No More Learning

Gladly
glancing, a merry puritan, through the twisted eglantine.

Flatter. Rarely. But flatter.

--Himself his own father, Sonmulligan told himself. Wait. I am big with
child. I have an unborn child in my brain. Pallas Athena! A play! The
play's the thing! Let me parturiate!

He clasped his paunchbrow with both birthaiding hands.

--As for his family, Stephen said, his mother's name lives in the
forest of Arden. Her death brought from him the scene with Volumnia in
_Coriolanus. _ His boyson's death is the deathscene of young Arthur in
_King John. _ Hamlet, the black prince, is Hamnet Shakespeare. Who the
girls in _The Tempest_, in _Pericles,_ in _Winter's Tale_ are we know.
Who Cleopatra, fleshpot of Egypt, and Cressid and Venus are we may
guess. But there is another member of his family who is recorded.

--The plot thickens, John Eglinton said.

The quaker librarian, quaking, tiptoed in, quake, his mask, quake, with
haste, quake, quack.

Door closed. Cell. Day.

They list. Three. They.

I you he they.

Come, mess.

STEPHEN: He had three brothers, Gilbert, Edmund, Richard. Gilbert in his
old age told some cavaliers he got a pass for nowt from Maister Gatherer
one time mass he did and he seen his brud Maister Wull the playwriter up
in Lunnon in a wrastling play wud a man on's back. The playhouse sausage
filled Gilbert's soul. He is nowhere: but an Edmund and a Richard are
recorded in the works of sweet William.

MAGEEGLINJOHN: Names! What's in a name?

BEST: That is my name, Richard, don't you know. I hope you are going to
say a good word for Richard, don't you know, for my sake. _(Laughter)_


BUCKMULLIGAN: (_Piano, diminuendo_)

_Then outspoke medical Dick
To his comrade medical Davy. . . _

STEPHEN: In his trinity of black Wills, the villain shakebags, Iago,
Richard Crookback, Edmund in _King Lear_, two bear the wicked uncles'
names. Nay, that last play was written or being written while his
brother Edmund lay dying in Southwark.

BEST: I hope Edmund is going to catch it. I don't want Richard, my name
. . .

_(Laughter)_

QUAKERLYSTER: (_A tempo_) But he that filches from me my good name. . .

STEPHEN: _(Stringendo)_ He has hidden his own name, a fair name,
William, in the plays, a super here, a clown there, as a painter of old
Italy set his face in a dark corner of his canvas. He has revealed it in
the sonnets where there is Will in overplus. Like John o'Gaunt his name
is dear to him, as dear as the coat and crest he toadied for, on a bend
sable a spear or steeled argent, honorificabilitudinitatibus, dearer
than his glory of greatest shakescene in the country. What's in a name?
That is what we ask ourselves in childhood when we write the name that
we are told is ours. A star, a daystar, a firedrake, rose at his birth.
It shone by day in the heavens alone, brighter than Venus in the
night, and by night it shone over delta in Cassiopeia, the recumbent
constellation which is the signature of his initial among the stars. His
eyes watched it, lowlying on the horizon, eastward of the bear, as
he walked by the slumberous summer fields at midnight returning from
Shottery and from her arms.

Both satisfied. I too.

Don't tell them he was nine years old when it was quenched.

And from her arms.

Wait to be wooed and won. Ay, meacock. Who will woo you?

Read the skies. _Autontimorumenos. Bous Stephanoumenos. _ Where's your
configuration? Stephen, Stephen, cut the bread even. S. D: _sua donna.
Gia: di lui. gelindo risolve di non amare_ S. D.

--What is that, Mr Dedalus? the quaker librarian asked. Was it a
celestial phenomenon?

--A star by night, Stephen said. A pillar of the cloud by day.

What more's to speak?

Stephen looked on his hat, his stick, his boots.

_Stephanos,_ my crown. My sword. His boots are spoiling the shape of my
feet. Buy a pair. Holes in my socks. Handkerchief too.

--You make good use of the name, John Eglinton allowed. Your own name is
strange enough. I suppose it explains your fantastical humour.

Me, Magee and Mulligan.

Fabulous artificer. The hawklike man. You flew. Whereto?
Newhaven-Dieppe, steerage passenger. Paris and back. Lapwing. Icarus.
_Pater, ait. _ Seabedabbled, fallen, weltering. Lapwing you are. Lapwing
be.

Mr Best eagerquietly lifted his book to say:

--That's very interesting because that brother motive, don't you know,
we find also in the old Irish myths. Just what you say. The three
brothers Shakespeare. In Grimm too, don't you know, the fairytales. The
third brother that always marries the sleeping beauty and wins the best
prize.

Best of Best brothers. Good, better, best.

The quaker librarian springhalted near.

--I should like to know, he said, which brother you. . . I understand you
to suggest there was misconduct with one of the brothers. . . But perhaps
I am anticipating?

He caught himself in the act: looked at all: refrained.

An attendant from the doorway called:

--Mr Lyster! Father Dineen wants. . .

--O, Father Dineen! Directly.

Swiftly rectly creaking rectly rectly he was rectly gone.

John Eglinton touched the foil.

--Come, he said. Let us hear what you have to say of Richard and Edmund.
You kept them for the last, didn't you?

--In asking you to remember those two noble kinsmen nuncle Richie and
nuncle Edmund, Stephen answered, I feel I am asking too much perhaps. A
brother is as easily forgotten as an umbrella.

Lapwing.

Where is your brother? Apothecaries' hall. My whetstone. Him, then
Cranly, Mulligan: now these. Speech, speech. But act. Act speech. They
mock to try you. Act. Be acted on.

Lapwing.

I am tired of my voice, the voice of Esau. My kingdom for a drink.

On.

--You will say those names were already in the chronicles from which he
took the stuff of his plays. Why did he take them rather than others?
Richard, a whoreson crookback, misbegotten, makes love to a widowed Ann
(what's in a name? ), woos and wins her, a whoreson merry widow. Richard
the conqueror, third brother, came after William the conquered. The
other four acts of that play hang limply from that first. Of all his
kings Richard is the only king unshielded by Shakespeare's reverence,
the angel of the world. Why is the underplot of _King Lear_ in which
Edmund figures lifted out of Sidney's _Arcadia_ and spatchcocked on to a
Celtic legend older than history?

--That was Will's way, John Eglinton defended. We should not now combine
a Norse saga with an excerpt from a novel by George Meredith. _Que
voulez-vous? _ Moore would say. He puts Bohemia on the seacoast and makes
Ulysses quote Aristotle.

--Why? Stephen answered himself. Because the theme of the false or
the usurping or the adulterous brother or all three in one is to
Shakespeare, what the poor are not, always with him. The note of
banishment, banishment from the heart, banishment from home, sounds
uninterruptedly from _The Two Gentlemen of Verona_ onward till Prospero
breaks his staff, buries it certain fathoms in the earth and drowns his
book. It doubles itself in the middle of his life, reflects itself in
another, repeats itself, protasis, epitasis, catastasis, catastrophe.
It repeats itself again when he is near the grave, when his married
daughter Susan, chip of the old block, is accused of adultery. But it
was the original sin that darkened his understanding, weakened his will
and left in him a strong inclination to evil. The words are those of
my lords bishops of Maynooth. An original sin and, like original sin,
committed by another in whose sin he too has sinned. It is between the
lines of his last written words, it is petrified on his tombstone under
which her four bones are not to be laid. Age has not withered it. Beauty
and peace have not done it away. It is in infinite variety everywhere in
the world he has created, in _Much Ado about Nothing_, twice in _As you
like It_, in _The Tempest_, in _Hamlet,_ in _Measure for Measure_--and
in all the other plays which I have not read.

He laughed to free his mind from his mind's bondage.

Judge Eglinton summed up.

--The truth is midway, he affirmed. He is the ghost and the prince. He
is all in all.

--He is, Stephen said. The boy of act one is the mature man of act five.
All in all. In _Cymbeline,_ in _Othello_ he is bawd and cuckold. He acts
and is acted on. Lover of an ideal or a perversion, like Jose he
kills the real Carmen. His unremitting intellect is the hornmad Iago
ceaselessly willing that the moor in him shall suffer.

--Cuckoo! Cuckoo! Cuck Mulligan clucked lewdly. O word of fear!

Dark dome received, reverbed.

--And what a character is Iago! undaunted John Eglinton exclaimed. When
all is said Dumas _fils_ (or is it Dumas _pere? )_ is right. After God
Shakespeare has created most.

--Man delights him not nor woman neither, Stephen said. He returns after
a life of absence to that spot of earth where he was born, where he has
always been, man and boy, a silent witness and there, his journey of
life ended, he plants his mulberrytree in the earth. Then dies. The
motion is ended.
Gravediggers bury Hamlet _(pere? )_ and Hamlet _fils. _
A king and a prince at last in death, with incidental music. And, what
though murdered and betrayed, bewept by all frail tender hearts for,
Dane or Dubliner, sorrow for the dead is the only husband from whom
they refuse to be divorced. If you like the epilogue look long on it:
prosperous Prospero, the good man rewarded, Lizzie, grandpa's lump of
love, and nuncle Richie, the bad man taken off by poetic justice to the
place where the bad niggers go. Strong curtain. He found in the world
without as actual what was in his world within as possible. Maeterlinck
says: _If Socrates leave his house today he will find the sage seated
on his doorstep. If Judas go forth tonight it is to Judas his steps
will tend. _ Every life is many days, day after day. We walk through
ourselves, meeting robbers, ghosts, giants, old men, young men, wives,
widows, brothers-in-love, but always meeting ourselves. The playwright
who wrote the folio of this world and wrote it badly (He gave us light
first and the sun two days later), the lord of things as they are whom
the most Roman of catholics call _dio boia_, hangman god, is doubtless
all in all in all of us, ostler and butcher, and would be bawd and
cuckold too but that in the economy of heaven, foretold by Hamlet, there
are no more marriages, glorified man, an androgynous angel, being a wife
unto himself.

_--Eureka! _ Buck Mulligan cried. _Eureka! _

Suddenly happied he jumped up and reached in a stride John Eglinton's
desk.

--May I? he said. The Lord has spoken to Malachi.

He began to scribble on a slip of paper.

Take some slips from the counter going out.

--Those who are married, Mr Best, douce herald, said, all save one,
shall live. The rest shall keep as they are.

He laughed, unmarried, at Eglinton Johannes, of arts a bachelor.

Unwed, unfancied, ware of wiles, they fingerponder nightly each his
variorum edition of _The Taming of the Shrew. _

--You are a delusion, said roundly John Eglinton to Stephen. You have
brought us all this way to show us a French triangle. Do you believe
your own theory?

--No, Stephen said promptly.

--Are you going to write it? Mr Best asked. You ought to make it a
dialogue, don't you know, like the Platonic dialogues Wilde wrote.

John Eclecticon doubly smiled.

--Well, in that case, he said, I don't see why you should expect payment
for it since you don't believe it yourself. Dowden believes there is
some mystery in _Hamlet_ but will say no more. Herr Bleibtreu, the man
Piper met in Berlin, who is working up that Rutland theory, believes
that the secret is hidden in the Stratford monument. He is going to
visit the present duke, Piper says, and prove to him that his ancestor
wrote the plays. It will come as a surprise to his grace. But he
believes his theory.

I believe, O Lord, help my unbelief. That is, help me to believe or help
me to unbelieve? Who helps to believe? _Egomen. _ Who to unbelieve? Other
chap.

--You are the only contributor to _Dana_ who asks for pieces of silver.
Then I don't know about the next number. Fred Ryan wants space for an
article on economics.

Fraidrine. Two pieces of silver he lent me. Tide you over. Economics.

--For a guinea, Stephen said, you can publish this interview.

Buck Mulligan stood up from his laughing scribbling, laughing: and then
gravely said, honeying malice:

--I called upon the bard Kinch at his summer residence in upper
Mecklenburgh street and found him deep in the study of the _Summa contra
Gentiles_ in the company of two gonorrheal ladies, Fresh Nelly and
Rosalie, the coalquay whore.

He broke away.

--Come, Kinch. Come, wandering Aengus of the birds.

Come, Kinch. You have eaten all we left. Ay. I will serve you your orts
and offals.

Stephen rose.

Life is many days. This will end.

--We shall see you tonight, John Eglinton said. _Notre ami_ Moore says
Malachi Mulligan must be there.

Buck Mulligan flaunted his slip and panama.

--Monsieur Moore, he said, lecturer on French letters to the youth of
Ireland. I'll be there. Come, Kinch, the bards must drink. Can you walk
straight?

Laughing, he. . .

Swill till eleven. Irish nights entertainment.

Lubber. . .

Stephen followed a lubber. . .

One day in the national library we had a discussion. Shakes. After. His
lub back: I followed. I gall his kibe.

Stephen, greeting, then all amort, followed a lubber jester, a wellkempt
head, newbarbered, out of the vaulted cell into a shattering daylight of
no thought.

What have I learned? Of them? Of me?

Walk like Haines now.

The constant readers' room. In the readers' book Cashel Boyle O'Connor
Fitzmaurice Tisdall Farrell parafes his polysyllables. Item: was Hamlet
mad? The quaker's pate godlily with a priesteen in booktalk.

--O please do, sir. . . I shall be most pleased. . .

Amused Buck Mulligan mused in pleasant murmur with himself, selfnodding:

--A pleased bottom.

The turnstile.

Is that? . . . Blueribboned hat. . . Idly writing. . . What? Looked? . . .

The curving balustrade: smoothsliding Mincius.

Puck Mulligan, panamahelmeted, went step by step, iambing, trolling:

_John Eglinton, my jo, John, Why won't you wed a wife? _

He spluttered to the air:

--O, the chinless Chinaman! Chin Chon Eg Lin Ton. We went over to their
playbox, Haines and I, the plumbers' hall. Our players are creating a
new art for Europe like the Greeks or M. Maeterlinck. Abbey Theatre! I
smell the pubic sweat of monks.

He spat blank.

Forgot: any more than he forgot the whipping lousy Lucy gave him. And
left the _femme de trente ans. _ And why no other children born? And his
first child a girl?

Afterwit. Go back.

The dour recluse still there (he has his cake) and the douce youngling,
minion of pleasure, Phedo's toyable fair hair.

Eh. . . I just eh. . . wanted. . . I forgot. . . he. . .

--Longworth and M'Curdy Atkinson were there. . .

Puck Mulligan footed featly, trilling:

_I hardly hear the purlieu cry
Or a tommy talk as I pass one by
Before my thoughts begin to run
On F. M'Curdy Atkinson,
The same that had the wooden leg
And that filibustering filibeg
That never dared to slake his drouth,
Magee that had the chinless mouth.
Being afraid to marry on earth
They masturbated for all they were worth. _


Jest on. Know thyself.

Halted, below me, a quizzer looks at me. I halt.

--Mournful mummer, Buck Mulligan moaned. Synge has left off wearing
black to be like nature. Only crows, priests and English coal are black.

A laugh tripped over his lips.

--Longworth is awfully sick, he said, after what you wrote about that
old hake Gregory. O you inquisitional drunken jewjesuit! She gets you
a job on the paper and then you go and slate her drivel to Jaysus.
Couldn't you do the Yeats touch?

He went on and down, mopping, chanting with waving graceful arms:

--The most beautiful book that has come out of our country in my time.
One thinks of Homer.

He stopped at the stairfoot.

--I have conceived a play for the mummers, he said solemnly.

The pillared Moorish hall, shadows entwined. Gone the nine men's morrice
with caps of indices.

In sweetly varying voices Buck Mulligan read his tablet: _Everyman His
own Wife or A Honeymoon in the Hand (a national immorality in three
orgasms) by Ballocky Mulligan. _


He turned a happy patch's smirk to Stephen, saying:

--The disguise, I fear, is thin. But listen.

He read, _marcato:_

--Characters:

TODY TOSTOFF (a ruined Pole)
CRAB (a bushranger)
MEDICAL DICK )
and ) (two birds with one stone)
MEDICAL DAVY )
MOTHER GROGAN (a watercarrier)
FRESH NELLY
and
ROSALIE (the coalquay whore).

He laughed, lolling a to and fro head, walking on, followed by Stephen:
and mirthfully he told the shadows, souls of men:

--O, the night in the Camden hall when the daughters of Erin had to
lift their skirts to step over you as you lay in your mulberrycoloured,
multicoloured, multitudinous vomit!

--The most innocent son of Erin, Stephen said, for whom they ever lifted
them.

About to pass through the doorway, feeling one behind, he stood aside.

Part. The moment is now. Where then? If Socrates leave his house today,
if Judas go forth tonight. Why? That lies in space which I in time must
come to, ineluctably.

My will: his will that fronts me. Seas between.

A man passed out between them, bowing, greeting.

--Good day again, Buck Mulligan said.

The portico.

Here I watched the birds for augury. Aengus of the birds. They go, they
come. Last night I flew. Easily flew. Men wondered. Street of harlots
after. A creamfruit melon he held to me.