by James Joyce
— When you make the next rebellion with hurleysticks, said Stephen, and want the indispensable informer, tell me. I can find you a few in this college.
— I can’t understand you, said Davin. One time I hear you talk against English literature. Now you talk against the Irish informers. What with your name and your ideas — Are you Irish at all?
— Come with me now to the office of arms and I will show you the tree of my family, said Stephen.
— Then be one of us, said Davin. Why don’t you learn Irish? Why did you drop out of the league class after the first lesson?
— You know one reason why, answered Stephen.
Davin tossed his head and laughed.
— Oh, come now, he said. Is it on account of that certain young lady and Father Moran? But that’s all in your own mind, Stevie. They were only talking and laughing.
Stephen paused and laid a friendly hand upon Davin’s shoulder.
— Do you remember, he said, when we knew each other first? The first morning we met you asked me to show you the way to the matriculation class, putting a very strong stress on the first syllable. You remember? Then you used to address the jesuits as father, you remember? I ask myself about you: IS HE AS INNOCENT AS HIS SPEECH?
— I’m a simple person, said Davin. You know that. When you told me that night in Harcourt Street those things about your private life, honest to God, Stevie, I was not able to eat my dinner. I was quite bad. I was awake a long time that night. Why did you tell me those things?
— Thanks, said Stephen. You mean I am a monster.
— No, said Davin. But I wish you had not told me.
A tide began to surge beneath the calm surface of Stephen’s friendliness.
— This race and this country and this life produced me, he said I shall express myself as I am.
— Try to be one of us, repeated Davin. In heart you are an Irish man but your pride is too powerful.
— My ancestors threw off their language and took another Stephen said. They allowed a handful of foreigners to subject them. Do you fancy I am going to pay in my own life and person debts they made? What for?
— For our freedom, said Davin.
— No honourable and sincere man, said Stephen, has given up to you his life and his youth and his affections from the days of Tone to those of Parnell, but you sold him to the enemy or failed him in need or reviled him and left him for another. And you invite me to be one of you. I’d see you damned first.
— They died for their ideals, Stevie, said Davin. Our day will come yet, believe me.
Stephen, following his own thought, was silent for an instant.
— The soul is born, he said vaguely, first in those moments I told you of. It has a slow and dark birth, more mysterious than the birth of the body. When the soul of a man is born in this country there are nets flung at it to hold it back from flight. You talk to me of nationality, language, religion. I shall try to fly by those nets.
Davin knocked the ashes from his pipe.
— Too deep for me, Stevie, he said. But a man’s country comes first. Ireland first, Stevie. You can be a poet or a mystic after.
— Do you know what Ireland is? asked Stephen with cold violence. Ireland is the old sow that eats her farrow.
Davin rose from his box and went towards the players, shaking his head sadly. But in a moment his sadness left him and he was hotly disputing with Cranly and the two players who had finished their game. A match of four was arranged, Cranly insisting, however, that his ball should be used. He let it rebound twice or thrice to his hand and struck it strongly and swiftly towards the base of the alley, exclaiming in answer to its thud:
— Your soul!
Stephen stood with Lynch till the score began to rise. Then he plucked him by the sleeve to come away. Lynch obeyed, saying:
— Let us eke go, as Cranly has it.
Stephen smiled at this side-thrust.
They passed back through the garden and out through the hall where the doddering porter was pinning up a hall notice in the frame. At the foot of the steps they halted and Stephen took a packet of cigarettes from his pocket and offered it to his companion.
— I know you are poor, he said.
— Damn your yellow insolence, answered Lynch.
This second proof of Lynch’s culture made Stephen smile again.
— It was a great day for European culture, he said, when you made up your mind to swear in yellow.
They lit their cigarettes and turned to the right. After a pause Stephen began:
— Aristotle has not defined pity and terror. I have. I say —
Lynch halted and said bluntly:
— Stop! I won’t listen! I am sick. I was out last night on a yellow drunk with Horan and Goggins.
Stephen went on:
— Pity is the feeling which arrests the mind in the presence of whatsoever is grave and constant in human sufferings and unites it with the human sufferer. Terror is the feeling which arrests the mind in the presence of whatsoever is grave and constant in human sufferings and unites it with the secret cause.
— Repeat, said Lynch.
Stephen repeated the definitions slowly.
— A girl got into a hansom a few days ago, he went on, in London. She was on her way to meet her mother whom she had not seen for many years. At the corner of a street the shaft of a lorry shivered the window of the hansom in the shape of a star. A long fine needle of the shivered glass pierced her heart. She died on the instant. The reporter called it a tragic death. It is not. It is remote from terror and pity according to the terms of my definitions.
— The tragic emotion, in fact, is a face looking two ways, towards terror and towards pity, both of which are phases of it. You see I use the word ARREST. I mean that the tragic emotion is static. Or rather the dramatic emotion is. The feelings excited by improper art are kinetic, desire or loathing. Desire urges us to possess, to go to something; loathing urges us to abandon, to go from something. The arts which excite them, pornographical or didactic, are therefore improper arts. The esthetic emotion (I used the general term) is therefore static. The mind is arrested and raised above desire and loathing.
— You say that art must not excite desire, said Lynch. I told you that one day I wrote my name in pencil on the backside of the Venus of Praxiteles in the Museum. Was that not desire?
— I speak of normal natures, said Stephen. You also told me that when you were a boy in that charming carmelite school you ate pieces of dried cowdung.
Lynch broke again into a whinny of laughter and again rubbed both his hands over his groins but without taking them from his pockets.
— O, I did! I did! he cried.
Stephen turned towards his companion and looked at him for a moment boldly in the eyes. Lynch, recovering from his laughter, answered his look from his humbled eyes. The long slender flattened skull beneath the long pointed cap brought before Stephen’s mind the image of a hooded reptile. The eyes, too, were reptile-like in glint and gaze. Yet at that instant, humbled and alert in their look, they were lit by one tiny human point, the window of a shrivelled soul, poignant and self-embittered.
— As for that, Stephen said in polite parenthesis, we are all animals. I also am an animal.
— You are, said Lynch.
— But we are just now in a mental world, Stephen continued. The desire and loathing excited by improper esthetic means are really not esthetic emotions not only because they are kinetic in character but also because they are not more than physical. Our flesh shrinks from what it dreads and responds to the stimulus of what it desires by a purely reflex action of the nervous system. Our eyelid closes before we are aware that the fly is about to enter our eye.
— Not always, said Lynch critically.
— In the same way, said Stephen, your flesh responded to the stimulus of a naked statue, but it was, I say, simply a reflex action of the nerves. Beauty expressed by the artist cannot awaken in us an emotion which is kinetic
or a sensation which is purely physical. It awakens, or ought to awaken, or induces, or ought to induce, an esthetic stasis, an ideal pity or an ideal terror, a stasis called forth, prolonged, and at last dissolved by what I call the rhythm of beauty.
— What is that exactly? asked Lynch.
— Rhythm, said Stephen, is the first formal esthetic relation of part to part in any esthetic whole or of an esthetic whole to its part or parts or of any part to the esthetic whole of which it is a part.
— If that is rhythm, said Lynch, let me hear what you call beauty; and, please remember, though I did eat a cake of cowdung once, that I admire only beauty.
Stephen raised his cap as if in greeting. Then, blushing slightly, he laid his hand on Lynch’s thick tweed sleeve.
— We are right, he said, and the others are wrong. To speak of these things and to try to understand their nature and, having understood it, to try slowly and humbly and constantly to express, to press out again, from the gross earth or what it brings forth, from sound and shape and colour which are the prison gates of our soul, an image of the beauty we have come to understand — that is art.
They had reached the canal bridge and, turning from their course, went on by the trees. A crude grey light, mirrored in the sluggish water and a smell of wet branches over their heads seemed to war against the course of Stephen’s thought.
— But you have not answered my question, said Lynch. What is art? What is the beauty it expresses?
— That was the first definition I gave you, you sleepy-headed wretch, said Stephen, when I began to try to think out the matter for myself. Do you remember the night? Cranly lost his temper and began to talk about Wicklow bacon.
— I remember, said Lynch. He told us about them flaming fat devils of pigs.
— Art, said Stephen, is the human disposition of sensible or intelligible matter for an esthetic end. You remember the pigs and forget that. You are a distressing pair, you and Cranly.
Lynch made a grimace at the raw grey sky and said:
— If I am to listen to your esthetic philosophy give me at least another cigarette. I don’t care about it. I don’t even care about women. Damn you and damn everything. I want a job of five hundred a year. You can’t get me one.
Stephen handed him the packet of cigarettes. Lynch took the last one that remained, saying simply:
— Proceed!
— Aquinas, said Stephen, says that is beautiful the apprehension of which pleases.
Lynch nodded.
— I remember that, he said, PULCRA SUNT QUAE VISA PLACENT.
— He uses the word VISA, said Stephen, to cover esthetic apprehensions of all kinds, whether through sight or hearing or through any other avenue of apprehension. This word, though it is vague, is clear enough to keep away good and evil which excite desire and loathing. It means certainly a stasis and not a kinesis. How about the true? It produces also a stasis of the mind. You would not write your name in pencil across the hypotenuse of a right-angled triangle.
— No, said Lynch, give me the hypotenuse of the Venus of Praxiteles.
— Static therefore, said Stephen. Plato, I believe, said that beauty is the splendour of truth. I don’t think that it has a meaning, but the true and the beautiful are akin. Truth is beheld by the intellect which is appeased by the most satisfying relations of the intelligible; beauty is beheld by the imagination which is appeased by the most satisfying relations of the sensible. The first step in the direction of truth is to understand the frame and scope of the intellect itself, to comprehend the act itself of intellection. Aristotle’s entire system of philosophy rests upon his book of psychology and that, I think, rests on his statement that the same attribute cannot at the same time and in the same connexion belong to and not belong to the same subject. The first step in the direction of beauty is to understand the frame and scope of the imagination, to comprehend the act itself of esthetic apprehension. Is that clear?
— But what is beauty? asked Lynch impatiently. Out with another definition. Something we see and like! Is that the best you and Aquinas can do?
— Let us take woman, said Stephen.
— Let us take her! said Lynch fervently.
— The Greek, the Turk, the Chinese, the Copt, the Hottentot, said Stephen, all admire a different type of female beauty. That seems to be a maze out of which we cannot escape. I see, however, two ways out. One is this hypothesis: that every physical quality admired by men in women is in direct connexion with the manifold functions of women for the propagation of the species. It may be so. The world, it seems, is drearier than even you, Lynch, imagined. For my part I dislike that way out. It leads to eugenics rather than to esthetic. It leads you out of the maze into a new gaudy lecture-room where MacCann, with one hand on THE ORIGIN OF SPECIES and the other hand on the new testament, tells you that you admired the great flanks of Venus because you felt that she would bear you burly offspring and admired her great breasts because you felt that she would give good milk to her children and yours.
— Then MacCann is a sulphur-yellow liar, said Lynch energetically.
— There remains another way out, said Stephen, laughing.
— To wit? said Lynch.
— This hypothesis, Stephen began.
A long dray laden with old iron came round the corner of Sir Patrick Dun’s hospital covering the end of Stephen’s speech with the harsh roar of jangled and rattling metal. Lynch closed his ears and gave out oath after oath till the dray had passed. Then he turned on his heel rudely. Stephen turned also and waited for a few moments till his companion’s ill-humour had had its vent.
— This hypothesis, Stephen repeated, is the other way out: that, though the same object may not seem beautiful to all people, all people who admire a beautiful object find in it certain relations which satisfy and coincide with the stages themselves of all esthetic apprehension. These relations of the sensible, visible to you through one form and to me through another, must be therefore the necessary qualities of beauty. Now, we can return to our old friend saint Thomas for another pennyworth of wisdom.
Lynch laughed.
— It amuses me vastly, he said, to hear you quoting him time after time like a jolly round friar. Are you laughing in your sleeve?
— MacAlister, answered Stephen, would call my esthetic theory applied Aquinas. So far as this side of esthetic philosophy extends, Aquinas will carry me all along the line. When we come to the phenomena of artistic conception, artistic gestation, and artistic reproduction I require a new terminology and a new personal experience.
— Of course, said Lynch. After all Aquinas, in spite of his intellect, was exactly a good round friar. But you will tell me about the new personal experience and new terminology some other day. Hurry up and finish the first part.
— Who knows? said Stephen, smiling. Perhaps Aquinas would understand me better than you. He was a poet himself. He wrote a hymn for Maundy Thursday. It begins with the words PANGE LINGUA GLORIOSI. They say it is the highest glory of the hymnal. It is an intricate and soothing hymn. I like it; but there is no hymn that can be put beside that mournful and majestic processional song, the VEXILLA REGIS of Venantius Fortunatus.
Lynch began to sing softly and solemnly in a deep bass voice:
IMPLETA SUNT QUAE CONCINIT
DAVID FIDELI CARMINE
DICENDO NATIONIBUS
REGNAVIT A LIGNO DEUS.
— That’s great! he said, well pleased. Great music!
They turned into Lower Mount Street. A few steps from the corner a fat young man, wearing a silk neckcloth, saluted them and stopped.
— Did you hear the results of the exams? he asked. Griffin was plucked. Halpin and O’Flynn are through the home civil. Moonan got fifth place in the Indian. O’Shaughnessy got fourteenth. The Irish fellows in Clark’s gave them a feed last night. They all ate curry.
His pallid bloated face expressed benevolent malice and, as he had advanced through his tidings of success, his small fat-encircl
ed eyes vanished out of sight and his weak wheezing voice out of hearing.
In reply to a question of Stephen’s his eyes and his voice came forth again from their lurking-places.
— Yes, MacCullagh and I, he said. He’s taking pure mathematics and I’m taking constitutional history. There are twenty subjects. I’m taking botany too. You know I’m a member of the field club.
He drew back from the other two in a stately fashion and placed a plump woollen-gloved hand on his breast from which muttered wheezing laughter at once broke forth.
— Bring us a few turnips and onions the next time you go out, said Stephen drily, to make a stew.
The fat student laughed indulgently and said:
— We are all highly respectable people in the field club. Last Saturday we went out to Glenmalure, seven of us.
— With women, Donovan? said Lynch.
Donovan again laid his hand on his chest and said:
— Our end is the acquisition of knowledge. Then he said quickly:
— I hear you are writing some essays about esthetics.
Stephen made a vague gesture of denial.
— Goethe and Lessing, said Donovan, have written a lot on that subject, the classical school and the romantic school and all that. The Laocoon interested me very much when I read it. Of course it is idealistic, German, ultra-profound.
Neither of the others spoke. Donovan took leave of them urbanely.
— I must go, he said softly and benevolently, I have a strong suspicion, amounting almost to a conviction, that my sister intended to make pancakes today for the dinner of the Donovan family.
— Goodbye, Stephen said in his wake. Don’t forget the turnips for me and my mate.
Lynch gazed after him, his lip curling in slow scorn till his face resembled a devil’s mask:
— To think that that yellow pancake-eating excrement can get a good job, he said at length, and I have to smoke cheap cigarettes!
They turned their faces towards Merrion Square and went for a little in silence.
— To finish what I was saying about beauty, said Stephen, the most satisfying relations of the sensible must therefore correspond to the necessary phases of artistic apprehension. Find these and you find the qualities of universal beauty. Aquinas says: AD PULCRITUDINEM TRIA REQUIRUNTUR INTEGRITAS, CONSONANTIA, CLARITAS. I translate it so: THREE THINGS ARE NEEDED FOR BEAUTY, WHOLENESS, HARMONY, AND RADIANCE. Do these correspond to the phases of apprehension? Are you following?