Stephen's father, Simon, is inept with money, and the family sinks deeper and deeper into debt. After a summer spent in the company of his Uncle Charles, Stephen learns that the family cannot afford to send him back to Clongowes, and that they will instead move to Dublin. Stephen starts attending a prestigious day school called Belvedere, where he grows to excel as a writer and as an actor in the student theater. His first sexual experience, with a young Dublin prostitute, unleashes a storm of guilt and shame in Stephen, as he tries to reconcile his physical desires with the stern Catholic morality of his surroundings. For a while, he ignores his religious upbringing, throwing himself with debauched abandon into a variety of sins—masturbation, gluttony, and more visits to prostitutes, among others. Then, on a three-day religious retreat, Stephen hears a trio of fiery sermons about sin, judgment, and hell. Deeply shaken, the young man resolves to rededicate himself to a life of Christian piety.
Stephen begins attending Mass every day, becoming a model of Catholic piety, abstinence, and self-denial. His religious devotion is so pronounced that the director of his school asks him to consider entering the priesthood. After briefly considering the offer, Stephen realizes that the austerity of the priestly life is utterly incompatible with his love for sensual beauty. That day, Stephen learns from his sister that the family will be moving, once again for financial reasons. Anxiously awaiting news about his acceptance to the university, Stephen goes for a walk on the beach, where he observes a young girl wading in the tide. He is struck by her beauty, and realizes, in a moment of epiphany, that the love and desire of beauty should not be a source of shame. Stephen resolves to live his life to the fullest, and vows not to be constrained by the boundaries of his family, his nation, and his religion.
Stephen moves on to the university, where he develops a number of strong friendships, and is especially close with a young man named Cranly<span>. In a series of conversations with his companions, Stephen works to formulate his theories about art. While he is dependent on his friends as listeners, he is also determined to create an independent existence, liberated from the expectations of friends and family. He becomes more and more determined to free himself from all limiting pressures, and eventually decides to leave Ireland to escape them. Like his namesake, the mythical Daedalus, Stephen hopes to build himself wings on which he can fly above all obstacles and achieve a life as an artist.</span>A Portrait of the Artist as a Young Man<span> tells the story of </span>Stephen Dedalus<span>, a boy growing up in Ireland at the end of the nineteenth century, as he gradually decides to cast off all his social, familial, and religious constraints to live a life devoted to the art of writing. As a young boy, Stephen's Catholic faith and Irish nationality heavily influence him. He attends a strict religious boarding school called Clongowes Wood College. At first, Stephen is lonely and homesick at the school, but as time passes he finds his place among the other boys. He enjoys his visits home, even though family tensions run high after the death of the Irish political leader </span>Charles Stewart Parnell<span>. This sensitive subject becomes the topic of a furious, politically charged argument over the family's Christmas dinner.
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Johann Sebastian Bach was a German composer and musician of the Baroque period. He is known for instrumental compositions such as the Brandenburg Concertos and the Goldberg Variations, and for vocal music such as the St Matthew Passion and the Mass in B minor. Wikipedia
Born: 31 March 1685, Eisenach, Germany
Died: 28 July 1750, Leipzig, Germany
Education: St. Michael's School (1699–1701)
Children: Johann Christian Bach, Carl Philipp Emanuel Bach, Wilhelm Friedemann Bach, Christiana Benedicta Louise Bach, Christiana Dorothea Bach, Maria Sophia Bach, more
Spouse: Anna Magdalena Bach (m. 1721–1750), Maria Barbara Bach (m. 1707–1720)
Influenced by: Antonio Vivaldi, Johann Pachelbel, Dietrich Buxtehude, Johann Kaspar Kerll
He was a member of a remarkable family of musicians who were proud of their achievements, and about 1735 he drafted a genealogy, Ursprung der musicalisch-Bachischen Familie (“Origin of the Musical Bach Family”), in which he traced his ancestry back to his great-great-grandfather Veit Bach, a Lutheran baker (or miller) who late in the 16th century was driven from Hungary to Wechmar in Thuringia, a historic region of Germany, by religious persecution and died in 1619. There were Bachs in the area before then, and it may be that, when Veit moved to Wechmar, he was returning to his birthplace. He used to take his cittern to the mill and play it while the mill was grinding. Johann Sebastian remarked, “A pretty noise they must have made together! However, he learnt to keep time, and this apparently was the beginning of music in our family.”
Unfinished as it was, The Art of the Fugue was published in 1751. It attracted little attention and was reissued in 1752 with a laudatory preface by Friedrich Wilhelm Marpurg, a well-known Berlin musician who later became director of the royal lottery. In spite of Marpurg and of some appreciative remarks by Johann Mattheson, the influential Hamburg critic and composer, only about 30 copies had been sold by 1756, when Emanuel Bach offered the plates for sale. As far as is known, they were sold for scrap.
Emanuel Bach and the organist-composer Johann Friedrich Agricola (a pupil of Sebastian’s) wrote an obituary; Mizler added a few closing words and published the result in the journal of his society (1754). There is an English translation of it in The Bach Reader. Though incomplete and inaccurate, the obituary is of very great importance as a firsthand source of information.
Bach appears to have been a good husband and father. Indeed, he was the father of 20 children, only 10 of whom survived to maturity. There is amusing evidence of a certain thriftiness—a necessary virtue, for he was never more than moderately well off and he delighted in hospitality. Living as he did at a time when music was beginning to be regarded as no occupation for a gentleman, he occasionally had to stand up for his rights both as a man and as a musician; he was then obstinate in the extreme. But no sympathetic employer had any trouble with Bach, and with his professional brethren he was modest and friendly. He was also a good teacher and from his Mühlhausen days onward was never without pupils.
Be happy
Never ride it. that can make the car need a lot of repairs, and it might even blow up!
there is probably more than one correct answer. please mark brainliest!
The point of view that is portrayed in the narrative is
D. third-person omniscient
The point of view is third-person because the narrator tells the story of the character using third-person pronouns. It is omniscient because the narrator knows how the character is feeling.
