UNIVERSITATEA DIN CRAIOVA

FACULTATEA DE LITERE
CATEDRA DE STUDII ANGLO-AMERICANE
PROGRAMA ANALITICA
Titlul cursului: Twentieth Centur Irish Ficti!n
Titul"rul cursului: Fl!rentin" An#hel
An $e stu$ii: III% se&estrul '
S(eci"li)"re": ID Li&*+ ,i liter"tur+ r!&-n+ - Li&*+ ,i liter"tur+ en#le)+
TEMATICA
.ist!ric"l "n$ cultur"l *"c/#r!un$
Introduction
Historical and cultural background
Language
Fairies
0"&es 0!ce
Dubliners
Crossing chronotopic borders in The Dead
A Portrait of the Artist as a Young Man
Stephen's quest of the father as a quest of identit
Depersonali!ation through indi"iduation in #oce's A Portrait
$piphan
Fl"nn O12rien
%eneral aspects of Flann &'(rien's )ork
Cultural space and ti*e in The Third Policeman
Se"&us De"ne
+arrati"e strategies in Reading in the Dark
The identit proble* in Reading in the Dark
,eaching silence in Reading in the Dark
3illi"& Tre4!r
The identit proble* in Fools of Fortune
Indulging in suffering- ,eshaping lo"e in Fools of Fortune
2i*li!#r"5ie selecti4+
(ahtin. /- Probleme de literatur i estetic. Trans- +icolae Iliescu- (ucure0ti1 2ni"ers. 3456-
Coste. Didier. Narratie as !ommunication. /inneapolis. 2ni"ersit of /innesota 7ress. 3454
Deane. Sea*us. Reading in the Dark. +e) 8ork. 9intage (ooks. 3445
Delane. Frank- The !elts- London1 %rafton. 3454-
Durand. %ilbert- "tructurile antro#ologice ale imaginarului. $ditura 2ni"ers. (ucuresti. 3445
%enette. %:rard- Figures $% $$% $$$- 7aris1 $ditions du Seuil. 34;4. 34<6-
= Narratie Discourse An &ssa' in Method. Trans- #ane $- Le)in- +e) 8ork1 Cornell 2ni"ersit
7ress. 345<-
Hackne. (lack)ell. >*. and ,ah Hackne- The &er'thing $rish (istor' ) (eritage *ook- >"on.
/assachusets1 >da*s /edia. 6??@-
#oce. #a*es- A Portrait of the Artist as a Young Man- (ucure0ti1 7rietenii CArBii. 344C-
= Dubliners. Hertfordshire1 Dords)orth Classics. 344E-
Fiberd. Declan- 6??6- $nenting $reland- Ca*bridge. /assachusetts1 Har"ard 2ni"ersit 7ress-
Lint"elt. #aap. $ncercare de ti#ologie narati% Punctul de edere. trad- >ngela /artin. (ucure0ti.
2ni"ers. 344@
/ahon. Christina Hunt- 3445- !ontem#orar' $rish +iterature- +e) 8ork1 St- /artin's 7ress-
/ood. T-D-. and F-G- /artin. eds- The !ourse of $rish (istor'. Lanha*- 2nited States and Canada1
,oberts ,einhart 7ublishers in association )ith ,adio TelefHs Iirean. 6??3-
&'(rien. Flann- 6??6- The Third Policeman- Chicago1 Dalke >rchi"e 7ress-
J +uallKin. CiarKn- 3445- The &arl' Years of *rian ,-Nolan . Flann ,-*rien . M'les na g!o#aleen-
Dublin1 The Lilliput 7ress-
Tre"or. Dillia*- Fools of Fortune- London1 7enguin (ooks. 345@-
E4"lu"re
<?L eMa*en final. C?L testari pe parcursul se*estrului
The&e 6: .ist!ric"l "n$ cultur"l *"c/#r!un$
Units
Introduction
Historical and cultural background
Language
Fairies
O*7ecti4es:
To understand the obNecti"es of the course
To understand the social. historical and cultural conteMt
To be able to describe and later identif in teMts the *ain e"ents in Ireland's histor
To understand the relation bet)een literature and realit
Ti&e "ll!tte$: 6 hours
2i*li!#r"(h:
Delane. Frank- The !elts- London1 %rafton. 3454-
%eddes O %rosset- !eltic M'tholog'- Sotland1 Da"id Dale House. 6??;-
Hackne (lack)ell. >*. and ,ah Hackne- The &er'thing $rish (istor' ) (eritage *ook- >"on.
/assachusets1 >da*s /edia. 6??@-
Hurtle. #->- Hughes. (-. %on!ales. ,-/-. 7raga. I- and >liaga. $- Diccionario cultural e historico de
$rlanda- (arcelona1 >riel ,eferencia. 344;-
#ar"ie. %ordon PedQ- $rish Folk and Fair' Tales- (elfast1 The (ackstaff 7ress. 6??@-
/ood. T-D-. and F-G- /artin. eds- The !ourse of $rish (istor'. Lanha*- 2nited States and Canada1
,oberts ,einhart 7ublishers in association )ith ,adio TelefHs Iirean. 6??3-
R &arl' $rish M'ths and "agas- Translated b #effre %ant!- London1 7enguin (ooks. 3453-
Intr!$ucti!n
T)entiethScentur Irish literature is of *aNor i*portance since it produced so*e of the
greatest )riters. for eMa*ple #a*es #oce for prose. Dillia* (utler 8eats for poetr. and
Sa*uel (eckett for dra*a- (esides its aesthetic qualities. Irish literature is "er )ell
integrated in the social and historical conteMt of the ti*e- It pro*oted. and still does. the Irish
identit proble* and )as a *eans the Irish used to fight for their independence-
The course ai*s to present the students the )ellSkno)n representati"es of t)entiethS
centur literature in prose1 #a*es #oce. Flann &'(rien. Sea*us Deane. Dillia* Tre"or- The
features and techniques as )ell as the the*es that can be identified in their )orks are focused
on- >t the sa*e ti*e. inno"ation and no"elt support their i*portance and the fact that the
are the subNect of this course- Dhile #a*es #oce and Flann &'(rien are e*ble*atic for the
for*er half of the t)entieth centur. Sea*us Deane and Dillia* Tre"or are conte*porar
)riters- Their belonging to different periods in literature kno)n as *odernis* P#a*es #oce
and Flann &'(rienQ and post*odernis* PSea*us Deane and Dillia* Tre"orQ help the
students get accusto*ed to the features specific to both literar currents-
The abo"e *entioned )riters use different techniques to build their characters- #a*es
#oce follo)s the e"olution of the protagonist fro* childhood to *aturit in a
buildungsro*anSlike no"el. et the reader is not directed in the understanding of the
character's gro)th since the author uses the strea*SofSconsciousness technique and an
internal. subNecti"e. and li*ited perspecti"e- Flann &'(rien is a )ell kno)n satirist- Sea*us
Deane sho)s ho) his character gro)s *ature but he chooses to present the protagonist's
e"olution in a diarSlike no"el. )hich *eans again an internal. subNecti"e and thus li*ited
perspecti"e- Dillia* Tre"or prefers a *ore co*pleM perspecti"e T there are *ore narrators.
both internal and eMternal T. et it re*ains subNecti"e and li*ited- Through the techniques that
the use. the abo"eS*entioned authors *ake the readers be *ore in"ol"ed in the reading of
the teMt and decide upon the *eaningPsQ of the teMt-
Further*ore. the )orks to be studied offer a )ide range of the*es. general the*es that
can be identified in other )orks belonging to other cultural conteMts P*eaning other spaces
and other ti*esQ such as lo"e. fatherTson relationship. the e"olution of the artist. fate. etc-. and
specific the*es reflecting the Irish conteMt and the national identit proble*1 the conflict
bet)een the Catholics and the 7rotestants. the conflict bet)een religion and politics. isolation.
eMile and selfSeMile. the quest of identit. Celtic *ths. historical deter*inis*- The second
categor of the*es is illustrati"e of the relation bet)een art and realit and of the role and
i*pact art can ha"e upon people and education- These authors' )orks displa an intrinsic
snchronicit )ith the historical and cultural background-
>t the end of the course the students should be able to eMplain the relationship
bet)een literature and realit. )hich *eans to identif ele*ents of Irish culture and
ci"ilisation in the studied )orks- The should be able to su**ari!e the *ain stor in each
)ork. to characteri!e the protagonists and to identif the narrati"e techniques each author
used in his )orks. to define and eMplain the*- The students ha"e to be able to identif the
the*es and subthe*es of the no"els. to describe the*. to include the* in one of the abo"eS
*entioned categories and to support their choice )ith argu*ents fro* the teMt- $"entuall. the
students ha"e to )rite an essa on the techniques the authors used in their )orks or an opinion
essa starting fro* one of the the*es of the no"els studied-
E4"lu"ti!n test:
3- Dho are the *ain representati"es of t)entieth centur Irish proseU
>ns)er1 The main re#resentaties of t/entieth centur' $rish #rose are 0ames 0o'ce and Flann
,-*rien for the former half of the centur' and 1illiam Treor and "eamus Deane for the
latter half.
6- Dhat are the the*es that can be identified in the )orks to be studiedU
>ns)er1
8uesti!ns:
3- Dhat is the perspecti"e fro* )hich the stories are told in the no"els to be studiedU
>ns)er1 Although the authors chose different #oints of ie/ 2e3ternal /ith 0ames 0o'ce%
internal /ith "eamus Deane and /ith 1illiam Treor4 the #ers#ectie from /hich the stor' is
told is sub5ectie and limited.
6- Dhat is the perspecti"e Dillia*Tre"or chose for his no"elU
>ns)er1
Summary
The course aims to #resent the students the /ell6kno/n re#resentaties of t/entieth6
centur' $rish literature in #rose7 0ames 0o'ce% Flann ,-*rien% "eamus Deane% 1illiam
Treor.
The anal'sis of the literar' /orks /ill be focused on s#ecific narratie techni8ues and
central themes.
A better understanding of the te3ts /ill be #roided through a conte3tual a##roach
meaning the identification of historical and cultural elements mentioned or referred to
in the /orks studied.
.ist!ric"l "n$ cultur"l *"c/#r!un$
To better understand Irish literature. students should ha"e *ini*al kno)ledge of the
historical e"olution of the countr and of the t)entiethScentur social. econo*ic and cultural
conteMt- The origin of the Irish people goes back to the Celts )ho established in Ireland a
centur before Christ- >lthough the )ere not the first inhabitants. the fact that the resisted
an influence and that the absorbed the other *igrants and their culture for nearl one
thousand ears *ade the* coherentl build a solid cultural core T the heritage that the Irish
boast )ith no)adas-
&ther *igrants such as the 9ikings. the 5
th
centur. and the Scots. contributed to the
econo*ic and cultural e"olution of the countr )hile also spoiling the har*on of the
co**unit- The Scots brought their respect for education. order and beautiful buildings in
2lster- The 9ikings spread around Ireland and contributed to the rise of to)ns and
co**ercial centres- In the 4
th
centur. )hen the 9ikings decided to settle do)n. the founded
Dublin P5@?Q. )hich the later de"eloped b carefull planning it in the 3?
th
centur. and other
settle*ents-
The course of Irish histor )as changed b the +or*an conquest Pthe t)elfth centurQ.
also kno)n as the >ngloS+or*an conquest as fe) of the inco*ers )ho got to Ireland )ere
of +or*an ancestr. *ost of the* )ere *ore related to the Fingdo* of $ngland through
fa*il links-
The first $nglish settlers arri"ed in Ireland in the t)elfth centur and settled their first
colon near Dublin- The e"entuall coloni!ed onl part of the countr and being less
nu*erous and not do*inated b the kingdo*. the colonists de"eloped different strategies of
sur"i"al fro* adopting %aelic custo*s and na*es to *ingling )ith the %aelic population and
to *aintaining their control o"er areas of i*portance. such as Dublin- > ne) )a"e of settlers
of 7uritan religion reinforced $ngland's control o"er Ireland in the 3;
th
centur- The ne)
colonists chose to enforce religious discri*ination and the repudiated both Irish of Catholic
religion and $nglish of Catholic religion )ho belonged to the first )a"e of $nglish colonists-
>n i*portant e"ent )as the battle that took place on 3E >ugust. 3E45. in )hich the
Irish )ere "ictorious- It *a be described as the Irish "ictor )hich the cle"er $nglish had
later turned into defeat PTre"or 6?Q- >ccording to Haes /cCo the abo"e *entioned battle.
one of the *ost i*portant in 2lster. )as begun b so*e of the 2lster lords in 3E4C and Noined
b Hugh &'+eil. earl of Trone1 2ntil 3E4<. the $nglish *erel *arched into the Irish
territories and left garrisons in castles or roughl constructed forts- &'+eil's great "ictor at
the 8ello) Ford. north of >r*agh. in 3E45 *ade the* *ore cautious PHaesS/cCo 3@4Q-
&'+eil sub*itted in 3;?C. the (attle of Finsale. )hich *eant the end of the old Irish )orld
PHaesS/cCo 3E3Q-
The rebellion in 3;@3 brought the 2lster Irish and the &ld $nglish together in )hat
the called the Confederate Catholics- The Catholic $nglish Noined the *o"e*ent for their
protection against the ne) settlers and their greed- The )ar resulted in the defeat of the
Confederate Catholics. )hile in $ngland the Ci"il )ar led to Cro*)ell's "ictor- These t)o
e"ents follo)ed b the confiscations of the 34;?s had as a result the degradation of the &ld
$nglish )ho beca*e Irish to both Irish and $nglish-
>n i*pro"e*ent of the situation of the Catholic Irish is related to Daniel &'Connell
and his fight for Catholic e*ancipation in the 356?s- He succeeded a *ass *o"e*ent b
in"ol"ing the Church and b inaugurating the Catholic rent of 3 penn- >ccording to the
la). Catholics could not sit in parlia*ent. but the )ere not forbidden to candidate- Daniel
&'Connell announced his candidature for the )ellSkno)n Clare elections P3565Q and )as
elected- The (ritish go"ern*ent introduced a Catholic e*ancipation bill as a result of the
elections and it beca*e a la) in 3564- 2nhappil. the neMt ca*paign T kno)n as the
ca*paign for the repeal of the union bet)een Ireland and (ritain T Daniel &'Connell initiated
failed )ith the calling off of the *eeting planned for 5 &ctober 35@C-
> further step )as set b the fight of the Land League )hose president )as Charles
Ste)art 7arnell supported b the Fenian organisation- >s a result of the *o"e*ent that
)anted peasant o)nership the Land >ct of 3553 di*inished the interest of the landlords in the
land- In 355E the (ritish go"ern*ent established a sste* to *ake the peasants purchase their
land )ith the help of the state- This success deter*ined 7arnell and his supporters to begin the
fight for ho*e rule- 7arnell died in 3543 )ithout succeeding in his atte*pt- T)o *ore
rebellions Pthe $aster ,ising in 343; and the >ngloSIrish Dar 3434S3463Q and bloodshed )ere
needed for the treat signed in Dece*ber 3463 bet)een the (ritish and the Irish-
L"n#u"#e
> countr's national identit is related to its national language- The fact that the nati"e
Irish aristocrac abandoned their language had a longSter* effect on the use of Irish- First.
people chose to use $nglish in legal. co**ercial and ad*inistrati"e life- Dhen $nglish
beca*e the language used in literature and in church. the Irish )as associated )ith po"ert
and ignorance- Therefore the Irish taught their children $nglish at ho*e in order to protect
the*. )hich eMplains )h at the beginning of the t)entieth centur one percent of the
population spoke onl Irish- The areas )ere the language )as still spoken )ere in the )estern
and southS)estern side of the countr-
F"iries
&ne of the *ost kno)n and feared fairies in Ireland is phookaVpuca. a )ord )hose
et*olog is supposed to be Scandina"ian and that *a *ean nature s#irit- It can ha"e a
"ariet of for*s and is a *ischief fair that appears at night- 7uca can appear as a s*all
goblin. a dark horse. an eagle or a black goat-
>ccording to Irish legends there are fairies )hose children are stunted or defor*ed
creatures or )ho do not ha"e children at all- These fairies replace the souls of their children
)ith souls taken fro* hu*an children- The hu*an children )hose souls ha"e been replaced
beco*e *ean and destructi"e. the enNo their fa*ilies' proble*s. sing at night. can
PeMQchange parts of their bodies- The are called changelings- > changeling can also be an
actual fair child or a senile fair disguised as a child- Irrespecti"e of the categor that the
belong to. changelings generall bring e"il and *isfortune in the house-
E4"lu"ti!n test:
C- Dhat )as the effect of the 3;@3 )ar )aged b the Confederate CatholicsU
>ns)er1 The /ar in 9:;< during /hich the ,ld &nglish fought /ith the $rish resulted in the
defeat of the !onfederate !atholics and the degradation of the ,ld &nglish.
@- Dhat )as 7arnell's contribution to the Irish fight for independenceU
>ns)er1
8uesti!ns:
3- Dhat are the t)o *o"e*ents that Daniel &'Connell inauguratedU
>ns)er1 Daniel ,-!onnell succeeded in getting elected during the !lare elections 29=>=4
/hich made the *ritish goernment #ass the !atholic emanci#ation bill. (e also initiated the
cam#aign for the re#eal of the union bet/een $reland and *ritain.
6- Dhat is the i*portance of the fact that the Irish aristocrac chose to speak $nglish instead
of IrishU
>ns)er1
Summary
1aes of migrants #artl' contributed to the deelo#ment of the $rish communities
/hile destro'ing the harmon' of their cultural deelo#ment and the #eace of the
countr'.
The &nglish coloni?ed $reland t/ice% the latter /ae bringing /ar% the loss of their
o/nershi# and of their language.
The $rish fought for their inde#endence along centuries7 The 1ar of the !onfederate
!atholics% #olitical fights in the *ritish #arliament% the !atholic Association% the
Re#eal Association% the National +eague% the Fenian ,rganisation% etc.
At the end of the 9@
th
centur' and the beginning of the ><
th
centur' one #ercent of the
#o#ulation s#oke onl' $rish.
Among the /ell6 kno/n $rish fairies the #uca and the changeling can be mentioned.
The&e ': 0"&es 0!ce
Units
(iographical notes
Dubliners
Ti*e and Space in The Dead
A Portrait of the Artist7 Stephen's Wuest of the Father as a Wuest of Identit
Depersonali!ation through Indi"iduation in #oce's A Portrait
$piphan
O*7ecti4es:
To identif the narrati"e techniques the author uses
To su**ari!e the e"ents of the )orks
To describe the *ain characters
To eMplain the *ain characters' e"olution
To identif cultural ele*ents in the )orks
Ti&e "ll!tte$: 9 h!urs
2i*li!#r"(h:
#oce. #a*es- A Portrait of the Artist as a Young Man- (ucure0ti1 7rietenii CArBii. 344C-
= Dubliners. Hertfordshire1 Dords)orth Classics. 344E-
A Bl'sses- +e) 8ork1 9intage (ooks. ,ando* House. 34;3-
(ahtin. /- Probleme de literatur i estetic. Trans- +icolae Iliescu- (ucure0ti1 2ni"ers. 3456-
(ergson. Henri- &seu asu#ra datelor imediate ale contiinCei. Trans- Horia La!Ar- CluNS+apoca1
$ditura Dacia. 344C-
= DEndirea i micarea- Trans- Ingrid Ilinca- Ia0i1 7oliro*. 344E-
= Mind &nerg'7 +ectures and &ssa's 29@9@4- Trans- H- Dildon Car- London1 /ac*illan. 346?-
CotrAu. Li"iu- The "c'the of Time. CluNS+apoca1 $ditura +apoca Star. 3444-
Durand. %ilbert- "tructurile antro#ologice ale imaginarului. $ditura 2ni"ers. (ucuresti. 3445
%enette. %:rard- Figures $% $$% $$$- 7aris1 $ditions du Seuil. 34;4. 34<6-
= Narratie Discourse An &ssa' in Method. Trans- #ane $- Le)in- +e) 8ork1 Cornell 2ni"ersit
7ress. 345<-
= Narratie Discourse Reisited. Trans- #ane $- Le)in- +e) 8ork1 Cornell 2ni"ersit 7ress.
3455-
Tennson. >lfred- Crossing the (ar in The Norton Antholog' of &nglish +iterature. Fifth edition.
"ol-6. >bra*s /-H- PedQ- +e) 8ork and London1 D-D-+oton O Co*pan. 345;. 363E-
8eats. Dillia* (utler- Death in The Norton Antholog' of &nglish +iterature. Fifth edition. "ol-6.
>bra*s /-H- PedQ- +e) 8ork and London1 D-D-+oton O Co*pan. 345;. 634C-
0AMES 0O:CE
;6<<'-6=>?@
2i!#r"(hic"l n!tes
(orn in a Catholic fa*il in ,athgar. a southern suburb of Dublin. on Februar 6.
3556. #a*es >ugustine >losius #oce )as the greatest t)entieth centur prose )riter-
#oce's father. #ohn Stanislaus. had co*e fro* a fa*il of *erchants fro* Cork. et he
clai*ed the descent fro* the clan of %al)a and kept a coat of ar*s of the %al)a #oces
that later on #a*es #oce took care of- There is no e"idence of a direct relationship of the t)o
fa*ilies- In a si*ilar )a. #oce's *other clai*s relationship )ith Daniel &'Connell. but the
relationship cannot be "erified- P$ll*ann 4S33Q #ohn Stanislaus )anted to *o"e his fa*il
farther fro* his )ife's relati"es and closer to )ater. and he enNoed gi"ing parties e"er
Sunda1 /a #oce plaed the piano and #ohn sang different songs and ballads-
/a #oce )as helped to bring her children up b /rs- Hearn Con)a. Dante in A
Portrait of the Artist as a Young Man. )ho )as )ellSeducated. both religious and nationalist.
and acted as a go"erness- #ohn Stanislaus )anted to offer his elder son the highest education
and sent hi* to stud at Clongo)es Dood College. considered the best school in Ireland and
run b the #esuit order- #oce's *e*ories fro* the period he spent at Clongo)es are different
fro* Stephen's- >s $ll*ann notes. #oce told his friend Frank (udgen 8ou allude to *e as a
Catholic- +o). for the sake of precision and to get the correct contour on *e. ou ought to
allude to *e as a #esuit- Pin $ll*ann 6<Q #oce spoke )ar*l of his eMperience at Clongo)es
and his brother re*e*bers hi* as being happ there- Dhat he re*ained )ith after the ears at
the #esuit school see*s to be related to his )a of thinking1 I ha"e learnt to arrange things in
such a )a that the beco*e eas to sur"e and to Nudge- Pin $ll*ann 6<Q
7arnell plaed an i*portant part in #oce's life both *ateriall and spirituall-
Dhene"er he ca*e ho*e on holidas his father and #ohn Fell spoke about 7arnell- >lthough
friends and supporters of 7arnell. the )ere not treated )ith courtes b the politician- #oce
fancied hi*self as 7arnell in real life. as Stephen did in A Portrait- The Irish hero lost his
strength under the pressure of his close political associates PDa"itt. %ladstone. Catholic
bishops and HealQ and his defeat )as seen as his betraal. and the )ord betraal beca*e a
central one in #oce's "ie) of his countr*en- P$ll*ann C6Q 7arnell's fall and death brought
a financial decline in the fa*il- #a*es's anger *ade hi* )rite his first poe* $t Tu. Heal
)hich his father printed and distributed to his friends-
#oce had to stud at ho*e for a period. then he )as sent to the Christian (rothers'
school. )hich he does not *ention in A Portrait. and e"entuall to (el"edere College )ithout
fees starting )ith 344C- The neMt t)o ears #a*es #oce succeeded in )inning the eMhibitions
)hich brought to hi* X6? for onl one ear in 345@ and X6? for three ears in 345E- >t that
ti*e he alread had three *odels )hich coeMisted in his *ind despite their dissi*ilarit1
7arnell. Lucifer and 2lsses- /ean)hile he began to patroni!e local prostitutes. )hich is in
opposition )ith his being chosen 7refect of the Sodalit of the (lessed 9irgin /ar at school.
an honour that )as *eant to recogni!e his acade*ic achie"e*ents and his *oral character-
The period at (el"edere College is also scattered )ith bad beha"iour and disobedience. as
#a*es #oce sho)ed interest in languages and not religion- 7rofessor Dillia* /agennis of
2ni"ersit College. Dublin. )ho read the papers for $nglish co*position re*arked #oce's
)ork and considered hi* publishable- P$ll*ann E<Q
>s a uni"ersit student #oce continued to sho) his interest in literature. in Italian and
French and in aesthetics- He praised Ibsen. D'>nnun!io. Dante. %iordano (runo. Ca"alcanti
Tho*as >quinas and follo)ed the* in either for*al aspect of the )ork or ideas- >s his
critical essas and political )ritings de*onstrate. literature )as abo"e politics for hi*. )hich
*ade hi* spirituall and later concretel cross Ireland's borders and critici!e his
conte*poraries' literar )orks-
He debuted )ith a "olu*e of lo"e poetr !hamber Music )hich he published in 34?<
and )hich )as recei"ed )ith so*e critical acclai* fro* $!ra 7ound and Dillia* (utler 8eats
)ho noticed the delicac and e*otion of the poet's te*pera*ent- #oce confessed that he
)rote !hamber Music as a protest against hi*self- P$ll*ann 3E@S3EEQ #a*es #oce's na*e
re*ains for his prose )ritings1 Dubliners T a collection of fifteen stories published in 343@Y A
Portrait of the Artist as a Yong Man T a re)riting of "te#hen (ero. published in serials in The
&goist P343@S343EQ and as a book in 343;Y Bl'sses T published in serials in The +ittle Reie/
P3435S346?Q and as a books in 3466 in France. and Finnegans 1ake that )as )ritten o"er a
period of 3< ears and published in 34C4. a ear before #a*es #oce's death-
E4"lu"ti!n test:
3- Dhat are the schools that #a*es #oce graduated fro*U
>ns)er1 0ames 0o'ce studied at !longo/es 1ood !ollege% at the 0esuit *eledere !ollege
and at the Bniersit' !ollege in Dublin.
6- Dho are the personalities that influenced hi*U
>ns)er1
8uesti!ns:
3- Ho) did 7arnell's death affect the #oce fa*ilU
>ns)er1 0ames- father /as a #aid canasser for Parnell. 1hen Parnell lost its #o/er and
#osition% a financial and social decline of the 0o'ces /as registered
6- Dhat )as #a*es' relation )ith his fa*ilU
>ns)er1
Summary
0ames 0o'ce /as born in Dublin 9==>% he /as of !atholic religion and his father /as
a #aid canasser for Parnell.
0o'ce studied at !longo/es 1ood !ollege% at the 0esuit *eledere !ollege and at the
Bniersit' !ollege in Dublin. (is uniersit' e3#erience marked him a lot.
0o'ce-s interest in Modern thought and art and in $bsen-s /orks made him gain local
notoriet' as a dangerousl' radical thinker.
(e #ublished FDublinersG% FA Portrait of the Artist as a Young ManG% FBl'ssesG% and
FFinnegans- 1akeG.
Dubliners
Dubliners is a collection of stories about people )ho are too ti*id and confor*ist to
see things as the reall are- The stories are case histories. all pointing to #oce diagnosis of
*oral paralsis- The stories in Dubliners deliberatel e*plo *usical effects and i*ager
)ith a precisel calculated effect- >nother de"ice is the use of repeated *otifs in the action-
The sa*e action or relationship recurs in different for*s at "arious points in the plot- Thus
%abriel. in The Dead. is rebuffed b Lil at the beginning. b /iss I"ors in the *iddle. and
at the end b his o)n )ife- >nother repeated *otif is *ourning- In addition to the eMa*ples
alread referred to. %abriel. in his after dinner speech. *ourns the passing of oldSfashioned
hospitable "irtues. and the guests discuss the great singers of a bgone era- Co*ple*enting
this is the idea of the anticipation of death eMpressed in the idea of going Dest. and the talk
about *onks )ho sleep in their coffins- The link it )ith pre"ious stories. in )hich thoughts
of the dead and ding repeatedl occur-
#oce's use of s*bols in his stories is eMactl )hat 7ound required1 i*ages of
e"erda obNects. occurring naturall in the action of the stories- The onl fantastic i*ages are
reproductions of the characters' o)n fantasies. like the child's drea* of the dead priest in
The Sisters- The author's i*agination )orks entirel upon these present things to endo)
the* )ith eMtraSsignificance- Dhat is ne) about #oce's practice is the intensit and
consistenc of his use of this de"ice-
>nother point about the s*bolis* used in this )ork is its eMplicitness- There is
nothing "ague about the correspondence bet)een the i*age and its *eaning- Its interpretation
is clear. although "arious s*bolis* de"ices are e*ploed-
&ne such de"ice is the use of personal na*es. such as that of %abriel. the central
character of The Dead- In Hebre) *tholog the angel %abriel is the prince of fire and the
angel of death. sho)ing this character's attach*ent to )ar*th and his dull. co*pro*ising
eMistence- /uch of the s*bolis* in the stor is of this kind. as for eMa*ple the s*bol of
the goose- The )ild goose is the con"entional Irish s*bol for the *an )ho. refusing to
surrender his freedo*. flees abroad- %abriel is a ta*e goose1 his "entures abroad take the
for* of holida ccling trips )ith friends- To refer again to co**on idio*. his goose is
cooked and he is called to car"e it- Colour s*bolis* is also in"ol"ed in the i*age of the
cooked goose. )hich has lost its )hiteness and beco*e )ell bro)ned. and the )hite sno)
outside is opposed to the cos interior-
&ther significant correspondences are created in the course of the narrati"e- Thus
%abriel tells a fa*il anecdote about a horse so conditioned to )orking at a *ill that it could
not trot out proudl )ith the qualit. )alking round and round in a circle instead- >dditional
s*bolis* arises fro* the detail that it )as Fing (ill's statue T s*bol of the $nglish
oke T that the horse )alked round. and fro* %abriel's insistence that the *ill belonged to a
glueSboiler Pboiling do)n the bone of dead horsesQ- >s he tells this stor hi*self )alking in a
circle. he presents a parable of his o)n ensla"e*ent-
In addition to such analogies there is a *etaphoric pattern. )hich polari!es contrasting
*oral attitudes T li"ing death "ersus life in death- The inhabitants of the )ar*. bro)n. cos
)orld are still ali"e. but at the cost of spiritual death- The pure unco*pro*ising )orld of
sno) has begun to *elt- Those. like /ichael Fure. )ho belong to that )orld are dead. but
/ichael Pthe highest angelQ )ill al)as li"e in the *e*or of %abriel's )ife- There is a lot to
be said for staing ali"e phsicall. and the guests are not conde*ned in #oce's presentation
of the*- The are presented )ith s*path and affection-
E4"lu"ti!n test:
3- Dhat is the *ain the*e of the "olu*e DublinersU
>ns)er1 FDublinersG is a olume of short stories #resenting as#ects of the eer'da' life in
Dublin and haing ordinar' #eo#le as characters. The theme of the olume is Fmoral
#aral'sisG7 the characters are too conformist and s#irituall' dead.
6- Ho) does #oce use s*bolis* in DublinersU
>ns)er1
8uesti!ns:
3- Dhat is the *etaphoric pattern in DublinersU
>ns)er1 The meta#horic #attern #olari?es contrasting moral attitudes H liing death ersus
life in death. The inhabitants of the /arm% bro/n% cos' /orld are still alie% but at the cost of
s#iritual death.
6- $Mplain the s*bol of the goose in the short stor The DeadU
>ns)er1
Summary
Dubliners is a collection of stories about #eo#le /ho are too timid and conformist to
see things as the' reall' are. The stories are case histories% all #ointing to 0o'ce
diagnosis of Fmoral #aral'sisG. The stories in FDublinersG deliberatel' em#lo'
musical effects and imager' /ith a #recisel' calculated effect. Another deice is the
use of re#eated motifs in the action.
0o'ce-s use of s'mbols in his stories is e3actl' /hat Pound re8uired7 images of
eer'da' ob5ects% occurring naturall' in the action of the stories. The onl' fantastic
images are re#roductions of the characters- o/n fantasies.
Another #oint about the s'mbolism used in this /ork is its e3#licitness. There is
nothing ague about the corres#ondence bet/een the image and its meaning. $ts
inter#retation is clear% although arious s'mbolist deices are em#lo'ed.
Ti&e "n$ S("ce in The Dead
7eople generall define their eMistence b considering the spatial and te*poral
coordinates )hich the transfor*ed into instru*ents helping the* to *easure their life and
coordinate their actions- (oth ti*e and space o)e their i*portance to *an )ho. b in"enting
the*. *ini*i!ed and li*ited hi*self-
/an's *ind. et. refused to sta in line and. after in"estigations. scientists disco"ered
that ti*e and space are relati"e notions and e"en that the can be represented through one
another- If one can accept te*poral relati"it. it is *uch *ore fascinating to understand spatial
relati"it. *ainl possible because of pathological eMperiences such as hpersensiti"it to
spaces PCotrAu. @6Q- Chronotopic studies in literature are related to (akhtin )ho published a
stud on space and ti*e Forms of Time and !hronoto#e- He introduced the concept of
chronoto#e defined as the essential connection bet)een the te*poral and spatial relations-
(akhtin sustained the indissoluble character of space and ti*e. ti*e being seen as the fourth
di*ension of space P64@Q- Thus. ti*e is condensed. beco*es "isible )hile space beco*es
*ore intense and enters the *o"e*ent of ti*e. of the subNect. of histor P64@QY the are
understood and rendered through one another P64@Q-
(esides (akhtin's theor I )ould also *ention (ergson's philosoph of a durati"e
ti*e. *easuring the intensit )ith )hich people li"e their life e"ents and a pastSpresent
si*ultaneit that he pro*otes in relation )ith an i*plicit spatial si*ultaneit P344EQ-
In"estigations of *an's psche sho)ed that *an's perception of things is relati"e in both
intensit Pti*eQ and for* PspaceQ- Such theories reflected in a literar )ork lead to "arious
ti*eSspace interrelations analsed in such )orks as %enette's Narratie Discourse P3455Q-
This stud ai*s at bringing e"idence to sustain spatial and te*poral relati"it
restricted to #a*es #oce's short stor The Dead published in his "olu*e Dubliners- >s )e
deal )ith ti*e and space. a conteMtuali!ation of the short stor is *ore than )elco*e. if )e
consider the re"olutionar theories in philosoph. pscholog and literar theor at the
beginning of the t)entieth centur- I *ention the conteMtuali!ation for the sake of a theor of
snchronicit. since a )ork of art is *ore or less deter*ined b the ti*e )hen it )as )ritten-
#oce's )ork suggests his being infor*ed about aesthetics and philosoph starting fro* 7lato
and >ristotle to his conte*poraries-
The title of the short stor. The Dead. is a "iolation of people's abilit to percei"e
realit. as it suggests a state beond hu*an eMistence. therefore beond te*poral and spatial
boundaries- Ho)e"er. the characters in the stor act )ithin chronotopic li*its being presented
in a "er co**on situation1 the /isses /okan's annual dance in the dark. gaunt house on
2sher's Island. the upper part of )hich the had rented fro* /r- Fulha*. the cornSfactor on
the ground floor P#oce. 344E1 366Q-
#oce uses spatial units. enclosures contained in other. larger enclosures. atte*pting
boundlessness- The *ain space is the house of %abriel's aunts. representing a higher position
on the "ertical aMis1 the guests ha"e to go upstairs )here the part takes place- Dhile )hat is
represented in space is generall percei"ed as a quantit. the aunts' house suggests a
8ualitatie perception of space PCotrAu. @@Q1 the ground floor. being closer to the streets of
Dublin. *a suggest an ordinar perception of the >nglo Irish cohabitation at the end of the
34
th
centur. so*eho) dissi*ulated b a prag*atic adNust*ent for sur"i"al- ( going upstairs.
#oce's characters acquire freedo* )ithin a highl spiritual space1 the can freel talk
about their condition. pro*ote their tradition. re"i"e Irish custo*s b creating a space )ithin
a space. an oasis of Irishness- The actuall atte*pt a s'nto#' PCotrAu. @?Q. si*ultaneit of
spaces )hich paradoMicall is supposed to *ean a denial of their conte*porar spatial
conteMt. although their space is part of this conte*porar space- The *entall re"i"e a past
creating a conte*porar si*ultaneit- Si*ilarl. te*poral sequences are selfScontained )hile
the house artificiall suggests separation bet)een present = the ground floor. %abriel's
conte*porar Dublin. and past = upstairs. Irish custo*s re"i"ed )ithin an >ngloSIrish
cohabitation-
The space that the characters create is not isolated because the *ake it interfere )ith
ele*ents of conte*porar cohabitation- The con"ersation bet)een /iss I"ors and %abriel
stands for a dialogue bet)een free Ireland. space suggested b /iss I"ors' in"itation to an
eMcursion to the >ran Isles and b her *entioning other places )ith old Irish resonance like
Connacht. )here %abriel's )ife is fro*- Her al*ost aggressi"e plead for preser"ing Irish
custo*s and language. for pro*oting Irish histor is *ade "isible through Z the large
brooch )hich )as fiMed in front of her collar and )hich bore on it an Irish *otto P3C?Q-
/iss I"ors' effort to re"i"e the past deepens her into the present as she )ouldn't ha"e )orn
the brooch. had the (ritish not conquered Ireland- The effect is t)ofold1 on the one hand it
encloses past and present. Irish and >ngloSIrish spaces *aking the* all interdependent and
si*ultaneousY on the other hand it sharpens the discrepanc bet)een a pure pastVfree Ireland
and the conte*porar >ngloSIrish Ireland-
The dialogue brings se"eral gli*pses of the outside present into the inside present1
)hen /iss I"ors calls %abriel a Dest (riton P3C?QY )hen %abriel ad*its to hi*self that he
)rites a colu*n in The Dail' &3#ress P3C3Q Pa (ritish ne)spaperQY )hen %abriel states that
Irish is not his language P3C6Q and cul*inates )ith %abriel's )ords1 &. to tell ou the truth.
I'* sick of * countr sick of it[ P3C6Q- >nother *o*ent that relates the present )ith the
past is %abriel's speech in )hich he describes the past as a *ore spacious age because of
the great na*es of the singers and of the qualities of hu*anit. of hospitalit. of kindl
hu*our P3@6Q- The present is described as a less spacious age P3@6Q because the ne)
generation lack all those qualities and na*es- He sees their gathering as a re"i"al of the past
tradition and the people present there cherish the *e*or of the dead P3@6Q-
The Dead in the title. )hich apparentl refers to the fact that the guests used to
*ention dead people in their con"ersations *aking the latter be al)as present at their
gatherings. *a also be a *etaphor for the past and present fusion. for the Irish space
"erticall and hori!ontall coeMisting )ith the >ngloSIrish space- Since the stor is presented
fro* %abriel's perspecti"e. #oce also re"eals the *ap of his protagonist's psche. torn
bet)een the Irish tradition and the $uropean openness- %abriel's speech doubled b his
thoughts and attitude e*phasi!es the uselessness of his aunts' effort to re"i"e the dead past-
The stor is structured into *ore co*ple*entar plans- > parallel chronotopic *atriM
is related to %abriel's )ife and their relationship- %abriel is ne"er close to his )ife at the
part. he e"en ad*ires her and notices her being caught in b the Irish spirit of the part.
)hich he does not share- The phsical distance bet)een the* spatiall *arks their difference
in opinions and attitude- Dhen the get closer. it is ob"ious for hi* that the are not
co*patible since she see*s absent. turned on the past. )hile he belongs to the present and
proNects his future plans outside Ireland. in $urope- Their *arriage is an al*ost *etaphoric
coeMistence of different spaces and ti*es1 she is *ore do*estic and related to a dead past and
space. %abriel is eMpansi"e and oriented to)ards outer spaces-
%abriel's in"estigation of her chronotopic li*its turns out to be painful1 he finds out
the lo"e stor that *arked her outh and that she could not forgetY the *e*or of the oung
fello) )ho died because he had )aited in the rain to see her is *ore present than %abriel is-
He actuall gets a)are of her li"ing too *uch and too intensel in the past )ith a dead person
)hile he beco*es al*ost absent- He is also fascinated b people's tendenc to ignore the no)
and here for the sake of a then and there. )hich i*plicitl supposes a pastSpresent
snchronicit and a hereSthere s'nto#'-
The ti*e of the short stor co*bines the %reek and the Hebre) paradig*s. na*el the
cclic ti*e and the linear ti*e- Dithin the Hebre) linearit according to )hich ti*e *eant a
linear succession of instants PCotrAu. @5Q. )e can speak about a chronolog of e"ents1 the
guests co*e to part. the sing and dance and eat at the part. the lea"e the part- To disrupt
the possible boredo* of such a *onotonous process. #oce also i*plied a cclic
representation of ti*e. the %reek paradig*. rendered through recurrence or eternal present-
The entire e"ent organi!ed b /isses /orkan is repeated e"er ear. %abriel has to deli"er
the speech and cut the goose1 \It is not the first ti*e that )e ha"e been recipients = or
perhaps. I had better sa. the "icti*s = of the hospitalit of certain good ladies-' He *ade a
circle in the air )ith his ar* and paused P#oce. 344E1 3@3Q- This routine deter*ines hi* not
to belie"e in freedo* and entraps hi* in an endless cclic *o"e*ent si*ilar to that of the
horse that he laughs at in his Noke-
#a*es #oce's te*poral *odels )ere illustrated in his portrait. reali!ed b (r]ncu0i.
and representing a "ertical line and a spiral. *eaning coeMistence of t)o funda*ental ti*e
paradig*s = the %reek and the Hebre) =. )hich i*plies coeMistence of spaces. too-
E4"lu"ti!n test:
3- Dhat is the significance of the house )here the part takes placeU
>ns)er1 The main s#ace is the house of Dabriel-s aunts% re#resenting a higher #osition on the
ertical a3is% suggesting a 8ualitatie #erce#tion of s#ace 2!otru% ;;47 the' can freel' talk
about their condition% #romote their tradition% reie $rish customs b' creating a s#ace /ithin
a s#ace% an oasis of $rishness /hile the ground floor% being closer to the streets of Dublin%
ma' suggest an ordinar' #erce#tion of the Anglo6$rish cohabitation at the end of the 9@
th
centur'.
6- $Mplain the relation bet)een the Irish and the $nglish in spatial ter*s-
>ns)er1
8uesti!ns:
3- Dh does /iss I"ors in"ite %abriel to "isit the >ran IslesU
>ns)er1 Mrs $ors /ho is a nationalist inites Dabriel to isit the Aran $sles because the'
re#resent an oasis of $rishness /here $rish is still s#oken and the $rish tradition is #resered.
6- Dhat is the relation bet)een past and present according to %abrielU
>ns)er1
Summary
0o'ce uses s#atial units% enclosures contained in other% larger enclosures% attem#ting
boundlessness. The main s#ace is the house of Dabriel-s aunts% re#resenting a higher
#osition on the ertical a3is% suggesting a 8ualitatie #erce#tion of s#ace 2!otru%
;;47 the' can freel' talk about their condition% #romote their tradition% reie $rish
customs b' creating a s#ace /ithin a s#ace% an oasis of $rishness /hile the ground
floor% being closer to the streets of Dublin% ma' suggest an ordinar' #erce#tion of the
Anglo6$rish cohabitation at the end of the 9@
th
centur'.
The stor' is structured on more com#lementar' #lanes. A #arallel chronoto#ic matri3
is related to Dabriel-s /ife and their relationshi#. Their marriage is an almost
meta#horic coe3istence of different s#aces and times7 she is more domestic and
related to a dead #ast and s#ace% Dabriel is e3#ansie and oriented to/ards outer
s#aces.
The time of the short stor' combines the Dreek and the (ebre/ #aradigms% namel' the
c'clic time and the linear time.
A Portrait of the Artist as a Young Man: Ste(henAs Buest !5 the 5"ther "s " Buest !5
i$entit
(eing a no"el )ith a predo*inant *asculine presence A Portrait raises the patriarchal
proble* reflected in the relation fatherSson and engaging the son's identit in an endless quest
of the appropriate father- The process of pschological *aturing follo)s a spiral circuit
i*pling on the one hand a slo) progress and on the other hand the reiteration of )hat *ight
suggest the finding of Stephen's bearings in hi*self or the opening to)ards hi*self- >s the
relation fatherSson e"ol"es fro* the biological le"el to the spiritual one. i*pling the
degradation of the relationship bet)een Stephen and his father. the indi"iduation of the hero
dra)s an ascendant line fro* the concrete to the abstract. fro* the eMterior to the interior-
The quest of the father. )hich auto*aticall beco*es the quest of his identit. *akes
Stephen eMperience a series of ccles si*ilar to initiations- During each ccle the hero finds a
father and he also escapes his father's influence through a fall- This perspecti"e supposes
the reinterpretation of Icarus' *th )hich acquires positi"e *eanings if )e take into account
the e"olution to)ards the status of the artist- The archetpe of the father is linked to height
and po)er and to the so"ereign do*ination-
>t the end of the fourth chapter Stephen realises that life has a sinuous e"olution and it
cannot be co*plete unless all the stages are gone o"er1 To li"e. to err. to fall. to triu*ph. to
recreate life out of life[ The last stage stands for rebirth. for the perpetuance of the artistic
personalit in creation preceded b the other stages )hich suppose the leap and the fall until
the character gets lost and tries to find hi*self again in another ccle- The sa*e stages are
crossed b the hero se"eral ti*es during the quest first of his biological father and later of his
i*aginar father. Daedalus- The quest i*plies ccles in spheres like histor. religion and art-
$ach le"el of the artistic beco*ing supposes the assu*ption of an identit in accordance )ith
the hero's chosen father-
Confusion is echoed b his reNection of the religious father e*bodied b Father Dolan
)ho unfairl punished hi* or b Father >rnall )ho "i"idl pictured a terrifing hell and a
threatening %od- >lthough he had been led to)ard church since he )as a child. Stephen
couldn't e*brace it as he )as disappointed b the church*en- Si*on encouraged his son to
follo) this )a but the first contradiction appeared )hen 7arnell died being a "icti* of the
church- &n the other hand Stephen's artistic *aturit is constantl denied b the priests and he
is forced to re*ain a son- This attitude eMpresses the fathers' fear of not being replaced b
their sons-
E4"lu"ti!n test:
C- Dhat is the relationship bet)een Stephen and his fatherU
>ns)er1 The relation father6son eoles from the biological leel to the s#iritual one%
im#l'ing the degradation of the relationshi# bet/een "te#hen and his father.
@- Dhat is the archetpe of the fatherU
>ns)er1
8uesti!ns:
3- Ho) does Stephen change his identitiesU
>ns)er1 "te#hen changes his identities /hile changing his s#iritual fathers 2"imon% Dod%
Parnell% uncle !harles% Dedalus4% and identifies himself /ith their sons.
6- Dho are Stephen's spiritual fathersU
>ns)er1
Summary
The 8uest of the father% /hich automaticall' becomes the 8uest of his identit'% makes
"te#hen e3#erience a series of c'cles similar to initiations. During each c'cle the hero
finds a father and he also esca#es his fatherIs influence through a JfallJ. "te#hen
changes his identities /hile changing his s#iritual fathers 2"imon% Dod% Parnell% uncle
!harles% Dedalus4% and identifies himself /ith their sons. This #ers#ectie su##oses
the reinter#retation of $carusI m'th /hich ac8uires #ositie meanings if /e take into
account the eolution to/ards the status of the artist.
De(ers!n"li)"ti!n thr!u#h in$i4i$u"ti!n in 0!ceAs A Portrait
Supposing that *ths represent depersonali!ed drea*s
3
and one's drea*s are the *ost
personal and in"oluntar *anifestations of one's unconscious. #oce's )ork sho)s an
eMtre*el co*pleM *ethod of deliberatel beco*ing i*personal- > si*ple analsis of his
)ork PA PortraitQ *akes the reader approach it as a buildungsroman. )hich is a traditional
)a of presenting the no"el- 8et. other critics chose concepts like *eta*orphosis or
transfor*ation. seen as partl deliberate or. an)a. dependant upon the *ain character-
>tte*pting an interdisciplinar analsis. na*el pschological and archetpal. one *a
confer *ore "alue to the teMt b plunging into its latent *eanings- I prefer #ung's ter*
indi"iduation *eaning pschological gro)ing up )hich refers to the disco"er of those
aspects that *ake one different fro* the others. therefore unique-
Follo)ing the line of the pschological portrait. #oce seeks to *ake both reader and
Stephen understand the in"estigation of the unconscious depths b using concrete ele*ents
)hich are to be deciphered- The teMt beco*es a pu!!le for the hero. for the reader and.
uneMpectedl. for the )riter hi*self )ho needed ten ears to create the i*age of a *o"ing
consciousness- The book is *uch closer to an intriguing drea* because it a"oids the positi"ist
eMplicit concatenation causeSeffect. despite its being classified as a realist piece of literature
due to #oce's decision to use real na*es and stories- >pparentl si*ple in the beginning
because of its language and apparentl co*pleM in the end because of the )a in )hich
Stephen uses so*e theories to eMplain his feelings and thoughts. the )ork turns out to be
frag*entar. dense and her*etic in the beginning and eMplicit and li*ited in the end.
li*ited since it offers an ans)er to the initial proble*s-
Stephen's indi"iduation could be considered successful because in the end he see*s a
)ellSbalanced indi"idual a)are of his unconscious- 8et. considering his deliberate eMile V
isolation and his need to proNect the unconscious ele*ent in so*e eMternal inherited for*s
3
C-%- #ung. The Archet(es "n$ the C!llecti4e Unc!nsci!us. +e) 8ork. 7antheon. 34E4
called archetpes. the process of pschological *aturation Pindi"iduationQ *a be percei"ed
as a failure unless one takes into consideration the fact that the character is an artist in
for*ation- For #ung proNection is an unconscious auto*atic process )hereb a content that is
unconscious to the subNect transfers itself to an obNect so that it see*s to belong to that obNect-
The proNection ceases the *o*ent it beco*es conscious. that is to sa )hen it is seen as
belonging to the subNect-
6
Stephen seen as an artist )ould *ean that he )ants to share his
eMperience. )hich could be done b translating his unconscious ele*ent that has beco*e
conscious into so*e for*s people can understand and interpret- The great artist is a person
)ho possesses the pri*ordial "ision. a special sensibilit to archetpal patterns and a gift
for speaking in pri*ordial i*ages that enable hi* or her to trans*it eMperiences of the inner
)orld through art-
C
Thus. #oce's co*pleMit leads to parallel approaches S pschological
and archetpal S applied to the sa*e )ork in order to re"eal his opinion about the process of
creation. depersonali!ation-
In A Portrait #oce defies (achelard's theor concerning the beco*ing of )ater b
presenting a re"ersed process. the )ater euphe*i!ation- > *etaphor for Stephen's pschic
beco*ing. euphe*i!ation echoes the steps fro* phsical suffering to a)areness- Internal
)ater appears as )ater ees and tears in the first chapter suggesting the hero's )eakness.
then de) T the purest )ater S in the last chapter- The de) o"er)hel*s the artist not onl
through its purit and perfection but also through its s)eet fir*ness- +othing in Stephen
resists it- Further*ore. he tries to prolong this unit )ith the di"ine *ediated b the de). as
a)akening *eans fall1 His soul )as )aking slo)l fearing to a)ake )holl-
In bet)een the t)o hpotheses of the internal )ater. se"eral proNections in eMternal
)ater for*s support Stephen's indi"iduation- Thus the beco*e *etaphors for the )a
Stephen percei"es societ- Cold and dirt. li*ited b the )alls of the ditch. doo*ed to
continue back)ardness. to acute opaqueness co*pleted b its fluidlessness. al)as *arked b
hu*an touch S i*pling the social ele*ent S the )ater in )hich Stephen is bapti!ed
e*bodies all his fears-
The other for* of the eMternal )ater is the sea seen at night and represents the dark
and cold )ater as the epiphan of death for Stephen )ho notices that the relation )aterSdeath
confir*s his transience- The sea he sa) did not *irror hi*. it )as the sea )hose darkness
*akes it an eternal and i**ense danger. the i*age of the unplaited death seducing its "icti*s
in )hispers1 7arnell's death beco*es the epiphan of Stephen's death-
6
Ide*. p-;?
C
C-%- #ung. M!$ern M"n in Se"rch !5 " S!ul. +e) 8ork. Harcourt. 34CC. SS in A ."n$*!!/ !5 Critic"l
A((r!"ches t! Liter"ture. Cd edition-. +e) 8ork. &Mford 27. 3446. p-3;5
The doubleness of )ater also appears in the episode )ith the Icarian flight. echoing the
cos*ogon of the (ible *tholog according to )hich the sk )as *ade b separating it
fro* the )aters through land- The *irroring of the sk in the )ater sustains its aquatic origin
and creates the illusion of the unli*ited depth of the sea- ^> prophec of the end he had been
born to ser"e^. Stephen's na*e. Dedalus. i*plies deathV^end^ S it is not phsical death but an
eMhaustible flo)ing of the creati"e personalit into the )ork until it disappears behind or
beond the teMt once it is finished- This *eans both ^auctorial death^ and reaching the end the
artist )as born to ser"e- The )ater presented in this paragraph is seen at da ti*e as the seaS
)ater in the epiphan )ith the girl-
De) is not the )ater of death unlike the other for*s of )ater )hich )ere connected to
*aterial S concrete death or spiritual S abstract death- Stephen's fusion )ith celestial )ater
represents the last step in his artistic beco*ing after an opti*istic refusal to protect hi*self in
the dark )ater of the beginning of the no"el- The hero's successful indi"iduation is supported
b the )ater euphe*i!ation as a )a to)ards creati"e i*personalit-
E4"lu"ti!n test:
3- Dhat is the *eaning of indi"iduationU
>ns)er1 $ndiiduation is defined as the #rocess of #s'chological maturation. $t coers the
eolution of an indiidual in relation /ith as#ects of his e3istence or #ersons that he fears.
"te#hen-s indiiduation is #resented in relation /ith /ater. As a child he got sick after haing
been #ushed into a ditch /ith dirt' /ater and he deelo#ed a8ua#hobia. The h'#otheses of
/ater change from dirt' /ater to #ure /ater along the noel% /hich demonstrates his abilit'
to oercome his fears.
6- Dhat are the hpotheses of )aterU
>ns)er1
8uesti!ns:
3- Dhat is the *eaning of the sea seen at nightU
>ns)er1 The sea seen at night is the dark and cold /ater that suggests the e#i#han' of death
for "te#hen /ho notices that the relation /ater6death confirms his transience.
6- Dhat is the prophec suggested b Stephen's na*eU
>ns)er1
Summary
"te#henIs indiiduation could be considered successful because in the end he seems a
/ell6balanced indiidual a/are of his unconscious. Yet% considering his deliberate
e3ile . isolation and his need to #ro5ect the unconscious element in some e3ternal
Jinherited formsJ called archet'#es% the #rocess of #s'chological maturation
2indiiduation4 ma' be #erceied as a failure unless one takes into consideration the
fact that the character is an artist in formation. The great artist is a #erson /ho
#ossesses the J#rimordial isionJ% a s#ecial sensibilit' to archet'#al #atterns and a
gift for s#eaking in #rimordial images that enable him or her to transmit e3#eriences
of the Jinner /orldJ through art.
;
Thus% 0o'ceIs com#le3it' leads to #arallel
a##roaches 6 #s'chological and archet'#al 6 a##lied to the same /ork in order to
reeal his o#inion about the #rocess of creation% de#ersonali?ation.
E(i(h"n
The paradoM of #oce's epiphan )ould be the fact that an thing )hich is around the
artist. an repressed or forgotten *onet that he has li"ed. an *o*ent that he is to li"e *a
represent sources for epiphanies and et. he shouldn't )ait for the*. he shouldn't )ait for the
epiphan to happen but to look for it-
The concept of epiphan as #oce sees it does not correspond to the religious *eaning it
has in dictionaries1 3- a Christian festi"al )hich takes place on the ;
th
of #anuar
co**e*orating a *anifestation of Christ to the /agiY 6- an appearance or *anifestation
especiall of a deitY C- in literature aQ a sudden. intuiti"e perception of or insight into the
realit or essential *eaning of so*ething. usuall initiated b so*e si*ple. ho*el. or
co**onplace occurrence or eMperienceY bQ a literar piece of )ork presenting such a
*o*ent- Dith Dan %rigorescu epiphan refers to the legend of the Hol %host co*ing o"er
Christ's head. during the *ster of baptis*-
>ccording to /-Fain #oce's epiphanies are not insights because the latter contains the
co**entaries of the narrator )hile )ith #oce the epiphanies are so*e sketches )hich are not
co**ented on- These epiphanies are generall introduced b He )as sittingV standingZ
i*pling spiritual acti"it onl- >ccording to Dan %rigorescu #oce's epiphanies )ere so*e
sketches obser"ing so*e ordinar *o*ents the narrator )asn't going to transfor* into pieces
of literature1 co**unication is produced b *entioning the *ost insignificant gesture. the
frag*ents of so*e obNects )hich si*ultaneousl turn up- In fact it is a sort of prose
anticipating the >*erican beha"iouris*. echoes of naturalis*. of narrati"e poe* in prose-
#oce's epiphanies *a be classified as1 epiphanies of the surroundings. epiphanies of
the histor. epiphanies of the disgust characteri!ed b a*biguities. figures of speech.
@
C-%- #ung. M!$ern M"n in Se"rch !5 " S!ul. +e) 8ork. Harcourt. 34CC. SS in A ."n$*!!/ !5 Critic"l
A((r!"ches t! Liter"ture. Cd edition-. +e) 8ork. &Mford 27. 3446. p-3;5
eMploitation of the phonological le"el of language- The belong to the subNecti"e )orld
*anifesting the*sel"es as drea* and "isions-
E4"lu"ti!n test:
3- Dhat is the definition of #oce's epiphanies according to /-FainU
>ns)er1 M.Kain states that 0o'ce-s e#i#hanies are sketches /hich are not commented on.
6- /ention a possible classification of #oce's epiphanies-
>ns)er1
8uesti!ns:
3- Dhat is the *eaning of the )ord epiphanU
>ns)er1 &#i#han' names a !hristian festial /hich takes #lace on the :
th
of 0anuar'
commemorating a manifestation of !hrist to the Magi.
6- Ho) does Dan %rigorescu define #oce's epiphanU
>ns)er1
Summary
&#i#han' has a religious meaning.
0o'ce-s e#i#han' is a literar' te3t ins#ired b' common life.
0o'ce used to kee# a booknote of e#i#hanies /hich he later #ublished in his /orks.
The use of e#i#hanies in literar' te3ts re#resents a narratie techni8ue that hel#s the
/ork continue but renders it fragmentar'.
The&e C Fl"nn O12rien
Units
%eneral aspects of Flann &'(rien's )ork
Cultural space and ti*e in The Third Policeman
O*7ecti4es:
To identif the narrati"e techniques the author uses
To su**ari!e the e"ents of the )orks
To describe the *ain characters
To eMplain the *ain characters' e"olution
To identif cultural ele*ents in the )orks
All!tte$ ti&e: C h!urs
2i*li!#r"(h:
Donoghue. Denis- 6??6- \Introduction' in The Third Policeman- Flann &'(rien- Chicago1
Dalke >rchi"e 7ress-
%enette. %erard- 345<- Narratie Discourse An &ssa' in Method- trad- #ane $- Le)in- +e)
8ork1 Cornell 2ni"ersit 7ress-
I*hof. ,_diger- 6??6- The Modern $rish Noel- Dublin1 Dolfhound 7ress-
#oce. #a*es- 344C- A Portrait of the Artist as a Young Man. (ucure0ti1 7rietenii CArBii-
#oce. #a*es- 34;3- Bl'sses- +e) 8ork1 9intage (ooks. ,ando* House-
Fiberd.Declan- 6??6- $nenting $reland- Ca*bridge. /assachusetts1 Har"ard 2ni"ersit
7ress-
/ahon. Christina Hunt- 3445- !ontem#orar' $rish +iterature- +e) 8ork1 St- /artin's 7ress-
&'(rien. Flann- 6??6- The Third Policeman- Chicago1 Dalke >rchi"e 7ress-
J +uallKin. CiarKn- 3445- The &arl' Years of *rian ,-Nolan . Flann ,-*rien . M'les na
g!o#aleen- Dublin1 The Lilliput 7ress-
FLANN O12RIEN
;6=66-6=99@
Gener"l "s(ects !5 Fl"nn O12rien1s w!r/
>tte*pting a conteMtuali!ation of Flann &'(rien's )ork. one cannot ignore the
particular setting Ireland offered at the beginning of the t)entieth centur- Ireland's identit
proble* is reflected in literature as the i*age of a highl under*ined authorit. )hich
re*inds of Dillia* (utler 8eats' *asks and i*personalit deri"ed fro* an e"erSchanging
personalit related to each )ork he created. )hich also re*inds of #a*es #oce's artist.
Stephen Dedalus. transgressing national boundaries. of Sa*uel (eckett's The Bnnamable and
other such unna*ed characters. including the protagonist of Sea*us Deane's Reading in the
Dark. a storteller hi*self- Dithin such a conteMt. gi"ing the i*pression of being subNected to
a continuous process of reScreation or reSin"ention. Flann &'(rien gets an inter*ediar
position in his e"olution fro* (rian J +uallKin Pin IrishQ or (rian &'+olan Pin $nglishQ to
Flann &'(rien T the pseudon* he used for t)o no"els )ritten in $nglish1 At "/im6T/o6
*irds P34C4Q and The Third Policeman P34@?Q T. to /les na Copaleen T the na*e &'(rien
used to sign a co*ic colu*n in The $rish Times T and /les na gCopaleen T associated )ith
An *Lal *ocht PThe Poor Mouth. 34@3Q-
>nalsing ho) Flann &'(rien in"ented hi*self )hile in"enting Ireland. Declan
Fiberd notices the )riter's disco*fort )ith his identit1 >*idst all this chopping and
changing. one thing is clear1 he ne"er had the gall to sail under the colours of (rian &'+olan-
PFiberd E??Q In a si*ilar co**entar. >nne Cliss*an states that the )riter's *asks could
pro"ide (rian &'+olan )ith a safet1 it )as al*ost as if. b putting /les na gCopaleen
for)ard. prepared to take on and conquer the )orld. (rian &'+olan could retire to an
i*pregnable and safe position- PCliss*an C quoted in Fiberd E??Q Ho)e"er. the na*e (rian
&'+olan re*ains attached to the )riter's public inter"entions interrupting speakers and
*aking the audience. or the *ob as his brother sas PJ+uallKin 46Q. laugh1 (rian
progressed as a speaker in the societ- I don't re*e*ber being present )hen he )as speaking
for*all but it appears that he )as a co*ic speaker P4CQ- (rian &'+olan )as thus
characteri!ed as a debating genius. the best i*pro*ptu speaker the societ kne) in those
das P7-#-Dono"an quoted in J +uallKin 4CQ. as the best hu*orous speaker of `thea ti*e
P,-+-Coake cited in J +uallKin 4CQ. and recei"ed the *edal for i*pro*ptu debate in 34C6-
The sa*e hu*orous genius can be identified in &'(rien's no"els )hich. due to
conteMtuali!ation and to the associations )ith aspects of real life in Ireland. ha"e been
considered satires- Declan Fiberd dedicated a )hole chapter in his book In"enting Ireland
to the anlsis of An *Lal *ocht PThe Poor MouthQ. the no"el &'(rien published in Irish-
Firstl. Fiberd focuses on the language &'(rien uses as a *eans of attack1 The Nocular and
eMaggerated language. )hich )as once the obNect of the dra*atist's satire. has no) beco*e a
*ethod. b )hich other *ore fitting targets are attacked- >*ong the ne) targets are Irish*en
PZQ )ho abNectl confor* to $nglish stereotpes of the neighbouring island- P@45Q &n
further reading. the central target of &'(rien's satire is re"ealed1 In depicting the realities of
po"ert in the )est of Ireland. An *Lal *ocht is not onl a sendSup of the scenic landscape.
%othic ruins and ro*antic *usic of (oucicault's gla*ori!ed countrSsideY it is. e"en *ore
urgentl. an attack on the Dublin re"i"alists of the t)entieth centur )ho )ould ideali!e the
saintl si*plicit of the )estern life. onl b ignoring the a)ful po"ert on )hich it )as
based- P@45Q
Further*ore. in an atte*pt to de*onstrate that features of the /anippean satire can be
identified in &'(rien's )ork. Feith (ooker technicall eMplained and illustrated )ith
eMa*ples *ainl taken fro* At "/im6T/o6*irds as pro"ided b (akhtin in Problems of
Dostoesk'-s Poetics-
Ho)e"er. CiarKn J +uallKin P344513?<Q atte*pts to con"ince the readers that his
brother's no"els are not satires. but pieces of natural eMuberance T fun for the sake of fun T
like the plafulness of a pupp[ He presents his brother as a hu*orous )riter )ho used to
*ake fun of deep analsis of his conte*poraries' )orks. especiall of #a*es #oce's. and
in"ites the reader not to spoil &'(rien's )ork b eMplaining it1
I ha"e seen articles running to a couple of thousand )ords of tortuous ter*inolog to eMplain
so*ething. )hen an author's flash of hu*our has alread lit up the sk like a flash of
lightning[ It occurs to *e to question the right of the blind to be tutoring those )ho can see
perfectl- PJ +uallKin. 344513?<Q
Despite its so*eho) declared plafulness. &'(rien's )ork *ocks at its creator's
authorit Nust like the characters under*ining their creators' authorit P/ahon. 344516?Q in
the *ultilaered At "/im6T/o6*irds- Ho)e"er. reaching its independence through
publication. his )ork has to endure the readers' scrutin-
E4"lu"ti!n test:
3- Dhat can suggest the use of *ore pseudon*sU
>ns)er1 The use of more #seudon'ms can reeal ,-*rien-s masks or different #ersonalities in
relation /ith the genre he a##roaches or can #roide him a sense of safet'.
6- /ention se"eral *aNor features of &'(rien's no"els-
>ns)er1
8uesti!ns:
3- Dhat are the no"els &'(rien )roteU
>ns)er1 Flann ,-*rien /rote three noels7 An *Lal *ocht% At "/im6T/o6*irds% The Third
Policeman.
6- Dhat is Flann &'(rien's attitude to)ards the analsis of his conte*poraries' )orksU
>ns)er1
Summary
Flann ,-*rien is an $rish /riter /ho #ublished fiction in both $rish 2An *Lal *ocht4
and &nglish 2At "/im6T/o6*irds% The Third Policeman4.
(e used different #seudon'ms% being /ell kno/n for his assumed masked7 M'les na
g!o#aleen% M'les na !o#aleen% *rian M NuallNin% *rian ,-Nolan% Flann ,-*rien.
(e is mainl' kno/n as a comic columnist and as a satirist.
Cultur"l S("ce "n$ Ti&e in The Third Policeman
7ublished at a turning point in the e"olution of literature and literar criticis*. Flann
&'(rien's no"el The Third Policeman is percei"ed as an eMtre*el dense )ork in both
*eaning and for*. a "aluable snchronic )ork. although haunted b successful
conte*poraries like #a*es #oce and Sa*uel (eckett- Indebted to scientific theories such as
the ato*ic theor and relati"it. pseudoscientific theories dragging the no"el to pscholog
and literar criticis* and to the Irish tradition in literature. Flann &'(rien created a fantastic
)ork )hose unna*ed protagonist challenges nor*alit-
The no"el co"ers the e"olution of the protagonist fro* birth to the beginning of the
second ccle in his life after death- The action is set in t)entieth centur Ireland and the
protagonist. )ho is the narrator. is a representati"e of the co**on Irish*an eMperiencing
predestined failure PFiberd. 6??61E33Q )ithout understanding it-
The narrator is born so*e)here in Ireland and his parents lea"e hi* and their
business. he is sent to a boarding school and )hen he returns ho*e. ha"ing a )ooden leg and
a stolen book he )ants to )rite about. he finds #ohn Di"ne )ho is ruling the business- The
narrator )orks on his proNect. )hile Di"en spends the *one- $"entuall. )hen the
protagonist )ants to publish his book. the decide to kill an old *an. /athers. )ho has a
black boM )ith *one- Di"ne and the protagonist kill /athers and Di"ne disappears )ith
the boM )hile the narrator is buring the corpse- The t)o beco*e "er close friends. but
three ears later Di"ne decides upon telling the narrator )here the black boM is- This
*o*ent *arks the beginning of a quest )hich. despite the frustrating spatial and te*poral
a*biguit. re"eals a funda*ental aspect of the Irish cultural background-
>s Denis Donoghue P6??61iMQ states. Flann &'(rien succeeded in creating a no"el that
presents a "ision of the )orld in ter*s of a single intellectual pattern- >lthough The Third
Policeman can be considered a strange no"el. it also rebuilds t)entieth centur Irishness
through allusions to the author's conte*poraries or )ellSkno)n Irish predecessors- &n the
"er first page the author satiri!es the Irish fa*il1 the father is a hea" drinker talking
politics and about 7arnell on )eekends and denigrating his o)n countrY the *other does the
house)ork. drinks tea and sings- The Irish fa*il he outlines is a surrogate of Stephen
Dedalus' fa*il in A Portrait as *uch as it is the prototpe of the Irish fa*il in general-
&ther Irish )riters are echoed in the no"el. )hich helps &'(rien recreate both Irish
space and culture1 #onathan S)ift's Dullier-s Treaels is suggested se"eral ti*es1 de Selb
)ith his books on roads and Nournes. hallucinations. na*es etc- is the ridiculed #hiloso#hus
gloriosus. according to Donoghue P6??61iMQ. a philosopher re*inding of the scholars in the
>cade* of Lagado- The reader can identif descriptions of places si*ilar to Lilliput and
(robdingnag1
De )ere no) going through a countr full of fine enduring trees )here it )as al)as fi"e
o'clock in the afternoon- It )as a soft corner of the )orlds. free fro* inquisitions and
disputations and "er soothing and sleepening on the *ind- There )as no ani*al there that
)as higher that a *an's thu*b and no noise superior to that )hich the Sergeant )as *aking
)ith his nose. an unusual brand of *usic like )ind in the chi*ne- P&'(rien. 6??615?S53Q
In The Third Policeman the biccle acquires an essential position as a character and as
a cultural ele*ent at the sa*e ti*e- The ato*ic theor presented b Sergeant 7luck
de*onstrates ho) a *an's personalit can be transferred to his biccle. )hich e"entuall
gi"es the Sergeant the right to treat biccles as if the )ere hu*an beings- CiarKn J +uallKin
eMtends the i*portance of the biccle in the fa*il to a general presence in Ireland1
The biccle )as "er popular in the countr in the t)enties- There can scarcel ha"e been a
far*er )ho did not ha"e one. e"en if he had a pon and trap as )ell- The traffic on the road to
/ass )ould include scores of biccles. )ith straightSbacked far*ers dressed up in their blue
suits- /an of these biccles )ere of Irish *anufacture T 7ierce or LucantaY the see*ed like
tanks co*pared to biccles of other *akes because of their )eight and the thickness of their
fra*es- PJ +ullKin. 34451C5SC4Q
Ireland's space is also echoed through an association of (eckett's )ork )ith the
biccles populating &'(rien's no"el- %ilhane )ho tries to find his biccle. stolen b the
Sergeant. is a discreet allusion to /ollo and his biccle. )hile the protagonist hi*self see*s
to be a "ersion of /ollo. )ith his )ooden leg. going on a guest and *eeting the police*en-
Sa*uel (eckett's absurd theatre can be a *odel for the absurd con"ersations bet)een
the police*en and the narrator )hile the latter's co*ple*entarit )ith #oe. his soul.
rese*bles the one bet)een characters like 9ladi*ir and $stragon- For eMa*ple. although both
the protagonist and #oe kno) that the for*er has no )atch. he insists on ha"ing lost it1
Z )ould I e"er kno) the "alue of the *one I could ne"er spend. kno) ho)
handso*e could ha"e been * "olu*e on de SelbU Dould I e"er see #ohn Di"ne againU
Dhere )as he no)U Dhere )as * )atchU
8ou ha"e no )atch-
That )as true- P&'(rien. 6??61336Q
To co*plete the galler of characters in Irish literature. the author created #ohn
Di"ne. the narrator's friend. )ho took o"er the far* and the public house. killed the narrator
and li"ed happil )ith the latter's *one. and )ho represents the Irish traitor-
Flann &'(rien clai*s originalit as a result of ha"ing created an alread dead
character that is telling the stor )ithout kno)ing that he is dead- Ho)e"er. his no"el's
originalit also lies in the co*ic perspecti"e upon the tragic life in Ireland- 7o"ert. lack of
identit. fight for sur"i"al. co**on and artistic quests are the "ehicles that *ake the no"el
unfold in the open fields of a paral!ed countr )hich he reconstructs paroding )ellSkno)n
Irish no"els- In a tragic and co*ic )a. Flan &'(rien. Nust like the protagonist. did not lea"e
to see his )ork published-
E4"lu"ti!n test:
3- Dhat is the si*ilarit bet)een Flann &'(rien's no"el and #a*es #oce's A PortraitU
>ns)er1 Flann ,-*rien satiri?es the $rish famil' in 0ames 0o'ce-s noel.
6- /ention se"eral references to the Irish cultural conteMt that can be identified in Flann
&'(rien's no"el-
>ns)er1
8uesti!ns:
3- Dhat does the biccle re*ind ofU
>ns)er1 The bic'cle in Flann ,-*rien-s noel reminds of "amuel *eckett-s #rose.
6- Dhat is #ohn Di"ne's role in the no"elU
>ns)er1
Summary
Flann ,-*rien fictional s#ace is a #u??le /here #ieces of $rish culture and ciili?ation
meet.
!ontem#orar' $rish /riters and /ell kno/n #redecessors 2e.g. 0. "/ift4 are reminded
ia re#resentatie as#ects of their /orks.
$rish cultural elements such as the informer% #oert' and corru#tion are referred to.
The&e > Se"&us De"ne
Units
+arrati"e strategies
The identit proble*
,eaching silence
O*7ecti4es:
To identif the narrati"e techniques the author uses
To su**ari!e the e"ents of the )orks
To describe the *ain characters
To eMplain the *ain characters' e"olution
To identif cultural ele*ents in the )orks
All!tte$ ti&e: 9 h!urs
2i*li!#r"(h:
(arthes. ,oland. 3455. The Death of the Author. in T/entieth6!entur' +iterar' Theor'7 A Reader%
/ac*illan $ducation LTD
Coste Didier. Narratie as !ommunication. /inneapolis. 2ni"ersit of /innesota 7ress. 3454
Deane Sea*us. Reading in the Dark. +e) 8ork. 9intage (ooks. 3445
Fogart. >nne- ,e*apping +ationalis*1 The 7olitics of Space in #oce's Dubliners in
!.A.P.&."..AgrLgation Anglais% Dubliners% 0ames 0o'ceO The Dead- #ohn Huston. 7ascal
(ataillard and Do*inique Sipibre PedsQ- 7aris1 $llipses. 6???-
Freud Sig*und. 344?. *e'ond the Pleasure Princi#le. +e) 8ork. DD-+orton O Co*pan. Ltd-
Freud Sig*und. 34<6. Creati"e )riters and daSdrea*ing in Lodge Da"id PedQ. ><
th
!entur'
!riticism. London. Long*an. p- C;S@6
%enette %:rard. Narratie Discourse An &ssa' in Method. trad- #ane $- Le)in. +e) 8ork. Ithaca .
Cornell 2ni"ersit 7ress. 345<
%enette %:rard. Narratie Discourse Reisited. trad- #ane $- Le)in. +e) 8ork. Ithaca. Cornell
2ni"ersit 7ress. 3455
Hackne (lack)ell. >*. and ,ah Hackne- The &er'thing $rish (istor' ) (eritage *ook- >"on.
/assachusets1 >da*s /edia. 6??@-
Harte Lia*. 6???. Histor Lessons 1 7ostcolonialis* and Sea*us Deane's Reading in the Dark . in
$rish Bniersit' Reie/. special issue !ontem#orar' $rish Fiction. >nthon ,oche PedQ. "ol-
C?. no 3. p- 3@4S3;6
#oce #a*es. A Portrait of The Artist as a Young Man. (ucuresti. 7rietenii Cartii . 344C
Lint"elt #aap. $ncercare de ti#ologie narati% Punctul de edere. trad- >ngela /artin. (ucure0ti.
2ni"ers. 344@
/ood. T-D-. and F-G- /artin. eds- The !ourse of $rish (istor'. Lanha*- 2nited States and Canada1
,oberts ,einhart 7ublishers in association )ith ,adio TelefHs Iirean. 6??3-
Delane. Frank- The !elts- London1 %rafton. 3454-
Trilling Lionel. 34<6. Freud and Literature in Lodge Da"id PedQ. ><
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!entur' !riticism. London.
Long*an. p- 6<;S64?
RRR 1ebsterIs &nc'clo#edic Bnabridged Dictionar' of the &nglish +anguage. %ra*erc (ooks. +e)
8ork. 345;
,icoeur 7aul. ,neself as Another. trad- Fathleen (la*e. Chicago and London. The 2ni"ersit of
Chicago 7ress. 3446
SEAMUS DEANE
;6=>? - @
(orn in Derr in +orthern Ireland in 34@?. Sea*us Deane )as educated at Wueen's
2ni"ersit in (elfast and earned his doctorate at Ca*bridge 2ni"ersit- He taught literature at
2ni"ersit College Dublin for *an ears but he currentl teaches at the 2ni"ersit of +otre
Da*e- >s a poet. he published Dradual 1ars P34<6Q. Rumours P34<<Q. (istor' +essons
P345CQ. "elected Poems P3455Q- His first no"el. Reading in the Dark. appeared in 344; and
)as follo)ed b 1i?ard P3444Q- He contributed to literar criticis* and also pro*oted the
i*age of Ireland in non fiction )orks1 A "hort (istor' of $rish +iterature P345;QY "trange
!ountr' P3444QY Future !rossings. +iterature bet/een Philoso#h' and !ultural "tudies
P6???QY The $rish7 A "hort (istor' P6??CQ-
N"rr"ti4e str"te#ies Reading in the Dark
&n the edge of diar. fair tale. social and cultural docu*ent. Sea*us Deane's
unna*ed narrator confesses the co*pleMit of Irishness- Dritten at the end of the t)entieth
centur. Reading in the Dark pas its tribute to a centur of i*pressi"e narrati"e inno"ations
= deliberate frag*entariness and a*biguit. interteMtualit. co*pleM point of "ie). the
identit issue insisting upon i*personalit. repetition and selfSreflecti"eness-
First of all it announces itself as a selfSdisco"er. selfSre"elation. an illu*ination of the
unkno)n PdarkQ parateMtuall pro*ised in the title- Reading. a halfScreati"e process. i*plies
the decoding of a gien te3tY in the dark annihilates the gien te3t. )hich si*pl leads to1
reading equals a creati"e process- ,eading. and not creating or i*agining or drea*ing.
re"eals the author's a)areness of his being a product of the inter*ingling of social. cultural
and historical e"ents- ,eading beco*es creating as it suggests the eMploration of the abssal
depth beond the teMtual surface of the narrator's life. of the no"el's )orld- Therefore. the title
stands for a *etaphorical reflection of the no"el-
Reading in the Dark is a )ork *erging the for* of a diar. as dated entries
chronologicall arranged lure the reader into a confessional )ork. and that of a no"el. as
e"er entr has a title and the bod is structured in chapters- (oth titles and dates see* to
a"oid their i**ediate tasks as *ost of the titles lack artistic depth )hile the dates betra a
retrospecti"e selection of e"ents closel connected to each other. )hich stands against the idea
of diar Pa dail' record% es#. of the /riter-s o/n e3#eriences% obserations% attitudes% etc-Q
P1ebster. 344@1 C44Q-
The a*biguous for* that Sea*us Deane ga"e to his no"el supports the a*biguit of
perspecti"e and of content- The a*biguit of perspecti"e is an outco*e of the first person
narrati"e. the use of an internal narrator )ho re"eals his *ost inti*ate thoughts. fears and
feelings- >lthough at the beginning frag*entariness *akes the no"el look like a diar. reading
on to its end re"eals a deliberate retrospecti"e selection of the onl e"ents that could ha"e
assured its coherence and unit- For eMa*ple Disa##earances. a subchapter referring to an
innocent response to a clo)n's perfor*ance at the circus P$"erone )as laughing and
clapping but I felt uneas- Ho) could the all be so sureUQ *a be connected to the field
)here birds disappear and to the *sterious disappearance of /cIlhenn- >ll the characters
kno) so*ething about /cIlhenn's disappearance and $ddie's death. the all had contributed
to the*. but the pretend not to kno) anthing-
Despite the chronological unfolding of the e"ents i*posed b the diarSfor* of the
no"el there are frequent internal and eMternal analepses *eant to unpu!!le the forest of
*steries and secrets o"er)hel*ing the reader- %randfather's stor about $ddie. the
narrator's uncle. is an eMternal analepsis. as it goes back to a *o*ent before the first
narrati"e- (esides. the i*pression of frag*entariness gi"en b the anisochronies is reinforced
b stories )ithin stories and the oscillation bet)een fantas and realit-
,epeated titles of diarSentries in"ite the reader to retrospecti"e associations of e"ents.
)hich *akes it easier to follo) the e"olution of each character- The are treated both as
indi"iduals Pseparate entitiesQ. )hich contributes to the *sterious at*osphere and
frag*entariness based on the lack of co**unication. and as a fa*il united b their o)n
secrets- ,epetition is *uch *ore co*pleM and it takes different for*s1 one and the sa*e stor
told t)ice in &ddie Noember 9@;P P5Q and (aunted December 9@QR P3;5Q beco*es al*ost
unrecogni!able standing for e"idence of the i*pact of siM ears on the narrator's soul. *ind.
infor*ation. )a of seeing things- Differences induce a)areness of the protagonist's
*eta*orphosis fro* a prisoner of *agic to a *ature person initiated in )hat life in postS)ar
Ireland *eant- Dhile the for*er stor sounds like a fair tale )ith unna*ed characters
strangel )rapped in legendar *agic. the latter = despite so*e ele*ents of eMorcis* and
superstition outlining people's *entalit = see*s )ell anchored in realit. the characters ha"e
na*es and belong to the narrator's social conteMt-
Sea*us Deane tried to foster the personalit of the *ost i*personal I- The )riting I is
the 2nkno)n. the 2nna*ed and probabl the 2nna*able. the &ther )ho can find or figure
out a *eaning in the dark- I stands for the sensiti"e and creati"e personalit of an author )ho
uses his life to foster an al*ost fantastic stor- >lthough the author *akes his narrator
elucidate *steries and illu*inate the dark gaps. he cannot gi"e a na*e to the product and the
creator of all these- The inti*ate I telling such a touching stor )ith tenderness is deliberatel
i*personali!ed b being gi"en no na*e- Sea*us Deane goes further than #a*es #oce )ho
used a prophetic na*e for his character-
The narrator can also be seen as a *anipulator )ho feeds the reader's i*agination
)ith sequences of his real life and tries to lure hi* into a )orld of darkness )here logic and
reason ha"e been sucked into a great )hirlpool of fla*es-PEQ The reader beco*es the
prisoner of a diarSlike no"el )hose *ost i*portant parts are *issing- He is therefore in"ited
to find a *eaning in the dark gaps that do not fail to deepen bet)een the diar's entries- The
narrator gi"es the i*pression that he hi*self is caught in the sa*e trap and tries to figure out
a *eaning for hi*self and for the reader- 8et. the *echanis* of the narrator's i*agination
tring to create order. to sol"e the *steries and the feuds b practicing his stortelling is
re"ealed to the reader in the subchapter entitled Reading in the Dark-
The dark at*osphere. characteri!ing the no"el in point of setting and inner life.
deepens )ith each ne) entr in the bo's diar- The confessional tone of the book hea" )ith
sadness re"eals the i*pact of the bitterness of the unspoken secrets on a bo )ho can read
the* in the dark- His abilit to understand and keep the gro)nSups' secrets uneMpectedl
leads to aloofness and reNection on behalf of his confessors- Inheritor of sadness and bad
social relations )ithin an Irish postS)ar conteMt the narrator *akes his characters die and bur
their secrets )ith the*- His )ritingVtelling the stor of his life co*es as a therap helping hi*
to escape the ghost that separates hi* fro* the others and unload the burden of his sadness-
E4"lu"ti!n test:
3- Dhat is the structure of the no"elU
>ns)er1 Reading in the Dark has the form of a diar'% 'et it is structured into cha#ters and
sections% and each section has a title.
6- Dhat is the point of "ie) of the no"elU
>ns)er1
8uesti!ns:
3- Dhat is the role of repetitionU
>ns)er1 Deane uses re#eated titles of diar'6entries that inite the reader to retros#ectie
associations of eents% /hich makes it easier to follo/ the eolution of each character. The
author also re#eats stories.
6- %i"e an eMa*ple of repetition in the no"elU
>ns)er1
Summary
Reading in the Dark is a /ork merging the form of a diar'% as dated entries
chronologicall' arranged announce a confessional /ork% and that of a noel% as eer'
entr' has a title and the bod' is structured in cha#ters.
The ambiguous form is an outcome of the first #erson narratie% the use of an internal
narrator /ho reeals his most intimate thoughts% fears and feelings.
Des#ite the chronological unfolding of the eents im#osed b' the diar'6form of the
noel% there are fre8uent internal and e3ternal anale#ses meant to un#u??le the
m'steries and secrets.
Re#eated titles of diar'6entries inite the reader to retros#ectie associations of
eents% /hich makes it easier to follo/ the eolution of each character. The author
also re#eats stories.
"eamus Deane tried to foster the #ersonalit' of the most im#ersonal I. The /riting I is
the Bnkno/n% the Bnnamed and #robabl' the FBnnamableG% the ,ther /ho can find
or figure out a meaning in the dark. $t can also stand for the $rish #erson on the 8uest
of identit'.
The i$entit (r!*le& Reading in the Dark
Sea*us Deane's Reading in the Dark deals )ith Ireland's postcolonial proble*s and
presents the* fro* a child's perspecti"e- > *iMture of *agic and realit. this )ork succeeds
in defining the Irish social and cultural space in contrast )ith the colonists' aggressi"e atte*pt
to i*pose their culture and la)s- >lthough the action is placed after Dorld Dar II P34@ES
34<3Q. the no"el in its entiret takes the reader back to the Irish cultural re"i"al of the late
nineteenth centur. )hich *a also be seen as a return to innocence- Dith >nne Fogart. the
Irish re"i"al )as a *o"e*ent seeking to fuse culture and politics1 It ai*ed to foster the
burgeoning energies of nationalis* and a)aken a spirit of national pride b reSe"oking the
archetpal. *e*orial landscapes of the Celtic past and b reSin"enting ro*antici!ed i*ages
of the pri*al purit of the countrside of the Dest of Ireland PFogart 5?Q-
The unna*ed narrator helplessl )itnessing the e"olution of a co**on Irish fa*il
encapsulates in his apparentl ingenuous stor all the aspects necessar to offer a thorough
description of his conte*porar historical and political conteMt- Thus. the no"el inter*ingles
cultural ele*ents Pfair tales. *ths. religion. legends. superstitions. languageQ )ith social
ele*ents Pfa*il. social proble*s. social gatheringsQ )ith historical ele*ents PDorld Dar II.
the (ritish colonisation. the Irish fight for independenceQ and )ith the *aneu"ering )ithin the
co**unit in order to gain control and po)er PDebster's 333CQ-
Depicting an e"olution fro* childhood to *aturit. Reading in the Dark introduces the
reader into the real* of Celtic fair tales. *ths and legends. creating the i*age of an
innocence "iolated b eMternal Psocial and historicalQ intrusions- Therefore. *ost of the
cultural ele*ents ai*ed at defining the Irish identit beco*e *etaphors for the alteration of
the cultural identit- For eMa*ple. the changelings. hu*an children )hose souls ha"e been
taken o"er b fairies. *a stand for the Irish )ho ha"e lost their tradition and culture- The
legend )ith the people haunted because of ha"ing broken a *oral la) encodes the Irish's
reluctance to the (ritishSIrish collaboration- The *etaphor of the Field of the Disappeared
suggests a spiritual in"olution since the field appears as a *agic island )here the souls of
the Irish are taken. )here the Irish tradition and culture are buried-
Sea*us Deane *entions the changelings t)ice1 at the beginning of the no"el in
Disappearances and in Fatie's stor-
In Disappearances the author establishes the *aNor difference bet)een Celticis* and
Christianit1 the souls of the changelings P)hich are fairies' soulsQ )ould go into the fair
*ounds and not to hea"en. purgator or hell1 7eople )ith green ees )ere close to fairies.
)e )ere toldY the )ere Nust here for a little )hile. looking for a hu*an child the could take
a)a- If )e e"er *et anone )ith one green and one bro)n ee )e )ere to cross oursel"es.
for that )as a hu*an child that had been taken o"er b the fairies- The bro)n ee )as the
sign that it had been hu*an- Dhen it died. it )ould go into the fair *ounds that la behind
the Donegal *ountains. not to hea"en or purgator or hell like the rest of us- These strange
destinations eMcited *e. especiall )hen a priest ca*e to the house of a ding person to gi"e
the last rites. the sacra*ent of $Mtre*e 2nction- That )as to stop the person going to hell-
PDeane EQ
The changellings *entioned abo"e *a be related to the children in Fatie's stor
about t)o orphans )ho li"ed a)a do)n in the southern part of DonegalPEQ )here the still
spoke Irish- Donegal stands in opposition )ith Derr )here the old Irish )as no longer
spoken- The children's uncle hired a )o*an called (rigid to take care of the*- In response to
the first restriction (rigid i*posed on the children. the s)itched the colour of their hair-
(rigid's neMt inter"ention *ade the* s)itch their "oices and the stor continues until the t)o
children die. being taken b their dead parents- In this terrifing stor pagan and Christian
s*bols face each other )ithin a fight )here nobod )ins1 s*bols of Irishness. the
changelings pass a)a letting the*sel"es be last seen in a green light b the Christian priest
)ho )as po)erless and e"entuall fell on his knees. )hile the children )ere disappearingY the
green light can stand for Irishness as it is one of the colours on the Irish flag-
(rigid. the )o*an )ho took care of the children. has a s*bolic na*e. that of the
Celtic goddess )ho )as incorporated into Christian religious beliefs- >s >* Hackne
(lack)ell and ,an Hackne state in the book The &er'thing $rish (istor' and (eritage
*ook. (rigid )as Daghdha's P%ood %odQ daughter and she had t)o sisters )ith the sa*e
na*e- The )ere goddesses of fertilit and patrons of poets. one )as associated )ith
crafts*anship and the last one )ith healing- Later. (rigid transfor*ed into the Christian St-
(ride or St- (rigid- PHackne 6<Q (rigid in Fatie's stor could speak the old Irish that the
children spoke and also $nglish. the language spoken in Derr. bridging the past and the
present- The e"olution of the character is spatiall traced fro* Donegal to Derr. fro* Celtic
tradition to Christianit- She is the "oice that echoes the traditional calls of a Celtic Ireland.
but her "oice is absorbed. silenced and isolated b the indifference of the Irish- She stops
telling the stor and thus beco*es one of the*-
>nother *etaphor describing the e"erSpresent Irishness is a stone cashel called
%rianan )hose ancient burial site is belie"ed to belong to the +eolithic 7eriod P3<?? (CQ- >n
old stor ad"ises people not to )hisper a secret )ithin the )alls of the fort because e"erone
)ill kno) it since there is a secret passage that echoes )hat is told and see*s to ne"er stop
PDeane ;5Q- Thus. the Irish trans*it their Celtic *ths and legends in ti*e. fro* generation to
generation. and in space. all o"er Ireland. fore"er. )hich helps the* preser"e their tradition-
The Field of the Disappeared. a place )here the souls of the people fro*
neighbourhood )ho had disappeared gather se"eral ti*es a ear on special das like St-
(rigid's Da. on the festi"al of Sa*hain. on Christ*as Da. e*erged fro* the *ists of Celtic
*tholog and Christianit- It's a place )here the souls *ourn their fate and all those )ho
dare to enter the field )ill share the sa*e destin and suffer the sa*e pain- The das )hen the
souls gather refer to both Celtic and Christian religions1 St- (rigid's Da can be connected to
both Celticis* and Christianit because of the Celtic goddess (rigid and because of (rigid of
Fildare )ho con"erted to Christianit and ad"anced Christianit in Ireland- She is also called
the /ar of the %ael- (elonging to both religions. (rigid is a belo"ed Irish Saint and is
celebrated on Februar 3. the sa*e da being dedicated to the Irish fertilit goddess (rigid. a
paganSChristian co*bo as >* Hackne and ,an Hackne call it P@4SE3Q- The festi"al of
Sa*hain is a Celtic celebration si*ilar to *odern Hallo)een and it used to *ark the end of
su**er1 This is the da that to*bs opened and ghosts )alked about )ith gods and
goddesses PHackne 64Q- The last celebration *entioned is a Christian one. the da )hen
#esus Christ )as born. and it creates equilibriu*. actuall sho)ing that Irishness is defined b
both Celtic and Christian ele*ents-
Dhat e*phasi!es *ost the alterit of the Irish identit is the fact that Irish is no longer
spoken in Ireland- First. in Fatie's stor it is *entioned that the t)o children still spoke Irish.
but an Irish that )as so old that *an other Irish speakers couldn't follo) it-PDeane ;CQ-
(rigid had been brought up in Donegal and could speak the sa*e old IrishY she )ent to Derr
P+orthern IrelandQ later- Thus. Donegal see*s to be an oasis of Irishness )here the *agic of
the fairies' real* get *ore fascinating due to the old Irish spoken there- (ut there are stories
that should be told in Irish. as the narrator )ants to tell us to)ards the end of the no"el )hen
he )rites all the stor in Irish and reads it to his father. pretending that it )as an essa for
school- Speaking Irish is not so*ething real or conte*porar for the protagonist's father. nice
but still dead1 ZI read it all outright in Irish to hi*- It )as an essa )e had been assigned in
school. I told hi*. on local histor- He Nust nodded and s*iled and said it sounded )onderful-
`Za / father tapped *e on the shoulder and said he liked to hear the language spoken in the
house- PDeane 6?CQ- The narrator's *other kne) no Irish. et she tried to understand
frag*ents of poe*s and songs. she felt the need to be told an Irish poe*. )hich sho)s the
longing for the lost Irish Identit. and the irre"ersible e"olution of histor-
Despite the cultural )isdo* arising fro* the paganSChristian co*bo PHackne @4S
E3Q in folk literature. social life and histor re"eal a *ore trau*atic (ritish=Irish cohabitation-
Historical e"ents. such as the )orld )ars and postcoloni!ation. are echoed in social life1 in
fa*ilies. in groups of children. in the co**unit. in religion- The reader can identif three
categories of people1 the Irish. the $nglish colonists and the infor*ers- Dithin a rough
religious association the Irish are Catholic and the $nglish are 7rotestant- 8et. the idea of
con"ersion and the idea of old $nglish colonists. )hose status is a kind of $rish6&nglish.
appear in the no"el-
The perspecti"e upon societ and histor co*es fro* inside an Irish fa*il in"ol"ed
in the I,> *o"e*ent- The first thing that stirs the child's curiosit is his uncle's
disappearance *steriousl talked about at the beginning of the no"el- The secret of $ddie's
disappearance follo) hi* all along the no"el and affects the characters' beha"iour and
relationships- He e"entuall finds out that his uncle )as eMecuted b his o)n people at his
grandfather's order because the thought he )as an infor*er- Later. Cra! #oe. )ho onl
pretended insanit. told the I,> *e*bers )ho the real infor*er )as- So*e of the characters
had to li"e )ith the burden of their *istake )hich re*ained a secret- The narrator's *aternal
grandfather. his *other. he and Cra! #oe see* to be the onl people )ho kne) the truth- The
narrator's father kne) that his brother )as an infor*er. )hile the rest of the people had not
been infor*ed at all about the reason for $ddie's disappearance-
(esides "iolence. the effort to gain control and po)er *eant to i*pose 7rotestant
celebrations despite the reduced nu*ber of the 7rotestant $nglish in Derr- So*e of the
celebrations )ere si*pl defiant as the celebrated the death of an Irish hero or the defeat of a
CatholicV an Irish attack1
It )as a cit of bonfires- The 7rotestant had *ore than )e had- The had the t)elfth of #ul.
)hen the celebrated the triu*ph of 7rotestant ar*ies at the (attle of the (one in 3;4?Y then
the had the t)elfth of >ugust )hen the celebrated the liberation of the cit fro* a besieging
Catholic ar* in 3;54Y then the had the burning of Lund's effig on the eighteenth of
Dece*ber- Lund had been a traitor )ho had tried to open the gates of the cit to the Catholic
ene*- De had onl the fifteenth of >ugust bonfiresY it )as a church festi"al but )e *ade it
into a political one as )ell. to ans)er the fires of the t)elfth- (ut our celebrations )ere not
official. like the 7rotestant ones- The police )ould so*eti*es *ake us put out fires or tr to
stop us collecting old car tres or chopping do)n trees in preparation- Fire )as )hat I lo"ed to
hear of and to see- PDeane C3Q
The bo sees the difference bet)een the* and us as a religious difference
bet)een the 7rotestants and the Catholics. )hich is a rough identification- This identification.
as )ell as the reasons for )hich the 7rotestants celebrated. is far fro* referring to %aelic Irish
aspirations and identit- The Catholic co**unit )ere pre"ented fro* their onl church
festi"al celebrated on the fifteenth of >ugust. )hich sho)s that the *ain task of the police
)as to preser"e the 7rotestant order and interest- The last sentence of the abo"e eMcerpt sho)s
the child's indifference to the reasons for )hich the fires )ere *ade1 Fire )as )hat I lo"ed
to hear of and to see- PDeane C3Q as he couldn't si*pl identif )ith either the Catholics or
the 7rotestants-
E4"lu"ti!n test:
3- Dhat is the possible *eaning for the use of the changelings in the no"elU
>ns)er1 The changelings are human children /hose souls hae been taken oer b' fairies%
and the' ma' stand for the $rish /ho hae lost their tradition and culture-
6- Dhat is the s*bolic *eaning of the na*e (rigidU
>ns)er1
8uesti!ns:
3- $Mplain the *etaphor of the Field of the DisappearedU
>ns)er1 The meta#hor of the Field of the Disa##eared suggests a s#iritual inolution since
the field a##ears as a magic FislandG /here the souls of the $rish are taken% /here the $rish
tradition and culture are buried.
6- Dhat happens if so*eone )hispers a secret in %riananU
>ns)er1
Summary
To #resent the identit' #roblem the author had to intermingle cultural elements 2fair'
tales% m'ths% religion% legends% su#erstitions% language4 /ith social elements 2famil'%
social #roblems% social gatherings4 /ith historical elements 21orld 1ar $$% the *ritish
colonisation% the $rish fight for inde#endence4 and /ith the maneuering /ithin the
communit' in order to gain control and #o/er.
The narrator refers to the changelings% the cashel Drianan% the Field of the
Disa#eared% uses characters /ith s'mbolic names H*rigid% mentions celebrations for
Protestants and for !atholics% and eents that reeal the conflict bet/een the
Protestantants and the !atholics.
Silence in Reading in the Dark
Reading in the Dark see*s to ha"e been )ritten to sho) ho) silence can enco*pass
e"erthing beco*ing a *eans of life for a fa*il. a necessit in the logic of narrati"e
econo*. the goal of life in a Freudian *eaning. the openness of the no"el itself- >lthough
silence has been considered another for* of death or attribute of death. Sea*us Deane *akes
it an ineMhaustible source of co**unication and i*agination. the dark )here the process of
ding turns into a birth into death since onl there. free of an constraint. the narrator's
i*agination can gi"e birth to his stor. li"e through his stortelling and die as an e"erda
ego- This also *eans the end of his quests and uncertainties because of shaping the* as a teMt-
Dithin a theoretical fra*e generated b Didier Coste's )ork Narratie as
!ommunication there are t)o dri"es that *ake silence an inherent presence in the narrati"e-
Coste states that e"er narrati"e `Za has at least one teMtual beginning and one teMtual end
Pon the narrational planeQY *ost narrati"es also ha"e beginnings and endings on the plane of
the narrated and on the plane of stor PCoste. 345416@;Q- >ccording to ,a*ond ,ussel the
author should pro"ide a link bet)een a beginning and an ending that cannot be identical but
should ha"e an air of fa*il rese*blance PCoste. 345416@;Q- There is a co**on logic that
Coste thinks about i*pling a causal etiological and teleological orientation of all narrati"es
P345416@<Q. thus silence beco*es a logical end of the stor-
>nother dri"e refers to the narrati"es that e*plo characters )hose e"olution has to
reach a point )here their proble*s are sol"ed. has to reach silence. other)ise the stor *a
fail. beco*ing tedious- Fno)ing )hen to stop is part of the artistr- The author's choices are
so*eho) restricted b the narrati"e itself. therefore rhetorical. *oral and aesthetic constraints
can deter*ine the )a in )hich the characters can reach silence-
In Sea*us Deane's no"el the )hole stor is born out of silence and shado). the
shado) de"elops )ithin *agic. *ster. darkness and silence to end in death and silence- In
the first section )ith a s*bolic positi"e title Stairs P&n the stairs. there )as a clear. plain
silence-Q. since it i*plies the idea of ascendance. *other and son are separated b a shado)
that onl the *other can see-
Sea*us Deane creates suspense and *agic on the background of )hich he )ants to
build a child's personalit and identit- (oth silence and shado) are good incenti"es for a
child )ho )ants to disco"er his identit- The *a also *ean freedo* since his stor see*s
to be forged out of nothing. in the dark. therefore it see*s to be the fruit of a resourceful
i*agination that shapes its o)n )a and erects its o)n obstacles. such as the obsessi"e
disappearances that the character has to deal )ith- Despite his *other's )arning according to
)hich the in"estigation of the shado) )ould bring so*ething bad to hi*. the bo chooses the
darkness. that is to sta b his *other and tr to understand and help her as a proof of his lo"e
for her and for his father-
The reader is introduced to the cause. the birth of the reason for )hich the no"el
should happen. that is the eMistence of a shado) in the life of the bo's *other- The eMistence
of the shado) encapsulated in silence )as re"ealed b the first )ords related to its eMistence
and betraing his *other's fears- Hadn't she told anthing about the shado). it )ouldn't ha"e
appeared in the bo's life and. of course. the no"el )ouldn't ha"e been )ritten- He )as
challenged to look for so*ething unkno)n )here there shouldn't ha"e been anthing-
>bsurdit and frustration hardens the bo's childhood b *aking hi* see darkness b the
)indo)- The eMistence of her secret could be heard in the silence-
Sea*us Deane succeeded in "eiling e"erthing in silence. outer and inner life1 silence
is cause. is setting. is goal- The author a"oids the description of the setting because e"ents and
characters see* to rise out of silence1 )hen the police ca*e because the had found out about
the pistol the bo )as still in the silence- &bNects see*ed to be floating. free of gra"it. all
o"er the roo*-PDeane. 34451C?Q Describing his father's fa*il the protagonist states1 So
broken )as * father's fa*il that it felt to *e like a catastrophe ou could li"e )ith onl if
ou kept it quiet. let it die do)n of its o)n accord like a dangerous fire Z > long. silent
feudZ P>t other ti*es it see*ed to be as cunning and articulate as a labrinth. closel
designed. )ith so*eone sobbing at the end of it-Q PDeane'34451@6Q The son )anted to punish
his father for not telling hi* about the proble*s his fa*il had )ith the police b destroing
his roses. the onl colour in his life- He reduced the* to silence1 Dalking on that concreted
patch )here the bushes had been )as like )alking on hot ground belo) )hich "oices and
roses )ere burning. burning- PDeane. 34451333Q Lo"e for his *other and father *eans
silence1 I hated ha"ing to lo"e her then for it *eant I couldn't sa or ask anthingZ
PDeane. 344513C@Q $"erbod )ho kne) the secret of $ddie's death )as dead or in eMile or
silenced one )a or the other- PDeane. 3445163<Q
The son )ho feels the need to co**unicate is reduced to silence b a kind of
co**unit la). )hich *akes "oices. and )ords burn e"erbod. as his *other felt )hen she
had a breakdo)n and couldn't speak to release her soul- The son chooses to co**unicate b
using other *eans1 he destroed his father's roses and told hi* that he kne) )h. his father
not telling hi* the truth about their fa*il had spoiled the bo's childhood and innocence- He
reads his father the stor of the secrets of their fa*il in Irish pretending he )as reading an
essa for school. )hich turned out to be a test because he found out that his father didn't
kno) all the secrets )hile his *other kne) the* and reacted- He felt relie"ed because he had
told his father the secrets that he kne)-
For the sake of his lo"e for both his parents. the bo. no) an adolescent chooses
silence. but it see*s to be too late for his *other )ho feels haunted b her son's presence and
paral!ed b sha*e- Dhen he *akes his choice. the narrator beco*es the shado)1 +o) the
haunting *eant so*ething ne) to *e = no) I had beco*e the shado) PDeane. 34451665Q.
)hich is the logical end of the stor- Dhat co*es after this *o*ent is a di"ing of e"ents and
people into silence1 sergeant (urke )ho is the representati"e of the police and )ho brought
the* suffering diesY father dies Pinnocentl laZQ before his retire*ent )ithout kno)ing
the secret. *other retires into her bedroo* in silence- Thus. the third stage in the e"olution of
the e"ents is reaching silence. )hich turned out to be either phsical death or spiritual death
P*other. son. Cra! #oeQ- (esides the fact that b reaching silence in the end of the no"el the
author succeeds in findingVestablishing the link )ith the beginning. the structure of the no"el
also re"eals a teleological orientation. the fact that the no"el is designed so as to *o"e
to)ards certain goals of self reali!ation. here silence or death-
The other perspecti"e upon the internal econo* of the teMt is closel connected to the
first since. at least in Reading in the Dark. all the characters find a solution to their proble*s
andVor die- Thus. the reader *a assu*e that so*e characters' death P2na. $ddie. Father's
sistersQ contribute to the creation of an at*osphere of suspense and suffering and ha"e a
trau*atic effect upon the other characters *eant to carr on the stor until the the*sel"es
find their end in death. in silence or in shado)- The cclic structure of the no"el as sho)n
abo"e *a be translated into a successful achie"e*ent of the goal of life. according to Freud's
theor in *e'ond the Pleasure Princi#le- The *aNor instinctual dri"e )hich he called the
death6instinct stands for those conseratie instincts )hich gi"e the decepti"e appearance of
being forces to)ards change and progress )hile the are seeking to reach the goal of life.
that is the initial state fro* )hich the li"ing entit has departed. therefore death- Thus. the
conser"ati"e instincts i*pel to)ards repetition. the restoration of an earlier state of things
PFreud. 344?1E6Q-
E4"lu"ti!n test:
3- Dhat *akes silence be a logical ending of the storU
>ns)er1 According to Didier !oste-s /ork Narratie as !ommunication there are t/o dries
that make silence an inherent #resence in the narratie. !oste states that Feer' narratie
STU has at least one te3tual beginning and one te3tual end 2on the narrational #lane4TG
2!oste% 9@=@7>;:4. According to Ra'mond Russel the author should #roide a Flink bet/een a
beginning and an ending that cannot be identical but should hae an air of famil'
resemblanceG 2!oste% 9@=@7>;:4. There is a common logic that !oste thinks about im#l'ing a
causal etiological and teleological orientation of all narraties 29@=@7>;P4% in our case
silence becomes a logical end of the stor'. The noel begins b' mentioning the e3istence of a
secret /hich im#lies silence% and ends /ith the 'oung bo' /ho has learned that silence is a
form of #rotection.
6- Dh is it i*portant to kno) )hen to finish the )riting of a no"elU
>ns)er1
8uesti!ns:
3- $Mplain )h silence is i*portant for the fa*il-
>ns)er1 There are t/o ma5or reasons for /hich silence is im#ortant for the famil'7 the
narrator% his mother and his grand father chose to kee# the secret of &ddie-s death in order
not to make the narrator-s father sufferO #eo#le teach their children to be silent in order to
#rotect them from the #roblems the' can encounter in the communit' if the' s#eak.
6- $Mplain )h the narrator destros his father's roses-
>ns)er1
Summary
Reading in the Dark seems to hae been /ritten to sho/ ho/ silence can encom#ass
eer'thing becoming a means of life for a famil'% a necessit' in the logic of narratie
econom'% the goal of life in a Freudian meaning% the o#enness of the noel itself.
"eamus Deane makes silence an ine3haustible source of communication and
imagination% the dark /here the #rocess of d'ing turns into a Fbirth into deathG since
onl' there% free of an' constraint% the narrator-s imagination can Fgie birthG to his
stor'% lie through his stor'telling and die as an eer'da' ego. This also means the
end of his 8uests and uncertainties because of sha#ing them as a te3t.
"ilence thus is a techni8ue faouring creation% m'ster' and sus#ense and turning the
noel into a #u??le. $t can be seen as a means of #rotection of the father-s feelings and
of the famil'. "ilence meaning lack of communication affects the relationshi#s /ithin
the famil' and leads to aloofness. "ilence can be eentuall' inter#reted as loe since
the narrator chooses to bear the burden of the secret for the sake of both his #arents.
The&e D 3illi"& Tre4!r
Units
The identit proble* in Fools of Fortune
,eshaping lo"e in Fools of Fortune
O*7ecti4es
To identif the narrati"e techniques the author uses
To su**ari!e the e"ents of the )orks
To describe the *ain characters
To eMplain the *ain characters' e"olution
To identif cultural ele*ents in the )orks
Ti&e "ll!tte$: @ hours
2i*li!#r"(h:
(elfiore $li!abeth. Tragic Pleasures7 Aristotle on Plot and &motion. 7rinceton. 7rinceton
2ni"ersit 7ress. 3446-
%rei*as >lgirdas and Fontanille #acques. "emiotica #asiunilor. (ucure0ti. Scripta. 344<-
Hackne (lack)ell. >*. and ,ah Hackne- The &er'thing $rish (istor' ) (eritage *ook-
>"on. /assachusets1 >da*s /edia. 6??@-
Haes /cCo. %->- \The Tudor Conquest13E@CS3;?C' in The !ourse of $rish (istor'. /ood.
T-D-. and F-G- /artin. eds- Lanha*- 2nited States and Canada1 ,oberts ,einhart
7ublishers in association )ith ,adio TelefHs Iirean. 6??3-
Lnch. 7atrick- \The Irish Free State and the ,epublic of Ireland1 3463S;;' in The !ourse of
$rish (istor'. /ood. T-D-. and F-G- /artin. eds- Lanha*- 2nited States and Canada1
,oberts ,einhart 7ublishers in association )ith ,adio TelefHs Iirean. 6??3-
/orle Da"id and Fe"in ,obins- "#aces of $dentit'. Dlobal Media% &lectronic +andsca#es
and !ultural *oundaries- London and +e) 8ork1 ,outledge. 344E-
Tissari Helli. +,V&sca#es. !hanges in #rotot'#ical senses and cognitie meta#hors since
9Q<<. Helsinki. Soci:t: +:ophilologique. 6??C-
Tre"or. Dillia*- Fools of Fortune- London1 7enguin (ooks. 345@-
3ILLIAM TREVOR
;6='< - @
Dillia* Tre"or CoM. born in Count Cork. Ireland. in 3465. has been a full ti*e )riter
since 34<?. although he initiall )orked as a sculptor- He graduated fro* Trinit College.
Dublin. )ith a degree in histor- He )orked in )ood. cla and *etal and eMhibited in Dublin
and in se"eral places in $ngland- He started )riting prose in 34E5 and t)o ears later he
abandoned sculpture as his )ork had beco*e too abstract- (oth the*es and the for* of his
literar )orks echo his education and eMperience in sculpting- He )as a)arded Ha)thornden
7ri!e for Literature P34;@Q for The ,ld *o's and in 34;E he published The *oarding (ouseY
,oal Societ of Literature for Angels at the Rit? and ,ther "tories P34<EQY Dhitebread
>)ard for The !hildren of D'nmouth P34<;Q. Fools of Fortune P345CQ and Felicia-s 0ourne'
P344@QY >llied Irish (anks 7ri!e for fiction P34<;QY 7ost (ook of the 8ear >)ard for The
"ilence in the Darden P3455Q- His last no"el is The "tor' of +uc' Dault P6??6Q-
The i$entit (r!*le& in Fools of Fortune
Can )e reall choose ho) to li"eU Shall )e belie"e in faithVfortune and accept the idea
that our identit is *oulded or blunted b the conteMt )ithin )hich )e li"eU Fools of Fortune
raises the proble* of choice as )ell as that of futilit- It *akes us )onder ho) *uch the
national. cultural and social conteMt affects one's decisions and )h the Irish so*eti*es
choose to escape their countr and the*sel"es- >s D- /orle and F- ,obins state in "#ace of
$dentit' the foreigners. the strangers are not onl a*ong us. but also inside us. )hich leads
to a sense of eMistential unease P6EQ and alienation1 Dhat has been alienated in the
construction of our identities co*es back to haunt our i*agination and disturb our peace of
*ind P6EQ- The Irish's split identit is the result of a continuous process of reNection =
assi*ilation of the intruder Pthe (ritishQ-
The beginning of the first chapter. entitled Dillie. infor*s the reader about the
narrator's intention to take hi* about one hundred ears back. to a *o*ent )hen there )ere
intensi"e fights for Ireland's independence- Dillie. )ho is the narrator in the first chapter. is a
descendant of a *iMed fa*il P>nna Doodco*be )ho )as $nglish and her Irish husband
Dillia* Wuinton = Dillie's greatSgrandparentsQ )ho li"ed in Co-Cork- T)o generations later
the daughter of an $nglish colonel. a poor relation of the Doodco*bes PTre"or 3Q *arried a
Wuinton and had three children- The bo. the abo"eS*entioned Dillie. *ade histor repeat b
*arring his cousin. an $nglish )o*an related to the Doodco*bes- Such a co*plicated
genealog. *eaning the interrelation of different cultures. inter*ingled )ith the Irish = (ritish
conflict and e"entuall led to a s*bolic descendant1 a daughter. I*elda. )ith a *ental illness
that isolated her fro* the co**unit. a daughter )ho see*s to ha"e been the recipient of all
the *isfortunes that had attended her fa*il-
The e"olution of such a fa*il as presented b Dillia* Tre"or represents the essence
of the marriage bet)een Ireland and (ritain b pointing out ho) it affected the characters'
social and cultural identit- The s*allest social unit that *arked Dillie's identit )as his
fa*il1 his parents Pthe $nglish *other and the Irish fatherQ *ade hi* different. the persons
li"ing )ith the* Paunt 7ans. aunt Fit!eustace. Father Filgarriff. #osephine. /r- Deren!Q
created a co**unit )here tolerance )as established- Thus. Filneagh beco*es the $denic
space that could be shared b people belonging to different cultures. nations. professions. and
an oasis of peacefulness- 8et. Dillie can re*e*ber slips re"ealing his relati"es' hidden.
repressed identit-
In order to adapt Dillie to the place )here he li"ed he had to be taught Irish histor-
His first contact )ith Irish histor )as a result of the lessons Father Filgarriff ga"e hi*-
(eing infor*ed about historical e"ents fro* an Irish perspecti"e. Dillie's personalit )as
*oulded so as to e*brace the idea of Irish freedo* and s*pathi!e )ith the Irish people-
Father Filgarriff's lessons )ere continued b $"ie Wuinton )ho spoke about the $nglish
occupation and about ho) the Irish helped the $nglish to do no) )hat the )ere done during
the 2lster )ar PTre"or 63Q. b fighting in a )ar )hich )as not theirs- Dillie's *other. $"ie
Wuinton. spoke less about her $nglish origin. but )hene"er she did she sho)ed dignit- The
)a in )hich she talked sho)ed her understanding of the Irish proble* and that she did not
consider herself the ene* but i*plied that she shared the Irish faith and )ould like to
eMpunge the inNustice-
Later. after her husband and her daughters died killed b sergeant ,udkin. she could
not find po)er to continue to soberl li"e her li"e and e"entuall co**itted suicide- She )as
not angr because of the )ar itself. as she could not understand the reasons for it- Ho)e"er.
she could not understand )h an $nglish*an destroed their fa*il. ho) could such a person
continue to talk to people and ha"e his o)n business. ho) could the others bu his products-
She )ould ha"e probabl liked the sa*e Irish for )ho* her husband )as killed to punish hi*
b isolating hi*- >s the no"el re"eals. the Wuintons )ere to continue to suffer. not because of
ho) the )ere. but *erel because the had $nglish origins and s*pathi!ed )ith the Irish
people-
Dillie's father did not forget his Irish origin and tried to keep hi*self infor*ed about
the Irish proble* and e"en to help the Irish re"olutionar *o"e*ent- Therefore. he recei"ed
back to his *ill a for*er e*ploee. Dole. )ho had returned fro* the Dorld Dar I and )ho.
despite his Irish nationalit. turned out to be an infor*er- This de*onstrates Dole's
alienation. a result of the displace*ent of his national fra*e)ork P/orle C@Q- /r Wuinton
also used to read the Irish Ti*es. )hich sho)s his interest in and s*path )ith the Irish
cause- Later. he got in"ol"ed in the Irish *o"e*ent b in"iting the re"olutionar head.
/ichael Collins. to his ho*e and b helping hi* )ith *one. eMposing his fa*il to "iolence
and death- The episode refers to the Ci"il Dar )hich lasted until /a 346C and )hich )as the
effect of the >ngloSIrish Treat signed on ; Dece*ber 3463- It didn't take long to the (lack
and Tans to arri"e at Filneagh and destro both the fa*il and the house- Father and
daughters )ere shot. Dillie eMperienced e"erthing as if it )ere a night*are in )hich strong
sensations inter*ingled )ith ele*ents of the fa*il histor and i*ages of the dead-
The )a in )hich e"ents unrolled for the Wuintons e*phasi!es the fact that
$"erthing in Ireland )as unsettled and on the edge- >lthough the Wuintons )ere
7rotestants and had *ore $nglish roots. the had helped the Irish since 3<4< PTre"or 65Q
and e"entuall )ere punished b the $nglish as the )ere considered traitors to our class and
to the >ngloSIrish tradition PTre"or 65Q- &n the other hand. Irish*en like Dole. )ho )as
a*ong the fe) returned fro* the )ar. betraed their o)n nation and people. infor*ing the
(ritish about the re"olutionar *o"e*ent- (oth situations suggest an alienation of identities
either deter*ined b the social and econo*ical conteMt or b *ore inti*ate scopes. as the
lo"e stor in this no"el )ants to re"eal- The Wuintons chose to share the Irish fate. neglecting
the fact that their *iMed origin *ade the* *ore "ulnerable-
Dillie's life changed radicall1 he )as brought up b #osephine as his *other chose to
drink and refused to o"erco*e the traged. not e"en for the sake of her child- He had to attend
a 7rotestant school. )hich *ade hi* share the social life of the (ritish *inorit- >s e"idence
of the reiteration of histor. he fell in lo"e )ith his (ritish cousin- /arriages bet)een cousins
)ithin the 7rotestant co**unit )as a local habit )hich helped the* preser"e their tradition
but also affected their psche and the capacit of integration into the larger >ngloSIrish
co**unit- The continuit of the *isfortunes )as sti*ulated but $"ie's suicide- He also felt
guilt of her suicide because he left her alone in Cork and )ent to Filneagh that afternoon-
The i*pact of his *other's death )as *uch greater than his lo"e for /arianne and he left
Ireland-
>t this point. Dillia* Tre"or chose to change the narrator )ith /arianne )ho decided
to go to Ireland and li"e her life at Filneagh- /arianne *eans a ne) perspecti"e upon things
since her proble*s are *ore personal and do*estic than those concerning Ireland's fight for
independence. )hich *ight eMplain $"ie's attitude to her son's education and her interest in
preparing hi* for his life in Ireland- >s )o*en and *others. both $"ie and /arianne choose
their fa*ilies first and repress their cultural identit- /arianne's choice )as disappro"ed b
her (ritish parents )ho refused to "isit her in Ireland- Therefore. she had to redefine herself in
the *iddle of the ruins of an >ngloSIrish fa*il and create a sane en"iron*ent for her
daughter in the absence of the latter's father- &n the other hand she tried to trans*it the Irish
tradition and culture to I*elda. )ith the help of Dillie's friends and aunts1 >nd I*elda's
*other replied b speaking of Irish *artrs and Irish battles. and of the $aster ,ising that
ears ago had taken place PTre"or 3;@Q-
/arianne's bitterness and anger fle) o"er I*elda's fragile soul and *ind and instead
of helping her to integrate in the co**unit that her *other considered right for her. she
isolated herself in her o)n )orld )ith her father as an Irish hero or as the bo in the
photograph in one to)n after another- /arianne )anted her daughter to be brought up as an
>ngloSIrish girl in Ireland. )ith her parents around. )hich *ade her refuse her parents' offer
to gi"e the child for adoption1 To ha"e * child brought up as so*eone else'sU To ha"e
forgotten her eMistenceU PTre"or 3;EQ-
(ecause of Dillie's uneMpected departure. he and /arianne did not ha"e the chance to
get *arried. )hich hardened the position of the child in the Irish co**unit- She )as
accepted at a Catholic church. although she )as a 7rotestant. people lo"ed her- &nl one
colleague kept on addressing her b ugl )ords and reNected her- The Irish people did not
forget )hat the Wuintons had done for the* for centuries- In spite of the tolerant en"iron*ent
I*elda could enNo at Filneagh and in the co**unit. she )as "er *uch affected b
e"erthing she had heard about her birth and life. uncertain infor*ation about an absent father
)ho could ha"e Nustified their life at Filneagh- I*elda has the *ost shattered identit and
apparentl the *ost acute sense of not belonging to the place indulged b her *other's
bitterness and a series of secrets that she happened to find out-
I*elda beco*es a s*bol of Ireland itself. repeatedl in"aded b the (ritish and
abandoned b the Irish. a countr )hose lost bearings lead to a cultural pschosis. to
identit disorder- The girl's curati"e po)er so useful for the others and useless for herself
i*plies a co*plete surrender of identit and thus of the reNection of the others PFriste"a in
/orle 6EQ- Her co*plete alienation and uprootednessVdisplace*ent suggest a nonS
referential Pplaceless and ti*elessQ sense of identit P/orle C4Q and an oasis of peacefulness
for both the Irish and the (ritish )ho "isit her and tr to help her-
Dillie. /arianne and I*elda. the last standing for Ireland. are creatures of the
shado)s. alienated as the ha"e lost their sense of belongingnessVof identit and open as
borderlessness *utilated their abilit to respond to both internal PIrishQ and eMternal P(ritishQ
sti*uli and *ade the* accept e"erbod. irrespecti"e of nationVculture. religion. social
groupVclass-
E4"lu"ti!n test:
3- Ho) )ould ou describe FilneaghU
>ns)er1 Kilneach is the #lace /here Wuinton famil' lied7 his #arents 2the &nglish mother
and the $rish father4 and the #ersons liing /ith them 2aunt Pans'% aunt Fit?eustace% Father
Kilgarriff% 0ose#hine% Mr. Deren?'4 created a communit' /here tolerance /as established.
Thus% Kilneagh becomes the &denic s#ace that could be shared b' #eo#le belonging to
different cultures% nations% #rofessions% and an oasis of #eacefulness.
6- Dhat happened because of the Wuintons in"ol"e*ent in the ci"il )arU
>ns)er1
8uesti!ns:
3- Dhat deter*ined /rs Wuinton to co**it suicideU
>ns)er1 *ecause of the *ritish soldiers- attack Mrs Wuinton lost her daughters and her
husband. "he could not recoer and started drinking% neglecting her son 1illie. 1hen 1illie
left for a isit to Kilneach% his mother committed suicide.
6- Dhat can I*elda represent )ithin the gi"en conteMtU
>ns)er1
Summary
The noel Fools of Fortune has : cha#ters and more #oints of ie/. &ach cha#ter has
the name of one of the characters7 1illie% Marianne and $melda% from /hose
#ers#ectie the stor' is told. There are three narrators7 an e3ternal narrator /ho
begins the noel and also s#eaks in the cha#ters dedicated to $melda% t/o internal
narrators7 1illie and Marianne. The' either re#eat the stor' from a different
#ers#ectie or com#lete it.
The noel #resents as#ects of the life of an Anglo6$rish famil' in a troubled #eriod of
fights bet/een the $rish 2roughl' seen as !atholic4 and the *ritish 2the Protestants4.
This mi3ed famil' cannot identif' /ith either of the aboe mentioned categories and
its members are re5ected b' both.
Resh"(in# l!4e in Fools of Fortune
>ssu*ing that lo"e is e*otion and relationship )ithin its "er basic *eaning. )e also
reali!e that the )a in )hich lo"e e"ol"es is deter*ined b the conteMt in )hich the t)o
partners li"e- The cannot be deconteMtuali!ed as hu*an beings are social and unfold their
life and e*otions in relation )ith the ti*e. space and co**unit in )hich the li"e-
/oreo"er. the relationship follo)s certain political rules as $li!abeth (elfiore states1 Thus it
appears that hu*an beings are \political ani*als' because the are li"ing things )hose nature
is to function )ithin a co**unit through the #hilia relationships of fa*il and polis- The
are \political' in the sa*e )a the are #hilial1 because the engage in *utual duties that
*aintain the cooperati"e relationships of people )ho contribute to a co**on function
P34461 <5Q-
The characters in"ol"ed in Dillia* Tre"or's no"el eMperience such terrifing *o*ents
that their abilit to lo"e and share their feelings and e*otions is paral!ed- The *ain pattern
the author follo)s sho)s ho) a character that lost a belo"ed person beco*es unable to
engage in a reciprocal e*otional relationship. choosing to indulge in suffering- The no"el is
thus *ainl built on the phsical or e*otional absence of one partner and reflects the other
partner's thoughts. e*otions. suffering deter*ined b this absence- Thus the )aste their life
and their partner's life-
The no"el begins b focusing on the concept of famil' loe- Filneagh is a place )here
people lo"e each other in a friendl )a )hile each of the characters has hisVher o)n lo"eS
stor- Ho)e"er. the are percei"ed as a great fa*il as the share the sa*e space and are
engaged in *utual duties in order to *aintain the do*ain and the*sel"es as a fa*il- (esides
his relati"es. >unt 7ans and >unt Fit!eustace. /r Wuinton )ho is the o)ner of the do*ain
allo)s other persons to be part of the fa*il and li"e )ith the*1 Father Filgariff. their *aid
P#osephineQ. the *ill *anager P/r Deren!Q. and other people )orking there-
Dhen #osephine is accepted to be a *e*ber of the fa*il. both she and the Wuintons
are tolerant to each other- Since #osephine is not a kinship. her belonging to the Wuintons and
her in"ol"e*ent in the fa*il's business are restricted to her *aid dut- Therefore. )hen the
narrator states that his *other *ade #osephine feel at ho*e. he actuall *eans fa*iliar
)ith the en"iron*ent. co*fortable )ith their relationships and )ith herself for ha"ing chosen
to be thereY his *other puts #osephine in the right place to function efficientl )ithin the
institution called fa*il- >fter /r- Wuinton's death and his )ife's indulgence in drinking.
#osephine is the one )ho brings Dillie up. she is a *other to hi*-
In a si*ilar )a the *ust ha"e fa*iliari!ed father Filgarriff )ho acts as a teacher
to Dillie- Father Filgarriff's lo"e stor that led to his unfrocking and perhaps to his being at
Filneagh fascinated the oung *an )ho shortl presents the other e*ploee's lo"e stories.
)hich *akes the* o"erstep the boundaries of the do*ain )here the li"e together- >nother
ele*ent that *akes those strangers feel at ho*e )ith the Wuintons is that their sins are
forgi"en there. Filneagh being an eMa*ple of tolerance and lenience. a place that gi"es people
another chance. as it generall happens )ith fa*ilies-
Ho)e"er. there is a hierarch )ithin this fa*il1 a nucleus for*ed b /r- and /rs-
Wuinton and their three children. )hose authorit is unquestionableY the >unts. )ho are direct
relati"esY and the other people brought there to help the Wuintons )ith different )orks and
)ho ha"e beco*e *e*bers of the fa*il- >s $li!abeth (elfiore states. fa*il relationships
i*pl both #hilia and political relationships-
Despite the har*on that see*s to go"ern this fa*il. its eMistence and e"olution are
deter*ined b the conflict bet)een Ireland and $ngland- Dhile readers *ight eMpect
internalVdo*estic conflicts based on intercultural *isunderstandings. Tre"or depicts a happ
fa*il enNoing a beautiful. sane and apparentl safe spatial conteMt- Dhen /rs Wuinton
re*ains )ith her son Dillie in a ruined house. instead of directing her lo"e. and I refer here to
fa*il lo"e. to)ards her son )ho needs her. she chooses to drink and )onder )h the soldier
)ho destroed their fa*il is not punished for this. )h the *e*bers of their co**unit
accept hi*- Thinking too *uch of the dead. she neglects the li"ing. indulging herself in
suffering and *aking her son's life *iserable- It is a continuous lo"e of the absent. these
characters turning into a selfS"icti*i!ing tpe )ho are not able to *o"e on and thus the *iss
their chance of being happ-
Later on. )hen Dillie *eets his $nglish cousin. /arianne. )ith )ho* he falls in lo"e.
fa*il lo"e turns into se3ual loe- She see*s to feel the sa*e for hi*. but the ha"e to li"e in
different countries until she chooses to *o"e to Ireland for hi*- (ecause of her choice. her
parents decide to si*pl abandon her. the refuse to talk to her or "isit her. pre"enting her
fro* enNoing fa*il lo"e- Their choice is actuall deter*ined b their co**unit.
*entalities. the sha*e that such a *arriage has brought to the*- The care *ore about the
)a in )hich their co**unit percei"e the* than the do about their daughter- It *ight ha"e
been. although debatable. a rational "s- e*otional choice. )hich leads to selfS"icti*i!ation
again and to indulging in suffering-
(oth /arianne and her parents suffer because of their choices- Dhile the for*er's
choice is deter*ined b seMual lo"e and fa*il lo"e. at the sa*e ti*e. since she is pregnant
and )ants to ha"e her fa*il. tring to obe the social rules. her parents sub*it to another
hierarch of the social structures in )hich the co**unit co*es first- The attitude of the
(ritish is different fro* )hat /arianne kno)s about Filneagh- >lthough the parents in"oke
*oralit. their gesture *a be qualified as a political one1 the coloni!ers )ho do not )ant to
inter*ingle )ith the coloni!ed- The solution the suggest Pthe asked /arianne to gi"e her
child to another fa*il and lie about her statusQ defies *oralit-
/arianne's parents choose to preser"e their position in the (ritish co**unit. the
choose bet)een bod and soul re"ealing an out)ards interest that is *ore po)erful than their
feelings- >lgirdas #-%rei*as and #acques Fontanille speak about the degradation of the
theories of passions in relationship )ith econo*ic politics- >ctuall politics and needs replace
passions and desires- The prag*atic di*ension affects andVor deter*ines the bod that
deter*ines the soul. )hen )e refer to passions. or the spirit. )hen )e refer to needs P%rei*as.
344<1 5?Q-
In the econo* of the narrati"e Dillia* Tre"or succeeds in rendering the do*inant
prag*atic feature of the (ritish in opposition )ith the passion characteri!ing the Irish- (
ad*inistrating their li"es )ith their soul. the Irish choose to suffer since the see* not to be
a)are of their interests )ithin the conteMt and are not able to adNust and sur"i"e- 2nadaptable
)anderers. the indulge in suffering1 /rs- Wuinton's *ind tries to understand )h the
co**unit does not punish a cri*inal and she neglects her sonY Dillie lea"es the countr
o"er)hel*ed b his feelings and refuses to dra) things back to )hat the used to be. refuses
to li"e together )ith his ne) fa*il- 7aradoMicall. selfishness can define both categories-
2nlike the abo"e *entioned categories. /arianne is the bridge bet)een the (ritish
prag*atics and the Irish passion- Her lo"e for Dillie and her daughter *akes her *igrate to
Filneagh and reconstruct a surrogate Wuinton fa*il- The onl positi"e connotation of her
choice is that she *akes life go on in Filneagh. other)ise she shares the al*ost absurd Irish
indulging in suffering-
Therefore. the third eMa*ple of destroed fa*il lo"e appears )hen /arianne co*es
to Filneagh to ha"e her child and li"e a happ fa*il life )ith her cousinSlo"er- The latter has
chosen to lea"e the countr and although he hi*self had suffered because of his *other's
indifference to his needs. he stas a)a fro* his fa*il. pre"enting his lo"er and his daughter
fro* enNoing their life-
In the abo"eS*entioned eMa*ples the reader can notice that lo"e co*es second for
certain characters. either after other lo"es PDillie's lo"e for his *other and her death
deter*ine hi* to lea"e the countrQ or because of certain eMternal. co**unit *entalities- In
both cases )e deal )ith the absence of reciprocit. the lack of *utual engage*ent. therefore
unbalanced lo"e- Fa*il Plo"eQ is *ore like an institution si*ilar to the IrishS(ritish
relationship )here the t)o. although in opposition. are not co*ple*entar-
Dillie's first eMperience in"ol"ing seMualit is related to an al*ost strange character.
his teacher at the 7rotestant school- Dhile he is a child unable to understand and distinguish.
/iss Halli)ell turns out to be i**ature fro* a pschological perspecti"e and an i**oral
person- She cannot distinguish or choose bet)een friendl lo"e P#hiliaQ and seMual lo"e PerosQ
si*pl harassing the bo- Dhile his attention and lo"e are clearl directed to)ards his *other
Pstorge T fa*il lo"eQ and his cousin Pco*bination of fa*ilTfriendship and seMual lo"eQ.
both of the* lacking reciprocit at the *o*ent. he is assaulted b /rs Halli)ell's lo"e. a
*iMture of *aternal and seMual lo"e- Her lo"e turns into hatred proNected on /arianne and
sends a letter in )hich she conde*ns the lo"e that brought together Dillie and /arianne and
led to I*elda's birth- /iss Halli)ell "oices the *entalities of the co**unit in )hich
7rotestants and Catholics reNect *iMed *arriages-
> si*ilar eMperience *arks /arianne during her sta in >ustria- Her supposed
%er*an teacher is a per"ert- Dith his )ife's agree*ent he harasses the oung girls )ho co*e
for a short period to his house to learn the language- >lthough a "er short episode in
/arianne's life. this eMperience see*s to be an appalling alternati"e to the ti*e spent in
Filneagh- It e"entuall leads to a *uch *ore e*bellished i*age of the Irish place and of
Dillie's lo"e-
Dhat brings the* all back is the al*ost $denic place. Filneagh. that the all lo"e-
>lthough it is a ruin. the do not lea"e it. and e"en Dillie )ho li"ed his happiest and his
saddest *o*ents there cannot sta far fro* it fore"er- $"entuall the transfor* the place
into a legend since )hat *akes it sur"i"es is lo"e-
E4"lu"ti!n test:
3- Dhat is the relation bet)een lo"e and suffering in Fools of FortuneU
>ns)er1 Although most of the characters loe somebod' and could lie ha##il' together%
there are e3ternal factors that either hinder them from being together or make them sacrifice
the #eo#le the' loe. For e3am#le Mr Wuinton gets inoled in the $rish moement e3#osing
his famil' to a risk% and indeed the' #a' for his gestureO Mrs Wuinton% /ho suffers because of
her daughters and husband-s death% chooses to commit suicide instead of loing and hel#ing
her son.
6- $Mplain )hat fa*il lo"e *eans in the no"elU
>ns)er1
8uesti!ns:
3- Dhat do characters feel for FilneaghU
>ns)er1 Kilneagh is the almost &denic #lace that the' all loe. Although it is a ruin% the' do
not leae it% and een 1illie /ho lied his ha##iest and his saddest moments there cannot sta'
far from it foreer. &entuall' the' transform the #lace into a legend since /hat makes it
surie is loe.
6- Dhat kind of lo"e do Dillie and /arianne share for each otherU
>ns)er1
Summary
,ne of the central themes of the noel is loe that eentuall' suries% although the
characters H fools of fortune H cannot en5o' it. The ha##' and harmonious life in
Kilneagh% the domain /here 1illie /as born and brought u#% /here Marianne /ill
raise her daughter% ceases /hen the *ritish soldiers kill Mr Wuinton and his daughters
and burn the house. The other characters% marked b' the eent and unable to recoer
from it% /ill miss the chance to lie their lies ha##il'7 Mrs Wuinton dies and 1illie
chooses the self6e3ile. Although 1illie suffered because of his mother-s absence% he
does not make his daughter-s life better. The other characters that remain at Kilneagh
lie in the shado/ of the same eent and cannot en5o' life #ro#erl'7 Marianne and
$melda suffer because 1illie does not return% but the' do not leae Kilneagh.
E4"lu"ti!n
$"aluation consists of1 an essa P3ELQ. ho*e)ork Pans)er the questions at the end of each
unit1 3ELQ and a )ritten test P<?LQ-
Ess" the&es PeMa*plesQ1
3- Dhich is our fa"ourite )ork of the ones studied abo"eU P%i"e argu*entsQ
6- Characteri!e Dillie Wuinton focusing on his >ngloSIrish identit-
C- Do ou agree )ith %abriel Conro's attitude to)ards Irish culture and languageU
P%i"e argu*entsQ

Test P"(er
Ans/er the follo/ing 8uestions /ithout e3ceeding a #aragra#h for each ans/er7
3- Dh is Daniel &'Connell an i*portant na*e in Irish historU
6- Dhat is the influence of s*bolis* on DublinersU
C- Dhat is the *eaning of the title The DeadU
@- Dhat is the relationship bet)een Stephen and his biological father in > 7ortrait of
the >rtistU
E- Dhat is the *eaning of #oce's epiphanU
;- Identif the repetitions used in the no"el and the i*pact the ha"e on the reader in
,eading in the Dark-
<- Dhat )as the secret of the fa*il in ,eading in the DarkU
5- Dh does the narrator )rite and read the stor in Irish in ,eading in the DarkU
4- Dhat is the narrati"e point of "ie) in Fools of FortuneU
3?- Co**ent on identit and uprootedness )ith I*elda-