Cultural Conflict and Joyce’s “The Dead” - Part 1

Joyce’s "The Dead" aptly reflects the cultural environment of early 20th century Dublin. During this period, commonly referred to literarily as the Irish Renaissance, nationalism began to sprout from literary influence. Among the major figures responsible for this outburst of Irish literature were William Butler Yeats, John Millington Synge, Sean O’Casey, and Lady Gregory. For his entire life, Joyce was at odds with this movement and many of those identified with it, and never really associated himself with the "renaissance".

Within this acclaimed story, Joyce presents a number of cultural difficulties for his main character, conflicts that he personally faced. He received frequent criticism for his stands on these issues. From his ostensibly aloof position on Irish nationalism to his seeming distaste for his own country, Joyce only strengthened his critics’ arguments.

Initially, the story’s cultural conflict is one of location. Even in the present, Dublin is the place to be in Ireland; those inside County Dublin disdainfully refer to those outside the county as "culchies" or "boggers". This is comparable to a comment of Gabriel Conroy’s mother concerning his son’s wife. In describing his bride, Mrs. Conroy referred to Galway Gretta as "country cute", implying that she could not measure up to the status of a Dublin girl. This phrase also indicates that Gabriel’s mother considered Gretta to be from a lower class, and therefore did not deserve to be with her son. This is very unsettling for the young husband, who tends to dwell on all events of conflict, big or small. Gretta Conroy is a near reflection of Nora Barnacle Joyce, herself a westerner and sharing many qualities of the character presented in "The Dead". She too had a lover who died young, just as Gretta’s Michael Furey "died for her."

Joyce’s relationship is much like Gretta and Gabriel’s relationship, in that Joyce was a fiercely jealous man, and admitted to it. He initially viewed his marriage to Nora as rescuing her from the bog that was Galway. He so disdained the west of Ireland as an ill reputed, cesspool of uneducated miscreants, that he was shocked to find such a beautiful and sharp woman such as Nora. Richard Ellman believes that for Gabriel (and Joyce early in his life), "the west of Ireland is connected...with a dark and rather painful primitivism, an aspect of his country which he has steadily abjured by going off to the continent. The west is savagery; to the east and south lie people who drink wine and wear galoshes." (Ellman, 248.)

Irish history views the period of 1900-1916 as one of growing nationalistic spirit. James Joyce was not a participant in this rise in patriotism for Ireland. On the contrary, he was almost critical of its brashness. This is strange considering many of his closest friends in his twenties were pround nationalists. These men included the feminist Francis Sheehy Skeffington, Thomas Kettle, and George Clancy. On a side note, all three of these men would die in combat.

This illustrious author, known widely for being Irish, was never much for his own country (though he often said Dublin was the only place he was truly comfortable). Joyce would not participate in the Irish theatre or show his support for the Easter Uprising in 1916. His indifference to the Gaelic Revival and the growing base of nationalism is reflected in his writing from this period. His character Gabriel Conroy mirrors these opinions, though he has a hard time expressing them in public, just as Joyce did.

This personal history and the fact that many of Gabriel opinions are shared by the author foreshadow that Mr. Conroy does not concern himself with Irish matters. Joyce is very comparable to Gabriel in situations such as these. Neither of the men concern themselves with Irish affairs and attempt to avoid discussing them in public situations. Similar to his character, Joyce traveled around much of Western Europe. He too was "sick of [Ireland]".