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The conflict between Protestant and Catholic in Ireland
Catholic and Protestant conflict in Ireland
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Joyce uses religion and Stephen's progression away from Catholicism in Portrait to convey the divided sentiments regarding independence present in Ireland during the time period. He further communicates to the Irish people that they must look past their in-group bias to truly find a solution. Over the course of Portrait, the reader sees Stephen's progression away from the Catholic teachings of his youth to pursue the life of an artist. While this rejection may seem as though Joyce's intent is to criticize the religion, Joyce's true mission is to use religion as a vessel to communicate his broader ideas on the independence movement in Ireland. This idea would make sense as Joyce has used religion as a communication tool in other works of his …show more content…
Joyce begins Stephen progression away from Catholicism by revealing to the reader the ideas that were instilled in him as a youth. Some of these ideas are present in the poems Stephen composes as a child. In one of these poems, Stephen states that "heaven is my expectation" (Joyce 13), showcasing that from a young age he has been taught that he must be pious in order to attain salvation. The fact that Stephen believes he will unquestionably reach heaven displays his ideology that he will follow the Catholic faith closely, never straying from it. However, as Stephen grows older, the reader discovers that his obedience to the Catholic faith does not continue. In the Catholic faith, the taking of Communion is an important act. In Stephen's youth, he describes how "the day of your first communion was the happiest day of your life" (Joyce 41). The fact that Stephen believes that Communion will bring him complete joy and happiness reveals his blind acceptance and trust in the Catholic faith. This statement by Stephen serves as a stark contrast to later in the novel when Stephen rejects the Communion. In fact, Stephen, over the …show more content…
Along with the similarity of struggles between Stephen and Ireland, Joyce also introduces explicit portrayals and comparisons to Ireland. An example of this is his repurposing of a folk tale regarding the woman of the Ballyhoura hills, a personification of Ireland, to explicitly solidify this comparison. The woman, while described as being rather benign and homely, is also portrayed as being a temptress by the speaker. This depiction of the woman, as Eide suggests, is a combination of the two representations of Ireland, and reveals Joyce's viewpoint of Ireland as being a complex nation, with no apparent "right" or "wrong" choice regarding independence (Eide 377). While Joyce praises Irish nationalism, he also criticizes it through his portrayal of the staunch nationalist Davin. However, Joyce's criticism of Davin stems more from his blind beliefs, rather than his actual ideology. Joyce compares Davin to Catholics, opining that these people can be described as having "the attitude of a dullwitted loyal serf" (Joyce 158) . This criticism of Davin and Catholics reveals that Joyce does not specifically criticize the Irish national movement, he instead criticizes people who blindly follow an idea.
.... In chapter fourteen Stephen says to himself “Dad laid before me, as still as ever ”. This was showing Stephen’s knowledge that he had to move on as he set his dad to rest then buried him. Stephen was very sad, but whatever he did from that point on, was for his dad.
The divine symbols in O'Connor's works tend to be mostly apocalyptic in nature, exhibiting drastic cases of societal breakdown in a religious context, but occasionally, they show prophetic hope. John Byars states that:
There is particular consideration given to the political climate in this story. It is incorporated with social and ethnic concerns that are prevalent. The story also addresses prejudice and the theme of ethnic stereotyping through his character development. O'Connor does not present a work that is riddled with Irish slurs or ethnic approximations. Instead, he attempts to provide an account that is both informative and accurate.
Few people, if any, in the twentieth century have inspired as much careful study and criticism as James Joyce. His work represents a great labyrinth which many have entered but none have returned from the same. Joyce himself is a paradoxical figure, ever the artist, ever the commoner. He has been called the greatest creative genius of our century and, by some, the smartest person in all of history. His most famous novel, Ulysses, is considered by many to be the greatest novel ever written. Beyond all of these superlatives lies a perfect case study in the creative mind and process.
Works Cited: Benstock, Bernard. Critical Essays on James Joyce. G.K. Hall & Co. Boston, Massachusetts: 1985. Joyce, James. Dubliners.
A collection of short stories published in 1907, Dubliners, by James Joyce, revolves around the everyday lives of ordinary citizens in Dublin, Ireland (Freidrich 166). According to Joyce himself, his intention was to "write a chapter of the moral history of [his] country and [he] chose Dublin for the scene because the city seemed to [b]e the centre of paralysis" (Friedrich 166). True to his goal, each of the fifteen stories are tales of disappointment, darkness, captivity, frustration, and flaw. The book is divided into four sections: childhood, adolescence, maturity, and public life (Levin 159). The structure of the book shows that gradually, citizens become trapped in Dublin society (Stone 140). The stories portray Joyce's feeling that Dublin is the epitome of paralysis and all of the citizens are victims (Levin 159). Although each story from Dubliners is a unique and separate depiction, they all have similarities with each other. In addition, because the first three stories -- The Sisters, An Encounter, and Araby parallel each other in many ways, they can be seen as a set in and of themselves. The purpose of this essay is to explore one particular similarity in order to prove that the childhood stories can be seen as specific section of Dubliners. By examining the characters of Father Flynn in The Sisters, Father Butler in An Encounter, and Mangan's sister in Araby, I will demonstrate that the idea of being held captive by religion is felt by the protagonist of each story. In this paper, I argue that because religion played such a significant role in the lives of the middle class, it was something that many citizens felt was suffocating and from which it was impossible to get away. Each of the three childhood stories uses religion to keep the protagonist captive. In The Sisters, Father Flynn plays an important role in making the narrator feel like a prisoner. Mr. Cotter's comment that "… a young lad [should] run about and play with young lads of his own age…" suggests that the narrator has spent a great deal of time with the priest. Even in death, the boy can not free himself from the presence of Father Flynn (Stone 169) as is illustrated in the following passage: "But the grey face still followed me. It murmured; and I understood that it desired to confess something.
Religion in James Joyce's Dubliners Religion was an integral part of Ireland during the modernist period, tightly woven into the social fabric of its citizens. The Catholic Church was a longstanding tradition of Ireland. In the modernist spirit of breaking away from forces that inhibited growth, the church stood as one of the principal barriers. This is because the Catholic faith acted as the governing force of its people, as portrayed in James Joyce’s Dubliners. In a period when Ireland was trying to legitimize their political system, religious affiliations further disillusioned the political process. The governing body of a people needs to provide a behavioral framework, through its constitution, and a legal process to make delegations on issues of equity and fairness. When religion dominates the government that is in tact, it subjects its citizens to their religious doctrines. In terms of Catholicism in Ireland, this meant that social progress and cultural revolutions were in terms of what the church would allow. The modernist realized that this is what paralyzed the Irish society of the times. In the stories of Dubliners the legal system is replaced by the institute of religion, and it is the presence and social context of the Catholic Church which prevents the Irish community from advancement. ...
James Joyce began his writing career in 1914 with a series of realistic stories published in a collection called The Dubliners. These short literary pieces are a glimpse into the ‘paralysis’ that those who lived in the turn of the century Ireland and its capital experienced at various points in life (Greenblatt, 2277). Two of the selections, “Araby” and “The Dead” are examples of Joyce’s ability to tell a story with precise details while remaining a detached third person narrator. “Araby” is centered on the main character experiencing an epiphany while “The Dead” is Joyce’s experiment with trying to remain objective. One might assume Joyce had trouble with objectivity when it concerned the setting of Ireland because Dublin would prove to be his only topic. According the editors of the Norton Anthology of Literature, “No writer has ever been more soaked in Dublin, its atmosphere, its history, its topography. He devised ways of expanding his account of the Irish capital, however, so that they became microcosms of human history, geography, and experience.” (Greenblatt, 2277) In both “Araby” and “The Dead” the climax reveals an epiphany of sorts that the main characters experience and each realize his actual position in life and its ultimate permanency.
James Joyce wrote and published The Dubliners in the 1900s. During the majority of this time period, Ireland was thought of as one of the most oppressive countries in Europe. The Catholic Church was seen as the highest extent of the law and they did not encourage seeing women any higher than the second-class commonwealth of Ireland. In James Joyce’s The Dubliners, women are seen as victims of society, religion and the household. James Joyce leans towards feminism in how he portrays women in this book. However, even though most of the women in his stories face hardships and play against each other to get money, he promoted women’s suffrage through his short stories in The Dubliners.
“Joyce was a humanist. A Renaissance man. Man is the center of the world. God is in the man. Anyone who looks elsewhere is just an ignorant sheep” (Sheila 1).
Thomas, Steve. "Dubliners by James Joyce." ebooks@Adelaide. The University of Adelaide, 23 Aug 2010. Web. 20 Jan 2011
As Stephen grows, he slowly but inexorably distances himself from religion. His life becomes one concerned with pleasing his friends and family. However, as he matures he begins to feel lost and hopeless, stating, "He saw clearly too his own futile isolation. He had not gone one step nearer the lives he had sought to approach nor bridged the restless shame and rancor that divided him from mother and brother and sister." It is this very sense of isolation and loneliness that leads to Stephen's encounter with the prostitute, where, "He wanted to sin with another of his kind, to force another being to sin with him and to exult with her in sin.
... we see that life is a façade; the characters disguise their sorrow in modesty. Joyce’s portrayal of Ireland undoubtedly creates a desire to evade a gloomy life.
Joyce is letting the reader know all about himself through this book. Harold Bloom notes " 'A Portrait of the Artist as a Young Man,' of course, is autobiography…Joyce is turning himself inside out, spilling forth all the jangled moods that lie deep in artistic consciousness"(Bloom 38). Joyce brings himself out in Stephen. Instead of letting the reader know all about himself through an original autobiography, he simply lets Stephen be his alter ego and tells his life through Stephen. He lets all his thoughts and ideas go through Stephen.
Religion, besides the practical need for food and shelter is one of the most powerful drives in Stephen's life. Religion serves as Stephen's guidance and saviour yet it is also responsible for his tormented youth and distracting him from his artistic development. As a child growing up in a strict Catholic family, Stephen is raised to be a good Catholic boy who will follow the teaching of Catholism as his guidance in his life. The severity of his family is shown when his mother tells him either to "apologise" (4) or "the eagles will come and pull out his eyes" (4). Stephen is taught by his mother to be tolerant when she "[tells] him not to speak with the rough boys in the college" (5). Similarly, Stephen's father also taught him a Catholic quality by telling Stephen "never to peach on a fellow' (6). Evidence of Stephen following the "never to peach" (6) quality is shown when Stephen agrees not to tell on Wells for pushing him into a ditch. However, as Stephen matures into his adolescence, religion becomes his savior rather than his guidance. As Stephen's family condition declines, he sees priesthood as a way to escape poverty and shame. In fact, priesthood is an opportunity for Stephen's personal gain...