JewlyssesIt is one of the surprises of Modernism that James Joyce, in rewriting Homer’s Odyssey as the great contemporary epic, chose for his hero not a Greek, or a European, or an American or Irishman, but a Jew: Leopold Bloom. Not that modernists were notorious philo- Semites. On the contrary, some of the bestknown writers of the movement were explicitly anti-Semitic: Pound, Eliot, Yeats. It is an irony of Modernism that its writers hated modernity. They longed for lost traditions, which they felt were betrayed by the bourgeois world of materialism and unforgivably bad taste. Materialism, not least in the traditions that were unraveling, was always closely associated with the J word. “The jew squats on the window sill, the owner,” Eliot intones in his poem “Gerontion,” picturing Europe as a dying old man. “With Usura sin against nature,” writes Pound in his Cantos, meaning Jews.Not so James Joyce. Ulysses pictures anti- Semites as stuff-shirted, self-righteous hypocrites or worse. It is the hypocritical and obnoxious headmaster who says, “England is in the hands of the jews. In all the highest places: her finance, her press. And they are the signs of a nation’s decay… As sure as we are standing here the jew merchants are already at their work of destruction. Old England is dying.” To which Stephen Daedalus, Joyce’s own alter-ego, replies: A merchant is one who buys cheap and sells dear, jew or gentile, is he not? In the Cyclops chapter, the One-Eyed Cyclops is a drunk Jew-hater (“—By Jesus, says he, I’ll brain that bloody jewman for using the holy name.”)There Bloom addresses the age-old conundrum that Zionism has only partly solved. Commenting that “Persecution, all the history of the world is full of it. Perpetuating national hatred among nations,” Bloom is asked:—But do you know what a nation means?—Yes, says Bloom.—What is it? —A nation? says Bloom. A nation is the same people living in the same place.—By God, then, says Ned, laughing, if that’s so I’m a nation for I’m living in the same place for the past five years.So of course everyone had the laugh at Bloom and says he, trying to muck out of it: —Or also living in different places.—That covers my case, says Joe.—What is your nation if I may ask? says the citizen.—Ireland, says Bloom. I was born here.Ireland.During his expulsion from the bar that follows, Bloom cries to his assailants: “the Saviour was a jew and his father was a jew. Your God. . . .Your God was a jew. Christ was a jew like me.”As an epic hero, Bloom is in exclusive company.All told, Western literature knows only a handful of epics: two by Homer, one each by Virgil and Dante, with possible contenders from Spenser or Milton. An epic requires a kind of comprehensive summing up of a whole culture, a whole era. With Bloom as unlikely epic hero, Joyce sets out to redefine just what epic heroism is. Bloom, to say the least, is not athletic. He does not have Achilles’s prowess; Aeneus’s stoic soldiering, is not struggling with, and finally affirming, Christian faith as are both Dante and Milton. How does he represent some sort of modern heroism, and also modern culture and its values – at least according to Joyce? One answer is suggested by the anti- Semitic Cyclops, who stands for all the One- Eyed people absolutely certain about what they think they know, and who therefore see narrowly, reductively, and aggressively.Bloom as Jew stands for a pluralist position, as Jews in fact have done throughout history, since they are not reducible only to religion, or nationality, or profession, or geographical location. This is one reason they have always attracted the ire of certainty: of people who want one answer to questions which require multiple ones. Joyce’s Bloom is definingly undogmatic. He represents the possibility of cultural conjunctions that expand references, open horizons, and support and increase toleration. Jews challenge the image of European toleration – in 1906, Jews were still the only Others around – a test case that Europe hasn’t passed with such flying colors.What, then, makes Bloom heroic? His equanimity, his kindness; above all his uncertainty, his knowledge that his own answers are partial. He carries himself with a humility that religions and cultures often preach and impose, but rarely themselves follow or embody.Shira Wolosky contributed to this article.
Dublin's imaginary Jew
Literature, history, Guiness and Judaism converge in the mystical Emerald isle.
JewlyssesIt is one of the surprises of Modernism that James Joyce, in rewriting Homer’s Odyssey as the great contemporary epic, chose for his hero not a Greek, or a European, or an American or Irishman, but a Jew: Leopold Bloom. Not that modernists were notorious philo- Semites. On the contrary, some of the bestknown writers of the movement were explicitly anti-Semitic: Pound, Eliot, Yeats. It is an irony of Modernism that its writers hated modernity. They longed for lost traditions, which they felt were betrayed by the bourgeois world of materialism and unforgivably bad taste. Materialism, not least in the traditions that were unraveling, was always closely associated with the J word. “The jew squats on the window sill, the owner,” Eliot intones in his poem “Gerontion,” picturing Europe as a dying old man. “With Usura sin against nature,” writes Pound in his Cantos, meaning Jews.Not so James Joyce. Ulysses pictures anti- Semites as stuff-shirted, self-righteous hypocrites or worse. It is the hypocritical and obnoxious headmaster who says, “England is in the hands of the jews. In all the highest places: her finance, her press. And they are the signs of a nation’s decay… As sure as we are standing here the jew merchants are already at their work of destruction. Old England is dying.” To which Stephen Daedalus, Joyce’s own alter-ego, replies: A merchant is one who buys cheap and sells dear, jew or gentile, is he not? In the Cyclops chapter, the One-Eyed Cyclops is a drunk Jew-hater (“—By Jesus, says he, I’ll brain that bloody jewman for using the holy name.”)There Bloom addresses the age-old conundrum that Zionism has only partly solved. Commenting that “Persecution, all the history of the world is full of it. Perpetuating national hatred among nations,” Bloom is asked:—But do you know what a nation means?—Yes, says Bloom.—What is it? —A nation? says Bloom. A nation is the same people living in the same place.—By God, then, says Ned, laughing, if that’s so I’m a nation for I’m living in the same place for the past five years.So of course everyone had the laugh at Bloom and says he, trying to muck out of it: —Or also living in different places.—That covers my case, says Joe.—What is your nation if I may ask? says the citizen.—Ireland, says Bloom. I was born here.Ireland.During his expulsion from the bar that follows, Bloom cries to his assailants: “the Saviour was a jew and his father was a jew. Your God. . . .Your God was a jew. Christ was a jew like me.”As an epic hero, Bloom is in exclusive company.All told, Western literature knows only a handful of epics: two by Homer, one each by Virgil and Dante, with possible contenders from Spenser or Milton. An epic requires a kind of comprehensive summing up of a whole culture, a whole era. With Bloom as unlikely epic hero, Joyce sets out to redefine just what epic heroism is. Bloom, to say the least, is not athletic. He does not have Achilles’s prowess; Aeneus’s stoic soldiering, is not struggling with, and finally affirming, Christian faith as are both Dante and Milton. How does he represent some sort of modern heroism, and also modern culture and its values – at least according to Joyce? One answer is suggested by the anti- Semitic Cyclops, who stands for all the One- Eyed people absolutely certain about what they think they know, and who therefore see narrowly, reductively, and aggressively.Bloom as Jew stands for a pluralist position, as Jews in fact have done throughout history, since they are not reducible only to religion, or nationality, or profession, or geographical location. This is one reason they have always attracted the ire of certainty: of people who want one answer to questions which require multiple ones. Joyce’s Bloom is definingly undogmatic. He represents the possibility of cultural conjunctions that expand references, open horizons, and support and increase toleration. Jews challenge the image of European toleration – in 1906, Jews were still the only Others around – a test case that Europe hasn’t passed with such flying colors.What, then, makes Bloom heroic? His equanimity, his kindness; above all his uncertainty, his knowledge that his own answers are partial. He carries himself with a humility that religions and cultures often preach and impose, but rarely themselves follow or embody.Shira Wolosky contributed to this article.