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A Portrait of the Artist as a Young Man_Chapter 4

乔伊斯
总共7章(已完结

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Chapter 4

Sunday was dedicated to the mystery of the Holy Trinity, Monday to the Holy Ghost, Tuesday to the Guardian Angels, Wednesday to saint Joseph, Thursday to the Most Blessed Sacrament of the Altar, Friday to the Suffering Jesus, Saturday to the Blessed Virgin Mary.

Every morning he hallowed himself anew in the presence of some holy image or mystery. His day began with an heroic offering of its every moment of thought or action for the intentions of the sovereign pontiff and with an early mass. The raw morning air whetted his resolute piety; and often as he knelt among the few worshippers at the side-altar, following with his interleaved prayer-book the murmur of the priest, he glanced up for an instant towards the vested figure standing in the gloom between the two candles, which were the old and the new testaments, and imagined that he was kneeling at mass in the catacombs.

His daily life was laid out in devotional areas. By means of ejaculations and prayers he stored up ungrudgingly for the souls in purgatory centuries of days and quarantines and years; yet the spiritual triumph which he felt in achieving with ease so many fabulous ages of canonical penances did not wholly reward his zeal of prayer, since he could never know how much temporal punishment he had remitted by way of suffrage for the agonizing souls; and fearful lest in the midst of the purgatorial fire, which differed from the infernal only in that it was not everlasting, his penance might avail no more than a drop of moisture, he drove his soul daily through an increasing circle of works of supererogation.

Every part of his day, divided by what he regarded now as the duties of his station in life, circled about its own centre of spiritual energy. His life seemed to have drawn near to eternity; every thought, word, and deed, every instance of consciousness could be made to revibrate radiantly in heaven; and at times his sense of such immediate repercussion was so lively that he seemed to feel his soul in devotion pressing like fingers the keyboard of a great cash register and to see the amount of his purchase start forth immediately in heaven, not as a number but as a frail column of incense or as a slender flower.

The rosaries, too, which he said constantly - for he carried his beads loose in his trousers pockets that he might tell them as he walked the streets - transformed themselves into coronals of flowers of such vague unearthly texture that they seemed to him as hueless and odourless as they were nameless. He offered up each of his three daily chaplets that his soul might grow strong in each of the three theological virtues, in faith in the Father Who had created him, in hope in the Son Who had redeemed him and in love of the Holy Ghost Who had sanctified him; and this thrice triple prayer he offered to the Three Persons through Mary in the name of her joyful and sorrowful and glorious mysteries.

On each of the seven days of the week he further prayed that one of the seven gifts of the Holy Ghost might descend upon his soul and drive out of it day by day the seven deadly sins which had defiled it in the past; and he prayed for each gift on its appointed day, confident that it would descend upon him, though it seemed strange to him at times that wisdom and understanding and knowledge were so distinct in their nature that each should be prayed for apart from the others. Yet he believed that at some future stage of his spiritual progress this difficulty would be removed when his sinful soul had been raised up from its weakness and enlightened by the Third Person of the Most Blessed Trinity. He believed this all the more, and with trepidation, because of the divine gloom and silence wherein dwelt the unseen Paraclete, Whose symbols were a dove and a mighty wind, to sin against Whom was a sin beyond forgiveness, the eternal mysterious secret Being to Whom, as God, the priests offered up mass once a year, robed in the scarlet of the tongues of fire.

The imagery through which the nature and kinship of the Three Persons of the Trinity were darkly shadowed forth in the books of devotion which he read - the Father contemplating from all eternity as in a mirror His Divine Perfections and thereby begetting eternally the Eternal Son and the Holy Spirit proceeding out of Father and Son from all eternity - were easier of acceptance by his mind by reason of their august incomprehensibility than was the simple fact that God had loved his soul from all eternity, for ages before he had been born into the world, for ages before the world itself had existed.

He had heard the names of the passions of love and hate pronounced solemnly on the stage and in the pulpit, had found them set forth solemnly in books and had wondered why his soul was unable to harbour them for any time or to force his lips to utter their names with conviction. A brief anger had often invested him but he had never been able to make it an abiding passion and had always felt himself passing out of it as if his very body were being divested with ease of some outer skin or peel. He had felt a subtle, dark, and murmurous presence penetrate his being and fire him with a brief iniquitous lust: it, too, had slipped beyond his grasp leaving his mind lucid and indifferent. This, it seemed, was the only love and that the only hate his soul would harbour.

But he could no longer disbelieve in the reality of love, since God Himself had loved his individual soul with divine love from all eternity. Gradually, as his soul was enriched with spiritual knowledge, he saw the whole world forming one vast symmetrical expression of Gods power and love. Life became a divine gift for every moment and sensation of which, were it even the sight of a single leaf hanging on the twig of a tree, his soul should praise and thank the Giver. The world for all its solid substance and complexity no longer existed for his soul save as a theorem of divine power and love and universality. So entire and unquestionable was this sense of the divine meaning in all nature granted to his soul that he could scarcely understand why it was in any way necessary that he should continue to live. Yet that was part of the divine purpose and he dared not question its use, he above all others who had sinned so deeply and so foully against the divine purpose. Meek and abased by this consciousness of the one eternal omnipresent perfect reality his soul took up again her burden of pieties, masses and prayers and sacraments and mortifications, and only then for the first time since he had brooded on the great mystery of love did he feel within him a warm movement like that of some newly born life or virtue of the soul itself. The attitude of rapture in sacred art, the raised and parted hands, the parted lips and eyes as of one about to swoon, became for him an image of the soul in prayer, humiliated and faint before her Creator.

But he had been forewarned of the dangers of spiritual exaltation and did not allow himself to desist from even the least or lowliest devotion, striving also by constant mortification to undo the sinful past rather than to achieve a saintliness fraught with peril. Each of his senses was brought under a rigorous discipline. In order to mortify the sense of sight he made it his rule to walk in the street with downcast eyes, glancing neither to right nor left and never behind him. His eyes shunned every encounter with the eyes of women. From time to time also he balked them by a sudden effort of the will, as by lifting them suddenly in the middle of an unfinished sentence and closing the book. To mortify his hearing he exerted no control over his voice which was then breaking, neither sang nor whistled, and made no attempt to flee from noises which caused him painful nervous irritation such as the sharpening of knives on the knife board, the gathering of cinders on the fire-shovel and the twigging of the carpet. To mortify his smell was more difficult as he found in himself no instinctive repugnance to bad odours whether they were the odours of the outdoor world, such as those of dung or tar, or the odours of his own person among which he had made many curious comparisons and experiments. He found in the end that the only odour against which his sense of smell revolted was a certain stale fishy stink like that of long-standing urine; and whenever it was possible he subjected himself to this unpleasant odour. To mortify the taste he practised strict habits at table, observed to the letter all the fasts of the church and sought by distraction to divert his mind from the savours of different foods. But it was to the mortification of touch he brought the most assiduous ingenuity of inventiveness. He never consciously changed his position in bed, sat in the most uncomfortable positions, suffered patiently every itch and pain, kept away from the fire, remained on his knees all through the mass except at the gospels, left part of his neck and face undried so that air might sting them and, whenever he was not saying his beads, carried his arms stiffly at his sides like a runner and never in his pockets or clasped behind him.

He had no temptations to sin mortally. It surprised him however to find that at the end of his course of intricate piety and self-restraint he was so easily at the mercy of childish and unworthy imperfections. His prayers and fasts availed him little for the suppression of anger at hearing his mother sneeze or at being disturbed in his devotions. It needed an immense effort of his will to master the impulse which urged him to give outlet to such irritation. Images of the outbursts of trivial anger which he had often noted among his masters, their twitching mouths, close-shut lips and flushed cheeks, recurred to his memory, discouraging him, for all his practice of humility, by the comparison. To merge his life in the common tide of other lives was harder for him than any fasting or prayer and it was his constant failure to do this to his own satisfaction which caused in his soul at last a sensation of spiritual dryness together with a growth of doubts and scruples. His soul traversed a period of desolation in which the sacraments themselves seemed to have turned into dried-up sources. His confession became a channel for the escape of scrupulous and unrepented imperfections. His actual reception of the eucharist did not bring him the same dissolving moments of virginal self-surrender as did those spiritual communions made by him sometimes at the close of some visit to the Blessed Sacrament. The book which he used for these visits was an old neglected book written by saint Alphonsus Liguori, with fading characters and sere foxpapered leaves. A faded world of fervent love and virginal responses seemed to be evoked for his soul by the reading of its pages in which the imagery of the canticles was interwoven with the communicants prayers. An inaudible voice seemed to caress the soul, telling her names and glories, bidding her arise as for espousal and come away, bidding her look forth, a spouse, from Amana and from the mountains of the leopards; and the soul seemed to answer with the same inaudible voice, surrendering herself: Inter ubera mea commorabitur.

This idea of surrender had a perilous attraction for his mind now that he felt his soul beset once again by the insistent voices of the flesh which began to murmur to him again during his prayers and meditations. It gave him an intense sense of power to know that he could, by a single act of consent, in a moment of thought, undo all that he had done. He seemed to feel a flood slowly advancing towards his naked feet and to be waiting for the first faint timid noiseless wavelet to touch his fevered skin. Then, almost at the instant of that touch, almost at the verge of sinful consent, he found himself standing far away from the flood upon a dry shore, saved by a sudden act of the will or a sudden ejaculation; and, seeing the silver line of the flood far away and beginning again its slow advance towards his feet, a new thrill of power and satisfaction shook his soul to know that he had not yielded nor undone all.

When he had eluded the flood of temptation many times in this way he grew troubled and wondered whether the grace which he had refused to lose was not being filched from him little by little. The clear certitude of his own immunity grew dim and to it succeeded a vague fear that his soul had really fallen unawares. It was with difficulty that he won back his old consciousness of his state of grace by telling himself that he had prayed to God at every temptation and that the grace which he had prayed for must have been given to him inasmuch as God was obliged to give it. The very frequency and violence of temptations showed him at last the truth of what he had heard about the trials of the saints. Frequent and violent temptations were a proof that the citadel of the soul had not fallen and that the devil raged to make it fall.

Often when he had confessed his doubts and scruples - some momentary inattention at prayer, a movement of trivial anger in his soul, or a subtle wilfulness in speech or act - he was bidden by his confessor to name some sin of his past life before absolution was given him. He named it with humility and shame and repented of it once more. It humiliated and shamed him to think that he would never be freed from it wholly, however holily he might live or whatever virtues or perfections he might attain. A restless feeling of guilt would always be present with him: he would confess and repent and be absolved, confess and repent again and be absolved again, fruitlessly. Perhaps that first hasty confession wrung from him by the fear of hell had not been good? Perhaps, concerned only for his imminent doom, he had not had sincere sorrow for his sin? But the surest sign that his confession had been good and that he had had sincere sorrow for his sin was, he knew, the amendment of his life.

作品简介:

With an Introduction and Notes by Dr. Jacqueline Belanger, University of Cardiff A Portrait of the Artist as a Young Man represents the transitional stage between the realism of Joyce's Dubliners and the symbolism of Ulysses, and is essential to the understanding of the later work.

The novel is a highly autobiographical account of the adolescence of Stephen Dedalus, who reappears in Ulysses, and who comes to realize that before he can become a true artist, he must rid himself of the stultifying effects of the religion, politics and essential bigotry of his background in late 19th century Ireland.

Written with a light touch,this is perhaps the most accessible of Joyce's works.

作者:乔伊斯

标签:年轻艺术家的肖像年轻艺术家的画像年轻艺术家画像

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