# A Portrait of the Artist as a Young Man

A Portrait of the Artist as a Young Man (1916) is a semi-autobiographical novel by James Joyce.

## Quotes

* Once upon a time and a very good time it was there was a moocow coming down along the road and this moocow that was coming down along the road met a nicens little boy named baby tuckoo
** Ch. 1
* White roses and red roses: those were beautiful colours to think of. And the cards for the first and second place and third place were beautiful colours too: pink and cream and lavender. Lavender and cream and pink roses were beautiful to think of. Perhaps a wild rose might be like those colours and he remembered the song about the wild rose blossoms on the little green place. But you could not have a green rose. But perhaps somewhere in the world you could.
** Ch. 1
* A tremor passed over his body. How sad and how beautiful! He wanted to cry quietly but not for himself: for the words, so beautiful and sad, like music.
** Ch. 1
* — And thanks be to God, Johnny, said Mr Dedalus, that we lived so long and did so little harm.— But did so much good, Simon, said the little old man gravely. Thanks be to God we lived so long and did so much good.
** Ch. 2
* Stephen watched the three glasses being raised from the counter as his father and his two cronies drank to the memory of their past. An abyss of fortune or of temperament sundered him from them. His mind seemed older than theirs: it shone coldly on their strifes and happiness and regrets like a moon upon a younger earth. No life or youth stirred in him as it had stirred in them. He had known neither the pleasure of companionship with others nor the vigour of rude male health nor filial piety. Nothing stirred within his soul but a cold and cruel and loveless lust. His childhood was dead or lost and with it his soul capable of simple joys, and he was drifting amid life like the barren shell of the moon.
          Art thou pale for weariness Of climbing heaven and gazing on the earth, Wandering companionless...?
    He repeated to himself the lines of Shelley's fragment. Its alternation of sad human ineffectiveness with vast inhuman cycles of activity chilled him, and he forgot his own human and ineffectual grieving.
   * Ch. 2
* His heart danced upon her movements like a cork upon a tide. He heard what her eyes said to him from beneath their cowl and knew that in some dim past, whether in life or revery, he had heard their tale before.
   * Ch. 2
* To merge his life in the common tide of other lives was harder for him than any fasting or prayer, and it was his constant failure to do this to his own satisfaction which caused in his soul at last a sensation of spiritual dryness together with a growth of doubts and scruples.
** Ch. 4
* Where was his boyhood now? Where was the soul that had hung back from her destiny, to brood alone upon the shame of her wounds and in her house of squalor and subterfuge to queen it in faded cerements and in wreaths that withered at the touch? Or where was he? He was alone. He was unheeded, happy and near to the wild heart of life. He was alone and young and wilful and wildhearted, alone amid a waste of wild air and brackish waters and the sea-harvest of shells and tangle and veiled grey sunlight and gayclad lightclad figures of children and girls and voices childish and girlish in the air. A girl stood before him in midstream, alone and still, gazing out to sea. She seemed like one whom magic had changed into the likeness of a strange and beautiful seabird. Her long slender bare legs were delicate as a crane's and pure save where an emerald trail of seaweed had fashioned itself as a sign upon the flesh. Her thighs, fuller and soft-hued as ivory, were bared almost to the hips, where the white fringes of her drawers were like feathering of soft white down. Her slate-blue skirts were kilted boldly about her waist and dovetailed behind her. Her bosom was as a bird's, soft and slight, slight and soft as the breast of some dark-plumaged dove. But her long fair hair was girlish: and girlish, and touched with the wonder of mortal beauty, her face. She was alone and still, gazing out to sea; and when she felt his presence and the worship of his eyes her eyes turned to him in quiet sufferance of his gaze, without shame or wantonness. Long, long she suffered his gaze and then quietly withdrew her eyes from his and bent them towards the stream, gently stirring the water with her foot hither and thither. The first faint noise of gently moving water broke the silence, low and faint and whispering, faint as the bells of sleep; hither and thither, hither and thither; and a faint flame trembled on her cheek.
** Ch. 4
* Heavenly God! cried Stephen's soul, in an outburst of profane joy. He turned away from her suddenly and set off across the strand. His cheeks were aflame; his body was aglow; his limbs were trembling. On and on and on and on he strode, far out over the sands, singing wildly to the sea, crying to greet the advent of the life that had cried to him. Her image had passed into his soul for ever and no word had broken the holy silence of his ecstasy. Her eyes had called him and his soul had leaped at the call. To live, to err, to fall, to triumph, to recreate life out of life! A wild angel had appeared to him, the angel of mortal youth and beauty, an envoy from the fair courts of life, to throw open before him in an instant of ecstasy the gates of all the ways of error and glory. On and on and on and on!
** Ch. 5
* It wounded him to think that he would never be but a shy guest at the feast of the world's culture and that the monkish learning, in terms of which he was striving to forge out an esthetic philosophy, was held no higher by the age he lived in than the subtle and curious jargons of heraldry and falconry.
** Ch. 5
* The dean of studies and Stephen Dedalus are talking in the physics theatre —[The dean of studies:] To return to the lamp, he said, the feeding of it is also a nice problem. You must choose the pure oil and you must be careful when you pour it in not to overflow it, not to pour in more than the funnel can hold. —[Stephen Dedalus:] What funnel? asked Stephen. —The funnel through which you pour the oil into your lamp. —That? said Stephen. Is that called a funnel? Is it not a tundish? —What is a tundish? —That. The...the funnel. —Is that called a tundish in Ireland? asked the dean. I never heard the word in my life. —It is called a tundish in Lower Drumcondra, said Stephen, laughing, where they speak the best English. —A tundish, said the dean reflectively. That is a most interesting word. I must look that word up. Upon my word I must.
** Ch. 5
* When the soul of a man is born in this country there are nets flung at it to hold it back from flight. You talk to me of nationality, language, religion. I shall try to fly by those nets.
** Ch. 5
* Ireland is the old sow that eats her farrow.
** Ch. 5
* Pity is the feeling which arrests the mind in the presence of whatsoever is grave and constant in human sufferings and unites it with the sufferer. Terror is the feeling which arrests the mind in the presence of whatsoever is grave and constant in human sufferings and unites it with the secret cause.
** Ch. 5
* Beauty expressed by the artist cannot awaken in us an emotion which is kinetic or a sensation which is purely physical. It awakens, or ought to awaken, or induces, or ought to induce, an esthetic stasis, an ideal pity or an ideal terror, a stasis called forth, prolonged, and at last dissolved by what I call the rhythm of beauty.
** Ch. 5
* The artist, like the God of the creation, remains within or behind or beyond or above his handiwork, invisible, refined out of existence, indifferent, paring his fingernails.
** Ch. 5
* His mind, emptied of theory and courage, lapsed back into a listless peace.
** Ch. 5
* It is a curious thing, do you know, Cranly said dispassionately, how your mind is supersaturated with the religion in which you say you disbelieve.
** Ch. 5
* Whatever else is unsure in this stinking dunghill of a world a mother's love is not.
** Ch. 5
* — Then, said Cranly, you do not intend to become a protestant?— I said that I had lost the faith, Stephen answered, but not that I had lost self-respect. What kind of liberation would that be to forsake an absurdity which is logical and coherent and to embrace one which is illogical and incoherent?
** Ch. 5
* I will tell you what I will do and what I will not do. I will not serve that in which I no longer believe, whether it call itself my home, my fatherland, or my church: and I will try to express myself in some mode of life or art as freely as I can and as wholly as I can, using for my defence the only arms I allow myself to use — silence, exile and cunning.
** Ch. 5
* Welcome, O life! I go to encounter for the millionth time the reality of experience and to forge in the smithy of my soul the uncreated conscience of my race.
** Ch. 5
* You made me confess the fears that I have. But I will tell you also what I do not fear. I do not fear to be alone or to be spurned for another or to leave whatever I have to leave. And I am not afraid to make a mistake, even a great mistake, a lifelong mistake and perhaps as long as eternity too.
** Ch. 5

## External Links

* A Portrait of the Artist as a Young Man at Project Gutenberg