A Portrait of the Artist as a Young Man by James Joyce (best way to read books .TXT) đź“•
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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.
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- Author: James Joyce
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—I may not have his talent, said Stephen quietly.
—You never know, said the dean brightly. We never can say what is in us. I most certainly should not be despondent. Per aspera ad astra.
He left the hearth quickly and went towards the landing to oversee the arrival of the first arts’ class.
Leaning against the fireplace Stephen heard him greet briskly and impartially every student of the class and could almost see the frank smiles of the coarser students. A desolating pity began to fall like dew upon his easily embittered heart for this faithful servingman of the knightly Loyola, for this halfbrother of the clergy, more venal than they in speech, more steadfast of soul than they, one whom he would never call his ghostly father; and he thought how this man and his companions had earned the name of worldlings at the hands not of the unworldly only but of the worldly also for having pleaded, during all their history, at the bar of God’s justice for the souls of the lax and the lukewarm and the prudent.
The entry of the professor was signalled by a few rounds of Kentish fire from the heavy boots of those students who sat on the highest tier of the gloomy theatre under the grey cobwebbed windows. The calling of the roll began and the responses to the names were given out in all tones until the name of Peter Byrne was reached.
—Here!
A deep bass note in response came from the upper tier, followed by coughs of protest along the other benches.
The professor paused in his reading and called the next name:
—Cranly!
No answer.
—Mr. Cranly!
A smile flew across Stephen’s face as he thought of his friend’s studies.
—Try Leopardstown! said a voice from the bench behind.
Stephen glanced up quickly but Moynihan’s snoutish face, outlined on the grey light, was impassive. A formula was given out. Amid the rustling of the notebooks Stephen turned back again and said:
—Give me some paper for God’s sake.
—Are you as bad as that? asked Moynihan with a broad grin.
He tore a sheet from his scribbler and passed it down, whispering:
—In case of necessity any layman or woman can do it.
The formula which he wrote obediently on the sheet of paper, the coiling and uncoiling calculations of the professor, the spectrelike symbols of force and velocity fascinated and jaded Stephen’s mind. He had heard some say that the old professor was an atheist freemason. O the grey dull day! It seemed a limbo of painless patient consciousness through which souls of mathematicians might wander, projecting long slender fabrics from plane to plane of ever rarer and paler twilight, radiating swift eddies to the last verges of a universe ever vaster, farther and more impalpable.
—So we must distinguish between elliptical and ellipsoidal. Perhaps some of you gentlemen may be familiar with the works of Mr. W. S. Gilbert. In one of his songs he speaks of the billiard sharp who is condemned to play:
On a cloth untrue
With a twisted cue
And elliptical billiard balls.
—He means a ball having the form of the ellipsoid of the principal axes of which I spoke a moment ago.
Moynihan leaned down towards Stephen’s ear and murmured:
—What price ellipsoidal balls! chase me, ladies, I’m in the cavalry!
His fellow student’s rude humour ran like a gust through the cloister of Stephen’s mind, shaking into gay life limp priestly vestments that hung upon the walls, setting them to sway and caper in a sabbath of misrule. The forms of the community emerged from the gust-blown vestments, the dean of studies, the portly florid bursar with his cap of grey hair, the president, the little priest with feathery hair who wrote devout verses, the squat peasant form of the professor of economics, the tall form of the young professor of mental science discussing on the landing a case of conscience with his class like a giraffe cropping high leafage among a herd of antelopes, the grave troubled prefect of the sodality, the plump roundheaded professor of Italian with his rogue’s eyes. They came ambling and stumbling, tumbling and capering, kilting their gowns for leap frog, holding one another back, shaken with deep false laughter, smacking one another behind and laughing at their rude malice, calling to one another by familiar nicknames, protesting with sudden dignity at some rough usage, whispering two and two behind their hands.
The professor had gone to the glass cases on the sidewall, from a shelf of which he took down a set of coils, blew away the dust from many points and, bearing it carefully to the table, held a finger on it while he proceeded with his lecture. He explained that the wires in modern coils were of a compound called platinoid lately discovered by F. W. Martino.
He spoke clearly the initials and surname of the discoverer. Moynihan whispered from behind:
—Good old Fresh Water Martin!
—Ask him, Stephen whispered back with weary humour, if he wants a subject for electrocution. He can have me.
Moynihan, seeing the professor bend over the coils, rose in his bench and, clacking noiselessly the fingers of his right hand, began to call with the voice of a slobbering urchin:
—Please teacher! This boy is after saying a bad word, teacher.
—Platinoid, the professor said solemnly, is preferred to German silver because it has a lower coefficient of resistance by changes of temperature. The platinoid wire is insulated and the covering of silk that insulates it is wound on the ebonite bobbins just where my finger is. If it were wound single an extra current would be induced in the coils. The bobbins are saturated in
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