As I began this book immediately I took notice of the awkward and hectic style of writing that James Joyce employs. It is very fitting to the young man who is grappling with the hedonistic forces that directly oppose his upbringing as a Christian. It complicates the situation that many of these issues are brought to the forefront of conversation amongst family over dinner and throughout his upbringing. Then, when left to his own devices, Stephen explores the world that can satisfy his desires. This is where we are cast into the world that Stephen inhabits and can see what is to become of the artist.
Something that shines through very clearly in the third chapter is the depth of Christian influence that beholds Joyce. We are given a look into an afterlife in hell that Stephen sees himself as destined to when the priest preaches the horror to the boys of his class. The surety in which the priest speaks displays the belief of objective morality and opportunity to be purified in this life. The priest looks straight through the crowd of impressionable young men that are placed in front of him and understands their weakness towards the physical pleasures of the world. The nature of this guided meditation that was set in place Saint Ignatius allows for the subject to step outside of themselves. Stephen is able to place himself into hell itself, the warm, putrid, and claustrophobic scene that the Saints warn of. Joyce describes the brutal reality of the situation is like a sword that pierces Stephens abdomen when he considers admitting behaviors that would behold him to this eternity. There is a portion of this that cuts even more deeply as those in hell are unable to be united by family, ideals, a nation, or anything that can even vaguely justify the evil that possessed their earthly lives. The tenants are in constant conflict and now possess the knowledge they so long strived for. The earthly intelligence they now possess allows them to suffer even further in analysis of their situation. And above all, God gives the contempt that he possesses toward evil and sin so that they might detest their former lives. Their pleas for forgiveness are arbitrary, no matter how many as they left their last chance of redemption through single ask of forgiveness behind in their mortal bodies. How humorous that for most the only sacrifice they would have been required was a few pieces of metal or the minimal power that corrupted them. The eternity of such a horrid situation is accompanied by the invisible clock that repeats “ever, never, ever, never” according to the holy saint who was given merely a vision. Certainly an Old Testament God in my eyes.
April 1, 2024 Update:
As I have progressed through chapters 3 through 5 there has been quite a bit of expansion on religious influences, earlier encounters of Stephen, and his attitude towards his peers. His encounters with the pianist earlier in our story piqued my interest as Stephen ages. It seems as if the pianist was an individual that was enraptured by faith in an earlier part of his life as his father is a leader in the church. Now we see him as an older man who simply finds his surface level encounters with the church enough and uses the temple to meditate over his playing of the piano. Stephen is drawn to the church to join in this pleasure which typically lies outside of worship hours. Then, we see the progress as Stephen finds his forgiveness and community through the Church at his boarding school. So much so that Stephen deeply contemplates joining the seminary and taking the vows himself. Despite this afflicting our character during the bulk of discovery being done, we still see the longing for finding his own way. There seems to be an objective truth that Stephen longs for and this foundation will be built If I had to predict
