A Portrait of the Artist as a Young Man by James Joyce (best way to read books .TXT) π
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A Portrait of the Artist as a Young Man is Joyceβs first novel, published after the previous success of his short story collection Dubliners. The novel is written in a modernist style, with dialog and narration blending together in a kind of stream-of-consciousness meant to invoke the blurriness of memory.
Joyce originally planned writing a realist autobiographical novel of 63 chapters titled Stephen Hero. He abandoned the attempt halfway through, and refocused his efforts on Portrait, a shorter, sharper work in the modernist style. His alter-ego remained Stephen Dedalus, named after Daedalus, the mythological Greek craftsman and father of Icarus. Portrait was written while he was waiting for Dubliners to be published, a process that took eight years and so frustrated Joyce that he once threw the manuscript of Portrait into a fire, causing his family to run to save it.
The novel closely traces Joyceβs early years. Like his alter-ego Stephen, Joyce was born into a middle-class family and lived in Dublin as they descended into poverty; he rebelled against his Irish Catholic upbringing to become a star student at Dublin University, and put aside thoughts of priesthood or medicine, the other careers offered him, to become a writer. Joyce doesnβt shy away from sensitive topics, presenting the discoveries of youth in all of their physical detail, including Stephenβs teenage visits to prostitutes (which also mirror Joyceβs youth, and were how he probably contracted the suspected syphilis that plagued his vision and tortured his health for the rest of his life), and the homosexual explorations of children at a Jesuit school.
The writing is in the free indirect style, allowing the narrator to both focus on Stephen and present characters and events through his eyes, until the last chapter, where Stephenβs first-person diary entries suggest heβs finally found his voice. As the novel progresses, the syntax and vocabulary also grow in complexity, reflecting Stephenβs own development.
Of Joyceβs three novels, Portrait is the most straightforward and accessible. But it remains just as rich and complex as any masterpiece, with critics across generations hailing it as work of unique beauty and perception.
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- Author: James Joyce
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The preacherβs voice sank. He paused, joined his palms for an instant, parted them. Then he resumed:
βNow let us try for a moment to realise, as far as we can, the nature of that abode of the damned which the justice of an offended God has called into existence for the eternal punishment of sinners. Hell is a strait and dark and foulsmelling prison, an abode of demons and lost souls, filled with fire and smoke. The straitness of this prison house is expressly designed by God to punish those who refused to be bound by His laws. In earthly prisons the poor captive has at least some liberty of movement, were it only within the four walls of his cell or in the gloomy yard of his prison. Not so in hell. There, by reason of the great number of the damned, the prisoners are heaped together in their awful prison, the walls of which are said to be four thousand miles thick: and the damned are so utterly bound and helpless that, as a blessed saint, saint Anselm, writes in his book on similitudes, they are not even able to remove from the eye a worm that gnaws it.
βThey lie in exterior darkness. For, remember, the fire of hell gives forth no light. As, at the command of God, the fire of the Babylonian furnace lost its heat but not its light so, at the command of God, the fire of hell, while retaining the intensity of its heat, burns eternally in darkness. It is a neverending storm of darkness, dark flames and dark smoke of burning brimstone, amid which the bodies are heaped one upon another without even a glimpse of air. Of all the plagues with which the land of the Pharaohs were smitten one plague alone, that of darkness, was called horrible. What name, then, shall we give to the darkness of hell which is to last not for three days alone but for all eternity?
βThe horror of this strait and dark prison is increased by its awful stench. All the filth of the world, all the offal and scum of the world, we are told, shall run there as to a vast reeking sewer when the terrible conflagration of the last day has purged the world. The brimstone, too, which burns there in such prodigious quantity fills all hell with its intolerable stench; and the bodies of the damned themselves exhale such a pestilential odour that, as saint Bonaventure says, one of them alone would suffice to infect the whole world. The very air of this world, that pure element, becomes foul and unbreathable when it has been long enclosed. Consider then what must be the foulness of the air of hell. Imagine some foul and putrid corpse that has lain rotting and decomposing in the grave, a jellylike mass of liquid corruption. Imagine such a corpse a prey to flames, devoured by the fire of burning brimstone and giving off dense choking fumes of nauseous loathsome decomposition. And then imagine this sickening stench, multiplied a millionfold and a millionfold again from the millions upon millions of fetid carcasses massed together in the reeking darkness, a huge and rotting human fungus. Imagine all this, and you will have some idea of the horror of the stench of hell.
βBut this stench is not, horrible though it is, the greatest physical torment to which the damned are subjected. The torment of fire is the greatest torment to which the tyrant has ever subjected his fellow creatures. Place your finger for a moment in the flame of a candle and you will feel the pain of fire. But our earthly fire was created by God for the benefit of man, to maintain in him the spark of life and to help him in the useful arts whereas the fire of hell is of another quality and was created by God to torture and punish the unrepentant sinner. Our earthly fire also consumes more or less rapidly according as the object which it attacks is more or less combustible so that human ingenuity has even succeeded in inventing chemical preparations to check or frustrate its action. But the sulphurous brimstone which burns in hell is a substance which is specially designed to burn forever and forever with unspeakable fury. Moreover, our earthly fire destroys at the same time as it burns so that the more intense it is the shorter is its duration; but the fire of hell has this property that it preserves that which it burns and though it rages with incredible intensity it rages forever.
βOur earthly fire again, no matter how fierce or widespread it may be, is always of a limited extent: but the lake of fire in hell is boundless, shoreless and bottomless. It is on record that the devil himself, when asked the question by a certain soldier, was obliged to confess that if a whole mountain were thrown into the burning ocean of hell it would be burned up in an instant like a piece of wax. And this terrible fire will not afflict the bodies of the damned only from without, but each lost soul will be a hell unto itself, the boundless fire raging in its very vitals. O, how terrible is the lot of those wretched beings! The blood seethes and boils in the veins, the brains are boiling in the skull, the heart in the breast glowing and bursting, the bowels a redhot mass of burning pulp, the tender eyes flaming like molten balls.
βAnd yet what I have said as to the strength and quality and boundlessness of this fire is as nothing when compared to
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