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``A Tame Bird Escaped from Captivity'' Leaving Ireland in George Moore's The Lake and Joyce's A Portrait of the Artist as a Young Man PA U L J O N E S The many echoes of George Moore's novels and stories in Joyce's writing before Ulysses have been recorded in considerable detail, yet the significance of these intertextual relationships is often overlooked, mostly because of a sense of Moore's uneven quality. The usual, slightly embarrassed critical explanation for the ``borrowings'' from Moore's The Untilled Field, Celibates, and Vain Fortune in Dubliners, and from Confessions of a Young Man and The Lake in A Portrait of an Artist as a Young Man, is that, as Ellmann puts it, Joyce ``found [Moore] a good man to improve upon,'' and was guilty of nothing more than ``imaginative absorption'' of his reading (JJ 234, 250).1 However, even though Moore's lack of polish was subjected to considerable mockery by the young Joyce, it appears that, around 1907, his attitude to Moore changed. It is my argument that, at this crucial turning point, Joyce began to appreciate the older writer as an exemplary case of a cosmopolitan novelist from an Irish and Catholic background,
Joyce Studies Annual – Fordham University Press
Published: Aug 9, 2012
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