Informar trimestralmente a “LA SECRETARIA”, a través de “EL CNEGSR” sobre el avance técnico del Programa Anual de Trabajo correspondiente al año 2008, referente a las acciones previstas en

While living in Paris, Joyce gave the manuscript of

Stephen Hero to Sylvia BEACH, who subsequently sold it to the Harvard College Library in 1938. In 1944, with permission of the Harvard College Library and Joyce’s executors, Theodore SPENCER first published a manuscript fragment under the title Stephen Hero. Spencer did this despite a letter dated April 22, 1939, and written by Paul LÉONto Spencer on Joyce’s behalf expressing Joyce’s uneasi- ness at the prospect of this fragment being pub- lished. What Spencer actually intended, however, remains unclear, for he assured Joyce that he did not plan to publish the manuscript. On May 8, 1939, he had convinced David Fleischmann, George Joyce’s stepson and hence Joyce’s step- grandson, to write to Paul Léon and offer him Spencer’s assurances that he did not wish to pub-

lish the manuscript. (Both letters are part of the Joyce-Léon collection housed at the NATIONAL LIBRARY OF IRELAND, first made available in April 1992. For further details, see The James Joyce Paul

Léon Papers, p. 117.) Additional pages of Stephen Hero subsequently appeared and were incorporated

into the revised version of Stephen Hero, edited by John J. SLOCUM and Herbert CAHOON, and pub- lished in 1963.

HELPFUL ANNOTATIONS

Marc A. Mamigonian and John Noel Turner, “Annotations for Stephen Hero,” James Joyce Quar-

terly 40 (Spring 2003), 347–518.

Portions of the Stephen Hero manuscript are held by Harvard University, Yale University, and Cornell University.

CHARACTERS

Artifoni, Father He is a character who appears in

Stephen Hero. Artifoni teaches Italian to Stephen

Daedalus at UNIVERSITY COLLEGE, DUBLIN. He is modeled on Joyce’s Italian instructor there, Rev. Charles GHEZZI, SJ. However, Joyce took the surname for this character from his employer at the Berlitz school in POLA, Signor Almidano Artifoni. (See also Artifoni, Almidano, in Characters under Ulysses.)

Butt, D., SJ He appears as the dean of students at UNIVERSITY COLLEGE, DUBLIN, where he also teaches English. Although the dean of students is not identified by name in chapter 5 of A Portrait of

the Artist as a Young Man, that character is probably

also Father Butt, for the scene there replicates Stephen’s encounter with Father Butt in the open- ing pages of the Stephen Hero fragment. Joyce prob- ably modeled his depiction of Father Butt on his recollections of the Rev. Joseph DARLINGTON, SJ, dean of studies and professor of English at Univer- sity College when Joyce attended (1898–1902).

Clery, Emma She is the conventional young woman who is the object of Stephen Daedalus’s romantic fantasies. In chapter 23 (24 old system), Stephen shocks her with the bluntness of his proposition that they engage in a night of sexual gratification and then part forever.

Cranly In Stephen Hero and A Portrait of the

Artist as a Young Man Cranly appears as a close

friend of Stephen Dedalus. In Stephen Hero Cranly provides the audience for Stephen’s discussion of his ideas on aesthetics. Cranly is modeled on Joyce’s friend and confidant, John Francis BYRNE.

Daedalus, Isabel She is a younger sister of Stephen Daedalus, whose illness colors the Daedalus family life for the first half of the manu- script. Because of poor health, Isabel is asked to leave her convent and return home to live, much against her father’s wishes. Not long after her return, she dies. The end of chapter 21 and the beginning of chapter 22 (22 and 23 old system) of the novel vividly narrate her death and its effect on Stephen and the Daedalus family. Joyce based the incident of Isabel’s death on the untimely demise of his brother George, who died in 1902.

Daedalus, Maurice See Maurice.

Daedalus, Mrs She is Stephen Daedalus’s mother. In chapter 18 (19 old system), Stephen reads her his essay on IBSENand later gives her a few of Ibsen’s plays to read. In chapter 20 (21 old system), she is upset when she learns that Stephen is no longer a practicing Catholic. Mrs. Daedalus is the prototype of May Dedalus, the mother in A

Portrait of the Artist as a Young Man. In both works,

she stands as a figure who, despite the increasing poverty that oppresses the family, upholds tradi- tional values and shields her son from his father’s criticism.

Daedalus, Simon He stands as the titular, if ineffectual, head of the Daedalus household in

Stephen Hero, and precursor of Simon Dedalus in A Portrait of the Artist as a Young Man and Ulysses, in

which the classical spelling of the surname is modi- fied. Mr. Daedalus’s domineering personality and his improvident and alcoholic ways are modeled on those of Joyce’s father, John Stanislaus JOYCE. In

Stephen Hero, Simon Daedalus is portrayed as a

type rather than as a character. He is an angry and embittered man who resents his own family and whose social and financial downfall he blames on

others. The narrator’s exposition of Mr. Daedalus’s character, as found, for example, in chapter 19 (20 old system) is much more direct and less skillfully crafted than in either A Portrait of the Artist as a

Young Man or Ulysses.

Daedalus, Stephen He appears as the central character in Joyce’s unfinished novel, Stephen Hero. In essence the same figure, albeit with a more sub- tly evolved identity, appears in A Portrait of the

Artist as a Young Man and Ulysses with the spelling

of the name Daedalus modified to Dedalus.

It remains important to keep in mind that, just as the Stephen Dedalus of Ulysses differs somewhat from his namesake in the previous novel, the Stephen Dedalus of A Portrait of the Artist as a

Young Man represents an evolution from the

Stephen Daedalus of Stephen Hero. Although, as with A Portrait, Joyce intended Stephen Hero to trace the maturation of his central character from childhood to young adulthood, because only a frag- ment of the work has survived we see the protago- nist only during his university period. Nonetheless, if we contrast him with the Stephen of chapter 5 of

A Portrait, he emerges as stiffer, less complex, and

surely less articulate.

John, Uncle He is one of Stephen Daedalus’s two maternal uncles. He puts in a brief appearance in Stephen Hero (SH 166) during the family’s mourning over the death of Isabel Daedalus. At the Daedalus home, he criticizes in sanctimonious fash- ion the immoral books available in Dublin book- stores, only to be ridiculed by Stephen’s brother, Maurice Daedalus. Joyce used his maternal uncle, John Goulding (the brother of Richie Goulding, see Characters under Ulysses), as a model for this char- acter.

Keane, Mr He appears in Stephen Hero as a leader (editorial) writer for the FREEMAN’SJOURNAL

and a professor of English composition at UNIVER- SITYCOLLEGE, DUBLIN, where he is one of Stephen Daedalus’s teachers. Although he does not appear in A Portrait of the Artist as a Young Man, an analo- gous character, Professor Hugh MacHugh, does appear in the Aeolus episode (chapter 7) of Ulysses.

MacHugh, however, seems to be more a visitor to than an employee of the Freeman’s Journal, and while he clearly knows Stephen, no specific univer- sity connection is made. (See also MacHugh, Hugh, in Characters under Ulysses.)

Madden He appears in Stephen Hero as a student from Limerick with outspoken nationalist sympa- thies. Madden is a friend of Stephen Daedalus at UNIVERSITY COLLEGE, DUBLIN, where he is “recog- nized as the spokesman of the patriotic party” (SH 39). Madden serves as a foil for Stephen’s (and most likely Joyce’s) views on Irish nationalism. Joyce probably drew the details of his character from features of his friend George CLANCY. In chap- ter 5 of A Portrait of the Artist as a Young Man, the figure of Madden is replaced by Davin, a student with similar nationalist sentiments. (See Clancy in Characters under A Portrait of the Artist as a Young

Man and also in Characters under Ulysses.)

Maurice [Dedalus/Daedalus] He is the younger brother of Stephen Daedalus; glancing references are made to him as well in A Portrait of the Artist as

a Young Man and Ulysses, where he is called

Stephen’s whetstone.

Stephen Hero offers a more detailed sense of the

relationship between the brothers. Specifically, it shows how while growing up Stephen uses Maurice as a sounding board upon which to test his emerg- ing aesthetic and artistic views. Joyce’s brother Stanislaus JOYCE, who had often critiqued his brother’s efforts during Joyce’s early writing career, clearly served as the model for Maurice, and according to Richard ELLMANN, Stanislaus was dis- appointed to see that many references to the char- acter Maurice were dropped when Joyce revised

Stephen Hero into A Portrait of the Artist as a Young Man.

Moran, Father He is a priest who appears in both Stephen Hero and A Portrait of the Artist as a

Young Man. Although he expresses nationalist sen-

timents and his friendship with Emma Clery arouses a measure of jealousy in Stephen Daedalus, his character is never developed beyond that of a type.

Temple He is a character who appears in both

Stephen Hero and A Portrait of the Artist as a Young Man. Temple is an acquaintance of Stephen

Daedalus, who, with Stephen, attends UNIVERSITY COLLEGE, DUBLIN. The character of Temple was based on a Dublin medical student, John Elwood, whom Joyce came to know through Oliver St. John GOGARTY.

Wells, Charles When Stephen is at UNIVERSITY COLLEGE, DUBLIN, he encounters Wells, who by that time has become a seminarian pursuing his studies for the priesthood at the Clonliffe seminary. When at Clongowes, Joyce had two classmates with the last name of Wells.

Ulysses

(1922)

This is Joyce’s mock-heroic, epic novel. It celebrates the events of one day (June 16, 1904) in the lives of three Dubliners, the novel’s main characters: Leopold Bloom, his wife, Molly Bloom, and Stephen Dedalus (see Characters, below). This June day is known to Joyceans everywhere as BLOOMSDAY. Pub- lished on Joyce’s 40th birthday (February 2, 1922),

Ulysses is a landmark in 20th-century literature and

a watershed in the history of the novel, and, next to

Finnegans Wake, it stands as Joyce’s most sustained

and innovative creative effort.

COMPOSITION BACKGROUND AND