื‘ื•ื’ื“ื ื™ืช.
04:04
It's a very funny book.
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ื–ื” ืกืคืจ ืžืื•ื“ ืžืฆื—ื™ืง.
04:06
It has highbrow intellectual humor,
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ื™ืฉ ืœื• ื”ื•ืžื•ืจ ื’ื‘ื•ื”,
04:08
if you have the patience to track down Joyce's references,
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ืื ื™ืฉ ืœื›ื ืืช ืกื‘ืœื ื•ืช ืœืขืงื•ื‘ ืื—ืจื™ ื”ื”ืงืฉืจื™ื ืฉืœื• ื’'ื•ื™ื™ืก,
04:10
and more lowbrow dirty jokes.
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ื•ื‘ื“ื™ื—ื•ืช ื‘ืจืžื” ื™ื•ืชืจ ื ืžื•ื›ื”.
04:14
Those, and other sexual references, were too much for some.
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ืืœื”, ื•ืื–ื›ื•ืจื™ื ืžื™ื ื™ื™ื ืื—ืจื™ื, ื”ื™ื• ื™ื•ืชืจ ืžื“ื™ ืœื›ืžื”.
04:17
In the U.S., the book was put on trial, banned, and censored
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ื‘ืืจืฆื•ืช ื”ื‘ืจื™ืช, ื”ืกืคืจ ืขืœื” ืœืžืฉืคื˜, ื ืืกืจ, ื•ืฆื•ื ื–ืจ
04:21
before it had even been completed
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ืœืคื ื™ ืฉื”ื•ื ืืคื™ืœื• ื”ื•ืฉืœื
04:23
because it was originally published as a serial novel.
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ื‘ื’ืœืœ ืฉื”ื•ื ืคื•ืจืกื ื‘ืžืงื•ืจ ื›ื ื•ื‘ืœื” ืกื“ืจืชื™ืช.
04:27
Readers of "Ulysses" aren't just led through a variety of literary styles.
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ืงื•ืจืื™ื ืฉืœ "ื™ื•ืœื™ืกืก" ืžื•ื‘ืœื™ื ืœื ืจืง ื“ืจืš ืžื’ื•ื•ืŸ ืฉืœ ืกื’ื ื•ื ื•ืช ืกืคืจื•ืชื™ื™ื.
04:31
They're also given a rich and shockingly accurate tour
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ื ื™ืชืŸ ืœื”ื ื’ื ืกื™ื•ืจ ืขืฉื™ืจ ื•ืžื“ื•ื™ืง ื‘ืื•ืคืŸ ืžืคืชื™ืข
04:34
of a specific place at a time:
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ืฉืœ ื”ืžื™ืงื•ื ื”ืกืคืฆื™ืคื™ ื‘ื–ืžืŸ:
04:37
Dublin in 1904.
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ื“ืื‘ืœื™ืŸ ืฉืœ 1904,
04:39
Joyce claimed that if Dublin were to be destroyed,
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ื’'ื•ื™ื™ืก ื˜ืขืŸ ืฉืื ื“ืื‘ืœื™ืŸ ื”ื™ืชื” ืžืฉื•ืžื“ืช,
04:42
it could be recreated from the pages of this book.
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ื”ื™ื ื”ื™ืชื” ื™ื›ื•ืœื” ืœื”ื•ื•ืฆืจ ืžื—ื“ืฉ ืžื”ื“ืคื™ื ืฉืœ ื”ืกืคืจ ื”ื–ื”.
04:45
While such a claim is not exactly true,
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ื‘ืขื•ื“ ื˜ืขื ื” ื›ื–ืืช ื”ื™ื ืœื ื‘ื“ื™ื•ืง ื ื›ื•ื ื”,
04:47
it does show the great care that Joyce took in precisely representing details,
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ื”ื™ื ืžืจืื” ืฉื’'ื•ื™ื™ืก ื”ืชื™ื™ื—ืก ื‘ืจืฆื™ื ื•ืช ืœื™ื™ืฆื’ ื‘ืžื“ื•ื™ื™ืง ืืช ื”ืคืจื˜ื™ื,
04:52
both large and small, of his home city.
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ื’ื ื’ื“ื•ืœื™ื ื•ื’ื ืงื˜ื ื™ื, ืฉืœ ืขื™ืจ ื”ื•ืœื“ืชื•.
04:55
No small feat considering he wrote the entire novel
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ืœื ืžืขืฉื” ืคืฉื•ื˜ ื‘ื”ืชื—ืฉื‘ ื‘ื›ืš ืฉื”ื•ื ื›ืชื‘ ืืช ื›ืœ ื”ื ื•ื‘ืœื”
04:58
while living outside of his native Ireland.
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ื‘ืขื•ื“ื• ื—ื™ ืžื—ื•ืฅ ืœืื™ืจืœื ื“ ืžื•ืœื“ืชื•.
05:01
It's a testament to Joyce's genius that "Ulysses" is a difficult book.
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ื–ื• ืขื“ื•ืช ืœื’ืื•ื ื•ืช ืฉืœ ื’'ื•ื™ื™ืก ืฉ"ื™ื•ืœื™ืกืก" ื”ื•ื ืกืคืจ ืžื•ืจื›ื‘.
05:07
Some people find it impenetrable without a full book of annotations
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ื›ืžื” ืื ืฉื™ื ืžื•ืฆืื™ื ืื•ืชื• ื‘ืœืชื™ ื—ื“ื™ืจ ื‘ืœื™ ืกืคืจ ืฉืœื ืฉืœ ืคืจื•ืฉื™ื
05:10
to help them understand what Joyce is even talking about.
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ื›ื“ื™ ืœืขื–ื•ืจ ืœื”ื ืœื”ื‘ื™ืŸ ืžื” ืฉื’'ื•ื™ื™ืก ืืคื™ืœื• ืžื“ื‘ืจ ืขืœื™ื•.
05:15
But there's a lot of joy to be found in reading it,
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ืื‘ืœ ื™ืฉ ื”ืจื‘ื” ืฉืžื—ื” ืฉื ืžืฆืืช ื‘ืงืจื™ืืชื•,
05:17
more than just unpacking allusions and solving puzzles.
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ื™ื•ืชืจ ืžืจืง ืœืคืจืง ืืช ื”ืืœื•ื–ื™ื•ืช ื•ืœืคืชื•ืจ ื—ื™ื“ื•ืช.
05:21
And if it's difficult, or frustrating, or funny,
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ื•ืื ื–ื” ืžื•ืจื›ื‘, ืื• ืžืชืกื›ืœ, ืื• ืžืฆื—ื™ืง,
05:25
that's because life is all that, and more.
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ื–ื” ื‘ื’ืœืœ ืฉื”ื—ื™ื™ื ื”ื ื›ืœ ื–ื”, ื•ื™ื•ืชืจ.
05:29
Responding to some criticism of "Ulysses,"
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ื‘ืชื’ื•ื‘ื” ืœื‘ื™ืงื•ืจืช ืขืœ "ื™ื•ืœื™ืกืก",
05:31
and there was a lot when it was first published,
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ื•ื”ื™ืชื” ื”ืจื‘ื” ื›ืฉื”ื•ื ืคื•ืจืกื,
05:33
Joyce said that if "Ulysses" isn't worth reading,
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ื’'ื•ื™ื™ืก ืืžืจ ืฉืื "ื™ื•ืœื™ืกืก" ืœื ืฉื•ื•ื” ืงืจื™ืื”,
05:36
then life isn't worth living.
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ืื– ื”ื—ื™ื ืœื ืฉื•ื•ื™ื ืœื—ื™ื•ืช ืื•ืชื.
ืขืœ ืืชืจ ื–ื”

ืืชืจ ื–ื” ื™ืฆื™ื’ ื‘ืคื ื™ื›ื ืกืจื˜ื•ื ื™ YouTube ื”ืžื•ืขื™ืœื™ื ืœืœื™ืžื•ื“ ืื ื’ืœื™ืช. ืชื•ื›ืœื• ืœืจืื•ืช ืฉื™ืขื•ืจื™ ืื ื’ืœื™ืช ื”ืžื•ืขื‘ืจื™ื ืขืœ ื™ื“ื™ ืžื•ืจื™ื ืžื”ืฉื•ืจื” ื”ืจืืฉื•ื ื” ืžืจื—ื‘ื™ ื”ืขื•ืœื. ืœื—ืฅ ืคืขืžื™ื™ื ืขืœ ื”ื›ืชื•ื‘ื™ื•ืช ื‘ืื ื’ืœื™ืช ื”ืžื•ืฆื’ื•ืช ื‘ื›ืœ ื“ืฃ ื•ื™ื“ืื• ื›ื“ื™ ืœื”ืคืขื™ืœ ืืช ื”ืกืจื˜ื•ืŸ ืžืฉื. ื”ื›ืชื•ื‘ื™ื•ืช ื’ื•ืœืœื•ืช ื‘ืกื ื›ืจื•ืŸ ืขื ื”ืคืขืœืช ื”ื•ื•ื™ื“ืื•. ืื ื™ืฉ ืœืš ื”ืขืจื•ืช ืื• ื‘ืงืฉื•ืช, ืื ื ืฆื•ืจ ืื™ืชื ื• ืงืฉืจ ื‘ืืžืฆืขื•ืช ื˜ื•ืคืก ื™ืฆื™ืจืช ืงืฉืจ ื–ื”.

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