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The Growth Op a Novel S-A Study of James Joyce0s A The growth of a novel: a study of James Joyce's A portrait of the artist as a young man Item Type text; Thesis-Reproduction (electronic) Authors Camoin, François André, 1939- Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 02/10/2021 15:26:18 Link to Item http://hdl.handle.net/10150/317852 -THE GROWTH OP A NOVEL S - A STUDY OF JAMES JOYCE0 S A PORTRAIT OF THE ARTIST AS A YOUNG MAM f t j j Francois Andre Camoin A Thesis Submitted to the Factilty of the DEPARTMENT OF ENGLISH • In Partial Falfillment of the Requirements For the Degree of MASTER OF ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 1 9 6 5 STATEMENT BY AUTHOR This thesis has been submitted in partial fulfill ment of requirements for an advanced degree at The University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this thesis are allowable without special permission, provided that accurate acknowl­ edgment of source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the head of the major department or the Dean of the Graduate College when in his judgment the proposed use of the material is in the interests of scholarship. In all other instances, however, permission must be obtained from the author. SIGNED: i APPROVAL BY THESIS DIRECTOR This thesis has been approved on the date shown below DR. L. D. CLARK Assistant Professor of English TABLE OF CONTENTS Page S TPj&CT o o o a a o A o o e o o o o o o o ja o s o o o 3- V CHAPTER I INTRODUCTION .................... 1 II STEPHEN AID JAMES JOYCE ....... o»- ... e . 6 III. INCIDENTS AND CHARACTERS ............ 1? IV THE ESTHETIC THEORIES ............. 28 A. The Teehnitne of the Epiphany ....... 39 B= Toward Objectivity ........ ..... ^5 C. Time and Place ............... 48 D. Diction in Portrait and Stephen Hero .... 51 E. Style and Suggestion ............ 53 VI CONCLUSION.". .................. 60 REFERENCES ................... 63 ill ABSTBAGT James Joyce began writing Stephen Hero in 1904; in 1 9 08 he abandoned it after completing nearly one thousand pages and began a different version of the same novel9 which was published in 1914 under the title A Portrait of the Artist as a Young Man* Although both novels use as their raw material Joyce0 s own early years9 neither is autobi­ ographical« Stephen Hero is written in the naturalistic < tradition; it was to be a study of the effects of heredity and environment on the developing mind of its her©, Stephen Daedalus o Portrait abandons the naturalistic techniques of the earlier novel in favor of a form of impressionism^ In this revised version Joyce adapted some of the techniques of poetry to the novel® He used sound patterns to directly *, convey meaning, and evolved a new form, the epiphany, for the construction of his scenes® Although he had spoken of epiphany in Stephen Hero and made occasional limited use lof it there, he had used it as one of several devices; the - structure of Portrait is based upon the epiphany, the gradual revelation of truth through apparently casual words ,* gestures, or events® Stephen Hero told a story logically and - chrono­ logically; Portrait presents a series of scenes the regrouping of which into a meaningful story must take place largely in the mind of the reader® iv CHAPTER I INTRODUCTION The purpose of this paper is to traee the development of A Portrait of the Artist as a Young Mana the shaping of the novel from the raw material of Joyee°s life through the crude casting of the intermediate Stephen Heroa to the final9 precisely machined and polished product= It took James Joyce ten years to complete the novel„ What was "begun in 1904 in Dublin as an explicit statement of the concept of the artist and his place in society was fin­ ished in Trieste in 1914 as a major contribution to the tech­ nique of the novel$ a contribution that is no less important for having been overshadowed by the more monumental achieve­ ments of Ulysses and Finnegans Wake,, The novel9 in particular the autobiographical novel9- 1s but a patterned account of life* The controlling word, of course9 is ^patternedgK for it is the pattern which distin­ guishes the work of art from the court-room transcripts the newspaper account9 or the biography® A Portrait of the Artist as a Young Man is a particularly suitable novel with which to work if we wish to trace the growth of patterns the gradual development of art$ for we have a considerable amount . of information about the life on which it is based and a partial copy of the novel in its Intermediate stage® 2 The story ©f Joyce0 s A Portrait of the Artist as a Xonng San properly starts on January 7$ 1904a On that day James Joyce wrote an essay in narrative form setting forth his concept of the artist and the artist0s relation to soci­ ety 0 Ellmann calls it "an autobiographical story that mixed admiration for himself with ironys and goes on to says "It was to be remolded into Stephen Hero. a very long work, and then shortened to a middle length to form A Portrait of the Artist as a Young: Man., But this took ten years» 08 Some critics9 notably Robert Ryfclaim that the themes of Portrait were first expressed in Joyce0s series of poemsa Chamber Music, but although there are similaritiess the resemblance can9 I thinks be attributed to the fact that these were the ideas uppermost in Joyce9 s mind during this period» Chamber Musica in spite of thematic similarities9 lies outside the sequence A Portrait of the Artist (the orig­ inal essay) 9 Stephen Hero« A Portrait of the Artist as a Young Mano which is the subject of this papere The title for Joyce®s essay was suggested by Stanislaus Joyce and the paper sent off to John Eglinton and Frederick Ryan for publication in Sana, a new review of which ^Richard Ellman, James Joyce (Hew York, 1959) 3 p „149° ^Robert Ryfs A Hew Approach to Joyce (Los Angeles 9 1964)9 p.37. • •? they were the editors» It was refused because of its frank (for the time) treatment of sexual matters„ The date dm which Joyce began work on Stephen Hero is unknown.* larrin Hagalaner quotes estimates ranging from O 1901 to 190^ without himself choosing one. But it seems most likely that the novel was begun in the early part of 1904. In his diary entry for March 2 % 19049. Stanislaus says wJim has turned the paper into a novel the title of which — Stephen Hero— -I also suggested. He has written eleven chapters. James Joyce himself$ in a letter to Go Holyneux Palmer dated .July. 19s 19®9 9 says WI am at work on a novel A Portrait of the Artist at which I have been engaged now for six years^ Joyce had by this time begun work on the final version of Portrait, and was considering Stephen Herd only as a first draft. The precise date, on which Stephen Hero was abandoned is not known. Hugh Kenner places it sometime during 1908. MAn autobiographical draft puzzled him by the refusal of its lines to converge on the desired heroic climax ^The Dublin Diary of Stanislaus Joyce, ed. George Harris Healey'(Ithaca9 Hew York9 1 9 6 2 ) 5 p.25. 2 . Marvin Magalaner9 The Time of Apprenticeship % The Fiction of Young James Joyce (London. 1959). p.102. •^The Dublin Diary of Stanislaus Joyce, p .25. Letters of James Joyce, ed. Stuart Gilbert (New York, 1957)9 p.6?; "l! and was abandoned in 1908 after a thousand pages = ^ A Portrait of the Artist as a Young Man was finished in 191^o In a letter to Harriet Shaw Weaver dated the eleventh of November, Joyce said 851 have now sent on to Mr* John Jaffe the fourth and also the fifth (and last) chapters of A Portrait of the Artist as a.'Young ManoM . : The novel was published in the Egoist in serial form from February 1914- to September 1915 The three major tools of the novelist in shaping his material have always been selection, distortion, and outright invention, the last used more rarely than is generally supposed® ■ " Li To these Joyce added a fourths Suggestion, the direct impact of style upon’the reader to produce an effect not directly connected, with the sense of the words used® The. subliminal (on first reading at least) effect of shifting rhythms is one of the keys to an understanding of Portrait as well as Ulysses and Finnegans Wake® Although the ultimate development of this technique is only to be found in the Wake® where sense is primarily to be derived from sound, it is interesting to note that Joyce made use of it even earlier than Portrait® •^Hugh Kenner, Dublin*s Joyce (Boston, 1962), p.38® ' ^Letters of James Joyce® p®75® 3Betters of James Joyce® 88A Chronology of the Life of James Joyce,” Richard Ellmann, p®45® ^This term is used by David Hayman in Joyce et 5 that it is im fact one of the 'important features, of Chambekg ItisiCo According to Stanislaus^ “His personal preference was for poems the interest of which did not depend on the expres­ sion of some poetical thought9 hut on the indefinable sugges­ tion of word, phrase9 and rhythm« “-** The idea of matching sound to sense is as old as poetry itself0 Even in its extreme form of conveying sense primarily by means of sound patterns9 it is by no means new; but Joyce was the first to apply it consistently and coher­ ently to the novel9 and
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