A Portrait of the Artist as a Young Man
Outline Chapter 5
Questions, Chapter V: pages 188-235
A brief outline of what happens in this chapter
188-189 – at home with family
190-199 – walking to class thinking of a variety of things – reflecting on his past piety (191) and on the push to
return to the Gaelic tradition (193, Davin’s story)
200-205 – discussion with the dean of studies about art; “tundish”
206-210 – banter of students during the lecture; Stephen’s thoughts
210-215 – discussion about signing the petition for world peace
216-218 -- Temple, Cranly, Stephen talking and walking
218- 220 – Stephen’s conversation with Davin; hypocrisy of signing, Ireland as “sow”
221-235 – Lynch and Stephen talking: theory of art
235-242 – creation of the villanelle
242-246 – Stephen at stairs of library looking at birds; memories
246-252 -- Sees Cranly and Dixon in library; they leave; others banter about genealogy, etc – and ask questions
of Stephen. He does not respond…is not a part of the banter
253-254 – sees EC…thoughts create images; develops contrast between her beauty and his louse-infested self;
failure to remember line of poetry correctly
255-258 – banter about church doctrine: baptism, children, and limbo
259-269 -- Cranly and Stephen alone -- discussing Stephen’s argument with his mother, faith, 267 Stephen
determines that he shall leave Ireland, 268 Stephen makes his declaration
270 – Stephen’s first person journal
Section 1, p188-210 (“—Closing time, gents!)
1. What is significant about Davin’s story? What does Stephen take it as a metaphor for?
2. What do you think is the artistic and political significance of the discussion of the tundish (204-205)? (Take a
look ahead at Stephen’s journal for April 13 (274)). In what ways can you relate this discussion to the larger
discussion of art and beauty, "the esthetic question" (202)?
Section 2, p210-235 (break)
3. Why do you think Stephen refuses to sign the petition for world peace? What would you say is his attitude
towards politics in general and Irish politics in particular? Do you think it has changed much since chapter I? Why
or why not?
4. Explain “improper art” and “proper” art. Also explain the lyrical, epical, and dramatic forms. What
three things are needed for beauty? And, according to Stephen’s theory, where does Portrait fall?
Section 3, p235-254
1. Is the villanelle meant to be a serious sign of Stephen’s artistry? Or is it not to be “judged” but
experienced as simply “true” to the work of art? Why a villanelle? Differences/similarities to his earlier
poems? How would you interpret this poem? (Note the use of religious language to describe and praise a
presumably virtuous woman (Irish? Virgin Mary? EC?) who is nevertheless depicted as a femme fatale.)
2. How does E.C. still haunt his thoughts? Why?
Section 4, p255-end
1. What do you think Stephen means when he says he will "forge . . . the uncreated conscience of my race" (276)?
Look back into your notes…where else did you note similar statements about the artist and creation? If you didn’t
note them, look back in the book for examples.
2. Read the following excerpt about the journal, and then write a response to Schorer’s analysis.
-- from Mark Schorer: “Technique as Discovery” (1948)
“…In essence Stephen’s alienation is a denial of the human environment; it is a loss; and the austere
discourse of the final section, abstract and almost wholly without sensuous detail or strong rhythm,
tells us of that loss. It is a loss so great that the texture of the notation-like prose here suggests that the
end is really all an illusion, that when Stephen tells us and himself that he is going forth to forge in the
smithy of his soul the uncreated conscience of his race, we are to infer from the very quality of the icy,
abstract void he now inhabits, the implausibility of his aim…Might one not say…that the final passage
of A Portrait punctuates the illusory nature of the whole ambition?”