By Maria DiBattista, Lucy McDiarmid
This choice of essays on modernist tradition reassesses the convergence of high and low cultures, of socialist and aesthete, overdue Victorian and younger Georgian, the preferred and the coterie. educational literary reports have till lately most well liked to regard the ''opaque,'' ''difficult'' writings of excessive moderns Conrad, Yeats, Woolf, and Eliot, and the extra obtainable paintings of the low moderns Kipling, Shaw, and Wells in separate different types. In contributions by means of students David Bromwich, Roy Foster, Edna Longley, Louis Menand, Edward Mendelson, and others, High and coffee Moderns brings those writers into severe proximity. Essays on such themes because the public mourning of Queen Victoria, Florence Farr and the ''New Woman,'' the Edwardian Shaw, woman Gregory's allure to Irish felons, and the excessive creative makes use of of low entertainments--cinema, detective fiction, and journalism-- introduce a subtler version of modernism, during which ''demotic'' and ''elite'' cultural kinds criticize, imitate, and handle each other.
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Proudie, but also of Mrs. Pontifex, Mrs. Morel, and (in Joyce's most castigating moments) Mrs. Dedalus. By repudiating all that their cultural "mother" represented, the modern writers strove to achieve autonomy from her rule. Mourning the mother would involve not only feelings of triumph and individuation but also tremendous guilt and nostalgia; having outlived her tyranny, the sur- JAY DICKSON 31 viving children find themselves bereft of her care and example. Such feelings of ambivalence, I suggest, also became present in the modernists' mourning for their cultural mother.
25 Victoria's passing did not mean the setting of the star of Britain, she believed, because the old values the queen had represented had been effectively rethought and recast. Glyn writes: It was generally felt that changes must follow the death of the Queen, and the inauguration of a new century, and that new ideas, new standards and new hopes were 30 HISTORICAL SOUNDINGS in the air. But I think that no one then dreamed how rapid, how complete, and in many ways, how terrible would be the transformation.
84). Victoria becomes the Queen of the Underworld, reigning over a lethal realm of death and nostalgia which Bloom repudiates by chapter's end. Nevertheless, despite the queen's metonymic antithesis to the modernity Ulysses so firmly embraces, Joyce suggests that Victoria cannot be so entirely repudiated. Although the novel seems firmly opposed to all that Victoria represents—particularly the tyranny of British rule—Joyce seems keenly aware of the dangers of mindless rebellion. The "Cyclops" chapter of Ulysses demonstrates such dangers, as the Citizen and his cronies carry the nationalism and progressivism espoused by Stephen to ludicrous extremes.