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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The three students halted round the box on which Davin sat to follow the game. Temple, after a few moments, sidled across to Stephen and said:
—Excuse me, I wanted to ask you, do you believe that Jean Jacques Rousseau was a sincere man?
Stephen laughed outright. Cranly, picking up the broken stave of a cask from the grass at his feet, turned swiftly and said sternly:
—Temple, I declare to the living God if you say another word, do you know, to anybody on any subject, I’ll kill you super spottum.
—He was like you, I fancy, said Stephen, an emotional man.
—Blast him, curse him! said Cranly broadly. Don’t talk to him at all. Sure, you might as well be talking, do you know, to a flaming chamberpot as talking to Temple. Go home, Temple. For God’s sake, go home.
—I don’t care a damn about you, Cranly, answered Temple, moving out of reach of the uplifted stave and pointing at Stephen. He’s the only man I see in this institution that has an individual mind.
—Institution! Individual! cried Cranly. Go home, blast you, for you’re a hopeless bloody man.
—I’m an emotional man, said Temple. That’s quite rightly expressed. And I’m proud that I’m an emotionalist.
He sidled out of the alley, smiling slyly. Cranly watched him with a blank expressionless face.
—Look at him! he said. Did you ever see such a go-by-the-wall?
His phrase was greeted by a strange laugh from a student who lounged against the wall, his peaked cap down on his eyes. The laugh, pitched in a high key and coming from a so muscular frame, seemed like the whinny of an elephant. The student’s body shook all over and, to ease his mirth, he rubbed both his hands delightedly over his groins.
—Lynch is awake, said Cranly.
Lynch, for answer, straightened himself and thrust forward his chest.
—Lynch puts out his chest, said Stephen, as a criticism of life.
Lynch smote himself sonorously on the chest and said:
—Who has anything to say about my girth?
Cranly took him at the word and the two began to tussle. When their faces had flushed with the struggle they drew apart, panting. Stephen bent down towards Davin who, intent on the game, had paid no heed to the talk of the others.
—And how is my little tame goose? he asked. Did he sign, too?
Davin nodded and said:
—And you, Stevie?
Stephen shook his head.
—You’re a terrible man, Stevie, said Davin, taking the short pipe from his mouth, always alone.
—Now that you have signed the petition for universal peace, said Stephen, I suppose you will burn that little copybook I saw in your room.
As Davin did not answer, Stephen began to quote:
—Long pace, fianna! Right incline, fianna! Fianna, by numbers, salute, one, two!
—That’s a different question, said Davin. I’m an Irish nationalist, first and foremost. But that’s you all out. You’re a born sneerer, Stevie.
—When you make the next rebellion with hurleysticks, said Stephen, and want the indispensable informer, tell me. I can find you a few in this college.
—I can’t understand you, said Davin. One time I hear you talk against English literature. Now you talk against the Irish informers. What with your name and your ideas … Are you Irish at all?
—Come with me now to the office of arms and I will show you the tree of my family, said Stephen.
—Then be one of us, said Davin. Why don’t you learn Irish? Why did you drop out of the league class after the first lesson?
—You know one reason why, answered Stephen.
Davin tossed his head and laughed.
—Oh, come now, he said. Is it on account of that certain young lady and Father Moran? But that’s all in your own mind, Stevie. They were only talking and laughing.
Stephen paused and laid a friendly hand upon Davin’s shoulder.
—Do you remember, he said, when we knew each other first? The first morning we met you asked me to show you the way to the matriculation class, putting a very strong stress on the first syllable. You remember? Then you used to address the jesuits as father, you remember? I ask myself about you: Is he as innocent as his speech?
—I’m a simple person, said Davin. You know that. When you told me that night in Harcourt Street those things about your private life, honest to God, Stevie, I was not able to eat my dinner. I was quite bad. I was awake a long time that night. Why did you tell me those things?
—Thanks, said Stephen. You mean I am a monster.
—No, said Davin. But I wish you had not told me.
A tide began to surge beneath the calm surface of Stephen’s friendliness.
—This race and this country and this life produced me, he said. I shall express myself as I am.
—Try to be one of us, repeated Davin. In heart you are an Irishman but your pride is too powerful.
—My ancestors threw off their language and took another, Stephen said. They allowed a handful of foreigners to subject them. Do you fancy I am going to pay in my own life and person debts they made? What for?
—For our freedom, said Davin.
—No honourable and sincere man, said Stephen, has given up to you his life and his youth and his affections from the days of Tone to those of Parnell, but you sold him to the enemy or failed him in need or reviled him and left him for another. And you invite me to be one of you. I’d see you damned first.
—They died for their ideals, Stevie, said Davin. Our day will come yet, believe me.
Stephen, following his own thought, was silent for an instant.
—The soul is born, he said vaguely, first in those moments I told you of. It has a slow and dark birth, more mysterious than the birth of the body. When the soul of a man is born in this country there are nets flung
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