A Porttrait of an Artist in the City

A portrait of an Artist in the City

"They Lived and Laughed and Loved and Left"

James Joyce

From Joyce’s psychogeographic novels to the characters of Baggotonia, An Examination of Dublin City as a Map of Irish Identity, Through The National Literary Culture, its Celebrations and its Failures.

A portrait of an artist in the city

1 Contents

‘To give a picture of Dublin so complete that if the city one day suddenly disappeared from the earth it could be reconstructed out of my book.’

James Joyce, 1934

"Good puzzle would be cross Dublin without passing a pub."

Joyce, 1958

A portrait of an artist in the city

Stanislaus

"Little short of a miracle that anyone should have striven to cultivate poetry while living in a household such as ours, typical as it was of the squalor of a drunken generation."

Kavanagh, 2005

“If you ever go to Dublin Town, in a hundred years or so, inquire for me in Baggot Street and what I was like to know.”

John Banville, 2016

A portrait of an artist in the city

Patrick

“Populatons and cusoms hav changed sevral tmes but the name, the sie, and the objecs hardes to break remain”.

Calvino, in Invisible Cities (1997) A mapping of Venice through its imaginative literary co-ordinates.

The City is a Novel

Dublin is built on its landscape and its literature. Ireland's deep Bardic tradition and culture form the foundation of our bond with the written word. Generations of oral storytelling, folklore wit and wisdom breed a nation of storytellers.

Dublin, an ever-changing city, maintains its literary bond, a hard object to break. It is kept alive in our brilliant works of literature, in our collective memory, and within the city itself, it’s in houses, pubs and streets. To truly understand Dublin is to read the city's collective memory, accessed through the city’s great literature.

A complicated city, famous for it’s creative triumphs, yet, paradoxically a city of huge economic focus with ever-rising living costs. apart from anything else, Dublin is a place where historical change is inscribed into the city's fabric.

“

To give a picture so cmplete city one day disappeared earth it reco’nstructed out of

A portrait of an artist in the city

picture of Dublin that if the suddenly fr’om the it culd be co’nstructed

’’

of my bok.’’

James Joyce,Ulysses, 1922.

“Dublin’s grandnes lies in her cntrasts, in the expresion

There is not a street in Dublin that has not been immortalised through writing, poetry or song. There are very few without a famous address or connection to someone, somewhere, who’s memory is kept alive in the streets.

Literary nostalgia is key to the understanding of Dublin’s intrinsic bond with the written word . Elizabeth Bowen, a chronicler of her class in its dying days, discusses the infuence emotional memory has on the city.

she gives to sucesive different ideas of living.

(Elizabeth Bowen, 1936, )

A portrait of an artist in the city

The infuence of documentation of historical landscapes and geographical elements provides writers with a foundation of collective narratives that represent the national identity, thus creating a shared sense of place within the literary interpretations of the city. The Irish Ulysses examines Joyce’s manipulation of the city within the cultural context. This shared perception, through the incorporation of topographical elements, fosters a personal connection to the writing, a nostalgic lens which revisits the past, idyllic sentimentality and the Irish collective memory. “The Ordnance Survey and Modern Irish Literature” explores key literary works and how maps and wayfnding can connect writers to the tangible cultural heritage of the city. This is demonstrated through an examination of Ulysses as a key text.

“Joyce is not merely a raconteur of events and anecdotes about Dublin, his attention to the topography and traditions of Dublin is an extension of the nationalist validation of history and geography.”

(Tymoczko, 1994)

“The compelling element of Ulysses… Its tracing of itineraries in and through the city, telling stories of the places and spaces of the city through its own complex geography.”

(Parsons, 2016)

A portrait of an artist in the city

Joyce''s Urban sensibility

The psychogeographical influence in the work of James Joyce manipulates the city through this notion of literar y nostalgia. ‘Ulysses is as much psychogeographic novel as it is cartographic novel’. The attention to detail and complex descriptions of place allow the novel to be used as a map of its own. This encyclopedic writing style is the foundation of Joyce’s work.

(Bulson, 2007)

Ulysses' becomes more than a story, it is a map, a memory, an encounter, a reminder and a celebrator of the city of Dublin. The cathartic approach of Joyce's writing style echo's the fundamental elements of the situationist's theory. As Carla Hunter discusses in her academic essay,

Although the phrase had yet to be officially coined in the time of Joyce’s writing “Ulysses clearly follows the as then unnamed literary tradition of psychogeography”

(Hunter, 2013)

"The psychogeographic quality of connecting space and time, of imbuing the present with the importance of the past, is a quality shared by Ulysses."

(Pschogeography in Ulysses, 2013)

Merlin Coverley’s Psychogeography considers London and Paris as the key cities of this theory. “This history of ideas is also a tale of two cities… And rarely strays beyond these locations.”

(Coverley, 2006)

Dublin however, despite its smaller scale, carries a strong psychogeographical narrative,largely created through Joyce’s unique writing style and urban sensibility.

Parsons argues that Ulysses's "experimentation with scale is its most direct engagement with the concerns of the Ordnance Survey", scale is a key element when examining Dublin’s bond with the written word

(Parsons, 2016).

The small size of the city is what enables it to harness such a particular culture and identity. The shared streets of layered history and collected memory make up the Dublin sense of place.

Parson’s chapter on ‘Scales’ compares Ulysses' conversation with the Ordnance Survey to that of John Millington Synge’s The Aran Islands. He believes the connection of the works to the survey is the combined attempt "to account for local scale in an increasingly non-localized world"

(Parsons, 2016).

For Synge, he considers this a reparative effort, however for Joyce, it combines his writing style into an ironic encyclopedism. This is evident in the descriptions of the characters in Joyce’s Dublin.

A porrai o the scale o lierary

Dublin.

Both scenes provide an insight into the scale of the City, The small literary circles become the recurring characters that crop up across the literature of the time. The Dublin of Joyce and Gogerty is big enough to accommodate such bold characters but not too big to allow for any of them to become anonymous within the crowd of the city. In the literary world of the early 20th century, there are no unknown characters. Even when attempting to write fction the same bald librarian crops up across 2 novels written almost 20 years apart. This is due to Dublin’s scale.

1

2

Oliver St. John Gogerty (1937) 'As I Was Going Down Sackville Street' A Fantasy in Fact. London: Rich & Cowen.

James Joyce (1922) 'Syclla and Charybdis' Episode IX, Ulysses. Paris.

(p.135)

(p.1)

(p.7)

“Urbane, to comfort them, the quaker librarian purred: - And we have, have we not, those priceless pages of Wilhelm Meister?” Joyce begins the ‘Scylla and Charybdis’ chapter amid a conversation between his alter ego, Stephen Dedalus and ‘Stately plump Buck Mulligan’ a character considered to be based on Oliver St. John Gogarty.The purring librarian models Thomas William Lyster, director of the National Library from 1895-1920, who’s appearance is ridiculed in Gogerty’s account of the library, in his memoir, As I was Going Down Sackville Street “a large building roofed by a cylinder arch [with] two domes, the second being the bald head of its Librarian, Lyster” Gogerty caricatures himself as “an odd fgure moidered by memories and driven mad by dreams Which had overfowed into life, making him turn himself into a merry mockery of all he had once held dear” but the city

has a place for his character, regardless of his eccentricities. “Dublin had accepted him as the present representative and chief of those eccentric and genial characters who had never fails to produce Every Generation” Joyce continues his reconstruction of memory through his characters. “A tall figure in a bearded homespun rose from shadow and unveiled its cooperative watch. - I am afraid I am due at the Homestead” This is The Irish Homestead editor George Russell, who helped run the Irish Co-operative Organisation Society at 84 Merrion Square. (hence Joyce’s watch reference) “Are you going, John Eglinton's active eyebrows asked. Shall we see you at Moore’s tonight?” Another editor, Eglinton worked for the journal Dana, both papers published Joyce’s early poetry, as well as Gogertys.

(p.1)

(p140)

“The way wriers share the

same sace in the ciy, acros generatons,

is what makes i so secial”

An intimate but complex city, grounded in literary memory, is best examined through the theory of Psychogeography. essentially, creating new strategies to analyse the relationship between emotions and surroundings, through a sensory experience of place. The term has fallen into disfavour in recent years, critized for being the preserve of men. This is addressed in Coverlys Pyschogeography, * Which argues the practice is still useful in literary readings of place, so long as it is critically observed within the context of the

"the study of the precise laws and specifc effects of the geographical environment, consciously organized or not, on the emotions and behaviour of individuals."

(Guy Debord, 1955)

*Revised Edition, (2018)

“Cultural and political backdrop of white male-dominated society against which it has been played out.”

(Coverly, 2018)

(Dublin: A writer's city, 2022)

A portrait of an artist in the city

Joyce, pre-situationists, develops his own strategy, a detailed examination of place, it's physical attributes and sensory experiences, combining to create a shared human experience of the location. The reconstruction of memory creates a new layer of understanding of the city through a subversive act, much like Debord’s emotional strategies for urban exploration.

The situationist concept of the Flâneur, was coined by Charles Baudelaire. As the “passionate spectator who everywhere rejoices in his inc ognito ceaselessly journeying across the great human desert”

(Baudelaire, 1995)

the theory is that of an urban wanderer, chronicling the mood of the city as the ‘idler-abouttown’ through a running commentary of its urban scene.

In Ulysses, Joyce has created a Flaneur within his protagonist, as we experience the city through the ramblings of Leopold Bloom. The flaneur’s fate is inseparable from the fate of the city he inhabits. For this is a fgure whose struggles anticipate those of later generations of urban walkers, as the city is redeveloped in a manner increasingly hostile to their activities with the street no longer his home, the would-be stroller is forced to retreat inwards and to internalise his wandering from the safety of his armchair. The domesticated faneur contrasts the advantages of mental travel with the discomfort of the real thing. If Bloom is the wandering faneur Joyce is his stationary cousin, The mental traveller.

“In Psychogeography the urban wonderer is recognised as a nostalgic fgure who symbolises both the birth of the modern city and the destruction of his former home”

(Coverley, 2018)

cros Dublin without God“

A portrait of an artist in the city

puzzl

would be Dublin without pasing a pub.

’’

A portrait of an artist in the city

James Joyce,Ulysses, 1922.

Emotional memory

It is a useful reminder that while a series of maps can show the changing outlines of the city streets over time, the experience and texture of change has a quality that goes beyond aerial views of streetscapes. Those experiences also leave their traces, the emotional memory that makes one Street different from another, “the fragrance of balsam” or in the case of the city, the feel of wet cobblestones, the dampness of a nearby canal, bullet holes in masonry, or the street corner where two people frst met.

An examination of Joyce’s work is critical to our understanding of the city's literary history. However, one must not allow the romanticisation of place in his writing to overshadow his personal relationship with Dublin, or lack thereof. Joyce abandoned Ireland for central Europe, aged 22, in 1904. He never even stepped foot on Irish soil after the age of 30.

This self-exile was a “reaction to the nature of literary life in the city, which he perceived to be rooted more in political oppositions than in the pursuit of artistic excellence.”

(National Archives)

A portrait of an artist in the city

“So, if the science o carography is inded limied, a ciies lierature can be thought o as the mising words on the back o the map.”

Dublin: A Writer's City (Morash, 2022) Joyean Dublin is the city of his formative years, forever immortalised as such in his writings. Placebased association in his later work is sourced through research conducted by Samuel Beckett, under Joyce’s request, or through the Letters of enquiry sent home to various friends and family questioning various specifc topographical details of the city he left behind.

“Is i posible for an ordinary person to climb over the area railings of No.7 Eccles Stret, eiher from the path or the steps, lower himself from the lowest part of the railings tl his fet are wihin 2 fet or 3 of the ground and drop unhurt? I saw i done myself but by a man of rather athletc build. I require this informaton in detail to determine the wording of a paragraph.”

(Joyce, 1922) Letter's from James Joyce , in Paris, to his aunt, Josephine Murray, in Dublin.

(National Gallery of Ireland Archive)

After leaving Dublin, Joyce's life intersects with common migrant experiences in interesting ways. Like many recent Irish emigrants, he made a living teaching English abroad, first in Poland and then in Trieste. He missed his family and lured a number of his siblings to the continent, with varying degrees of success. His sisters Eva and Eileen came to live with the Joyce family in Trieste in 1910 and 1911 respectively. Eva returned to Dublin, but Eileen remained on the continent for the rest of her life, marrying a Czech bank cashier. In 1915 as the frst World War led to rising tensions in Trieste, Joyce’s brother Stanislaus, then living there with the Joyce family, was interned for demonstrating pro-Italian sympathies.

Joyce's personal reasons for leaving Ireland are chronicled in his work, mostly through the fgure of Stephen Dedalus and his formative journey through the books

A Portrait of the Artist as a Young Man and Ulysses. Some of Joyce's most famous critiques of Irish society can be found in these works, where he decries Irish society's conservatism, pietism and blinkered nationalism.

“D o you know what Ireland is? asked Stephen with cold violence. Ireland is the old sow that eats her farrow.”

Joyce’s struggle with Ireland’s religion is also prevalent. Art imitates life in A Portrait of the Artist where Stephen tells his friend Cranly of his refusal to kneel at his mother’s deathbed and pray - an event taken from Joyce’s own life, and one that clearly affected him.

- A Portrait of the Artist as a Young Man. (Joyce, 1976)

The hypocrisy and dangerous zealotry of Irish nationalism is also critiqued in Leopold Bloom's encounter with the Citizen in Ulysses, where the well-meaning and tolerant Bloom is contrasted with the narrow-minded Citizen and his nationalistic friends.

Censorship also played its part in keeping Joyce from Dublin, especially after the torturous process of trying to have Dubliners published by Maunsel & Co. in 1910-12, with publisher George Roberts holding up

publication again and again for fear of reaction to what he perceived to be the stories’ “obscene” and “anti-Irish” content.

Although he couldn’t bear to live in Dublin, Joyce’s spiritual and artistic engagement with the city continued until the end of his life.

While in Paris, Joyce’s favourite pastime was to seek out visitors from Dublin and ask them to recount the names of the shops and pubs from Amiens Street to Nelson’s

Column on O’Connell Street. Joyce's fnal work, Finnegans Wake, engaged with the music of Dublin language like no book before or since.

In A 1929 recording of the book, you can hear Joyce recreating the cadences of a Dublin washerwoman, in the Anna Livia Plurabelle section.

Although Joyce lef Dublin, It would nevr leav him

Throughout the course of a life spent thousands of miles away from home. Beckett, following in Joyce’s footsteps, lived out much of his life in Paris. Most of his major works were frst written in French. His earlier work, whilst studying literature in Trinity is a mirror of the city he inhabits, whilst later works, much like Joyce's, drew inspiration from the city of his memory. A nostalgic romanticisation of the city he left behind.

“ his earliest works are very muc woven into the fabric of the city,

whil lter works return to it in memory

Dublin: A Writer's City (Morash,2022)

“ littl short that anyone striven to cultivate whil living in suc as ours, typicl as it the squalr of generation. S purpose transfigured

Joyce, S. (1958) My Brother’s Keeper: James Joyce’s Early Years. Viking Press.

of a miracl should have cultivate poetry a household ours, it was of of a drunken ome inner transfigured him.’’

A portrait of an artist in the city

Stanislaus Joyce’s Book

My Brothers Keeper: James Joyce's early years, accounts for their shared fragmented connection to place, a result of the lack of stable address in any one area in their former years in the city. Joyce’s early life is charted through 20 locations. Each address symbolises “a descending step on the ladder of our fortunes” and, according to Stanislaus, each one reflected the level of hardship the family were experiencing at that time. He categorises them through their connection “with some particular phase of our gypsy-like family life”

To char the various addreses o the Joyce family is o iself a psychogeographic sudy o memory and place.

“In Dublin the steps of our rapid downhill progress, amid the clamour of dunning creditors on the doorstep and threatening landlords, were marked by our numerous changes of address”

(p.50)

Joyce S, (1958) My Brothers Keeper: James Joyce's Early Years.

Mad, bad, dangerous to know: the fathers of Wilde, Yeats and Joyce details the complicated relationship between Joyce and his father John Stanislaus Joyce. John Joyce’s failings prompted his son’s exile, ultimately providing the springboard to his literary success. He is the inspiration for Ulysses’ character of Simon Dedalus, penned generously despite his undoubted failings, he is not characterised by his abusive and drunken failures. Joyce gifts him a fruitful life of exploration through his work.

“Joyce's father John was perhaps the most quintessentially Irish, widely loved, garrulous, a singer, and drinker with a volatile temper, who drove his son from Ireland.”

“I was very fond of him always, being a sinner myself, and even liked his faults. Hundreds of pages and scores of characters in my books came from him”

(Toibin, (2018) Mad, bad, dangerous to know: the fathers of Wilde, Yeats and Joyce.

(p.173)

(p.51)

‘the

littl weaknes’,

His father had, what is known in Dublin as ‘the little weakness’, a polite way to speak of a raging alcoholic.The poverty experienced within the family was due to this weakness, swallowing whatever money the family had. The wealth deterioration is mapped through the family's various addresses, beginning in the shiny new red-brick suburbs of Rathmines and Rathgar, to coastal serenity in Blackrock and Bray, and migrating to the poverty-stricken North Inner City.

“though he had a large family of young children, he was quite unburdened by any sense of responsibility towards them"

(S. Joyce, 1958 p.166)

A portrait of an artist in the city

a polite way to speak of a raging alcholic

In A Portrait of the Artist as a Young Man, Stephen Dedalus’ family movements echo these locations. Dedalus’ relocation to the inner city provides “a new and complex sensation” In fction, Joyce’s cathartic analysis of the crumbling Georgian city is a romanticisation of the harsh realities of the time. Similar to his portrayal of his father, a stark contradiction to his brother's account.

“He is domineering and quarrelsome and has in an unusual degree that low, voluble abusiveness characteristic of Cork people when drunk… He is lying and hypocritical. He regards himself as the victim of circumstances and pays himself with words. His will is dissipated and his intellect besotted, and he has become a crazy drunkard. He is spiteful like all drunkards who are thwarted, and invents the most cowardly insults that a scandalous mind and a naturally derisive tongue can suggest.”

Joyce S, (1958) My Brothers Keeper: James Joyce's Early Years.

“His life isn't such a bed o roses!...

An understanding of Joyce’s private experience in Dublin, within the context of the emergence of modern Irish culture as the city opposed British cultural dominance, is critical to the reading of his work today.

Joyce's detest for the nation’s pietism and conservatism is evident through Dedalus’ confession to Cranly that he refused to kneel at his mother’s deathbed to pray, a literary manifestation of Joyce’s internal struggles at his treatment of his mother's death.

(Traynor, 2017)

Dedalus’ encounter with an English-born dean whilst studying at Trinity College is an insight into the conficting national identity of the time.

“The language in which we are speaking is his before it is mine, How different are the words home, Christ, ale, master, on his lip and on mine! I cannot speak or write these words without unrest of spirit.”

(Joyce, 1976 ,p.189)

Portrait’ is a manifestation of the cultural context he fed from, and the distaste he had for his nation.

“It is not for nothing that Joyce set his fnal novel, Finnegan’s Wake, in a pub.”

The gallant few who have made it through that novel might consider a visit to Mullingar House, Chapelizod, which has strong claims to be that very pub.

A portrait of an artist in the city

(Morash, 2022)

In 'Finnegans Wake' this disorientating sense of an aristocratic past haunting the poverty of the present (much like celtic tiger) takes the form of a single, long unspooling sentence, jumping back and forth through time

...Waiing outside pubs to bring da home.”

“foors dangerous for unaccompanied old clergymen, thoroughly respectable, many uncut pious books in evidence, nearest watertap two hundred yards away, fowl and bottled gooseberry frequently on table, man has not had boots off for twelve months, infant being taught to hammer fat piano, outwardly respectable, sometimes hears from titled connection, one food of dust between bannister and cracked wall. "

This particular passage was actually taken by Joyce from Seebohm Rowntree's account of tenements in York.

(Poverty: A study of Town Life, 1902)

(Joyce, 1939, p544)

Ulysses (Joyce, 1922)

“If you ever go to Dublin Town, in a hundred years or so, “

A portrait of an artist in the city

Inquire for me in Bagot Street and what I was like to know.”

”

Patrick Kavanagh, (2003)

A Poets Country: Selected Prose. Lilliput Press, Dublin.

“I came to Dublin in 1939, It was the wors misake o my life.”

Kavanagh’s distaste for the city is well documented, however, his initial move from the country was inspired by a need to understand the city depicted in Ulysses, and why Joyce had such a complicated relationship with it. A city that inspired such particular placebased artistry, a romanticism only one who loved it could create, simultaneously repelled Joyce, as “the centre of paralysis”.

(Ellmann, 1959)

Kavanagh’s beginnings in the city started in a rented apartment on Pembroke road. The area surrounding the apartment became his home turf, even after leaving in 1958, he rented at various locations, including 19 raglan road, 110 Baggot lane, 1 Wilton Place, 37 upper mount street and 136 upper Leeson street.

The culture of renting in Dublin did not allow for staying too long in one place, an issue very more relevant in the modern city.

“in his bed set, in a tall, LateGeorgian building, the main room was a desolationankles deep in papers and typescript”

(Ryan, 1987, p98)

In his thin book for the Dolmen Press, Self Portrait, just 30, Kavanagh wrote of his time in Dublin.

(Igoe,1994,p.125)

If

I wasted what culd have been my four glrious years beging and scrambling around the streets of malignant Dublin.

(The Ghosts Of Baggotonia, Irish Film Institute, 2022)

Bohemian Dublin

Baggotonia, with its proximity to the centre of government, was defned by its inability to participate in the established Irish culture. Dublin had earned a bohemian quarter, radical ideals and a fourishing artistic production.

Its familiarity mimicked that of a village, an anarchic place within the city, flled with new ideas and morals, that felt like home for the creative class, local or otherwise.

A psycho-geographical analysis of place and collective memory is necessary to understand the multi-layered cultural movement happening within the area.

This cluster of Dublin’s most astute talkers, and the mapping of their proximity to each other as well as the concentration of publishing houses and performance spaces both formal and informal is central to the creation of the rich literary culture.

The importance of the locational infuence on the movement and its contradiction to its context within the socially conservative city of the 1930s-50s, earned an unofcial name, Baggotonia.

From a Time in the middle of the 20th century from the mid-1930s until the early 1960s any of Dublin's literary pubs would have been the obvious place to look for writers

“Between them then these writers were known to Dubliners who might never pick up a book of poetry or read a novel but as journalists and public fgures, they were read and seen everywhere in the city.”

"Baggoonia’s boundaries defned through a psychogeographic undersanding o colleced memory,

A ciy o asociatons." Poets and pints (Lepo, 2018).

A close friend of Kavanagh, Leland Bardwell, arrived in literary Dublin in the 1960s, and lived in various fats on Pembroke and Mount Street. “where the feas danced in the sunbeams like hayseed” and settled in a basement fat 33 Lower Leeson street. The distance between this world of weeping walls and the same area today can we measured by its property values. The building a few doors down from the one Bardwell rented for £2 a week sold for 1.5 million. part of the reason that the area had such a vibrant chaotic literary Culture in the 1950s and early 1960s was because it was still possible for a writer to live cheaply in the area.

“In this deep Georgian basement, the main room, stone-foored and gritty, went the whole width of the fat. it ended in a gas fre with a powdered burner. the entrance, a blackened porch, containing a leaking sink and a greasy gas cooker [...] as in every dungeon, the walls wept, but at least [...] for this vegetal apartment, we paid two pounds a week”

(p288)

(p247)

“In a city in which economic forces, with an inexorable centrifugal logic, are emptying the centre and displacing its inhabitants ever outwards, can the would-be psychogeographer afford to remain?”

(Coverley, 2018) Dublin: A Restless Life. (Bardwell, 2008).

A portrait of an artist in the city

If

“Dublin writers have been struck by the cntrast between the extreme poverty of the ocupants of these buildings when they were tenements, and the laisured lives of their original owners”

Dublin; The making of a capital city. (Dickson, 2015)

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