A Portrait of the Artist as a Young Man by James Joyce (best way to read books .TXT) 📕
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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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A sharp Ulster voice said from the bench below Stephen:
—Are we likely to be asked questions on applied science?
The professor began to juggle gravely with the terms pure science and applied science. A heavybuilt student, wearing gold spectacles, stared with some wonder at the questioner. Moynihan murmured from behind in his natural voice:
—Isn’t MacAlister a devil for his pound of flesh?
Stephen looked coldly on the oblong skull beneath him overgrown with tangled twinecoloured hair. The voice, the accent, the mind of the questioner offended him and he allowed the offence to carry him towards wilful unkindness, bidding his mind think that the student’s father would have done better had he sent his son to Belfast to study and have saved something on the train fare by so doing.
The oblong skull beneath did not turn to meet this shaft of thought and yet the shaft came back to its bowstring; for he saw in a moment the student’s wheypale face.
—That thought is not mine, he said to himself quickly. It came from the comic Irishman in the bench behind. Patience. Can you say with certitude by whom the soul of your race was bartered and its elect betrayed—by the questioner or by the mocker? Patience. Remember Epictetus. It is probably in his character to ask such a question at such a moment in such a tone and to pronounce the word science as a monosyllable.
The droning voice of the professor continued to wind itself slowly round and round the coils it spoke of, doubling, trebling, quadrupling its somnolent energy as the coil multiplied its ohms of resistance.
Moynihan’s voice called from behind in echo to a distant bell:
—Closing time, gents!
The entrance hall was crowded and loud with talk. On a table near the door were two photographs in frames and between them a long roll of paper bearing an irregular tail of signatures. MacCann went briskly to and fro among the students, talking rapidly, answering rebuffs and leading one after another to the table. In the inner hall the dean of studies stood talking to a young professor, stroking his chin gravely and nodding his head.
Stephen, checked by the crowd at the door, halted irresolutely. From under the wide falling leaf of a soft hat Cranly’s dark eyes were watching him.
—Have you signed? Stephen asked.
Cranly closed his long thinlipped mouth, communed with himself an instant and answered:
—Ego habeo.
—What is it for?
—Quod?
—What is it for?
Cranly turned his pale face to Stephen and said blandly and bitterly:
—Per pax universalis.
Stephen pointed to the Tsar’s photograph and said:
—He has the face of a besotted Christ.
The scorn and anger in his voice brought Cranly’s eyes back from a calm survey of the walls of the hall.
—Are you annoyed? he asked.
—No, answered Stephen.
—Are you in bad humour?
—No.
—Credo ut vos sanguinarius mendax estis, said Cranly, quia facies vostra monstrat ut vos in damno malo humore estis.
Moynihan, on his way to the table, said in Stephen’s ear:
—MacCann is in tiptop form. Ready to shed the last drop. Brand new world. No stimulants and votes for the bitches.
Stephen smiled at the manner of this confidence and, when Moynihan had passed, turned again to meet Cranly’s eyes.
—Perhaps you can tell me, he said, why he pours his soul so freely into my ear. Can you?
A dull scowl appeared on Cranly’s forehead. He stared at the table where Moynihan had bent to write his name on the roll, and then said flatly:
—A sugar!
—Quis est in malo humore, said Stephen, ego aut vos?
Cranly did not take up the taunt. He brooded sourly on his judgement and repeated with the same flat force:
—A flaming bloody sugar, that’s what he is!
It was his epitaph for all dead friendships and Stephen wondered whether it would ever be spoken in the same tone over his memory. The heavy lumpish phrase sank slowly out of hearing like a stone through a quagmire. Stephen saw it sink as he had seen many another, feeling its heaviness depress his heart. Cranly’s speech, unlike that of Davin, had neither rare phrases of Elizabethan English nor quaintly turned versions of Irish idioms. Its drawl was an echo of the quays of Dublin given back by a bleak decaying seaport, its energy an echo of the sacred eloquence of Dublin given back flatly by a Wicklow pulpit.
The heavy scowl faded from Cranly’s face as MacCann marched briskly towards them from the other side of the hall.
—Here you are! said MacCann cheerily.
—Here I am! said Stephen.
—Late as usual. Can you not combine the progressive tendency with a respect for punctuality?
—That question is out of order, said Stephen. Next business.
His smiling eyes were fixed on a silver-wrapped tablet of milk chocolate which peeped out of the propagandist’s breast-pocket. A little ring of listeners closed round to hear the war of wits. A lean student with olive skin and lank black hair thrust his face between the two, glancing from one to the other at each phrase and seeming to try to catch each flying phrase in his open moist mouth. Cranly took a small grey handball from his pocket and began to examine it closely, turning it over and over.
—Next business? said MacCann. Hom!
He gave a loud cough of laughter, smiled broadly and tugged twice at the strawcoloured goatee which hung from his blunt chin.
—The next business is to sign the testimonial.
—Will you pay me anything if I sign? asked Stephen.
—I thought you were an idealist, said MacCann.
The gipsylike student looked about him and addressed the onlookers in an indistinct bleating voice.
—By hell, that’s a queer notion. I consider that notion to be a mercenary notion.
His voice faded into silence. No heed was paid to his words. He turned his olive face, equine in expression, towards Stephen, inviting him to speak again.
MacCann began to speak with fluent energy of the Tsar’s rescript, of Stead, of general disarmament, arbitration in cases of international disputes, of the signs of the times, of
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