ABSTRACT
With each of the target works of the preceding analyses, the work’s author has clearly opened the door to a musical understanding of it; in some cases it takes merely a glance at the work’s title to understand that something musical is being attempted. Joyce led his future critics by the ear by repeatedly discussing his novelistic activities as musical in nature and by circulating that infamous fuga per canonem label for the “Sirens” episode of Ulysses. None of these musical clues appear in the next two works under examination; yet reading these two works for their musical qualities offers an entrance into otherwise challenging texts.
