A Portrait of the Artist as a Young Man by James Joyce (ebook e reader .TXT) 📕

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 chamberpot 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 slily. 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 Irishman 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 sidethrust.

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 selfembittered.

—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