Stephen, like Telemachus, is rather obsessed with ideas of paternity and this establishes a further link to Homer’s work and provides the basis for the eventual Bloom-Dedalus relationship. The false father theme is reinforced in this chapter by the many references to Shakespeare, especially to Hamlet, and these are developed at length in “Scylla and Charybdis. ” Already in “Telemachus,” Decay Through Stephen’s imagination at work, the themes of maternity and decay are co-developed.
This process only becomes more complex as the novel progresses, and at times it is difficult to separate Stephen’s hyperactive mental activity from the true narrative action of the novel. Catholicism Lucifer, dico, qui nescit occasum Saint Ambrose – He was one of the most illustrious Fathers and Doctors of the Church, crucified sacrificed christ (come. I thirst) Smirnova N. G. :In the fragment under analysis we distinguish the images of Christ and Lucifer. They are traditionally understood as ideas of goodness and evil.
The reader, who remembers the Biblical text, understands that Stephen thinks not only of elementary thirst (“Come. I thirst”). Christ was thirsty before dying. Stephen is ready to get crucified, to live from day to day a senseless and dreary life of a wandering poet. We extract the dichotomies “day :: night”, “light :: darkness”, “goodness :: evil”. When analyzed poetically, in terms of Joyce’s language, Christ and Lucifer represent the same phenomenon – light. Christ is God’s son , which sounds as sun . Lucifer means lightbringer.
As sun , Christ is indistinguishable from Lucifer, the morning star, who brings light. Lucifer is the fallen angel, driven by God out of Paradise for rebellion. Christ is crucified to rise, ascend to his Father. Lucifer arouses in Stephen admiration, as he is a symbol of rebellion, freedom and quest for knowledge. There is much more to be extracted from the Miltonian phrase “Allbright he falls, proud lightning of the intellect”. Stephen is irritated at his own overreliance on intellect, which imprisons his creativity. In “A Portrait…” Stephen alternates between Christ and Lucifer, he antipodes of goodness and evil. Different dichotomies can be interpreted in terms of images, which are either given on the surface or implied in sounding words. Joyce sets down the most distant, individual and arbitrary associations that come to his hero’s mind in connection with physical things around him. The verb weave arouses associations of Penelope weaving and unweaving her web, of Odysseus telling and retelling his story, altering its particulars, of Shakespeare’s “A Midsummer Night’s Dream”, where weaving means dreaming, of Joyce himself, creating his weblike labyrinth of “Ulysses”.
The text of “Ulysses” takes on a life of its own due to these countless associations. Atmosphere As a result of the literary structure of the first chapter and its somber literary allusions, Ulysses opens with a pensive, somewhat gloomy tone. Stephen is brooding and depressed and because his thoughts are the only ones relayed to us, his personal mood wholly determines the mood of the chapter. Stephen’s thoughts of struggle, exile and death further shadow the chapter and because it is the opening of the novel and his quest, we sense that there will be myriad difficulties to overcome.
Inter. Monologue: (proteism) the action is narrated largely from the point of view of Stephen Dedalus, whose interior monologue is presented to us. In fact, most of the information that we glean comes not from the dialogue between the characters but from Stephen’s revealed preoccupation. Stephen’s guilt concerning his mother’s death as well as his desperation to become a respected artist are presented through his thoughts.
Dedalus, an intelligent young graduate, is an artistic, philosophical mind on display and in presenting his thinking patterns to us, Joyce decorates the tracks with what may seem like random references to obscure trivia. Stephen’s mind wanders through poetry, though Irish folk songs, Greek philosophy and Roman Catholic liturgy as well as memories of his mother’s death scene. All of these references are linked thematically, though, and do bear a direct relationship to the subjects at hand.
The consequence of such a literary approach is scene in the multi-layered “collage” effect that is evident in the work. In his effort to replicate the manner in which the mind actually processes information, Joyce connects a series of thoughts or sounds or memories that often times appear as sentence fragments or unfamiliar syntax that are uncomfortable for the reader. Another parallel to the “Proteus” theme can be seen in the literary technique employed in the third chapter’s narrative structure.
Joyce’s technique is called “stream of consciousness,” and it is presented as a recording of Stephen’s thoughts and ideas without many of the standard grammatical structures to which readers are accustomed. Because of the “stream” of the Stephen’s thoughts and how they are presented, it is very difficult to differentiate between the beach scenes that are occurring around him and his own thoughts on various subjects. Shakespear: One of the most important ideas in Chapter One, is that while Stephen is a modern “Telemachus” figure, he is more accurately a modern “Prince Hamlet. The title prince of the Shakespearean tragedy, suffers after the death of his father who appears as a ghost. The ghost of King Hamlet informs his son that King Claudius (brother of dead King Hamlet) is guilty of fratricide; he has killed Hamlet both to wed his wife Gertrude as well as claim the throne. Having burdened his son with his spectral presence, King Hamlet urges the prince to seize revenge and Hamlet’s mission produces the tragic conclusion of the drama. There are of course, parallels between the princes Telemachus and Hamlet, and Joyce seeks to exploit these overlaps.
Like Hamlet, Joyce’s Telemachus (Stephen) is brooding and overly contemplative. Throughout the one day of the novel’s narrative action (June 16, 1904), Stephen continually relives the quandary of Hamlet’s famous question “To be or not to be. ” In his struggle to become a poet, in his lingering loyalties to kin, country and church, in his efforts to remove himself from burdensome disingenuous friends, Stephen, a modern Hamlet, must arrive at some sort of self-definition. When this occurs, towards the end of the novel, it is one of the novel’s narrative climaxes.