Everyone has a different explanation for James Joyce. Thornton Wilder says he is a man divided between a violent love and a violent hate, “a love that cannot integrate its hate” and “a hate that cannot integrate its love”, a love and a hate for the land and the people he left but was unable ever to forget. Harry Levin, insofar as he attempts at all to explain, places great emphasis on Joyce's youthful theory of the development of the arts as a progress from the lyric, through the epic, to the dramatic. Barry Bymo agrees with the importance of this literary theory and suggests that Joyce's problem was the incompatibility between his artistic program and his own capabilities. Gorman, offering us his idol, does not explain Joyce at all except in terms of his high integrity, superb intellect, and remarkable fortitude—an explanation based for the most part on Joyce's own declarations to these effects. And Gogarty, antipathetic, seemingly resentful, attributes Joyce's development to the inherent arrogance which led him to reject his religion but never released him from fears of the consequences of this rejection. Gogarty therefore singles out as the crucial trauma from which Joyce never recovered and toward which he never ceased to react, the sermon on Damnation, Hell, and Eternity which he heard at Belvedere College when he was eleven years old.