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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Consciousness of place came ebbing back to him slowly over a vast tract of time unlit, unfelt, unlived. The squalid scene composed itself around him; the common accents, the burning gasjets in the shops, odours of fish and spirits and wet sawdust, moving men and women. An old woman was about to cross the street, an oilcan in her hand. He bent down and asked her was there a chapel near.
βA chapel, sir? Yes, sir. Church Street chapel.
βChurch?
She shifted the can to her other hand and directed him; and, as she held out her reeking withered right hand under its fringe of shawl, he bent lower towards her, saddened and soothed by her voice.
βThank you.
βYou are quite welcome, sir.
The candles on the high altar had been extinguished but the fragrance of incense still floated down the dim nave. Bearded workmen with pious faces were guiding a canopy out through a side door, the sacristan aiding them with quiet gestures and words. A few of the faithful still lingered praying before one of the sidealtars or kneeling in the benches near the confessionals. He approached timidly and knelt at the last bench in the body, thankful for the peace and silence and fragrant shadow of the church. The board on which he knelt was narrow and worn and those who knelt near him were humble followers of Jesus. Jesus too had been born in poverty and had worked in the shop of a carpenter, cutting boards and planing them, and had first spoken of the kingdom of God to poor fishermen, teaching all men to be meek and humble of heart.
He bowed his head upon his hands, bidding his heart be meek and humble that he might be like those who knelt beside him and his prayer as acceptable as theirs. He prayed beside them but it was hard. His soul was foul with sin and he dared not ask forgiveness with the simple trust of those whom Jesus, in the mysterious ways of God, had called first to His side, the carpenters, the fishermen, poor and simple people following a lowly trade, handling and shaping the wood of trees, mending their nets with patience.
A tall figure came down the aisle and the penitents stirred; and at the last moment, glancing up swiftly, he saw a long grey beard and the brown habit of a capuchin. The priest entered the box and was hidden. Two penitents rose and entered the confessional at either side. The wooden slide was drawn back and the faint murmur of a voice troubled the silence.
His blood began to murmur in his veins, murmuring like a sinful city summoned from its sleep to hear its doom. Little flakes of fire fell and powdery ashes fell softly, alighting on the houses of men. They stirred, waking from sleep, troubled by the heated air.
The slide was shot back. The penitent emerged from the side of the box. The farther side was drawn. A woman entered quietly and deftly where the first penitent had knelt. The faint murmur began again.
He could still leave the chapel. He could stand up, put one foot before the other and walk out softly and then run, run, run swiftly through the dark streets. He could still escape from the shame. Had it been any terrible crime but that one sin! Had it been murder! Little fiery flakes fell and touched him at all points, shameful thoughts, shameful words, shameful acts. Shame covered him wholly like fine glowing ashes falling continually. To say it in words! His soul, stifling and helpless, would cease to be.
The slide was shot back. A penitent emerged from the farther side of the box. The near slide was drawn. A penitent entered where the other penitent had come out. A soft whispering noise floated in vaporous cloudlets out of the box. It was the woman: soft whispering cloudlets, soft whispering vapour, whispering and vanishing.
He beat his breast with his fist humbly, secretly under cover of the wooden armrest. He would be at one with others and with God. He would love his neighbour. He would love God who had made and loved him. He would kneel and pray with others and be happy. God would look down on him and on them and would love them all.
It was easy to be good. Godβs yoke was sweet and light. It was better never to have sinned, to have remained always a child, for God loved little children and suffered them to come to Him. It was a terrible and a sad thing to sin. But God was merciful to poor sinners who were truly sorry. How true that was! That was indeed goodness.
The slide was shot to suddenly. The penitent came out. He was next. He stood up in terror and walked blindly into the box.
At last it had come. He knelt in the silent gloom and raised his eyes to the white crucifix suspended above him. God could see that he was sorry. He would tell all his sins. His confession would be long, long. Everybody in the chapel would know then what a sinner he had been. Let them know. It was true. But God had promised to forgive him if he was sorry. He was sorry. He clasped his hands and raised them towards the white form, praying with his darkened eyes, praying with all his trembling body, swaying his head to and fro like a lost creature, praying with whimpering lips.
βSorry! Sorry! O sorry!
The slide clicked back and his heart bounded in his breast. The face of an old priest was at the grating, averted from him, leaning upon a hand. He made the sign of the cross and prayed of the priest to bless him for he had sinned. Then, bowing his head, he repeated the Confiteor in fright. At the words my most grievous fault he ceased,
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