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language. I
The occasion for this reflection is Stephen's use of the word tundIsb for
funnel, a usage with which the Englishman genuinely claims to be unfamiliar. Stephen had already passed the incident off lightly by alluding
half-mockingly to the prevalence of the word tundIsb in the Dublin borough
of Lower Drumcondra "where they speak the best English." In practice,
however, "the little word seemed to have turned a rapier point of his sensitiveness against this courteous and vigilant foe. He felt with a smart of
dejection that the man to whom he was speaking was a countryman of Ben
Jonson."2 This whole scene effectively represents so many aspects of the
Irish use of the English language that explication of each of its "nuances"
is called for.
In what follows, the identiiIcation of Joyce with Stephen hardly needs
apology: though the incident itself probably never took place in its present
form, the concerns it expresses were shared by its author, perhaps even to
the extent of being among the fundamental preoccupations of his life. First
of all, then, it might appear from the passage quoted that Joyce's mother
tongue was Gaelic rather than English: "His [the English Jesuit's]
language...will alwaysbe for me an acquired speech." The truth is, however,
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that Joyce knew very little Gaelic--far less than the modern-day Irish
schoolboy-and that what little he did know was the standard textbook
Gaelic of the penny grammars then making their rust appearance, a Gaelic
that native speakers in the West of Ireland would have found either incomprehensible or hopelessly impoverished. In common with most Irishmen
of his d~y, English-granted certain Irish pronunciations-was Joyce's native
tongue:. his ancestral Gaelic was the language that was truly foreign to him.
He would have agreed with the substance of Yeats's observation in his 1937
thus:
...they spell our words correctly, and they have some notion of what the words mean; but English has not replaced their native speech, and hence it fits them like a borrowed garment, and they are betrayed into awkward and
laughable mistakes in using it, which have given rise to the
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of the provincial--and especially the Irish provincial--speaker to the native
well-spoken Englishman. How different are the words on his lipsl The emphasis here is less on quaint idioms of speech than it is on pronunciation.
This uneasiness of the regional speaker, the speaker with pronounced acceqt, in the presence of those who are judged to be "proper" speakers of
the language, however, is commonplace: such was Wordsworth's experience
on first arriving at Cambridge; Chekov, the provincial Georgian, was teased about his accent in sophisticated St. Petersburg; Camus' Algerian French
was mimicked in Paris; and, to offer a more recent example, the contemporary British poet Donald Davie remembers "what wickedlyexact fun...[a
friend at Cambridge]...made of how my West Riding [of Yorkshire] accent handled the vowelsof Marlowe Roadl'" It might also be added-a point
frequently forgotten--that a school-trained speaker of Gaelic is very likely
to meet a similar response when he first addresses a native Gaelic speaker
in the West of Ireland.
Again, returning to our original scene from Portrait, one should note
that the reference to Lower Drumcondra "where they speak the best
English" is more than merely defensive on Stephen's part. After all, it was
another Dubliner, one with quite a strong accent, who-in Pygmalionwondered why the English couldn't learn to speak and later set himself the
task of reforming their outmoded orthography. The theory that the' 'best"
English is spoken in pockets of Leinster or Ulster, or, for that matter, in
North Carolina, has long been a source of local pride for the inhabitants
of these regions and rests on the fact that a number of Elizabethan words
and pronunciations still remain in these areas while they have been lost to
more cosmopolitan speakers. There is in Ireland, Jeremiah Hogan observes
in his standard The EngDsb Language in Ireland,
as in Scotland and America, a tendency to defend the correctness of certain Irishisms against English usage. This
applies especially to matters in which Irish pronunciation
is known to agree with old-fashioned English as in pronouncing words like herb, hospitai, and, now, humor,
without the aspirate, or...where the Anglo-Irish sound is
felt to be nearer to Standard English than vulgar English,
especially Cockney, or at least to differ from it in a more
desirable direction...
9
it is there that the Irish are potrayed as saying Chreesh and mayshter instead of Christ and master. Jonson's masque, first performed at the English
court in 1613,has the rude Irish renounce their course manners and customs
and come forth "as newborn creatures all." At this juncture the Irish bard
sings in polite English:
So breaks the Sun earth's rugged chains
Wherein rude winter bound her veins.
A recent English critic has pointed out the absurdity of Jonson's presumptions, for it was at this very period that the Gaelic language was enjoying
one of its greatest flowerings in terms of an austere, classical tradition. 10
For Joyce, though, the reference would have had a somewhat different
meaning, probably more in line with Jonson's. Here, then, the artist Stephen
Dedalus, about to launch on his career writing in the English tongue, is
like the Irish bard in Jonson's masque. He enters into his chosen profession with passion, misgiving,and arrogance, somewhat distressed, however,
by his actual encounter with his courteous English foe.
Joyce's passage in Portrait epitomizes the situation ofthe Irish writer
of English at the beginning of this century. That the situation has since
dramatically changed is due only in part to his success. For example, one
can see Joyce's career in terms of an attempt to construct a new identity
for himself by composing a polyglot language of which his once despised
Gaelic tongue would form a significant part. A casual examination of Brendan O'Hehir's A GaeDeLexieon for Finnegans Wake shows that whilePortrait has just one page of Gaelic entries for it, Ulysses has 17, and the Wake
a total of 331 (even if, as O'Hehir notes, the Gaelic is still "elementary"
and the grammar "faculty"). II Irish perversity is tempted to argue that
Joyce's radical reconciliation of English with what Samuel Beckett's Mrs.
Rooney calls "our own poor dear Gaelic" resulted in a "new" language
which subsequent (British) English writers would have to strive to master.
In fact, of course, Joyce went beyond what most Irishmen and Englishmen
alike can readily understand.
The finding of an Irish voice for the English tongue has been, instead,
largely an unconscious process of natural evolution. John Millington Synge
attempted to do it consciously, and though the authenticity of his achievement is still in dispute, the fact that the early Abbey actors had difficulty
in learning its rhythms suggests that his particular dialect was not too common among the people. Later writers such as Frank O'Connor and Sean
O'Faolain tended to pay their debts to the native tradition by their more
careful translations of the Gaelic poets. Austin Clarke is remembered for
his introduction of Gaelic meters and assonance into Anglo-Irish poetry,
an approach that many subsequent poets have found to be too contrived.
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Seamus Heaney, a contemporary Ulster poet, has written "The Wool
Trade" as a glosson Joyce's text from Portrait. "Traditions," another poem
in the same collection, however, offers a more comprehensive summary of
the implications of the scene between Stephen and the Jesuit and of the
whole course of the English tongue and its Irish voice from the time of
Spenser and Shakespeare, through the long period of identity crisis, to more
recent times:
Our guttural muse
was. bulled long ago
by the alliterative tradition,
her uvula grows
vestigial...
Weare to be proud
of our ElizabethanEnglish:
"varsity," for example,
is grass-rootsstuff with us;
we "deem" or we "allow"
when we suppose
and some cherished archaisms
are correct Shakespearean...
MacMorris, gallivanting
round the Globe, whinged
to courtier and groundling
who had heard tell of us
as going very bare
of learning, as wild hares,
as anatomies of death:
"What ish my nation?"
And sensibly, though so much
later, the wandering Bloom
replied, "Ireland," said Bloom,
"I was born here. Ireland." 12
In what has since become a classic text on the subject, Daniel Corkery
wrote as late as 1931 that
the Irishman feels it in his bones that Ireland has not
yet learned to express its own life through the medium of
the English language. If he be a literary Irishman he knows
that whatever moulds exist in this literature are not the inevitable result of long years of patient labour by Irish
writers to express the life of their own people in a natural
way. 13
Fifty years later, and very much aware that Corkery would have rejected
several of the names that follow, we can say that Yeats, Synge, Lady
Gregory, Joyce, Colum, O'C~ey, O'Connor, O'Faolain, o 'Flaherty,
Lavin, Clarke, Kavanagh, Moore, Friel, Heaney, McGahern, and a host
of others have patiently and successfully labored to render that life into
English.
Furthermore, the English language that an Irishman today seeks to
speak or write has not remained unaltered on the mainland. Indeed, it is
not uncommon for English writers to look to the example of Yeats and
Joyce to see how they themselves might incorporate more of their own
Anglo-Saxon roots. And by a peculiar irony of fate, the political party in
England that is generally considered to be most unsympathetic to Irish nationalism derives its popular title from the Gaelic word "toraidhe" (Tory),
meaning an Irish Catholic rebel of the seventeenth century. To conclude,
in a situation where prominent English writers such as Anthony Burgess
and John Braine acknowledgethe influence of their immigrant Irish Catholic
grandmothers, one can only remain hesitant about making any fmal pronouncement about the Irish voice of the common language of the British
Isles.
'Portrait (New York: Penguin, 1976), 189.
'Portralt,
189.
'Essays and Introductions (New York: Collier, 1968), 519.
'Quoted in The Norton AntholollY of EnaJIsb Literature (New York: Norton, 1974), I, 478.
'Quoted in Philip Edwards' Threshold of a Nadon: A Study In EnglIsh and Irish Drama
(New York: Cambridge University Press, 1979), 85.
'The Cridcal WridDgs of James Joyce (London: Faber & Faber, 1959), 202.
'Quoted in Donald Davie's Ezra Pound (New York: Penguin, 1975), 55; Frank O'Connor refers to Babu in A Short HIstory of Irish Literature: A Backward Look (New York:
Putnam's, 1967), 139.
'These the CompanIons: RecoDections (New York: Cambridge University Press, 1982),29.
'The EDglIsh Langoage In Ireland (Marylaod: McGrath, 1970), 62.
"Edwards,
13.
" A Gaelic: Lexic:on for FlDnegans Wake (Berkeley: University of California Press, 1976),
ix.
"Poems: 1965-1975 (New York: Farrar, Straus & Giroux, 1980), 109-110.
"Synge and Anglo-Irish Literature (New York: Russell, 1965), 12.