[...]
 There was a picture of the earth on the first page of his geography: a big ball in the middle of clouds. Fleming had a box of crayons and one night during free study he had coloured the earth green and the clouds maroon. That was like the two brushes in Dante’s press, the brush with the green velvet back for Parnell and the brush with the maroon velvet back for Michael Davitt. But he had not told Fleming to colour them those colours. Fleming had done it himself.
 He opened the geography to study the lesson; but he could not learn the names of places in America. Still they were all different places that had different names. They were all in different countries and the countries were in continents and the continents were in the world and the world was in the universe.
 He turned to the flyleaf of the geography and read what he had written there: himself, his name and where he was.

 That was in his writing: and Fleming one night for a cod had written on the opposite page:

 He read the verses backwards but then they were not poetry. Then he read the flyleaf from the bottom to the top till he came to his own name. That was he: and he read down the page again. What was after the universe? Nothing. But was there anything round the universe to show where it stopped before the nothing place began? It could not be a wall; but there could be a thin thin line there all round everything. It was very big to think about everything and everywhere. Only God could do that. He tried to think what a big thought that must be; but he could only think of God. God was God’s name just as his name was Stephen. Dieu was the French for God and that was God’s name too; and when anyone prayed to God and said Dieu then God knew at once that it was a French person that was praying. But, though there were different names for God in all the different languages in the world and God understood what all the people who prayed said in their different languages, still God remained always the same God and God’s real name was God.
 It made him very tired to think that way. It made him feel his head very big. He turned over the flyleaf and looked wearily at the green round earth in the middle of the maroon clouds. He wondered which was right, to be for the green or [16] for the maroon, because Dante had ripped the green velvet back off the brush that was for Parnell one day with her scissors and had told him that Parnell was a bad man. He wondered if they were arguing at home about that. That was called politics. There were two sides in it: Dante was on one side and his father and Mr Casey were on the other side but his mother and uncle Charles were on no side. Every day there was something in the paper about it.
 It pained him that he did not know well what politics meant and that he did not know where the universe ended. He felt small and weak. [...]

[...]
The veiled autumnal evenings led him from street to street as they had led him years before along the quiet avenues of Blackrock. But no vision of trim front gardens or of kindly lights in the windows poured a tender influence upon him now. Only at times, in the pauses of his desire, when the luxury that was wasting him gave room to a softer languor, the image of Mercedes traversed the background of his memory. He saw again the small white house and the garden of rosebushes on the road that led to the mountains and he remembered the sadly proud gesture of refusal which he was to make there, standing with her in the moonlit garden after years of estrangement and adventure. At those moments the soft speeches of Claude Melnotte rose to his lips and eased his unrest. A tender premonition touched him of the tryst he had then looked forward to and, in spite of the horrible reality which lay between his hope of then and now, of the holy encounter he had then imagined at which weakness and timidity and inexperience were to fall from him.
 Such moments passed and the wasting fires of lust sprang up again. The verses passed from his lips and the inarticulate cries and the unspoken brutal words rushed forth from his brain to force a passage. His blood was in revolt. He wandered up and down the dark slimy streets peering into the gloom of lanes and doorways, listening eagerly for any sound. He moaned to himself like some baffled prowling beast. He wanted to sin with another of his kind, to force another being to sin with him and to exult with her in sin. He felt some dark presence moving irresistibly upon him from the darkness, a presence subtle and murmurous as a flood filling him wholly with itself. Its murmur besieged his ears like the murmur of some multitude in sleep; its subtle streams penetrated his being. His hands clenched convulsively and his teeth set together as he suffered the agony of its penetration. He [102] stretched out his arms in the street to hold fast the frail swooning form that eluded him and incited him: and the cry that he had strangled for so long in his throat issued from his lips. It broke from him like a wail of despair from a hell of sufferers and died in a wail of furious entreaty, a cry for an iniquitous abandonment, a cry which was but the echo of an obscene scrawl which he had read on the oozing wall of a urinal.
 He had wandered into a maze of narrow and dirty streets. From the foul laneways he heard bursts of hoarse riot and wrangling and the drawling of drunken singers. He walked onward, dismayed, wondering whether he had strayed into the quarter of the Jews. Women and girls dressed in long vivid gowns traversed the street from house to house. They were leisurely and perfumed. A trembling seized him and his eyes grew dim. The yellow gasflames arose before his troubled vision against the vapoury sky, burning as if before an altar. Before the doors and in the lighted halls groups were gathered arrayed as for some rite. He was in another world: he had awakened from a slumber of centuries.
 He stood still in the middle of the roadway, his heart clamouring against his bosom in a tumult. A young woman dressed in a long pink gown laid her hand on his arm to detain him and gazed into his face. She said gaily:
 —Good night, Willie dear!
 Her room was warm and lightsome. A huge doll sat with her legs apart in the copious easychair beside the bed. He tried to bid his tongue speak that he might seem at ease, watching her as she undid her gown, noting the proud conscious movements of her perfumed head.
 As he stood silent in the middle of the room she came over to him and embraced him gaily and gravely. Her round arms held him firmly to her and he, seeing her face lifted to him in serious calm and feeling the warm calm rise and fall of her breast, all but burst into hysterical weeping. Tears of joy and relief shone in his delighted eyes and his lips parted though they would not speak. [103]
 She passed her tinkling hand through his hair, calling him a little rascal.
 —Give me a kiss, she said.
 His lips would not bend to kiss her. He wanted to be held firmly in her arms, to be caressed slowly, slowly, slowly. In her arms he felt that he had suddenly become strong and fearless and sure of himself. But his lips would not bend to kiss her.
 With a sudden movement she bowed his head and joined her lips to his and he read the meaning of her movements in her frank uplifted eyes. It was too much for him. He closed his eyes, surrendering himself to her, body and mind, conscious of nothing in the world but the dark pressure of her softly parting lips. They pressed upon his brain as upon his lips as though they were the vehicle of a vague speech; and between them he felt an unknown and timid pressure, darker than the swoon of sin, softer than sound or odour.

A cold lucid indifference reigned in his soul. At his first violent sin he had felt a wave of vitality pass out of him and had feared to find his body or his soul maimed by the excess. [106] Instead the vital wave had carried him on its bosom out of himself and back again when it receded: and no part of body or soul had been maimed but a dark peace had been established between them. The chaos in which his ardour extinguished itself was a cold indifferent knowledge of himself. He had sinned mortally not once but many times and he knew that, while he stood in danger of eternal damnation for the first sin alone, by every succeeding sin he multiplied his guilt and his punishment. His days and works and thoughts could make no atonement for him, the fountains of sanctifying grace having ceased to refresh his soul. At most, by an alms given to a beggar whose blessing he fled from, he might hope wearily to win for himself some measure of actual grace. Devotion had gone by the board. What did it avail to pray when he knew that his soul lusted after its own destruction? A certain pride, a certain awe, withheld him from offering to God even one prayer at night, though he knew it was in God’s power to take away his life while he slept and hurl his soul hellward ere he could beg for mercy. His pride in his own sin, his loveless awe of God, told him that his offence was too grievous to be atoned for in whole or in part by a false homage to the Allseeing and Allknowing.
[...] Towards others he felt neither shame nor fear. On Sunday mornings as he passed the church door he glanced coldly at the worshippers who stood bareheaded, four deep, outside the church, morally present at the mass which they could neither see nor hear. Their dull piety and the sickly smell of the cheap hairoil with which they had anointed their heads repelled him from the altar they prayed at. He stooped to the evil of hypocrisy with others, sceptical of their innocence which he could cajole so easily.
 On the wall of his bedroom hung an illuminated scroll, the [107] certificate of his prefecture in the college of the sodality of the Blessed Virgin Mary. On Saturday mornings when the sodality met in the chapel to recite the little office his place was a cushioned kneelingdesk at the right of the altar from which he led his wing of boys through the responses. The falsehood of his position did not pain him. If at moments he felt an impulse to rise from his post of honour and, confessing before them all his unworthiness, to leave the chapel, a glance at their faces restrained him. The imagery of the psalms of prophecy soothed his barren pride. The glories of Mary held his soul captive: spikenard and myrrh and frankincense, symbolizing her royal lineage, her emblems, the lateflowering plant and lateblossoming tree, symbolizing the agelong gradual growth of her cultus among men. When it fell to him to read the lesson towards the close of the office he read it in a veiled voice, lulling his conscience to its music.

 His sin, which had covered him from the sight of God, had led him nearer to the refuge of sinners. Her eyes seemed to regard him with mild pity; her holiness, a strange light glowing faintly upon her frail flesh, did not humiliate the sinner who approached her. If ever he was impelled to cast sin from him and to repent the impulse that moved him was the wish to be her knight. If ever his soul, reentering her dwelling shyly after the frenzy of his body’s lust had spent itself, was turned towards her whose emblem is the morning star, bright and musical, telling of heaven and infusing peace, it was when her names were murmured softly by lips whereon there still lingered foul and shameful words, the savour itself of a lewd kiss. [108]
 That was strange. He tried to think how it could be. [...]

—Last of all consider the frightful torment to those damned souls, tempters and tempted alike, of the company of the devils. These devils will afflict the damned in two ways, by their presence and by their reproaches. We can have no idea of how horrible these devils are. Saint Catherine of Siena once saw a devil and she has written that, rather than look again for one single instant on such a frightful monster, she [126] would prefer to walk until the end of her life along a track of red coals. These devils, who were once beautiful angels, have become as hideous and ugly as they once were beautiful. They mock and jeer at the lost souls whom they dragged down to ruin. It is they, the foul demons, who are made in hell the voices of conscience. Why did you sin? Why did you lend an ear to the temptings of friends? Why did you turn aside from your pious practices and good works? Why did you not shun the occasions of sin? Why did you not leave that evil companion? Why did you not give up that lewd habit, that impure habit? Why did you not listen to the counsels of your confessor? Why did you not, even after you had fallen the first or the second or the third or the fourth or the hundredth time, repent of your evil ways and turn to God who only waited for your repentance to absolve you of your sins? Now the time for repentance has gone by. Time is, time was, but time shall be no more! Time was to sin in secrecy, to indulge in that sloth and pride, to covet the unlawful, to yield to the promptings of your lower nature, to live like the beasts of the field, nay worse than the beasts of the field, for they, at least, are but brutes and have no reason to guide them: time was, but time shall be no more. God spoke to you by so many voices, but you would not hear. You would not crush out that pride and anger in your heart, you would not restore those ill-gotten goods, you would not obey the precepts of your holy church nor attend to your religious duties, you would not abandon those wicked companions, you would not avoid those dangerous temptations. Such is the language of those fiendish tormentors, words of taunting and of reproach, of hatred and of disgust. Of disgust, yes! For even they, the very devils, when they sinned, sinned by such a sin as alone was compatible with such angelical natures, a rebellion of the intellect: and they, even they, the foul devils must turn away, revolted and disgusted, from the contemplation of those unspeakable sins by which degraded man outrages and defiles the temple of the Holy Ghost, defiles and pollutes himself. [127]
 —O, my dear little brothers in Christ, may it never be our lot to hear that language! May it never be our lot, I say! In the last day of terrible reckoning I pray fervently to God that not a single soul of those who are in this chapel today may be found among those miserable beings whom the Great Judge shall command to depart for ever from His sight, that not one of us may ever hear ringing in his ears the awful sentence of rejection: Depart from me, ye cursed, into everlasting fire which was prepared for the devil and his angels!
[...]
 Now of all these spiritual pains by far the greatest is the pain of loss, so great, in fact, that in itself it is a torment greater than all the others. Saint Thomas, the greatest doctor of the church, the angelic doctor, as he is called, says that the worst damnation consists in this, that the understanding of man is totally deprived of divine light and his affection obstinately turned away from the goodness of God. God, remember, is a being infinitely good, and therefore the loss of such a being must be a loss infinitely painful. In this life we have not a very clear idea of what such a loss must be, but the damned in hell, for their greater torment, have a full understanding of that which they have lost, and understand that they have lost it through their own sins and have lost it for ever. At the very instant of death the bonds of the flesh are broken asunder and the soul at once flies towards God as towards the centre of her existence. Remember, my dear little boys, our souls long to be with God. We come from God, we live by God, we belong to God: we are His, inalienably His. God loves with a divine love every human soul, and every human soul lives in that love. How could it be otherwise? Every breath that we draw, every thought of our brain, every instant of life proceeds from God’s inexhaustible goodness. And if it be pain for a mother to be parted from her child, for a man to be exiled from hearth and home, for friend to be sundered from friend, O think what pain, what anguish it must be for the poor soul to be spurned from the presence of the supremely good and loving Creator Who has called that soul into existence from nothingness and sustained it in life and loved it with an immeasurable love. This, then, to be separated for ever from its greatest good, from God, and to [131] feel the anguish of that separation, knowing full well that it is unchangeable: this is the greatest torment which the created soul is capable of bearing, poena damni, the pain of loss.
 The second pain which will afflict the souls of the damned in hell is the pain of conscience. Just as in dead bodies worms are engendered by putrefaction, so in the souls of the lost there arises a perpetual remorse from the putrefaction of sin, the sting of conscience, the worm, as Pope Innocent the Third calls it, of the triple sting. The first sting inflicted by this cruel worm will be the memory of past pleasures. O what a dreadful memory will that be! In the lake of all-devouring flame the proud king will remember the pomps of his court, the wise but wicked man his libraries and instruments of research, the lover of artistic pleasures his marbles and pictures and other art treasures, he who delighted in the pleasures of the table his gorgeous feasts, his dishes prepared with such delicacy, his choice wines; the miser will remember his hoard of gold, the robber his ill-gotten wealth, the angry and revengeful and merciless murderers their deeds of blood and violence in which they revelled, the impure and adulterous the unspeakable and filthy pleasures in which they delighted. They will remember all this and loathe themselves and their sins. For how miserable will all those pleasures seem to the soul condemned to suffer in hellfire for ages and ages. How they will rage and fume to think that they have lost the bliss of heaven for the dross of earth, for a few pieces of metal, for vain honours, for bodily comforts, for a tingling of the nerves. They will repent indeed: and this is the second sting of the worm of conscience, a late and fruitless sorrow for sins committed. Divine justice insists that the understanding of those miserable wretches be fixed continually on the sins of which they were guilty, and moreover, as saint Augustine points out, God will impart to them His own knowledge of sin, so that sin will appear to them in all its hideous malice as it appears to the eyes of God Himself. They will behold their sins in all their foulness and repent but it will be too late and then they will [132] bewail the good occasions which they neglected. This is the last and deepest and most cruel sting of the worm of conscience. The conscience will say: You had time and opportunity to repent and would not. You were brought up religiously by your parents. You had the sacraments and grace and indulgences of the church to aid you. You had the minister of God to preach to you, to call you back when you had strayed, to forgive you your sins, no matter how many, how abominable, if only you had confessed and repented. No. You would not. You flouted the ministers of holy religion, you turned your back on the confessional, you wallowed deeper and deeper in the mire of sin. God appealed to you, threatened you, entreated you to return to Him. O, what shame, what misery! The Ruler of the universe entreated you, a creature of clay, to love Him Who made you and to keep His law. No. You would not. And now, though you were to flood all hell with your tears if you could still weep, all that sea of repentance would not gain for you what a single tear of true repentance shed during your mortal life would have gained for you. You implore now a moment of earthly life wherein to repent: In vain. That time is gone: gone for ever.
[...]

  He drew forth a phrase from his treasure and spoke it softly to himself:
 —A day of dappled seaborne clouds. [170]
  The phrase and the day and the scene harmonized in a chord. Words. Was it their colours? He allowed them to glow and fade, hue after hue: sunrise gold, the russet and green of apple orchards, azure of waves, the greyfringed fleece of clouds. No, it was not their colours: it was the poise and balance of the period itself. Did he then love the rhythmic rise and fall of words better than their associations of legend and colour? Or was it that, being as weak of sight as he was shy of mind, he drew less pleasure from the reflection of the glowing sensible world through the prism of a language manycoloured and richly storied than from the contemplation of an inner world of individual emotions mirrored perfectly in a lucid supple periodic prose?
  He passed from the trembling bridge on to firm land again. At that instant, as it seemed to him, the air was chilled and, looking askance towards the water, he saw a flying squall darkening and crisping suddenly the tide. A faint click at his heart, a faint throb in his throat told him once more of how his flesh dreaded the cold infrahuman odour of the sea; yet he did not strike across the downs on his left but held straight on along the spine of rocks that pointed against the river’s mouth.
  A veiled sunlight lit up faintly the grey sheet of water where the river was embayed. In the distance along the course of the slowflowing Liffey slender masts flecked the sky and, more distant still, the dim fabric of the city lay prone in haze. Like a scene on some vague arras, old as man’s weariness, the image of the seventh city of christendom was visible to him across the timeless air, no older nor more weary nor less patient of subjection than in the days of the thingmote.
  Disheartened, he raised his eyes towards the slowdrifting clouds, dappled and seaborne. They were voyaging across the deserts of the sky, a host of nomads on the march, voyaging high over Ireland, westward bound. The Europe they had come from lay out there beyond the Irish Sea, Europe of strange tongues and valleyed and woodbegirt and citadelled [171] and of entrenched and marshalled races. He heard a confused music within him as of memories and names which he was almost conscious of but could not capture even for an instant; then the music seemed to recede, to recede, to recede, and from each receding trail of nebulous music there fell always one longdrawn calling note, piercing like a star the dusk of silence. Again! Again! Again! A voice from beyond the world was calling.
[...]
Now, as never before, his strange name seemed to him a prophecy. So timeless seemed the grey warm air, so fluid and impersonal his own mood, that all ages were as one to him. A moment before the ghost of the ancient kingdom of the Danes had looked forth through the vesture of the hazewrapped City. Now, at the name of the fabulous artificer, he seemed to hear the noise of dim waves and to see a winged form flying above the waves and slowly climbing the air. What did it mean? Was it a quaint device opening a page of some medieval book of prophecies and symbols, a hawklike man flying sunward above the sea, a prophecy of the end he had been born to serve and had been following through the mists of childhood and boyhood, a symbol of the artist forging anew in his workshop out of the sluggish matter of the earth a new soaring impalpable imperishable being?
  His heart trembled; his breath came faster and a wild spirit passed over his limbs as though he was soaring sunward. His heart trembled in an ecstasy of fear and his soul was in flight. His soul was soaring in an air beyond the world and the body he knew was purified in a breath and delivered of incertitude and made radiant and commingled with the element of the spirit. An ecstasy of flight made radiant his eyes and wild his breath and tremulous and wild and radiant his windswept limbs. [...; 172]
  His throat ached with a desire to cry aloud, the cry of a hawk or eagle on high, to cry piercingly of his deliverance to the winds. This was the call of life to his soul not the dull gross voice of the world of duties and despair, not the inhuman voice that had called him to the pale service of the altar. An instant of wild flight had delivered him and the cry of triumph which his lips withheld cleft his brain.
[...]
  What were they now but cerements shaken from the body of death -the fear he had walked in night and day, the incertitude that had ringed him round, the shame that had abased him within and without- cerements, the linens of the grave?
  His soul had arisen from the grave of boyhood, spurning her graveclothes. Yes! Yes! Yes! He would create proudly out of the freedom and power of his soul, as the great artificer whose name he bore, a living thing, new and soaring and beautiful, impalpable, imperishable.
 [...]
  Where was his boyhood now? Where was the soul that had hung back from her destiny, to brood alone upon the shame of her wounds and in her house of squalor and subterfuge to queen it in faded cerements and in wreaths that withered at the touch? Or where was he?
  He was alone. He was unheeded, happy and near to the wild heart of life. He was alone and young and wilful and wildhearted, alone amid a waste of wild air and brackish waters and the seaharvest of shells and tangle and veiled grey sunlight and gayclad lightclad figures of children and girls and voices childish and girlish in the air.
  A girl stood before him in midstream, alone and still, gazing out to sea. She seemed like one whom magic had changed into the likeness of a strange and beautiful seabird. Her long slender bare legs were delicate as a crane’s and pure save where an emerald trail of seaweed had fashioned itself as a sign upon the flesh. Her thighs, fuller and softhued as ivory, were bared almost to the hips, where the white fringes of her drawers were like feathering of soft white down. Her slateblue skirts were kilted boldly about her waist and dovetailed behind her. Her bosom was as a bird’s, soft and slight, slight and soft as the breast of some darkplumaged dove. But her long fair hair was girlish: and girlish, and touched with the wonder of mortal beauty, her face.
  She was alone and still, gazing out to sea; and when she felt his presence and the worship of his eyes her eyes turned to [175] him in quiet sufferance of his gaze, without shame or wantonness. Long, long she suffered his gaze and then quietly withdrew her eyes from his and bent them towards the stream, gently stirring the water with her foot hither and thither. The first faint noise of gently moving water broke the silence, low and faint and whispering, faint as the bells of sleep; hither and thither, hither and thither; and a faint flame trembled on her cheek.
 —Heavenly God! cried Stephen’s soul, in an outburst of profane joy.
  He turned away from her suddenly and set off across the strand. His cheeks were aflame; his body was aglow; his limbs were trembling. On and on and on and on he strode, far out over the sands, singing wildly to the sea, crying to greet the advent of the life that had cried to him.
  Her image had passed into his soul for ever and no word had broken the holy silence of his ecstasy. Her eyes had called him and his soul had leaped at the call. To live, to err, to fall, to triumph, to recreate life out of life! A wild angel had appeared to him, the angel of mortal youth and beauty, an envoy from the fair courts of life, to throw open before him in an instant of ecstasy the gates of all the ways of error and glory. On and on and on and on!
  He halted suddenly and heard his heart in the silence. How far had he walked? What hour was it?
  There was no human figure near him nor any sound borne to him over the air. But the tide was near the turn and already the day was on the wane. He turned landward and ran towards the shore and, running up the sloping beach, reckless of the sharp shingle, found a sandy nook amid a ring of tufted sandknolls and lay down there that the peace and silence of the evening might still the riot of his blood.
  He felt above him the vast indifferent dome and the calm processes of the heavenly bodies; and the earth beneath him, the earth that had borne him, had taken him to her breast.
  He closed his eyes in the languor of sleep. His eyelids trembled [177] as if they felt the vast cyclic movement of the earth and her watchers, trembled as if they felt the strange light of some new world. His soul was swooning into some new world, fantastic, dim, uncertain as under sea, traversed by cloudy shapes and beings. A world, a glimmer or a flower? Glimmering and trembling, trembling and unfolding, a breaking light, an opening flower, it spread in endless succession to itself, breaking in full crimson and unfolding and fading to palest rose, leaf by leaf and wave of light by wave of light, flooding all the heavens with its soft flushes, every flush deeper than the other.
  Evening had fallen when he woke and the sand and arid grasses of his bed glowed no longer. He rose slowly and, recalling the rapture of his sleep, sighed at its joy.
  He climbed to the crest of the sandhill and gazed about him. Evening had fallen. A rim of the young moon cleft the pale waste of skyline, the rim of a silver hoop embedded in grey sand; and the tide was flowing in fast to the land with a low whisper of her waves, islanding a few last figures in distant pools.

The grey block of Trinity on his left, set heavily in the city’s ignorance like a dull stone set in a cumbrous ring, pulled his mind downward and while he was striving this way and that to free his feet from the fetters of the reformed conscience he came upon the droll statue of the national poet of Ireland.
 He looked at it without anger; for, though sloth of the body and of the soul crept over it like unseen vermin, over the shuffling feet and up the folds of the cloak and around the servile head, it seemed humbly conscious of its indignity. It was a Firbolg in the borrowed cloak of a Milesian; and he thought of his friend Davin, the peasant student. It was a jesting name between them, but the young peasant bore with it lightly saying: [183]
 — Go on, Stevie, I have a hard head, you tell me. Call me what you will.
 The homely version of his christian name on the lips of his friend had touched Stephen pleasantly when first heard for he was as formal in speech with others as they were with him. Often, as he sat in Davin’s rooms in Grantham Street, wondering at his friend’s wellmade boots that flanked the wall pair by pair and repeating for his friend’s simple ear the verses and cadences of others which were the veils of his own longing and dejection, the rude Firbolg mind of his listener had drawn his mind towards it and flung it back again, drawing it by a quiet inbred courtesy of attention or by a quaint turn of old English speech or by the force of its delight in rude bodily skill - for Davin had sat at the feet of Michael Cusack, the Gael - repelling swiftly and suddenly by a grossness of intelligence or by a bluntness of feeling or by a dull stare of terror in the eyes, the terror of soul of a starving Irish village in which the curfew was still a nightly fear.
 Side by side with his memory of the deeds of prowess of his uncle Mat Davin, the athlete, the young peasant worshipped the sorrowful legend of Ireland. The gossip of his fellowstudents which strove to render the flat life of the college significant at any cost loved to think of him as a young fenian. His nurse had taught him Irish and shaped his rude imagination by the broken lights of Irish myth. He stood towards the myth upon which no individual mind had ever drawn out a line of beauty and to its unwieldy tales that divided against themselves as they moved down the cycles in the same attitude as towards the Roman catholic religion, the attitude of a dullwitted loyal serf. Whatsoever of thought or of feeling came to him from England or by way of English culture his mind stood armed against in obedience to a password; and of the world that lay beyond England he knew only the foreign legion of France in which he spoke of serving.
 Coupling this ambition with the young man’s humour Stephen had often called him one of the tame geese and there was [184] even a point of irritation in the name pointed against that very reluctance of speech and deed in his friend which seemed so often to stand between Stephen’s mind, eager of speculation, and the hidden ways of Irish life.
 One night the young peasant, his spirit stung by the violent or luxurious language in which Stephen escaped from the cold silence of intellectual revolt, had called up before Stephen’s mind a strange vision. The two were walking slowly towards Davin’s rooms through the dark narrow streets of the poorer jews.
 — A thing happened to myself, Stevie, last autumn, coming on winter, and I never told it to a living soul and you are the first person now I ever told it to. I disremember if it was October or November. It was October because it was before I came up here to join the matriculation class.
 Stephen had turned his smiling eyes towards his friend’s face, flattered by his confidence and won over to sympathy by the speaker’s simple accent.
 — I was away all that day from my own place over in Buttevant.
 — I don’t know if you know where that is - at a hurling match between the Croke’s Own Boys and the Fearless Thurles and by God, Stevie, that was the hard fight. My first cousin, Fonsy Davin, was stripped to his buff that day minding cool for the Limericks but he was up with the forwards half the time and shouting like mad. I never will forget that day. One of the Crokes made a woeful wipe at him one time with his caman and I declare to God he was within an aim’s ace of getting it at the side of his temple. Oh, honest to God, if the crook of it caught him that time he was done for.
 — I am glad he escaped, Stephen had said with a laugh, but surely that’s not the strange thing that happened you?
 — Well, I suppose that doesn’t interest you, but leastways there was such noise after the match that I missed the train home and I couldn’t get any kind of a yoke to give me a lift for, as luck would have it, there was a mass meeting that same day over in Castletownroche and all the cars in the country were [185] there. So there was nothing for it only to stay the night or to foot it out. Well, I started to walk and on I went and it was coming on night when I got into the Ballyhoura hills, that’s better than ten miles from Kilmallock and there’s a long lonely road after that. You wouldn’t see the sign of a christian house along the road or hear a sound. It was pitch dark almost. Once or twice I stopped by the way under a bush to redden my pipe and only for the dew was thick I’d have stretched out there and slept. At last, after a bend of the road, I spied a little cottage with a light in the window. I went up and knocked at the door. A voice asked who was there and I answered I was over at the match in Buttevant and was walking back and that I’d be thankful for a glass of water. After a while a young woman opened the door and brought me out a big mug of milk. She was half undressed as if she was going to bed when I knocked and she had her hair hanging and I thought by her figure and by something in the look of her eyes that she must be carrying a child. She kept me in talk a long while at the door, and I thought it strange because her breast and her shoulders were bare. She asked me was I tired and would I like to stop the night there. She said she was all alone in the house and that her husband had gone that morning to Queenstown with his sister to see her off. And all the time she was talking, Stevie, she had her eyes fixed on my face and she stood so close to me I could hear her breathing. When I handed her back the mug at last she took my hand to draw me in over the threshold and said: ‘Come in and stay the night here. You’ve no call to be frightened. There’s no one in it but ourselves ...’ I didn’t go in, Stevie. I thanked her and went on my way again, all in a fever. At the first bend of the road I looked back and she was standing at the door.
 The last words of Davin’s story sang in his memory and the figure of the woman in the story stood forth reflected in other figures of the peasant women whom he had seen standing in the doorways at Clane as the college cars drove by, as a type of her race and of his own, a batlike soul waking to the [186] consciousness of itself in darkness and secrecy and loneliness and, through the eyes and voice and gesture of a woman without guile, calling the stranger to her bed.

 He opened the door of the theatre and halted in the chilly grey light that struggled through the dusty windows. A figure was crouching before the large grate and by its leanness and greyness he knew that it was the dean of studies lighting the fire. Stephen closed the door quietly and approached the fireplace.
 — Good morning, sir! Can I help you?
 The priest looked up quickly and said:
 — One moment now, Mr Dedalus, and you will see. There is an art in lighting a fire. We have the liberal arts and we have the useful arts. This is one of the useful arts.
 — I will try to learn it, said Stephen.
 — Not too much coal, said the dean, working briskly at his task, that is one of the secrets.
 He produced four candle butts from the sidepockets of his soutane and placed them deftly among the coals and twisted papers. Stephen watched him in silence. Kneeling thus on the flagstone to kindle the fire and busied with the disposition of his wisps of paper and candle butts he seemed more than ever a humble server making ready the place of sacrifice in an empty temple, a levite of the Lord. Like a levite’s robe of plain linen the faded worn soutane draped the kneeling figure of one whom the canonicals or the bellbordered ephod would irk and trouble. His very body had waxed old in lowly service of the Lord - in tending the fire upon the altar, in bearing tidings secretly, in waiting upon worldlings, in striking swiftly [189] when bidden - and yet had remained ungraced by aught of saintly or of prelatic beauty. Nay, his very soul had waxed old in that service without growing towards light and beauty or spreading abroad a sweet odour of her sanctity - a mortified will no more responsive to the thrill of its obedience than was to the thrill of love or combat his ageing body, spare and sinewy, greyed with a silverpointed down.
 The dean rested back on his hunkers and watched the sticks catch. Stephen, to fill the silence, said:
 — I am sure I could not light a fire.
 — You are an artist, are you not, Mr Dedalus? said the dean, glancing up and blinking his pale eyes. The object of the artist is the creation of the beautiful. What the beautiful is is another question.
 He rubbed his hands slowly and drily over the difficulty.
 — Can you solve that question now? he asked.
 — Aquinas, answered Stephen, says pulcra sunt quae visa placent.
 — This fire before us, said the dean, will be pleasing to the eye. Will it therefore be beautiful?
 — In so far as it is apprehended by the sight, which I suppose means here esthetic intellection, it will be beautiful. But Aquinas also says Bonum est in quod tendit appetitus. In so far as it satisfies the animal craving for warmth fire is a good. In hell, however, it is an evil.
 — Quite so, said the dean, you have certainly hit the nail on the head.
 He rose nimbly and went towards the door, set it ajar and said:
 — A draught is said to be a help in these matters.
 As he came back to the hearth, limping slightly but with a brisk step, Stephen saw the silent soul of a jesuit look out at him from the pale loveless eyes. Like Ignatius he was lame but in his eyes burned no spark of Ignatius’s enthusiasm. Even the legendary craft of the company, a craft subtler and more secret than its fabled books of secret subtle wisdom, had not fired his soul with the energy of apostleship. It seemed as if he used the shifts and lore and cunning of the world, as bidden [190] to do, for the greater glory of God, without joy in their handling or hatred of that in them which was evil but turning them, with a firm gesture of obedience back upon themselves and for all this silent service it seemed as if he loved not at all the master and little, if at all, the ends he served. Similiter atque senis baculus, he was, as the founder would have had him, like a staff in an old man’s hand, to be leaned on in the road at nightfall or in stress of weather, to lie with a lady’s nosegay on a garden seat, to be raised in menace.
 The dean returned to the hearth and began to stroke his chin.
 — When may we expect to have something from you on the esthetic question? he asked.
 — From me! said Stephen in astonishment. I stumble on an idea once a fortnight if I am lucky.
 — These questions are very profound, Mr Dedalus, said the dean. It is like looking down from the cliffs of Moher into the depths. Many go down into the depths and never come up. Only the trained diver can go down into those depths and explore them and come to the surface again.
 — If you mean speculation, sir, said Stephen, I also am sure that there is no such thing as free thinking inasmuch as all thinking must be bound by its own laws.
 — Ha!
 — For my purpose I can work on at present by the light of one or two ideas of Aristotle and Aquinas.
 — I see. I quite see your point.
 — I need them only for my own use and guidance until I have done something for myself by their light. If the lamp smokes or smells I shall try to trim it. If it does not give light enough I shall sell it and buy another.
 — Epictetus also had a lamp, said the dean, which was sold for a fancy price after his death. It was the lamp he wrote his philosophical dissertations by. You know Epictetus?
 — An old gentleman, said Stephen coarsely, who said that the soul is very like a bucketful of water.
 — He tells us in his homely way, the dean went on, that he put [191] an iron lamp before a statue of one of the gods and that a thief stole the lamp. What did the philosopher do? He reflected that it was in the character of a thief to steal and determined to buy an earthen lamp next day instead of the iron lamp.
 A smell of molten tallow came up from the dean’s candle butts and fused itself in Stephen’s consciousness with the jingle of the words, bucket and lamp and lamp and bucket. The priest’s voice, too, had a hard jingling tone. Stephen’s mind halted by instinct, checked by the strange tone and the imagery and by the priest’s face which seemed like an unlit lamp or a reflector hung in a false focus. What lay behind it or within it? A dull torpor of the soul or the dullness of the thundercloud, charged with intellection and capable of the gloom of God?
 — I meant a different kind of lamp, sir, said Stephen.
 — Undoubtedly, said the dean.
 — One difficulty, said Stephen, in esthetic discussion is to know whether words are being used according to the literary tradition or according to the tradition of the marketplace. I remember a sentence of Newman’s in which he says of the Blessed Virgin that she was detained in the full company of the saints. The use of the word in the marketplace is quite different. I hope I am not detaining you.
 — Not in the least, said the dean politely.
 — No, no, said Stephen, smiling, I mean -
 — Yes, yes; I see, said the dean quickly, I quite catch the point: detain.
 He thrust forward his under jaw and uttered a dry short cough.
 — To return to the lamp, he said, the feeding of it is also a nice problem. You must choose the pure oil and you must be careful when you pour it in not to overflow it, not to pour in more than the funnel can hold.
 — What funnel? asked Stephen.
 — The funnel through which you pour the oil into your lamp. [192]
 — That? said Stephen. Is that called a funnel? Is it not a tundish?
 — What is a tundish?
 — That. The ... funnel.
 — Is that called a tundish in Ireland? asked the dean. I never heard the word in my life.
 — It is called a tundish in Lower Drumcondra, said Stephen, laughing, where they speak the best English.
 — A tundish, said the dean reflectively. That is a most interesting word. I must look that word up. Upon my word I must.
 His courtesy of manner rang a little false and Stephen looked at the English convert with the same eyes as the elder brother in the parable may have turned on the prodigal. A humble follower in the wake of clamorous conversions, a poor Englishman in Ireland, he seemed to have entered on the stage of jesuit history when that strange play of intrigue and suffering and envy and struggle and indignity had been all but given through - a latecomer, a tardy spirit. From what had he set out? Perhaps he had been born and bred among serious dissenters, seeing salvation in Jesus only and abhorring the vain pomps of the establishment. Had he felt the need of an implicit faith amid the welter of sectarianism and the jargon of its turbulent schisms, six principle men, peculiar people, seed and snake baptists, supralapsarian dogmatists? Had he found the true church all of a sudden in winding up to the end like a reel of cotton some finespun line of reasoning upon insufflation on the imposition of hands or the procession of the Holy Ghost? Or had Lord Christ touched him and bidden him follow, like that disciple who had sat at the receipt of custom, as he sat by the door of some zincroofed chapel, yawning and telling over his church pence?
 The dean repeated the word yet again.
 — Tundish! Well now, that is interesting!
 — The question you asked me a moment ago seems to me more interesting. What is that beauty which the artist struggles to express from lumps of earth, said Stephen coldly. [193]
 The little word seemed to have turned a rapier point of his sensitiveness against this courteous and vigilant foe. He felt with a smart of dejection that the man to whom he was speaking was a countryman of Ben Jonson. He thought:
 — The language in which we are speaking is his before it is mine. How different are the words home, Christ, ale, master, on his lips and on mine! I cannot speak or write these words without unrest of spirit. His language, so familiar and so foreign, will always be for me an acquired speech. I have not made or accepted its words. My voice holds them at bay. My soul frets in the shadow of his language.
 — And to distinguish between the beautiful and the sublime, the dean added, to distinguish between moral beauty and material beauty. And to inquire what kind of beauty is proper to each of the various arts. These are some interesting points we might take up.
 Stephen, disheartened suddenly by the dean’s firm, dry tone, was silent; and through the silence a distant noise of many boots and confused voices came up the staircase.
 — In pursuing these speculations, said the dean conclusively, there is, however, the danger of perishing of inanition. First you must take your degree. Set that before you as your first aim. Then, little by little, you will see your way. I mean in every sense, your way in life and in thinking. It may be uphill pedalling at first. Take Mr Moonan. He was a long time before he got to the top. But he got there.
 — I may not have his talent, said Stephen quietly.

 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 toss 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.
[...]
 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. [207]
 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!

 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. [208]
 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. [...; 209]
[...]
 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. [...; 210]
[...]
 — 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 rightangled 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. [212] 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 lectureroom 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.
[...]
 — 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. [213]
 — 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. [...; 214]
[...]
 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 [216] 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 is 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. [217]
 Stephen paused and, though his companion did not speak, felt that his words had called up around them a thoughtenchanted 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. [218] 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. The simplest epical form is seen emerging out of lyrical literature when the artist prolongs and broods upon himself as the centre of an epical event and this form progresses till the centre of emotional gravity is equidistant from the artist himself and from others. The narrative is no longer purely personal. The personality of the artist passes into the narration itself, flowing round and round the persons and the action like a vital sea. This progress you will see easily in that old English ballad Turpin Hero which begins in the first person and ends in the third person. The dramatic form is reached when the vitality which has flowed and eddied round each person fills every person with such vital force that he or she assumes a proper and intangible esthetic life. The personality of the artist, at first a cry or a cadence or a mood and then a fluid and lambent narrative, finally refines itself out of existence, impersonalizes itself, so to speak. The esthetic image in the dramatic form is life purified in and reprojected from the human imagination. The mystery of esthetic, like that of material creation, is accomplished. The artist, like the God of creation, remains within or behind or beyond or above his handiwork, invisible, refined out of existence, indifferent, paring his fingernails.
 — Trying to refine them also out of existence, said Lynch.