Stephen Dedalus And Dorian Gray

Stephen Dedalus And Dorian Gray Stephen Dedalus from A Portrait of the Artist as a Young Man written by James Joyce and Dorian Gray from The Picture of Dorian Gray written by Oscar Wilde, go through many life changes. These two stories are in a ways similar to each other. Where the two main characters go though crucial transformation and how they are influence by religion and peers. As well in the way the authors wrote the novels by using symbolisms to develop the characters throughout the novel also play a role in these two stories. A Portrait of the Artist as a Young Man tells a story of Stephen Dedalus how decides to cast off all his social, family, and religious constraints to live a life devoted to the art of writing. As a young boy he attends a strict religious boarding school called Clongowes Wood College. Stephen is lonely and homesick at the school but as time passes he finds his place among the other boys. He likes is visits home, even though family tensions run high after the death of the Irish political leader Parnell. As they had a Christmas diner the death of Parnell becomes the topic. Simon, Stephens father, is inept with money and the family sinks deeper and deeper into debt. Stephen realizes that his family cannot afford to send him back to Clongowes, and that they will instead move to Dublin. He attended a prestigious day school called Belvedere there is where he grows to do extremely well as a writer and as an actor in the student theater. His first sexual experience with a young Dublin prostit ute unleashes a storm of guilt and shame in Stephen. He ignores his religious education, throwing himself with morally wrong abandon into a variety of sins like masturbation and more visits to prostitutes. Then on a three day religious retreat, Stephen hears a tri of fiery sermons about sin, judgment, and hell. Deeply shaken Stephen resolves to rededicate himself to a life of Christian piety. Stephen begins attending Mass every day became Ming a model of Catholic piety abstinence and self denial. His religious devotion is so pronounced that the director of his school asks him to consider entering the priesthood. After a brief considering the offer Stephen realizes that priestly life is utterly incompatible with his love for sensual beauty. Awaiting news about his acceptance to the university Stephen goes for a walk on the beach, were he observes a young girl wading in the tide. He is struck by her beauty and realizes in a moment of epiphany, that the love and desire of beauty should not be a source of shame. Stephen moves on to the university where he develops a strong friendship with Cranly. In a series of conversation with his companions, Stephen works to formulate his theories about art. While he is dependent on his friends as listeners, he is determined to create an independent existence, liberated from the expectations of friends and family. Stephen becomes more and more determined to free himself from all limiting pressures, and eventually decides to leave Ireland to escape them. In the story The Picture of Dorian Gray tells a story of Dorian Gray a wealthy and beautiful young man who curses his fate and pledges his soul if only he could live without bearing the physical burns of aging and sinning. In the London home of his aunt Lady Brandon the well known artist Basil Hallward meets Dorian Gray. Dorian sits for several portraits and Basil often depicts him as an ancient Greek hero or a mythological figure. Basil painted a portrait of Dorian as he truly is but as he admits to his friend Lord Henry the painting disappoints him because it reveals too much of his feeling for his subject. Lord Henry enjoys scandalizing his friends by celebrating youth, beauty and the selfish pursuit of pleasure; he disagrees claiming that the portrait is Basils masterpiece. Dorian enters the studio and Basil introduces him to Lord Henry and he fears that he will have a damaging influence on the young Dorian. Lord Henry upsets Dorian with a speech about the transient nature of bea uty and youth. Dorian worries that his most impressive characteristics are fading day by day and curses his portrait which he believes will one day remind him of the beauty he will have lost. In distress he pledges his soul if only the painting could bear the burden of ageing allowing him to stay forever young. Lord Henrys influence over Dorian grows stronger. The youth becomes a disciple of the new Hedonism and proposes to live a life dedicated to the pursuit of pleasure. Dorian falls in love with Sibyl Vane a young actress who performs in a theater on Londons slums. Overcome by her emotions for Dorian, Sibyl decides that she can no longer act. She wonders how she can pretend to love on the stage now that she has experienced the real thing. Dorian who loves Sibyl because of her ability to act he cruelly breaks his engagement with her. After he leaves the theater he returns home to notice that his face in Basils portrait of him has changed. It is then when he fears that that his wis h for his likeness in the painting to bear the ill effects of his behavior has come true and that his sins will be recorded on the canvas. The following afternoon Lord Henry brings news that Sibyl has killed herself. At Lord Henrys urging Dorian decides to consider her death a sort of artistic triumph and to put the matter behind him. Meanwhile Dorian hides his portrait in a remote upper room of his house where no one other than he can watch its transformation. Lord Henry gives Dorian a book that describes the wicked exploits of the nineteenth century Frenchman it becomes Dorians bible as he sinks ever deeper into a life of sin and corruption. Dorian lives a life devoted to garnering new experiences and sensations with no regard for conventional standards of morality or the consequences of his actions. His peers nevertheless continue to accept him because he remains young and beautiful. The painting, however, grows increasingly hideous. One night Basil Hallward arrives at Dorians ho me to confront him about the rumors that plague his reputation. They argue and Dorian eventually offers Basil a look at his soul. He shows Basil the now hideous portrait and Basil horrified begs him to repent. Dorian claims it is too late for penance and kills Basil in a fit of rage. To dispose of the body Dorian employs one of his doctor friend how refuses to help Dorian but at the end he helps his because Dorian blackmails him. The night after the murder Dorian makes his way to an opium den where he encounters James Vane the bother of Sibyl and attempts to avenge his sister death. Dorian then escapes to his country state while entertaining guest he notice James Vane peering in through a window and he becomes wracked by fear and guilt. A hunting party accidentally shoots and kills Vane, Dorian feels safe again. He resolves to amend his life but cannot muster the courage to confess his crimes, and the painting now reveals his supposed desire to repent for what it is hypocrisy. He pi cks up the knife he used to stab Basil and attempts to destroy the painting. There is a crash, and Dorians servants enter to find the portrait unharmed showing Dorian as a beautiful young man. On the floor lies the body of their master an old man, horribly wrinkled and disfigured, with a knife plunged into his heart. First over the course of the novels this two characters went through several transformation. Stephen Dedalus first transformation was during his first years as Clongowes, he goes from a sheltered little boy to a bright student who understands social interactions and can begin to make sense of the world around him. The second occurs when Stephen sleeps with the Dublin prostitute he went from innocence to a sinner. The third transformation occurs when Stephen hears Father Arnalls speech on death and hell he went from an unrepentant sinner to a devout Catholic. Finally, Stephens greatest transformation is from near fanatical religiousness to a new devotion to art and beauty. That transformation took place in chapter 4 when he is offered entry to the Jesuit order but refuses it in order to attend university. Stephens refusal and his subsequent epiphany on the beach mark his transition from belief in God to belief in aesthetic beauty. This transformation continues through his college year s. By the end of his time in college, Stephen has become a fully formed artist, and his diary entries reflect the independent individual he has became. In contrast with Dorian Gray, he went through several transformations as well. Dorians first transformation to me was when he was introduce to Lord Henry he went from being this young beautiful boy, close minded person to a selfish person with an obsession towards his beauty. His second transformation was when he breaks Sibyls heart. She being torn it drives her to suicide herself. This is the point where Dorian first notice the portrait that Basil had painted of himself starts to change. Here is where Dorian reveals that his pledge of staying young forever and his portrait taking the side effects of ageing are becoming true. As Dorians sins grow worse over the years, his likeness in Basils portrait grows more hideous. He seems to lack a conscience but the desire to repent that he eventually feels illustrated that he is indeed human. Dorian third transformation would be when he murders his friend Basil. He is unable to distract himself from the dissipation of his soul. Although in th e past he has been able to be sweep infamies from his mind, he cannot shake the thought that he has killed his friend Basil. Dorians guilt tortures him relentlessly until he is forced to go away with his portrait. Throughout this transformation not both of the characters went through a good change. Stephen Dedalus transformation went for a good one, well at least for him. As for Dorians transformation it went all bad from the beginning to the end. Also these two characters have in common that they in their own way were influence and let themselves get influence by others. Stephen Dedalus was influence by his family, his Catholic faith, and Irish nationality. Brought up in a devout Catholic family Stephen initially ascribes to an absolute belief in the morals of the church. As a teenager, this belief leads him to two opposite boundaries. At first, he falls into the extreme of sin, repeatedly sleeping with prostitutes and deliberately turning his back on religion. Though Stephen sins willfully, he is always aware that he acts in violation of the churchs rules. Second, when Father Arnalls speech prompts him to return to Catholicism, he bounces to the other extreme, becoming a perfect, near fanatical model of religious devotion and obedience. Eventually Stephen realizes that both of these lifestyles the completely sinful and the completely devout are extremes that have been false and harmful. Dorian Gray influence are heavily mostly by Lord Henry believes and his yellow book given to Dorian by Lord Henry. The yellow book has a profound effect on Dorian, influencing him to predominantly immoral behavior. Reflecting on Dorians power over Basil and deciding that he would like to seduce Dorian in much the same way Lord Henry points out that there is something terribly enthralling in the exercise of influence. Falling under the wave of such influence is perhaps unavoidable but the novel ultimately censures the sacrifice of ones self to another. Basils worship of Dorian leads to his murder and Dorians devotion to Lord Henrys hedonism and the yellow book precipitate his own downfall. As this two characters go through influences they at a point break apart. Stephen Dedalus does not want to lead a completely debauched life, but also rejects austere Catholicism because he feels that it does not permit him the full experience of being human. He reaches a decision to embrace life and celebrate humanity after seeing a young girl wading at a beach. To Stephen the girl is a symbol of pure goodness and of life lived to the fullest. In comparison to Dorians influences it is little wonder in a novel that prizes individualism the uncompromised expression of self that the sacrifice of ones self, whether it is to another person or to a work of art, leads to ones destruction. The authors way on writing their novels with symbolism enables them to develop their characters. In A Portrait of the Artist as a Young Man by James Joyce, Joyce uses several symbolisms to develop his character Stephen Dedalus. Stephen associates the colors green and maroon with his governess, Dante and with two leaders of Irish resistance, Parnell and Davitt. In a dream after Parnells death, Stephen sees Dante dressed in green and maroon as the Irish people mourn their fallen leader. This vision indicates that Stephen associates the two colors with the way Irish politics are played out among the members of his own family. Another symbolism that Joyce uses is Emma. Emma appears only in glimpses throughout Stephens young life, and he never gets to know her as a person. Instead, she becomes a symbol of pure love, untainted by sexuality or reality. Stephen worships Emma as the ideal of feminine purity. When he goes through his devoutly religious phase he imagines his rewards for his pie ty as a union with Emma is heaven. When he is at the university he finally has a conversation with Emma. Stephens diary entry regarding this conversation portrays Emma as a real, friendly and somewhat ordinary girl, but not as a goddess Stephen earlier makes her out to be. His view if Emma mirrors Stephens abandonment of the extremes of complete sin and complete devotion in favor of a middle path, the devotion to the appreciation of beauty. Joyce also establishes water as a twin symbol of birth and death. Water imagery in the Portrait my point toward pleasure or pain, life or death, or it may be used to suggest both at once. Stephen fears the sea since he views it as an emblem of his own futility but it is the seaside epiphany which awakens him to the demands of life. In chapter five it is where Joyce exploitss the antithetical value of water. Joyce wrote He drained his third cup of watery tea to the dregs and set to chewing the crusts of fried bread that were scattered near him, st aring into the dark pool of the jar. The yellow dripping had backed to his memory the dark turfcoloured water of the bath in Clongowes. Here the tone of the language has been radically changed, the symbolism reversed, and this abrupt reversal emphasizes the change in Stephens state of mine. As for The Picture of Dorian Gray the author Oscar Wilde also uses symbolism in his novel. Wildes uses the color white as Dorians path from figure of innocence to a figure of degradation. White connotes innocence and blankness, as it does when Dorian is first introduced. It was the white purity of Dorians boyhood that Lord Henry finds so captivating. Basil invokes whiteness when he learns that Dorian has sacrificed his innocence and as the artist stares in horror at the ruined portrait he quotes a biblical verse from the book of Isaiah Though your sins be as scarlet, yet I will make them as white as snow those day were over for Dorian innocence. When the color appears again in the form of James Vanes face like a white handkerchief peering in through a window, it has been transformed from the color of innocence to the color of death. It is this threatening pall that makes Dorian long at the end of the novel, for his rose-white boyhood, but the hope is in vain, and he proves unable to wash away the stains of his sins. Wilde also uses the opium dens as a symbol. The opium dens represent the sordid state of Dorians mind. He flees to them at a crucial moment. After killing Basil, Dorian seeks to forget the awfulness of his crime by losing consciousness in a drug-induced stupor. Although he has a canister of opium in his home, he leaves the safety of his neat and proper parlor to travel to the dark dens that reflect the degradation of his soul. Finally, Wilde uses James Vane as a symbol as well. James is less a believable character that an embodiment of Dorians tortured conscience. As Sibyls brother he is rather flat caricature if the avenging relative. Appearing at the dock and later at Dorians country estate, James has an almost ghost spectral quality. James appears with his face like a white handkerchief to goad Dorian into accepting responsibility for the crime he has committed. Overall these two novels A portrait of the Artist as a Young Man and The Picture of Dorian Gray the main characters Stephen Dedalus and Dorian Gray undergo through life changes. Stephen Dedalus development throughout the novel went evolving to living a good life as he grow up he shut all his influences and develop his own taking him where he wants to be in life. As for Dorian Gray his development as he grows did not succeed. He was always influence throughout the novel he did not do anything to revel to the people he was being influence by and at the end it end it up in tragedy. Work Cited Joyce, James. A Portrait of the Artist as a Young Man. New York: Viking, 1916 Wilde, Oscar. The Picture of Dorian Gray. New York: Oxford, 2006 Litz, A. Walton. James Joyce. Boston: Twayne, 1966

English as a global language Essay

Crystal begin â€Å" English as a Global Language† by asking what means for a language to be global ,and what the advantages and disadvantages of having a global language. There is no official definition of â€Å"global† or â€Å"world† language, but it essentially refers to a language that is learned and spoken internationally, and is characterized not onlty by number of its native and second language speakers, but also by its geographical distribution, and its use in international organizations and in diplomatic relations. A global language acts as a lingua franca a common language that enables people from diverse backgrounds and ethnicities to communicate on a more or less equitable basis. Why a language became a global language is because of the power of the people who speak it . It’s nothing to do with the structure of the language it’s nothing about English grammar or vocabulary or pronunciation, your spelling, that makes English an appealing language at a global level. In fact if we think about English spelling would put most people off, so it’s nothing to do with the structure of language, no it’s all to do with power. But power means different things to different times. English first became international because of Political Power, Military power the British Empire. It is not just political that takes a language around the world economy and other factors too. In sixteenth- seventeenth century we had the power of Science and technology, Industrial Revolution and English the language of science. But there was another important power in those times apart from science, technology and industry, it was the media, the media are the center of everyone’s life. English was the first language that been transmitted by radio in USA on Christmas EVE 1906. In the cinema industry, when sounds where add to the images in the late 1920s, it was the English language which suddenly came to dominate the movie word. The recorded industry was the other entertained industry which emerged 19 century all recording of pop music had English language origins.

Anatomy of Criticism Essay example - 1249 Words

Anatomy of Criticism Introduction In his Anatomy of Criticism, Northrop Frye offers a complex theory that aspires to describe a unifying system for literary criticism. It can be argued, however, that in attempting to delineate such an all-inclusive structure, Fryes system eliminates identity in literature. The present essay takes up this argument and offers examples of how identity is precluded by Fryes system as outlined in Anatomy of Criticism. Structure Vs. Identity In Fryes system, the organizing principles that give literature coherence and structure are derived from the myths of ancient Greece and the archetypal imagery found in the Bible. In his Third Essay, Frye suggests that all literature is based on†¦show more content†¦Frye completely ignores literature that is outside the Western classics; contemporary literature and literature from the Oriental traditions, for example, remains outside Fryes scheme, and he makes no margin whatsoever for including such writings in his theory. This rigid, inflexible system doesnt allow for literature other than works abstracted from Fryes narrow aggregation of central myths, and the identity of both the writer and any individual work of literature is lost in Fryes structure. The Identity of the Reader In addition to excluding the identity of the writer and of works of literature, Fryes literary schema also ignores the identity of the reader. In his Polemical Introduction to the Anatomy of Criticism, Frye argues that [literature] is a disinterested use of words: it does not address a reader directly (p4). It is only criticism, he says, that can speak. We must dispute this, however, for surely the writer means for his or her work to converse with the reader in some manner. Frye would remove the reader from the experiencing of literature, but this is impossible, for there is a constant dialogue between a literary work and ones individual experience of that work. Frye himself would seem to admit this: The reading of literature should...step out of the talking world of criticism into the private andShow MoreRelatedThe Anatomy Of Criticism By Northrop Frye991 Words   |  4 Pages Structuralism’s overriding focus is an aspiration to be an objective, almost scientific, analysis of literary texts. In The Anatomy of Criticism, Northrop Frye explains that myths and binary pairs in opposition are a significant class of structural elements of literature that give meaning, both in a fixed and relational manner. 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Difference Between Celsius and Centigrade

Depending on how old you are, you might read 38 °C as 38 degrees Celsius or 38 degrees centigrade. Why are there two names for  °C and whats the difference? Heres the answer: Celsius and centigrade are two names for essentially the same temperature scale (with slight differences). The centigrade scale is divided into degrees based on dividing the temperature between which water freezes and boils into 100 equal gradients or degrees. The word centigrade comes from centi- for 100 and grade for gradients. The centigrade scale was introduced in 1744 and remained the primary scale of temperature until 1948. In 1948 the CGPM (Conference General des Poids et Measures) decided to standardize several units of measurement, including the temperature scale. Since the grade was in use as a unit (including the centigrade), a new name was chosen for the temperature scale: Celsius. Key Takeaways: Celsius vs. Centigrade The Celsius scale is a type of centigrade scale.A centigrade scale has 100 degrees between the freezing and boiling points of water.The original Celsius scale actually had a boiling point of 0 degrees and freezing point of 100 degrees. It ran in the opposite direction of the modern scale! The Celsius scale remains a centigrade scale in which there are 100 degrees from the freezing point (0 °C) and boiling point (100 °C) of water, though the size of the degree has been more precisely defined. A degree Celsius (or a Kelvin) is what you get when divide the thermodynamic range between absolute zero and the triple point of a specific type of water into 273.16 equal parts. There is a 0.01 °C difference between the triple point of water and the freezing point of water at standard pressure. Interesting Facts About Celsius and Centigrade The temperature scale created by Anders Celsius in 1742 was actually the reverse of the modern Celsius scale. Celsius original scale had water boil at 0 degrees and freeze at 100 degrees. Jean-Pierre Christin independently proposed at a temperature scale with zero at the freezing point of water and 100 was the boiling point (1743). Celsius original scale was reversed by Carolus Linnaeus in 1744, the year in which Celsius died. The centigrade scale was confusing because centigrade was also the Spanish and French term for a unit of angular measurement equal to 1/100 of a right angle. When the scale was extended from 0 to 100 degrees for temperature, centigrade was more properly hectograde. The public was largely unaffected by the confusion. Even though the degree Celsius was adopted by international committees in 1948, weather forecasts issued by the BBC continued to use degrees centigrade until February 1985!