KURDISTAN REGIONAL GOVERNMENT-IRAQ MINISTERY OF HIGHER EDUCATION AND SCIENTIFIC RESEARCH UNIVERSITY OF SULAIMANI COLLEGE OF LANGUAGES

THE TEXT AS DREAM: MANIFESTATIONS OF THE UNCONSCIOUS IN JOYCE’S A PORTRAIT OF THE ARTIST AS A YOUNG MAN A THESIS SUBMITTED TO THE COUNCIL OF COLLEGE OF LANGUAGES/ UNIVERSITY OF SULAIMANI IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN ENGLISH LITERATURE

BY BLND RAHIM FARAJ SUPERVISED BY ASST. PROF. DR. Zanyar Faeq Said

1438 HIJRI

2017 A.D.

2717 KURDISH

Supervisor’s Report I certify that this thesis entitled “The Text as Dream: Manifestations of the Unconscious in Joyce’s A Portrait of the Artist as a Young man” was prepared by Blnd Rahim Faraj under my supervision at the Department of English Language, College of Languages, University of Sulaimani in partial fulfilment of the requirements for the degree of Master of Arts in English literature. Signature: Supervisor: Asst. Prof. Dr. Zanyar Faeq Said Ph.D. in English Literature Date:

/

/ 2017

In view of the available recommendations, I forward this thesis for debate by the Examining Committee: Signature: Name: Dr. Azad Hassan Fattah Chairman of the Departmental Committee on post-graduate studies Date:

/

/ 2017

Examination Committee’s Report We, the examination committee, certify that we have read this thesis entitled “The Text as Dream: Manifestations of the Unconscious in Joyce’s A Portrait of the Artist as a Young man”, and we have examined the student Blnd Rahim Faraj in its contents, and in our opinion it is adequate with the standing of ( as a thesis for the degree of Master of Arts in English literature.

Signature:

Signature:

Name: Dr. Rebwar Zainaldin Muhamad

Name: Dr. Ibrahim Ali Murad

Scientific Title: Assist. Professor

Scientific Title: Assist. Professor

Chairman

Member

Signature:

Signature:

Name: Dr. Zanyar Faiq Said

Name: Dr. Kawan Othaman Arif

Scientific Title: Assist. Professor

Scientific Title: Lecturer

Member and Supervisor

Member

Date: 07/05/2017

Approved by the Council of College of Languages Signature: Name: Date:

)

Dedication This thesis is dedicated to: The soul of Faiq Saeed My wife, My daughter, My mother and My brother.

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Acknowledgements I would like to extend my deep thanks and unlimited appreciation to my most respected supervisor, Asst. Prof. Dr. Zanyar Faiq Said. He made endless efforts in guiding me to develop and finish this thesis. Without him, this research would not have reached its completion. My special words of thanks go to my wife who was patient with me while working on this thesis. I also want to pay every sort of respect and gratitude to every single teacher who taught me throughout my life.

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Table of Contents Subjects

Pages

Dedication …………………………………………………………………..........II Acknowledgements ………….…………………………………………………..III Table of Contents ……………………………………….…………………..….. IV Abstract…………………………………………………………...……………...VI Introduction …………………………………………….…………….……….VI I Chapter One: The Theoretical Framework 1.1 Dream: Definitions .................................................................................... 1 1.2 Freudian Structure of the Psyche .............................................................. 8 1.3 The Unconscious: Forms of Manifestation .............................................. 22 1.4 The Analogy between Literary Texts and Dreams .................................. 38 Chapter Two: Text: Dream 2.1 Condensation: Imagery .............................................................................. 53 2.2 Displacement: Metonymy.......................................................................... 67

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2.3 Text-Dream Symbolism ........................................................................... 75 2.4 Secondary Revision: Text Coherency ....................................................... 86 Chapter Three: 3.1 Author: Dreamer ........................................................................................ 95 3.2 Character: Dreamer ................................................................................... 107 Conclusion................................................................................................................ 125 Works Cited ............................................................................................................. 127

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Abstract The main title of this thesis is ―The Text as Dream.‖ It indicates the mode of the argument of the thesis, focusing on Joyce‘s A Portrait of the Artist as a Young Man. Psychoanalytically, literary texts, be they novels, plays or poems, can be viewed as a milieu where one can see the content the unconscious mind. Hence the analogy between the text and dream is at the heart of this thesis. In both, the conscious mind is inactive; thereon, the unconscious becomes active and manifests itself in different and various ways. Key Words: Text, dream, condensation, imagery, displacement, metonymy, symbolism, coherency, fragmentation, secondary revision and autobiography.

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Introduction Texts and dreams belong to the world of imagination; however, both can answer some unanswered questions related to the reality of life. This similarity between texts and dreams is the object of this study, which makes use of James Joyce‘s A Portrait of the Artist as a Young Man (1916) as its primary material. It is an autobiographical novel which is about the portrayal of a young delicate artist who launches into life and struggles to obtain and maintain his own freedom. The title of this study is ―Text as Dream: Manifestations of the Unconscious in James Joyce‘s A Portrait of the Artist as a Young Man.‖ Based on psychoanalytic approach, the research aims to present the text as dream. The analogy between texts and dreams is justified in a sense that both are manifestations of the unconscious mind. To further justify this claim, the thesis shows how the mechanisms of dream analysis can be used for text analysis. Accordingly, the literary author and the protagonist are demonstrated as dreamers. Psychoanalysis is the primary theoretical framework used to develop the argument of the thesis. Among all the psychoanalytic theories on dreams, Sigmund Freud‘s theories are used to make the scope of the thesis‘ argument more focused. Along with the psychoanalytic approach, textual, historical, contextual,

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biographical and philosophical approaches are used to further enrich the content of the study. In fact, this study can answer many unanswered questions about Joyce‘s A Portrait of the Artist as a Young Man. Texts books, short essays and lectures might have provided some psychological interpretations about the genesis of this novel. However, no extensive academic and scholarly research has been written about the genesis of this novel as the manifestation of the unconscious. No researcher has used this novel as a primary source to draw an analogy between texts and dreams. Therefore, the thesis fills an unfilled gap. There are many tools and characteristic elements that can be used to show that Joyce‘s A Portrait of the Artist as a Young Man is the manifestation of the unconscious mind, as it is the case of dreaming. First, the text itself can be analyzed in the same mechanism in which a dream is analyzed. Second, the protagonist of the novel, Stephen Dedalus, dreams and daydreams a lot throughout the novel. Third, this novel is an autobiographical novel, and the protagonist, Stephen Dedalus, is the author‘s alter-ego. This brings the author into the argument; he is a dreamer. Finally, psychoanalytically, a dream discharges and manifests the unconscious, so is the text.

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The thesis consists of three chapters. Chapter one is mainly about the theoretical framework of the thesis, which relies on Freudian psychoanalysis. Chapter two focuses on the text. It shows how there are literary counterparts for the mechanisms of dream analysis. It likens the way the two elements are analyzed. The final chapter focuses on the author and character, comparing them to dreamers. The thesis is ended by a conclusion, which further confirms the logicality of likening texts and dreams to each other.

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Chapter One The Theoretical Framework 1.1 Dreams: Definitions Generally, dreaming is a common phenomenon that may happen while one is asleep. According to some studies, people dream a number of dreams every night

but

they

remember

only

a

few

of

them,

sometimes

none

(www.scientificamerican.com). Dreams are representational, imaginative and experimental, regarding its mysterious nature. Throughout human history, dreams have given rise to myriad beliefs, fears, and conjectures. In fact, any absolute definition of dream would be

inadequate. Dreams are held to be reflections of

reality, sources of divination, curative experiences or evidence of unconscious activity. They can also be the counter-parts of the literary texts. Dreams can be reflections of every day experiences. People usually dream in concord with their real life experiences. For instance, one may happen to dream of his\her brother. The appearance of that person‘s brother in the dream is the same as that of every day‘s life. One‘s dream about his\her brother is imaginative, but he is the same person that is seen in real life. Real life will stimulate dreams. If someone is dreaming, stimulated by spoken words or by drops of water on the skin, there are

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chances that the dreamer will have dreams about the stimulus. Studies in which people have watched vivid movies before falling asleep indicate some possibility of influence on dreams (Encyclopedia Britannica). In fact, philosophers have long noted the similarities between reality and dreaming and the logical difficulties of distinguishing in principle between the two (Encyclopedia Britannica). Even in early human history, dreams were interpreted as divine prophecies as well as reflections of waking experiences and of emotional need. In his work, On the Senses and Their Objects, the Greek philosopher, Aristotle, attributed dreams to sensory impressions. To him, dreams are reflections of ―external objects…pauses within the body…eddies…of sensory movement often remaining like they were when they first started, but often too broken into other forms by collision with obstacles.‖ This shows how dreams can reflect our sensory movements, which are forms of every day‘s experience. This is despite the use of dreams as means to practice divination and incubation among his contemporaries. Aristotle wrote that sensory function is reduced in sleep, thereby favoring the susceptibility of dreams to emotional subjective distortions. The English philosopher Bertrand Russell has a similar view of seeing dreams as reality reflections. He wrote, ―I do not believe that I am now dreaming but I cannot prove I am not.‖ This statement may sound exaggerated to some extent, but the main

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purpose of the author is to demonstrate how dreams and reality are related to each other (Encyclopedia Britannica). From ancient times, dreams were seen as sources of divination. Various different cultures and religions viewed dreams as means to predict the future. For example, Chester Beatty Papyrus is a record of Egyptian dream interpretations that dates back to 1991–1786 BC. Greek culture also viewed dreams as future foretellers. In Homer's Iliad, Agamemnon is visited in a dream by a messenger of the god Zeus to prescribe his future actions. From India, a document called Atharvaveda, dating back to the 5th century BC, contains a chapter on dream omens. Babylonia also gave a special credit to dreams, believing they bring about divinely messages and warnings. A Babylonian dream guide was discovered in the ruins of the city of Nineveh. It was exactly found among tablets from the library of the emperor Ashurbanipal (668–627 BC). Christianity is not an exception. The Old Testament contains various prophetic dreams. The most well-known ones are those of the pharaohs and of Joseph and Jacob being particularly striking. Among preIslamic people, dream divination so heavily influenced daily life. The arrival of Islam did not refute the divination of dreams. The Holy Qur’an contains parable stories that shed light on prophetic dreams. An example is the story of the Prophet Joseph, who dreams of a prophecy that foretells the next 14 years in Egypt. The

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examples above justify the fact that dreams can possibly have divine interpretations (Encyclopedia Britannica). Dreams are also seen as curative means, whether in science or in religion. Psychiatry or psychology views dreams as curatives. Psychologists, like Freud, consider dreams as gates through which the suppressed desires can be discharged. In Freud‘s view, dreams can save people from being hysteric and psycho-pathetic as they discharge the suppressed desires. This happens because dreams can easily access the unconscious mind, and they can be an alternative way to achieving those desires which are pathogenic. Different religions and cultures also saw dreams as curatives. Dreams in the Middle Eastern cultures of antiquity often were combined with other means of prophecy, such as animal sacrifice, with efforts to heal the sick. In ancient Greece, dreams became directly associated with healing. In a practice known ―temple sleep,‖ Sick people came to dream in oracular temples such as those of the Greek god of medicine, Asclepius. There, they performed rites or sacrifices in efforts to dream appropriately, and they then slept in wait of the appearance of the god so that he would deliver a cure. Many stone monuments placed at the entrances of the temples survive to record dream cures. A practice similar to temple dreaming, known as dream incubation, is recorded in Babylon and Egypt. Thus, defining dreams as curatives is logical as long as it is believed and practiced (Encyclopedia Britannica). -4-

Psychological interpretation of dreams is a modern practice. Sigmund Freud is among the prominent psychologists who tackled the subject of dreams as means for psychoanalyzing his patients. Among Freud's earliest writings is The Interpretation of Dreams (1899), in which he insists that dreams are ―the royal road to knowledge of activities of the unconscious mind.‖ That is, dreams offer a means for understanding waking experience. He holds this theory throughout his career, even mentioning it in his last published statement on dreams, which were printed about one year before his death. He also offered a theoretical explanation for the bizarre nature of dreams. He did that by inventing a system for their interpretation, and he elaborated on their curative potential. Freud describes three main types of dreams: Direct prophecies received in the dream, the foretelling of a future event, and the symbolic dream, which requires interpretation (Rivkin 128148). Freud theorized that thinking during sleep tends to be primitive and regressive. Repressed wishes, particularly those associated with sex and hostility, are discharged in dreams when the filtering systems of wakefulness diminish. The content of the dream is derived from many different stimuli. Those stimuli can be urinary pressure in the bladder, traces of experiences from the previous day and infantile memories. The specific dream details are called their manifest content. However, the presumably repressed wishes being expressed are called the latent content. Freud submits that one aspect of manifest content could represent a -5-

number of latent elements and vice versa. This process is called condensation. This process is accompanied by another process called displacement. Freud uses the words condensation and displacement to explain two of the mental processes whereby the mind disguises and discharges its wishes and fears in dream stories. In condensation, several suppressed desires and thoughts may be condensed into a single manifestation or image in a dream story. Displacement is an unconscious shifting of feeling from its real object to another where it is less threatening to the ego. Freud also uses symbolism to interpret dreams. He further observes a process called ―secondary revision,‖ which occurs when people wake and try to remember dreams. They recall inaccurately in a process of elaboration and rationalization and provide ―the dream, a smooth facade, (or by omission) display rents and cracks‖ (Rennison 84, 85). One of the ways to define things is to compare them with other similar things. Hence, this thesis aims at justifying the analogy between literary texts and dreams. The first sharing point between dreams and literary texts is that both reflect reality. According to some critics, literature reflects the life and the time in which it is written. The same concept is applicable to dreams. Sometimes, they do reflect the life of the dreamer. The second similarity between literary texts and dreams is that both can bear divine-like prophecies to predict the future. Dreams have been used as a means of divination to predict the future by many different -6-

cultures and religions. Literary texts can also predict the future. There are so many examples of those texts that foretold the future throughout the history of English literature. One of the examples is H. G. Wells‘ The World Set Free. This novel is full of technological predictions. The author of the text predicts the invention of atomic bombs. Almost a year after the novel was published, atomic bomb was invented. It works exactly the way Wells describes the bomb (Romano). Another striking example is George Orwell‘s Nineteen Eighty-Four. Orwell‘s prediction is very much in evidence now. The security cameras and the telescreens predicted in the text are real now. The third similarity between the two is that of being curatives. If dreams are curative, texts can be curative, too. Literary texts entertain the readers in a way that they give a feeling of refreshment. This is because they offer elevated and defamiliarized versions of reality. Even the psychological perspective confirms the similarity between literary texts and dreams. According to Freudian Psychoanalysis, both literary texts and dreams are manifestations of the unconscious mind. Furthermore, they are both considered to be wish-fulfillers and anxiety releasers (Rennison 89; Abrams 8-26; Webb and Cartwright). Since antiquity, dreams have been viewed as a source of divination, as a form of reality, as a curative force, and as an extension of or adjunct to the waking state. Psychoanalytic theorists, such as Freud, emphasize the individual meaningfulness of dreams and their relation to personal hopes and fears. Dreams -7-

also work as prophecies, and they convey supernatural meaning. In addition, some regard dreaming as nothing more than the normal activity of the nervous system. On the other hand, dreams can stand paralleled with literary texts as counterparts. Such variety reflects the lack of any single, all-encompassing theory about the nature or purpose of dreams. Thus, to get the whole picture of dreams, they are to be defined from all the possible different angles.

1.2 Freudian Structure of the Psyche Before discussing the origin of Freudian psychology and Sigmund Freud‘s ideas concerning the structure of the psyche, it would be logical if the origin and the meaning of the word ―psyche‖ are explored. Originating from Greek myth, the word psyche originally referred to the soul. In Greek mythology, Psyche is the goddess of the soul and the wife of Eros, god of love (Hard 236-237). However, Freud and other psychoanalysts do not use the word ―psyche‖ in that sense. Rather, the psyche is the mental apparatus as it is defined in contrast to the body or the soma (Thruschwell 4). Sigmund Freud is well-known as the father of psychoanalysis. Freud‘s views concerning human psychology were very much authentic and when they were first invented. They are turning points in the course of history. Some scholars attack Freud. They state that Freud‘s ideas contain contradictions. However, it should be -8-

noted that scientific theories are not perfect; they often contain drawbacks. Freud's writings are not out of the bound. There are contradictions in Freud‘s writings, but they are insignificant compared to the broad unfolding of his creative thought. Freud demonstrates the structure of the psyche based on levels of awareness, consciousness and unconsciousness, and the three psychic agencies, the id, the ego and the superego. However, before discussing Freudian demonstration of the structure of the psyche, it will be logical to talk about the origin and development of Freudian psychoanalysis. Sigmund Freud was born on 6 May 1856 in the town of Freiburg in the Austro-Hungarian Empire, which is now called Prîbor and part of the Czech Republic. When he was a child, Freud was a brilliant and ambitious student. He had interests in history and literature. Later on, a chance hearing of a lecture on nature during his final year of secondary school turned his attention toward science, and this led to his almost impulsive enrollment in the University of Vienna's Medical School in 1873 (Fancher 6). There, after a brief but intense involvement in the "act psychology" promoted by his philosophy professor Franz Brentano (1838-1917), his imagination was captured by the study of neurology. After this, Freud started in Ernest Brücke's, one of his teachers, laboratory for six years. Thereafter, he

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published several papers on neuroanatomy. After that, he wanted to practice medicine, and so he went to the General Hospital for Clinical Training (ibid. 6). There, under Theodore Meynert's, a famous brain anatomist, direction, Freud became unusually adept at diagnosing organic brain disorders. As Meynert's best student, Freud won a fellowship enabling him to travel to Paris and study with the great French neurologist Jean Charcot (1825-1893) for six months beginning in November of 1885. When Freud met Charcot, Charcot was studying hysteria. This had a great influence on Freud. He started working on hysteria (ibid. 6-7). Working on hysteria, Freud rejected all the traditional methods of curing hysteria, such as hydrotherapy and electrotherapy. He considered them useless. With the help of Josef Breuer, a famous Viennese physician and Freud‘s earlier financial supporter, he started to use the technique of hypnotization. That is, under hypnosis, hysteric patients would recall previously forgotten and suppressed desires related to the onset of their hysteric symptoms. He believed this would discharge the suppressed desires and cure the patients. Breuer and Freud later called this process abreaction. The treatment seemed effective. Freud could treat a number of patients with some success. After this, Freud wrote a book titled Studies on Hysteria (Fancher 7-8).

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At the time Studies on Hysteria was published, Freud still as confronting two important problems - one practical and the other theoretical. First, the practical issue arose because not all hysterical patients could be hypnotized; so a more widely applicable technique was necessary for accessing their unconscious pathogenic ideas. Second, the theoretical question was why those ideas had become unconscious in the first place. Freud tried to solve those two problems. He started doing this without the collaboration of Breuer. This, in fact, marks the real beginning of Freudian psychoanalysis (ibid. 8). Freud‘s efforts resulted in the invention of free association. This technique was used for those hysteric patients who could not be hypnotized. This technique led patients to talk freely and automatically without censor. This was believed to discharge their unconscious mind of the suppressed desires and pathogenic ideas. This treatment was also successful, to a great extent (ibid. 8-9). From the study of hysteria, Freud started to work on dreams. He believed that dreams have similarities to hysterical symptoms. In the case of hysteria, the suppressed desires result in hysteric behaviors. One hysteric behavior stands for many suppressed desires, and this procedure is called overdetemination. However, in the case of dreams, suppressed desires show up in the form of dreams. One dream image or story stands for many suppressed desires; this procedure is called condensation. The difference between dreams and hysterical symptoms is that - 11 -

hysteria is a harmful road to the unconscious mind while ―dreams are royal roads to the unconscious‖ (Fancher 9-10). There on, Freud started to develop different theories on psychoanalysis. He divided human mind into conscious and unconscious. Moreover, he structured human mind into id, ego and superego. His theory of ―Oedipus Complex‖ is also important. In addition, Freud also worked on the theories of Eros and Thanatos. Finally, he developed the theories of civilization and repression along with many other theories. Freud became an international figure. He was the founder of psychoanalytic method. He was the first who introduced psychology as a scientific method rather than a philosophical one. From the late 1880s to the early 1900s, Freud was exploring the ideas of the conscious and unconscious mind which emerged from his practice on his patients. He believed that behavior and personality drives operate at two different levels of awareness, the conscious and the unconscious (Rennison 29). To Freud, the conscious mind includes everything that we are aware of. This is the aspect of our mental processing that we can think and talk about rationally. Moreover, he believes that the conscious deals with awareness of perceptions, feelings, thoughts, memories, fantasies at any particular moment. Usually, the feeling, desires and thoughts that are found in the conscious mind are healthy, with - 12 -

some exceptional negative cases (ibid. 29-30). The conscious mind is compared to the tip of an iceberg on the big ocean of the unconscious. That is why he states, ―The unconscious is the larger sphere, which includes within it the smaller sphere of the conscious‖ (Freud, Complete Psychological Works 1038). Freud‘s ideas concerning the unconscious mind are unique and authentic. What makes his theory different from the previous theories about psychology is that he believes that human mind and behavior are governed by the unconscious rather than the conscious. No one before him had made a systematic study of the idea. Moreover, he was the first one who dared to suggest that mental processes were mostly unconscious. He says: …The unconscious is the larger sphere, which includes within it the smaller sphere of the conscious. Everything conscious has an unconscious preliminary stage; whereas what is unconscious may remain at that stage and nevertheless claim to be regarded as having the full value of a psychical process. The unconscious is the true psychical reality; in its innermost nature it is as much unknown to us as the reality of the external world, and it is as incompletely presented by the data of consciousness as is the external world by the communications of our sense organs (Freud, The Interpretation 1038).

This demonstrates that Freud believes that the conscious, rational mind is only the tip of an iceberg. It is a small island of self-awareness in the great ocean of the unconscious. However, it is not as evident as the conscious one because it is - 13 -

incompletely presented by the conscious mind. He drew this conclusion as he treated his hysteric and neurotic patients in the 1890s. Besides, he passed through a period of intense introspection and self-analysis. With patients of hypnotism, he had initially worked to bring repressed memories to the surface. Breuer‘s case of Anna O. is one of the examples. In the early 1890s, Freud used ―the pressure technique‖ to coax his patients towards accessing material that they had repressed. As they lay on his couch in Berggasse 19, he pressed his hand on their foreheads. He simply asked them questions, encouraging them to slip past the censorship imposed by the rational mind. This lead to the inauguration of a technique called free association. Freud applied the technique by sitting out of sight of the patients and saying as little as was necessary to keep them talking. Freud allowed them to reveal whatever was going through their minds without the fear of judgment, condemnation or ridicule. One thought led to another and the process took Freud and his patients in some surprising directions. The material that emerged from these sessions provided the foundations for Freud‘s ideas about and the division between the conscious and the unconscious. The unconscious was the result of repression. In addition, what were repressed were all those thoughts, desires and feelings which the conscious self found unacceptable. The minds of Freud‘s patients were divided minds because of the conflict between the conscious and the unconscious mind. However, the conflict between conscious and unconscious was - 14 -

not restricted to the hysterical and the neurotic. What Freud was proposing was not just an outline of the ―sick‖ mind but also a general structure of the human mind. It was simply that the neuroses provided ideal opportunities for a scientist such as himself to glimpse this general structure at work (Rennison 32-33). There were other signposts to the division between conscious and unconscious. Dreams are Freud‘s best examples. He considers them as ―the royal roads to the unconscious.‖ Dreams had long fascinated Freud. They helped him to find a new, revolutionary therapy to treat his patients. Dreams occur when one is asleep. While one dreams, the conscious apparatus of censorship and repression is least active. Thus, studying dreams seemed to Freud a rich potential source of material to develop his theories of the unconscious. Simultaneously, he was himself going through a painful period of introspection and self-analysis. He subjected his own dreams to careful scrutiny. A number of the dreams discussed in The Interpretation of Dreams are Freud‘s own. Freud also found evidence of the unconscious in operation in two commonplace phenomena. They are jokes and human mistakes. In his books, The Psychopathology of Everyday Life and Jokes and their Relation to the Unconscious, he expresses his thoughts on these subjects. It is from these books that the term ―Freudian slip‖ is coined. This term refers to the fact that most of the jokes are not merely laughter stimulators. They can bear

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traces of pathogenic desires and ideas that emerge from the unconscious mind. The same thing is applicable to mistakes and deviation, linguistic or otherwise. According to Freud, the unconscious continues to influence our behavior and experience, even though we are unaware of these underlying influences (Hall 103104). To him, it dominates the greatest part of human mind. It is a reservoir of feelings, thoughts, urges, and memories that are outside of our conscious awareness. Most of the contents of the unconscious are unacceptable or unpleasant, such as feelings of pain, anxiety, or conflict. It is a storeroom, difficult to access, where patients keep all their dark and transgressive thoughts and desires. The contents and the desires in the unconscious mind would never die or disappear. Rather, they transform their shapes. Freud himself says, ―in mental life nothing which has once been formed can perish – … everything is somehow preserved and … in suitable circumstances … it can once more be brought to light‖ (Freud, Complete Psychological Works 4469-4470). Most of the unconscious desires are the unacceptable ones. However, there is a question on the unacceptability of those desires. Freud put forward the idea of two opposing principles that lay behind behavior. The ―pleasure principle‖ is what governs us at birth; this principle demands instant gratification of desires whatsoever. As people grow up, they need to adapt to the social reality, which necessitates the suppression of some desires. Thereon, the ―reality principle‖ - 16 -

comes into operation. Deferment of gratification is seen to be a necessity. ―The libido‖, which is the unruly drive which Freud views as the main motive for most behavior, has to be re-directed into socially acceptable channels. Mental health, according to Freud, was dependent on how successful people were in re-directing libido into socially acceptable behavior. His neurotic and hysteric patients had failed to find successful means of re-directing libido. The conflict between their pleasure principle and their reality principle was unresolved and the result was their illness. Only by accessing the repressed material in their unconscious minds and working through it could a resolution of the conflict be reached. As a result, the mental illness will be overcome. Thus, it can be said that basically unconscious mind contains suppressed desires and forgotten memories, which are not easy to access (Rennison 30-33). Freud attempted to fashion some general theory of the structure of the mind into which he could fit his new ideas. It was only during the First World War and the early 1920s that he laid down his ideas about the structure of the mind. Freud divided human mind into three agencies. Each of them is responsible for a certain function or an area of interest. They are responsible for human behavior. These three agencies are id, ego and super-ego. This is called the tripartite division of the human mind (Rennison 38).

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According to Freud, id constitutes the largest part of the unconscious mind. It is the reservoir of all the desires of human beings. When the child is first born, its psyche consists only of the id, an amorphous unstructured set of desires. The demand ―I want‖ is the sum total of its mind‘s contents. The id is inseparable from the unconscious. Id wants and desires in the here and now, but it does not make plans for the future. Freud often claims that the id knows no time but the present, no answer but yes (Thruschwell 82). The desires which are generated by id are mainly two types. One is that of life, Eros, such as love, marriage, plantation and many others. The other type is that of death, Thanatos, such as hatred, violence, destruction and all the other desires that are against the norm. To Freud, id is ruled by pleasure principle. Every action and desire, life or death desires, that is motivated by id is pleasure-orientated. To Freud, a child‘s behavior from birth up to 5 or 6 of age is ruled by id. That is why a child does whatever he\she enjoys regardless to what is allowed and what is not. Moreover, Freud believes that the description of the id is also applicable to the primitive stages of human life (Rennison 38-39). Concerning the ego, Freud believes that this agency is the protector of the self. It is a filtering system. It is responsible for rejecting the harmful and the destructive desires. Ego starts to function from the age of 6, and it gradually develops according to the acquaintance of the self to the reality. One definition of - 18 -

ego is the individual‘s image of himself as a self-conscious being, his sense of himself as separate from the world which surrounds him. Another psychoanalytic definition of ego is that which is conscious in the person. It is the agency that experiences and senses the outside world. To Freud, the ego ―has been modified by the direct influence of the external world.‖ (Freud, The Ego and the Id 25). Above all, it represents reality to the self. These two meanings are related, but they are not identical. The first meaning of ego is more encompassing. It implies a whole self, rather than a self which is split into separate, warring factions. The second definition shows the ego as a psychic agency in the mind. Ego protects the self from damage and destruction, whether internal or external. It is governed by the reality principle, which embodies rules, regulations, systems and social and religious codes (Rennison 39; Thruschwell 82). Concerning the superego, Freud believes that it is the second filtering system. It helps the ego to work for the protection of the self. Freud defines it as an ―agency which performs the task of seeing that narcissistic satisfaction from the ego ideal is ensured ... what we call our ―conscience‖." To Freud, "the installation of the super-ego can be described as a successful instance of identification with the parental agency…" (Freud, On Metapsychology 89-90). As development proceeds, "the super-ego also takes on the influence of those who have stepped into the place of parents — educators, teachers, people chosen as ideal models" (Freud, New - 19 -

Introductory 95-96). It works according to the Perfection Principle. This differentiates it from the id and the ego as well. The superego stands for the self-critical aspect of the ego. It judges the conscious and unconscious decisions of the id and the ego. It develops from the ego in its continued attempts to negotiate with reality. The superego measures the real ego of a person against an ego ideal. The superego is allied with the sense of conscience. It encourages the self to stick to the high morals and social standards which the id wishes to deny. Super ego confirms that the individual lives as parts of the community, responding and responsible to others. In addition, it demands that people often behave in ways acceptable to society. On the contrary, the id struggles for a selfish lifestyle in which the individual lives only for him\herself. In essence, the superego is the internalized voice of parents, carers and society governing the human behaviour by rules and regulations. It provides the self with conscience and sense of what is right and what is wrong. The Superego is governed by the law of idealism. It demands perfection of the self. The Superego becomes almost active by the age of 13, when the individual launches into community and life, having more understanding about reality (Rennison 39-40; Thrushchweel 9192).

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It should be noted that all three of Freud‘s structural concepts, the id, ego, and superego, function in response to each other. For instance, Freud describes the relation between id and ego thus: One might compare the relation of the ego to the id with that between a rider and his horse. The horse provides the locomotor energy, and the rider has the prerogative of determining the goal and of guiding the movements of his powerful mount towards it. But all too often in the relations between the ego and the id we find a picture of the less ideal situation in which the rider is obliged to guide his horse in the direction in which it itself wants to go" (Freud, New Introductory Lectures 15).

This shows how the two agencies are related. Id provides energy-like desires. Hence, Freud compares it to a horse. On the other hand, ego is the horse rider that controls, directs and moderates the id. However, this is not always the case. Sometimes, the ego loses control and is driven by the id, as mentioned above. Moreover, ego and superego together formulate the system of defense mechanism in human psyche. Sometimes, the ego, alone or with the aid of superego, works automatically to protect the self from damage and humiliation, caused by the excessive demands of the id. Thus, these two agencies work as a system that automatically defends the self. For example, breathing is a part of this system. In addition, resisting against the hostile forces is a part of this system (Rennison 3840). Thus, the three agencies work together, and they are mutually inclusive. The

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following illustration gives more details about Freudian structure of the psyche. It also shows how each agency is related to the other ones and how they complete each other.

(www.leannewhitney.com)

1.3 The Unconscious: Forms of Manifestation As mentioned previously, the largest part of human mind is the unconscious. It is the part that motivates human behavior without being aware of it. Mostly, the

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unconscious mind contains the suppressed desires. According to Freud, when the ego and the super ego block any desire, they return it back to the unconscious mind. This process is called ―Suppression.‖ Moreover, the unconscious contains the seemingly forgotten memories. Thus, the suppressed desires and forgotten memories overload the mind. They need to find an outlet to be discharged. When a desire is suppressed, it never dies out. In psychology, desire is energy. It never dies, but it transforms into different shapes. This is how the unconscious manifests itself. There are different forms of the unconscious manifestation. Generally, the unconscious can manifest into two types of unconscious manifestation. They are those of Eros and Thanatos. Eros is associated with manifesting life instincts, which brings about pleasure. Thanatos is associated with manifesting death instincts, which inflicts pain upon the self not others. Specifically, the unconscious can be manifested in four major ways. They are hysteria, dreams, tongue slips and defense mechanisms. Eros, life instinct, is governed by the pleasure principle. It is aligned with the libido, which is the drive towards happiness, wish-fulfillment and the release of energy for the sake of getting pleasure. Thus, the unconscious life desires manifest in many different forms. They can manifest in marriage, procreation, sociability, creativity and so many other forms. Even doing physical activities is a form of

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manifesting the unconscious life desires as long as they reduce tension and anxiety in a productive way. In his book, Beyond the Pleasure Princilpe, Freud states: What are commonly called the sexual instincts are looked upon by us as the part of Eros which is directed towards objects. Our speculations have suggested that Eros operates from the beginning of life and appears as a ―life instinct‖ in opposition to the ―death instinct‖ which was brought into being by the coming to life of inorganic substance. (Freud, ―Beyond the Pleasure” 54-55)

This means that anything that brings about pleasure to the self will be appreciated. On the contrary, anything that prevents the achievement of the life desires will be the object of hatred and aggression. However, there is a question about the idea of countering pleasure for Freud in the human condition. That is, the reason for not seeking pleasure all the time must be found. This question can be answered in different ways. First, not all pleasures or wishes can be promptly satisfied. The infant begins by believing that it lives in a world where its wishes are instantly gratified. That is, there is no distinction between what goes on in its own mind and what the world offers up to it, or what is socially acceptable and what is not. Yet, this illusion is quickly shattered. For example, the mother is not always there to breastfeed it and put it into a state of infantile bliss. This state of unfulfilled expectations, this confrontation with the outer circumstances which possibly ruins the imagined joy, is called the reality principle by Freud. The infant eventually - 24 -

comes to realize that it must negotiate with this outside world in order for its wishes to be granted. It may be possible to achieve pleasure, but the best way of guaranteeing this may not be to insist on instant satisfaction of desires; the baby might have to delay pleasure in order to experience it eventually. Thus, there is the delay of pleasure for the sake of conforming to reality (Thruschwell 84-85). However, in Beyond the Pleasure Principle, Freud initiates what he called the death drive or Thanatos. In this book, he explains that the idea diverting from the pleasure. It is no longer about delaying the pleasure; it is the unpleasure drive (Thruschwell 88). In Beyond the Pleasure Principle, Freud proposes that ―the aim of life is death‖ (Freud, ―The Complete Psychological Works” 4740). Thanatos, the death drive, is not connected with aggressive impulses towards others; it is rather selfdestructive. According to him, death is one of the unconscious desires of human beings. That is, the death drive is a desire towards death, self-destruction and the return to the inorganic state of being. It is also called the theory of going back to mother‘s womb. According to Freud, human beings have two forms of being: one is organic being, and the other is inorganic being. When one enters into life, he/she has an organic state of being because there is dynamism and organic functioning. On the contrary, in mother‘s womb, in which an infant grows into life, and after death, one has an inorganic state of being. Freud derives that idea of returning to - 25 -

the inorganic state of being from the assumption that there is no certainty and security in life. Every living person is unconsciously dominated by the desire of moving back to the inorganic form of being because certainty and safety can only be found in there. ―In this way the first instinct came into being: the instinct to return to the inanimate state…‖ (Freud, ―Beyond the Pleasure” 32). This means that death drive is an unconscious instinctual desire that motivates human beings behavior along with the pleasure principle. He explains the cry of a new born child as an alarming signal. It is because he\she launches into a life in which there is no security. In the mother‘s womb, everything is readymade for the child. As the child launches into life, the situation is different, relatively self-reliant. Thus, the child will be occupied with the idea of going back to the mother‘s womb. Since going back to mother‘s womb is impossible, every individual will be dominated by the other option, which is death drive or Thanatos. The unconscious death desires manifest in many different forms. For instance, smoking and drinking alcohol are causative agents of death, but people still use them. Driving increases the possibility of death, but people still use cars. Sometimes, people inflict pain into themselves for the sake of seeking attention and making others feel sorry for them (Freud, ―The Complete Psychological Works” 3741, 4071). One of the possible forms of unconscious manifestation is hysteria. Hysteria‘s symptoms vary. They can include amnesia, paralysis, unexplained - 26 -

pains, nervous tics, loss of speech, loss of feeling in the limbs, sleep-walking and hallucinations. Its diagnoses have changed over the centuries, but some beliefs about hysteria remained firmly held until the late nineteenth and the early twentieth centuries. Etymologically, the word ―hysteria‖ is derived from the Greek word hysteron, i.e., ―womb.‖ Hysteria was initially known as the disease of the wandering womb. It was believed that only women suffered from it. References to hysterical illness date as far back as an Egyptian medical papyrus from 1900 BC. From the ancient Egyptians onwards, female anatomy was considered an important factor in hysteria. One of the causes of hysterical behavior was believed to be women‘s mobile uteruses that wandered up their bodies away from their proper resting point. Freud‘s work gave a new definition to hysteria. He changed the concept from its attachment to female anatomy and redefine it as a psychological disease. He believes that hysteria is a mischievous form of unconscious manifestation (Thruschwell 16). Freud suggests that people could fall ill because of their past histories. That is, a traumatic event which happened under stressful circumstances would then be strategically forgotten because it was too painful to recall. However, these memories will be saved in the unconscious mind. Later, they reappear in a different form, which is hysteria. Freud and his colleague Joseph Breuer compiled a series of case histories called Studies on Hysteria published in 1895. In that book, they - 27 -

unearth again and again in their patients these traumatic moments of mental illness. In Studies on Hysteria, all the case histories presented are of women. Freud‘s work, by stressing the life stories these women had to tell, shifted the focus of the search for the causes of hysteria from biological sources to narrative sources. The lives of these women show many clues about causes of their hysteric behaviors. Recent historians of nineteenth-century hysteria have seen hysteria as a disease that was inseparable from the social position of women at the time. Hysteria had been viewed as a passive form of resistance to the social expectations that surrounded the nineteenth century bourgeois woman. In an increasingly industrialized society, the middle-class woman was seen as a representative of the purity, order and serenity of an earlier time. They were highly expected to be the guardians of the home fires and the angels at the hearth. A victim of demands that were seemingly at odds with themselves, the nineteenth-century woman was supposed to be gentle, submissive and naive, while also expected to be strong and skilled in her domestic management. They had to be pillars for men to lean on. Hysteria signaled an unconscious protest against these conflicting expectations for women as well as against the lack of career and educational opportunities available to them (Thruschwell 17-19). For instance in Studies on Hysteria, Freud‘s patient, Anna O., is described as unusually intelligent, with a quick grasp of ideas and a penetrating intuition: - 28 -

She possessed a powerful intellect which would have been capable of digesting solid mental pabulum and which stood in need of it – though without receiving it after she had left school … This girl, who was bubbling over with intellectual vitality led an extremely monotonous existence in her puritanically-minded family (Freud, ―Studies on” 73–74).

This means that the hysterical woman was frustrated by the expected tasks of nineteenth century womanhood. She found herself at odds with an image of the maternal figure that nursed the sick and tended to domestic duties. Under the influence of Breuer, Freud posed a new way of curing hysteria. Freud believed that hysteria is the product of ungratified suppressed desires. Before Freud, those who suffered from hysteria had to be put under electro- and hydro-therapy. It was not effective. To Freud, one hysteric behavior stands for many suppressed desires. That is, suppressed desires reappear in the form of hysteric behaviors. This process is called ―overdetemination‖. To avoid hysteria, the suppressed desires must be discharged in a healthy way (Fancher 7-8). To cure the hysteric patients, Freud started to use the method of ―Catharsis‖ or ―Abreaction.‖ This was done by hypnotizing the patient. This would facilitate the process of recalling old memories. Consequently, this would let the ungratified pathogenic desires to get discharged. This method was somehow successful with some of the patients. However, the method of ―Catharsis‖ was not free from problems because not every patient could be hypnotized. Thus, this time, Freud - 29 -

thought of a new method without the help of Breuer. The new technique that invented by Freud was ―Free Association.‖ This was done by letting the patient talk automatically and saying whatever comes to the mind. This would give the suppressed desires a healthy and safe medium to discharge. This technique was, to a great extent, successful. It facilitates the discharge of the pathogenic ideas and suppressed desires. Consequently, it helps the patient to get cured (Fancher 8). Another form of unconscious manifestation is dream. Dreams had long fascinated Freud. There are references to them and to ideas about them in his letters as a student. Freud‘s central ideas about dreams are embodied in his famous book, The Interpretation of Dreams. To him, dreams are wish-fulfillments, and manifestations of the unconscious suppressed desires. He believes that dreams are royal roads to the unconscious mind. Unlike hysteria, dreams provide safe media through which the suppressed desires are discharged (Fancher 10). More details about the nature and the mechanism of dream analysis are found in the next section of this chapter. Another form of unconscious manifestation is tongue slips. They are also known as ―parapraxis‖ or Freudian slips. In The Psychopathology of Everyday Life (1901) Freud extended his new reading practices further into daily world. If dreams and symptoms could be read as expressing hidden desires and wishes, so could people‘s mistakes and mishaps. Like slips, jokes also carry some hidden meanings - 30 -

that have something to do with the unconscious manifestation. This is mentioned clearly in Freud‘s Jokes and their Relation to the Unconscious (1905). The moments of forgetting, uttering a wrong name, embarrassing mispronunciations or substitutions of words, are now popularly known as Freudian slips. Freud himself referred to such an error by the scientific sounding Latinate term parapraxis. Errors such as these occur in the realm of the unconscious. However, Freud claims that, in fact, these errors are not always errors. Sometimes, they express important truths about unconscious desires. The underlying assumption is that when some wish, desire, memory or fear is difficult to fulfill, the ego copes with it by repressing it. However, the repressed contents will remain alive in the unconscious mind. They are just like radioactive matters buried beneath the ocean of the unconscious. They constantly seek an outlet. The ego can never bury the desires completely. They usually find a way to manifest themselves (Rennison33; Thruschwell 33-34; Barry 95-96). Freud‘s book contains many examples of parapraxes. One example which he gives from his own experience is telling in its simplicity. He had run out of blotting paper yet, day after day, he forgot to go to the shop and buy some more. The reason, he finally concluded, was that one of the German words for blotting paper is ―fliesspapier‖. This was the time of his painful disagreement with his friend

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Wilhelm Fliess and he did not want to be reminded of this. So he repeatedly forgot to go and buy ―fliesspapier.‖ About this case, Freud himself states: Here is an example. I set store by high-quality blotting paper and I decided one day to buy a fresh supply that afternoon in the course of my walk to the Inner Town. But I forgot for four days running, till I asked myself what reason I had for the omission. It was easy to find after I had recalled that though I normally write ‗Löschpapier‘ I usually say ‗Fliesspapier‘. ‗Fliess‘ is the name of a friend in Berlin who had on the days in question given me occasion for a worrying and anxious thought (Freud, ―The Complete Psychological Works” 1239).

This shows that the unconscious mind protected him from remembering that painful memory. Parapraxes, dreams and symptoms all express wishes, according to Freud‘s theories. However, these wishes have to be separated into their individual elements before they can be understood (Rennison 33). Similarly Freud‘s contention that jokes are also freighted with unconscious loves, fears and hatreds coincides with most people‘s experience of ordinary life. Most of the jokes are far away from being innocent vehicles of humor. However, some jokes are innocent enough and Freud himself acknowledged, at least initially, that wordplay and verbal dexterity carried little baggage from the unconscious. Yet, many jokes deal with subjects like sexuality, ethnicity, family relationships, politics, etc. that arouse strong feelings. The expression of these ideas is socially - 32 -

unacceptable. Therefore, they will be suppressed in the unconscious mind, and they will find release in the socially acceptable form of jokes. This shows that many jokes, like Freudian slips, were examples of the way the unconscious worked its way into the conscious (Rennison 33-34). Defence mechanisms are forms of unconscious manifestation. Their main task is to protect the ego from damage and humiliation. They are mainly unconscious psychological mechanisms that reduce anxiety arising from unacceptable or potentially harmful stimuli. Freud was one of the first proponents of this construct. Defence mechanisms may result in healthy or unhealthy consequences. It depends on the circumstances and frequency with which the mechanism is used. In fact, there are many types of defence mechanisms. The major ones are repression, denial, projection, identification, regression, displacement, sublimation and reaction formation. One of the types of defence mechanism is repression. It is a mechanism by which unacceptable impulses, ideas, memories, emotions, anxieties and complexes are forced into the unconscious. There, they remain active. They continue to influence action and experience, without themselves returning to consciousness (Colman 574).

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Another type of defence mechanism is denial. It is a mechanism that unconsciously works to deny reality with the aim of avoiding anxieties and fears. Briefly, denial may be defined as the failure to see, recognize, or understand the existence or the meaning of an internal or external stimulus. This is for the sake of avoiding the anxiety that would occur if the stimulus were recognized. This mechanism distorts the reality to protect the self from anxiety, even if it is a temporary protection. Denial is a simple defense, accomplished by the single operation of negating a thought, feeling or perception, as in ―It did not happen.‖ Because of its cognitive simplicity, it is also considered an ―immature‖ defense (Cramer 23). Projection is another defence mechanism that manifests the unconscious. Projection is defined as attributing one‘s own unacceptable thoughts, feelings, or intentions to others, so as to avoid anxieties and gratify the desires. Projection is a complex mechanism. It requires the individual to differentiate between what is inside the self and what is outside. It assumes the establishment of a set of standards regarding what is acceptable to the self and what is not. This defense operates by attributing the unacceptable thought or feeling to something or someone outside of the self. Due to the greater cognitive complexity, this defense is more mature than denial (Cramer 23-24).

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Identification is a defence mechanism that adapts the self to the society and surroundings. It functions by bringing about a change in the self. It is a complex defence. This defence enables the individual to differentiate between self and the others to form inner representations of others. It helps the self to select some qualities of others and reject other qualities. One of the most mentioned examples of identification is that of the male children with their fathers called ―Oedipus Complex.‖ To Freud, this is universal and applicable to every child. According to this theory, a male child has an unconscious sexual attachment to the mother accompanied by an aggressive attitude towards the father. To Freud, it is any boy‘s unconscious desire to live in a world where his father is absent in order to marry his mother. The child gives up such a desire as he grows up and gains a gradual realization about the social, religious and moral laws. There are many reasons for the child‘s abandonment of such a desire. First, with the growth of the child, the ego will be formulated. Thus, the ego blocks such incestuous desire. Second, when there is a strong voice of the father, the child will understand that the father cannot be beaten or removed. Thus, fear of punishment and ―castration anxiety‖ make the child find another woman and imitate the father as a model for the future. This is how the child identifies himself with the father (Rennison 88; Cramer 107). In this way, identification protects the self from damage. Due to its necessity, identification is considered maturer than denial or projection. - 35 -

Regression is an immature defence. It is the return to earlier stages of sexual and individual development in an attempt to avoid anxiety and psychic pain. This is a movement back in psychological time when one is faced with stress. When one is troubled or frightened, his\her behaviors often becomes more childish or primitive. There are so many examples for explaining this defence. Teenagers may giggle uncontrollably when introduced into a social situation involving the opposite sex. Moreover, an adult curls up in fetal position when feeling afraid or threatened (Rennison 89). Displacement is a defence mechanism that redirects an impulse onto a powerless substitute target. The target can be a person or an object that can serve as a symbolic substitute. It is a mechanism, particularly in dreams, by which a strong and troubling emotion is detached from its real cause and placed on another one, often trivial. An example is that when someone is frustrated by his or her superiors, he\she may go home and kick the dog or beat up a family member (Rennison 85). Another defence mechanism is sublimation. To Freud, sublimation is the transforming of an unacceptable impulse, whether it is anger, fear, or whatever, into a socially acceptable, even productive form. He believed that sublimation was a sign of maturity. Sublimation, for him, was the cornerstone of civilized life. That is, arts and science are all products of sublimation. Many suppressed desires and - 36 -

traumatic events in the life of artists create a sort of anxiety in their mind. These suppressed desires and traumatic events need to find an outlet to get gratified. Many great artists and musicians have or had unhappy lives. As a result, they use the medium of art of music to express themselves. Sport is another example of putting emotions into something constructive (Rennison 89). Reaction formation is the final mechanism discussed in this paper. This happens when a person goes in the opposite way to which he or she thinks or feels. By means of the reaction formation, the id is satisfied while keeping the ego in ignorance of the true motives (Freud, The Complete Psychological Works 28112826). This means that the conscious feelings are the opposite of the unconscious. A reaction formation is usually marked by showiness and compulsiveness. For example, Freud claimed that men who are prejudice against homosexuals are hiding their own homosexual feelings by adopting a harsh antihomosexual

attitude

which

helps

convince

them

of

their

heterosexuality. Moreover, the love from a dutiful daughter to her mother is the signal to the daughter‘s reaction to her Oedipus hatred towards her mother (Simplepsychology.org).

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1.4 The Analogy between Literary Texts and Dreams Psychologically, the analogy between texts and dreams is justifiable because both manifest the unconscious mind. That is, texts and dreams are both outlets to discharge the suppressed desires. However, text and dream can be similar in many other ways. For instance, both have plot and story lines. Both can be either fragmented or unified. Moreover, both can be analyzed and interpreted. Before drawing the analogy between the two, Freudian mechanisms of dream interpretation are to be demonstrated. Then, Freudian psychoanalyzing of literary texts will be clarified. Later, the psychological mechanisms of interpreting texts and dreams are to be compared to each other. Furthermore, the thesis sheds light on the idea of having authors as dreamers. In addition, other similarities between texts and dreams will be elaborated. In The Interpretation of Dreams (1899), Freud gives a detailed account of the dreams from a psychological perspective. He explains the methods and mechanisms of dream analysis. In the beginning of the book, he gives a hind on how he analyzes the dreams: In the pages that follow I shall bring forward proof that there is a psychological technique which makes it possible to interpret dreams, and that, if that procedure is employed, every dream reveals itself as a psychical structure which has a meaning and which can be inserted at an assignable point in the mental activities of waking life. I shall further - 38 -

endeavour to elucidate the processes to which the strangeness and obscurity of dreams are due and to deduce from those processes the nature of the psychical forces by whose concurrent or mutually opposing action dreams are generated. Having gone thus far, my description will break off, for it will have reached a point at which the problem of dreams merges into more comprehensive problems, the solution of which must be approached upon the basis of material of another kind. (Freud, The Interpretation 35)

It is obvious that Freud wants to initiate a method of interpreting dreams. He states that the book will solve the problems related to the obscurity of dreams. In addition, he gives hints about the mechanisms of dream analysis from a psychological point of view. In the first chapter of The Interpretation of Dreams, Freud describes three main types of dreams. They are direct prophecies received in the dream, the foretelling of a future event and the symbolic dream. However, in chapter three of the book, he further classifies the dreams based on his views. This is due to the fact that the first classification is classic. He begins by discussing dreams that "reveal themselves without any disguise as fulfillments of wishes." Examples are thirst and hunger dreams in which sleepers dream that they are drinking and eating tasty beverages and foods. He also describes another type of dreams, which he calls "dreams of convenience.‖ These dreams can be noticed when sleepers imagine that they are already awake and getting ready to start their days. Moreover, he describes

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a number of wish-fulfillment dreams that have been dreamed by women he knows. For example, one woman dreamed that she was on her period when in fact she was pregnant. Freud interprets this dream as an expression of the woman's desire to "go on enjoying her freedom a little longer before shouldering the burden of motherhood." In addition, he sheds light on the discussion of children's dreams. He argues that they are often "pure wish-fulfillments." The only difference is that children‘s dreams are uncomplicated by the kinds of alterations and modifications that appear in the dreams of adults. To further justify this, he recounts a number of dreams that have been dreamt by his own children (Freud, The Interpretation 148156). The central idea of Freud‘s theory is that most of the dreams are ―wish fulfillment.‖ Freud inaugurated this idea on the basis of self-analysis. He had what he called "The Dream of Irma's Injection.‖ Freud analyzed this dream immediately and presented a brief version of it in the Project for a Scientific Psychology. Freud dreamed that he had met his patient, Irma, in a large hall full of guests. Taking Irma aside, he chided her for not accepting his ―solution,‖ saying, ―If you still get pains, it's really only your fault.‖ Irma replied that her pains were "choking her.‖ He noted that she looked pale and puffy, and he looked down her throat. There, in her throat, he found whitish scabs on what looked like the bone structure of the nose. He called in various doctors to examine Irma, including ―Otto.‖ Otto was - 40 -

Oscar Rie, a colleague who had criticized his therapy with Irma the day before. Freud recalled that Otto had carelessly given Irma an injection, probably with a dirty syringe. When Freud analyzed this dream in 1895, he viewed it as a form of wish-fulfillment. This dream, he declared, was simple wish fulfillment: Irma's continued suffering was not his fault, and he was able to take revenge on Otto (Freud, The Interpretation 130-140). Freud argues that dreams are the consequences of a battle between the conscious and the unconscious. That is, the unconscious teems with thoughts, desires and wishes that look for an outlet. However, in waking life, the conscious mind represses these. To him, dream analysis is the ―royal road to the knowledge of the unconscious activities of the mind‖ (Freud, The Interpretation 604). In dreams, the unconscious partially evades the censorship imposed upon it and its wishes. It desires to achieve their fulfillment. However, because the wishes and desires have such power to disturb the individual, even in dreams they are fulfilled only in disguised forms. To Freud, the ―dream work‖ consists of the manifest dream and the latent content. The manifest dream, the dream the dreamer remembers and recounts. The latent content is the hidden material behind the manifest dream. He described what he called ―the dream-work‖ by which the mind disguises the material that is seeking expression and hides the latent dream behind the manifest dream. The - 41 -

method of memory-selection in dreams is different to the waking mind: the unconscious mind generally does not focus on major events, but remembers the trivial or unnoticed. Despite their reputation as being random or absurd, dreams have a unifying motive that easily pulls disparate people, events and sensations into one "story‖ (Rivkin 128-135; Rennison 44). Dream-work makes use of a number of different techniques. One of them is condensation, in which one idea or image stands for a sequence of interconnected ideas or images. He also sheds light on displacement, in which a strong and troubling emotion is detached from its real source and ―displaced‖ onto another. Symbolism is another mechanism for dream analysis in which a range of neutral objects in dreams stand in for something else. Moreover, ―secondary elaboration‖ is also there. This is about the dreamer's tendency to fill in gaps in the dream and explain its mysteries in order to understand it better. This usually leads to significant misunderstandings of the dream's true latent content (Rennison 44-45). Chapter six of The Interpretation of Dreams is devoted to the processes that Freud calls the "dream-work." In this chapter, he talks about the mechanisms of dream analysis in an elaborated way. He states that the main function of dream interpretation is to discover the relationship between the "manifest" and the "latent‖ content of dreams. He calls the "manifest" content the "dream-content" and the "latent" content the "dream-thoughts." In addition, he states that the - 42 -

relationship between these two is "like two versions of the same subject-matter in different languages." Furthermore, he adds that the "manifest" content of dreams is like picture-puzzles. To interpret it, one should not take the pictures literally. There is a need to determine what other words or ideas they represent. This is how the ―latent‖ content is revealed (Freud, The Interpretation 295-296). Condensation is the first dream-work process that is explained by Freud. It is the method by which dreams ―condense‖ their thoughts and meanings. He states that dreams are ―brief, meager, and laconic in comparison with the range and wealth of the dream-thoughts.‖ This means that if a dream fills ―half a page‖ once it is written, the dream analysis can "occupy six, eight, or a dozen times as much space.‖ This is because dreams are condensed; they are packed with a lot of meanings. He states that ―condensation‖ takes place through omission. This means that, ―the dream is not a faithful translation or a point-by-point projection of the dream-thoughts, but a highly incomplete and fragmentary version of them‖ (Freud, The Interpretation 296-299). To illustrate his point, Freud presents a specimen dream that comes from one of his male patients who dreamed that he was: Driving with a large party to X street, in which there was an unpretentious inn. […] There was a play being acted inside it. At one moment he was audience, at another actor. When it was over, they had to change their clothes so as to get back to town. Some of the

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company were shown into rooms on the ground floor and others into rooms on the first floor… (Freud, The Interpretation 302).

As the dream proceeds, tensions emerge over the placement of people upstairs and downstairs. Finally, the man found himself ―walking by himself up the rise made by X street in the direction of town. He walked with such difficulty and so laboriously that he seemed glued to the spot. An elderly gentleman came up to him and began abusing the King of Italy. At the top of the rise he was able to walk much more easily.‖ Freud's interpretation of this dream tackles a number of related elements. They are the patient's bodily memory of tuberculosis, his recent loveaffair with a stage actress, a play that he had seen recently, lines from a poem that suddenly sprung to his mind and early childhood memories of being nursed, among others. To Freud, all of these elements are interconnected through various combinations of dream-content and dream-thoughts. That is, the "manifest" content of the dream has condensed the dream-thoughts (Freud, The Interpretation 303307). Displacement is the second dream-work process. According to Freud, it is a method by which dreams disguise their "latent" content by substituting it with unrelated manifest content. It is the dream's tricky transfer of harming high-impact emotionality onto unimportant material, which is not harming for the ego. It is for this reason that he notes that dreams will sometimes omit elements that are ―highly - 44 -

stressed‖ that have a substantial amount of value attached to them. Instead, there is emphasis on other elements that are ―reinforced from many directions.‖ This shows that displacement, along with condensation, are the most important doers of the distortive dream-work that censors the true wishes underneath the dream. Displacement also refers to the tendency of libido to invest itself in objects other than the original object of its aim. This is how distressing dream-thoughts ―escape the censorship imposed by resistance‖ (Freud, The Interpretation 322-326). Another mechanism of dream analysis is through symbols. In fact, Freud ―recognized the presence of symbolism in dreams from the very beginning,‖ and ―it was only by degrees and as [his] experience increased that [he] arrived at a full appreciation of its extent and significance.‖ (Freud, The Interpretation 363-364). He explains that his newfound appreciation for symbolism in dreams was mostly influenced by Wilhelm Stekel's contributions to psychoanalysis. Freud states that the symbols that he is about to discuss are not limited to dreams. They are also present in ―folklore, and in popular myths, legends, linguistic idioms, proverbial wisdom and current jokes.‖ They seem to have a lot to teach about human cultures in general. Freud believes that dreams use symbols ―for the disguised representation of their latent thoughts,‖ and that it can sometimes be difficult to know whether a dream-image is meant to be interpreted literally or symbolically. This point reminds his audience that one should not be too quick to assume that all - 45 -

dream-images are necessarily symbols. He believes that it may not always be the case that a ―flower‖ in a woman's dream relates to her romantic nature and her sexuality. He also states that ―the presence of symbols in dreams‖ requires new interpretive methods (Freud, The Interpretation 363-373): As a rule the technique of interpreting according to the dreamer's free associations leaves us in the lurch when we come to the symbolic elements in the dream-content. Regard for scientific criticism forbids our returning to the arbitrary judgments of the dreaminterpreter […]. We are thus obliged, in dealing with those elements of the dream-content which must be recognized as symbolic, to adopt a combined technique, which on the one hand rests on the dreamer's associations and on the other hand fills the gaps from the interpreter's knowledge of symbols. (Freud, The Interpretation 365)

Freud emphasizes the importance of context once again, noting that symbols ―frequently have more than one meaning.‖ For this reason, he says that ―the correct interpretation can only be arrived at on each occasion from the context‖ (Freud, The Interpretation 366-367). ―Secondary revision‖ is the fourth of the major processes that combine to make up the dream-work. Although many dreams do not seem to ―make sense,‖ many others appear to be quite coherent and logical. Freud says that it is the function of secondary revision which creates this form of narrative coherence. This process, to him, ―fills up the gaps in the dream-structure with shreds and patches.‖ - 46 -

The secondary revision transforms dreams into something similar to coherent ―daydreams‖ or depictions of reality. Sometimes, the dream appears to be a simple retelling of events from the previous day, as a musician has a dream of tuning piano. Secondary revision occurs at the end of the process of dream-construction. However, it should be noticed that Freud states that not all the dreams are necessarily intended to be coherent and understandable without interpretation (Freud, The Interpretation 493-511). Psychologically, literary texts and dreams are similar in many aspects. The key point of their similarity is that they are manifestations of the unconscious mind. That is, both are products of suppression. Moreover, if text is the reflection of the life and context of the writer, dream is the reflection of the life of the dreamer. Both have a fictional atmosphere. Both have story lines, whether fragmented or coherent. Above all, the mechanisms of dream analysis can be applied on literary analysis. In literary analysis, there are literary devices for text analysis which are similar to those of dream analysis. Metaphor and imagery are the counter-parts of condensation. Metonymy is the counter-part of displacement. Finally, symbolism and secondary revision can be found in both. To Freud, the fine arts and literary works are similar to dreams in a sense that they are manifestations of the unconscious and are products of suppression. Both are means of wish-fulfillment. For Freud himself and for his early followers, - 47 -

reading an artwork psychoanalytically usually involved delving into the artist‘s conscious and unconscious motivations for the work. In his article ―Creative Writers and Day-Dreaming‖ (1908) he compares the artist‘s work to child‘s play: ―Might we not say that every child at play behaves like a creative writer, in that he creates a world of his own, or, rather, rearranges the things of his world in a new way which pleases him?‖ (Freud, On Freud’s 131-132). According to him, daydreams, like play, and the dreams of the night are geared primarily towards fulfilling wishes that we cannot fulfill in real life. Fantasizing is the adult equivalent of play, the residue of these childhood pleasures which they loathe to leave behind. If a person is talented enough at fantasizing and converting those fantasies into artistic form, he or she may become an artist (Thruschwell 114-115). To him, artists are neurotic people. Many suppressed desires and traumatic events in the life of artists create a sort of anxiety in their mind. These suppressed desires and traumatic events will overload the mind of the authors and artists. They need to find an outlet to get discharged and gratified. It is the same case of dreams. Both texts and dreams provide safe medium for anxiety discharging. If dreams are for normal people, for artists writing literature is a medium through which they get released from their psychological anxieties. Therefore, like dreams, literature and fine arts, in general, are products of the returning of the suppressed desires. At this point, Freud sheds light on the importance of suppression. It is the key of - 48 -

civilization, and civilization is the badge of humanity. Without suppression, there will be no order and no productivity. It is suppression and civilization that encourages man to breed animals instead of hunting them. It is suppression that encourages an artist to turn pathogenic ideas and psychological anxieties into fine art and literature. It is suppression that turns pathogenic desires into a dream, which does not harm the ego and others. Thus, suppression produces civilization, and civilization is the sum total of cultural achievements that distinguish human beings from animals (Rennison 53, 89). Literary texts and dreams are the products of the authors‘ and dreamers‘ life memories and past anxieties. Therefore, studying authors‘ and dreamers‘ biographies and life stories would be a good method to unlock the hidden meanings of the literary texts and dreams. In The Interpretation of Dreams, Freud sheds light on the importance of the life background and the context of the dreamer in dream analysis (Freud, The Interpretation 367). The same concept is applicable on text analysis. Freud invented this idea while he was investigating the psychological determinants of Leonardo da Vinci‘s and Dostoevsky‘s artistic creativities. This establishes a meaningful relationship between psychological specificities of an artistic product and some supposed past happenings in the life of the artist. The importance of this idea lies on two major points. First, it examines the relationship between artistic creativity and the neurotic anxieties of the artist. - 49 -

This means that there is a relationship between a literary work and the traumatic events that occurred in the life of the author. Second, it provides evidence about the connections between the biography and the peculiarities of a particular artist (Parkin-Gounelas 32, 164). Thus, dreams and literary texts are similar in the sense they manifest the life background and the past memories of the dreamers and authors. In literary texts and dreams, there are story lines, plots. Freud uses the word ―story‖ in The Interpretation of Dreams to refer to the dream-work several times. This confirms the fact that he believed in having plots in dreams (Freud, The Interpretation 367). Like literary texts, they do have beginning, middle and the end. Both dreamers and authors tell stories. The plots of dreams and texts can be coherent or fragmented. It is their analysis that will decipher their full meaning (Abrams 224). In fact, the Freudian mechanisms of dream analysis can be applied on literary analysis. This has been mentioned previously by Jacques Lacan, a psychologist. There are literary devices that are counter-parts for the four major mechanisms of dream analysis. Metaphors and imageries are counter-parts of the process of condensation. In metaphor, there is an implicit, implied or hidden resemblance between two contradictory or different objects based on a single or some common characteristics. On the other hand, imagery is the use of vivid and - 50 -

descriptive language to add depth to their work. It appeals to human senses to deepen the reader's understanding of the work. These two literary devices are counter-parts of condensation as long as condensation stands for associating a lot of images and ideas with one or more image(s). Metonymy is the counter-part of the process of displacement. Displacement is detaching a strong and troubling emotion from its real source by displacing it onto another. It is very similar to metonymy, which replaces the name of a thing with the name of something else with which it is closely associated (Parkin-Goundelas 22, 26; Abrams 121, 155156). Symbolism is the use of symbols to signify ideas and qualities by giving them symbolic meanings that are different from their literal sense. A symbol is a concrete object that stands for an abstract idea or ideas. Symbols can be found in both texts and dreams. They can be used to analyze both (Abrams 311; Freud, The Interpretation 363-368). Freud says that secondary revision creates a form of narrative coherence in dreams. This process, to him, fills up the gaps in the dreamstructure. The secondary revision transforms dreams into something similar to coherent ―daydreams‖ or depictions of reality. In the same manner, a poem, a story or any literary work might be composed of initially disparate ideas and feelings. Later, these thoughts and feeling can be viewed in a different way. This is revising the text according to conscious and often formal criteria, taking into account things - 51 -

like logical coherence and who the intended audience is. However, not all the dreams are understandable even if they pass through the secondary revision process. Some of them remain puzzle-like. Secondary revision provides them with unified themes and ideas. The same thing can be seen in some of the texts. Even their final draft is fragmented; yet, they have coherency in terms of content (Horning 143-145; Freud, The Interpretation 367). In fact, it can be seen that the four major mechanisms of dream analysis also operate in literature analysis. This widespread applicability is perhaps one of the reasons why Freud regarded dreams in such a high regard as the ―royal road‖ to the unconscious. This also could be one of the reasons that The Interpretation of Dreams is recognized as his most significant book.

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Chapter Two Text: Dream 2.1 Condensation: Imagery As mentioned in the first chapter, there are literary devices that are counterparts for the mechanisms of dream analysis. Metaphors and images are counterparts of the process of condensation. However, to unify the argument of this thesis, imagery is to be used as an umbrella term since metaphors appear in the form of images. Imagery is the use of a descriptive language to add density and vividness to the work. It deepens the reader's understanding of the work. This literary device is a counterpart of condensation in which one idea or image represents a sequence of interconnected ideas or images. It is the method by which dreams are condensed into their thoughts and meanings. Freud states that dreams are condensed, i.e., if a dream fills half a page, the dream analysis can occupy many pages: dreams are packed with a lot of meanings. The same method is applicable to literary analysis. One image can have a lot of meanings. The text is packed with meanings to be decoded and analyzed (Parkin-Goundelas 22, 26; Abrams 121). James Joyce‘s A Portrait of the Artist as a Young Man (1916) is a dreamlike text. Like a dream, it is full of fragmented images that can be related, unified

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and decoded through logical analysis. In the text, literary analysis of images and psychological analysis of condensation go in hand in hand. Thus, the text can be compared to a dream with this respect. In this novel, Joyce uses imagery to establish a form of structural and thematic unity throughout the work. Various types of imagery are used to show Stephen Dedalus‘ perception of life. Some of the images appear in the form of dichotomies such as: wet versus dry, hot versus cold and light versus dark. These recursive images reveal the forces that will affect Dedalus‘ life as he matures. Moreover, there are some other important images that frequently appear in the novel. The most representative ones are labeled as color and bird imagery. These fragmented images, which flow from the mind of the character, bear various meanings. However, the analysis will decode and unify their meanings. Besides, the imagery in the text shows how condensation, which is a psychological mechanism of dream analysis, can be used in text analysis. One of the discernable patterns throughout the novel is that of wet-dry imagery. These two contrastive images reveal much about Dedalus‘ psychological status. As a small child, Dedalus learns that any expression of a natural inclination, such as wetting the bed, is considered to be wrong. The beginning of the novel sheds light on this fact: ―When you wet the bed first it is warm then it gets cold. His mother put on the oilsheet. That had the queer smell.‖ (Joyce 5). It can be - 54 -

noticed that the wet sheets are replaced by the dry ones. Furthermore, the reinforcement of the oilsheet stands for unpleasant correction of inappropriate behavior. Thus, wet things relate to natural responses and dry things relate to learned behavior. This form of suppression creates a sort of anxiety in the unconscious mind of the character (Zimbaro 53). Until the character grows up, he suffers from aquaphobia. Many examples from the text confirm this fact: It would be nice to lie on the hearthrug before the fire, leaning his head upon his hands, and think on those sentences. He shivered as if he had cold slimy water next his skin. That was mean of Wells to shoulder him into the square ditch because he would not swop his little snuff box for Wells‘s seasoned hacking chestnut, the conqueror of forty. How cold and slimy the water had been! (Joyce 8)

The example shows how the square ditch makes Dedalus feel anxious. Being shouldered into the square ditch, he later falls ill. Henceforward, wetness causes suffering to the character. Likewise, in another example, one can see the flood of his adolescent sexual feelings which engulf him in wavelets, causing him guilt and shame (Zimabaro 53): 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 - 55 -

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. (Joyce 128)

Seemingly, wet is bad; dry is good. That is, wetness is a condensed image that stands for anything which causes anxiety. Dry is the condensation of everything that is learned through discipline. This is all because of the suppressive forces of religion and social codes around the character. These forces stand for the id and the superego in the mind of the character. Any exposition to wet is horrible and causes damage to the ego. A turning point in this pattern occurs when Stephen crosses the "trembling bridge" over the river Tolka. He leaves behind his dry, "withered" heart, as well as most of the remnants of his Catholicism. As he wades through "a long rivulet in the strand," he encounters a young girl, described as: A girl stood before him in midstream, alone and still, gazing out to sea. She seemed like one whom magic had changed into the likeness of a strange and beautiful seabird. Her long slender bare legs were delicate as a crane‘s and pure save where an emerald trail of seaweed had fashioned itself as a sign upon the flesh. Her thighs, fuller and softhued as ivory, were bared almost to the hips where the white fringes of her drawers were like - 56 -

featherings of soft white down. Her slate blue skirts were kilted boldly about her waist and dovetailed behind her. Her bosom was as a bird‘s soft and slight, slight and soft as the breast of some dark plumaged dove. But her long fair hair was girlish: and girlish, and touched with the wonder of mortal beauty, her face. (Joyce 144)

This beautiful girl gazes at Dedalus from the sea, and her invitation to the wet, natural life enables him to make a climactic choice concerning his destiny as an artist. Later, after Stephen has explained his aesthetic philosophy to Lynch, rain begins to fall; seemingly, the heavens approve of Stephen's theories about art, as well as his choice of art as a career (Zimbaro 53). From this point onward, wet stands for the natural existence of the character; dry stands for anything that is a resistance against his natural existence. As mentioned in the first chapter, Freud states that dreams are to be analyzed based on the condition of the dreamer. Here, the condition of the character changes, so do the meanings of the wet and dry images. Wet becomes the condensation of everything favored by the character, while dry is the condensation of the broken chains. The hot and cold imagery similarly affects Stephen Dedalus. The hot-cold pattern can be seen vividly in the first chapter of the novel when the character perceives the two images of sensation: ―When you wet the bed first it is warm then it gets cold.‖ (Joyce 5). The initial imagery of hot and cold comes from the character‘s memory of wetting the bed. When he wets himself, first it is warm; - 57 -

then, it gets cold and becomes a horrible thing. That pattern of hot and cold is saved in the unconscious mind of the character. It appears frequently, specifically, when his streams of consciousness are portrayed: To remember that and the white look of the lavatory made him feel cold and then hot. There were two cocks that you turned and water came out: cold and hot. He felt cold and then a little hot: and he could see the names printed on the cocks. That was a very queer thing. (Joyce 9)

It can be clearly seen how the two images sensation affect the character. The two contrastive images are logically put together. They stand for Dedalus‘ psychic agencies. Hot is the id; cold is the ego and the superego. For Dedalus, hot is the condensation intensity of affection and physical pleasure; cold is that of suppression and chastity (Bleech 138-139). Hot stands for everything that brings pleasure such as resting in his mother's warm lap, being cared for by the kindly Brother Michael and receiving a heated embrace from the Dublin prostitute during his first sexual encounter. In contrast, the cold is evidence of the cruel reality of his changing life at school (Zimbaro 53). It stands for the suppressive forces of religion, education and society. The last of this set of contrastive images is that of light and dark. Light stands for knowledge, art and joy; dark stands for ignorance, church and terror . Numerous examples of this conflict pervade the novel. In an early scene, when - 58 -

Stephen says that he will marry a Protestant girl, Eileen, he is threatened with blindness: The Vances lived in number seven. They had a different father and mother. They were Eileen‘s father and mother. When they were grown up he was going to marry Eileen. He hid under the table. His mother said: ––O, Stephen will apologise. Dante said: ––O, if not, the eagles will come and pull out his eyes. (Joyce 5-6)

Stephen is terrorized without knowing why. Seemingly, a good Catholic boy should remain ignorant about other faiths. For this cause, he is threatened with impairing his eyes. Stephen‘s natural fondness for Eileen is condemned. Stephen is only a boy, but his sensitive artist's nature realizes that he is going to grow up in a world where he will be forced to suppress his true feelings and conform to society's rules and threats. Most probably, this is the reason why Dedalus wears glasses. It is because his eyes are exposed to threat in his early life (Thurston 163). Dedalus‘ broken glasses are also part of this light and dark imagery. Without his glasses, Stephen sees the world as if it were a dark blur. Figuratively blinded, he cannot learn, yet he is unjustly punished for telling the truth about the reason for not writing in the class. He quickly realizes the potential, dark and irrational - 59 -

cruelty of the priest (Joyce 34; Zimbora 54). For Dedalus, where there is light, there is joy and satisfaction. When he goes home for Christmas Holiday, the light and the warmth of the fire gives him a considerable joy: A great fire, banked high and red, flamed in the grate and under the ivytwined branches of the chandelier the Christmas table was spread. They had come home a little late and still dinner was not ready: but it would be ready in a jiffy, his mother had said. They were waiting for the door to open and for the servants to come in, holding the big dishes covered with their heavy metal covers (Joyce 22).

The light of the fire enlightens the character‘s heart with happiness. This can be felt easily through the tone of the writing as long as it is associated with Christmas and its festive spirit. On the other hand, the Clongowes School is dark to the extent that even fire cannot make it light: The prefect‘s shoes went away. Where? Down the staircase and along the corridors or to his room at the end? He saw the dark. Was it true about the black dog that walked there at night with eyes as big as carriage lamps? They said it was the ghost of a murderer. A long shiver of fear flowed over his body. He saw the dark entrance hall of the castle. Old servants in old dress were in the ironingroom above the staircase. It was long ago. The old servants were quiet. There was a fire there but the hall was still dark… (Joyce 15)

References to darkness can be seen more than once in the extract. It is associated with the terror and strictness of the school. The hall in the school is too dark to be

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lightened with fire. One may wonder whether the hall is too dark, or the character is horrified by the suppression of the school. The later seems more logical. This is because he is not the only student in the school, but he is the only one who feels lonely and misses the warmth of home. Later on, in chapter four, the philosophical discussion about the lamp with the Dean of Studies reveals the blindness of this cleric, compared with the illumination of Stephen's aesthetic thoughts: A smell of molten tallow came up from the dean‘s candle butts and fused itself in Stephen‘s consciousness with the jingle of the words, bucket and lamp and lamp and bucket. The priest‘s voice too had a hard jingling tone. Stephen‘s mind halted by instinct, checked by the strange tone and the imagery and by the priest‘s face which seemed like an unlit lamp or a reflector hung in a false focus. What lay behind it or within it? A dull torpor of the soul or the dullness of the thundercloud, charged with intellection and capable of the gloom of God? (Joyce 157)

Here, Dedalus compares the priest with an unlit lamp. He, the priest, stands for dullness. The reason is that the priest is the voice of the church, while Dedalus is the voice of art and philosophy. Dedalus belongs to light; the priest belongs to darkness. From the psychological perspective, light imagery is the condensation of the gratification of the artistic desire of the character who struggles to get freed from - 61 -

the constraints. Darkness, on the other hand, is the condensation of the impediments and suppressive forces in the life of the character. As a condensed image, light, on one hand, is associated with joy, art, knowledge and freedom. On the other hand, darkness is associated with religion, terror, ignorance and suppression. One of the most pervasive images in the novel is that of flight. The association of flight with Dedalus‘ experience stems from his affiliation with Daedalus. He was a craftsman and artist in Greek mythology. He is best known as the creator of the Labyrinth, a huge maze located under the court of King of Crete. In Lazbyrinth, the Minotaur, a half-man half-bull creature, dwelt. According to the myth, the king of Athens was forced to pay tribute to King Minos by sending seven young men and seven young women each year to Crete, in order to be sacrificed to the Minotaur. One year, however, the legendary hero Theseus was sent into the labyrinth and managed to kill the Minotaur, assisted by Minos' daughter, Ariadne. Later, Daedalus was kept imprisoned in a tower in Crete, so that the secret of the Labyrinth would not be spread to the public. In order to escape, Daedalus created two sets of wings for himself and his young son Icarus, by using feathers and glueing them together with wax. He gave one of the sets to Icarus and taught him how to fly (Hamilton 192-194).

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The flight imagery begins as early as the character is threatened by an eagle: ―––O, Stephen will apologise… if not, the eagles will come and pull out his eyes.‖ (Joyce 6-7). At this stage of the character‘s life, flying objects bring about fear. The reason is that the character is under the suppressive power of family and church. Flying, which stands for freedom, is a threat, and it causes anxiety. Even a flying ball, which stands for joy, does not bring joy to Stephen Dedalus. It looks ―like a heavy bird" through the sky (Joyce 6). Moreover, his first days at Clongowes, his oppressed feelings and desires are expressed by "a heavy bird flying low through the grey light.‖ (Joyce 17). At that time, flight from unhappiness seemed impossible for him. However, as the novel progresses, he begins to formulate his artistic ideals. Thereon, the notion of flight seems possible (Zimbora 54). For example, in Chapter four, after he renounces the possibility of a religious vocation, he feels a "proud sovereignty" as he crosses over the Tolka: Their banter was not new to him and now it flattered his mild proud sovereignty. Now, as never before, his strange name seemed to him a prophecy. So timeless seemed the grey warm air, so fluid and impersonal his own mood, that all ages were as one to him... Now, at the name of the fabulous artificer, he seemed to hear the noise of dim waves and to see a winged form flying above the waves and slowly climbing the air. What did it mean? Was it a quaint device opening a page of some medieval book of prophecies and symbols, a hawklike man flying sunward above the sea, a prophecy of the end he had been born to serve and had been following through the mists of childhood and boyhood, a symbol of - 63 -

the artist forging anew in his workshop out of the sluggish matter of the earth a new soaring impalpable imperishable being? (Joyce 142)

In the extract, two references of flying can be found. One is the character‘s name, which is like a prophecy for him to fly. Second, there is the hawk-like man who flies towards sun, hope. From this moment onward, flying no longer causes suffering. Rather, it is a prophecy. Now, the character is born to fly and cross the barriers. This incident is followed by another reference to flight. In a moment of epiphany, he sees a girl wading in the sea and described as "delicate as a crane," with the fringes of her "drawers . . . like the featherings of soft white down." Her bosom is described as "the breast of some darkplumaged dove." This enables Stephen to choose art as his vocation (Joyce 144). Finally, Dedalus realizes his life's purpose. He sees his "soul . . . soaring in the air." He yearns to cry out like an "eagle on high." He experiences "an instant of wild flight" and is "delivered" free from the bondage of his past (Joyce 142-143). At the end of the novel, Stephen cries out to Daedalus, his old father, old artificer, and prepares for his own flight to artistic freedom. Finally, he flies away from the nets of nationality, religion and language (Gleed 30; Joyce 171). Psychologically, flight imagery is the condensation of suppression and gratification of Dedalus‘ desires. From the beginning, flight brings about fear

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because freedom is impossible as long as the character is not independent. Thus, it is the condensation of anxiety and suppression. As the character launches into life, reaction formation takes place. In this phase, flight is the condensation of joy, freedom and art (Freud, The Complete Psychological Works 2811-2826). Color imagery is foregrounded in Chapter One. In the novel, colors show the conflicting drives of politics. They show how politics uglify the beauty of the colors. The major ones are green, maroon, white, red and green colors. The colors green and maroon are associated with Parnell and Michael Davitt. The maroon brush stands for Michael Davitt, the pro-Catholic activist of the Irish Land League. The green-backed brush stands for Charles Stewart Parnell: It made him very tired to think that way. It made him feel his head very big. He turned over the flyleaf and looked wearily at the green round earth in the middle of the maroon clouds. He wondered which was right, to be for the green or for the maroon, because Dante had ripped the green velvet back off the brush that was for Parnell one day with her scissors and had told him that Parnell was a bad man. He wondered if they were arguing at home about that. That was called politics. There were two sides in it: Dante was on one side and his father and Mr Casey were on the other side but his mother and uncle Charles were on no side. Every day there was something in the paper about it. (Joyce 13)

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Parnell was Dante's political hero, but after the Church denounced him, she ripped the green cloth from the back of her brush. This confusing episode and the arguments between Dante and Stephen‘s father, represent politics to him at this stage of childhood. To Stephen, the two colors represent conflict (Gleed 141-142). He wonders "which was right, to be for the green or for the maroon." We also see the red and white teams in the Wars of the Roses-themed math competition. Again, color represents conflict and opposition. It stands for the conflict between Yorks and Lancasters in the end of the fifteenth century. However, Dedalus does not feel happy about having colors as stand-ins for politics (Thurston 151). Rather, he thinks about the aesthetic dimension of the colors: White roses and red roses: those were beautiful colours to think of. And the cards for first place and second place and third place were beautiful colours too: pink and cream and lavender. Lavender and cream and pink roses were beautiful to think of. Perhaps a wild rose might be like those colours… (Joyce 9)

Obviously, the character tries to show the beauty of the colors. He does not want to think of the ugliness of political conflicts. This defence mechanism is called denial, which is a mechanism that unconsciously works to deny reality with the aim of avoiding anxieties and fears (Cramer 23).

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Psychoanalytically, the color imagery is the condensation of the conflicting political forces that cause Dedalus complexes and anxieties. In his early age, he is forced to look for the right answer: green or maroon; white or red. This state of ambivalence gives him a big head full of questions, but no answers. The only outlet is to deny the political dimensions of the colors and think of them in terms of artistic beauty. In conclusion, it can be seen how imagery and condensation work in parallel with each other in the novel. This shows that the mechanism of dream analysis is similar to that of text analysis in this respect. This, in return, shows a form of similarity between texts and dreams. Images in texts and dreams are condensed. They bear a lot of meanings.

2.2 Displacement: Metonymy Displacement and Metonymy are counterparts of each other. The latter is a technical device for literary analysis; the former is a mechanism for dream analysis. The similarity between the two methods of analysis further justifies the analogy between texts and dreams. Displacement is detaching a desire, often a troubling one, from its real source by placing it onto another. It is very similar to metonymy, which replaces the name of a thing with the name of something else

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with which it is closely associated (Parkin-Goundelas 22, 26; Abrams 121, 155156). Although Joyce does not use a lot of metonymy in The Portrait of the Artist as a Young Man, there are enough raw materials to justify that the text can be analyzed the way a dream can be analyzed. This, in fact, does not weaken the substantiality of the argument of the thesis. Rather, it is more related to the style of Joyce who does not use a lot of metonymy. In this text, there are three major examples in which metonymy and displacement match together. First, impliedly, Dedalus‘ name is replaced by a ―wild rose‖ and ―Stephanos‖ (Joyce 5, 141). Second, Ireland is replaced by ―little green place‖ and ―a green rose‖ (Joyce 5, 9). Finally, Eileen Vance‘s name is replaced by ―ivory tower‖ and ―house of gold‖ (Joyce 30, 36). The first pages of this novel are about the fragmented memories of Dedalus as a very young child. Dedalus remembers a story told by his father. He sings the song from that story which originated from Irish Mythology: 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 coming 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. - 68 -

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. (Joyce 5)

In the extract above, there are two versions of the same story. One is told by the father; the other is imaginatively perceived by Dedalus. In Dedalus‘ version of the story, there are two metonymies. The first one is ―wild rose,‖ which stands for Dedalus. The second one is ―the little green place,‖ which stands for Ireland. The two associations are logical because Dedalus will become a wild, revolutionary author by the end of the novel. Moreover, Ireland is usually associated with green color due to its permanent green landscape. Even, its map is often colored as green (www.emeraldislandcasino.com). The whole meaning of the two phrases is that a wild, revolutionary artist will launch into life in Ireland to break the chains and barriers. If this is related to James Joyce‘s biography, the name is changed owing to the prejudices of the society and suppressive powers of religion and politics. The same thing is applicable if it is related to the character, supposing it is an autobiographical novel. Whether it is related to the biography of the author or the overall context of the character, the changing of the two names is there (Gibson 131-133). Therefore, it can be labeled as metonymy.

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Psychoanalytically, changing Dedalus‘ name to ―the wild rose‖ and Ireland‘s name to ―the little green place‖ can be regarded as displacement. Displacement is a defence mechanism as well as a tool for dream analysis (Rennison 85; Freud, The Interpretation 322-326). The character changes the names because he is under the threat of the suppressive powers around him, such as church, family or society. Thus, this process is called displacement. The character cannot obviously and literally say that he is going to be a revolutionary author in Ireland to break the old values of nationalism, religion and culture. He is brought up in a society where those values are sacred. His ego adapts his behavior according to the reality principles. Therefore, he unconsciously uses an encoded language to be decoded by scholars and psychoanalysts. This is a way to discharge his desire to be a revolutionary artist without causing harm to his ego. Thus, the whole statement manifests the unconscious. It is the automatic defence mechanism, which operates unconsciously, that does the displacement. If this statement was given literally, it would have caused harm to the ego of the character. Thus, displacing Dedalus with a wild rose and Ireland with a little green place protects the ego of both the author and the character. The two processes of displacement are similar to two metonymies discussed above. This analogy between metonymy and displacement further justifies the argument of this thesis; it shows how the text is similar to a dream. - 70 -

Another example of metonymy is that of changing the name of Ireland with a green rose. This happens when Dedalus is having a class competition. As the students are engaged with the competition, his streams of thought go somewhere else. He thinks about the color of the things in the class and their beauty. This leads him to think about a green rose: …And the cards for first place and second place and third place were beautiful colours too: pink and cream and lavender. Lavender and cream and pink roses were beautiful to think of. Perhaps a wild rose might be like those colours and he remembered the song about the wild rose blossoms on the little green place. But you could not have a green rose. But perhaps somewhere in the world you could. (Joyce 9)

Here, the focus is on the green rose. Stephen imagines the possibility of having a green rose. As mentioned previously, the green rose is closely associated with Ireland due to the greenness of the land. In this situation, the green rose is metonymically used to stand for Ireland. Moreover, when the character says ―you could not have a green rose,‖ he rejects the possibility of having an independent Irish State. In the next line, the character leaves the chance for the possibility of having it, but this view stands for the wish of the majority of Irish people, not the character. This also has something to do with the biography of the author, Joyce, who did not believe in nationalism (Gibson 132-135).

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The metonymy, in this context, stands for the dream process of displacement. The reason is that if the character explicitly rejects the idea of nationalism and the possibility of having an independent Irish state, he would be exposed to punishment and criticism as a young boy. Therefore, Ireland is displaced with the green rose, and the two are closely related. To avoid anxiety and to protect the ego, the unconscious mind of the character uses the alternative to manifest its contents. This example further justifies the text-dream similarities. Another example of metonymy is that of calling Eileen ―Ivory Tower‖ and ―House of Gold.‖ Originally, those epithets are used to describe Virgin Mary, but here Dedalus uses the terms for Eileen. She is the subject of his admiration: …Blessed Virgin. Tower of Ivory, they used to say, House of Gold! How could a woman be a tower of ivory or a house of gold? Who was right then? And he remembered the evening in the infirmary in Clongowes, the dark waters, the light at the pierhead and the moan of sorrow from the people when they had heard. Eileen had long white hands. One evening when playing tig she had put her hands over his eyes: long and white and thin and cold and soft. That was ivory: a cold white thing. That was the meaning of Tower of Ivory. (Joyce 29)

In another part of the novel, Dedalus calls Eileen House of Gold: …She had said that pockets were funny things to have: and then all of a sudden she had broken away and had run laughing down the sloping curve of the path. Her fair hair had - 72 -

streamed out behind her like gold in the sun. Tower of Ivory. House of Gold. By thinking of things you could understand them. (Joyce 36)

In those two contexts, the character uses those two terms, which are associated with Virgin Mary, to call Eileen. This analogy is justified based on the perception of the character. Eileen is Ivory tower because of her long, thin and white hands. She is House of Gold because of her golden hair shining in the sunlight. In one way or another, Dedalus tries to associate Eileen with Virgin Mary. Virgin Mary is considered to be the mother to all the Christian people, including Dedalus. It also has to be remembered that the name of Dedalus‘ mother is Mary. So, if Eileen is associated with Mary, then the two mothers, biological and spiritual, should be mentioned (Zimbaro 9-10; Piyas 1655-1657). Through name-changing method, Eileen is associated with motherhood, both spiritual and biological. According to Freudian psychoanalysis, this is related to Dedalus‘ Oedipal desire. Accordingly, the character has an unconscious, sexual desire towards his mother, and this desire has to be suppressed since it is incestuous. Thereon, the character looks for the alternative when identification takes place. Unconsciously, the character identifies himself with his father by looking for a woman that is similar to his mother. Thus, associating Eileen with Virgin Mary, spiritual mother, is to associate her with Mary Dedalus, the biological one. In this way, the incestuous love towards the mother is displaced. Eileen is the - 73 -

alternative because she is similar to Dedalus‘ mother in one way or another. Once more, matching metonymy with displacement further justifies the analogy between texts and dreams (Cramer 107; Freud, The Interpretation 322-326; Rennison 88). The final example of metonymy is that of changing Dedalus‘ name with its Greek version. By the end of the novel, it seems that he hears the sea waves calling him Stephanos instead of Stephen: He heard a confused music within him as of memories and names which he was almost conscious of but could not capture even for an instant; then the music seemed to recede, to recede, to recede: and from each receding trail of nebulous music there fell always one longdrawn calling note, piercing like a star the dusk of silence. Again! Again! Again! A voice from beyond the world was calling. ––Hello, Stephanos! ––Here comes The Dedalus! (Joyce 141)

The character interprets this as a prophecy. To him, it is more of a divinely revelation that his name is Stephen Dedalus: ―Their banter was not new to him and now it flattered his mild proud sovereignty. Now, as never before, his strange name seemed to him a prophecy.‖ (Joyce 142). This is an implied reference to the idea of flying away from nationalism, religion and other restrictions. Now, his name is the Greek one. This further likens him with the Greek Deadalus who flies away from the Labyrinth (Zimbaro 40). - 74 -

The foregoing extracts show the psychological mechanism of displacement. It can be seen that the Irish Stephen is displaced by the Greek Stephanos. The reason behind this displacement is that the character cannot break the chains of nationalism and religion as a local, nationalist artist. Ireland stands for suppression, religion and nationalism. In return, Greece stands for freedom, art and internationalism. Therefore, the character‘s Irish identity and name is displaced by the Greek ones to save him from suppression, anxiety and entanglement. This shows how displacement, which is a mechanism for dream analysis, and metonymy, which is a tool for literary analysis, work alongside one another. This further strengthens the argument of likening texts to dreams. In the aforementioned examples, metonymy and displacement go along each other in a parallel line. The latter is a method for dream analysis; the former is that of text analysis. This shows that a text can be analyzed almost in the same way a dream is analyzed when psychoanalysis is the mode of the argument. This accredits the thesis to portray text as a dream.

2.3 Dream-Text Symbolism Symbols can be found in both texts and dreams. They can be used to analyze both. In literature, symbolism is the use of symbols to signify ideas and qualities by giving them symbolic meanings that are different from their literal sense. - 75 -

Basically, a symbol can be found when a concrete object stands for an abstract idea or ideas. In psychology, symbols can be used as methods for dream analysis. Freud believes that dream symbols are ―the disguised representation of their latent thoughts.‖ In texts and dreams, the meanings of the symbols vary according to the context of the dreamer. Freud emphasizes the importance of context, noting that symbols ―frequently have more than one meaning.‖ For this reason, he says that ―the correct interpretation can only be arrived at on each occasion from the context.‖ (Abrams 311; Freud, The Interpretation 363-368, 373). Joyce‘s A Portrait of the Artist as a Young Man contains many symbols. This quality of the text further justifies the argument of the thesis, which aims at drawing an analogy between texts and dreams. The symbols in this text can be discussed both in terms of literary analysis and psychoanalysis. The most representative symbols in the novel are eagles, colors, Dublin, skull and rain. The aforementioned symbols are to be analyzed in relation with their contexts to have adequate meanings. In the novel, eagle symbolizes freedom, art and individualism. It is closely related to the main character of the novel, Stephen Dedalus (Ferber 68). This symbol appears in two different phases of the character‘s life. First, it appears when the character is a child:

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The Vances lived in number seven. They had a different father and mother. They were Eileen‘s father and mother. When they were grown up he was going to marry Eileen. He hid under the table. His mother said: ––O, Stephen will apologise. Dante said: ––O, if not, the eagles will come and pull out his eyes. Pull out his eyes… (Joyce 5-6)

At this stage of the character‘s life, an eagle is something to be feared. As Dedalus attempts to break the rules, such as marrying Eileen, who is a Protestant, he is threatened with an eagle. The character fears the eagle because he is not independent enough to stand against his family and his society. He cannot associate himself with the symbolic meaning of the eagle, which is freedom. He has to follow the old values as long as he has no power to change them (Matz 47). As the novel progresses, the character grows into maturity. He establishes his own belief system. He finds his own way in life. By the end of the novel, Dedalus is no longer a passive young boy; he is a revolutionary, young artist. By now, he can associate himself with the eagle and its symbolic meaning: His throat ached with a desire to cry aloud, the cry of a hawk or eagle on high, to cry piercingly of his deliverance to the winds. This was the call of life to his soul not the dull

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gross voice of the world of duties and despair, not the inhuman voice that had called him to the pale service of the altar. An instant of wild flight had delivered him and the cry of triumph which his lips withheld cleft his brain. (Joyce 143)

The extract above describes Dedalus‘ feelings after rejecting the religious vocation, being a priest. Now, he is ready to become an artist and fly from the chains. By now, he can be as free as an eagle. Thus, it can be said that perception of the symbol is very much dynamic. It is because of development of the character. He is a modern character. He wants to change the old values with the new ones. This is not something easy. It takes time and courage as it is seen in the novel (Matz 4748). To psychoanalyze the symbolic meaning of eagle, the context of the symbol is to be taken into consideration. In the beginning of the novel, the eagle brings fear and anxiety to Dedalus because he cannot free himself from the suppressive forces around him. That is, the desire of being free cannot be gratified. However, as the character launches into life, he acquires a strong ego to free himself from suppression. His suppressed desires of flying and freeing himself become gratified as he renounces the old values. To a young artist, the old values stand for a cage; therefore, he needs to fly from that cage. Art is the only key to that cage. This is the reason that the eagle, freedom, is no longer fearful by the end of the novel.

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In this novel, the colors are very symbolic. In the starting pages, Dedalus, often refers to the colors. The most representative example is that of the math competition in the school: …Then all his eagerness passed away and he felt his face quite cool. He thought his face must be white because it felt so cool. He could not get out the answer for the sum but it did not matter. White roses and red roses: those were beautiful colours to think of. And the cards for first place and second place and third place were beautiful colours too: pink and cream and lavender. Lavender and cream and pink roses were beautiful to think of. Perhaps a wild rose might be like those colours and he remembered the song about the wild rose blossoms on the little green place. But you could not have a green rose. But perhaps somewhere in the world you could. (Joyce 9)

In the fore going extract, the teacher divides the students into two groups. One group wears badges of white roses, Yorks, and the other one wears badges of red roses, Lancasters. Dedalus is in the York group. While the rest of the class is preoccupied with the competition, Dedalus thinks about the colors. This, in fact, is one of the most colorful extracts from the novel. There are white, red, pink, cream, lavender and green colors in it. These colors symbolize art. It is in art that there is such a kind of variety. Even the character ponders upon the beauty of the colors. He comprehends them in terms of aesthetics (Thurston 151).

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Psychoanalytically, the colors symbolize the character‘s latent desire to become an artist. In the extract, there are two contrastive elements: one is the math class and the other is the beautiful colors. The mathematical sum competition stands for suppression since it stands for schooling and discipline. On the contrary, the beautiful colors stand for his suppressed desire to become a revolutionary artist. An evidence for that is the fact that he is different from the rest of the students. His mind is with artistic and aesthetic dimension of the colors rather than the math competition. Skull is one of the recurrent symbols in this novel. As early as chapter one, Stephen notes a skull present in the Rector‘s office at Clongowes: ―He saw the rector sitting at a desk writing. There was a skull on the desk and a strange solemn smell in the room like the old leather of chairs.‖ (Joyce 47). Later, he emphasizes the prominent curves of the skull of the Director of Belvedere: ―The director stood in the embrasure of the window, his back to the light, leaning an elbow on the brown crossblind... The priest‘s face was in total shadow but the waning daylight from behind him touched the deeply grooved temples and the curves of the skull.‖ (Joyce 129). Another reference to skull is after his falling out with Cranly at the end of the novel. He is Dedalus‘ college friend. Even his name, Cranium, means skull. He comments on the "death mask"-like quality of his friend‘s face, which reminds him of the severed head of St. John the Baptist. Moreover, in his first - 80 -

description of Cranly, he also calls it a "priestlike face" (Joyce 149). The final symbolic reference to skull is associated with Lynch, who is Dedalus‘ college friend. Lynch's name, literally, means "to hang"; he has a "long slender flattened skull . . . like a hooded reptile . . . with a reptilelike . . . gaze and a self-embittered . . . soul." (Joyce 173). Looking at the contexts of skull as a symbol in the novel, it can be stated that this symbol mostly occurs in association with religion. It can be obviously seen in Dedalus‘ interactions with Jesuit teachers and other religious people. Skull, in the novel, symbolizes the embodiment of fatalism in religion. Taking Dedalus‘ background into consideration, the symbol is associated with the strict and deathly of religious forces around him. He also comes to recognize it as a sign of the priesthood (Zimbaro 39, 53 and 54). In the psychological sense, skull, as a symbol, stands for the suppressive forces of religion and church. In Dedalus‘ life, church is the causative agent of all his anxieties and complexes, and this is stored in his unconscious mind. Church also stands for superego that asks for the perfection of the character in a very strict and conservative way. Therefore, skull, which is a fearful and deathly figure, symbolizes the suppressive filtering system of church authorities. This, in return, causes the creation of the character‘s latent desire to become a revolutionary artist. This desire constantly looks for an outlet to get gratified. To make the symbolic interpretation more logical, the skull is to be compared to the colors mentioned - 81 -

earlier. The ugliness of the skull is quite contrary to the artistic beauty of the colors mentioned in chapter one of the novel. Another symbol in the novel is Dublin. Dublin is the physical setting in which the novel takes place. To Dedalus, the city looks like a maze. This is related to his association with Daedalus from Greek Mythology. The city stands for the old values, such as nationalism, religion and old social codes. In the city, whenever the character seeks pleasure, great amount of guilt feeling is inflicted on him. This makes the character live like a prisoner in the maze-like city of Dublin. Therefore, the city symbolizes imprisonment (Zimbaro 25, 27 and 52). Dedalus does not feel happy in it: …This was the end; and a faint glimmer of fear began to pierce the fog of his mind. He pressed his face against the pane of the window and gazed out into the darkening street. Forms passed this way and that through the dull light. And that was life. The letters of the name of Dublin lay heavily upon his mind, pushing one another surlily hither and thither with slow boorish insistence. His soul was fattening and congealing into a gross grease, plunging ever deeper in its dull fear into a sombre threatening dusk, while the body that was his stood, listless and dishonoured, gazing out of darkened eyes, helpless, perturbed and human for a bovine god to stare upon. (Joyce 94)

The extract above reports Dedalus‘ emotions after he sleeps with the prostitute in Dublin. The name of the city is heavy upon his mind because of the values which

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are associated with the city. In this city, he cannot indulge his whims neither as an artist nor as a human being. Dedalus often seems to think that Dublin is hopelessly mired in the past and unable to modernize like the great cosmopolitan cities of Europe. This is the reason that he wants to fly away from this maze-like city. In psychological terms, the city of Dublin is associated with the anxieties and complexes of Dedalus‘ life before he becomes an artist. It symbolizes suppression and imprisonment. It is associated with the character‘s latent desires breaking the chains and flying from the nets. When the character decides to choose art as his own vocation, he decides to leave Dublin. This is a form of repression, which is a defence mechanism by which unpleasant ideas, memories, emotions, anxieties and complexes are meant to be forgotten for the sake of avoiding anxiety. This is motivated by the unconscious mind. In this context, leaving Dublin is an attempt to forget about the concept of imprisonment which the city symbolizes (Colman 574). The final symbol is that of rain. It is one of the symbols that occur more than once in the novel. Moreover, it has to be mentioned that rain is a dynamic symbol since Dedalus‘ perception of the symbol changes as the novel progresses. When the character is under the influence of church, rain symbolizes punishment. An example is the character‘s perception of rain after sleeping with the prostitute:

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The chapel was flooded by the dull scarlet light that filtered through the lowered blinds; and through the fissure between the last blind and the sash a shaft of wan light entered like a spear and touched the embossed brasses of the candlesticks upon the altar that gleamed like the battleworn mail armour of angels. Rain was falling on the chapel, on the garden, on the college. It would rain forever, noiselessly. The water would rise inch by inch, covering the grass and shrubs, covering the trees and houses, covering the monuments and the mountain tops. All life would be choked off, noiselessly: birds, men, elephants, pigs, children: noiselessly floating corpses amid the litter of the wreckage of the world. Forty days and forty nights the rain would fall till the waters covered the face of the earth. (Joyce 98)

The extract above is a biblical allusion. It refers to the flood during the time of Prophet Noah. That flood was a form of punishment for the people who stood against God. Dedalus associates himself with those people. He feels that he needs that punishment to get purified from the sin of adultery (Ferber 180-181). In this context, rain symbolizes punishment as well as purification. However, in the last parts of the novel, the symbolic meaning of rain changes as the character changes and develops. An example is when Dedalus explains his aesthetic philosophy to Lynch. Right after that, rain begins to fall: ―The rain fell faster. When they passed through the passage beside Kildare house they found many students sheltering under the arcade of the library.‖ (Joyce 181) Seemingly, the heavens approve of Dedalus‘ theories about art, as well as his choice of art as a career. This can be - 84 -

seen through the way he feels. The tone of the novel shows that he is cheerful and has peace of mind. Therefore, the rain symbolizes purifying the character from the burdens and the chains rather than sins (Zimbaro 52). To psychoanalyze the symbolic meaning of rain, background of the character is really important. The reason is that Dedalus is the one who perceives the events and most of the novel takes place in his mind (Peck 132). When the character is anxious about raining or forty days and nights, the rain symbolizes the character‘s guilt feeling motivated by his unconscious mind. From early childhood, his mind is stuffed with religious teachings, including the possible consequences of committing sin. These childhood experiences affected the building up of his personality. That guilt feeling is because of sin, and fear of sin is because of punishment, whether it is a worldly or a divine punishment. However, with the intellectual growth of the character, he establishes his own belief system. He deviates from religion. By that time, rain is no longer a causative agent of anxiety. Rather, it stands for rebirth, a new beginning. It stands for gratifying the latent desire of being an artist. Now, the rain helps the new artist to spring into life and world (Ferber 180-181). The examples of symbolism discussed above add another point of similarity between texts and dreams. If symbolism is a mechanism of dream analysis, literary texts have the same technical tool for their analysis. Based on the foregoing points, - 85 -

the thesis further proves that Joyce‘s A Portrait of the Artist as a Young Man can be compared to a dream in terms of analysis.

2.4 Secondary Revision: Text Coherency As mentioned in the first chapter, Freud states that secondary revision creates a form of narrative coherence in dreams. This process, to him, fills up the gaps in the dream-structure. It provides the dream with another form of unity, transforming it into something similar to coherent ―daydreams‖ or depictions of reality. The same idea can be applied on texts. Psychologically, texts are initially disparate ideas and feelings that manifest the unconscious. Later, these thoughts and feelings gradually formulate the text according to conscious and often formal criteria. However, not all the dreams are necessarily intended to be coherent without analysis. In the same manner, not all the texts are likely to be coherent without analysis (Horning 143-145; Freud, The Interpretation 367). One of the characteristics of modern novel is its fragmented plot. In that kind of novel, there is another form of coherency, which is found through patterns of association between the fragmented parts. It is completely different from the traditional novel, which follows linearity. Joyce‘s A Portrait of an Artist as a Young Man is a modern novel. Its plot is fragmented, i.e., its course of events

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proceeds randomly. It is through analysis that the patterns of association can be found in the novel (Matz 60-77). The form of coherency in this text can be likened to those dreams that lack coherency on the surface level. However, deep analysis and looking for patterns of association reveal another form of coherency in fragmented texts and dreams. In this sense, the text resembles a dream. Moreover, text coherency, which is a literary tool for text analysis, is the counterpart of secondary revision, which is a tool for dream analysis. In the first chapter of Joyce‘s A Portrait of an Artist as a Young Man, the plot is, to a great extent, fragmented. Linearity is rarely seen. One can see a sort of discontinuity in the plot. However, the fragmented parts are not irrelevant to one another; deep analysis can prove that they are all interrelated. For example, in the first chapter, there are many fragmented parts; each part is a topic by itself: 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 coming 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. - 87 -

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.

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The Vances lived in number seven. They had a different father and mother. They were Eileen‘s father and mother. When they were grown up he was going to marry Eileen. He hid under the table. His mother said: ––O, Stephen will apologise. Dante said: ––O, if not, the eagles will come and pull out his eyes. (Joyce 5-6)

In the opening pages of the novel, there are many fragmented extracts. At the same time, there are references to a number of topics that are going to be developed later in the novel. In fact, the fragmented opening pages look like a summary of the whole novel. There are references to mythology, art, love, religion, politics, conformity and rebellion. The first topic mentioned in the novel is mythology. The story of Baby Tuckoo, Betty Byrne and the moocow come from Irish mythology. From the beginning of the novel, referring to this story seems something random. In fact, the novel begins with mythology and ends with mythology. In the beginning of the novel, Dedalus identify himself with Baby Tuckoo, saying ―he was Baby Tuckoo,‖ which is a character from Irish Mythology (Fairhall 122). On the other hand, in the end of the novel, Dedalus impersonates himself with Daedalus, stating ―Now, as never before, his strange name seemed to him a prophecy.‖ (Joyce 142). Daedalus

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is a character from Greek Mythology that flies from Labyrinth towards the sun (Hamilton 192-194):

The soul is born, he said vaguely, first in those moments I told you of. It has a slow and dark birth, more mysterious than the birth of the body. When the soul of a man is born in this country there are nets flung at it to hold it back from flight. You talk to me of nationality, language, religion. I shall try to fly by those nets. (Joyce 171)

Connecting the beginning and the end of the novel, one can say that through analyzing the fragments in the novel, a new form of coherency can be discovered. In the beginning of the novel, Dedalus is under the influence of Irish heritage. Therefore, he is Baby Tuckoo. As he grows into maturity, he establishes his own belief system. Now, he flies away from the old values towards the light of art, the sun. Another topic that is referred to in the beginning of the novel is art. It has to be remembered that the whole novel is the portrayal of an artist that passes through different stages of maturity until he becomes a true artist. On the first page, storytelling, poetry, music, singing and dancing can be seen. These fragments are unified through their undersurface meanings; they are all references to art.

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Above all, there are references to creativity, which is a vital prerequisite for being an artist. First, he has the ability of impersonation; he can be Baby Tuckoo. A successful artist should impersonate in order to be able to write about other people. Otherwise, the artist cannot be true to reality. Second, Dedalus has his own way of understanding and conceptualizing the world. Betty Byrne sings thus: ―O, the wild rose blossoms\ On the little green place.‖ Dedalus has his own creative version of the song: ―He sang that song. That was his song. O, the green wothe botheth.‖ (Joyce 5). All the fragmented references to art can be made coherent through close reading and analysis (Zimbaro 15). Love is another topic mentioned in a fragmented form on the first page. The first reference to love is to an oedipal one. It can be seen that the image of the mother is beautified while that of the father is uglified. The father has ―a hairy face,‖ and the mother‘s ―smell is nicer.‖ According to Freudian psychoanalysis, it is an indirect reference to Oedipus Complex. The second reference to love is to the romantic one. This is an alternative to the previous one. Dedalus pictures his future, marrying Eileen. Later, he compares Eileen to Virgin Mary, while his mother‘s name is Marry Dedalus. This can be a form of identification when the child imitates the father looking for a woman that looks like his own mother (Piyas 1655-1657). The two forms of love that appear in fragments are one of the forces that formulate the personality development of the character (Joyce 29-30). - 91 -

Religion, conformity and rebellion can be discussed in relation with each other. On the first page, there is reference to religion in a fragmented form. ―Eileen was a protestant‖ girl, while Dedalus comes from a Catholic background (Joyce 29). According to Catholic principles, marrying a protestant is prohibited. This is a rule, which Dedalus is expected to conform as a Catholic. When he imagines marrying Eileen in the future, traces of rebellion can be seen in him. Therefore, he is threatened with an eagle to pull out his eyes. Even wetting the bed is a form of rebellion. As mentioned before, wet stands for freedom and naturalness; dry stands for conformity and discipline. He wets himself; his mother dries him and puts ―oil sheet.‖ Connecting these fragments to the rest of the novel, it can be seen that the character passes through many phases of conformity and rebellion, sin and repentance, throughout the novel until he lays the foundation of his own way of thinking (Joyce 5, 94-98; Zimbaro 52-54). Finally, politics is another topic referred to in a fragmented way. On the first age, green, Parnel, and maroon, Davitt, colors can be seen. They stand for the two rival political parties in Ireland. Dedalus does not know which one is the right one to follow. It creates a sort of a psychological complex in the mind of the character: It made him very tired to think that way. It made him feel his head very big. He turned over the flyleaf and looked wearily at the green round earth in the middle of the maroon clouds. He wondered which was right, to be for the green or for the maroon, because - 92 -

Dante had ripped the green velvet back off the brush that was for Parnell one day with her scissors and had told him that Parnell was a bad man. He wondered if they were arguing at home about that. That was called politics. There were two sides in it: Dante was on one side and his father and Mr Casey were on the other side but his mother and uncle Charles were on no side. Every day there was something in the paper about it. (Joyce 13)

It can be seen that politics makes a form of split on the familial and social level. This form of split reflects in the character. This is the reason why thinking about politics makes him tired and feel like having a big head. This continues until the symbolic fly of the character in the end of the novel. The fragmented style of the novel is not for its own sake. Joyce tries very hard to show what happens in Dedalus‘ mind. All the fragmented parts can be related to one another through analysis. This draws one‘s attention to another similarity between texts and dreams. First, in this novel, which is a modern one, the author tries really hard to show what happens in Dedalus‘ mind. Dreams, in psychology, have the same function: they expose the hidden part of the mind. Second, through analyzing the fragmented text, another form of coherency can be seen. It is the ideas and the themes that unify the novel, not the linearity of the plot. The same thing can be in dreams. Freud states that the "manifest" content of dreams is like picture-puzzles; they are fragmented. It is through analysis and

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secondary revision that a unified meaning can be obtained. Finally, it can be said that this novel is similar to those dreams that are fragmented even after they undergo the secondary revision. However, a close inspection and deep analysis reveal another form of coherency in both ((Freud, The Interpretation 295-296; Matz 60-77).

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Chapter Three: Author and Character: Dreamers 3.1 Author: Dreamer The similarity between texts and dreams is justified in the previous chapters. To Freud, the fine arts and literary works are similar to dreams, supposing that they are manifestations of the unconscious, means of desire-gratification and products of suppression. Both are means that facilitate an instant access to the unconscious mind. This, in return, results in discharging the unconscious desires in a safe or productive way. If a text can be compared to a dream, then an author can be compared to a dreamer. To him, artists are neurotic people. Many suppressed desires and traumatic events in the life of artists create a sort of anxiety in their mind. These suppressed desires overload the mind of the authors and artists. They need to find an outlet to get discharged and gratified. It is the same case of dreamers. Both are in need of a gratifying medium. Thus, there is logic in comparing an author to a dreamer (Freud, On Freud’s 131-132; Thruschwell 114115). To Freud, literary texts and dreams are originated from the authors‘ and dreamers‘ life memories and past anxieties. Thus, studying authors‘ and dreamers‘ biographies and life stories would be a good method to uncover the hidden - 95 -

meanings of the literary texts and dreams. As mentioned previously, the life background and the context of the dreamer are very vital for dream analysis (Freud, The Interpretation 367). The same thing is applicable on text analysis. Making connections between the text and the context of the author would make the process of analysis much easier. Freud invented this idea while he was investigating the psychological determinants of Leonardo da Vinci‘s and Dostoevsky‘s artistic creativities. He believes that reading an artwork psychoanalytically usually involves delving into the artist‘s biography to find the origin of the work. To him, the process of converting suppressed desires into creative writing is called sublimation. It is the transformation of unacceptable impulses, anger or fear into a socially acceptable, even productive form. It is a way to discharge the suppressed desires in a very productive way (Parkin-Gounelas 32, 164; Rennison 89). Thus, dreams and literary texts are similar in the sense they manifest the life background and the past memories of the dreamers and authors. As there is a definite relationship between a dream and the life of the dreamer, likewise there is a relationship between a text and its author (Hall 108). Joyce‘s A Portrait of the Artist as a Young Man is considered to be an autobiographical novel. It is based on the first twenty years of Joyce‘s life. It is about the education of a young Irishman, Stephen Dedalus, whose background has - 96 -

much in common with Joyce‘s. However, identifying the genre of the novel is not absolute or clear cut. The novel is not fully autobiographical. Part of the novel is fictional; yet, the largest part of it is autobiographical. Thus, it can be said that the novel is an aesthetic autobiography. In the novel, Joyce follows both concepts of self-description and self-recreation. There is Joyce as he is; there is Joyce as it might have been. One can start with the title of the novel. The first part of the title, ―A Portrait of the Artist,‖ hints at the self-portraiture of Joyce. The other part, ―as a Young Man,‖ refers to the fictionalized aspect of the novel. Dedalus is young Joyce, ―purified in and projected from the human imagination‖ (Joyce 181). In novel, the words of the author and his alter ego are supposed to, ―try slowly and humbly and constantly to express, to press out again, from the gross earth or what it brings forth, from sound and shape and colour which are the prison gates of our soul, an image of the beauty we have come to understand.‖ (Joyce 173). Thus, Joyce uses his personal life as a framework for his novel. However, he is free to revise his biography for artistic purposes, which can assert the growth of an artist (Zimbaro 55). The novel contains a lot of autobiographical elements. James Joyce, like Stephen Dedalus, was born in a Dublin. He comes from an Irish Catholic family. In his early years, his family was well off. Like Dedalus, Joyce was the son of a religious mother and a financially inept father. Like Dedalus, Joyce was the eldest - 97 -

of ten children. Like Dedalus, Joyce attended the elite Jesuit Clongowes Wood School, later Belvedere. Later, he studied Arts subjects at University College Dublin. At the heart of the story is Dedalus‘ rejection of his Roman Catholic upbringing and his growing confidence as a writer. Joyce‘s upbringing and education has much in common with that of the fictional Dedalus in the novel. The religious education he received in the Jesuit schools also shaped Joyce, giving him first a faith to believe in and then a weight to rebel against. Similar to Dedalus, he was for a time devoutly religious; then, he turns to the attractions of art (Bulson 12; Mason and Ellmann 67). Another similarity is that the conflict between politics and religion influenced Joyce very much, just like his alter ego in the novel. As how this conflict affects the growth of Dedalus, Joyce‘s intellectual growth was affected by it. Since Joyce‘s father used to work for Parnell, Joyce was constantly exposed to his name, just as Dedalus keeps hearing about Parnell in chapter one. Joyce was extremely receptive to the image of Parnell. Joyce's father, John Stanislaus, lost his political job, as Dedalus‘ father, Simon, loses his after the fall of the Irish leader and promoter of independence Charles Stewart Parnell. Although the loss of the post was not directly related to Parnell's fall, Joyce's father blamed his loss on antiParnell forces, the Roman Catholic Church. This can be clearly seen in chapter one

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of the novel, specifically in the Christmas dinner scene (Badulescu 29; Bulson 12). James Joyce, like Dedalus, was offered the vocation of being a Jesuit priest. In both cases, the offer is considered and rejected later. Furthermore, there are other aspects of Joyce‘s life that echo back in the novel. Like Joyce, Dedalus has a large family. Poverty of the family and frequent changes of house happen in Joyce‘s and Dedalus‘ lives. Like Dedalus, Joyce was exposed to have affairs with street prostitutes during his teenage years. He also struggled with questions of faith. Similar to Dedalus, Joyce left Ireland to pursue the life of an artist (Badulescu 32-33). There are some other points that further confirm the autobiographical nature of the text. On the physical level, Dedalus wears glasses in the novel; Joyce was wearing glasses likewise (Zimbaro 55). Furthermore, previous to the publication of A Portrait of the Artist as a Young man, Joyce had published several stories under the pseudonym "Stephen Dedalus." Moreover, all the features of Modernism influenced James greatly. Living in a society of such problems and issues, his novel also sheds light on these circumstances. All these play a significant part in making this novel autobiographical (Badulescu 30-33). Thus, it can be said that Dedalus is a fictional representation of Joyce in Joyce‘s art. Dedalus exists, as does the novel, as an example of the author‘s - 99 -

"handiwork." He is the one behind which Joyce is "invisible, refined out of existence, indifferent . . ." Moreover, if he had his way in the matter, he would have been standing concealed somewhere, "paring his fingernails" (Joyce 181). The foregoing points provide sufficient raw materials to psychoanalyze the author of the novel, Joyce, and compare him to a dreamer. First, Dedalus, to Joyce, is a vehicle through whom he can express some ideas that would not have been possible to be expressed otherwise. Second, Dedalus can be seen as sublimated Joyce in many aspects. Finally, the whole novel seems to be a dream that had been dreamed by the author, owing to the fact dreams are reality reflections. To Joyce, Dedalus is psychotherapeutic. As how a dreamer discharges the suppressed desires through a dream, Joyce discharges his suppresses desires using this text as a medium. Joyce was surrounded by so many strong-rooted ideologies and constitutions, such as religion, nationalism and social norms. Revolting against all of these was not an easy task for him. It was not possible for him to stand against those old values without a medium. That is, if he had stood against them alone and out-loud, his ego would have been exposed to harm. Therefore, the text is his medium to discharge what was accumulated in his mind. This is the same case of a dreamer when he\she dreams. There are many examples in the text that justify this claim. In one example Joyce criticizes religion and the educational system backed up by religion: - 100 -

––Where did you break your glasses? repeated the prefect of studies. ––The cinderpath, sir. ––Hoho! The cinderpath! cried the prefect of studies. I know that trick. Stephen lifted his eyes in wonder and saw for a moment Father Dolan‘s whitegrey not young face, his baldy whitegrey head with fluffat the sides of it, the steel rims of his spectacles and his nocoloured eyes looking through the glasses. Why did he say he knew that trick? ––Lazy idle little loafer! cried the prefect of studies. Broke my glasses! An old schoolboy trick! Out with your hand this moment! Stephen closed his eyes and held out in the air his trembling hand with the palm upwards. He felt the prefect of studies touch it for a moment at the fingers to straighten it and then the swish of the sleeve of the soutane as the pandybat was lifted to strike. A hot burning stinging tingling blow like the loud crack of a broken stick made his trembling hand crumple together like a leaf in the fire: and at the sound and the pain scalding tears were driven into his eyes. His whole body was shaking with fright, his arm was shaking and his crumpled burning livid hand shook like a loose leaf in the air. A cry sprang to his lips, a prayer to be let off. But though the tears scalded his eyes and his limbs quivered with pain and fright he held back the hot tears and the cry that scalded his throat. ––Other hand! shouted the prefect of studies. Stephen drew back his maimed and quivering right arm and held out his left hand. The soutane sleeve swished again as the pandybat was lifted and a loud crashing sound and a - 101 -

fierce maddening tingling burning pain made his hand shrink together with the palms and fingers in a livid quivering mass. The scalding water burst forth from his eyes and, burning with shame and agony and fear, he drew back his shaking arm in terror and burst out into a whine of pain. His body shook with a palsy of fright and in shame and rage he felt the scalding cry come from his throat and the scalding tears falling out of his eyes and down his flaming cheeks. ––Kneel down! Cried the prefect of studies. Stephen knelt down quickly pressing his beaten hands to his sides… (Joyce 41)

In the aforementioned extract, there is a detailed description on how young Dedalus is unfairly punished for something that is not his fault. The prefect of studies that is responsible for the academic progress of the students in the Jesuit School, Clongowes, refuses to believe Dedalus. He insists that his justification for not doing the class work is just a trick. The prefect of studies does not only stop with humiliating the character; he also punishes him physically in a very severe way. The way Dedalus is treated is exactly the way a slave is treated. First, he is humiliated in front of his friends; his ego is attacked. Second, he is exposed to a terrible physical punishment. Finally, he is obliged to kneel down like a slave. Is it a school or a slave camp? This is the implied question that Joyce asks the readers. Here, Joyce criticizes the whole educational system for abusing the children like that. This scene is a vehicle through which Joyce expresses something that would

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not have been easy to be expressed literally or explicitly, supposing that the ruling system and the public policy at that time were conservative. This is how the suppressed desire is expressed. In another scene, Dedalus‘ renouncement of being religious can be clearly seen: They turned to the left and walked on as before. When they had gone on so for some time Stephen said. ––Cranly, I had an unpleasant quarrel this evening. ––With your people? Cranly asked. ––With my mother. ––About religion? ––Yes, Stephen answered. After a pause Cranly asked: ––What age is your mother? ––Not old, Stephen said. She wishes me to make my easter duty. ––And will you? ––I will not, Stephen said. ––Why not? Cranly said. –– I will not serve, answered Stephen. - 103 -

–– That remark was made before, Cranly said calmly. ––It is made behind now, said Stephen hotly. Cranly pressed Stephen‘s arm, saying: ––Go easy, my dear man. You‘re an excitable bloody man, do you know. He laughed nervously as he spoke and, looking up into Stephen‘s face with moved and friendly eyes, said: ––Do you know that you are an excitable man? ––I daresay I am, said Stephen, laughing also. (Joyce 201)

This is Dedalus who had a quarrel with his mother concerning religion. The character reports this to Cranly, his friend. His mother asks him to perform religious duties, but he refuses to do that saying ―I will not serve.‖ This statement is similar to the one the Satan utters when he disobeys God and refuses to prostrate for Adam as ordered by God. In The Bible, Jeremiah 2:20, Satan says, ―I will not serve.‖ Joyce‘s statement to renounce his commitment to charge is given in his novel through his alter ego, Dedalus. This Satanic statement is extremely revolutionary. He would have been accused for Satanism if he had expressed this statement in his own voice. This suppressed wish to stand against the church and its bad practices is discharged through this text. Therefore, it is not surprising if the - 104 -

text is compared to a dream and the author to a dreamer. In both cases, the pathogenic desires are discharged in a way that is least harming to the ego. In another scene, Dedalus, Joyce‘s alter ego, criticizes the whole ideas of nationalism, politics, religion and language: When the soul of a man is born in this country there are nets flung at it to hold it back from flight. You talk to me of nationality, language, religion. I shall try to fly by those nets. Davin knocked the ashes from his pipe. ––Too deep for me, Stevie, he said. But a man‘s country comes first. Ireland first, Stevie. You can be a poet or a mystic after. ––Do you know what Ireland is? asked Stephen with cold violence. Ireland is the old sow that eats her farrow. (Joyce 71)

In this scene, Dedalus revolts against everything that restricts and suppresses his horizon. To him, even language puts limits to creativity. He even needs to break linguistic rules and invent new ones, like Joyce did through deviating from the norms of language. Nationality and religion, which stand for politics as well, are chains to be broken and flied from. To Dedalus and Joyce as well, those things are too small for great minds. They dull creative minds of artists like Joyce and Dedalus. Therefore, they are to be flied from (Badulescu 30). The revolutionary

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statement comes when the character compares Ireland to a mother, a sow, which eats her children, farrows. Statements like this can only be given through the mouth of a fictional character. They would have been troubles for Joyce if he had given it himself, in a literal way. Therefore, this text, for the author, is just like a dream through which he can criticize the criticized. Joyce is a dreamer. Dedalus can be seen as the sublimated version of Joyce. Freud says that artists are neurotic people with a lot of anxieties and complexes. The causative agent of their anxious mind is suppression. However, these suppressed desires never die; they transform their shapes and come up in different forms. Artists discharge their anxieties through fine arts and masterpieces like, A Portrait of the Artist as a Young Man. The strong ideas and innovative form, which give beauty to the novel, are products of the complexes and anxieties of Joyce himself. He sublimated those pathogenic contents into this text, in a very productive way. In other words, this is a very productive way of discharging the suppressed desires. It is a royal road to the unconscious. In the same sense, Freud compares dreams to a ―royal road to the knowledge of the unconscious activities of the mind‖ (Freud, The Interpretation 604). This is because the way dreams discharge the unconscious desires is not harming to the ego. The same thing is applicable to this text. It is not only harmless; it is even productive. Once more, this text is similar to a dream in that sense, and Joyce is a dreamer, being sublimated into Dedalus. - 106 -

Finally, this text, which reflects Joyce‘s life, can be compared to that kind dream that Freud labels it as reality reflecting dream in chapter one of The Interpretation of Dreams. He discusses a type dreams that "reveal themselves without any disguise..." Examples are thirst and hunger dreams in which sleepers dream that they are drinking and eating tasty beverages and foods. This type of dream reflects the reality of the dreamer. Real life will stimulate dreams as how it stimulates and inspires to authors to write texts (Freud, The Interpretation 148150). Therefore, A Portrait of the Artist as a Young Man can be compared to a dream as long as it reflects the life of the author and the reality of modern life in Dublin. Joyce, on the other hand, is the dreamer of that dream.

3.2 Character: Dreamer It is true that literary characters are fictional; however, they represent people from real life. In a text, imaginary characters can be seen, but they are representatives of real life. They do actions which are probable to happen in real life. Therefore, like real human beings, characters from texts have complex psychologies, especially those characters that are from bildungsroman novels. This is because these characters grow from early childhood into maturity. This gives scholars enough raw materials to psychoanalyze them. Usually, these characters are complexly drawn. They often have a psychology that is well worth exploring at

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length. Freudian psychological theory urges to relate the characters‘ behavior to their background, such as past experiences, social norms, family judgments and even self-judgments. Symbols, colors and other textual details also help in psychoanalyzing the characters (Hawthorn 1; Hall 108-109). Joyce‘s A Portrait of the Artist as a Young Man can be labeled as a modern bildungsroman. Traditional bildungsroman is often about a character that grows into maturity by reconciling with the society and conforming to the norms. It shows how rebellious individualism gives way to mature, productive, responsible participation in society.

Modern bildungsroman, on the other hand, shows a

character that grows into maturity by deviating from the norms and establishing his or her individualistic way of thinking. Joyce‘s novel is a story of a protagonist‘s, Dedalus‘, growth from youth to adulthood, emphasizing on the character‘s conversion from conformity to rebellion, and end not in happy oneness with society at large but in intense and often destructive rejections of it. This novel is the reflection of the modern life, stressing instead the widening breadth of the gap between the individual and society (Hawthorn 18; Hall 109; Matz 48). The foregoing points tell that Dedalus is a complexly drawn character. Therefore, he can be psychoanalyzed. As long as the focus of this thesis is dream and text analogy, the emphasis of this section is to demonstrate Dedalus as a dreamer. In fact, he can be shown as a dreamer on two levels. First, he literally - 108 -

dreams. In the novel, Dedalus dreams more than once. When analyzed, they tell much about the psychology of the character. Second, Dedalus daydreams a lot. He has a natural affinity towards art. He imagines and daydreams frequently. Whenever his reality is not promising, he is successful in creating a world of his own. When Dedalus is shouldered in to the square ditch by his friend, Wells, he falls sick. He feels very sick and misses home. In the school, he feels like a stranger, deeply alienated. With his sickness, he falls asleep and dreams of going home:

Going home for the holidays! That would be lovely: the fellows had told him. Getting up on the cars in the early wintry morning outside the door of the castle. The cars were rolling on the gravel. Cheers for the rector! Hurray! Hurray! Hurray! The cars drove past the chapel and all caps were raised. They drove merrily along the country roads. The drivers pointed with their whips to Bodens town. The fellows cheered. They passed the farmhouse of the Jolly Farmer. Cheer after cheer after cheer. Through Clane they drove, cheering and cheered. The peasant women stood at the half doors, the men stood here and there. The lovely smell there was in the wintry air: the smell of Clane: rain and wintry air and turf smouldering and corduroy.

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The train was full of fellows: a long long chocolate train with cream facings. The guards went to and fro opening, closing, locking, unlocking the doors. They were men in dark blue and silver; they had silvery whistles and their keys made a quick music: click, click: click, click. And the train raced on over the flat lands and past the Hill of Allen. The telegraph poles were passing, passing. The train went on and on. It knew. There were coloured lanterns in the hall of his father‘s house and ropes of green branches. There were holly and ivy round the pierglass and holly and ivy, green and red, twined round the chandeliers. There were red holly and green ivy round the old portraits on the walls. Holly and ivy for him and for Christmas. Lovely . . . All the people. Welcome home, Stephen! Noises of welcome. His mother kissed him. Was that right? His father was a marshal now: higher than a magistrate. Welcome home, Stephen! Noises . . . (Joyce 16)

In the text, it does not say that the aforementioned extract is a dream. Yet, in a very creative way, Joyce gives readers a clue that this is a dream. In the end of the dream, Dedalus wakes up by the ―noises.‖ Moreover, after the dream, he is still in his bed, still sick.

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The dream that is seen by Dedalus can have three major meanings: reality reflection, wish-fulfillment and anxiety release. First, it is the reflection of the dreamer‘s reality: he is sick. Often, when people fall sick, they tend to dream and even hallucinate. Second, the dream is a pure wish-fulfillment. In the school, Dedalus is homesick; he is alienated from the rest of the students. He needs attention. Therefore, his dream fulfills this desire, in which everyone welcomes and kisses him. Everything seems lovely in the dream, including the chocolate-like train, saying hurray out of happiness, the clicking sound of the keys held by the guards, the scenery and his home as well. This is all because the character misses home. Moreover, there is another point that confirms the wish-fulfilling nature of the dream. Previously, Dedalus was made fun of because his father was not a magistrate: ––What is your name? Stephen had answered: –– Stephen Dedalus. ––What kind of a name is that? And when Stephen had not been able to answer Nasty had asked: ––What is your father? Stephen had answered: - 111 -

––A gentleman. Then Nasty Roche had asked: ––Is he a magistrate? (Joyce 6)

When Dedalus is asked such a question, he does not feel comfortable with. He feels like he is inferior to the other students as long as his father is just a gentleman, not a magistrate. He wishes his father to have a higher position. This wish is gratified in his dream. In the dream, his father is a marshal; it is even higher than being a magistrate. The third meaning of the dream is that it is a way to discharge the character‘s anxieties and complexes. Before the dream, Dedalus is made fun of because he says that he kisses his mother before going to bed: Then he went away from the door and Wells came over to Stephen and said: ––Tell us, Dedalus, do you kiss your mother before you go to bed? Stephen answered: ––I do. Wells turned to the other fellows and said: ––O, I say, here‘s a fellow says he kisses his mother every night before he goes to bed.

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The other fellows stopped their game and turned round, laughing. Stephen blushed under their eyes and said: ––I do not. Wells said: ––O, I say, here‘s a fellow says he doesn‘t kiss his mother before he goes to bed. They all laughed again. Stephen tried to laugh with them. He felt his whole body hot and confused in a moment. What was the right answer to the question? (Joyce 11)

It can be seen how Dedalus feels perplexed. He does not know which one is the right choice: to kiss or not to kiss his mother. This feeling of anxiety is stored in his unconscious mind, and it gets discharged in his dream. In the dream, when he kisses his mother, he directly says, ―Was it right?‖ This shows how he was affected by the way he was mocked by his friends. In another part of the novel, Dedalus dreams of Hell. This dream is after his guilt feeling because of committing adultery with a street prostitute. Joyce understands the internal torment of the "company of the damned" and describes its lowly stature with vivid animal imagery: "a cock, a monkey and a serpent . . . hateful and hurtful beasts." This animal imagery, as well as the "goatish‖ beasts which haunt Stephen‘s dream, are derived from the Western mythical lore and symbols. They all have bad and devilish connotations (Joyce 103; Zimabro 34): - 113 -

Creatures were in the field; one, three, six: creatures were moving in the field, hither and thither. Goatish creatures with human faces, horny browed, lightly bearded and grey as India rubber. The malice of evil glittered in their hard eyes, as they moved hither and thither, trailing their long tails behind them. A rictus of cruel malignity lit up greyly their old bony faces. One was clasping about his ribs a torn flannel waistcoat, another complained monotonously as his beard stuck in the tufted weeds. Soft language issued from their spittleless lips as they swished in slow circles round and round the field, winding hither and thither through the weeds, dragging their long tails amid the rattling canisters. They moved in slow circles, circling closer and closer to enclose, to enclose, soft language issuing from their lips, their long swishing tails besmeared with stale shite, thrusting upwards their terrific faces . . . Help! He flung the blankets from him madly to free his face and neck. That was his hell. God had allowed him to see the hell reserved for his sins: stinking, bestial, malignant, a hell of lecherous goatish fiends. For him! For him! (Joyce 116)

This dream is stimulated by guilt feeling. As the dream comes after committing sin, it is the product of Dedalus‘ anxious mind and guilty conscience. Part of the dream is the reflection of his fear of punishment, Hell. That fear seeks an outlet to get discharged from his mind. This dream is a possible outlet. The other part is about the character‘s desire to get purified from sin. The only way to get released from guilt feeling is to pay the price, which is taking the punishment. Thus, the

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dream indirectly fulfills his wish of getting purified. This is the reason he feels that ―God had allowed him to see the hell reserved for his sins,‖ after he wakes up. This is not the only dream that Dedalus has had. The text confirms that he has had several dreams like this stimulated by guilt feeling: ―…his monstrous dreams, peopled by apelike creatures and by harlots with gleaming jewel eyes…‖ (Joyce 93). Once more, animal imagery with negative connotation fills his dreams. The ugliness of the creatures in his dreams is in equilibrium with how he feels about his sin, adultery. They all reflect his anxious mind. They fulfill his desire of getting punished in order to get purified from his sin. In chapter five, Dedalus dreams once more. He dreams of Emma, the girl that he admires very much: And if he had judged her harshly? If her life were a simple rosary of hours, her life simple and strange as a bird‘s life, gay in the morning, restless all day, tired at sundown? Her heart simple and wilful as a bird‘s heart? Towards dawn he awoke. O what sweet music! His soul was all dewy wet. Over his limbs in sleep pale cool waves of light had passed. He lay still, as if his soul lay amid cool waters, conscious of faint sweet music. His mind was waking slowly to a tremulous morning knowledge, a morning inspiration. A spirit filled him, pure as the purest water, sweet as dew, moving as music. - 115 -

But how faintly it was inbreathed, how passionlessly, as if the seraphim themselves were breathing upon him! His soul was waking slowly, fearing to awake wholly. It was that windless hour of dawn when madness wakes and strange plants open to the light and the moth flies forth silently. An enchantment of the heart! The night had been enchanted. In a dream or vision he had known the ecstasy of seraphic life. Was it an instant of enchantment only or long hours and days and years and ages? (Joyce 182) Awakened from his dream, it can be seen that Dedalus is refreshed and impassioned by his dream about Emma. Her image creates in him "an enchantment of the heart." This inspires him to write an elaborate villanelle in her honor. As he is about to write, he recalls the first verse he wrote for her a decade ago. Stephen is also reminded of the many times that he has thought about her since their first encounter on the tram steps. His completed, six-stanza villanelle views of her in many different ways. She is an object of Dedalus‘ art, a "temptress" of his desire (Joyce 182-184; Zimbaro 44). This dream has a wish fulfilling nature. It reflects Dedalus‘ yearning mind for Emma. It gratifies his desire to see her. Another interpretation is also possible. Emma, in Dedalus‘ life, is a worldly version of Virgin Mary. She is a nun-like woman. Like Virgin Marry, she is not reachable. She stands for all the unreachable - 116 -

women in his life including his mother, Eileen and Mercedes. So, this dream is an unconscious attempt to gratify his desire to reach the unreached. As it comes to daydreaming, there are many examples in the text in which Dedalus daydreams. He is a young artist. He can create an imaginary world for himself when the real world is harsh. The first example is when young Dedalus is in math class, having a competition. He is an artist. He does not like math. While the rest of the class is busy with the competition, his mind starts daydreaming, thinking about the beauty of the colors: ―White roses and red roses: those were beautiful colours to think of. And the cards for first place and second place and third place were beautiful colours too: pink and cream and lavender. Lavender and cream and pink roses were beautiful to think of.‖ (Joyce 9). It can be seen that he thinks about the aesthetic dimension of the colors. As his life in the school is monotonous and colorless, he brings colorfulness into his life through daydreaming. That is, it is a way to escape from the harsh reality. This is wish fulfillment (Zimbaro 16). In another part of the novel, Dedalus daydreams of his own death after Wells shoulders him into a square ditch: There was cold sunlight outside the window. He wondered if he would die. You could die just the same on a sunny day. He might die before his mother came. Then he would have a dead mass in the chapel like the way the fellows had told him it was when Little had - 117 -

died. All the fellows would be at the mass, dressed in black, all with sad faces. Wells too would be there but no fellow would look at him. The rector would be there in a cope of black and gold and there would be tall yellow candles on the altar and round the catafalque. And they would carry the coffin out of the chapel slowly and he would be buried in the little graveyard of the community off the main avenue of limes. And Wells would be sorry then for what he had done. And the bell would toll slowly. He could hear the tolling. He said over to himself the song that Brigid had taught him… How beautiful and sad that was! (Joyce 19-20)

Once more, this example demonstrates how daydreaming gratifies Dedalus‘ wishes. Through his death, he fulfills two wishes. The first one is to inflict guilt feeling into Wells for the thing that he did to him. The second one is to obtain attention. This is not the first time Dedalus gathers people around himself. Prior to this, he had a real dream of going home in which family member welcome him warmly. As long as he feels lonely in the school, his crowded funeral is a way to get people‘s attention. It also has to be noted that the character does not fear death. Rather, he pictures it as sad and beautiful. In chapter three, Dedalus daydreams off his death again, but this time it is not beautiful. It is very terrifying: The next day brought death and judgment stirring his soul slowly from its listless despair. The faint glimmer of fear became a terror of spirit as the hoarse voice of the preacher blew death into his soul. He suffered its agony. He felt the deathchill touch the extremities and creep onward towards the heart, the film of death veiling the eyes, the - 118 -

bright centres of the brain extinguished one by one like lamps, the last sweat oozing upon the skin, the powerlessness of the dying limbs, the speech thickening and wandering and failing, the heart throbbing faintly and more faintly, all but vanquished, the breath, the poor breath, the poor helpless human spirit, sobbing and sighing, gurgling and rattling in the throat. No help! No help! He, he himself, his body to which he had yielded was dying. Into the grave with it! Nail it down into a wooden box, the corpse. Carry it out of the house on the shoulders of hirelings. Thrust it out of men‘s sight into a long hole in the ground, into the grave, to rot, to feed the mass of its creeping worms and to be devoured by scuttling plumpbellied rats. (Joyce 94)

This is the first and the briefest of the retreat sermons. It urges the boys to remember God's purpose for creating mankind. Afterward, they should consider the present condition of their souls and then determine their fates if they were suddenly to die and have to face Divine Judgment. They should choose whether to go to Heaven or Hell. Throughout the first sermon, Dedalus feels as if his spiritual life is passing before him. In this scene, Joyce graphically describes the details of Dedalus‘ vivid imagination of death and judgment. He experiences both through imagination. He feels bitterly agonized by Father Arnall's description of a lost soul. The reason is that Dedalus believes that he is already a lost soul. Unlike the previous time, this time death is not beautiful; it is terrifying. The reason is that he is no longer pure as he used to be. He is now sinful. The way the character actualizes death is really touching. He imagines it in a way as if he dies for real. - 119 -

This is again the reflection of his anxious mind and guilty conscience. He feels that he deserves such a punishment to purify his soul (Zimabro 33). There is also the pattern of daydreaming about the reachable women in the novel. In more than one occasion, Dedalus daydreams about the girls that he admire but impossible to reach. First, he daydreams about marrying Eileen saying, ―When they were grown up he was going to marry Eileen.‖ (Joyce 5). This is a very childish way of thinking, yet it tells a lot about Dedalus. Eileen is unreachable for several reasons. First, she is protestant and Dedalus is a Catholic. Second, he is too young for love and marriage. Thus, this example shows the revolutionary nature of the character. Being revolutionary is there in his unconscious mind right from childhood. In another occasion, he daydreams of Emma as he is drowned in guilt feeling because of his sin, adultery: ―The image of Emma appeared before him and, under her eyes, the flood of shame rushed forth anew from his heart. If she knew to what his mind had subjected her or how his brutelike lust had torn and trampled upon her innocence!‖ (Joyce 97). Emma is an ideal image of beauty and purity to Dedalus. Thinking of her makes his guilt feeling even more severe. This example manifests his unconscious mind as it is covered with the rust of sin and guilt feeling. This further makes Emma impossible to rich, as they contrast each other in terms of sin and purity. In chapter two, Dedalus daydreams about Mercedes, a female character from Alexander Dumas‘ The Count of Monte Cristo. - 120 -

In fact, Dedalus becomes fictophilic. He falls in love with her and daydreams about her: Outside Blackrock, on the road that led to the mountains, stood a small white washed house in the garden of which grew many rosebushes: and in this house, he told himself, another Mercedes lived. Both on the outward and on the homeward journey he measured distance by this landmark: and in his imagination he lived through a long train of adventures, marvellous as those in the book itself, towards the close of which there appeared an image of himself, grown older and sadder, standing in a moonlit garden with Mercedes who had so many years before slighted his love, and with a sadly proud gesture of refusal, saying: –– Madam, I never eat muscatel grapes. (Joyce 52)

Even this fictional woman is unreachable. According to his daydreaming, Mercedes seems to have refused Dedalus as she was young and beautiful. Now, as she is older and less beautiful, Dedalus rejects her with a ―proud gesture of refusal.‖ One may question why Dedalus always yearns for unreachable women. It can be related to his oedipal desire. These women are all similar versions of his mother. Reaching them is impossible just like the fact that reaching his mother is incestuous. The final example of daydreaming is when Dedalus imagines himself to be an artist. In chapter four, he walks and wonders about the world, a voice beyond - 121 -

the world calls him ―Stephanos Dedalus.‖ Now, his name is in the Greek version. This is a reference to art. The voice comes from his own mind; he daydreams about being an artist: Stephanos Dedalos… Now, as never before, his strange name seemed to him a prophecy. So timeless seemed the grey warm air, so fluid and impersonal his own mood, that all ages were as one to him. A moment before the ghost of the ancient kingdom of the Danes had looked forth through the vesture of the haze wrapped city. Now, at the name of the fabulous artificer, he seemed to hear the noise of dim waves and to see a winged form flying above the waves and slowly climbing the air. What did it mean? Was it a quaint device opening a page of some medieval book of prophecies and symbols, a hawk like man flying sunward above the sea, a prophecy of the end he had been born to serve and had been following through the mists of childhood and boyhood, a symbol of the artist forging a new in his workshop out of the sluggish matter of the earth a new soaring impalpable imperishable being? (Joyce 142)

Now, Dedalus is associated with the fabulous artificer from Greek Mythology that elevates the sluggish matter of life into art. His name, which is similar to that of Daedalus from Greek Mythology, is now a prophecy. It is like a divine revelation advising him to choose art as his vocation (Hamilton 192-194). After this, there is a moment of epiphany, in which he sees a seabird-like girl: A girl stood before him in midstream, alone and still, gazing out to sea. She seemed like one whom magic had changed into the likeness of a strange and beautiful seabird. Her - 122 -

long slender bare legs were delicate as a crane‘s and pure save where an emerald trail of seaweed had fashioned itself as a sign upon the flesh. Her thighs, fuller and soft hued as ivory, were bared almost to the hips where the white fringes of her drawers were like featherings of soft white down. Her Slate blue skirts were kilted boldly about her waist and dovetailed behind her. Her bosom was as a bird‘s soft and slight, slight and soft as the breast of some dark plumaged dove. But her long fair hair was girlish: and girlish, and touched with the wonder of mortal beauty, her face. Heavenly God! cried Stephen‘s soul, in an outburst of profane joy…Her image had passed into his soul forever and no word had broken the holy silence of his ecstasy. Her eyes had called him and his soul had leaped at the call. To live, to err, to fall, to triumph, to recreate life out of life! (Joyce 144-145)

The girl is the embodiment of an ideal female. For a young artist like Dedalus, she embodies both spiritual and physical dimension of femininity. She stands for purity and is compared to "ivory.‖ At the same time, the character is quite aware of her sexual dimension, triggered by the sight of "the white fringes of her drawers." Unlike the women whom Dedalus has previously encountered and desired, this one accepts his worshipful desire and invites him to express his natural reaction of wonder. She kindles Dedalus‘ artistic nature by returning his gaze with the approval of the "faint flame . . . on her cheek." In Stephen's cry, "Heavenly God," he proclaims the "advent" of his life's purpose. He has discovered that he can see with the eyes of a man. This woman does not make him hate himself as a man. - 123 -

Meanwhile, he can view this woman with the eyes of an artist. He comprehends her in terms of aesthetics as well. Now, he realizes that he is born to ―Recreate life out of life,‖ which is being an artist (Zimbaro 41). It can be seen that Dedalus‘ daydreaming about being an artist is the manifestation of his latent desire of being an artist. Previous, this desire was under the mercy of the suppressive forces around him. He was not independent enough to gratify this desire. It remained suppressed until his ego grew stronger. By now, he is ready to convey the message; he is ready for the prophecy carried by his name, being an artist.

- 124 -

Conclusion Based on Freudian Psychoanalysis, the theoretical framework of the thesis demonstrates the similarity between literary texts and dreams. The analogy is supported by some certain points. Both are manifestations of the unconscious mind. Moreover, both of them are considered to be wish-fulfillers and anxiety releasers. Even the mechanisms of their analysis can be likened to each other. Finally, the thesis comes to a conclusion after the application of the theoretical framework on Joyce‘s A Portrait of the Artist as a Young Man. The four mechanisms of dream analysis, mentioned by Freud, can be used to analyze Joyce‘s novel. This is done by demonstrating the literary counterparts for each mechanism: images and metaphors, condensation; metonymy, displacement; dream symbolism, text symbolism and secondary revision, text coherency. The thesis manages to justify the foregoing claims in a logical manner. The thesis also justifies the demonstration of the author and character as dreamers. Owing to its autobiographical nature, the text has an important relationship with Joyce‘s personal life. Through the text, the author seems to have fulfilled some of his wishes and discharged some of his pathogenic anxieties, which is the same as a dreamer. On the other hand, Dedalus is logically presented as a dreamer. Throughout the text, he dreams a lot. Apart from dreaming literally, - 125 -

he daydreams frequently. He is successful in creating a world of his own. Finally, the thesis implies that there is a piece of the author in every literary text. Texts are manifestations of their authors‘ psyche, for they write based on their world view as how dreamers dream based on their life background. This helps the readers of this novel to understand how the biographical specificities Joyce affect this novel and his creativity. That is, the text, to a very great extent, manifests the author‘s unconscious.

- 126 -

Works Cited Abrams, M. H. A Glossary of Literary Terms. Fort Worth: Harcourt Brace Jovanovich College, 1993. Print. Abrams, M., H. The Mirror and the Lamp: Romantic Theory and the Critical Tradition. New York: Oxford University Press, 1953. Print. Badulescu, Dana. "Autobiography as Fiction in A Portrait of the Artist as a Young Man." LINGUACULTURE (2011): 29-36. Web. 25 Dec. 2016. Barry, Peter. Beginning Theory: An Introduction to Literary and Cultural Theory. New York: Manchester UP, 2002. Print. Breuer, Josef, and Sigmund Freud. Studies on Hysteria. London: Hogarth and the Institute of Psycho-analysis, 1955. Print. Bulson, Eric. The Cambridge Introduction to James Joyce. Cambridge: Cambridge University Press, 2006. Print. Cramer, Phebe. Protecting the Self: Defense Mechanisms in Action. New York: Guilford, 2006. Print. "Defense Mechanisms." Simply Psychology. N.p., 01 Jan. 1970. Web. 06 Oct. 2016. "Dream." Encyclopædia Britannica. Encyclopædia Britannica Ultimate Reference Suite. Chicago: Encyclopædia Britannica, 2011. - 127 -

Fancher, Raymond, E. ed. The Origin and Development of Psychoanalysis. USA: American Journal of Psychlogy, 1998. Ferber, Michael. A Dictionary of Literary Symbols. Cambridge, UK: Cambridge UP, 1999. Print. Fairhall, James. James Joyce and the Question of History. Cambridge: Cambridge, 1995. Print. Freud, Sigmund, James Strachey, and Gregory Zilboorg. Beyond the Pleasure Principle. New York: Norton, 1975. Print. Freud, Sigmund, and James Strachey. New Introductory Lectures on Psychoanalysis. New York: Norton, 1965. Print. Freud, Sigmund, James Strachey, and Angela Richards. On Metapsychology: The Theory of Psychoanalysis. Harmondsworth: Penguin, 1984. Print. "Freud and Beyond: The Drive Towards Human Liberation." Leanne Whitney Freud and Beyond The Drive Towards Human Liberation Comments. N.p., n.d. Web. 25 Oct. 2016. Freud, Sigmund, and James Strachey. The Ego and the Id. New York: Norton, 1962. Print. Freud, Sigmund, and James Strachey. The Interpretation of Dreams. New York: Avon, 1965. Print.

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Freud, Sigmund, James Strachey, Anna Freud, and Angela Richards. The Standard Edition of the Complete Psychological Works of Sigmund Freud. London: Hogarth Press, 1966. Print. Gibson, Andrew. The Strong Spirit: History, Politics and Aesthetics in the Writings of James Joyce 1898-1915. Oxford: Oxford University Press, 2013. Print. Gleed, Kim, Aleen. Bloom’s How to Write about James Joyce. New York: Inforbase Pulishing, 2011. Print. Hall, Donald, E. Literary and Cultural Theory: From Basic Principles to Advanced Applications. New York: Houghton Mifflin Company, 2001. Hamilton, Edith. Mythology. New York: Little, Brown and Company, 1969. Print. Hard, Robin, and H. J. Rose. The Routledge Handbook of Greek Mythology: Based on H.J. Rose's "Handbook of Greek Mythology" London: Routledge, 2004. Print. Hawthorn, Jeremy. Studying the Novel: An Introduction. London: E. Arnold, 1992. Print. Horning, Alice S., and Anne Becker. Revision: History, Theory, and Practice. West Lafayette, IN: Parlor, 2006. Print. - 129 -

Joyce, James. A Portrait of the Artist as a Young Man. Oxford: Oxford University Press, 2000. Print. Joyce, James, Richard Ellmann, and Stuart Gilbert. Selected Letters. London: n.p., 1975. Print. Linden, Sander Van Der. "The Science Behind Dreaming." Scientific American. N.p., 25 July 2011. Web. 23 Oct. 2016. Parkin-Gounelas, Ruth. Literature and Psychoanalysis: Intertextual Readings. Houndmills, Basingstoke, Hampshire: Palgrave, 2001. Print. Person, Ethel S, Peter Fonagy, S rvulo A. Figueira, and Sigmund Freud. On Freud's "creative Writers and Day-Dreaming". New Haven: Yale University Press, 1995. Print. Piyas, Mukherjee. "The Role of the Feminine in the Making of the Artist in James Joyce’s A Portrait of the Artist as a Young Man." EUROPEAN ACADEMIC

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Www.euacademic.org. University of Kolkata. Web. 28 Nov. 2016. Rennison, Nick. Freud and Psychoanalysis. Great Britain: Trafalgar Square Publishing, 2001. Ridling, Zaine, ed. The Bible: New Revised Standard Version. USA: Division of Christian Education of the National Council of the Churches of Christ, 1989. Print. - 130 -

Rivkin, Julie, and Michael Ryan. Literary Theory: An Anthology. Malden, Mass: Blackwell, 1998. Print. Romano, Andrea. "15 Science-Fiction Books that Predicted the Future." Http://mashable.com. N.p., 23 July 2014. Web. 21 Sept. 2016. Thurschwell, Pamela. Sigmund Freud. London: Routledge, 2009. Print. Thurston, Luke. James Joyce and the Problem of Psychoanalysis. 1st ed. Cambridge: Cambridge University Press, 2004. Print. "What Made Green the Color Associated with Ireland?" Henderson Nevada Casino | EMERALD ISLAND CASINO-. N.p., n.d. Web. 27 Nov. 2016. Zimbaro, Valerie, Pursel. Cliffs Notes on Portrait of the Artist as a Young Man. Nebraska: Cliffs Notes, 1992. Print.

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‫حكومة اقـــــــليم كردستان‪-‬العيراق‬ ‫وزارة التعليم العالى والبحث العلمى‬ ‫جامـــعـــــــــة الســــــــــــليمانية‬ ‫كليــــــــــــــــة اللغـــــــــــــــات‬

‫النص كما الحلم‪ :‬مظاهر العقل الالواعي في‬ ‫روايته صورة الفنان في شبابه لدی جويس‬

‫رسالة ماجستير مقدمة الى مجلس كلية اللغات فى جامعة السليمانية كجزء من متطلبات نيل‬ ‫شهادة‬ ‫الماجستير فى األدب األنكليزى‬ ‫منقبل‬

‫بلند رحیم فرج‬ ‫بأشراف‬

‫ا‪ .‬م‪ .‬د‪ .‬زانیار فائق سعید‬ ‫‪2717‬كردي‬

‫‪2017‬میالدي‬

‫‪1438‬هجري‬

‫نبذة مختصرة‬ ‫العىُان الزئيسي لٍذي الزسالت ٌُ "الىض كما الحلم" ‪ٌ.‬ذي الزسالت حزكز علّ الجاوب الىفسي في الزَایت‬ ‫االأدبيت عىذ الكاحب (جيمس جُیس) في رَایخً (طُرة الفىان في شبابً) ‪.‬مه الىاحيت الىفسيت‪ ،‬یمكه اعخبار‬ ‫الىظُص األدبيت‪ ،‬سُاء كاوج رَایاث أَ مسزحياث أَ قظائذ‪َ ،‬سطا یمكه فيً للمزء أن یزِ مضمُن‬ ‫العقل الالَاعي‪َ .‬بالخالي فإن الخشابً بيه الىض َالحلم ٌُ في قلب ٌذي األطزَحت‪ .‬في كال‪ ،‬العقل الُاعي‬ ‫غيز وشظ‪ٌَ .‬كذا یظبح الالَعي وشطا َیخجلّ بطزق مخخلفت‪.‬‬

‫حکومەتی هەرێمی کوردســـــــــــــتان‪-‬عێراق‬ ‫وەزارەتی خوێندنی بااڵ و توێژینەوەی زانستی‬ ‫زانـــــــــــــکـــــــــــۆی ســـــــــلێـــمــانـــــــی‬ ‫کــــــــــــــــــــــۆلێژی زمــــــــــــــــــــــــــــان‬

‫دەق وەکو خەون‪ :‬ڕەنگدانەوەکانی هسری ناهۆشیار‬ ‫(نەست) لە رۆمانی وێنەی هونەرمەندێک لە تافی الوێتیدا‬ ‫کە نوسراوە لە الیەن جۆیسەوە‬

‫ئەم تىێژینەوەیە پێشکەش کراوە بە ئەنجىمەنی کۆلێجی زمان وەک بەشێک لە‬ ‫پێداویستیەکانی بەدەستهێنانی پلەی ماستەر لە ئەدەبی ئینگلیسیدا‬ ‫لە الیەن‬

‫بڵند رەحیم فەرەج‬ ‫سەرپەرشتیار‬

‫پ‪ .‬ی‪ .‬د‪ .‬زانیار فایەق سعید‬ ‫‪ 1727‬كىردي‬

‫‪ 1127‬زاینى‬

‫‪ 2341‬کۆچی‬

‫پوختەی باس‬ ‫ئەم وامەیە ‪,‬کە بە واوویشاوی(دەق وەک خەو)ە ‪,‬تیشک دەخاتە سەر الیەوی دەروووی لە رۆماوی ئەدەبیدا لە الی‬ ‫ووسەر (جیمس جۆیس) لە یەکێک لە رۆماوەکاویدا بە واوویشاوی (وێىەی هووەرمەود لە تافی الوێتیدا) ‪.‬‬ ‫دەتواوێرێت بەرهەمە ئەدەبیەکان چ رۆمان بێت یان شاوۆ یان شعر یاخود چیرۆک لە رواوگە دەروویەکاویاوەوە‬ ‫بە واوەودێک دابىێرێه کە لە رێگەیاوەوە مرۆڤ بتواوێت واوەرۆکی هسری واهۆشیار (وەست) درک پێبکات ‪.‬‬ ‫ئەمە ئەوە دەگەیەوێ لێکچوواود لە وێوان (دەق و خەو)دا کرۆکی هەرە گروگی ئەم وامەیەیە لەبەر ئەوەی لە‬ ‫هەریەک لە خەون و دەقدا هسری هۆشیار (هەست) تا رادەیەک واکارایە‪ .‬ئەمەش دەبێتە هۆی کارابوووی‬ ‫هسری واهۆشیار (وەست) و ڕەوگداوەوەی لە فۆرمی جیاوازدا‪.‬‬