A Portrait of the Artist as a Young Man by James Joyce (best way to read books .TXT) 📕
Description
A Portrait of the Artist as a Young Man is Joyce’s 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 Joyce’s 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 doesn’t shy away from sensitive topics, presenting the discoveries of youth in all of their physical detail, including Stephen’s teenage visits to prostitutes (which also mirror Joyce’s 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 Stephen’s first-person diary entries suggest he’s finally found his voice. As the novel progresses, the syntax and vocabulary also grow in complexity, reflecting Stephen’s own development.
Of Joyce’s 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.
Read free book «A Portrait of the Artist as a Young Man by James Joyce (best way to read books .TXT) 📕» - read online or download for free at americanlibrarybooks.com
- Author: James Joyce
Read book online «A Portrait of the Artist as a Young Man by James Joyce (best way to read books .TXT) 📕». Author - James Joyce
But the trees in Stephen’s Green were fragrant of rain and the rainsodden earth gave forth its mortal odour, a faint incense rising upward through the mould from many hearts. The soul of the gallant venal city which his elders had told him of had shrunk with time to a faint mortal odour rising from the earth and he knew that in a moment when he entered the sombre college he would be conscious of a corruption other than that of Buck Egan and Burnchapel Whaley.
It was too late to go upstairs to the French class. He crossed the hall and took the corridor to the left which led to the physics theatre. The corridor was dark and silent but not unwatchful. Why did he feel that it was not unwatchful? Was it because he had heard that in Buck Whaley’s time there was a secret staircase there? Or was the jesuit house extraterritorial and was he walking among aliens? The Ireland of Tone and of Parnell seemed to have receded in space.
He opened the door of the theatre and halted in the chilly grey light that struggled through the dusty windows. A figure was crouching before the large grate and by its leanness and greyness he knew that it was the dean of studies lighting the fire. Stephen closed the door quietly and approached the fireplace.
—Good morning, sir! Can I help you?
The priest looked up quickly and said:
—One moment now, Mr. Dedalus, and you will see. There is an art in lighting a fire. We have the liberal arts and we have the useful arts. This is one of the useful arts.
—I will try to learn it, said Stephen.
—Not too much coal, said the dean, working briskly at his task, that is one of the secrets.
He produced four candle-butts from the sidepockets of his soutane and placed them deftly among the coals and twisted papers. Stephen watched him in silence. Kneeling thus on the flagstone to kindle the fire and busied with the disposition of his wisps of paper and candle-butts he seemed more than ever a humble server making ready the place of sacrifice in an empty temple, a levite of the Lord. Like a levite’s robe of plain linen the faded worn soutane draped the kneeling figure of one whom the canonicals or the bellbordered ephod would irk and trouble. His very body had waxed old in lowly service of the Lord—in tending the fire upon the altar, in bearing tidings secretly, in waiting upon worldlings, in striking swiftly when bidden—and yet had remained ungraced by aught of saintly or of prelatic beauty. Nay, his very soul had waxed old in that service without growing towards light and beauty or spreading abroad a sweet odour of her sanctity—a mortified will no more responsive to the thrill of its obedience than was to the thrill of love or combat his ageing body, spare and sinewy, greyed with a silver-pointed down.
The dean rested back on his hunkers and watched the sticks catch. Stephen, to fill the silence, said:
—I am sure I could not light a fire.
—You are an artist, are you not, Mr. Dedalus? said the dean, glancing up and blinking his pale eyes. The object of the artist is the creation of the beautiful. What the beautiful is is another question.
He rubbed his hands slowly and drily over the difficulty.
—Can you solve that question now? he asked.
—Aquinas, answered Stephen, says pulcra sunt quæ visa placent.
—This fire before us, said the dean, will be pleasing to the eye. Will it therefore be beautiful?
—In so far as it is apprehended by the sight, which I suppose means here esthetic intellection, it will be beautiful. But Aquinas also says Bonum est in quod tendit appetitus. In so far as it satisfies the animal craving for warmth fire is a good. In hell, however, it is an evil.
—Quite so, said the dean, you have certainly hit the nail on the head.
He rose nimbly and went towards the door, set it ajar and said:
—A draught is said to be a help in these matters.
As he came back to the hearth, limping slightly but with a brisk step, Stephen saw the silent soul of a jesuit look out at him from the pale loveless eyes. Like Ignatius he was lame but in his eyes burned no spark of Ignatius’ enthusiasm. Even the legendary craft of the company, a craft subtler and more secret than its fabled books of secret subtle wisdom, had not fired his soul with the energy of apostleship. It seemed as if he used the shifts and lore and cunning of the world, as bidden to do, for the greater glory of God, without joy in their handling or hatred of that in them which was evil but turning them, with a firm gesture of obedience back upon themselves and for all this silent service it seemed as if he loved not at all the master and little, if at all, the ends he served. Similiter atque senis baculus, he was, as the founder would have had him, like a staff in an old man’s hand, to be leaned on in the road at nightfall or in stress of weather, to lie with a lady’s nosegay on a garden seat, to be raised in menace.
The dean returned to the hearth and began to stroke his chin.
—When may we expect to have something from you on the esthetic question? he asked.
—From me! said Stephen in astonishment. I stumble on an idea once a fortnight if I am lucky.
—These questions are very profound, Mr. Dedalus, said the dean. It is like looking down from the cliffs of Moher into the depths. Many go down into the depths and never come up. Only the trained diver can go down into those depths and explore them and come to the surface again.
—If you mean speculation, sir, said Stephen, I also am sure that there is no
Comments (0)