Beruflich Dokumente
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JOYCE, NIETZSCHE, AND HAUPTMANN IN
JAMES JOYCE'S "A PAINFUL CASE"
BY MARVIN MAGALANER
95
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96 Nietzsche and Hauptmann in Joyce's "A Painful Case"
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Marvin Magalaner 97
"A Painful Case," in most respects identical with the final published
version, is dated in Joyce's hand "15-8-05."8 By this time, the author
had settled down to as normal and ordinary a life of devoted husband as
a struggling genius of a writer can have.9 He had not impulsively whisked
away from Ireland young Nora Barnacle as his mate because of the
intellectual stimulation which she afforded.10 Those who knew the
Joyces on the continent, no matter how biting their evaluation of the
author as a man or artist may be, concur in their opinion that he seemed
the ideal paterfamilias and a faithful, loving husband." If these evidences
may be credited, then the writer of the stories emerges as basically a
very different man from his emotionally disturbed and distorted pro-
tagonist, not one in need of the comfort which some writers derive from
projecting their marital difficulties in their writings.12
In studying the character of Mr. Duffy, one must not forget, too,
Joyce's habit of including only those details which contribute materially
to a fuller understanding of his story. His identification of several of the
books on Duffy's bookshelves is not random or superfluous. Joyce offers
the broad hint that part of Mr. Duffy's character is moulded from ob-
servations made by Nietzsche in Thus Spake Zarathustra. Nietzsche's
remarks on womankind show that autobiography is subordinated to the
use of a literary source in Joyce's presentation of Mr. Duffy. Is this not
Duffy speaking? "Allzulange war im Weibe ein Sklave und ein Tyrann
versteckt. Deshalb ist das Weib noch nicht der Freundschaft fiihig:
es kennt nur die Liebe.... Und auch in der wissenden Liebe des Weibes
ist immer noch Uberfall und Blitz und Nacht neben dem Lichte. Noch
ist das Weib nicht der Freundschaft fihig: Katzen sind immer noch die
Weiber, und V6gel. Oder, besten Falles, Kiihe.'13 Recall the sentence
written in Mr. Duffy's notebook: "Love between man and man is im-
possible because there must not be sexual intercourse and friendship
8 This MS.
draft,formerlyin the collectionof Mr. John J. Slocumof New York,is now
at Yale Univ. Alsoin that collectionis an earlierdraftof the samestory,in whichthe title
appearsas "A PainfulIncident."I am deeplyindebtedto Mr. Slocumfor his kindnessin
allowingme to examinethe MS. versionsof the story.
9 In Aug. 1906 Joyce was still revising"A Painful Case." "The Dead," the last story
writtenfor the collection,was conceivedin Rome and probablynot finisheduntil late in
1907.See Gorman,pp. 169 and 176.
10
Gorman,pp. 125-127.
11Silvio Benco, "JamesJoyce in Trieste,"Bookman,Lxx (Dec. 1930), 376; Padraic
Colum,"Portraitof JamesJoyce,"DublinMag., vn (April-June1932),40-43.
12On the other
hand, Joyce'shandlingof the themeof marriagein "The Dead" and in
two of his laterpoems,"SheWeepsover Rahoon"and "Tutto e Sciolto,"as Prof. William
York Tindall has suggestedto me, may indicatehidden troublein his relationshipwith
Nora.
3AlsoSprachZarathustra (New York:FrederickUngar PublishingCo.,n.d.), pp. 60-61.
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98 Nietzsche and Hauptmann in Joyce's "A Painful Case"
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Marvin Magalaner 99
14
Gorman,pp. 73-74.
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100 Nietzsche and Hauptmann in Joyce's "A Painful Case"
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Marvin Magalaner 101
merely had she degraded herself; she had degraded him" (p. 144). But
Arnold's death brings his father up sharply. Kramer's long speech at the
end and Duffy's final thoughts are strikingly alike. Both find that the
precise and orderly way of life in matters of detail does not compensate
for the fact of death, which sweeps aside all lesser matters. Hauptmann
puts it this way:
Wennerst das Groi3eins Lebentritt, h6r'nSe, dann ist alles Kleine wiewegge-
fegt. Das Kleine trennt, das Grofie,das eint, sehn Se. Das heifit, man mui3so
geartet sein. Der Tod ist immer das Grofle,hor'n Se: der Tod und die Liebe,
sehn Se mal an. ...
So was will einem erst gar nicht in den Kopf. Nun sitzt es. Nun lebt man schon
wiederdamit. Nun ist er schon bald zwei Tage dahin. Ich war die Hiilse, dort
liegt der Kern. Hatten sie doch die Hiilse genommen!
Da lebt man so hin: das mufi alles so sein! Man schlagtsich mit kleinenSachen
herum, und hor'n Se, man nimmt sie wer weii3wie wichtig, man macht sich
Sorgen,man achzt,und man klagt, und hor'nSe, dannkommtdas mit einemmal
... da heifit es: Posto gefai3t! (pp. 436-439)
Then feelings of remorse come to increase the misery of the living: "Das
ganze Leben lang war ich sein Schulmeister. Ich habe den Jungen mal-
tratiert. ... Ich hab' diese Pflanze vielleicht erstickt. Vielleicht hab' ich
ihm seine Sonne verstellt: dann war' er in meinem Schatten ver-
schmachtet.... Aber ich bin zusammengeschrumpft. Ich bin ganz
erbarmlich vor ihm geworden." The summing up, all passion spent, is
quiet: "Die Liebe, sagt man, ist stark wie der Tod. Aber kehren Se
getrost den Satz mal um: Der Tod ist auch mild wie die Liebe ... der
Tod ist verleumdet worden" (pp. 440-441).
At first word of the death of Mrs. Sinico, Duffy is overwhelmed by
self-pity and disgust at having known such an unworthy person. He
"can't grasp" the finality of her act right away. Then, as Kramer says,
her death becomes part of life and he "thought her hand touched his."
Remorse enters here, as above, and he "asked himself what else could
he have done.... He had done what seemed to him best." Now, as
never before, he is able to see her side of the story, as Kramer begins to
see Arnold's side. "Now that she was gone he understood how lonely her
life must have been, sitting night after night alone in that room"
(pp. 144-145). And suddenly Duffy sees the loneliness of his own life,
seems ready, in fact, to cry out in Michaline Kramer's words, "Aber
iiberleben, das ist wohl das Schwerste" (p. 433). Kramer's image of
shutting out Arnold's sun is paralleled by Duffy's fear that he had
"denied her life and happiness: he had sentenced her to ignominy, a
death of shame" (p. 146). It has not been pointed out before, to this
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102 Nietzsche and Hauptmann in Joyce's "A Painful Case"
writer's knowledge, that this play, which Mr. Duffy gives such care to,
even writing the stage directions "in purple ink," contains the entire
moral fable which Duffy needs in order to change his ways and live a
normal, wholesome life. Surely, Joyce was conscious of this irony when
he introduced Michael Kramer into his own story.
This discussion of how Joyce put his sources to work has overshadowed
too much the simple and tender story which he tells. There is something
pitiful in the loneliness of the celibate's routine life, "an adventureless
tale." But more pitiful is his proximity to happiness in the person of
Mrs. Sinico and yet his inability to grasp it owing to a fundamental
misconception of what constitutes a healthy, worthwhile human rela-
tionship. He is willing, indeed eager, to entangle his "thoughts" with
hers, to share "his intellectual life with her." What he does not realize
is that, by denying emotional life, love, to his companion, by insisting
upon a spiritual relationship of confessor and communicant, he is eating
away at the moral stamina of one who does not share his cold, abstract,
intellectual satisfaction. Like Swift with Stella, Duffy ignores the heart
until too late. The bitter end of an impossible situation is one more link
in the chain of evidence which Joyce adduces to prove the sterility and
hopelessness of Dublin lives. The tragic unconscious irony of the last
line of the newspaper article in which Mrs. Sinico's death is announced
is awful in its impersonality: "No blame attached to anyone" (p. 143).
Mr. Bloom in Ulysses comes much closer to the heart of the matter in
his laconic comment on the dead woman, "The love that kills" (p. 113).
THE CITY COLLEGEOF NEW YORK
New York 31
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