Stephen Dedalus's society and Steven Sater's vision
It shouldn’t come as a surprise that 1890s Dublin and 1891 Germany would have some
similarities, even if different denominations of Christianity dominate each area. And while it isn’t
surprising that the experiences of adolescents 120 years ago can be somewhat understood by
those of today, the 2006 rock musical Spring Awakening, written by Steven Sater and arranged
musically by Duncan Sheik, made that even more apparent with today’s youth finding refuge
within the punk rock aesthetic of the music. Within this modern-day musical, which was adapted
by Frank Wedekind’s 1891 play Fruehling’s Erwachen, and James Joyce’s 1916 (though set in
the 1890’s) novel A Portrait of the Artist as a Young Man, we can find many similar themes
relating to adolescence and the consequences of a repressive society.
similarities, even if different denominations of Christianity dominate each area. And while it isn’t
surprising that the experiences of adolescents 120 years ago can be somewhat understood by
those of today, the 2006 rock musical Spring Awakening, written by Steven Sater and arranged
musically by Duncan Sheik, made that even more apparent with today’s youth finding refuge
within the punk rock aesthetic of the music. Within this modern-day musical, which was adapted
by Frank Wedekind’s 1891 play Fruehling’s Erwachen, and James Joyce’s 1916 (though set in
the 1890’s) novel A Portrait of the Artist as a Young Man, we can find many similar themes
relating to adolescence and the consequences of a repressive society.
In the very basics, the attitudes towards girls and boys are rather similar. Schools are single-
gender, which oftentimes leave developing adolescents confused when they do encounter the
opposite sex. Along with that, there is no sexual education, and therefore, no handbook or
resource for these kids on how to grasp their confusion when puberty hits. And instead of trying
to sympathize with children, authority figures implant a sense of shame in these kids in that
having such normal thoughts and desires can condemn them. Shame is a common theme in
both works of writing. There is no teaching of consent or its importance, just a “don’t do it” if it
happens to come up.
gender, which oftentimes leave developing adolescents confused when they do encounter the
opposite sex. Along with that, there is no sexual education, and therefore, no handbook or
resource for these kids on how to grasp their confusion when puberty hits. And instead of trying
to sympathize with children, authority figures implant a sense of shame in these kids in that
having such normal thoughts and desires can condemn them. Shame is a common theme in
both works of writing. There is no teaching of consent or its importance, just a “don’t do it” if it
happens to come up.
Stephen Dedalus has a lot in common with the characters in Spring Awakening, but in my
opinion, he probably shares the most with the figure of Moritz Stiefel. Stephen, like Moritz, is
utterly confused as completely natural feelings of lust and desire arise for him, and has nowhere
to turn as far as adult figures go. His parents aren’t much help, and all his teachers and the
clergy tell him is that lust is bad, sex is bad, and pray, pray, pray. Meanwhile, they (Stephen and
Moritz) both share a haunting feeling that sexual desire will not soon let up. In an early scene of
Act I, Moritz is discussing his feelings with his best friend Melchior, he states that “somewhere
within his destiny” is a woman. Meanwhile, Stephen in chapter 2 is having this fantasy of
“encountering” a woman, and being utterly transformed as a result. To combat these sensual
desires, both seem to verge towards a path of “putting yourself through hell to get to heaven”.
Moritz stays up late to get good enough grades so his parents won’t be upset, prays
constantly for his flaws to be vanquished, and eventually ends up dying by suicide after failing
and being kicked out. Meanwhile, Stephen forces himself to endure pain of hunger and shuts
himself off of all thoughts of sin, fearing a mere mental image could condemn him to hell
forever.
opinion, he probably shares the most with the figure of Moritz Stiefel. Stephen, like Moritz, is
utterly confused as completely natural feelings of lust and desire arise for him, and has nowhere
to turn as far as adult figures go. His parents aren’t much help, and all his teachers and the
clergy tell him is that lust is bad, sex is bad, and pray, pray, pray. Meanwhile, they (Stephen and
Moritz) both share a haunting feeling that sexual desire will not soon let up. In an early scene of
Act I, Moritz is discussing his feelings with his best friend Melchior, he states that “somewhere
within his destiny” is a woman. Meanwhile, Stephen in chapter 2 is having this fantasy of
“encountering” a woman, and being utterly transformed as a result. To combat these sensual
desires, both seem to verge towards a path of “putting yourself through hell to get to heaven”.
Moritz stays up late to get good enough grades so his parents won’t be upset, prays
constantly for his flaws to be vanquished, and eventually ends up dying by suicide after failing
and being kicked out. Meanwhile, Stephen forces himself to endure pain of hunger and shuts
himself off of all thoughts of sin, fearing a mere mental image could condemn him to hell
forever.
Stephen, in addition, shares some traits with Moritz’s best friend, the protagonist of Spring
Awakening, Melchior Gabor. As we see in Chapter 2, Stephen holds within himself a rebellious
nature and lack of enthusiasm with the strict regulations of the time. He, like Melchior, is a
good student without taking much pride in it, for utter displeasement towards schooling. Both
have a self-consumed nature, especially when it comes to their sexual desires. In Spring
Awakening, Melchior disregards the desires of his “partner”, Wendla, and instead is driven by
his own longings, and thus, ends up taking advantage of Wendla. Stephen holds a similar
self-consumption, as we can see in the scene in which he and Emma ride together on the
train, and all he can really think about is kissing her, rather than really paying attention to
anything she is contributing to the conversation. However, Stephen does seem to have more
self-control than Melchior, decided not to make a move on Emma that may result in her
rejection, which is inevitably the right decision, yet he still beats himself up for it. Again, no
teaching of the need for consent in this society.
Awakening, Melchior Gabor. As we see in Chapter 2, Stephen holds within himself a rebellious
nature and lack of enthusiasm with the strict regulations of the time. He, like Melchior, is a
good student without taking much pride in it, for utter displeasement towards schooling. Both
have a self-consumed nature, especially when it comes to their sexual desires. In Spring
Awakening, Melchior disregards the desires of his “partner”, Wendla, and instead is driven by
his own longings, and thus, ends up taking advantage of Wendla. Stephen holds a similar
self-consumption, as we can see in the scene in which he and Emma ride together on the
train, and all he can really think about is kissing her, rather than really paying attention to
anything she is contributing to the conversation. However, Stephen does seem to have more
self-control than Melchior, decided not to make a move on Emma that may result in her
rejection, which is inevitably the right decision, yet he still beats himself up for it. Again, no
teaching of the need for consent in this society.
Nice comparison. I have not seen Spring Awakening but from what you say there are a lot of interesting similarities. Thinking that you should be perfect is a terribly misguided belief. Stephen's fling with it was a ticking time bomb that was bound to explode eventually. Believing that you should be perfect while also noticing all the ways in which you're failing is torturous and unsustainable. I'm sorry it ended up in suicide for Moritz.
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