By: Jad S. Karkout

      In writing Dubliners, Joyce aimed to present a historical account of Dublin and create a vivid portrayal of Irish life. To achieve this, he centered Dublin as a hub of paralysis that afflicted most of its inhabitants. The book is structured into four sections: childhood, adolescence, mature life, and public life. The characters in the stories are constrained by the sociopolitical conditions imposed on Ireland as a colony of the British Empire. Despite external pressures, they also contribute to their misery through their unfortunate choices. Eveline unwisely opts to remain in the house, paralyzed by the promise she made to her mother to maintain the unity of the domestic household. In “A Painful Case,” Duffy fails to establish a stable relationship with Mrs. Sinico, a charming and intelligent woman, leading him to abandon her and miss out on the joys of life. Conversely, in Joyce’s “Two Gallants,” the characters’ paralysis arises from their inability to perform gallant gestures and meet the expectations of an ancient Ireland.

 Before delving into the portrayal of the antiheroic characters, it is essential to explore the uneventful atmosphere and setting. In “Two Gallants,” there exists a significant interplay between the characters and their surroundings. To comprehend the actions of Lenehan and Corley, one must analyze the ambient environment, as characters are intricately linked to their settings. The lack of gallant behavior is not only evident in the characters’ actions and emotional reactions but also reflected in the somber, dimly lit alleys of Dublin. Joyce believed that movement was crucial to breaking the monotony of Dublin and disrupting the repetitive nature described as the “grey warm evening air” and the “mild warm air” (Joyce, “Two Gallants” in Kane and Peters 175). In essence, Joyce viewed motion as the antidote to the pervasive paralysis that afflicted the city. “In Dubliners,” writes Enda Duffy, ” paralyzed characters effect physical movement in a paralyzed city only with the most strenuous, agonizing, muscle-wrenching effort” (197). Hence, Joyce’s characters need to exert immesnse efforts to overcome their difficulties and despair.

 Unlike the chivalric settings of romances, characterized by adventurous incidents, energetic characters, continuous movement, and extraordinary experiences, the city of Dublin is ensnared in “Irish historical and political realities [which] are indeed woven into the fabric of Dubliners”(qtd. in Culleton 17). The initial paragraph in “Two Gallants” is notably dull, lacking excitement, yet it holds a profound power. Unlike stories centered on chivalry, honor, and courtly love that rely on adventurous motifs to captivate readers, the introductory paragraph of “Two Gallants” offers a different reading experience. While narratives of chivalry engage audiences with their romantic and gothic allure, the subdued yet impactful nature of Dublin’s portrayal in Joyce’s work presents a unique perspective. Consider, for example, this romantic excerpt where the moon intermittently illuminates the desolate landscape, setting a melancholic tone for Sir Bertrand’s solitary journey:

 Night overtook him in this situation. It was one of those nights when the moon gives a faint glimmering of light through the thick black clouds of a lowering sky. Now and then she suddenly emerged in full splendor from her veil; and then instantly retired behind it, having just served to give the forlorn Sir Bertrand a wide extended prospect over the desolate waste ( Aikin and Aikin 5).

 In the preceding example, the scenes are vividly and romantically portrayed, aligning harmoniously with the characters’ traits. The “faint glimmering of light” symbolizes Sir Bertrand’s courage, confidence, and unwavering hope as he embarks on a perilous mission to rescue a damsel in distress. In stark contrast, Lenehan and Corley’s objective is to ensnare a servant; their actions lack nobility, despite being labeled as two gallants.

 With respect to gallant behavior, the story’s setting also aligns with the same thematic concerns. The introductory paragraph provides a detailed glimpse into the stagnant streets of Dublin. The repetitive “K” consonant sound in “the gaily coloured crowds” contributes to the enduring melancholy of the “unceasing murmur,” hinting at the uneventful nature of the Dubliners’ tales. The concluding phrase appended to the opening paragraph echoes the insignificance of the initial mention of the “grey warm evening of August” ( 175). The depiction of Dublin’s physical landscape mirrors the characters’ subdued gallantry, revealing upon closer examination that neither the characters’ attributes nor the geographical setting are portrayed in a favorable light. Nothing exemplifies the sluggish Irish life and influences the setting more than the harper. We are told that “He pulcked at the wires heedlessly, glancing quickly from time to time at the face of each new-comer…[and glancing] wearily also, at the sky” (179). As he plays the song “Silent, O Moyle,” which narrates the legend of Fionnuala’s transformation into a swan due to her stepmother’s jealousy, forcing her to spend the rest of her life in a lake, we understand the reason behind the harper’s exhaustion and indifferent demeanor. His heedless attitude towards the crowd becomes clear in this context. The harper is disheartened by the nation’s passive state, unable to assert its rights within a colonial context dominated by imperial narratives. As a result, “The notes in the air sounded deep and full” (179), leaving an indelible impression on him, and likely not on the indifferent crowd. Similar to Fionnuala, Ireland finds itself burdened by the shadow of imperialism and enduring pain. While Fionnuala awaits redemption to break the curse and achieve eternal peace through Christian burial, Ireland awaits the resolution of entangled political tensions and social complexities. This longing is for a return to a time where she can once again savor the richness of life and rekindle her illustrious, romantic history. Only then, in that restored state, would the revival of chivalry become a viable prospect.

As demonstrated, the setting in “Two Gallants” exerts a significant influence on the characters, shaping their moods and behaviors. By examining the characters through the lens of the setting, we uncover underlying patterns of ungallant behavior. Focusing solely on the characters may lead us to overlook the nuanced messages embedded in the surrounding environment. Conversely, disregarding the characters would result in a partial understanding of the story, potentially leading to a misinterpretation of the unheroic intricacies of Lenehan and Corley.

Bibliographies:

 1 – Joyce, James. “Two Gallants.” The Short Story and the Reader: Discovering narrative techniques, edited by Thomas S. Kane and Leonard J. Peters, Oxford UP, 1975, pp. 175-185.

2 –Aikin, John, and Anna Laetitia Aikin. (1773). Pleasure Derived from Objects of Terror, with Sir Bertrand, a Fragment. Retrieved from Public Library UK: [http://www.public-library.uk/ebooks/87/77.pdf]

3 – Duffy, Enda. “Men in Slow Motion: Male Gesture in ‘Two Gallants’.” Rethinking Joyce’s Dubliners, edited by Claire A. Culleton and Ellen Scheible, Palgrave Macmillan, 2017, pp. 195-211.

4 – Culleton, Claire A. “‘The Thin End of the Wedge’: How Things Start in Dubliners.” Rethinking Joyce’s Dubliners, edited by Claire A. Culleton and Ellen Scheible, Palgrave Macmillan, 2017, pp. 9-27.