By M. a. Valerie Pursel Zimbaro, Henry James
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Extra info for A Portrait of the Artist as a Young Man Notes
Commentary This chapter, the longest and most intricately analytical section of the novel, examines the influences (family, country, and religion) which have shaped Stephen’s life thus far. It shows Stephen stripping himself, layer by layer, of each of the confining shackles which restrict his maturing artistic soul. Unlike previous sections of the novel, this chapter is written in a lyrical and fragmented, discursive style. It reveals Stephen's metamorphosis into an artist as he rambles from subject to subject in an attempt to resolve his conflicts, and it summarizes Stephen’s experiences thus far.
Nonetheless, Stephen has an opportunity here to differentiate between his own aesthetic use of language, as opposed to the language that is used in the "literary tradition . . of the marketplace"--that is, that which is taught by the dean. Stephen perceives the dean's scholastic limitations, and he pities him for his uninspired, but faithful service to his order. He realizes that a university education cannot adequately prepare someone like himself if he is to attain unique, individual, aesthetic ideals.
Francis for the purpose of imitating Christ's life of asceticism, coupled with a deep love of nature. Today, the order is associated with learning. • a muff a short, sudden prayer or exclamation. faith, hope, and charity. discolored by age or mildew. com youthful naivete at Clongowes. • thurible a censer, where the incense is burned. • chasuble a sleeveless, outer garment worn by the priest who celebrates the mass. • paten • Ite, missa est • the sin of Simon Magus a magician who tried to persuade Peter and John to sell to him the power to confer the spirit of the Holy Ghost.
A Portrait of the Artist as a Young Man Notes by M. a. Valerie Pursel Zimbaro, Henry James