kfhj,ytktdiufiufiflyAufiuiudfydRgufuydytdycyuyvvutdsTiltxz87∞l




A Portrait of the Artist as a Young man defies the uniform construct of typical early twentieth century literature with its stream-of-conscious delivery.  This personal structure offers intimate insights into the mind of Stephen Dedalus, yet this unique approach to such a complex character isolates the reader from Stephen's artistic motives.  The fragmentented delivery is slightly overwhelming but, like art, the pieces shift together and trigger emotional memory.
It is interesting that A Portrait of the Artist as a Young man studies the portrait of a young man, for a portait usually depicts a man in his elderly years after living most of his life.  The title is paradoxical in that this story is the portrait of a young man, while young men rarely pose for a portait unless they know that their death will arrive at an early age.  At an early age Stephen thinks from the perspective of a man much older than himself.  Stephen has an old soul and questions the universal "she," as in the "she" that is the church, his mother, and the women that saturate his thoughts with sin.  He does not understand women and departs from association with any "she" in his life.  At the close of the novel, Stephen discusses his decision to leave the church with his confidant Cranly.  Stephen hears the voice of a woman singing and her voice draws forth an image in Stephens mind of, "The figure of a woman as she appears in the liturgy of the church...a white robed figure, small and slender as a boy, and with a falling girdle.  Her voice, frail and high as a boy's, was heard intoning from a distant choir the first words of a woman which pierce the gloom and clamour of the first chanting of the passion"(Joyce 238).  Stephen's encounter with this "woman," is his final goodbye to the "she" that is the church.  As an artist Stephen undertands that must isolate himself and be alone, completely alone.  He feels the needs distance from even someone as universal as the church herself.  Stephen expresses this detachment from relationships through his internal navigational voice: "A voice spoke softly to Stephen's lonely heart, bidding him go and telling him that his friendship was coming to an end.  Yes; he would go.  He could not strive against another.  He knew his part"(Joyce 239).  It's as though Stephen feels the need to isolate himself from others in order to achieve true artistic bliss.  Stephen stands alone as an artist.  Though his mind does not accept the thoughts and beliefs of others, he is able to create.

Works Cited

Joyce, James. A Portrait of the Artist as a Young Man. New York: Bantam, 1992. Print.

She is Denver

Denver spends her childhood trapped in the montage of her mother's memory.  So many scattered events create a destructive chaos that pushes Denver into the shadows of her sister's death.  Sethe's memory is a mystery to Denver.  Denver thrives off of the bits and pieces of fragmented stories that interconnect in Denver's mind and create a gap between her and her mother.  Just as 124, is missing the number 3, Denver is missing the sister in her life who bridges this emotional disconnect.  The ghost of Denver's dead sister, Beloved, returns as a woman to clear the misunderstandings of the foggy memories shielded from Denver.  Denver obsesses over the concept that, "Beloved is hers,"(104) and begins to understand that Beloved has the ability to unsheathe the portrait of her mother's memory.  The only real memories Denver knows are her mother's memories.  Beloved provides Denver with memories of her own, freeing her from the chains that bind her to a broken past.  The strangulating affect of Beloved's desire for physical love victimizes Sethe.  An odd occurence in the woods causes Denver to question Beloved's true intentions: "She let herself wonder what if Beloved really decided to choke her mother.  Would she let it happen?"(104)  This confusion exposes a personal memory Denver remembers at the curiosity of this event.  The question that little boy, Nelson Lord, asked during Denver's days at Lady Jones' house: "'Didn't your mother get locked away for murder?  Wasn't you in there with her when she went?'"(104)  This question haunts Denver because the answer lies deep within the emotional boundary separating Denver and Sethe.  Beloved begins to feed off of Sethe like a parasite, and drains Sethe of emotional and physical strength.  It is interesting how Denver does not give into Beloved's trap, and escapes Beloved's grasp with intentions of finding her own way.  Beloved is pivotal in Denver's understanding of her own indentity because she provides a reason for Denver to leave 124 and find a job, a way out of the grasp of destructive memories.  It's as though Nelson Lord symbolizes the boundary of confusion built up in Denver's mind, because as she begins to really find her way she experiences the presence of Nelson Lord: "Somebody had to be saved, but unless Denver got work, there would be no one to save, no one to come home to, and no Denver either.  It was a new thought, having a self to look out for and preserve.  And it might not have occurred to her if she hadn't met Nelson Lord leaving his grandmother's house as Denver entered to pay a thank you for half a pie.  All he did was smile and say, 'Take care of yourself, Denver,' but she heard it as though it were what language was made for.  The last time he spoke to her his words blocked up her ears.  Now they opened her mind"(252).  The words of Nelson Lord have such an impact on Denver throughout her life.  In her childhood these words confuse her and paint dark shade concealing the light of memory.  Now these words outline a path for the future, a path of hope.  It is so uplifting to hear Denver say that she has a, 'Self to look out for and preserve,"(252) because it illuminates Denver's revelation that she has an identity and she has the ability to live.  At the beginning of Beloved, by Toni Morrison, Denver holds the plaque for 'least likely to succeed,' but Denver's relationship with Beloved and her emotional distance from her mother allow Denver to find her own identity.  Denver stands tall at the close of Beloved.  She is proud to be Denver. She is aware of who Denver was, and she is ready to embrace who Denver will become.

Works Cited

Morrison, Toni. Beloved: A Novel. New York: Plume, 1988. Print.

While finishing Camus' The Stranger, I thought about my culminating big question and the artistic insights this novel reveals.  Mersault undergoes this massive conversion that opens his eyes to such incredible truths.  Like one of Picasso's paintings, Mersault sees the world as a distant incomprehensible force.  It's Mersault's realization of death that uncovers the similarities between the world and himself, "I opened myself to the gentle indifference of the world.  Finding it so much like myself-so like a brother, really-I felt that I had been happy and that I was happy again"(Camus 121).  Mersault experiences this inconceivable excitement at the thought of dying.  What exactly prompts this revelation?  Something inside of Mersault ticks during his conversation with the Chaplain, and he sees the fatal corruption in certainties that aren't "worth one hair of a woman's head"(Camus 120).  Mersault sees the invalidity of man-made certainties through the words of the Chaplain.  Mersault finds the world as the one being with eternal certainties, and he comprehends the world's vision.  While Mersault may appear to be this indifferent creature, he has an internal complex beyond any person.  He unlocks the door to a life outside of his own, and taps into the vibrancy of what is to come.

I find Picasso's "Boy with a Pipe"an interesting portrayal of a character similar to Mersault.  His bland facial expression reveals an indifference to his surroundings, but his eyes leak emotion hidden somewhere deep within.  Although art serves many purposes, its primary objective is to unveil man's soul.  Whether an artist creates through a complex or simplistic design does not matter.  Although Mersault's existential approach to life may seem distantly detached, he unveils a truth to the real magitude of life and death.  Mersault paints his life with dark shades of charcoal, but ends his life with a splash of punching vibrancy.

Works Cited

"Boy with a Pipe by Pablo Picasso." Pablo Picasso Biography, Paintings, and Quotes. Web. 21 Jan. 2012. <http://www.pablopicasso.org/boy-with-pipe.jsp>.
Camus, Albert, and Matthew Ward. The Stranger. New York: Vintage International, 1989. Print.

Stained Glass

Like a mosaic of painted glass, Crime and Punishment ends pouring light into the souls of the characters as well as the reader.  In a sense, this novel embodies the creation of stained glass.  Like an artist transforming sharp, dangerous, and threatening pieces of glass into an insightful representation of life, Dostoevsky shines a light on the resurrection of Raskolnikov and shares his incredible conversion.  Dostoevesky uses the intricate detail in Raskolnikov's relationship with Sonia to expose the shades of emotional color that shine as light hits this parable.  Raskolnikov's meeting with Sonia at the closing of the novel reminds me of the parable of "The Prodigal Son."  While Raskolnikov ventures far from the man Sonia needs in her life, Sonia takes him back with great joy and gratitude; "They were both pale and thin; but those sick pale faces were bright with the dawn of a new future, of a full resurrection into a new life.  They were renewed by love; the heart of each held infinite sources of life for the heart of the other"(Dostoevsky 541).  The brightness of the light that shines within their relationship is the sunlight that pours through the cathedral window on a cool winter's afternoon.  The light shares this story with those willing to listen.  Similar to the parable of "The Prodigal Son," Raskolnikov achieves the revival of new life through suffering; "He did not know that the new life would not be given him for nothing, that he would have to pay dearly for it, that it would cost him great striving, great suffering"(Dostoevsky 542).  It is the drive to flourish in that new life that conceals some of the pain picked up along the journey.  The father of the prodigal son experiences greif and anguish in the distance from his son.  The father overjoys in his son's return home, allowing his greif and anguish to create even greater happiness.  Raskolnikov's suffering stain his soul, but stain it beautifully like stained glass.  Stains mark the soul of Sonia, yet they shed joy as the light shines.

Photo courtesy of:  http://upload.wikimedia.org/wikipedia/commons/thumb/2/2b/Prodigal_Son_CHS_cathedral.jpg/220px-Prodigal_Son_CHS_cathedral.jpg

A Work of Literary Art

Although King Lear is the least popular of the four great tragedies, it contains an element of unclearness that causes an audience to further question the author's decision to end on such an inconclusive note.  Similar to a great piece of artwork, King Lear forces its audience to delve somewhere to obtain a greater understanding of the meaning within the words.  Although delving into a personal experience is effective when connecting to a complex situation within literature, it's not always conclusive.  Some situations are so far fetched that they will not directly connect with experiences that are less extravagent.  But the lack of dramatic extravagence in an experience does not make it any less monumental, as a simple experience can unlock the iron gate guarding a truth.  Practically every person knows of a time in their life when a dispute with a parent created that feeling of distance and internal regret.  Take an argument about staying out past curfew.  This argument maybe lasted ten of fifteen minutes, and certainly did not involve any banishment from the household.  Although this argument seems miniscule, it allows the teenager to step into the place of the parent and see the situation from another side.  What separates Cordelia from her sisters is her ability to step into the place of her father and understand the emotions he experiences upon their reunion.  The nugatory argument over curfew is still very distant from the emotional battle between Lear and his daughters, but the emotions are very similar.  And that's the wonderful think about literary works of art.  They are open to a great amount of interpretation and allow the audience to search through emotions and relate emotionally to the characters within the pages.


Photo courtesy of:  http://media-1.web.britannica.com/eb-media/37/1937-004-C9D1A945.jpg

Oedipus as a Poet

It’s as though a map was drawn, and Oedipus was trapped on a road leading to a dead end.  This dead end, however, stabs Oedipus’ soul and releases an honest poetic nature exposed through the pain of his fate.    Oedipus may not be the artist of his own fate but he is responsible for the way he reacts to his downfall.  “They are your own blood: you will not let them fall into beggary and loneliness; you will keep them from the miseries that are mine!”(Sophocles 1449)  Through expressing Oedipus’ unending love for his daughters, this statement evokes the innocent passion of his emotions and the longing for his daughters to break the chains of their father’s entrapment. 

I longed for a feeling of catharses when ending Oedipus Rex, but his final invocation to his daughters left me with a sense of loneliness.  I understood that Oedipus’ tone of regretful remorse intended to do more than simply instruct his daughters what not to do in life.  I felt empty.

 But then it hit me!  Catharses entered my soul as I read the poetic melody of, “live as you can, be happy as you can,”(1457) which filled my heart with inspiration.  I flipped back through the pages and asked myself, how?  How can the words of such a distant character as Oedipus dive into such raw emotion?  I’m still trying to figure this out, and it will take more than and second reading of this play to discover the emotions of Oedipus.  I have a feeling it will require some sort of experience where I will have to live through a difficult decision or recover from an emotional or physical injury.  It will probably not be as excruciating as Oedipus’ realization of fate, but I think artistic emotion comes from real life experiences.  Similar to method acting, artistic passion develops from the ability to relate.  There are going to be days when I feel like I have no control over my future, but I will look back at the words of Oedipus and remember the inspiration they gave me.

Picture from:  http://www.mlahanas.de/Greeks/LX/OedipusKing.html

What makes an artist?

    After searching several dictionaries for a concrete definition of art, I came to the conclusion that art is undefined.  Words cannot explain such a concept, yet words are virtually a distinguished art form.  Before delving into such a vague myriad of enigmatic questions, I went back to square one.  What makes an artist? Who is truly capable of expressing the honesty of the human soul through a creative voice?  

    A painting done by a student with Down syndrome hangs in a case near the entrance of my school.  The beauty and honesty of this painting brings tears to my eyes every time I take a minute in between classes to treasure it.  The innocence of this student's world is depicted so beautifully in this work of art.  For a moment, I have the opportunity to see the beauty of the world through her eyes.  Keali'l Reichel states in his song, "Wanting Memories," that he is "sitting here wanting memories to teach me, to see the beauty in the world through my own eyes."  But in a world occupied with onlookers and unoriginal ideas, how can the beauty of the world really be seen through my own eyes?  

    In The Samurai’s Garden by Gail Tsukiyama, Matsu’s heartache and anguish are expressed in the art that is his garden.  His soul is shared with his garden and he is the artist, the creator of his masterpiece.  His garden grants him purpose and a commitment to his emotions that he expresses through his beauteous landscaping.  Matsu subconsciously epitomizes the authentic artist, a man able to express his emotions naturally without falsehood.  Unfortunately, we can’t all live in the serene solitude of Tarumi, Japan where artistic inspiration is just teeming through the quiet of the rolling waves on a moonlit sea.  It’s difficult to become one with the elements in the fenced-in communities of everyday suburbia, but those moments when the sun reflects perfectly off the mountainside and the honey crisp post-rainstorm air flutters in a breeze, inspire me to share my soul with the world.  And that’s what makes me an artist.  That’s what makes all of us artists.  I don’t need a self-portrait by Basil Hallward to existentially create isolated boundaries circling the artistic experience.  In The Picture of Dorian Gray, by Oscar Wilde, Basil’s incredible artistic ability reveals secrets hidden within the depths of Dorian’s soul.  Basil’s painting is so secretly sardonic, it conceals Dorian’s flashy arrogance through expressing the horrifying appearance of his soul.  While I can agree that certain people could use a “Basil Hallward original” to dampen their overly explicit egos, the artistic power of self emotion should reveal some slice of the human soul and make someone a better person.  

    I have yet to discover the meaning of art, but I think that differs for every person.  I think everybody knows that one person that’s a total artsy guru and secretly intimidates an entire room with his/her incredible sense of color and shading.  But I want to see the unexpected occur.  I want to see the artist in all of us revealed through doing what we love.  Question: is that possible?  Answer: yes.