59 pages • 1 hour read
James JoyceA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Simon Dedalus tells a story to his son, Stephen. The children’s story involves a “moocow” (7) meeting a young boy named tuckoo. Stephen loves the story, and he sees himself in the character of tuckoo. From Stephen’s perspective, the world is made up of cold, wet bedsheets and the reassuring aroma of his mother. When Dante, his governess, claps for him, he remembers her applause. His childhood memories also involve his Uncle Charles dancing along with a hornpipe.
As a boy living in County Wicklow, Stephen falls in love with one of his neighbors. Eileen Vance lives in the house next to Stephen’s family, and he believes that he is “going to marry Eileen” (8). However, Stephen does not comprehend the religious issues of such a match. Stephen’s family is Catholic, while Eileen’s family is Protestant. The prospect of a Catholic and Protestant marriage shocks Stephen’s family, and he crawls under the dinner table to avoid their fury. Stephen’s mother tries to coax him out from under the table, assuring the rest of the family that he “will apologize” (8), while Dante loudly describes the violent punishments which await Stephen should he marry a non-Catholic woman. Stephen stays under the table and composes a short poem based on Dante’s violent descriptions.
Stephen attends Clongowes Wood College. He feels like an outsider and stands to the side while the other boys play with a ball in a “whirl of a scrimmage” (10). The other boys bully Stephen, mocking his name. They mock his father’s profession and demand to know about his family’s social status. Classes are based on an English curriculum. In one class, for example, the students wear badges emblazoned with either red or white roses. These red or white roses represent the competing factions in the English War of the Roses. Stephen does not enjoy these classes. He imagines a different kind of class, one where he might be able to wear “a green rose” (13) instead.
Stephen develops a fever. As people ask him why he is sick, Stephen is reluctant to explain. His sickness likely issues from a bullying incident, in which he was shoved into a cesspool by the other boys. The boy who orchestrates the bullying campaign against Stephen is named Wells, who continuously mocks Stephen. Wells asks him whether he kisses his mother, and Stephen does not know “the right answer to the question” (15) because whatever he says, the other boys laugh at him.
When Stephen tries to study, he cannot stop thinking about himself. His thoughts wander, taking in the scope of the universe and big questions about religion and the nature of God. When he studies geography, for instance, he writes out his address at length. He begins with his name, then his family home, then his city. He broadens the scope until he finishes by writing “The Universe” (17). While thinking about religion, he speculates about the way in which “different languages” (18) have different names for God, even though they are referring to the same deity. At the end of the day, Stephen prays to God. His quiet, direct address to God is markedly different from the loud, formulaic prayer issued by the chaplain. In his cold bed, Stephen dreams about a black dog that is supposedly “the ghost of a murderer” (21).
After falling sick from being pushed into the cesspool, Stephen is allowed to skip his classes. He is nursed back to health by Brother Michael, who worries that Stephen’s fever might be life threatening. Stephen thinks about death and imagines his “beautiful and sad” (27) funeral. While he recovers, Stephen thinks about riddles. The riddles are put to him by Athy, a fellow student and patient. Stephen struggles to answer the riddles and wishes that he could recover at home. While still in the hospital, Stephen overhears Brother Michael talking about the death of the Irish politician, Charles Stewart Parnell.
Stephen returns home from school to celebrate Christmas with his family. For the first time, he is allowed to sit with the adults during the Christmas dinner. In attendance are Stephen’s mother and father, his Uncle Charles, Dante, and a family friend named Mr. Casey. Stephen’s father and Casey discuss weapons manufacturing while the “plump turkey” (33) is brought to the table. After Stephen says grace, Mr. Dedalus tells a story about a friend who confronted a priest about the church’s role in Irish politics. Dante is horrified that any Catholic person would speak out against the church. Her comments spark a “political discussion” (35), much to the horror of Stephen’s mother. Dante defends the church and insists that all God-fearing Catholics should do as they are told by priests and the church leaders, even if these orders go against Irish political interests.
At the table, Stephen watches the adults argue. He does not understand why anyone would argue with priests, so he naturally feels that “Dante must be right” (39). However, he remembers his father dismissing such arguments because Dante was once “a spoiled nun” (40). He remembers Eileen, who Dante criticized stridently because of her family’s Protestant faith. Mr. Casey tells an anecdote about an elderly woman who criticized Parnell’s extramarital affair. Mr. Casey was so offended on Parnell’s behalf that he spat “right into her eye” (41). Dante is horrified. Mr. Casey speculates as to whether Ireland might be better without the church; Simon agrees that the Irish are “an unfortunate priestridden race” (42). Dante proclaims the importance of God and religion, then storms away while Mr. Casey mourns the death of Parnell as his “dead king” (44).
Stephen returns to school. He overhears Wells talking with the other boys about several students who ran away after stealing wine from the sacristy. The runaways have now been caught. As Wells tells the story, the other boys are shocked by the outrageous, sacrilegious behavior. According to Athy, however, the runaways were actually accused of being gay. Stephen thinks about this accusation. He compares the boys’ soft hands to the “long thin cool white hands” (48) of his neighbor, Eileen. A student named Fleming is worried that all the boys are “to be punished” (49) due to the misbehavior of the runaways. Fleming wants the boys to stand up for themselves.
When they are called back into the classroom, the boys study Latin. Fleming fails to answer a question and he is beaten with “loud quick smacks” (55). Stephen is excused from working in class because his glasses are broken. However, the prefect in the class does not believe Stephen’s excuse, so beats Stephen as well. Stephen believes that this is “cruel and unfair” (59). When the boys discuss their punishments afterward, however, Stephen does not want to criticize the prefect. When he finally musters the courage to complain to the rector, the rector says he will speak to the prefect. Stephen returns to his classmates, who praise him as a hero and carry him on their shoulders “until he [struggles] to get free” (67).
A Portrait of the Artist as a Young Man opens with an allusion to traditional storytelling. Stephen listens to his father telling him a story that opens with the line “once upon a time” (7), a stock phrase commonly associated with fairy tales or folk stories. Stephen as a literary figure is, like the novel itself, emerging from many centuries of storytelling in the English language, but he is coalescing into something new. This use of a traditional refrain as an opening motif is modernist: referencing the outmoded and the formulaic in order to transform it into something new. The old storytelling, like Stephen himself, is immature and unrefined. The opening of the novel can be juxtaposed against the complicated, challenging sentence structure of the closing chapter. This juxtaposition is a modernist demonstration of growth and potential, not just in Stephen but in the English language itself.
Throughout A Portrait of the Artist as a Young Man, Joyce utilizes a form of third-person narration known as free indirect speech, in which the third-person narration mirrors the psyche of the character. The narration is provided by an omniscient third-person narrator, but one who is empathetic to Stephen and whose narration place Stephen firmly at the center of the universe. Emotions, style, and tone derive from Stephen’s state of being, and the prose of the novel matures in line with Stephen’s own maturation. In a similar way, the characters in the opening chapter treat Stephen almost as if they view him as a protagonist. He is the audience of one, the figure to whom stories are designed to be told and for whom meals are cooked. When a disagreement occurs between two adults, the narrative perceives this disagreement from Stephen’s confused perspective. He watches his father and Dante disagree about politics, but Stephen has no understanding of the nuances of the political debate. Where an older person with a better understanding of the world might have asked why he (a Catholic) could not marry Eileen (a Protestant), Stephen childishly sinks into a nursery rhyme-style refrain, asking to “pull out his eyes, / Apologize” (8). Later in the novel, Stephen will have his own nuanced debates about Irish identity and religion, but this younger, immature version of Stephen is not yet educated or motivated enough to comprehend such matters. As a result, the narration echoes Stephen’s emotional state and willingness to engage.
Stephen’s alienation is introduced here. He is an artist, first and foremost, and he observes and replicates others, rather than act of his own accord. When his parents argue, he slips under the table. At school, he is bullied and thrown into a cesspool. Even when he thinks about Eileen (or, in the future, Emma), his memories are distant and observational, rather than focused on any actual interaction between them. Though he may not recognize himself as a social outcast, Stephen demonstrably stands apart from others. His alienation explains his turn toward art, and this chapter sets the foundation for the theme of Art, Language, and Liberation. Since he does not engage or empathize with people, Stephen scrutinizes them and the world around him. He examines everything, searching for the most beautiful and satisfying ways in which to transform the unspeakably complex world into language. For Stephen, prose and poetry are attempts to document and order the world. By codifying social interaction and aesthetic beauty into metered poetry, he is imposing an order onto the world he struggles to explain. Even when writing out his name and address, he attempts to comprehend the vastness of the universe and his place within it by finishing his address with “The World/The Universe” (17). To his young mind, something as simple as a postal address is a tool with which he can try to grasp the unknowable. At this stage, however, Stephen is not yet mature enough to fully order the aesthetics of the world. His artistic reveries are punctured by reality, and he encounters barriers and impediments that hinder his learning, such as being thrown in a cesspool, being beaten in class, or being sent to the infirmary with a fever.
Joyce’s narrative techniques blend with Stephen’s perspective to introduce the theme of Independence and Identity. Though Stephen is too young to understand and engage in political and religious debates, the arguments and discussions he observes nonetheless have an influence on him. Stephen’s growing understanding of the world can be seen when he shifts from referring to Eileen’s parents as just “different” (2) to explicitly noting that Dante disliked them because they were Protestant. At the same time, it is clear that he does not yet have a strong sense of identity when he ponders who to side with in the argument between Dante and Mr. Casey. His opinions on which side to take stem purely from his own narrow experiences and his feelings about the adults involved, rather than any strong stance on politics and religion himself; though he initially wants to take Dante’s side, he remembers his father’s criticisms of her, and, more importantly, Dante’s bias against Eileen and her family. To Stephen, who is only just beginning to form a sense of self and whose worldview is very limited, these moments hold great weight. These early discussions of religion and politics revolve around other characters, but in later chapters, they will affect Stephen on a personal level.
By James Joyce