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Zusatztext “Magical . . . A coming-of-age story! perhaps the prime example of that genre in English literature . . . Even now! twenty-seven years after reading it for the first time! its moods come back to me.” — Karl Ove Knausgaard! from the Foreword “One believes in Stephen Dedalus as one believes in few characters in fiction.” — H. G. Wells “[Mr. Joyce is] concerned at all costs to reveal the flickerings of that innermost flame which flashes its myriad message through the brain! he disregards with complete courage whatever seems to him adventitious! though it be probability or coherence or any other of the handrails to which we cling for support when we set our imaginations free.” — Virginia Woolf “[ A Portrait of the Artist as a Young Man will] remain a permanent part of English literature.” — Ezra Pound Informationen zum Autor James Joyce was born in Dublin on 2 February 1882, the eldest of ten children in a family which, after brief prosperity, collapsed into poverty. He was nonetheless educated at the best Jesuit schools and then at University College, Dublin, and displayed considerable academic and literary ability. Although he spent most of his adult life outside Ireland, Joyce's psychological and fictional universe is firmly rooted in his native Dublin, the city which provides the settings and much of the subject matter for all of his fiction. He is best known for his landmark novel Ulysses (1922) and its controversial successor Finnegans Wake (1939), as well as the short story collection Dubliners (1914) and the semi-autobiographical novel A Portrait of the Artist as a Young Man (1916). James Joyce died in Zürich, on 13 January 1941. Klappentext The first, shortest, and most approachable of James Joyce's novels, A Portrait of the Artist as a Young Man portrays the Dublin upbringing of Stephen Dedalus, from his youthful days at Clongowes Wood College to his radical questioning of all convention. In doing so, it provides an oblique self-portrait of the young Joyce himself. Exuberantly inventive in style, the novel subtly and beautifully orchestrates the patterns of quotation and repetition instrumental in its hero's quest to create his own character, his own language, life, and art. This Penguin Classics Deluxe Edition, published for the novel's centennial, is the definitive text, authorized by the Joyce estate and collated from all known proofs, manuscripts, and impressions to reflect the author's original wishes. Leseprobe Chapter One "Et ignotas animum dimittit in artes." ovid, metamorphoses, viii., 18. 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 down along the road met a nicens little boy named baby tuckoo. . . . His father told him that story: his father looked at him through a glass: he had a hairy face. He was baby tuckoo. The moocow came down the road where Betty Byrne lived: she sold lemon platt. O, the wild rose blossoms On the little green place. He sang that song. That was his song. O, the green wothe botheth. When you wet the bed, first it is warm then it gets cold. His mother put on the oilsheet. That had the queer smell. His mother had a nicer smell than his father. She played on the piano the sailor's hornpipe for him to dance. He danced: Tralala lala, Tralala tralaladdy, Tralala lala, Tralala lala. Uncle Charles and Dante clapped. They were older than his father and mother but Uncle Charles was older than Dante. Dante had two brushes in her press. The brush with the maroon velvet back was for Michael Davitt and the brush with the green velvet back was for Parnell. Dante gave him a cachou every time he brought her a piece of tissue paper. The V...
