Stephen's Journey to Maturation in A Portrait of the Artist as a Young Man by James Joyce

Regardless of personal beliefs or opinions, it is nearly impossible to imagine the existence of modern English literature without the influence of religion. Since the dawn of recorded history, religion has played a vital, recurring role in works of fact and fiction, alike. In his book How to Read Literature Like a Professor, author Thomas Foster asserts several points about this relationship between religion and literature, especially in relation to the image of Christ, and states, “Culture is so influenced by its dominant religious systems that whether a writer adheres to the beliefs or not, the values and principles of those religions will inevitably inform the literary work” (125).

Even though he will not let himself be beaten for no reason, if he has made an inadvertent mistake, he will try to correct it, as he does with his grandmother, after accidentally embarrassing in church. “Later, I convinced her that I had not wanted to hurt her and she immediately seized upon my concern for her feelings as an opportunity to have one more try at bringing me to god. She wept and pleaded with me to pray... I promised; after all, I felt that I owed her something for inadvertently making her ridiculous before the member of her church.” (Wright 119) And he follows through with that. He prays, daily, for an hour. That hour is torture, but he keeps his promise, abiding by his moral code. He is different from the boys and girls of his church congregation, and class: they have been indoctrinated and do as they are told, docilely. One boy walks up to Richard, prompted by the congregation, who think that Richard is doomed to burn in Hell, and tries to convert him; it is obvious that the boy has no real conviction in God of his own, rather, the belief in God has been forced upon him by his parents and community. “Though older than I, he had neither known nor felt anything of life for himself; he had been carefully reared by his mother and father and he had always been told what to feel.”(Wright 116) Meanwhile, Wright, in stark contrast, resists the attempts of his Grandmother and extended family to indoctrinate him into religion, instead deciding to

Stephen expresses his feeling of determination, when he claims, “No it ain’t too hard for me. Not by a god damn sight.” Certainly, Stephen finds purpose in life, when he feels, the well-accompanied reputation in his father’s eyes, He feels as clear and happy as pores underlying the skin, without the existence of makeup.

But I was a changed child. Months of pampering and the ridicule of my cousins had turned me inward. But now when the world filled me, I could no longer draw it out. I was sullen and dependent on my mother’s sole attention, tender-hearted, and whiney: the classic temperament of the artist but without anything to show for my bad character.

This literary criticism is useful because it illustrates how the arts are connected, in this case, writing and painting. The arts are fluid and can translate between different mediums. The story is considered modern, but the painting is a classic. The character of Sammy is also meant to be relatable, even to future generations. The essay is well researched and soundly written; it is a good example of what a published literary criticism should look like.

Stephen’s adoption of how others view him in his

shows us how followed his dreams and was determined to also do them.This novelle also gives us a thought of how we should see life compared to everyone else & if life comes with wanting to fit fit in with everyone else.When you think of someone going the other direction or not fitting in,it makes them feel different.

One unique quality her work portrayed was what other written works had not. O’Connor incorporated the major struggle of living a spiritual life in a secular world into each of her stories. She also took the brave approach to include spiritual issues in her works. She did this by providing moral, social, and psychological conditions that offered awareness and enthusiasm that the readers could enjoy.

Flannery O'Connor remained a devout Catholic throughout, and this fact, coupled with the constant awareness of her own impending death, both filtered through an acute literary sensibility, gives us valuable insight into just what went into those thirty-two short stories and the two novels: cathartic bitterness, a belief in grace as something devastating to the recipient, a gelid concept of salvation, and violence as a force for good. At first it might seem that these aspects of her writing would detract from,

Presenting literature to the public that is meant to be a commentary on social or political issues, masked under the guise of entertaining and fictional, is a tool implemented by authors and activists for centuries. While not all satire is as overt as Jonathan Swift’s suggestion that we eat the babies, it does not diminish the eyebrow raising suggestions that are conveyed once the meaning has been discovered. In Aphra Behn’s The History of the Nun and Eliza Haywood’s Fantomina, the established expectations of the female role within society are brought into question then directly rejected. These expectations establish that women should be deferential to men, morally unblemished, and virtuous at all times. Men, however, are not held to these expectations in the same way. The masculine roles assumed by Isabella and Fantomina demonstrate a private rebellion against the established patriarchal society as it warns against the under-estimation of women and proves that women exist independently.

Divided into five chapters, this book follows Stephen's life from childhood through adolescence to manhood. We are essentially given a window into Stephen's consciousness, and the whole world is unveiled to us through that single aperture. According to Sydney Bolt, no novel written before A Portrait of the Artist as a Young Man can match its variety in styles This indicates Joyce's originality. A Portrait of the Artist as a Young Man is told in characteristic dialogue and ironically sympathetic

Firstly, Joyce incorporates multiple figures of speech and elements of design to express a purpose through the events that occur in the story. As mentioned before, this story is written in first person perspective of a boy who lives with his aunt and uncle. The perspective best allows readers to understand what this boy encounters every day and his opinion on certain topics. Furthermore, it also allows readers to perceive the feelings this boy has for a girl. For example, the author mentions the boy playing and says, “The cold air stung us and we played till our bodies glowed. Our shouts echoed in the silent street. The career of our play brought us through the dark muddy lanes behind the houses…” (Joyce, 1). This quote highlights the lively and childish fun the boy has with his friends.

inability to escape their lives. In another of Joyce’s writings, A Portrait of the Artist as a Young

Stephen starts as an object - Baby Tuckoo - in his father's story of his early years and is thus without his own identity. Later, at Clongowes, he is either gripped with embarrassment as he fails to connect with his peers or speechless at a family Christmas dinner as debate and anger rages around him. He is isolated, associating only with the sounds of words (belt, iss, suck) and other stimuli. He doesn't understand the schoolboy argot and his consequent victimisation is all too predictable as his peers react with typical schoolboy nastiness to a boy who doesn't fit in.

As James Joyce's A Portrait of the Artist as a Young Man unfolds, the central theme of isolation and rejection becomes evident. From birth to adolescence, the protagonist of the story, Stephen Dedalus, responds to his experiences throughout life with actions of rejection and isolation. He rebels against his environment and isolates himself in schoolwork, family, religion and his art, successively. James Joyce uses Stephen Dedalus' responses of isolation and rejection to illustrate the journey that the artist must take to achieve adulthood.