The Complexity of Stephen
Dedalus' Character in A Portrait of
the Artist as a Young Man
Joyce's Attitude to Stephen Dedalus
The question of Joyce's attitude towards his protagonist, Stephen Dedalus, is
a complex one that has been debated by many critics. Some have viewed
Stephen as a faithful autobiographical portrait of the author, presented in a
heroic light. Others have seen him as a somewhat priggish figure who
isolates himself from his community. A third perspective suggests that Joyce
deliberately created an ironic portrayal of his youthful self through Stephen.
However, a fourth view argues that the novel contains elements of both the
romantic hero and the ironic undercutting of such a figure. According to this
interpretation, Joyce presents a sympathetic portrait of the trials of a
sensitive, intellectual young man as he grows up, while also exposing some
of his faults.
The Concept of 'Epiphany'
The term 'epiphany', which does not appear in 'A Portrait of the Artist as a
Young Man' but is used in the earlier draft 'Stephen Hero', refers to a
sudden revelation or spiritual manifestation. According to Joyce's aesthetic
theory, based on the work of St. Thomas Aquinas, an epiphany occurs when
the 'radiance' of an object is perceived, revealing its deeper significance.
The most famous epiphanies in the novel are the moments when Stephen
perceives the girl wading in the strand and the swallows from the steps of
the library. The penultimate entry in his journal is also considered an
epiphany, as it represents a sudden realization about life that uplifts the
soul.
The Role of Women
Stephen's relationships with female characters in the novel suggest his
difficulty in coming to terms with the feminine aspect of life. His romantic
imagination is captured by the shadowy figure of Emma, who exists more in
his idealized fantasies than in a real relationship. He also broods on the
vision of the fictional character Mercedes, the embodiment of pure love and
womanhood.
Stephen's first sexual experience with a prostitute produces not
transfiguration, but overwhelming guilt. This stage of his life is marked by
the contrast between images of woman as goddess and woman as whore,
reflecting the conflict in his mind between the desire for holiness and the
desire for sensuality.
