No More Learning

In the middle of the hall the prefect of the college sodality was
speaking earnestly, in a soft querulous voice, with a boarder. As he
spoke he wrinkled a little his freckled brow and bit, between his
phrases, at a tiny bone pencil.

--I hope the matric men will all come. The first arts' men are pretty
sure. Second arts, too. We must make sure of the newcomers.

Temple bent again across Cranly, as they were passing through the
doorway, and said in a swift whisper:

--Do you know that he is a married man? he was a married man before
they converted him. He has a wife and children somewhere. By hell, I
think that's the queerest notion I ever heard! Eh?

His whisper trailed off into sly cackling laughter. The moment they
were through the doorway Cranly seized him rudely by the neck and shook
him, saying:

--You flaming floundering fool! I'll take my dying bible there isn't a
bigger bloody ape, do you know, than you in the whole flaming bloody
world!

Temple wriggled in his grip, laughing still with sly content, while
Cranly repeated flatly at every rude shake:

--A flaming flaring bloody idiot!

They crossed the weedy garden together. The president, wrapped in a
heavy loose cloak, was coming towards them along one of the walks,
reading his office. At the end of the walk he halted before turning and
raised his eyes. The students saluted, Temple fumbling as before at the
peak of his cap. They walked forward in silence. As they neared the
alley Stephen could hear the thuds of the players' hands and the wet
smacks of the ball and Davin's voice crying out excitedly at each
stroke.

The three students halted round the box on which Davin sat to follow
the game. Temple, after a few moments, sidled across to Stephen and
said:

--Excuse me, I wanted to ask you, do you believe that Jean-Jacques
Rousseau was a sincere man?

Stephen laughed outright. Cranly, picking up the broken stave of a cask
from the grass at his feet, turned swiftly and said sternly:

--Temple, I declare to the living God if you say another word, do you
know, to anybody on any subject, I'll kill you SUPER SPOTTUM.

--He was like you, I fancy, said Stephen, an emotional man.

--Blast him, curse him! said Cranly broadly. Don't talk to him at all.
Sure, you might as well be talking, do you know, to a flaming
chamber-pot as talking to Temple. Go home, Temple. For God's sake, go
home.

--I don't care a damn about you, Cranly, answered Temple, moving out of
reach of the uplifted stave and pointing at Stephen. He's the only man
I see in this institution that has an individual mind.

--Institution! Individual! cried Cranly. Go home, blast you, for
you're a hopeless bloody man.

--I'm an emotional man, said Temple. That's quite rightly expressed.
And I'm proud that I'm an emotionalist.

He sidled out of the alley, smiling slyly. Cranly watched him with a
blank expressionless face.

--Look at him! he said. Did you ever see such a go-by-the-wall?

His phrase was greeted by a strange laugh from a student who lounged
against the wall, his peaked cap down on his eyes. The laugh, pitched
in a high key and coming from a so muscular frame, seemed like the
whinny of an elephant. The student's body shook all over and, to ease
his mirth, he rubbed both his hands delightedly over his groins.

--Lynch is awake, said Cranly.

Lynch, for answer, straightened himself and thrust forward his chest.

--Lynch puts out his chest, said Stephen, as a criticism of life.

Lynch smote himself sonorously on the chest and said:

--Who has anything to say about my girth?

Cranly took him at the word and the two began to tussle. When their
faces had flushed with the struggle they drew apart, panting. Stephen
bent down towards Davin who, intent on the game, had paid no heed to
the talk of the others.

--And how is my little tame goose? he asked. Did he sign, too?

Davin nodded and said:

--And you, Stevie?

Stephen shook his head.

--You're a terrible man, Stevie, said Davin, taking the short pipe
from his mouth, always alone.

--Now that you have signed the petition for universal peace, said
Stephen, I suppose you will burn that little copybook I saw in your
room.

As Davin did not answer, Stephen began to quote:

--Long pace, fianna! Right incline, fianna! Fianna, by numbers,
salute, one, two!

--That's a different question, said Davin. I'm an Irish nationalist,
first and foremost. But that's you all out. You're a born sneerer,
Stevie.

--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-encircled 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?

--Of course, I am, said Lynch. If you think I have an excrementitious
intelligence run after Donovan and ask him to listen to you.

Stephen pointed to a basket which a butcher's boy had slung inverted on
his head.

--Look at that basket, he said.

--I see it, said Lynch.

--In order to see that basket, said Stephen, your mind first of all
separates the basket from the rest of the visible universe which is not
the basket. The first phase of apprehension is a bounding line drawn
about the object to be apprehended. An esthetic image is presented to
us either in space or in time.

What is audible is presented in time, what is visible is presented in
space. But, temporal or spatial, the esthetic image is first luminously
apprehended as selfbounded and selfcontained upon the immeasurable
background of space or time which is not it. You apprehended it as ONE
thing. You see it as one whole. You apprehend its wholeness. That is
INTEGRITAS.

--Bull's eye! said Lynch, laughing. Go on.

--Then, said Stephen, you pass from point to point, led by its formal
lines; you apprehend it as balanced part against part within its
limits; you feel the rhythm of its structure. In other words, the
synthesis of immediate perception is followed by the analysis of
apprehension. Having first felt that it is ONE thing you feel now that
it is a THING. You apprehend it as complex, multiple, divisible,
separable, made up of its parts, the result of its parts and their sum,
harmonious. That is CONSONANTIA.

--Bull's eye again! said Lynch wittily. Tell me now what is CLARITAS
and you win the cigar.

--The connotation of the word, Stephen said, is rather vague. Aquinas
uses a term which seems to be inexact. It baffled me for a long time.
It would lead you to believe that he had in mind symbolism or idealism,
the supreme quality of beauty being a light from some other world, the
idea of which the matter is but the shadow, the reality of which it is
but the symbol. I thought he might mean that CLARITAS is the artistic
discovery and representation of the divine purpose in anything or a
force of generalization which would make the esthetic image a
universal one, make it outshine its proper conditions. But that is
literary talk. I understand it so. When you have apprehended that
basket as one thing and have then analysed it according to its form and
apprehended it as a thing you make the only synthesis which is
logically and esthetically permissible. You see that it is that thing
which it is and no other thing. The radiance of which he speaks in the
scholastic QUIDDITAS, the WHATNESS of a thing. This supreme quality is
felt by the artist when the esthetic image is first conceived in his
imagination. The mind in that mysterious instant Shelley likened
beautifully to a fading coal. The instant wherein that supreme quality
of beauty, the clear radiance of the esthetic image, is apprehended
luminously by the mind which has been arrested by its wholeness and
fascinated by its harmony is the luminous silent stasis of esthetic
pleasure, a spiritual state very like to that cardiac condition which
the Italian physiologist Luigi Galvani, using a phrase almost as
beautiful as Shelley's, called the enchantment of the heart.

Stephen paused and, though his companion did not speak, felt that his
words had called up around them a thought-enchanted silence.

--What I have said, he began again, refers to beauty in the wider
sense of the word, in the sense which the word has in the literary
tradition. In the marketplace it has another sense. When we speak of
beauty in the second sense of the term our judgement is influenced in
the first place by the art itself and by the form of that art. The
image, it is clear, must be set between the mind or senses of the
artist himself and the mind or senses of others. If you bear this in
memory you will see that art necessarily divides itself into three
forms progressing from one to the next. These forms are: the lyrical
form, the form wherein the artist presents his image in immediate
relation to himself; the epical form, the form wherein he presents his
image in mediate relation to himself and to others; the dramatic form,
the form wherein he presents his image in immediate relation to others.

--That you told me a few nights ago, said Lynch, and we began the
famous discussion.

--I have a book at home, said Stephen, in which I have written down
questions which are more amusing than yours were. In finding the
answers to them I found the theory of esthetic which I am trying to
explain. Here are some questions I set myself: IS A CHAIR FINELY MADE
TRAGIC OR COMIC? IS THE PORTRAIT OF MONA LISA GOOD IF I DESIRE TO SEE
IT? IF NOT, WHY NOT?

--Why not, indeed? said Lynch, laughing.

--IF A MAN HACKING IN FURY AT A BLOCK OF WOOD, Stephen continued, MAKE
THERE AN IMAGE OF A COW, IS THAT IMAGE A WORK OF ART? IF NOT, WHY NOT?

--That's a lovely one, said Lynch, laughing again. That has the true
scholastic stink.

--Lessing, said Stephen, should not have taken a group of statues to
write of. The art, being inferior, does not present the forms I spoke
of distinguished clearly one from another. Even in literature, the
highest and most spiritual art, the forms are often confused. The
lyrical form is in fact the simplest verbal vesture of an instant of
emotion, a rhythmical cry such as ages ago cheered on the man who pulled
at the oar or dragged stones up a slope. He who utters it is more
conscious of the instant of emotion than of himself as feeling emotion.