Joyce 2

Joyce – Rebel In Literature, Rebel In Society Essay, Research Paper

Rebel in Literature, Rebel in Society

It wasn’t until the Modernism period, that questions about human existence and their place and function in the world were raised. Prior to this time of doubt and query, there was always a True answer for any question, and quandaries of perception were labeled as unknown due to insufficiency of needed information. Human infinite pride in its own superiority, blinded people to their incapability to possess the key to all the mysteries of the universe. Rigid in its rationality and logic, the thought process imposed a dogmatic system of truth and reality. T.S. Elliot and James Joyce are faced with the struggle between self-expression and self-fulfillment and the patriarchal society enforcing dehumanizing codes of honor and etiquette. In their works, “The Love Song of J. Alfred Prufrock” and A Portrait of the Artist as a Young Man, the authors reveal the journey one must accomplish before realizing the lack of objectivity and understanding one’s intrinsic need for food of the soul. The perpetuated sense of hunger and self-emptiness is creep up on protagonists of both works, leaving them largely disillusioned and frustrated. Yet, as Joyce’s protagonist manages to ultimately transform himself, it is too late for Elliot’s character to turn away from what he dreads, in spite of the epiphany-like realization of the horror, in which he lives and reinforces. Through the use of vivid imagery of the grotesque world, unconventional methods of narration, where the speaker appears to be omniscient, yet, at the same time exceptionally personal, as well as through stepping away from the conservative linear structure and applying vignettes, T.S. Elliot and James Joyce aptly convey their realism, and although, placing great demands on the reader, the latter are allowed to impose their own personas onto the protagonists.

Joyce makes use of such descriptive imagery of water to enhance their message of disgust awakened by the hypocritical society. Already in Chapter I of the Portrait, can the reader notice the infant Stephen’s vivid description of his bed-wetting accident. With great seriousness, he explains that “when you wet the bed first it is warm then it get cold”(Joyce 19). Stephen does not intentionally bring upon this incident, but rather it is the work of his body, and thus, nature. As undesired as it is, initially, the warmth does not provoke any negative connotations to the child. Yet, it is coldness, and the boy’s mother’s condemning reaction that are symbolized by the following coldness. The liquid substance loses its cleansing power, instead it brings discomfort, and later on, it manifests itself to Stephen in his mind as “an idea of what his own personal hell would be”(Lambe 1). When he is pushed into a sewer at his elementary school at Clongowes, the initial uneasiness transforms into fear, for the warmth is nowhere to be found, while he is surrounded in the “cold and slimy water”(Joyce 22). In addition to his self-consciousness about his size and weakness, and thus inadequacy in comparison to his fellow students, the repulsing water encounter causes Stephen to fall ill. In his feverish depression, he dreams of his own funeral, wishing for death, for it seems it is the only savior from the constricting environment. As Stephen gets older, water becomes almost synonymous with hell-fire. As the preacher refers to inferno as “the lake of fire.boundless, shoreless, and bottomless” and “the burning ocean”(Joyce 112). The fear, mutated by the sermon, almost destroys Stephen. Yet, it is his confession to a Jesuit priest, one that doesn’t remind about the wrath of God, that brings back the cleansing properties of water, for as Stephen speaks, what was burdening his delicate and vulnerable conscience, “[flows] from him like liquid, like urine”(Lambe 4). Now, the stormy waves of fire become the “sweet and quenching rain of God’s light upon his soul”(Lambe 4). Although the description of exaggerated fear of water is very personal, any reader can identify with the Fisher King wound that engulfs one’s mind, creating painful connotations for things that should be perceived as positive. It is not until, one faces what the “Thin People”(Plath 7) lurking in the mind symbolize that the realization and healing of the soul come about.

Similarly, Elliot uses an imagery of smoke to reveal how the condemning society overcasts the true mystery of full life. On those “restless nights”(Elliot, The Love Song.), the speaker walks through streets covered with the “yellow fog that rubs its back upon windowpanes/ The yellow smoke that rubs its muzzle on the windowpanes”(Elliot, The Love Song.). As it slides and covers people passing by, it represses their desire for self-expression and surrounds them with the darkness of grotesque conformity and superficial understanding. The smoke obscures the people’s perception of how chaotic the supposedly absolute patriarchal order of the society. It holds back the speaker from fuller experiencing of life. Instead, the main character, fearful of commitment, dwells on what he is not doing. “Etherized upon a table”(Elliot, The Love Song.), his dead response to the conformity reveals emotional alienation as well as spiritual disillusionment. Although, the complexity and depth of what Elliot is trying to explain is too difficult to comprehend, certainly, t