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His pallid bloated face expressed benevolent malice and, as he had advanced through his tidings of success, his small fat encircled eyes vanished out of sight and his weak wheezing voice out of hearing.
In reply to a question of Stephen's his eyes and his voice came forth again from their lurking places.
— Yes, MacCullagh and I — he said.— He's taking pure mathematics and I'm taking constitutional history. There are twenty subjects. I'm taking botany too. You know I'm a member of the field club.—
He drew back from the other two in a stately fashion and placed a plump woollen gloved hand on his breast, from which muttered wheezing laughter at once broke forth.
— Bring us a few turnips and onions the next time you go out — said Stephen drily — to make a stew.—
The fat student laughed indulgently and said:
— We are all highly respectable people in the field club. Last Saturday we went out to Glenmalure, seven of us.—
— With women, Donovan? — said Lynch. Donovan again laid his hand on his chest and said:
— Our end is the acquisition of knowledge.— Then he said quickly:
— I hear you are writing some essay about esthetics.— Stephen made a vague gesture of denial.
— Goethe and Lessing — said Donovan — have written a lot on that subject, the classical school and the romantic school and all that. The Laocoon interested me very much when I read it. Of course it is idealistic, German, ultra profound.—
Neither of the others spoke. Donovan took leave of them urbanely.
— I must go — he said softly and benevolently — I have a strong suspicion, amounting almost to a conviction, that my sister intended to make pancakes today for the dinner of the Donovan family.—
— Goodbye — Stephen said in his wake.— Don't forget the turnips for me and my mate.—
Lynch gazed after him, his lip curling in slow scorn till his face resembled a devil's mask:
— To think that that yellow pancake eating excrement can get a good job — he said at length — and I have to smoke cheap cigarettes! —
They turned their faces towards Merrion Square and went on for a little in silence.
— To finish what I was saying about beauty — said Stephen — the most satisfying relations of the sensible must therefore correspond to the necessary phases of artistic apprehension. Find these and you find the qualities of universal beauty. Aquinas says: Ad pulcritudinem tria requiruntur integritas, consonantia, claritas. I translate it so: Three things are needed for beauty, wholeness, harmony and radiance. Do these correspond to the phases of apprehension? Are you following? —
— Of course, I am — said Lynch.— If you think I have an excrementitious intelligence run after Donovan and ask him to listen to you.—
Stephen pointed to a basket which a butcher's boy had slung inverted on his head.
— Look at that basket — he said.
— I see it — said Lynch.
— In order to see that basket — said Stephen — your mind first of all separates the basket from the rest of the visible universe which is not the basket. The first phase of apprehension is a bounding line drawn about the object to be apprehended. An esthetic image is presented to us either in space or in time. What is audible is presented in time, what is visible is presented in space. But temporal or spatial, the esthetic image is first luminously apprehended as selfbounded and selfcontained upon the immeasurable background of space or time which is not it. You apprehended it as one thing. You see it as one whole. You apprehend its wholeness. That is integritas.—
— Bull's eye! — said Lynch, laughing — Go on.—
— Then — said Stephen — you pass from point to point, led by its formal lines; you apprehend it as balanced part against part within its limits; you feel the rhythm of its structure. In other words, the synthesis of immediate perception is followed by the analysis of apprehension. Having first felt that it is one thing you feel now that it is a thing. You apprehend it as complex, multiple, divisible, separable, made up of its parts, the result of its parts and their sum, harmonious. That is consonantia.—
— Bull's eye again! — said Lynch wittily.— Tell me now what is claritas and you win the cigar.—
— The connotation of the word — Stephen said — is rather vague. Aquinas uses a term which seems to be inexact. It baffled me for a long time. It would lead you to believe that he had in mind symbolism or idealism, the supreme quality of beauty being a light from some other world, the idea of which the matter was but the shadow, the reality of which it was but the symbol. I thought he might mean that claritas was the artistic discovery and representation of the divine purpose in anything or a force of generalization which would make the esthetic image a universal one, make it outshine its proper conditions. But that is literary talk. I understand it so. When you have apprehended that basket as one thing and have then analysed it according to its form and apprehended it as a thing you make the only synthesis which is logically and esthetically permissible. You see that it is that thing which it is and no other thing. The radiance of which he speaks in the scholastic quidditas, the whatness of a thing. This supreme quality is felt by the artist when the esthetic image is first conceived in his imagination. The mind in that mysterious instant Shelley likened beautifully to a fading coal. The instant wherein that supreme quality of beauty, the clear radiance of the esthetic image, is apprehended luminously by the mind which has been arrested by its wholeness and fascinated by its harmony is the luminous silent stasis of esthetic pleasure, a spiritual state very like to that cardiac condition which the Italian physiologist Luigi Galvani, using a phrase almost as beautiful as Shelley's, called the enchantment of the heart.—
Stephen paused and, though his companion did not speak, felt that his words had called up around them a thought enchanted silence.
— What I have said — he began again — refers to beauty in the wider sense of the word, in the sense which the word has in the literary tradition. In the market place it has another sense. When we speak of beauty in the second sense of the term our judgment 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 pro gressing 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 the 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? Is the bust of Sir Philip Crampton lyrical, epical or dramatic? If not, why not? —
— Why not, indeed ? — said Lynch, laughing.
— If a man hacking in fury at a block of wood — Stephen continued — make there an image of a cow, is that image a work of art? If not, why not? —
— That's a lovely one — said Lynch, laughing again.— That has the true scholastic stink.—
— Lessing — said Stephen — should not have taken a group of statues to write of. The art, being inferior, does not present the forms I spoke of distinguished clearly one from another. Even in literature, the highest and most spiritual art, the forms are often confused. The lyrical form is in fact the simplest verbal vesture of an instant of emotion, a rhythmical cry such as ages ago cheered on the man who pulled at the oar or dragged stones up a slope. He who utters it is more conscious of the instant of emotion than of himself as feeling emotion.