James Joyce’s famous concluding lines of Portrait of the Artist as a Young Man—“I go to encounter for the millionth time the reality of experience and to forge in the smithy of my soul the uncreated conscience of my race”—were borne out in works that helped raise Irish identity beyond the oppression of British rule. Joyce’s ironically titled “Two Gallants” points to the pathos of a nation struggling to hold onto dignity when survival depends on trickery and deceit. Joyce intended the story as a mirror to inspire his people to greater pride of self-possession in place of false chivalry in the Anglo-Norman vein. Within a generation, Joyce (1882–1941) and his works became the signal Irish institution on the global stage, a circumstance it would take a writer of the next generation, William Trevor, to satirize as a means of saving Joyce’s intention from academic stultifications and popular ritualizations. Trevor’s “Two More Gallants” is a brilliant example of one writer drawing mastery from another to keep art alive and to quicken life itself.

Two Gallants

A Story

by James Joyce

The grey warm evening of August had descended upon the city and a mild warm air, a memory of summer, circulated in the streets. The streets, shuttered for the repose of Sunday, swarmed with a gaily coloured crowd. Like illumined pearls the lamps shone from the summits of their tall poles upon the living texture below which, changing shape and hue unceasingly, sent up into the warm grey evening air an unchanging unceasing murmur.

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