JAMES JOYCE
In the preface of "Pendennis" Thackeray says: "Since the author of 'Tom Jones' was buried, no writer of fiction among us has been permitted to depict to his utmost power a Man. We must drape him and give him a certain conventional simper. Society will not tolerate the Natural in our Art." If Thackeray felt that, why did he not take his reputation and his fortune in his hands and, defying the social restrictions which he deplored, paint us a true portrait of a young gentleman of his time? He might have done much for English art and English honesty. As it was, he did as much as any writer of his generation to fasten on English fiction the fetters of a hypocritical reticence. It was only in the last generation that English and Irish novelists, under the influence of French literature, freed themselves from the cowardice of Victorian fiction and assumed that anything human under the sun is proper subject-matter for art. If they have not produced masterpieces (and I do not admit that they have not), they have made a brave beginning. Such a book as "A Portrait of the Artist as a Young Man" would have been impossible forty years ago. Far from looking back with regret at the good old novelists of the nineteenth century (whom, besides, we need never lose), I believe that our fiction is in some respects freer[ [1] and richer than the fiction of our immediate forefathers.
Joyce's work is outspoken, vigorous, original, beautiful. Whether it faithfully reflects Irish politics and the emotional conflicts of the Catholic religion one who is neither Irish nor Catholic can not judge with certainty. It seems, however, that the noisy controversies over Parnell and the priests in which the boy's elders indulge have the sound of living Irish voices; and the distracted boy's wrestlings with his sins and his faith are so movingly human that they hold the sympathy even of one who is indifferent to the religious arguments. I am afraid that the religious questions and the political questions are too roughly handled to please the incurably devout and patriotic. If they ever put up a statue of Joyce in Dublin, it will not be during his lifetime. For he is no respecter of anything except art and human nature and language.
There are some who, to turn his own imaginative phrase, will fret in the shadow of his language. He makes boys talk as boys do, as they did in your school and mine, except that we lacked the Irish imagery and whimsicality. If the young hero is abnormal and precocious, that is because he is not an ordinary boy but an artist, gifted with thoughts and phrases above our common abilities. This is a portrait of an artist, a literary artist of the finest quality.
The style is a joy. "Cranly's speech," he writes, "had neither rare phrases of Elizabethan English nor quaintly turned versions of Irish idioms." In that Joyce has defined his own style. It is Elizabethan, yet thoroughly modern; it is racily Irish, yet universal English. It is unblushingly plain-spoken and richly fanciful, like Shakespeare and Ben Jonson. The effect of complete possession of the traditional resources of language is combined with an effect of complete indifference to traditional methods of fiction. Episodes, sensations, dreams, emotions trivial and tragic succeed each other neither coherently nor incoherently; each is developed vividly for a moment, then fades away into the next, with or without the mechanical devices of chapter divisions or rows of stars. Life is so; a fellow is pandied by the schoolmaster for no offense; the cricket bats strike the balls, pick, pock, puck; there is a girl to dream about; and Byron was a greater poet than Tennyson anyhow….
The sufferings of the poor little sinner are told with perfect fidelity to his point of view. Since he is an artist his thoughts appropriately find expression in phrases of maturer beauty than the speech of ordinary boys. He is enamored of words, intrigued by their mystery and color; wherefore the biographer plays through the boy's thoughts with all manner of verbal loveliness.
Did he then love the rhythmic rise and fall of words better than their associations of legend and colour? Or was it that, being as weak of sight as he was shy of mind, he drew less pleasure from the reflection of the glowing sensible world through the prism of a language many-coloured and richly storied than from the contemplation of an inner world of individual emotions mirrored perfectly in a lucid supple periodic prose?
From the fading splendor of an evening beautifully described, he tumbles into the sordid day of a house rich in pawn tickets. That is life. "Welcome, O life!" he bids farewell to his young manhood. "I go to encounter for the millionth time the reality of experience and to forge in the smithy of my soul the uncreated conscience of my race. Old father, old artificer, stand me now and ever in good stead."
The sketches in "Dubliners" are perfect, each in its own way, and all in one way: they imply a vast deal that is not said. They are small as the eye-glass of a telescope is small; you look through them to depths and distances. They are a kind of short story almost unknown to the American magazine if not to the American writer. An American editor might read them for his private pleasure, but from his professional point of view he would not see that there was any story there at all. The American short story is explicit and thin as a moving-picture film; it takes nothing for granted; it knows nothing of the art of the hintful, the suggestive, the selected single detail which lodges fertilely in the reader's mind, begetting ideas and emotions. America is not the only offender (for patriotism is the fashion and bids criticism relent); there is much professional Irish humor which is funny enough but no more subtle than a shillalah. And English short stories, such at least as we see in magazines, are obvious and "express" rather than expressive. Joyce's power to disentangle a single thread from the confusion of life and let you run briefly back upon it until you encounter the confusion and are left to think about it yourself—that is a power rare enough in any literature.