"Cliff Notes - Portrait Of The Artist As A Young Man, A" - читать интересную книгу автора (Cliff Notes)

Kunstlerromane--novels about the development of young artists.)

Then, dissatisfied, Joyce decided to recast his novel into a shorter,
more original form. The final version of Portrait of the Artist was
stalled by British censorship and it was not until 1914 that Joyce,
with the help of Yeats and the American poet Ezra Pound, was able to
get it printed in serial form in a "little review," The Egoist.
Dubliners, long delayed by printers' boycotts because of its supposed
offensiveness, also appeared the same year. In 1916 Portrait of the
Artist was published in book form in England and the United States,
thanks only to the efforts of Harriet Weaver, editor of The Egoist,
and Joyce's faithful financial and moral supporter.

When Portrait of the Artist did appear, critical reaction was mixed.
It was called "garbage" and "brilliant but nasty," among other
things. Some readers objected to the graphic physical description,
the irreverent treatment of religious matters, the obscurity of its
symbolism, and its experimental style. But it was also praised by
others as the most exciting English prose of the new century. Joyce,
who had fled to neutral Switzerland at the outbreak of World War I,
was hailed as "a new writer with a new form" who had broken with the
tradition of the English novel.

What sets Portrait of the Artist apart from other confessional novels
about the development of a creative young man, like D. H.
Lawrence's Sons and Lovers and Samuel Butler's The Way of All Flesh
is that the action takes place mainly in the mind of the central
character. To portray that mind, Joyce began to develop a technique
called the interior monologue, or stream of consciousness, in which
he quoted directly the random, unshaped thoughts of his hero. Joyce
used this technique sparingly in Portrait of the Artist; he exploited
it more fully in his later novels.

Portrait of the Artist also differs from more conventional novels
because it doesn't show Stephen Dedalus' development in a
straightforward chronological progression. Nor do you see it through
easily understood flashbacks to the past. Instead Joyce presents a
series of episodes that at first may seem unconnected but which in
fact are held together by use of language, images, and symbols.
Joyce's language changes as Stephen moves from infancy to manhood.
The boy who is "nicens little baby tuckoo" becomes the proud young
artist who writes in his diary brave promises about forging "the
uncreated conscience of my race." Images and symbols are repeated to
reveal Stephen's innermost feelings. For example, a rose, or rose
color, represents a yearning for romantic love and beauty; the color
yellow a revulsion from sordid reality; and birds or flight, an
aspiration to creative freedom (and, less often, the threat of
punishment and loss of freedom). Such images often relate to larger
motifs drawn from religion, philosophy, and myth. Joyce framed his
novel in a superstructure of myth (see the section on the Daedalus