There is no denying that the novel is as a whole hardly cheerful. Its grip on life, its intensity, its evident truth, and unflinching acceptance of facts will make A Portrait disagreeable to the average reader. There is relief in the Trinity College episodes; humour of a saturnine kind in the artistic armoury of Mr. Joyce. There is no ironist like an Irishman. The book is undoubtedly written from a full heart, but the author must have sighed with relief when he wrote the last line. No one may tell the truth with impunity, and the portrait of Stephen in its objective frigidity--as an artistic performance--and its passionate personal note, is bound to give offence in every quarter. It is too Irish to be liked by the Irish; not an infrequent paradox. The volume of tales entitled Dubliners reveals a wider range, a practised technical hand, and a gift for etching character that may be compared with De Maupassant's. A big comparison, but read such masterpieces in pity and irony as The Dead, A Painful Case, The Boarding-House or Two Gallants, and be convinced that we do not exaggerate. Dublin, we have said elsewhere, is a huge whispering gallery. Scandal of the most insignificant order never lacks multiple echoes. From Merrion Square, from the Shelbourne, to Dalkey or Drumcondra; from the Monument to Chapelizod, the repercussion of spoken gossip is unfailing. The book Dubliners is filled with Dublinesque anecdotes. It is charged with the sights and scents and gestures of the town. The slackers who pester servant-girls for their shillings to spend on whisky; the young man in the boarding-house who succumbs to the "planted" charms of the landlady's daughter to fall into the matrimonial trap--only De Maupassant could better the telling of this too commonplace story; the middle-aged man, parsimonious as to his emotions and the tragic ending of a love-affair that had hardly begun; and the wonderfully etched plate called The Dead with its hundred fine touches of comedy and satire--these but prove the claim of James Joyce's admirers that he is a writer signally gifted. A malevolent fairy seemingly made him a misanthrope. With Spinoza he could say--oh, terrifying irony!--that "mankind is not necessary" in the eternal scheme. We hope that with the years he may become mellower, but that he will never lose the appreciation of "life's more bitter flavours." Insipid novelists are legion. He is Huysmans's little brother in his flair for disintegrating character. But yet an Irishman, who sees the shining vision in the sky, a vision that too often vanishes before he can pin its beauty on canvas. But yet an Irishman in his sense of the murderous humour of such a story as Ivy Day in the Committee-Room, which would bring to a Tammany heeler what Henry James called "the emotion of recognition." Ah! the wild goose. The flying dream. CHAPTER XVII CREATIVE INVOLUTION