28 pages • 56 minutes read
James JoyceTwo Gallants
Fiction | Short Story | Adult | Published in 1914A modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Literary Devices
Irony
Irony is a literary device characterized by a contradiction between what is expected and what occurs or between what is said and what is meant. It involves an incongruity that may be humorous, poignant, or thought-provoking. Joyce’s reliance on irony in the story contributes to the narrative’s modernist elements. The story’s title can be linked to the author’s use of irony to situate and contextualize the story. The word “gallant” traditionally describes a chivalrous individual of noble character. Joyce’s use of “gallant” in the story’s title ironically denotes the absence of nobility and chivalry that defines Corley and Lenehan. This irony creates a stark contrast between the term’s traditional meaning and the characters’ status as degenerates. Joyce also uses irony in the characters’ dialogue. A notable example occurs when Lenehan condemns one of Corley’s former lovers as a “base betrayer.” This statement ironically underscores the fact that Corley regularly manipulates and betrays women.
Metaphor
A metaphor is a figure of speech that makes a comparison between two unlike things by stating that one thing is another thing. Joyce relies on poetic and metaphorical language throughout “Two Gallants.” This device enables him to interconnect the story’s dimensions of narrative realism and modernism and additionally contributes to his presentation of Dublin’s society. The story’s first paragraph captures the setting and situates the story’s events within the specific context of Joyce’s fictionalized Dublin. The author’s use of metaphor enables him to connect the imagery to the story’s emerging themes. In the first line, Joyce refers to the month of August as the “memory of summer” (1). This phrase refers to the idea of natural decay as the summer transitions into a period marked by declining heat and dying leaves. The following passages compare the gas lamps to “illumined pearls.” Joyce’s language in this section is evocatively romantic, conveying Dublin’s beauty while also hinting at the country’s decline.
Juxtaposition
Juxtaposition is a literary technique where two or more ideas, images, characters, or elements are placed close together or side by side for the purpose of comparison, contrast, or emphasis. Joyce’s reliance on juxtaposition enables him to examine Lenehan as a complex and contradictory character. This structural element compares and juxtaposes the protagonist at varying points in the narrative. The opening passages depict Lenehan as he reacts to Corley’s anecdote. He laughs in response to his companion’s tale and vocalizes his appreciation of its humor. The protagonist agreeably walks at the side of the road and allows the larger man to dominate the sidewalk. This passage and the early dialogue presented in the story appear to identify Lenehan as Corley’s loyal friend. However, in the café sequence, the protagonist’s self-reflection challenges this view. These later passages describe Lenehan’s dissatisfaction with his current lifestyle. The story’s juxtaposition of these passages indicates that the protagonist’s positive reaction to Corley’s anecdote is misleading.
Joyce relies on this same device as he juxtaposes Lenehan’s epiphany with the story’s conclusion and outcomes. Corley’s revelation of the stolen coin represents a concrete example of the unethical activities the protagonist identifies as being antithetical to a meaningful life. The abrupt nature of this discovery also contrasts with the reflective quality of the passages describing Lenehan’s thoughts and insights. The scenes’ juxtaposition creates a jarring effect for the reader and contributes to the story’s ambiguous ending. This narrative device hints at how Lenehan’s choices will continue to be impacted by the degenerative nature of the character’s external environment.
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By James Joyce
