English 12
12 December 2011
Paper Assignment #6
James Joyce Strangled by Spiritual Paralysis
Stanislaus Joyce once wrote “Ireland [is] a country which has seen revolutions in every generation” (Joyce 510). But what happens when these revolutions seem to come to an end? The Irish defeated British to become an independent nation of devout Catholics. They worked harder than those beside them to keep their families out of poverty, when Ireland became over populated as a result of the Napoleonic Wars. They suffered through the Great Potato Famine, losing many loved ones in the process. The country struggled to recover after each of these tragedies, but with their triumphs brought improvement. Through their devotion to Catholicism, their loyalty to Ireland and their hard work for their family, they survived, but they settled into an unchanging society engulfed by a form of spiritual paralysis as author James Joyce identifies in his writings. Many literary critics have taken an interest in his writings because of the underlying theme of spiritual paralysis in Dublin. Joyce’s brother, Stanislaus wrote “James Joyce: A Memoir”, in effort to defend and explain Joyce’s motivation for using Dublin as the heart of his writing. He describes Joyce as an independent person, often excited by multiple “enthusiasms”, which he was quick to share with the world (Joyce 488). Joyce was not afraid to criticize his homeland if he felt it would bring improvement, which can be seen in his impulsive analysis of Dublin. A Molloy College professor, Nicholas Fargnoli, wrote a book about Joyce’s claims toward Dublin titled, Critical Companion to James Joyce. In his book, Fargnoli also recognizes Joyce’s impulsivity, suggesting that Joyce fails to capture the beauty of Dublin in his collection of short stories, Dubliners. Fargnoli also references letters between Joyce and his brother, in which Joyce states “My intention was to write a chapter of the moral history of my country and I chose Dublin for the scene because that city seemed to me the centre of paralysis” (Fargnoli 46). In addition, an article published in the Indiana University Press, analyzes Joyce’s stories and interprets that there is a connection between the United States and Dublin through the use of the English language. The author suggests, “[I]n his Dubliners’ story, Joyce presents the United States as a model of postcolonial existence for Ireland” (American Encounters, 153). These interpretations of Joyce’s fiction support the notion of underlying themes as he critiques Dublin to promote revolution.
In the collection of short stories, Dubliners, James Joyce addresses Dublin’s devotion to religion and nationalism as main contributors to the spiritual paralysis consuming its citizens. He also attributes some of the blame toward family loyalty, which prevents many citizens in the working class from escaping paralysis and bettering their lives. Joyce explores the bonds of family and religion in his short story, “Eveline,” who, as his main character, is unable to escape Dublin strictly out of her own fear of change. In his work, “The Dead” Joyce introduces the concept of nationalism as Gabriel is interrogated about his appalling lack of interest in Ireland. Joyce embeds many of his own views in Gabriel, while trying to present the good qualities of Dublin as well. In his collection of short stories, Dubliners, James Joyce uses Irish culture to achieve a basis of the inner-workings of a paralyzed society as inspiration for the people of Dublin to embrace change. In the short story, “Eveline”, Joyce illustrates an emphasis on family over one’s self in Irish culture through his character, Eveline, as she gives up a once in a lifetime opportunity to “keep [her] home together” (Joyce 6). Originally, she is filled with excitement in anticipation of beginning her new life with her fiancé, Frank. In contemplating what she will leave behind, she becomes struck with fear of the unknown when she realizes the toll that in her absence will take on her family. After her mother’s death, Eveline became the caretaker and provider of the household. As she considers leaving them to struggle, she becomes paralyzed in her pursuit of an unknown. In remembrance of her mother, Eveline’s mind is made up when Joyce states, “She knew the air. Strange that it should come to her that very night to remind her of the promise to her mother, her promise to keep the home together as long as she could” (Joyce 6). Eveline’s guilt becomes her excuse, as she is unable to embrace change and embark on a new life. Joyce uses Eveline to demonstrate the paralyzing affects Dublin has on its citizens, as she is unable to break her own cycle.
In addition, Joyce subtly embeds references to Catholicism in his writings to express the importance of religion in Irish society. James McMichael, author of “James Joyce Speaks”, comments, “In numerous ways… his writings reflect the catholic culture in which in his mind was formed” (McMichael 33). Although, his brother Stanislaus hints that Joyce was not the most devout Irish man, his writings are evidence of the impression Catholicism left on him in his youth as religious allusions frequently occur in his stories (Joyce 519). In “Eveline”, Joyce says “And yet during all those years she had never found out the name of the priest whose yellow photograph had hung on the wall above the broke harmonium beside the coloured print of the promises made to Blessed Margaret Mary Alacoque” (Joyce 4). The photograph of her father’s friend, the priest, has relevance because it acts as a continuous connection to God and figure of authority in their home, which subconsciously paralyzes Eveline from disobeying her father. It also places guilt on Eveline because her father now speaks unkindly of the priest, ashamed that he left Dublin. Eveline fears that if she too leaves Dublin, she will be disgraced and forgotten as the priest was, which contributes to her inability to leave.
Similar to “Eveline”, Joyce addresses the Catholic religion in his story “The Dead” as well. The annual dinner and dance party featured in “The Dead” is held on January 6th, marking the end of the Christmas season and celebrating the human birth of God’s son, Jesus Christ. Catholics refer to this day as Epiphany and it commonly celebrated by women in Ireland, seen in the story as Aunt Julia and Aunt Kate host the party. However, while this day is supposed to be about celebrating new life, the main characters find themselves remembering the dead. Initially, this theme is not apparent as Aunt Kate and Aunt Julia acknowledge the death of their brother Pat, but soon after Gretta remembers a boy from her youth, Michael Furey, who died coming to see her for the last time and Joyce’s pattern subtly immerges. Joyce’s ironic use of the Catholic holiday is designed to criticize Ireland’s exaggerated devotion to Catholicism because of the grip is has on the people of Dublin. Christopher Devault, who wrote “Contextualizing Joyce” published in the Cambridge University Press, distinguishes the influence Catholicism has over the Irish, stating, “[Joyce] was well aware of the powerful effects that the church’s pervasive presence has on Irish life” (Devault 514). In creation of this ironic storyline, Joyce recognizes religion as another contributor of the spiritual paralysis consuming Dublin and suggests that it should be deprioritized to free its followers.
In Joyce’s well-known short story, “The Dead”, the main character Gabriel, struggles with nationalism, as he feels displeasure and content toward Dublin society. Early on in Aunt Kate and Aunt Julia’s dinner party, Gabriel expresses his displeasure with Dublin as he looks forward to a cycling race in Germany, France and Belgium. When confronted by Miss Ivors about his lack of interest in Ireland, as opposed to his interest in other countries, Gabriel states, “It’s partly to keep in touch with the languages and partly for a change […] I’m sick of my own country, sick of it!” (Joyce 109). Gabriel recognizes the strangling affects of Dublin as indicated by his interest in other countries. Unsatisfied, Miss Ivors quickly retaliates calling him a “West Briton” (Joyce 109), an insult name for an Irish person who thinks more like the British. This is extreme offense to the Irish because “Britain was a colonial power against which Ireland struggled to define itself” (American Encounters 155). Despite Gabriel’s early critique of Ireland, he also expresses its beauty, given the honor of making a speech during his Aunts’ dinner. He recognizes “I feel more strongly with every recurring year that our country has no tradition which does it so much honour and which it should guard so jealously as that of its hospitality” (Joyce 117). Although he sees Ireland’s flaws, Gabriel remains loyal to his homeland and displays his nationalism as he sees the good in the Irish culture. This speech is significant because Joyce tries to convey the beauty of Irish society rather than criticize it.
As can be inferred, James Joyce’s works were not well received in his era. Dubliners were insulted by his ugly outlook on Ireland and attributed it to his unpleasant perspective on life. A review published in the Athenaeum in 1914, which referred to James Joyce’s illustration of Dublin, stated “Life has so much that is beautiful, interesting, educative, amusing that we do not readily pardon those who insist upon its more sordid and baser aspects” (Fargnoli 78). When the collection was published, Ireland banned all of Joyce’s work from being sold. The Irish were resistant to recognize the hindering aspects of their society and chose to embrace the familiar, remaining paralyzed and closed off from Joyce’s works for several decades. The collection, Dubliners, illuminated societal flaws that outraged the Irish people because of the truth behind the words. Although his accusations were originally resented, James Joyce’s recognition of spiritual paralysis developed appreciation in modern time and allowed the Irish to move forward.
Work Cited

“American Encounters in Dubliners and Ulysses Genevieve Abravanel”. Journal of Modern Literature. Bloomington, 2010. 153-168. Print.
DeVault, Christopher. “Contextualizing Joyce”. English Literature in Transition, 1880-1920. Greensboro: 2010. 513-517. Print
Fargnoli, A. Nicholas. Critical companion to James Joyce: a literary reference to his life and work. New York, NY: Checkmark Books, 2006. Print.
Joyce, James. Dubliners. New York: NY: Modern Library, 1993. Print.
Joyce, Stanislaus and Felix Giovanelli. James Joyce: A Memoir. The Hudson Review, 1950. 485- 514. Print.
McMichael, James. James Joyce Speaks. The Kenyon Review, New Series, 1989. 27-40. Print.