Dante and Moses in "The Parable of the Plums".

When James Joyce uses a Dantean model, Paradiso 31, for Stephen Dedalus's "Parable of the Plums" in the "Aeolus" episode of Ulysses, Stephen's tale marks a turning point in the character's development from earnest poet to ironic storyteller. In Dante, the Pilgrim and St. Bernard gaze up at the Rose...

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Publicado en:Journal of Modern Literature Vol. 49; no. 3; pp. 75 - 94
Autor principal: Wallace, Nathan
Formato: Literary Criticism
Publicado: Indiana University Press Spring2026
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Acceso en línea:Ver este registro en EBSCOhost
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        atl: Dante and Moses in "The Parable of the Plums".
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        au: Wallace, Nathan
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        Joyce, James, 1882-1941
        Dante Alighieri, 1265-1321
        Ulysses (Book : Joyce)
        Narratives
        Parody
        Parables
        Irish authors
        Nelson, Horatio Nelson, Viscount, 1758-1805
        Religious orthodoxy
        Nationalism
        20th century (Literary period)
        Poets
        Dublin (Ireland : County)
      sug:
        subj:
          Dublin (Ireland : County)
          Joyce, James, 1882-1941
          Dante Alighieri, 1265-1321
          Ulysses (Book : Joyce)
          Narratives
          Parody
          Parables
          Irish authors
          Nelson, Horatio Nelson, Viscount, 1758-1805
          Religious orthodoxy
          Nationalism
          20th century (Literary period)
          Poets
      keyword:
        Dante
        Irish literature
        James Joyce
        Moses
        Ulysses
      ab: When James Joyce uses a Dantean model, Paradiso 31, for Stephen Dedalus's "Parable of the Plums" in the "Aeolus" episode of Ulysses, Stephen's tale marks a turning point in the character's development from earnest poet to ironic storyteller. In Dante, the Pilgrim and St. Bernard gaze up at the Rose of Heaven; in Stephen's story, two "Dublin vestals" gaze up at the statue of the "onehandled adulterer" Horatio Nelson. By structuring his profane story on an inversion of Dante's sacred one, Joyce has Stephen parody both Irish nationalism's rhetorical use of Moses' story, and the sexual repressiveness of Catholic orthodoxy. Stephen thereby accomplishes a creative breakthrough toward the mature author's Dantean polysemic aesthetics. He learns to merge imagery of contemporary Dublin with a classic narrative structure, and this makes his parable the crux of Joyce's larger Dantean pattern in the novel.
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