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THIS edition of Research in Progress is still another supplement to the 1949 edition and, as such, would scarcely need any prefatory remarks that had not already appeared with the 1950 supplement were it not for the fact that a new editor has put his hand to the task and craves the indulgence of those readers and researchers who may find that his ineptness has occasionally got in the way of the desired result.
Joyce was born in a musical city, Dublin. His childhood was filled with music. As a young man he entered a competition in the Irish festival of music, and if he had not refused to sing at sight would probably have won it. Had he done so, his future career would have been more likely that of a concert tenor than a writer. Throughout his life vocal music was his great pleasure and consolation.1 No sensitive reader of Ulysses has failed to appreciate the way Joyce not only uses the sound of words for musical effects, but also employs musical devices in constructing his novel.2 Snatches from songs are woven into the text. Richard M. Kain writes:
