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[ Aetat. 44-47 ] J O Y C E 587Sisley Huddleston, and two visitors from Ireland met by Joyce's invitationat Langer's for a dinner celebration. 38The protest had no effect upon Roth, who continued to print Ulyssesthrough October 1927, the last pirated passage being the fineblasphemyat the end of Oxen of the Sun. By that time the legal net of Joyce'sattorneys had begun to close in on Roth, who suspended publication; butit was not until December 27, 1928, that he was finallyenjoined byJustice Richard H. Mitchell of the Supreme Court of the State of NewYork from using Joyce's name in any way. A consent decree withoutdamages was entered. Joyce at firstwas pleased but later became annoyedwith his lawyers;* he paid only about a third of their fee, and an acrimoniouscorrespondence ensued.At the end of 1926 the dramatis personae began to gather for the lastperiod in Joyce's life. The firstof these were Eugene Jolas and his wifeMaria. Jolas, born in the United States of Lorraine parents, had spent hischildhood in Lorraine, then returned to America at the age of fifteen.His tall, good-looking wife was from Kentucky. Jolas was fluent in English,French, and German, and, like Joyce, was fascinated by words. Asensitive man, he was searching for a theory of art which would also bea philosophy of life; he thought he had found it in a 'religion of theword,' the ritual of which he saturated with terms like 'phantastic,' 'mantic,'and his neologism, 'paramyth.' Art alone could be trusted, and trustedonly if it abjured externality in the name of imagination. It was a timeto be revolutionary, and Jolas centered his revolution in language. Hewrote a little book called Mors Deluge (the deluge being his revolution),which Joyce, when he knew Jolas better, twitted him about in a limerick:There's a genial young poetriarch EugeWho hollers with heartiness huge:Let sick souls sob for solaceSo the jeunes joy with Jolas!Book your berths! Apres mot, le deluge. 39*To preclude the piracy of Work in Progress, Joyce decided to have sections of it printedin editions of a few copies solely for copyright purposes. The firstof these was undertakenby Donald Friede in 1927, mostly at the suggestion of Elliot Paul. The copyright wasissued in Friede's name instead of Joyce's. Joyce suspected a trick, and was with difficultyprevailed upon to receive Friede, who assured him the transfer of copyright was a mereformality. 'In that case,' said Joyce, 'would you mind making the subject of the conversationyou have planned to have with me an accompanying letter to this transfer ofcopyright? 1 will be glad to read it carefully and write you my decision. In the meantimeI must ask to be excused. I am a very busy man.' The copyright was transferred to Joyceon February 17, 1928, and Joyce then instructed his New York attorneys to copyrightfour additional fragments in 1928, 1929, and 1930. In all these the name of the printer,the date, and the name of the copyright holder were omitted, thus making the copyrightinvalid. Joyce contended that his instructions had not been carried out; the New Yorklaw firm pointed to its considerable outlay of money for printing, and to other serviceson his behalf.