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“OMNIUM GATHERUM”

253

Young Irelanders, whose attempts at reviving Gaelic elements

inspired Revivalists such as Hyde and Yeats. The Revivalists’

appeal to Gaelic materials and De-Anglicization, so far as Joyce

is concerned, is not only parochial but impractical: the

indulgence in past glories and the attempt to eliminate British

influences from Ireland is retrospective and pointless,

disconnected from both daily life and present reality. As Terry

Eagleton remarks, the Gaelic took it home “in the hearts and

minds of the intelligentsia,” not in the day-to-day life of the

rural people (1995: 263). Joyce himself claims the hybridity of

Irish culture, in which Anglicization plays a part: “Our

civilization is a vast fabric, in which the most diverse elements

are mingled . . . In such a fabric, it is useless to look for a

thread that may have remained pure and virgin without having

undergone the influence of a neighbouring thread” (1989:

165). Presenting a speech on Celtic Revival through the

caricatured MacHugh’s mouth, and portraying the pressmen as

indulging in past triumphs and empty talks, Joyce insinuates

his disapproval of Young Irelanders and Revivalists’ stance,

indicating the nostalgia, parochialism, and impracticality of

these intellectuals’ ideas. Eagleton perceives a “traditional gap

between rhetoric and reality in Ireland” (1995: 257). This gap

is manifested in both fictitious and factual Irish intellectuals.

Joyce’s representations of the “talents” in “Aeolus,” in this

respect, reveal not simply the deterioration of certain

intellectuals who failed to be the conscience of the nation in

1904; subtly but significantly, Joyce inserts into the episode his

critique of, or dialogue with, those who have shaped Ireland.

It is noteworthy that Stephen, the literary talent, is among

the “OMNIUM GATHERUM” in the office. As mentioned

earlier, Stephen’s rebellion and nonconformity makes him an

intellectual to Joyce’s mind

the younger Joyce when

composing

Portrait

. Stephen’s participation in “Aeolus,”

however, is complex: on one hand, he rejects the editor’s