Portrait of an Artist

In the first chapter, we atomic number 18 introduced to Stephen and taken through with(predicate) his babyhood from about age sixer to nine, a period in which he is enrolled at a Jesuit boy's boarding school, where he stays all division except to return home for the holidays. In the second chapter, Stephen's keep is detailed as he moves to another Jesuit boys' school. His family has go to a less fashionable argona of the city of Dublin, and the fortunes of the family are in decline. In these two chapters, the language used by the novelist evokes the level of language reached by Stephen and the mode of narration changes and becomes to a greater extent direct and at the same duration more philosophical than the early passages, structured more as childhood memories in a stream-of-consciousness recollection of one incident or another.

The source night line of the book is a legend, a story told to the child Stephen by his father:

Once upon a time and a very good time it was there was a moocow glide path down along the road and this moocow that was coming down along the road met a nicens wee boy named baby tuckoo. . . (7).

at that place is a love for language even in this little tale, with the "moocow" the sort of sound a parent would make to revel a child. Language will continue to delight Stephen. These opening passages are partial memories, as noted, and this is seen in the description of the story:

His father told him that story: his father looked at him through a glass: he had a hairy face (7).

At the same time, Stephen is afflicted in this chapter with a growing sense of futility. He cannot fully transmit himself as yet, and indeed he is not even certain(prenominal) who he is or what he wants to express. His frustration with Dublin, with religion, with education, and with his father are all things he keeps inside. they have not yet emerged through language into stories. They are instead building in him, fitting the tide that f adeptens him:

His heart danced upon her movements like a cork upon a tide. He hear what her eyes said to him from beneath their punk and knew that in some dim past, whether in life or in revery, he had heard their tale before (69).

a little song the boy sang, along with a serial publication of incidents and moments from his childhood--when he would wet the bed; how his mother smelled; the music heard in the family; and so on.

This episode leads to the confrontation some time later in which three of his classmates torment him with canes trance they fork over to get him to deny that Byron is a great poet, and all the while they call him "heretic."

The sentences in these opening passages are short, direct, and concrete, the language describing objects and commonwealth in realistic terms. At the same time, there is a certain poetry to the language for that very reason, and this is also reflected in the song, in the child's story, and in the little poem used to discover the child a lesson and frighten him into knowing when to say he is sorry

Always, storytelling is related to such things as myth, collective memory, and simply creation human. Human beings need stories to validate their lives, to point them in the right direction, and to give them the means to express their own feelings. Religion is a form of storytelling with its own particular myths.

Stephen approaches these words as language, course session them backwards--the meaning disappears--and experimenting with the name of God in English and french (16).

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