...His mother said: Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an original essay: O, Stephen will apologize. Dante said: -Oh, otherwise the eagles will come and put out his eyes. This capsule of expression, which comes at the culmination of the brief first passage (or first independent "poem" of the book, as Fisher might put it) that Joyce presents to us, defines the heroic quest that "Stephen Hero" (and/or his latent identity as the mythical Daedalus) must undertake. In this case he is bound by a stern commandment from "above" (from the adults towering above him, from the eagles attacking in flight), from the poets of the past and, more superficially, from his elders, to perform an act of " Excuse me". Stephen seals this cosmic deal with his little song: Gouge out your eyes, Sorry, Sorry, Gouge out your eyes. Sorry, Gouge out his eyes, Gouge out his eyes, Sorry. Stephen internalizes his predicament or legacy – singing the words that descend to him from layers of higher authority. He shapes received words in his own voice (whether “out loud” or just inside his head), compresses/extracts sentences from longer syntax, and uses rhyme in patterned repetition. (In short, he applied a "job".) If the mother, a temporal and merely parental figure, initiates the artistic partnership of the young Stephen in a mundane way, "Dante" (whose "true" identity in Stephen's world is poorly revealed in this passage) is the accidental and incidental avatar of an old poet, or of the "poetic tradition", or of the artist-creator that Stephen (or Joyce, if we consider this work as autobiographical) is to become. The implicit historical Dante serves as a representative, for Stephen and Joyce, of poetic art (Daedalus is a craftsman in the myth) and as a link over time with the classical world; the latter being a world in which the grown and almost fully adult Stephen in Ulysses and his compatriots would pretend to inhabit. (His companion, dissatisfied with Ireland, orders Stephen: "Hellenize it." (p 6)). Eagles are the sacred birds of Zeus (and not native to Ireland). As the voice of "Dante" speaks from another time (14th century Italy), so it also speaks of a distant land and cosmos where this foreign bird exists, and on another level, where Zeus is the god more powerful than an ancient pantheon. (It cannot be a coincidence that "Thunder", a natural phenomenon associated with the divinity Zeus - is the surname of a boy in the next "section" of part I (p 21), presented in an ironic key [since it concerns a fight between boys of the school] but domineering, unbeatable enemy.) These two "shots from the blue" (flashes of dialogue between the mother and Dante on the page before Stephen rains down his song), both introduced by an archaic, inspired character and the " Elevated O" (or, a simply interjective and colloquial "O", if we read these lines in a banal way, as in common speech; both levels, banal and euphoric, are surely implied by Joyce) warns Stephen and guides him. He must achieve a special vision like the eagles of Zeus, like the king of the Greek pantheon (the lord of the universe in which Daedalus lives). Or, Stephen is warned by polyphonic sources (the housekeeper Dante, the ghost of the poet Dante, and by himself as he sings his rhyme), that he will lose his "eyes" and "sight" (i.e. he will lose his sight). special artistic vision, the product of which is "apologies" [see below]) altogether. He is receiving a challenge from a mythical source that speaks of his latent Deadalic identity. If then, from this passage, we are to assume that Stephen is receiving some sort of primordial message echoed by artists and artistic/inspired legacies throughout the ages, andthen we metonymically connect Stephen and his eyes to the clawing eagles, we can ask what kind of sight might be associated with "eagles." From tradition (and science) we know that eagles possess an ability to see at great distances (eight times that of humans, in fact) and the ability to navigate (like winged creatures) across this distance. They soar and see all the parameters of a vast (by human standards) spatial realm. This trope of control/positioning within a large spatial realm (universe, globe, nation, world, etc.), implicit here in the symbol of the eagle, recurs in Portrait of the Artist (3). To illustrate Stephen's difficulties with a spatially defined world, we might begin by carefully scrolling his exact and extended location outward in "Clongowes, Sallins, County Kildare, Ireland..." and, finally, "The Universe " (p 27) in his notebook. But Joyce begins to play with Stephen and his relationship with a spatial universe defined and significant before this one. At the end of the first section of Part I, Stephen is hiding under a desk (p 20), huddled in a small space. At the beginning of the second section of Part I Stephen is in the midst of “The wide playing fields…his body small and weak” (p 20), huddled in a large space. Twin and apparently contradictory phobias, claustro- and agora-, are coupled in the frightened, in difficulty and evasive, that is, cunning ("He kept to the edge of his line, away from the sight of his prefect..." p 20). person of Stephen Dedalus. His affliction, i.e. his artistic affliction/curse, primarily concerns the mind and psyche. Phobias are a disease of the mind and therefore can only be transcended through the use of the psyche and cultivating the mind.(2) Stephen's trembling and resilient spirit is present both when he is under the table (composing a ditty of his parents' speech elderly) and when he is strategically negotiating the space of the football field. Note that Stephen writes in his school notebook the clearest rendering of his position and identity, and that this memoir as a whole is saturated with issues, environments, and the fruits of academic and monastic learning. Stephen's head is a globe, congruent with the "shells" or "rings" of positioning (County Kildare, Ireland, etc. or family, school/church, Ireland, etc., more philosophically) that surround him. Let's take a sample example where it is obvious that Stephen is grappling with the mind-in-universe/mind-is-universe phenomenon: the formula he obediently wrote on the sheet of paper, the professor's winding and unwinding calculations, the wraith-like symbols of strength and speed fascinated and tired Stephen's mind. He had heard from some that the old professor was an atheist Freemason. Oh, gray and dull day! It seemed a limbo of painless and patient consciousness through which the souls of mathematicians could wander, projecting long, thin fabrics from one plane to another of an ever rarer and paler twilight, radiating rapid vortices to the far reaches of an increasingly rarer universe. vast, distant and palpable. (p 167) Here Joyce repeats elements of the introductory sequences almost exactly: Stephen receives instructions from his elders which he apparently "obediently" obeys, but which he must subtly resist (he poetically laments "O gray and dull day!"), they ponder and are transformed into a stylized rumination. We see his thoughts and centuries' worth of learning (via the souls of supposedly dead mathematicians) pass through Stephen's mind and imagination to the farthest reaches of the universe. His thoughts in this micro-portion of the text, as in the text of the "macro" narrative of Stephen's growth, spiral through loops ofintellectual belonging. In this passage, intellectual belonging is represented by an ephemeral reference to the fact that the professor is an "atheist Freemason" (and, obviously, a mathematics professor). In the course of his broader intellectual and spiritual growth, Stephen passes most significantly through the atmospheres of Irish nationalism, Catholicism, Jesuit thought and, finally, in Part V of the book, the university-scholarly atmosphere which is itself a collection and mixture of different intellectual fields and disciplines. (And he clearly selfishly sees his presence at Dublin University: "...Stephen, that is, my green" (p 215), he observes as he walks towards the college library. The mental ego of "Stephen", the The innermost concentric ring of the spatial pattern extends to encompass a larger portion of the universe.) It is only in this fifth summary chapter of the University that we hear a full range of languages ​​and cultures from around the world, from Gaelic to German. and Buddhism, (p 196), hints of Italian (p 215) and references to Coptic and Swedenborgian thought (p 194). It is as if Stephen's entire spatial landscape is now filled with inspired learning. His interaction with the environment produces nothing but references and reminders to this learning (a state of affairs foreordained by Dante's contract): as he passes "Talbot's Place," the spirit of Ibsen passes through him; a shop on the Liffey encourages him to sing a verse by Ben Jonson (p 155). But for Stephen's mind and "soul" (as he continues to call it) to reach this final "sphere" of identity and development (where he achieves an intellectual identity/cohesion that fully identifies him with Daedalus ("O Father, O maker ..." p 218), Stephen must pass through the loops of thought and transformation described in each part of the book, discrete and heartbreaking metamorphoses (it is probably no coincidence that Joyce begins his book with a quote from Ovid...). position of hopeful newcomer and then deluded at an adult and festive family table (included in part I), in a state of burning bodily lust and self-degradation (part ii), in the burning heat of conscious damnation and redemption (part iii), in the union of these in the image of a bird/woman in the peaceful moment of synthesis (final pages of part iv). These stages of her maturation, represented approximately in chronological order, are the outer and inner links of her hell (or, more correctly, purgatory, especially since Joyce is already working with allusions to Dante) with which he must contend. Stephen's discussion of purgatory only becomes conscious in part v. He is deeply and personally moved by the flames of hell in part iv, but in the fifth and final chapter of the novel, we see Stephen coolly and detachedly observe his schoolmates discussing "purgatory", "hell" and "limbo", ( p 210). It is immediately after his remark that he takes Cranly aside to confess his knowledge of (and his belief in the power of) "chemistry" and symbolism related to guilt and sin, and expresses a firm decision to refrain from participating in this sin and to sin. saving cycle. He has gained in-depth knowledge of this process and understands the power of a symbol in a repeated socio-religious environment: "I fear more than this the chemical action that would be triggered in my soul by a false homage to a symbol behind which they are massed twenty centuries of authority and veneration." (p 210) In short, he has become an artist, who deeply understands the language of symbols, but will only "use" them under the guidance of his own authority. Stephen's quest is then achieved by mapping and finding a place within the entire world. worlds it inhabits (and, more succinctly/importantly, a mapping.