A Portrait of The Artist as a Young Man and Oranges Are not The Only Fruit: The Use of Religious Elements

Religious elements serve as crucial frameworks in both A Portrait of the Artist as a Young Man and Oranges Are Not the Only Fruit, allowing readers to explore the complex interplay between faith, identity, and artistic expression. In A Portrait of the Artist as a Young Man, Stephen Dedalus’s journey is heavily influenced by his struggle with the Catholic Church’s teachings, which shape his understanding of spirituality and creativity. Conversely, Jeanette Winterson’s Oranges Are Not the Only Fruit provides a counter-narrative that subverts traditional religious interpretations, allowing for a more fluid identity that embraces queerness and personal agency. This essay will delve into how both authors employ religious symbolism and narratives to articulate their protagonists’ quests for self-discovery and freedom.

Religious Symbolism in Stephen's Journey

In A Portrait of the Artist as a Young Man, Stephen’s life is steeped in religious symbolism that shapes his artistic development. The intertwining of sacred and secular experiences is evident throughout the novel. For instance, Stephen’s sexual awakening is framed as a ‘holy encounter’ that transcends mere physicality, suggesting a deep spiritual connection. His encounter with a prostitute is described using sacred language, indicating that Stephen’s understanding of art and desire is inextricably linked to his religious upbringing. As he reflects on this encounter, he experiences ‘tears of joy and relief,’ signifying a moment of profound realization that blurs the lines between the sacred and the profane.

Stephen’s artistic vocation is ultimately depicted as a form of priesthood, where he becomes ‘a priest of eternal imagination.’ This metaphor underscores the notion that art possesses a divine quality, capable of transforming mundane experiences into something transcendent. However, despite his desire to distance himself from religious constraints, Stephen is constantly reminded of his Catholic heritage. His pastor warns him that ‘once a priest, always a priest,’ highlighting the inescapable nature of his religious influences.

Contrasting Jeanette's Subversion of Religious Narratives

In stark contrast to Stephen's struggle, Jeanette Winterson’s Oranges Are Not the Only Fruit actively deconstructs traditional religious narratives. Through her retelling of biblical stories, Jeanette disrupts the patriarchal and heteronormative interpretations that have historically marginalized queer identities. The narrative of Daniel in the lion's den is reimagined through the lens of her childhood experiences, demonstrating how narratives can be reshaped to reflect individual truths. This act of rewriting allows Jeanette to reclaim her identity and challenge the authority of religious dogma.

One key moment occurs when Jeanette faces Pastor Finch, who represents the rigid moral framework of the church. When questioned about her love for Melanie, Jeanette struggles to articulate the nature of her feelings within the confines of religious language. Her attempts to express a love that exists outside traditional binaries reveal the limitations of religious narratives in accommodating diverse identities. The pastor’s insistence on a singular interpretation reflects the church's desire to maintain control over the meaning of love, denying the validity of Jeanette’s experience.

Fluidity of Narratives and Personal Identity

Both Stephen and Jeanette grapple with the constraints imposed by religious narratives, yet their approaches differ significantly. While Stephen seeks to escape the confines of his Catholic upbringing, he ultimately finds himself tethered to its language and symbols. In contrast, Jeanette embraces the fluidity of narratives, recognizing their potential for reinterpretation. Her journey involves dismantling the ‘walls’ that religious narratives create, allowing her to forge a new identity that incorporates her experiences as a queer woman.

Winterson’s exploration of narrative fluidity is particularly evident in her retelling of the battle of Jericho. Jeanette likens her struggle against oppressive narratives to Joshua’s conquest, asserting that ‘walls should fall’ as a natural consequence of personal agency. Unlike Joshua, who received divine instructions, Jeanette’s authority stems from her own lived experiences and inner voice. This distinction emphasizes her role as a prophet of her own narrative, capable of challenging the established norms that seek to confine her identity.

Comparative Analysis of Religious Elements

Conclusion

In conclusion, both A Portrait of the Artist as a Young Man and Oranges Are Not the Only Fruit employ religious elements to explore themes of identity, freedom, and artistic expression. While Stephen Dedalus grapples with the weight of his Catholic upbringing and its impact on his creative ambitions, Jeanette Winterson actively subverts traditional narratives to forge a new identity that celebrates her queerness. The contrasting approaches of these two characters highlight the complexity of navigating religious influences and the power of narrative to shape personal identity. Ultimately, both authors demonstrate that while religious narratives can impose limitations, they also possess the potential for reinterpretation and liberation.

Works Cited

Winterson, Jeanette. Oranges Are Not the Only Fruit. New York: Grove Press, 1985. Print.

Joyce, James. A Portrait of the Artist as a Young Man. London: Penguin Books, 1992. Print.

Howell, Edward H. Aesthetics/Religion/Nationalism: Situating the Soul of James Joyce. Philadelphia: Villanova University, 2010. Print.

Akoi, Mohammed. “Stephen and the Technique of Symbol Switching in Joyce’s A Portrait of the Artist as a Young Man and Ulysses.” Language in India, vol. 13, no. 10, 2013, pp. 294-306.

Reisman, Mara. “Integrating Fantasy and Reality in Jeanette Winterson’s Oranges Are Not the Only Fruit.” Rocky Mountain Review of Language and Literature, vol. 65, no. 1, 2011, pp. 11-35.