The writings of Joyce and Bennett have become synonymous with the arduous process of becoming adults and, despite the large time gap between their works ' publication, use some similar techniques to describe the process. However, Bennett's "The History Boys" focuses primarily on the educational and partly sexual development of the students, while "Portrait of the Artist as a Young Man" concerns the spiritual and moral growth of a protagonist, Stephen Dedalus. The differences between these works emerge above all in the concepts of 'baptisms of fire' and 'rites of passage', both integral parts of the development of the authors' themes. Both of these terms have seemingly ambiguous connotations and are often subject to misinterpretation, especially in the case of the latter. However, they were granted simple definitions: for the former, “a new undertaking or painful experience” and for the latter, “a ritual or event that marks a stage in a person's advancement in life.” These definitions, despite their euphemistic aura, are undoubtedly applicable to the two pieces and are typical of the bildungsroman genre, to which the two pieces presumably belong; but they are addressed in different ways by the two authors. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an Original Essay Within Joyce's "Portrait of the Artist as a Young Man," many ideas come together to achieve the two solid techniques mentioned above. Most of these ideas center on the protagonist, Stephen Dedalus, and his journey to adulthood and the tribulations that journey creates. Joyce certainly has no qualms about reinforcing this concept and shows it right from the start: "Once upon a time... there was a moo cow coming down the road and this moo cow met a nice little boy named baby tuckoo ." This unconventional technique mimics the pure simplicity of a child's mind and thought processes. It also provides the reader with a starting point from which Stephen's mind can mature: it is as if the author wants us to witness the entire growth process, thus building a bond between reader and protagonist. This is the first significant phase of an entirely episodic, staged novel, and the first "rite of passage" exhibited by Joyce. This idea is carried forward throughout the first chapter of the novel, with Joyce presenting the significant passages of Stephen's life: school, family and friends which are, later in the novel, juxtaposed with other more mature priorities. This means that, due to his young age, Stephen is simply a listener and an observer in these opening pages and the text is dominated by the voices of his family, who discuss religion and politics and ultimately introduce Stephen to the themes that will flourish . in subsequent chapters. An example of this is Stephen Dedalus's, albeit methodical, introduction to religion: "Say his prayers and be in bed before the gas is turned down so that he cannot go to hell when he dies." This quote shows Stephen's entry into a typically Irish rite of passage, religion, a theme that will reappear and haunt the protagonist in subsequent pages and, in Joyce's eyes, was an integral part of growing up in 19th century Ireland. Bennett chooses to begin "The History Boys" at a later point in a child's life: he does not echo Joyce's beginning of the growth process from the first rite of passage, but instead chooses to open his work with a monologue concerning events of which the reader is completely unaware, which is like a frame story. However, Bennett implies the entire contextof the work: “School. That's all. In my case anyway. Back to school." This quote, with its short statements, conveys the feeling that the character speaking, Irwin, has been strongly influenced by the school and has become an integral part of the school. part of his life, which could be interpreted as his involvement in rites of passage related to education: this is realized later, when the audience becomes aware of the subtle progression that occurs in Irwin. This increases the contrast between the two pieces because, although “Portrait of the Artist as a Young Man " is partially set in a school, it becomes clear that "The History Boys", unlike Joyce's piece, will focus on the school and its exams. , while Joyce focuses his piece on religion and morality. This centering on the settings key continues into the realm of rites of passage and fire baptisms, they being largely connected to the appropriate theme. Within the first section of “A Portrait of the Artist as a Young Man,” Joyce chooses to introduce a definite, easily recognizable , baptism of fire for Stephen Dedalus, during which the protagonist is subjected to brutal treatment by an authority figure: “A hot, stinging, tingling blow like the loud crack of a broken stick… his eyes… a cry leaped to his lips, a prayer for release... his body trembled with a paralysis of fear and with shame and anger he felt the boiling cry escape from his throat. It was cruel and unfair." This sequence of events, adequately conveyed in equally brutal vocabulary, appears to act as a detrimental catalyst for Stephen's emotional and moral progression: after this point he becomes confused and tries to ascertain the true meaning of his punishment and begins to question the his faith both in adults and in God. This idea is shown in a later quote: “His soul had risen from the grave of his childhood, despising his grave habits.” This quote shows how important this event was in Stephen's life and how, throughout the novel, he is burdened by its memory. On the other hand Bennett chooses not to show a clear and original baptism of fire, opting instead for a multitude of episodes to evoke one, particularly in the Oxbridge interview process and the resulting pressure placed on pupils: “Look, I'm s* *There is none of this. Sorry." This defeatist comment from Rudge exemplifies the tortuous nature of entry into the adult world. It contrasts with the casual confidence of the other pupils and shows that Bennett, by using a range of characters, is trying to induce a sense of realism into the work This heightens the sense that the "History Boys" involves an organized and routine struggle as opposed to the irregular one employed by Joyce. This also confirms that Joyce's novel is a singular experience, while Bennett's work is multiple. In 'A Portrait of the Artist as a Young Man', Joyce focuses exclusively on the growth of an individual and conveys this by including the reader in Stephen's interior monologue: “Through this image he glimpsed a strange dark cave of speculation but quickly turned away from it, feeling that it was not yet time to enter it.” In this quote, the author portrays Stephen as if he considered himself immature, knowledgeable and, therefore, incapable of dealing with elements of thought and intellectualism, an insecurity which is an element of growth, a rite of passage. Through this use of a single character, it is clear that Joyce wanted to create a further, higher, level of reader involvement and empathy and thus humanize the protagonist: “The yellow drip has been dug like a swamp and the pool beneath it hasbringing it brought back memories of the dark peat-colored water of the Clongowes bath. This quote, which contrasts with the intellectual discussions of the previous pages, adds a greater dimension of realism to the protagonist. Joyce wanted above all to portray the emergence of the "artist", for example, as Jonathan Murooney states in "Stephen Dedalus and the Politics of Confession": "The portrait of Stephen is at the same time the portrait, as Joyce conceived it, of the attempt of the Irish artist to escape from cultural subjection towards economic possibility and intellectual freedom”. This, perhaps, is connected to the name given by Joyce to his protagonist Dedalus (from Daedalus), who, in classical mythology, built the labyrinth in which resided the Minotaur, which contrasts with the escape of Joyce's Daedalus. Bennett's work, set in more 'enlightened' times, the 1980s, does not instead use any specific person with whom the audience can measure the tribulations of the rites. in passing undertaken. However, one character, Posner, bears a certain resemblance to Stephen Dedalus. Over the course of the play the audience becomes aware of a very particular range of problems experienced by Posner: “I am Jewish. I'm small. I'm homosexual. And I live in Sheffield. I'm fucked." This quote exemplifies Bennett's signature sense of humor, but it also shows the author making a serious commentary on the classes and social systems that the kids will have to overcome, as also demonstrated by the full spectrum of Bennett's characters : black, white, Jewish, Muslim and homosexual, a rather convenient ethnic mix for early 1980s Sheffield. His use of language in this extract reflects his importance and cutting, which stick in the audience's mind and which are then paired with the humor of the last statement and turn out to be truly memorable. Using this technique, Bennett is able to explore the particular rites of passage of different groups of people: “ Jewish kids often are, but nowadays a role that is increasingly taken on by Asian kids, intelligence to a certain extent is the result of discrimination." This ultimately means that dealing with race is a very important rite of passage in “The History Boys.” This multicultural theme is not prevalent in "Portrait of the Artist as a Young Man", due to its time and setting, but the theme of nationality is explored thoroughly by Joyce. At the beginning of the novel, Stephen Dedalus' home is dominated by political discussion: “No God for Ireland! cry. We have too much God in Ireland. Away God!” This topic and its repercussions have a profound effect on Stephen, who, due to the conflict raging in his mind, begins to distrust his own race and country, but ultimately comes to a conclusion: “I go to meet for the millionth time the reality of experience and forge in the forge of my soul the uncreated consciousness of my race." This, with its use of metaphor, shows that Stephen has finally become aware of his role in the world and, ultimately, that he has finally reached adulthood and now has a sense of purpose, which contrasts with the ambiguous conclusion of "The History Boys". . Many have suggested that Stephen's biased views reflect those of his creator and have even gone so far as to infer that his piece is semi-autobiographical – an idea shared with the 'History Boys' and of dubious foundation. Ideas of religion and morality are of fundamental importance for the two authors. In "The History Boys", Bennett, with much satire, uses particular characters who are moral and immoral to increase the entertainment value of his work and, more importantly, to illustrate a teenager's confused feelings regarding both himself.