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A Portrait of the Artist as a Young Man had various themes which covered many areas. The
primary theme of the novel is the artistic development of the artist, Stephen, and this relates
specifically to the artist’s development in the life of a national language. Stephen experiences
many voices of Ireland as well as those of the writers of his education. Out of all these voices
emerges Stephen’s aesthetic theory and his desire to find his own manner of expression.
Stephen develops his own voice as a way of escaping these constraints.
One of the main constraints on the artist as Joyce depicts his life is the Roman Catholic Church.
However, it is both a constraint and an enabling condition for the artist’s development. First, the
Jesuit education Stephen receives, gives him a thorough grounding in the classical and
medieval thinkers. It also structures Stephen’s life in such a way that it provides him with a basis
for his own development as a moral and intellectual person. In relation to his eventual
development of a theory of art or an aesthetic theory, Stephen fully draws on this tradition. He
uses two central doctrines of the church in this theory. First, he revises the doctrine into a way
of imagining the relationship between art and the world it describes. When Stephen develops
his theory, he thinks of himself as taking on the role of a "priest of eternal imagination,
transmuting the daily bread of experience into the radiant body of everliving life." The second
use of Catholic doctrine or tradition relates to its creation of a priesthood, a class of men
separate from the world who act as intermediaries between the deity and the people. In
Stephen’s idea of the artist, he is priestlike, performing the miracle of turning life into art.
Joyce is in good company when he uses techniques to drive a wedge in the totalizing authority
of the church and in other forms of seriousness, even the artist’s own. When Stephen is
discoursing learnedly on his aesthetic theory, his friend Lynch critisizes him. He brings lust into
the picture of how and why art is created. He laughs at Stephen’s deadly serious use of the
scholastics to develop a theory of art. Earlier in the novel, when Mrs. Dante Riordan is
condemning Parnell and supporting his excommunication from the Catholic church, Mr.
MAIN IDEAS THEMES
The Development of Individual Consciousness
Perhaps the most famous aspect of A Portrait of the Artist as a Young Man is Joyce's innovative
use of stream of consciousness, a style in which the author directly transcribes the thoughts and
sensations that go through a character's mind, rather than simply describing those sensations
from the external standpoint of an observer. Joyce's use of stream of consciousness makes A
Portrait of the Artist as a Young Man a story of the development of Stephen's mind. In the first
chapter, the very young Stephen is only capable of describing his world in simple words and
phrases. The sensations that he experiences are all jumbled together with a child's lack of
attention to cause and effect. Later, when Stephen is a teenager obsessed with religion, he is able
to think in a clearer, more adult manner. Paragraphs are more logically ordered than in the
opening sections of the novel, and thoughts progress logically. Stephen's mind is more mature
and he is now more coherently aware of his surroundings. Nonetheless, he still trusts blindly in
the church, and his passionate emotions of guilt and religious ecstasy are so strong that they get
in the way of rational thought. It is only in the final chapter, when Stephen is in the university,
that he seems truly rational. By the end of the novel, Joyce renders a portrait of a mind that has
achieved emotional, intellectual, and artistic adulthood.
The development of Stephen's consciousness in A Portrait of the Artist as a Young Man is
particularly interesting because, insofar as Stephen is a portrait of Joyce himself, Stephen's
development gives us insight into the development of a literary genius. Stephen's experiences
hint at the influences that transformed Joyce himself into the great writer he is considered today:
Stephen's obsession with language; his strained relations with religion, family, and culture; and
his dedication to forging an aesthetic of his own mirror the ways in which Joyce related to the
various tensions in his life during his formative years. In the last chapter of the novel, we also
learn that genius, though in many ways a calling, also requires great work and considerable
sacrifice. Watching Stephen's daily struggle to puzzle out his aesthetic philosophy, we get a
sense of the great task that awaits him.
X
The Pitfalls of Religious Extremism
Brought up in a devout Catholic family, Stephen initially ascribes to an absolute belief in the
morals of the church. As a teenager, this belief leads him to two opposite extremes, both of
which are harmful. At first, he falls into the extreme of sin, repeatedly sleeping with prostitutes
and deliberately turning his back on religion. Though Stephen sins willfully, he is always aware
that he acts in violation of the church's rules. Then, when Father Arnall's speech prompts him to
return to Catholicism, he bounces to the other extreme, becoming a perfect, near fanatical model
of religious devotion and obedience. Eventually, however, Stephen realizes that both of these
lifestyles—the completely sinful and the completely devout—are extremes that have been false
and harmful. He does not want to lead a completely debauched life, but also rejects austere
Catholicism because he feels that it does not permit him the full experience of being human.
Stephen ultimately reaches a decision to embrace life and celebrate humanity after seeing a
young girl wading at a beach. To him, the girl is a symbol of pure goodness and of life lived to
the fullest.
Motifs are recurring structures, contrasts, or literary devices that can help to develop and inform
the text's major themes.
Stream of Consciousness and
Epiphanies in A Portrait of the
Artist as a Young Man.
During most of the book the voice used is the third person, except
on the final section, which is composed of Stephen’s diary entries,
that are narrated in the first person by him. This transition from
third-person narration to the first-person mark the end of the
novel, Stephen’s decides to break free of all nets that tied him and
once he has his own voice he chooses the only possible way to
maintain it: exile.
This is one of the modernist aesthetic elements that is present in A
Portrait of the Artist as a Young Man, but not the only one.
he Modernist Ford Madox Ford, James Joyce, Ezra Pound and the lawyer John Quinn (who defended the
publication of Ulysses in 1921) in Paris
The meaning of this term and its relevance for writing is addressed
towards the end of Stephen Hero, the unfinished draft of the
autobiographical novel written by James Joyce near 1904. In it
Stephen Dedalus states that the function of writing is “to record
epiphanies with extreme care”…. In the same passage he defines
the epiphany as “a sudden spiritual manifestation, whether in the
vulgarity of speech or of gesture or in a memorable phase of the
mind itself” (211). He believed that it was the man of letters to
record these epiphanies with extreme care, seeing that they are the
most delicate and evanescent of moments.