SECULAR EPIPHANIES: THE SHORT STORIES JAMES JOYCE...
Transcript of SECULAR EPIPHANIES: THE SHORT STORIES JAMES JOYCE...
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16. S E C U L A R E P I P H A N I E S :
T H E S H O R T S T O R I E S O F
J A M E S J O Y C E AND P U T U M A I P P I T T A N
The awesome r e p u t a t i o n en joyed by James J o y c e a s a
s u p e r c r a f t s m a n s h o u l d d e t e r anyone from comparing h i n w i t h
any o t h e r w r i t e r , l e t a l o n e one f rom t h e s o u t h e r n c o r n e r of
I n d i a w r i t i n g i n a l anguage n o t i n t e r n a t i o n a l l y well-known.
But c o n s i d e r i n g t h e f a c t t h a t J o y c e ' s s h o r t s t o r i e s
i n c l u d e d i n t h e c o l l e c t i o n of Dubliners a r e c o m p a r a t i v e l y
s i m p l e s t r a i g h t - f o r w a r d n a r r a t i o n s n o t s o t e c h n i c a l l y
complex and l i n g u i s t i c a l l y s o p h i s t i c a t e d a s h i s l a t e r
w r i t i n g s l i k e Ulysses and Finnegans Wake, it w i l l n o t be a
c a s e of g iant-pygmy compar i son , i f an a n a l o g i c a l s t u d y o f
h i s s h o r t s t o r i e s and t h o s e of P u t u m a i p p i t t a n who is
c e r t a i n l y one of t h e b e s t o f t h e I n d i a n s h o r t s t o r y
w r i t e r s , ' i s u n d e r t a k e n . I n h i s n a t u r a l i s t i c p o r t r a y a l o f a
s m a l l g r o u p of p e o p l e known t o him f u l l y , i n h i s c h o i c e of
"an a n s w e r a b l e s t y l e " , i n h i s employment of a r i c h t e x t u r e ,
i n h i s r e w o r k i n g s of o e r t a i n myths and l e g e n d s , i n h i s
p e s s i m i s t i c view of l i f e and , above a l l , i n h i s t o t a l
commitment t o a r t c u t t i n g him o f f c o m p l e t e l y even f rom t h e
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p o l i t i c a l r e v o l u t i o n of h i s c o u n t r y , P u t u m a i p p i t t a n d o e s
r e semble t h e g r e a t I r i s h w r i t e r .
J o y c e (1882-1941) was bo rn i n D u b l i n of I r i s h
C a t h o l i c l ower m i d d l e - c l a s s s t o c k , h i s f a t h e r b e i n g a r a t e
c o l l e c t o r . He was e d u c a t e d a t J e s u i t c o l l e g e s and a t
U n i v e r s i t y C o l l e g e , D u b l i n . L a t e r he s t u d i e d m e d i c i n e f o r a
w h i l e i n P a r i s . D u r i n g t h e f i r s t World War he t a u g h t
l a n g u a g e s i n S w i t z e r l a n d s i n c e he was m e d i c a l l y u n f i t f o r
s e r v i c e and a f t e r w a r d r e t u r n e d t o P a r i s , where he c h o s e a
l i t e r a r y c a r e e r , s t r u g g l i n g c o n t i n u a l l y a g a i n s t i l l - h e a l t h
and s t r o n g p u b l i c condemnat ion of h i s work. The h e r o o f
h i s a u t o b i o g r a p h i c a l n o v e l A P o r t r a i t o f the Artist as a
Young Man, t o o o b s t i n a t e t o g r a n t h i s m o t h e r ' s dea th -bed
r e q u e s t , d e c l a r e s "non s e r v i a m " and r e n o u n c e s t h e s t a t e ,
t h e c h u r c h and t h e f a m i l y f o r t h e s a k e of a r t .
P u t u m a i p p i t t a n (1906-1948) be longed t o a l o w e r
midd le c l a s s f a m i l y o f T i r u n e l v T l i , h i s f a t h e r b e i n g a
government o f f i c i a l . H i s boyhood and y o u t h were a s
m i s e r a b l e a s h i s l a t e r l i f e . I f h i s cup o f s o r r o w was
a lways f u l l , he was o n l y p a r t l y t o b lame f o r t h a t . At t h e
e a r l y a g e of e i g h t , he was i l l - t r e a t e d by h i s s t e p - m o t h e r .
His academic c a r e e r was n o t marked by a n y b r i l l i a n t
a ch i evemen t and he s t r u g g l e d h a r d and l o n g t o g e t h i s B.A.
d e g r e e . P e n u r y and unemployment became h i s l i f e - l o n g
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f r i e n d s . Having d e c i d e d t o e a r n t h e l i v e l i h o o d t h r o u g h
w r i t i n g s , he s o u g h t r e f u g e i n Hapikkopi which was o f t e n i n
t h e r e d . His i d e a l i s m , h i s commitment t o w r i t i n g , h i s
p e t u l a n t n a t u r e , h i s n o t o r i o u s l a c k of w o r l d l y wisdom d r o v e
him f rom one j o u r n a l t o a n o t h e r and he e a s i l y e s t r a n g e d
h i m s e l f from most of h i s f r i e n d s and r e l a t i v e s . He c o u l d
n e v e r l e a r n t h e a r t o f making money and it i s p a t h e t i c t o
s e e t h e a r t i s t - h e r o e s of many o f h i s s t o r i e s s t r u g g l i n g t o
l e a d a hand- to-mouth l i f e . T h e r e was n o l o v e l o s t be tween
him and h i s f a t h e r . The i m p u l s i v e son f i l e d a c a s e a g a i n s t
h i s f a t h e r f o r t h e p o s s e s s i o n of some a n c e s t r a l p r o p e r t y ,
g o t i t and squande red i t i n no t i m e . Towards t h e end o f h i s
l i f e , he was l u r e d i n t o t h e f i l m w o r l d , t h e g r a v e y a r d of
g r e a t a r t i s t s . H i s f i r s t a t t e m p t t o s a c r i f i c e a r t a t t h e
a l t a r o f money c o s t him h i s l i f e . He was i n f e c t e d w i t h
consumpt ion w h i l e working on a f i l m s c r i p t a t Poona and
d i e d o f i t .
I n h i s l e t t e r s J o y c e p o r t r a y s h i m s e l f " a s a h e r o i c
f i g u r e , c o n t i n u a l l y b e l e a g u e r e d b y d e b t , i l l n e s s , and
d i s l o y a l t y d e t e r m i n e d t o s e e h i s s e l f - a p p o i n t e d l a b o u r
t h r ~ u g h " ~ . He was sup reme ly i n d i f f e r e n t t o p u b l i c
d i s a p p r o v a l ; he t h r e w h i s money away on e x o r b i t a n t LIPS, on
d r i n k , and on e x p e n s i v e m e a l s . Bo th J o y c e and
Putumaippi t.t,ar~ fnlight, battles t o t h e and and c u u l d t h r i v e
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on c o n f l i c t , p o v e r t y and n e g l e c t .
J o y c e loved and h a t e d h i s c o u n t r y i n t e n s e l y . He was
" a l l t o o ~ r i s h " , ' b u t r e s i d e d ma in ly i n f o r e i g n c o u n t r i e s
a f t e r h i s t w e n t i e t h y e a r . The P o r t r a i t b e g i n s w i t h t h e
c h i l d ' s e a r l i e s t r e m i n i s c e n c e and ends w i t h the' young man 's
d e p a r t u r e f rum t h e p a r e n t a l r o o f . Though he d i d n o t t a k e
p a r t i n t h e I r i s h R e v o l u t i o n , he had g r e a t a d m i r a t i o n f o r
t t i a I r ~ w t ~ l a a d a r L'arrlell I n ~ t s most d r a m a t l c episode, The
P o r t r a i t r e c a l l s a v i v i d l y remembered argument a t t h e
f a m i l y ' s C h r i s t m a s d i n n e r a b o u t t h e d e e d s of t h e I r i s h
r e v o l u t i o n a r y . P a r n e l l ' s d e a t h o c c a s i o n e d J o y c e ' s f i r s t
l i t e r a r y e f f o r t , a poem, which i s echoed i n h i s f a v o u r i t e
s h o r t s t o r y " I v y Day i n t h e Commit tee Room". I t is a
r e m a r k a b l e t r i b u t e t o t h e r e v o l u t i o n a r y :
"He i s d e a d , Our uncrowned k i n g i s d e a d , 0 , E r i n , mourn w i t h g r i e f and woe F o r h e l i e s dead whom t h e f e l l gang Of modern h y p o c r i t e s l a i d l ow .
I n p a l a c e , c a b i n o r i n c o t The I r i s h h e a r t whe reve r it be Is lowed w i t h woe - f o r he is gone Who would have wrought h e r d e s t i n y . The day t h a t b r i n g s u s F reedom ' s r e i g n And on t h a t d a y may E r i n w e l l P l e d g e i n t h e cup s h e l i f t s t o j o y One g r i e f - t h e memory of ~ a r n e 1 l . l
I n P u t u m a i p p i t t a n ' s c a s e a l s o , it was a l o v e - h a t e
r e l a t i o n s h i p between him and h i s c o u n t r y . Even when h i s
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countrymen u n d e r t h e l e a d e r s h i p of G a n d h i j i were waging a
c r u c i a l b a t t l e a g a i n s t t h e B r i t i s h , P u t u m a i p p i t t a n e v i n c e d
no g r e a t i n t e r e s t i n i t . I f he had any sympathy f o r t h e
f reedom s t r u g g l e , i t was because he c o u l d n o t t o l e r a t e
i m p e r i a l i s m . He admired t h e f a t h e r of t h e n a t i o n b u t
a t t a c k e d t h e s e l f - s t y l e d Gandh ians m e r c i l e s s l y . The band of
w r i t e r s who p r e a c h e d t h e c a u s e of n a t i o n a l i s m i n t h e i r
poems, s t o r i e s and dramas p l e a d i n g f o r Swadeshi a r t i c l e s
and a d h e r e n c e t o t h e Hindu ways of l i f e cou ld n o t win h i s
a d m i r a t i o n . He n o t o n l y r e f u s e d t o b e drawn i n t o t h e i r
c i r c l e b u t a l s o d i d n o t h e s i t a t e t o l ambas t some of them
f o r t h e i r a r t i s t i c o f f e n c e s . No p o l i t i c a l c r e e d o r
i d e o l o g y , i n h i s o p i n i o n , was g r e a t enough t o c l a i m t h e
s u b o r d i n a t i o n of a r t . The h e a r t l e s s r i c h , t h e s t u p i d m i d d l e
c l a s s , t h e dumb p o o r , t h e l e a d i n g p o l i t i c a l p a r t i e s w i t h
t h e i r s e l f i s h l e a d e r s and t h e i r g u l l i b l e d i s c i p l e s - a l l is
g r i s t t h a t comes t o h i s m i l l .
"Ta" Oruvanukku" ( F o r a S i n g l e I n d i v i d u a l ) p o r t r a y s
an u n t o u c h a b l e , a v i c t i m of t h e c a s t e s y s t e m d y i n g of
s t a r v a t i o n i n t h e m i d s t of v o c i f e r o u s f r e e d o m - f i g h t e r s
c l a i m i n g t o f i g h t f o r t h e w e l f a r e o f e v e r y human b e i n g
' P u t i y a Nan tap ' (The New N a n t a ~ ) d e s c r i b e s t h e v a i n
a t t e m p t s of a Gandhian t o h e l p t h e H a r i j a n s l e a d a d e c e n t
l i f e . P u t u m a i p p i t t a n comes down upon t h e r u l i n g B r i t i s h e r s ,
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t h e i r s t o o g e s i n t h e J u s t i c e P a r t y and t h e i r o p p o n e n t s i n
t h e I n d i a n N a t i o n a l Congres s i n an a n i m a l f a b l e c a l l e d
"Eppctum Huf iv i lE ' InPam" (Always Happ ines s a t t h e E n d ) .
The s econd p a r t of N Z r a t a Ramavanam c a l l e d "Raguvamsa
pa rakk i r ama Parvam" ( A c h a p t e r on t h e Heroism of t h e Raghu
Dynasty) s e r v e s t h e same pu rpose i n t h e f o r m of a puranic
s t o r y a b o u t t h e d e s c e n d a n t s of Rama. These a t t e m p t s remind
u s of J o y c e ' s a t t a c k s on t h e f awn ing s u b s e r v i e n c e of some
of t h e D u b l i n e r s t o t h e i r E n g l i s h m a s t e r s .
J o y c e ' s a t t i t u d e t o C a t h o l i c i s m i s a m b i v a l e n t . He
c e a s e d t o b e l i e v e i n many of i t s dogmas when he l e f t t h e
c h u r c h . H i s d i s g u s t of I r i s h C a t h o l i c c l e r g y is e v i d e n t i n
h i s w r i t i n g s : "The S i s t e r s " , f o r i n s t a n c e , d e a l s w i t h a
d i s s o l u t e p r i e s t . But J o y c e
r e t a i n e d f rom I r i s h C a t h o l i c i s m , however , an e s s e n t i a l m i s t r u s t of human n a t u r e a n d , mos t s i g n i f i c a n t l y , a m i s t r u s t o f s e x , which b o t h he and h i s r e j e c t e d c h u r c h viewed a s t h e t o s t p o w e r f u l e l e m e n t , i n man ' s m o r a l d e g e n e r a c y .
He c o n s i d e r s s e x t h e dominan t f o r c e i n man, t h e p r i m a r y
e v i d e n c e of t h e a n i m a l i n man.
P u t u m a i p p i t t a n was f a r f rom a d e v o u t H indu . He c o u l d
be u n s p a r i n g i n h i s a t t a c k s on i ts dogmas and i t s
h y p o c r i t i c a l a d h e r e n t s , e s p e c i a l l y t h e i r i l l - t r e a t m e n t o f
young widows and t h e obnox ious p r a c t i c e o f u n t o u c h a b i l i t y .
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I n "NicakXrakkumpal" (The Murderous Gang) , f o r example , h e
highlights t h e a t r o c i t i e s p e r p e t r a t e d by t h e uppe r c a s t e
p e o p l e on t h e u n t o u c h a b l e s d r i v i n g them t o f r u s t r a t i o n . I n
u t t e r d e s p a i r , a b a r b e r and h i s w i f e c u r s i n g t h e Hindu
m i r a s d a r s embrace I s l am and t h e s t o r y d r i v e s home t h e p o i n t
t h a t t h e Hindu s o c i e t y has t o blame i t s e l f f o r a l l i ts
woes . The s l y s t r a t e g i e s employed by t h e r u l i n g Whites t o
c o n v e r t t h e poor Hindus who r e a d i l y y i e l d e d t o t h e charm of
money, power and government s u p p o r t a r e exposed i n t h e
s t o r y " P u t i y a KG?;u'' (The New Cage ) . Though t h e z e a l o u s
C h r i s t i a n s w i t h an unholy l o v e f o r p r o s e l y t i s m beoone t h e
main t a r g e t of a t t a c k , t h e w r i t e r d raws t h e a t t e n t i o n of
t h e r e a d e r t o t h e C h r i s t i a n h e r o i n e ' s g e n u i n e l o v e f o r t h e
Hindu husband and h i s m ~ t h e r . ~ So much of p l a i n - s p e a k i n g is
n o t t o be found i n t h e s t o r i e s of any of P u t u m a i p p i t t a n ' s
c o n t e m p o r a r i e s o r even s u c c e s s o r s . I t may be no ted h e r e
t h a t t h e p u b l i c a t i o n of Dubliners was h e l d up f o r many
y e a r s b e c a u s e J o y c e i n s i s t e d on c a l l i n g i ts d e n i z e n s by
t h e i r names and p o i n t i n g o u t i t s l o c a l l andmarks .
Both J o y c e and P u t u m a i p p i t t a n s h a r e a k ind o f
"p ro found pes s imism" . The D u b l i n e r s d e p i c t e d i n t h e s h o r t
s t o r i e s a r e e i t h e r p e r v e r s e o r s p i r i t u a l l y p a r a l y z e d : a
con fused p r i e s t , " a m a s t u r b a t i n g homosexual , a mothe r who
d e a l s w i t h m o r a l i t y a s a c l e a v e r d e a l s w i t h meat , a f a t h e r
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who b e a t s h i s s o n , and a lower c l a s s g i g o 1 0 . " ~ The
~ a r a l y z e d d o n o t have t h e s t r e n g t h of w i l l t o g e t
t h e m s e l v e s f r e e d f rom t h e c l u t c h e s of D u b l i n , which is a
s l o u g h of d e s p o n d . They long f o r an e s c a p e which t h e y d o
n o t a c h i e v e . L i t t l e Tommy C h a n d l e r , f o r example , d r eams o f
w r i t i n g p o e t r y b u t " h e f e l t how u s e l e s s it was t o s t r u g g l e
a g a i n s t f o r t u n e , t h i s b e i n g t h e burden o f wisdom which t h e
a g e s had bequea thed t o him". ' One of t h e c e n t r a l t h e n e s of
a l l t h e s t o r i e s i s e x p r e s s e d by C h a n d l e r : "The re was no
d o u b t a b o u t i t ; i f you wanted t o s u c c e e d you had t o g o
away ' ' . g The g i r l E v e l i n e c a n n o t r u n away w i t h h e r l o v e r
b e c a u s e s h e is p a s s i v e l i k e a h e l p l e s s an ima l and
r e c o n c i l e s h e r s e l f t o b e i n g a p r i s o n e r f o r l i f e . A l l t h e
D u b l i n e r s a p p e a r e x t r e m e l y d e f i c i e n t i n mora l f i b r e . J o y c e
h i m s e l f o b s e r v e s : " I c a l l t h e s e r i e s D u b l i n e r s t o b e t r a y
t h e s o u l of t h a t h e m i p l e g i a o r p a r a l y s i s which many
c o n s i d e r a c i t y . " 1 ° J u s t i f y i n g h i s emphas i s on s p i r i t u a l
p a r a l y s i s , he w r i t e s ,
I t is n o t my f a u l t t h a t t h e odour of a s h p i t s and o l d weeds and o f f a l hangs round my s t o r i e s . I s e r i o u s l y b e l i e v e t h a t .you w i l l r e t a r d t h e c o u r s e of c i v i l i z a t i o n i n I r e l a n d by p r e v e n t i n g t h e I r i s h p e o p l e from h a v i n g one good l o o k a t t h e m s e i y e s i n my n i c e l y p o l i s h e d l o o k i n g g l a s s .
"Hy i n t e n t i o n " , J o y c e w r o t e t o a p u b l i s h e r , "was t o w r i t e a
c h a p t e r i n t h e mora l h i s t o r y of my c o u n t r y and I c h o s e
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Dubl in f o r t h e s c e n e because t h a t c i t y seemed t o n e t h e
c e n t r e of p a r a l ~ s i s . " ~ ~ I n t h e s t o r y "The Dead", t h e
a tmosphe re of e n e r v a t i n g v a c u i t y is evoked s u c c e s s f u l l y
t h r o u g h a r e a l i s t i c a c c o u n t of t h e a n n u a l dance g i v e n by
t h r e e s p i n s t e r s a t t h e i r home.
J o y c e ' s a r t is used t o r e v e a l more t h e s o r d i d t h a n
t h e b e a u t i f u l i n l i f e . S t a n i s l a u s S t ephen once compla ined
t o h i s b r o t h e r , "To me you seem t o have e s c a p e d f rom t h e
t o i l s o f t h e p r i e s t and t h e k i n g o n l y t o f a l l unde r t h e
o p p r e s s i o n of a mons t rous v i s i o n of l i f e i t s e l f . . . There is
no s e r e n i t y o r h a p p i n e s s anywhere i n t h e book."13 But
J o y c e ' s pe s s imi sm is redeemed by t h e i r o n i c s t a n c e adop ted
by him. He c h o o s e s t o l augh r a t h e r t h a n t o r a i l a t l i f e ' s
i r o n i e s . His pes s imi sm " d r e s s e s now i n cap and b e l l s ,
c o v e r i n g a s a d h e a r t w i t h a gay cos tume , even a s a
Shakespea rean fool:'14 He d i r e c t s h i s comic s a t i r e a g a i n s t
a wide r a n g e of human f o l l i e s .
P u t u m a i p p i t t a n ' s pe s s imi sm may a l s o b e d e s c r i b e d i n
s i m i l a r t e r m s . H i s l a c k of f a i t h i n God and men is e v i d e n t
i n a number of s t o r i e s . "TuqpakkZ?i ' ' (The Wel l of H i s e r y )
and "Po??akaram" (The Golden C i t y ) a r e p a i n f u l n a r r a t i o n s
of t h e s u f f e r i n g s of i n n o c e n t women who a r e f o r c e d b y a
b r u t a l s o c i e t y t o s a c r i f i c e t h e i r honour f o r f o o d .
"Kalyi ;n iW i s a l y r i c a l e x p r e s s i o n of t h e p a n g s of l o v e
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expe r i enced by a Young l ady mar r i ed t o an o l d man o b l i v i o u s
he r emo t iona l needs and d e s i r e s . The g r i n d i n g p o v e r t y of
a w r i t e r whose ambi t i on t o w r i t e a g r e a t nove l remains
f o r e v e r u n f u l f i l l e d becomes t h e s u b j e c t - m a t t e r of t h e s t o r y
' Oru Ng? K a i i n t a t u " ( A Day P a s s e d ) . I n " ~ T y a i k E l a Mayakkan"
( T w i l i g h t I l l u s i o n ) , a coup le of g o a t s f i g h t i n g a g a i n s t
each o t h e r n o t r e a l i s i n g t h a t t h e y were t o be s l a u g h t e r e d
t h e n e x t day is an e x p l i c i t symbo l i c r e p r e s e n t a t i o n of t h e
f u t i l i t y of human l i f e :
Why a r e t h e y i n a h u r r y when t h e i r b lood is t o be shed on t h e a l t a r tomorrow?
Tha t is what is i n t e r e s t i n g ! Tha t s t r u g g l e is t h e s e c r e t of l i f e , t h e ph i lo sophy
of l i f e . Human c i v i l i z a t i o n has been t h r i v i n g on t h i s f a i t h
o n l y . Next: I d o n ' t know a b o u t i t . I f t h e y know t h e y a r e g o i n g t o be s a c r i f i c e d
tomorrow, how can t h e y t h i n k of s u c h f i g h t ?
P u t u m a i p p i t t a n h imse l f d e c l a r e s t h a t t h e common
c h a r a c t e r i s t i c of h i s s t o r i e s is l a c k of op t imi sm. l6 But i n
h i s s t o r i e s a l s o , t h e p e s s i m i s t i c o u t l o o k is m i t i g a t e d by
t h e comic i r o n y t h a t is dominant t h roughou t
TBva I rakkam Ni;tZr, a Bench Cour t m a g i s t r a t e , f i n e s
a poor h o r s e - c a r t d r i v e r f i v e r u p e e s i g n o r i n g h i s h e a r t -
r e n d i n g p l e a s and a t n i g h t p r a y s t o God:
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Our F a t h e r ! . . . F o r g i v e u s o u r s i n s . Welvlso f o r g i v e t h o s e Who a r e i n d e b t e d t o u s .
There is a ' s w a m i j i ' of t h e T h e o s o p h i c a l S o c i e t y a d d r e s s i n g
a l e a r n e d a u d i e n c e :
Man h a s been f i g h t i n g f o r h i s i d e a l s . T h e r e have been s o many war s and c o n f l i c t s . But t r u t h is one ! T h e r e a r e many p a t h s t o r e a c h i t . But man is i g n o r a n t of t h i s . What we u t t e r is a l s o t r u t h . D i f f e r e n c e s a r e o n l y s k i n - d e e p . He g o e s on i n t h i s v e i n i n t h e h a l l of an i n n f rom which a poo r f a m i l y h a s been d r i v e n o u t i n a s t o r m y r a i n s o t h a t t h e ed a t e d t h e o s o p h i s t s may have a p e a c e f u l mee t ing ! b3 H i s mo the r - we d o n ' t know i f t h e u n t o u ~ $ a b l e s have t h e r i g h t t o r e a c h Heaven - e x p i r e d . .
I n t h e s t o r y a b o u t a young widow who commits s u i c i d e , he
w r i t e s :
My hand t r e m b l e s t o w r i t e a b o u t t h e f a t e of women. But i s i t n o t n a t u r a l i n t h e Hindu s o c i e t y which h a s d i s c o v e r e d f a t e s t h e supreme r e a s o n f o r a l l t h e woes of l i f e
I f you want t o know t h a t t h i s is n o t t h e a g e of K a l i b u t of a d v e r t i s e m e n t you s h o u l d s e e t h e c i t y by n i g h t . These crowds!-why s u c h a h u r r y ? T h i t h e b a s i s of c i v i l i s a t i o n - c o m p e t i t i o n , hurry!'lis
Acco rd ing t o H a r r y L e v i n , " t h e open s t r u c t u r e which
c a s u a l l y a d a p t s i t s e l f t o t h e f l o w of e x p e r i e n c e , and t h e
c l o s e t e x t u r e , which g i v e s p r e c i s e n o t a t i o n t o s e n s i t i v e
o b u e r v a t i o r ~ , a r e u h a r u o t a r i u t i c of Joyoban n a r r a t i v e " . 2 2 He
d i s c a r d e d t h e o l d e r t e c h n i q u e of s h o r t s t o r y w r i t i n g t o b e
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found i n t h e w r i t i n g s of Haupas san t , 0. Henry and o t h e r s ,
who a t t e m p t e d t o make d a i l y l i f e more e v e n t f u l by
u n s c r u p u l o u s m a n i p u l a t i o n of s u r p r i s e s and c o i n c i d e n c e s .
Very l i t t l e happens i n t h e s h o r t s t o r i e s o f J o y c e . Here t h e
a r t i s t is t r u e t o t h e u n e v e n t f u l n e s s t o w h i c h . t h e l i v e s of
modern men and women have been r e d u c e d . "An Encoun te r " and
"Two G a l l a n t s " may be c i t e d a s supreme examples of t h i s
k i n d .
I n P u t u m a i p p i t t a n ' s s t o r i e s a l s o , t h e c o n c e n t r a t i o n
is on r i c h t e x t u r e . When he a p p e a r e d on t h e Tami l l i t e r a r y
s c e n e , he n a t u r a l l y sounded a r e v o l u t i o n a r y n o t e s i n c e h i s
p r e d e c e s s o r s and c o n t e m p o r a r i e s d u r i n g t h e Gandhian e r a
chose n a t i o n a l i s m . Gandhism and s o c i a l e v i l s l i k e c a s t e
sy s t em and d r i n k a s themes f o r t h e i r p o p u l a r s t o r i e s
w r i t t e n i n an a l m o s t n a i v e s t y l e . He d i d n o t h e s i t a t e t o
a t t a c k t h e s i m p l i s t i c s e n t i m e n t a l s t u f f of t h e s e w r i t e r s
and l a i d t h e f o u n d a t i o n f o r t h e modern s h o r t s t o r y i n
T a m i l . A s h o r t s t o r y w i t h t h e q u e s t i o n mark a s t h e t i t l e
r e p o r t i n g a b r i e f one -page d i a l o g u e be tween a g u r u and h i s
d i s c i p l e on t h e n a t u r e of r e l a t i o n s h i p between God and t h e
world r e v e a l s t h a t he was f a r ahead of h i s t i m e i n h i s
c h o i c e of s u b j e c t - m a t t e r and n a r r a t i v e t e c h n i q u e .
" N i k a i v u p p Z t a i " [The P a t h o f Though t ] t r a c e s t h e t h o u g h t s
of an o l d man who l o s e s h i s w i f e i n t h e fo rm o f f o u r o r
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f i v e d r a m a t i c s c e n e s . "Kayi_r:aravu" [Rope -Se rpen t ] ,
supposed t o be h i s l a s t s t o r y , r e a d s l i k e an e x q u i s i t e
t r e a t i s e on man and t h e f l u x of t i m e .
The s t o r i e s of Joyce and P u t u m a i p p i t t a n may b e
c a l l e d s e c u l a r e p i p h a n i e s s i n c e t h e y a r e s t r i k i n g
r e v e l a t i o n s of t h e l i v e s of t h e p e o p l e s whom t h e y have
chosen t o p r e s e n t . Epiphany s i g n i f i e s t h e sudden f l a r e i n t o
r e v e l a t i o n of an o r d i n a r y o b j e c t o r s c e n e . When J o y c e c a l l s
h i s w r i t i n g s e p i p h a n i e s , he wan t s t o emphas i ze t h a t t h e
moments a r r e s t e d i n h i s d e s c r i p t i o n s , t h e p a t h e t i c and
s o r d i d g l i m p s e s a l s o o f f e r a k ind of r e v e l a t i o n t hough v e r y
d i f f e r e n t f rom t h e m a n i f e s t a t i o n t h a t d a z z l e d t h e w i s e men
of t h e E a s t . His t h e o r y of e p i p h a n i e s is e x p l i c i t l y s t a t e d
i n Stephen Hero. By an e p i p h a n y , he meant a sudden
s p i r i t u a l m a n i f e s t a t i o n , w h e t h e r i n t h e v u l g a r i t y of s p e e c h
o r of g e s t u r e o r i n a memorable p h a s e of t h e mind i t s e l f .
He b e l i e v e d t h a t i t was f o r t h e man of l e t t e r s t o r e c o r d
t h e s e e p i p h a n i e s w i t h e x t r e m e c a r e , s e e i n g t h a t t h e y
t h e m s e l v e s a r e t h e most d e l i c a t e and e v a n e s c e n t o f moments.
He t o l d C r a n l y t h a t t h e c l o c k of t h e B a l l a s t O f f i c e was
c a p a b l e of an e p i p h a n y . C r a n l y q u e s t i o n e d t h e i n s c r u t a b l e
d i a l of t h e B a l l a s t O f f i c e w i t h no l e s s i n s c r u t a b l e
c o u n t e n a n c e .
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' Y e s ' , s a i d S t e p h e n , ' I w i l l p a s s i t t i m e a f t e r t . i s e , ~ 1 1 1 1 0 ~ : t o i t , r e f e r t o i t , c a t c h a g l i m p s e of i t . i t i s o n l y an l t em i ~ i t h e o a t a l u g u a or D u b l i n ' s s t r e e t f u r n i t u r e . Then a l l a t once I s e e i t and I know a t once what it is ep iphany?
'Wha t ' ?
' I m a g i n e my g l i m p s e a t t h a t c l o c k a s t h e g r o p i n g s of a s p i r i t u a l eye which s e e k s t o a d j u s t i ts v i s i o n t o an e x a c t f o c u s . The moment t h e f o c u s is r eached t h e o b j e c t is e g i p h a n i s e d . I t i s j u s t i n t h i s ep iphany I f i n d t h e t h i r d , t h e supreme q u a l i t y of b e a u t y ' .
I r e l a n d i s J o y c e ' s microcosm. As Har ry Lev in o b s e r v e s , "The
world was h i s p a r i s h , h i s u n i v e r s e is ~ a r o o h i a l " . ~ ~ The
c i t y of Dub l in is "commemorated s t r e e t by s t r e e t " . 2 4
P u t u m a i p p i t t a n ' s d e s c r i p t i o n s of t h e immed iac i e s of d a i l y
l i f e , of t h e s t r e e t s and l andmarks , t h e sounds and s m e l l s ,
of t h e h a r i j a n s , t h e p i i l a i s , t h e c h e t t i y z r s and t h e
b rahmins of t h e v i l l a g e s of h i s n a t i v e T i r u n e l v e ' l i d i s t r i c t
w i t n e s s t o h i s powers of o b s e r v a t i o n
But t h e n we c a n n o t be b l i n d t o t h e s t r i k i n g
d i f f e r e n c e s between t h e two w r i t e r s . One h a s won an
i n t e r n a t i o n a l r e p u t a t i o n and t h e o t h e r h a s been v e r y
g r u d g i n g l y c o n f e r r e d o n l y a r e g i o n a l name. The s h o r t
s t o r i e s of J o y c e mark o n l y t h e f i r s t p h a s e of h i s c a r e e r
and he v e r y soon e v o l v e d i n t o a v e r y g r e a t a r t i s t and
r e a c h e d f a r g r e a t e r h e i g h t s i n The Portrait, U l y s s e s and
Pinnegans Wake, which a r e acknowledged monuments of
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aesthetic achievement. There seems to have been no such
marked growth in Putumaippittan's career. The short story
was his forte and his attempts at writing a great novel
like those of his own artist-heroes must have proved
abortive. Joyce mastered many languages including Norwegian
and could have easily become a Professor of Romance
Languages at University College. Putumaippittan's knowledge
of Tamil was not very sound even though he could handle
without any flaw its dialects used in Tirunelvzli and
Madras. His acquaintance with Tamil literature was limited
d to a few works like KamparZma'y~am and a few stray poems
which he would have studied in his school and college days.
And we do not have evidence of his grounding in any
discipline other than literature. Perhaps the one
limitation of Joyce is that "his imagination is auditory
rather than visual" ,25 since he lived much of his life in
a state of semi-blindness. His prose must be read aloud to
be fully appreciated. Putumaippittan's adaptations of some
old Indian myths are to be found in stories like "Anr_u
Iravu" [That Night], "Akalyai" , and "Cgpa Vim5canam". Joyce
seems to have reserved this strategy for the novel.
According to Putumaippittan's disciple and
biographer, Ragunathan, he was fond of the writings of
Thomas Hardy, Emile Zola, Balzac, Mark Twain, Sinclair
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Lewis , Henry M i l l e r , T o l s t o y , Dos toevsky and Chekhov. Even
though J o y c e is n o t i n c l u d e d i n t h i s l i s t , P u t u m a i p p i t t a n
pays a g l o w i n g t r i b u t e t o t h e I r i s h a r t i s t i n t h e p r e f a c e
t o t h e c o l l e c t i o n , ~iin"ca~.zi, c a l l i n g him " t h e l a s t g r e a t
f l ame" i n t h e h i s t o r y of E n g l i s h l i t e r a t ~ r e . ' ~ J u s t a s
Joyce was i n s p i r e d by t h e example of I b s e n , h i s
u n d e r g r a d u a t e i d o l , P u t u m a i p p i t t a n mus t have been i m p r e s s e d
w i t h J 0 y c e . s d e d i c a t i o n t o a r t . And what Lev in s a y s of t h e
I r i s h m a s t e r i s t r u e of t h e Tami l w r i t e r a l s o : " H i s example
of a e s t h e t i c i d e a l i s m , s e t by a b n e g a t i o n and a r t i s t r y , i s a
s t a n d i n g r ebuke t o f a c i l i t y and ~ e n a l i t y " . ~ ~
NOTES & REFERENCES
1 . Ra. Naa. Subramaniam c o n s i d e r s P u t t u m a i p p i t t a n t h e b e s t of t h e I n d i a n s h o r t s t o r y w r i t e r s .
2 . Darcy 0 ' B r i e n , The Conscience of James Joyce ( P r i n c e t o n : P r i n c e t o n U n i v e r s i t y P r e s s , 1 9 6 8 ) , p . 293 .
3 . Ha r ry L e v i n , e d . The Portable James Joyce (New York: Pengu in Books , 1 9 7 7 ) , p . 4 .
4 . The Portable James Joyce, pp .146 -8
5 . Darcy O ' B r i e n , p . 2 4 3 .
6 . P u t u m a i p p i t t a n , XTi,?cca;ai (Madura i -1 : Meenaksh i P u t t a k a Ni layam, 1 9 4 3 ) .
7 . Darcy O ' B r i e n , p . 1 5
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8 . The Portable James Joyce, p . 8 1 .
9 . Ibid., p . 8 3 . 1 0 . Quoted i n Darcy O ' B r i e n , The Conscience of James
Joyce, P . 1 5 .
11. Quoted i n Darcy O ' B r i e n , p . 1 6 .
1 2 . Ibid., P . 1 6 .
13. Quoted i n Darcy O ' B r i e n , p . 2 4 5 .
1 4 . Ibid. , P . 241 .
15. P u t u m a i p p i t t a n , Putumaippittan Kataikal (Hadura i -1 : Heenaksh i P u t t a k a Nilayam, 1 9 x 0 ) , p . 2 2 1 .
I f i . Cluot.nrl i n T . H u r u g a r a t t i n a m . Putumaippitta~ Ci~ukataikkalai (Madura i -1 : 1976) ,p .1 '71 .
1 7 . P u t u m a i p p i t t a n , "NiyZyam", Putumaippittan Pataippuka! ( C h e n n a i : A i n t i n a i p p a t i p p a k a m , 1 9 8 7 ) , p . 141 .
1 8 . "VPlkka i" , Putumaippittan Pataippuka!, p . 318 .
19. "Tani Oruvanukku" , Pu tumaippittan Pataippuka f , p . 7 5 3 .
2 1 . "Kavanta2um Khmanurn" , Putumaippi ttaj! PaLaippukai, p . 3 2 4 .
22 . Har ry L e v i n , ( e d . ) The Portable James Joyce, p . 1 8
23. Harry L e v i n , p . 1 4 .
2 4 . Ibid., P. 11.
25 . Har ry L e v i n , p . 1 1 .
26 . P u t u m a i p p i t t a n , ~ ~ f c a ~ a i , p . 3 .
27 . Har ry L e v i n , p . 1 5 .