Essay on the Artist as Hero in A Portrait of the Artist As a Young Man

The mechanic as Hero in A Portrait of the operative As a Young existence A Portrait of the artificer As a Young human beings by James Joyce is a partly autobiographical account of the authors bearing growing up. The story chronicles the touch through which the principal(prenominal) character, Stephen, struggles against authority and ghostlike doctrine to develop his bear philosophies on demeanor. Stephen is non necessarily rebelling against beau ideal and his father as ofttimes as he is finding his own person, creating his own life. He is an artist, not because of the burden of his life, exactly because of the butt on he goes through to achieve that outcome. The artist is a gun for hire because of the sacrifices he makes, the persecution he endures, and the risks he undertakes merely to set foot towards his flock. Joyce demonstrates that whether or not Stephen achieved his vision is insignificant to the actual journey itself. First of all, the novel concludes not with the outcome of Stephens life but with the beginning stages of his journey. Old father, previous(a) artificer, stand me at one time and ever in intelligent stead, he writes in the last curse of the novel. Joyce purposefully ends the book before Stephens sets off, to emphasize that the process he undergoes to move on that point where he can reject the rattling foundation upon what his life was based is where the importance lies. The infamous hell movie spans over 20 pages not to frighten the reader as much as to presentation how difficult it is to even become an artist and involution conformity. All process towards breaking away is lost after the preachers discourse on hell, as shown in the following passage He stupefy his breast with his clenched fist humbly, secretly under cover of the wooden armrest. He would be at one with others... ...d for his art, seeing that his religion is no good for his heart, he forges a new life and religion for his own, fulfilling h is destiny as an artist. Works Cited Beebe, Maurice. The creative person as Hero. James Joyce, A Portrait of the Artist as a Young Man Text, Criticism, and Notes. Ed. Chester G. Anderson. red-hot York Penguin, 1968. 340-57. Ellmann, Richard. The Limits of Joyces Naturalism. Sewanee Review 63 (1955) 567-75. Givens, Seon, ed. James Joyce dickens Decades of Criticism. New York 1948. 2nd ed. 1963. Joyce, James. A Portrait of the Artist as a Young Man. The Portable James Joyce. Ed. Harry Levin. New York Penguin, 1976. Power, Arthur. Conversations with James Joyce. Ed. Clive Hart. capital of the United Kingdom Millington, 1974. Wright, David G. Characters of Joyce. Dublin Gill and Macmillan, 1983. Essay on the Artist as Hero in A Portrait of the Artist As a Young ManThe Artist as Hero in A Portrait of the Artist As a Young Man A Portrait of the Artist As a Young Man by James Joyce is a partly autobiographical account of the authors life growing up. The novel chro nicles the process through which the main character, Stephen, struggles against authority and religious doctrine to develop his own philosophies on life. Stephen is not necessarily rebelling against God and his father as much as he is finding his own person, creating his own life. He is an artist, not because of the outcome of his life, but because of the process he goes through to achieve that outcome. The artist is a hero because of the sacrifices he makes, the persecution he endures, and the risks he undertakes merely to set foot towards his vision. Joyce demonstrates that whether or not Stephen achieved his vision is insignificant to the actual journey itself. First of all, the novel concludes not with the outcome of Stephens life but with the beginning stages of his journey. Old father, old artificer, stand me now and ever in good stead, he writes in the last sentence of the novel. Joyce purposefully ends the book before Stephens sets off, to emphasize that the process he unde rgoes to reach that point where he can reject the very foundation upon what his life was based is where the importance lies. The infamous hell scene spans over twenty pages not to frighten the reader as much as to show how difficult it is to even become an artist and fight conformity. All process towards breaking away is lost after the preachers sermon on hell, as shown in the following passage He beat his breast with his fist humbly, secretly under cover of the wooden armrest. He would be at one with others... ...d for his art, seeing that his religion is no good for his heart, he forges a new life and religion for his own, fulfilling his destiny as an artist. Works Cited Beebe, Maurice. The Artist as Hero. James Joyce, A Portrait of the Artist as a Young Man Text, Criticism, and Notes. Ed. Chester G. Anderson. New York Penguin, 1968. 340-57. Ellmann, Richard. The Limits of Joyces Naturalism. Sewanee Review 63 (1955) 567-75. Givens, Seon, ed. James Joyce Two Decades of Criticis m. New York 1948. 2nd ed. 1963. Joyce, James. A Portrait of the Artist as a Young Man. The Portable James Joyce. Ed. Harry Levin. New York Penguin, 1976. Power, Arthur. Conversations with James Joyce. Ed. Clive Hart. London Millington, 1974. Wright, David G. Characters of Joyce. Dublin Gill and Macmillan, 1983.