(6 Total References)
Roger Boylan: The Quiet Man
The act of leave-taking, of course, is one of the basic narrative themes in literature, from Daedalus the Greek to Stephen Dedalus the Dubliner, but the way the average Irishman (or Irishwoman) of a generation ago could never really just pull up stakes and go away, short of the total uprooting of emigration, comes up again and again in McGahern's work.The nameless narrator of The Pornographer, too, is caught in this paradox, but at least he ultimately finds his way to some kind of redemption, even if it's back to the less-than-ideal world of the Irish provinces.In the pornographic fiction he writes he creates a glittering ideal world of beach parties in Majorca and Pimm's Cup-sipping colonels and sexy tarts in fetching deshabille, but in real life he completely messes up his own involvement with an older woman who falls in love with him.In one of McGahern's signature contrasts, the poor fool's insensitivity to his lover is balanced by his affectionate efforts to make his aunt's slow and painful death tolerable by stoking the old lady with brandy from morning to night.
Modulations on Nostalgia, 1/16/2004 - The Texas Observer
hen teenage Stephen Dedalus finally writes a poem, Joyce makes sure it's a bad one.
emerged from a roiling world of sexual agony, religious alienation, and nationalist sentiment to vow that he
would live in silence, exile, and cunning.I didn't want Wolff's
narrator to do that exactly; but I did want to feel more compelled by the elements of class, ethnicity, and simple social awkwardness impinging on his
Get rid of your debt. Legally!Stephen Dedalus is James Joyce's literary alter ego, as well as the protagonist of his first, semi-autobiographical novel of artistic existence A Portrait of the Artist as a Young Man and an important character in Joyce's monumental Ulysses.
...A number of critics, such as Harold Bloom have named a younger Stephen as the narrator of the first three stories in Dubliners.
also appears in Ulysses as a parallel to Telemachus and less overtly, Hamlet.
As a character, Stephen
seems to parallel many facets of Joyce's life and personality.As if to further corroborate this, Stephen's first name comes from the first Christian martyr and, in a curious juxtaposition, his surname refers to the mythological figure Daedalus, a brilliant artificer who constructed a pair of wings for himself and his son Icarus as a means of escaping the island of Crete, where they were imprisoned by King Minos (who contracted Daedalus to build a Labyrinth to contain the Minotaur).
Some critics suggest that Stephen's surname also reflects the labyrinthine quality of Stephen's developmental journey in A Portrait of the Artist as a Young Man.
The choice to use the name Dedalus also represents Stephen's wish to "fly" away from the constraints of religion, nationality, and politics which he
feels hold him back artistically.
More information may be found on the Wikipedia entry for Stephen Dedalus
Note: this article is licensed under the GNU Free Documentation License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.Wapipedia > Index > S > St > Ste > Stephen Dedalus
Instead, it shapes itself subtly to the emotional, thoughtful and aesthetic responses of its protagonist, Stephen (now Dedalus), to the events of his life.
is a version of the pseudonym Stephen Daedalus.
Therefore Stephen Dedalus
is a version of James Joyce.
A Portrait of the Artistas a Young Man concerns the only partially successful struggles of young Stephen to escape the traps and misperceptions that the worlds into which he is born impose on him.
Chapter by chapter, he
escapes one trap only to fall into another, and at times what he
takes to be escape traps him.
In the course of his
struggle, truths of human desire and sympathy complicate his
responses to the raw material of the external world.
The relationships between Stephen Dedalus
and his mythological progenitor, Daedalus, according to the Ancient Greeks the first great artist, architect and inventor of human flight, are clearly invoked in their almost identically spelled names.
Here, Stephen Dedalus walks along the beach with his eyes closed:
"Am I walking into eternity along Sandymount strand?
Crush, crack, crick, crick.
Wild sea money.
Dominie Deasy kens them a'.
Like Clennam, Stephen
responds to rhythmic sound (the "crush, crack, crick, crick" of his
own feet tramping across the mast) by unconsciously calling up words to suit that rhythm.
conscious mind follows on the heels of his
unconsciousness, analyzing the meter of the song that has floated into his
also takes note of the very process by which his
footfalls have established a rhythm that in turn has called to mind these lines.
self-corrections (". . . you see.
I hear . . ." and ". . . marching.
No, agallop . . .") further the impression of internal dynamics, of a mind in dialogue with itself.
Both Clennam and Stephen are stimulated by sound, but in Stephen's case there is no narrator to explicate the relationship between external stimulus and internal response.
absence, the reader him- or herself must construct the associative chain of logic that connects the momentarily blind Stephen's question, the onomatopoeic "crush, crack, crick, crick" of his
boots on sea-shingle, the equating of shells and currency, and the relentlessly rhythmic lines of poetry that invade the text.
In Ulysses, Stephen Dedalus
is similarly tormented by memory.
mother's death, his
tumultuous relationship with his
father, and his
fear of artistic failure return to haunt him.
Like Mr. Dorrit, he
goes out of his
way to avoid sights and even words that will revive in him unhappy memories.
In discussing Shakespeare's Hamlet with some friends, Stephen
interrupts the conversation before they reach the ghost's line "If thou didst ever thy dear father love.
said with tingling energy. (187-88)
Much as Dorrit
redirected the course of a carriage, Stephen
redirects the course of a conversation to avoid a mnemonic trigger.
, like Hamlet himself, is haunted.
, for example, looking at the ocean from atop the Martello Tower, remembers the bowl of bile that rested by his
dying mother's bed (8).
It is an image and a comparison that could only appear before Stephen's mind's eye, and speaks to the degree to which guilt and traumatic memories color everything he