A Portrait of the Artist as a Young Man Themes, Motifs, and Symbols

A Portrait of the Artist as a Young Man Themes


The Progression of Personal Consciousness

Perhaps the most well-known element of A Portrait of the Artist as a Young Man is Joyce’s revolutionary use of river of awareness, a design in which the writer immediately transcribes the thoughts and feelings that go through a character’s thoughts, rather than simply reporting those feelings from the exterior viewpoint of an viewer. Joyce’s use of river of awareness creates A Portrait of the Artist as a Young Man a tale of enhancing Stephen’s thoughts. In the first aspect, the very young Stephen is only able of reporting his community in easy content. The feelings that he encounters are all chaotic together with a kid’s insufficient awareness to cause and impact. Later, when Stephen is a youngster enthusiastic about thinking, he is able to think in a better, more mature design. Sentences are more of course purchased than in the starting segments of the novel, and thoughts success of course. Stephen’s thoughts are more mature and he is now more coherently alert to his environment. However, he still trusts without consideration in the religious, and his enthusiastic feelings of shame and spiritual inspiration are so powerful that they get in the way of logical thought. It is only in one more aspect, when Stephen is in the school, that he seems truly logical. By the end of the novel, Joyce makes a picture of thoughts that has obtained psychological, perceptive, and creative maturity.

In A Portrait of the Artist as a Young Man, The growth of Stephen’s awareness is particularly exciting because, insofar as Stephen is a picture of Joyce himself, Stephen’s development gives us comprehension into enhancing a fictional professional. Stephen’s encounters tip at the impacts that developed Joyce himself into the excellent creator he is regarded today: Stephen’s passion with language; his damaged operations with thinking, household, and culture; and his responsibility to creating a cosmetic of his own reflection the techniques in which Joyce relevant to the various stresses in his day-to-day life during his youth. In the last aspect of the novel, we also learn that professional, though often a contacting also needs excellent work and significant compromise. Viewing Stephen’s day-to-day battle to challenge out his cosmetic viewpoint, we get a sensation of the excellent process that is waiting for him.

The Problems of Religious Extremism

A Portrait of the Artist as a Young Man, Brought up in a serious Catholic household, Stephen at first ascribes to an utter thinking in the morality of the religious. As a youngster, this thinking potential customers him to two complete opposite dimensions, both of which are unsafe. At first, he drops into the excessive of sin, regularly getting to sleep with hookers and purposely transforming his again on thinking. Though Stephen sins willfully, he is always conscious that he functions in abuse of the church’s guidelines. Then, when Dad Arnall’s presentation needs him to come back to Catholicism, he bounces to the other excessive, becoming the best, near crazy design of spiritual responsibility and behavior. Gradually, however, Stephen acknowledges that both of these lifestyles—the absolutely sinful and the absolutely devout—are dimensions that have been incorrect and unsafe. He does not want to head an absolutely debauched day-to-day life, but also denies austere Catholicism because he seems that it does not allow him the full experience of being people. Stephen eventually actually reaches a choice to take day-to-day life and enjoy humankind after seeing a young lady going at a seaside. To him, the young lady is synonymous with genuine benefits and of day-to-day life resided to the maximum as in A Portrait of the Artist as a Young Man.

The Function of the Artist

A Portrait of the Artist as a Young Man looks at what it means to become a painter. Stephen’s choice at the end of the novel—to depart his household behind and go into exile in order to become an artist—suggests that Joyce identifies the artist as an actually separated determine. In his choice, Stephen changes his again on his group, neglecting to take the difficulties of governmental engagement, spiritual responsibility, and household responsibility that the group locations on its associates.

However, though the artist is a separated determine, Stephen’s greatest objective is to give a presentation to the very group that he is making. In the last few collections of the novel, Stephen discloses his wish to “forge in the smithy of my heart the uncreated mind of my competition.” He identifies that his group will always be an aspect of him, as it has designed and designed his personality. When he efficiently discloses his own thoughts, he will also express the presentation of his complete group. Even as Stephen changes his again on the conventional types of engagement and member in a group, he envisions his composing as a service to the group.

The Need for Irish Autonomy

In A Portrait of the Artist as a Young Man, Stephen, Despite his wish to prevent nation-wide politics, he regularly considers Ireland’s place on the planet. He indicates that the Irish have always been subservient individuals, enabling strangers to control them. In his discussion with the dean of research at the school, he acknowledges that even the terminology of the Irish individuals really connected to the Language. Stephen’s comprehension of Ireland’s subservience has two results on his development as a painter. First, it creates him established to break free the ties that his Irish forefathers have recognized. As we see in his discussion with Davin, Stephen seems a troubled need to appear from his Irish history as his own individual, free from the shackles that have typically restricted his country: “Do you extravagant I am going to pay in my own day-to-day life and individual financial obligations they made?” Second, Stephen’s comprehension creates him established to use his art to recover independence for Eire. Using the obtained terminology of Language, he programs to create in a design that will be both independent from Britain and real to the Irish individuals.

 A Portrait of the Artist as a Young Man Motifs

Motifs are persistent components, differences, or fictional gadgets that can help to create and explain to the text’s significant styles.


In A Portrait of the Artist as a Young Man, Music, especially performing, seems to be regularly throughout A Icon of the Artisan as a Youthful Man. Stephen’s gratitude of popular music is carefully linked with his really like for the appears to be of terminology. As a very kid, he changes Dante’s risks into a tune, “[A]pologise, take out his face, take out his face, apologies.” Singing is more than just terminology, however—it is terminology developed by vivid humankind. Indeed, popular music attracts the aspect of Stephen that wants to carry on to the maximum. We see this element of popular music near the end of the novel, when Stephen instantly seems at serenity upon reading a lady performing. Her presentation needs him to remember his image to depart Eire and become a creator, strengthening his perseverance to enjoy day-to-day life through composing.


Stephen Dedalus’s very name represents the idea of journey. Stephen’s name, Daedalus, is determined from Ancient mythology, a well known contractor who styles the popular Network of The Island for Master Minos. Minos keeps Daedalus and his son Icarus caught on The Island, but Daedalus creates programs to break free by using down, string, and wax to design a set of wings for himself and his son. Daedalus destinations efficiently, but Icarus travels too high. In touches the wax positioning Icarus’s wings together and he plummets to his loss of life in the sea.

In the perspective of A Portrait of the Artist as a Young Man, we can see Stephen as consultant of both Daedalus and Icarus, as Stephen’s father also has the last name of Dedalus. With this fabricated referrals, Joyce indicates that Stephen must always stability his wish to leave Eire with the threat of overestimating his own abilities—the perceptive comparative of Icarus’s journey too close to the sun. To reduce the problems of trying too much too soon, Stephen bides his time at the school, creating his cosmetic concept completely before trying to depart Eire and create seriously. The wildlife that appear to Stephen in the third area of Chapter 5 transmission that it is lastly time for Stephen, now completely established as a painter, to take journey himself.

Prayers, High-end Audio, and Latina Phrases

Through A Portrait of the Artist as a Young Man, We can often tell Stephen’s perspective by looking at the pieces of desires, tracks, and Latina terms those Joyce locations into the textual content. When Stephen is a schoolboy, Joyce features idiotic, trustworthy desires that reflection the design in which a kid might devoutly believe in the religious, even without comprehension the indicating of its spiritual doctrine. When Stephen prays in religious despite the fact that he has dedicated a people sin, Joyce transcribes a long statement of the Latina prayer, but it is clear that Stephen merely talks the terms without knowing them. Then, when Stephen is at the school, Latina is used as a joke—his associates change colloquial terms like “peace over the whole soft globe” into Latina because they find the instructional audio of the interpretation enjoyable. This jocular use of Latina makes fun of both the young males training and the firm, serious design in which Latina is used in the religious. These language cracks illustrate that Stephen is no longer serious about thinking. Finally, Joyce has a few collections from the Irish men and women tune “Rosie O’Grady” near the end of the novel. These easy collections indicate the relaxing sensation that the tune provides to Stephen and Cranly, as well as the conventional Irish lifestyle that Stephen programs to depart behind. Throughout the novel, such desires, tracks, and terms type the qualifications of Stephen’s day-to-day life.


A Portrait of the Artist as a Young Man Symbols

Symbols are items, people, results, or shades used to characterize summary thoughts or ideas.

Green and Maroon

In A Portrait of the Artist as a Young Man, Stephen contacts the shades natural and maroon with his governess, Dante, and with two management of the Irish level of resistance, Charles Parnell and Erina Davitt. In a fantasy after Parnell’s loss of life, Stephen identifies Dante wearing natural and maroon as the Irish individuals grieve their decreased innovator. This perspective indicates that Stephen contacts the two shades with the way Irish nation-wide politics are performed out among the associates of his own household.


Emma seems to be only in glimpses throughout most of Stephen’s young day-to-day life, and he never gets to know her as an individual. Instead, she becomes synonymous with genuine really like, pristine by libido or actuality. Stephen worships Emma as the suitable of womanly cleanliness. When he goes through his devoutly spiritual stage, he thinks his compensate for his piety as a partnership with Emma in paradise. It is only later, when he is at the school, that we lastly see an actual discussion between Stephen and Emma. Stephen’s record admittance regarding this discussion shows Emma as an actual, helpful, and somewhat standard young lady, but certainly not the goddess Stephen previously creates her out to be. This more healthy perspective of Emma showcases Stephen’s desertion of the dimensions of finish sin and finish responsibility favoring a center direction, the responsibility to the gratitude of attractiveness in A Portrait of the Artist as a Young Man.

A Portrait of the Artist as a Young Man
“A Portrait of the Artist as a Young Man” (Photo credit: Wikipedia)

A Portrait of the Artist as a Young Man Character List

A Portrait of the Artist as a Young Man Major Characters

Stephen Dedalus – The major personality of A Portrait of the Artist as a Young Man. Increasing up, Stephen goes through extensive stages of hedonism and deeply religiosity. He gradually enters into a viewpoint of aestheticism, significantly pricing attractiveness and art. Stephen is primarily Joyce’s change ego, and many of the activities of Stephen’s life reflection activities from Joyce’s own younger generation.

Read an in-depth evaluation of Stephen Dedalus.

Simon Dedalus – Stephen’s dad, a poor former specialist college student with a powerful sensation of Irish patriotism. Emotional about his previous, Simon Dedalus regularly reminisces about his younger generation in A Portrait of the Artist as a Young Man.

Read an in-depth evaluation of Simon Dedalus.

Charles Stewart Parnell – An Irish governmental innovator who is not an actual personality in the novel, but whose dying impacts many of its people. Parnell had forcefully led the Irish Nationwide Celebration until he was ruined for having a romance with a committed lady. A Political Figure in A Portrait of the Artist as a Young Man.

Read an in-depth evaluation of Charles Stewart Parnell.

Emma Clery – Stephen’s precious, the young lady to whom he is very drawn over the course of many decades. Stephen constructs Emma as a suitable of womanliness, even though he does not know her well.

Read an in-depth evaluation of Emma Clery.

Cranly – Stephen’s best buddy at the university, in whom he confides his sensations and thoughts. In this sensation, Cranly presents a high-end confessor for Stephen. Eventually, Cranly starts to motivate Stephen to comply with the needs of his household and to try tougher to fit in with his peers—advice that Stephen very resents.

Read an in-depth evaluation of Cranly.

A Portrait of the Artist as a Young Man Minor Characters

There are many more minor characters in Joyce’s A Portrait of the Artist as a Young Man.

Mary Dedalus – Stephen’s mom and Simon Dedalus’s spouse. Betty is very spiritual, and claims with her son about joining spiritual solutions.

The Dedalus Kids – Though his friends do not perform a big part in the novel, Stephen has several friends and household, such as Maurice, Katey, Maggie, and Boody.

Mr. Bob Casey  –  Simon Dedalus’s buddy, who visits the Xmas dining at which young Stephen is granted to sit with the grownups for initially. Like Simon, Mr. Casey is a staunch believer in Irish nationalism, and at the dining he claims with Dante over the luck of Parnell.

Dante (Mrs. Riordan) – The incredibly fervent and piously Catholic governess of the Dedalus children. Dante, whose actual name is Mrs. Riordan, becomes engaged in an extensive and distressing disagreement with Mr. Casey over the luck of Parnell during Xmas dining.

Uncle Charles – In A Portrait of the Artist as a Young Man, Stephen’s energetic excellent dad. Charles life with Stephen’s household. During summer time months season time, the young Stephen loves getting extensive strolls with his dad and enjoying Charles and Simon talk about the historical previous of both Eire and the Dedalus household.

Eileen Vance – A young lady who live near Stephen when he is a boy. When Stephen informs Dante that he wants to wed Eileen, Dante is furious because Eileen is a Protestant.

Father Conmee – The rector at Clongowes Timber Higher education, where Stephen visits university as a boy.

A Portrait of the Artist as a Young Man Education Life Characters

Some important characters that stayed with Stephen in his education life, in A Portrait of the Artist as a Young Man.

Father Dolan – The vicious suitable of research at Clongowes Timber Higher education.

Wells – The intimidate at Clongowes. Bore holes taunts Stephen for getting his mom before he goes to bed, and one day he forces Stephen into an unclean cesspool, producing Stephen to get a bad nausea.

Athy – A helpful boy whom Stephen satisfies in the infirmary at Clongowes. Athy prefers Stephen Dedalus because they both have uncommon titles.

Brother Erina – The please sister who tends to Stephen and Athy in the Clongowes infirmary after Bore holes forces Stephen into the cesspool.

Fleming – One of Stephen’s associates at Clongowes.

Father Arnall – Stephen’s firm Latina trainer at Clongowes. Later, when Stephen is at Belvedere Higher education, Father Arnall offers a sequence of classes on dying and terrible that has a powerful effect on Stephen.

Mike Flynn – A buddy of Simon Dedalus’s who tries, with little achievements, to practice Stephen to be a jogger during their summer time season time at Blackrock.

Aubrey Generators – A son with whom Stephen performs fabricated experience video games at Blackrock.

Vincent Heron – A competing of Stephen’s at Belvedere.

Boland and Nash – Two schoolmates of Stephen are at Belvedere, who taunt and intimidate him.

Davin – Another of Stephen’s associates at the university. Davin comes from the Irish areas and has easy, powerful characteristics. Stephen admires his ability for sporting, but doesn’t agree with his unquestioning Irish patriotism, which Davin motivates Stephen to look at.

Lynch – Another of Stephen’s associates at the university, a rough and often unpleasantly dry son. Lynch is not as good as Stephen. Stephen describes his concept of appearance to Lynch in Part 5.

McCann – A very governmental college student at the university who tries to persuade Stephen to be more worried with national politics.

Temple – A son at the university who freely admires Stephen’s eager flexibility and tries to content his thoughts and emotions.

Dean of Studies – A Jesuit clergyman at Higher education Higher education.

Johnny Cashman – A buddy of Simon Dedalus in A Portrait of the Artist as a Young Man.

A Portrait of the Artist as a Young Man Major Characters

A Portrait of the Artist as a Young Man Main Figure

Stephen Dedalus

Modeled after Joyce himself, Stephen is a susceptible, careful boy who reappears in Joyce’s later work of genius, Ulysses. In A Portrait of the Artist as a Young Man, though Stephen’s huge household works into deepening poverty, his mother and father handle to deliver him to renowned universities and gradually to an excellent. As he matures, Stephen grapples with his nationality, belief, household, and values, and lastly chooses to decline all culturally added ties and instead stay easily as a painter.

Stephen goes through several essential changes over the course of the novel. The first, which happens during his first decades as Clongowes, is from a protected little boy to a shiny college student who knows public relationships and can start to add up on the planet around him. The second, who happens when Stephen rests with the Dublin hooker, is from purity to debauchery. The third, which happens when Stephen learns Dad Arnall’s presentation on loss of life and terrible, is from an unrepentant sinner to a serious Catholic. Finally, Stephen’s biggest modification is from near crazy religiousness to a new commitment to art and attractiveness. This move arises in Part 4, when he is provided use of the Jesuit obtain but declines it to be able to go to school. Stephen’s rejection and his pursuing epiphany on the seaside level his move from thinking in God to thinking in cosmetic attractiveness. This modification carries on through his higher education decades. By the end of his period in higher education, Stephen has become a completely established artist, and his record items indicate the separate personal he has become.

Simon Dedalus

In A Portrait of the Artist as a Young Man, Simon Dedalus stays a lot of his time reliving previous encounters, missing in his own emotional an additional. Joyce often uses Simon to indicate the ties and issues that Stephen’s household and nationality location upon him as he matures. Simon is an excited, terrible figure: he has an in-depth satisfaction in custom, but he is incapable to keep his own relationships to be able. To Stephen, his father Simon presents the components of household, country, and custom those carry him again, and against which he seems he must cool dude. The nearest look we get at Simon is on the trip to Cork with Stephen, during which Simon gets intoxicated and sentimentalizes about his previous. Joyce shows images of a man who has damaged himself and, instead of experiencing his issues, drowns them in alcoholic beverages and an additional.

A Portrait of the Artist as a Young Man Female

Emma Clery

In A Portrait of the Artist as a Young Man, Emma is Stephen’s “beloved,” the young lady to whom he is extremely drawn over the course of many decades. Stephen does not know Emma particularly well, and is usually too shy or frightened to discuss to her, but seems a highly effective reaction mixing within him whenever he recognizes her. Stephen’s first composition, “To E— C—,” is published to Emma. She is a shadowy determine throughout the novel, and we know almost nothing about her even at the novel’s end. For Stephen, Emma signifies one end of an array of womanliness. Stephen seems able to comprehend only the dimensions of this spectrum: for him, females are genuine, far away, and unapproachable, like Emma, or contaminated, sex-related, and typical, like the hookers he goes to during his time at Belvedere.

A Portrait of the Artist as a Young Man Political Figure

Charles Stewart Parnell

In A Portrait of the Artist as a Young Man, Parnell is not fantastic, and does not actually appear as a personality in the novel. However, as an Irish governmental innovator, he is a polarizing determine whose loss of life impacts many individuals in A Portrait of the Artist as a Young Man. During the overdue nineteenth millennium century, Parnell had been the highly effective innovator of the Irish Nationwide Celebration, and his effect seemed to guarantee Irish flexibility from Britain. When Parnell’s romance with a committed lady was revealed, however, he was ruined by the Catholic Spiritual and dropped from elegance. His fevered efforts to restore his former location of effect provided to his loss of life from physical weakness. Many individuals in Eire, such as the personality of Bob Casey in Joyce’s novel, regarded Parnell a main character and attributed the church for his loss of life. Many others, such as the personality Dante, considered the church had done the right element to condemn Parnell. These arguments over Parnell’s personality are at the main of the nasty and harassing disagreement that erupts during the Dedalus family Xmas dining when Stephen is still a boy. In this sensation, Parnell presents the problem of Irish nationality that Stephen comes to believe is keeping him from acknowledging himself as a painter.


In A Portrait of the Artist as a Young Man, Stephen’s best buddy at the school, Cranly also functions as a type of nonreligious confessor for Stephen. In extensive, late-night shares, Stephen inform Cranly everything, just as he used to tell the monks everything during his times of religious excitement. While Cranly is a buddy to Stephen, he does not comprehend Stephen’s need for utter independence. Indeed, to Cranly, making behind all the features of community would be very single. It is this change that distinguishes the real artist, Stephen, from the artists buddy, Cranly. In that sensation, Cranly presents the no genius, a son who is not known as to success as Stephen is, and who therefore does not have to create the same forfeit in A Portrait of the Artist as a Young Man.

A Portrait of the Artist as a Young Man Summary

A Portrait of the Artist as a Young Man Summary

A Portrait of the Artist as a Young Man informs the tale of Stephen Dedalus, a boy growing up in Eire at the end of the nineteenth millennium century, as he progressively chooses to toss off all his social, family, and spiritual difficulties to live a life dedicated to the art of writing. In A Portrait of the Artist as a Young Man , As a boy, Stephen’s Catholic trust and Irish nationality intensely affect him. He visits a demanding spiritual getting on university known as Clongowes Timber Higher education. At first, Stephen is single and homesick at the university, but eventually he discovers his place among the other young boys. He likes his goes to home, even though loved ones stress run high after the loss of life of the Irish governmental innovator Charles Stewart Parnell. This susceptible topic becomes the topic of a livid, politically energized disagreement over the family Christmas dining.

A Portrait of the Artist as a Young Man Fatherhood

In A Portrait of the Artist as a Young Man Stephen’s dad, Simon, is inefficient with money, and the loved ones come further and further into debt. After a summer time used in the company of his Dad Charles, Stephen understands that the loved ones cannot manage to deliver him back to Clongowes, and that they will instead move to Dublin. Stephen begins visiting a renowned day university known as Belvedere, where he increases to shine as a creator and as an acting professional in the school student theatre. His first sex, with a Dublin hooker, reveals a weather of waste and waste in Stephen, as he tries to reunite his physical wishes with the firm Catholic morals of his environment. For a while, he disregards his spiritual childhood, putting himself with debauched reject into a wide range of sins—masturbation, gluttony, and more goes to hookers, among others. Then, on a three-day spiritual getaway, Stephen understands a group of hot sermons about sin, verdict, and terrible. Greatly shaken, the son curbs to rededicate him to a daily lifetime of Religious piety.

A Portrait of the Artist as a Young Man Religious

A Portrait of the Artist as a Young Man as religious, Stephen starts visiting Huge every day, becoming a design of Catholic piety, abstinence, and self-denial. His spiritual commitment is so obvious that the manager of his school requests him to consider coming into the priesthood. After temporarily considering the offer, Stephen knows that the austerity of the priestly daily normal life is completely incompatible with his really like for sexual attractiveness. That day, Stephen understands from his sis that the loved ones will be going, once again for financial reasons. Seriously looking forward to information about his popularity to the higher education, Stephen goes for a move on the seaside, where he notices a young woman going in the hold. He is hit by her attractiveness, and knows, in a second of epiphany, that the really like and drive of attractiveness should not be a resource of waste. Stephen curbs to live his life to the maximum and wedding vows not to be restricted by the limitations of his loved ones, his state, and his belief.

Stephen moves on to the university, where he develops a number of strong friendships, and is especially close with a young man named Cranly. In a series of conversations with his companions, Stephen works to formulate his theories about art. While he is dependent on his friends as listeners, he is also determined to create an independent existence, liberated from the expectations of friends and family. He becomes more and more determined to free him from all limiting pressures, and eventually decides to leave Ireland to escape them. Like his namesake, the mythical Daedalus, Stephen hopes to build himself wings on which he can fly above all obstacles and achieve a life as an artist, All in A Portrait of the Artist as a Young Man.

A Portrait of the Artist as a Young Man Context

A Portrait of the Artist as a Young Man Context

James Joyce written on March 2, 1882, in the area of Rathgar, near Dublin, Ireland. He was the most ancient of ten children created to a well-meaning but monetarily inefficient Father and a serious, pious Mother. Joyce’s Mother and Father maintained to clean together enough money to deliver their skilled son to the Clongowes Timber Institution, a renowned getting on school, and then to Belvedere Institution, where Joyce did as an acting professional and creator. Later, he joined Higher education Institution in Dublin, where he became progressively more dedicated to terminology and materials as a champion of Modernism. In 1902, Joyce left the university and transferred to London, but temporarily come back to Ireland in 1903 upon the loss of daily lifetime of his Mother. Quickly after his mother’s loss of lifestyle, Joyce started work on the tale that would later become A Portrait of the Artist as a Young Man.

A Portrait of the Artist as a Young Man Published

Published in sequential type in 1914–1915, A Portrait of the Artist as a Young Man attracts on many information from Joyce’s youth. The novel’s personality, Stephen Dedalus, is in many ways Joyce’s fantastic double—Joyce had even released experiences under the pseudonym “Stephen Dedalus” before composing the novel. Like Joyce himself, Stephen is the son of a poor Father and a very serious Catholic Mother. Also like Joyce, he visits Clongowes Timber, Belvedere, and Higher education Universities, experiencing concerns of trust and nationality before making Ireland to create his own way as a painter. Many of the moments in the novel are fantastic, but some of its most extremely effective times are autobiographical: both the Christmas meal world and Stephen’s first sex with the Dublin hooker bear much resemblance to actual activities in Joyce’s lifestyle.

In inclusion to sketching largely on Joyce’s personal lifestyle, A Portrait of the Artist as a Young Man also makes a number of sources to the nation-wide politics and trust of early-twentieth-century Ireland. When Joyce was increasing up, Ireland had been under English rule since the 16th century, and stress between Ireland and The United Kingdom had been especially high since the spud curse of 1845. Moreover, to governmental discord, there was significant spiritual tension: the majority of Irish, such as the Joyce, were Catholics, and powerfully popular Irish self-reliance. The Protestant community, on the other hand, mostly thought to continue to be united with The United Kingdom.

A Portrait of the Artist as a Young Man Political

Around the time Joyce created, the Irish nationalist Charles Stewart Parnell was spearheading the activity for Irish self-reliance. In 1890, however, Parnell’s historical romance with a wed woman was revealed, major the Catholic Religious to condemn him and producing many of his former enthusiasts to turn against him. Many Irish nationalists attributed Parnell’s loss of lifestyle, which took place only a year later, on the Catholic Religious. Indeed, we see these powerful views about Parnell exterior in A Portrait of the Artist as a Young Man during a mental Christmas meal disagreement among associates of the Dedalus family. By 1900, the Irish people thought mostly united in strenuous independence from English rule. In A Portrait of the Artist as a Young Man, the young Stephen’s friends at Higher education Institution frequently deal with him with governmental concerns about this battle between Ireland and Britain.

After finishing A Portrait of the Artist as a Young Man in Zurich in 1915, Joyce come back to London, where he authored two more major experiences, Ulysses and Finnegans Awaken, over the course of the next several years. These three experiences, along with a short tale selection, Dubliners, type the primary of his amazing fantastic profession. He passed away in 1941.

Today, Joyce was famous as one of the fantastic literary pioneers of the last twentieth century. He was one of the first authors to create substantial and effective use of stream of consciousness(flow of attention), a stylistic type in which published composing looks for to characterize the characters’ stream of inner thoughts( flow of inner ideas) and ideas rather than provide these people from a purpose, exterior viewpoint. This approach, used in A Portrait of the Artist as a Young Man mostly during the beginning segments and in Part 5, sometimes makes for difficult examining. With effort, however, the somewhat chaotic ideas of stream of consciousness can decide upon into a consistent and innovative illustration of a character’s practical knowledge.

Another stylistic approach for which Joyce mentioned is the epiphany, a second in whom a personality makes a quick, extremely effective realization—whether encouraged by an exterior item or a tone of speech from within—that makes a change in his or her understanding of the world. Joyce uses epiphany such as in Dubliners, but A Portrait of the Artist as a Young Man is full of these sudden moments of spiritual thought as well. Most significant is a world in which Stephen recognizes a young woman wading at the seaside, which hits him with the quick understanding that an understanding for splendor can be truly good. This moment in time is a vintage example of Joyce’s thinking that an epiphany can considerably change the human heart in a matter of just moments as in A Portrait of the Artist as a Young Man.

A Portrait of the Artist as a Young Man Psychological Analysis

Psychological Analysis

It will be pointed out some main psychological features of this character that will further help the reader create and understand the complex teenager that is Stephen. From the very beginning, Stephen, possessing an undeniably aloof personality, himself admits that he is in some way different from others. He notes that is “hardly of the one blood” (Joyce, 2008, p.75) with his family, indicating that his life is filled with isolation, a sense of insecurity and growing independence.

At first, as suggested by Foley (2008), while indulging his family’s wishes, appeasing the religious ideals of the community and church and trying to fit in, Stephen also tries to identify himself as an individual and goes through various stages. 

“…..constant voices of his father and of his masters, urging him to be a good catholic above all things….When the gymnasium had been opened he had heard another voice urging him to be strong and manly and healthy and when the movement towards the national revival had begun to be felt in college yet another voice had bidden him to be true to his country and help to raise up her language and tradition” (Joyce, 2008, p.65).

The pressure from expectations gradually becomes a burden and his soul search finally results in art a mea of breaking the cage. To Stephen art was nevertheless a way of liberating his soul by fulfilling his hunger for meaning not with what was imposed upon him by others but by something originating from inside himself. Stephen‘s path toward becoming an artist is seen at every step while going through the novel. His first act of courage, independence and rebellion is when he protests his palm-whipping. Later on, he would also commit heresy when writing a school essay and reject priesthood. The growing gap between him and his family, especially his father is ever more obvious as time passes.

“Old father, old article, stand me now and ever in good stead.” James Joyce, A Portrait of the Artistic as a Young man” (1916)

Adolescent Psyche (Problems, Challenges and Constraints)

Stephen has experienced severe traumas in the early course of their lives. Namely repeated financial troubles which Stephen was a witness of and the deep divide over the question of religion and patriotism within his own family. It can be observed that Stephen‘s relations with his siblings are rarely mentioned and subsided, irrelevant to the overall story and formation of the artist. Stephen in times of stress and sorrow only occasionally relishes in the memories of his childhood, such as his friendship with a boy named Aubrey Mills or eating slim Jim out for his pocket cap. Stephen is experiencing religious, national and pressure from his family.

In an other opinion:

An adolescent individual will always be forced with multiple form of expectations and regardless of whether they are coming from the family, schools or society, it is the way these teenagers deal with what is expected of them with their own strength, mental potency and emotional capacity and deciding whether they are going to fulfill these expectations or not that will define them as a person later on, as opposed to the expectations themselves.

Personal and Social Manifestations

Joyce consumes alcohol; and uses foul language often, depicting some of the negative sides of adolescence and the temptations it brings along. Stephen, on the other hand, does not fall under these temptations or the pressure of conformity, but rather commits sins such as gluttony. Sex represents an important part of lives of this two teenager- Stephen Dedalus felt that “his childhood was dead or lost and with it nothing but a cold and cruel loveless lust” (Joyce, 2008, p.73)

Remained within his soul. He also believed that out of lust, all other sins originate easily. Lust and love for aesthetic beauty combined, however, lead him to numerous encounters with young prostitutes of Dublin. What can be noticed in Stephen‘s behavior is that through isolated, he is actually trying to protect himself even through he, like everyone else needs human contact and compassion. Of course, the boy had that “special someone” present in his live- Stephen  on the other hand , also idolizing the image of Emma , a girl who he has never actually met , through still considered her to be the temple of beauty and a symbol of femininity finds himself ashamed and daunted by the thoughts of his own teenage fantasies:

“If she knew to what his mind had subjected her or how brute- like lust had torn and trampled upon her innocence! Was that boyish love? Was that chivalry? Was that poetry? The sordid details of his orgies shrank under his very nostrils” (Joyce, 2008, p.79).

It must, however, be note that the contradictions of his actions and sins against his position and role in the society did not seem to bother him at times. It can be concluded that traumatic experiences, unreasonable expectations and the lack of support are just some of the burdens halting a normal development of an individual during his or her teenage years. The result of these factors can vary from some of the negative, above mentioned perpetual circle of awkwardness and discomfort.

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