Stephen's Journey to Maturation in A Portrait of the Artist as a Young Man by James Joyce
In A Portrait of the Artist as a Young Man, the author James Joyce uses the development of Stephen from a sensitive child to a rebellious young man to develop the plot of the novel. In this novel, Joyce suggests that through Stephen's experiences with religion, sexuality and education, Stephen not only becomes more mature but these experiences also inspire him to redefine his world and his understanding of his true feelings about art.
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...
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...lly as [he] can, using for [his] defence the only arms [he] allow [himself] to use - silence, exile, and cunning" (226-269). By discussing how education affects Stephen from a child to a young man, Joyce has shown the reader Stephen's development as an artist and human being.
The novel, A Portrait of the Artist as a Young Man is an autobiography of James Joyce who delivers the influential aspects in his life and his artistic development to the reader through the eyes of the fictional character of Stephen Dedalus. In the novel, Stephen's journey to maturation and to become an artist is influenced by his religion, sexuality and education. Yet, Stephen is able to overcome the obstacles result from these aspects and experience his life to its fullest.
Work Cited
Joyce, James. A Portrait of the Artist as a Young Man. 1916. New York: Penguin,1993.
Joyce, James. A Portrait of the Artist as a Young Man. The Viking Press, New York: 1964.
The article Artists Mythologies and Media Genius, Madness and Art History (1980) by Griselda Pollock is a forty page essay where Pollock (1980), argues and explains her views on the crucial question, "how art history works" (Pollock, 1980, p.57). She emphasizes that there should be changes to the practice of art history and uses Van Gogh as a major example in her study. Her thesis is to prove that the meaning behind artworks should not be restricted only to the artist who creates it, but also to realize what kind of economical, financial, social situation the artist may have been in to influence the subject that is used. (Pollock, 1980, pg. 57) She explains her views through this thesis and further develops this idea by engaging in scholarly debates with art historians and researcher, and objecting to how they claim there is a general state of how art is read. She structures her paragraphs in ways that allows her to present different kinds of evidences from a variety sources while using a formal yet persuasive tone of voice to get her point across to the reader.
O’Connor, Kate. ed. A Brief Biography of James Joyce. 2011. The James Joyce Centre. 27
Oxford, UK: 2002. Works Consulted -. Fairhall, James. A. James Joyce and the Question of History. Cambridge University Press.
The short stories collected in Dubliners are mostly predecessors and characterizations of James Joyce's later works. "The Sisters" is no different. It, along with "An Encounter" and "Araby," are drawn from Joyce's personal memories and sentiments. The young boy and the characteristics of these short stories are an indirect sampling of Joyce's next published work, Portrait of the Artist as a Young Man, a novel mostly written from his own memory. "The Sisters," by James Joyce, is a story that mingles unworldly associations with an aim to teach with realistic endeavor, revealing truths of life and death.
Kumar, Udaya. The Joycean Labyrinth: Repetition, Time, and Tradition in Ulysses. Oxford: Clarendon P, 1991.
Even as a young boy, Stephen experienced rejection and isolation at school. On the playground Stephen "felt his body [too] small and weak amid the [other] players" (Joyce 8). His schoolmates even poked fun at his name. In response to his rejection by the other boys Stephen makes a conscious decision to "[keep] on the fringe of his line, out of sight of his prefect" and the other boys. Stephen is later depicted as choosing the "warm study hall" rather than the playground with his friends outside (Joyce 10). His rejection at school leads him to isolate himself in his schoolwork, thus putting himself on a scholarly path that will give him the intellectual skills necessary for the artist within him to achieve adulthood.
Ulysses opens with Buck Mulligan calling Stephen a "fearful jesuit" and mocking church rituals as he shaves (Joyce, Ulysses 3). The two main characters of this novel, Stephen Dedalus and Leopold Bloom have each fallen from their respective faiths. They both suffer for their religious affiliations; Bloom is excluded and h...
Throughout the story A Portrait of the Artist as a Young Man by James Joyce we see Stephen's struggle with Catholicism, sin and his destiny. In Stephen's life, which almost mirrors Joyce's, Catholicism is a big part but it fades and in it's place comes art. The title alone tells us that he is an artist not that he is Catholic. It is Joyce's priority to tell us about himself as an artist and how he became to be one, by rejecting Catholicism.
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.
As A Portrait of the Artist progresses, the structure of the relationship between Stephen, women, and art becomes increasingly clear. At one point in the novel, Stephen comes to the conclusion that his art involves "recreat[ing] life out of life" (434) and, at another, that he must "encounter for the millionth time the reality of experience and forge in my soul" (Joyce 526). He realizes that to fulfill his destiny as an artist, he must embrace life and the experiences of which it consists, for it is from experience that he builds his creations. In light of this revelation, Stephen's life becomes "a process of accumulating experiences, as well as a struggle to break free of those institutions that would prevent him from doing so" (Peake 64). For Stephen, inspiration requires experience, and it is through women that Stephen gains the latter and, thus, receives the former. Peake
The novel starts right off with the notion of a love between a mother and son. Even at a young age Stephen is able to distinguish that his mother is a source of pure unabridged love. “His mother had a nicer smell than his father.”(1) At a very young age the artist is already beginning to form because of women, he is beginning to see beauty through the senses. “His mother put her lips on his cheek; her lips were soft and they wetted his cheek; and they made a tiny little noise: kiss.”(7) This scene occurs very early on with Stephens mother Mary Dedalus here and throughout the novel helps in teaching him right and wrong what is to be expected, but above all show him the capacity to love and understand what is to be loved unconditionally. Stephens mother is also is there in all the key moments in Stephens life; in his leaving to boarding school as a child, then in leaving to London. In these instances she shows perhaps an overprotectiveness toward him in the cleaning of his ears once already an adult, in advising him on friends and money throughout his youth while al...
In James Joyce’s A Portrait of the Artist as a Young Man, Stephen Dedalus feels confined by the nagging presence and rigidity of his family, the Catholic Church, his Irish nationality and his social class. In order to free his soul and express himself as the artist he knew he was, Stephen had to break away from these social institutions. The journey Stephen takes, follows the narrative structure of Joseph Campbell’s Hero’s Journey and shares similarities with the mythical character, Daedulus’s life.
James Augustine Aloysius Joyce, the author of A Portrait of an Artist as a Young Man, was once described by a friend, Constantine Curran, as "a man of unparalleled vituperative power, a virtuoso in speech with unique control of the vernacular." While Constantine viewed Joyce's quality of verbal abuse "powerful," and praised his "control" of the language, many viewed this expressive and unrestrained style of writing as inappropriate and offensive. A dramatic new step for modernism, Joyce used language, style, and descriptions of previously unwritten thoughts and situations which stirred the cultural norm, thus sparking controversy over what was necessary and acceptable in literature.
Joyce, James. A Portrait of the Artist as a Young Man. New York: New American Library, 1991.