Bird Imagery In Portrait Of The Artist

8 August 2017

As A Young Man Essay, Research Paper

Bird Imagery in A Portrait of the Artist as a Young Man

The plants of twentieth-century Irish author James Joyce resound

vividly with a alone humanity and mastermind. His novel, A Portrait of the

Artist as a Young Man, published in 1916, is a convincing journey through

the interior head and spirit of Stephen Dedalus. Portrayed with unbelievable

eloquence and pragmatism, imagination guides the reader through the fleet current of

growing touchable in the juvenile hero. Above all heavy imagination in the novel

is the repeating bird motive. Joyce uses birds to finally associate Stephen to

the Daedelus myth of the? hawklike adult male ; ? nevertheless, these images besides

represent Stephen? s day-to-day experiences, and hankering for true freedom

( page169 ) . By utilizing imagination of birds as threatening, images of beauty, and

images of flight, the reader can unite the work and better understand

Stephen? s disruptive journey through life.

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The opening scene of Chapter one portrays a conversation between

a really immature Stephen and Dante, Stephen? s nursemaid. She scolds him for an

unconventional idea, warning him that? the bird of Joves will come and draw

out [ your ] eyes? ( 8 ) . This evidently in writing image suggests to Stephen the

endangering presence of bird of Joves that are minding all his ideas. Joyce? s

color with such ghastly imagination has a existent consequence on Stephen ; he

repetitions Dante? s cautiousness in his childish vocal, intonation: ? Pull out his eyes,

Apologize? ( 8 ) . A playful, yet sensitive Stephen must instantly conform

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even his guiltless irregular actions in fright of the threatening apparition

bird of Joves to salvage the effects they will convey. His ideas are

threatened once more by birds when he meets an familiarity named Heron

when walking down a dark street. Stephen instantly notes the peculiar

image of Heron? s? bird face every bit good as a bird? s name? ( 76 ) . Through

descriptive images of Heron? s? nomadic face, beaked like a bird? s? and his

? close set outstanding eyes which were light and inexpressive, ? Joyce

enables the reader to non merely visualize his birdlike features but besides

adds penetration to Stephen? s ideas toward his unchaste equals ( 76 ) . Heron

twits Stephen, sarcastically calling him a? theoretical account young person? who? doesn? T

coquette and doesn? T darn anything or curse all? ( 76 ) . This blazing comment by

the bird-like male child is an obvious verbal menace to Stephen? s character.

Continued as Heron and his friend viscously chide Stephen for his

esteem for Byron? s poesy, Joyce? s bird imagination bears in this scene a

restraint of Stephen? s singularity by endangering his self-expression.

As Stephen mentally develops in the patterned advance of the novel, he

begins his hunt for the? free

dom and power of his psyche, as the great

inventor whose name he bore? would hold done ( 170 ) . Stephen is now at

the beach, chew overing his new sense of adulthood as he grows? near to the

wild bosom of life? ( 171 ) . Walking down a bouldery incline, he takes notice to a

miss? entirely and still, staring out to sea? ( 171 ) . Stephen watches her, and

awed by her? similitude of a unusual and beautiful sea-bird, ? he realizes she

is the prototype of all that is? the admiration of mortal beauty? ( 171 ) . Painted by

Joyce? s beaming imagination of the? darkplumaged dove? he sees before him,

this rationalisation is the footing of Stephen? s internal epiphany ; she is, to

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Stephen, ? an minister plenipotentiary from the just tribunals of life? ( 171, 172 ) . This wholesome

bird-like miss with? long slender bare legs ( that ) were delicate as a Crane? s, ?

gives Stephen a perceptual experience of a true virtuous beauty he has ne’er known

before, and a naming to? animate life out of life, ? as is the function of the true

creative person he aspires to be ( 171, 172 ) .

A few old ages subsequently on the stairss of a library stripling Stephen

bases, inquiring? what birds are they? as he watches tonss of birds fly

free above him, their? fliting quaking organic structures winging clearly against the

sky? ( 224 ) . Now more restless and philosophical, he wonders at their

images. Joyce? s genuinely hearable imagination of the birds? ? call ( that ) was shrill and

clear and all right and falling like togss of silken visible radiation? is, for Stephen,

? cold clamor [ comforting ] his ears? ( 224 ) . Stephen Dedalus sees

consolation in the birds? ? waver of wings ; ? they are the cardinal symbol of

the freedom he is ready to hold for his ain ( 224 ) . He wishes to hold their

release from the society he knows as he reflects on:

? The correspondence of birds to things

of the mind and of how the animals

of the air have their cognition and

cognize their times and seasons because

they, unlike adult male, are in the order of

their life and have non perverted that

order by ground? ( 224 ) .

In order to seek true emancipation, Stephen? must travel away for they were

birds of all time traveling and coming & # 8230 ; of all time go forthing the places they had built to

wander? ( 225 ) . Stephen resolves to go forth his Irish fatherland ; free and wild

as his images of the birds.

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The properties which mold Stephen Dedalus? turning unity and

life determinations stem from the actions which surround him. The reader

associates Stephen by the images he encounters and his reaction to them.

In James Joyce? s A Portrait of the Artist as a Young Man, Stephen? s

connexion with bird imagination helps to specify his hunt for a function in his

society, and helps readers define and place with his pursuit.

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