Cover

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Frontmatter

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Contents

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Acknowledgments

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p. ix

I owe a well-seasoned debt to my old teacher, the late Malcolm Brown, who was responsible for my first undertaking the subject of this volume. I owe a fresh but equally great debt to Robert Tracy for his generous and helpful reading of the book in its manuscript form. I am obligated to a number of other colleagues for reading various parts of the manuscript, among them Peter Copek, Kerry Ahearn, and...

Abbreviations Used

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p. xi

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Chapter One: Sectarianism and the Irish Revival

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pp. 1-47

In a diary entry for 1930,W. B. Yeats recalls a day early in the Irish Revival when he and Douglas Hyde were out walking and heard people at work in a field singing words that Hyde recognized as his own. Yeats says he begged Hyde to ‘‘give up all coarse oratory’’ and to write more such songs as a way to ‘‘help the two Irelands, Gaelic Ireland and Anglo-Ireland so unite that neither shall shed its pride.’’1 The two...

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Chapter Two: The Critical Writings

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pp. 48-67

Along with a few biographical details, the essays, book reviews, and other items collected in The Critical Writings give a preliminary answer to the question asked at the end of Chapter 1: to what extent did Joyce embrace a militant Catholicism? The collection contains pieces that Joyce wrote before leaving Ireland in 1904, including book reviews written during his 1902–1903 sojourn in Paris, as well as his...

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Chapter Three: Dubliners

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pp. 68-99

Insofar as Joyce wrote the stories in Dubliners with the idea that they would help transform the country, they all reflect a central notion of the Revival, but the movement itself also has a prominent place in the volume. The collection follows an arrangement that suggests the Revival’s growth: the Revival is simply alluded to in ‘‘A Little Cloud’’; and then later on, in ‘‘A Mother’’ and ‘‘The Dead,’’ it appears...

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Chapter Four: Stephen Hero and A Portrait of the Artist

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pp. 100-123

The published pages of Stephen Hero contain a nearly complete version of the part of the novel that Joyce called ‘‘the University College episode’’ and that he later condensed into Chapter V of A Portrait of the Artist. The episode, which often focuses on the manifestations of the Revival within UCD, contains Joyce’s most extensive account of the movement. It distinguishes a Griffithite political strain...

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Chapter Five: Exiles

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pp. 124-143

In his 1952 introduction to Exiles, Padraic Colum took issue with critics’ habit of dwelling on the play’s debt to contemporary continental drama, particularly Ibsen. The situations in Joyce’s play, he said, ‘‘being motivated by a Catholic and not by a Protestant conscience, are different from the situations in an Ibsen play’’ (E 8). The preoccupation with Joyce’s interest in Ibsen has obscured not only the Catholic...

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Chapter Six: Ulysses

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pp. 144-198

Richard and Robert’s youthful attempt to create a new life in Ireland resembles the moments in Irish history that Joyce cites in his ‘‘Saints and Sages’’ lecture when Protestants and Catholics joined forces in a national cause. Their alliance also exemplifies the popular Revival vision of the two cultures working together to reshape the country. The implication of Exiles, however, is that, whatever their...

Notes

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pp. 199-210

Bibliography

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pp. 211-216

Index

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pp. 217-220