Ulysses, James Joyce [early readers .TXT] 📗

out of how deep a life does it spring. The painting of Gustave Moreau is the painting of ideas. The deepest poetry of Shelley, the words of Hamlet bring our minds into contact with the eternal wisdom, Plato’s world of ideas. All the rest is the speculation of schoolboys for schoolboys.

A. E. has been telling some yankee interviewer. Wall, tarnation strike me!

—The schoolmen were schoolboys first, Stephen said superpolitely. Aristotle was once Plato’s schoolboy.

—And has remained so, one should hope, John Eglinton sedately said. One can see him, a model schoolboy with his diploma under his arm.

He laughed again at the now smiling bearded face.

Formless spiritual. Father, Word and Holy Breath. Allfather, the heavenly man. Hiesos Kristos, magician of the beautiful, the Logos who suffers in us at every moment. This verily is that. I am the fire upon the altar. I am the sacrificial butter.

Dunlop, Judge, the noblest Roman of them all, A.E., Arval, the Name Ineffable, in heaven hight: K.H., their master, whose identity is no secret to adepts. Brothers of the great white lodge always watching to see if they can help. The Christ with the bridesister, moisture of light, born of an ensouled virgin, repentant sophia, departed to the plane of buddhi. The life esoteric is not for ordinary person. O.P. must work off bad karma first. Mrs Cooper Oakley once glimpsed our very illustrious sister H.P.B.‘s elemental.

O, fie! Out on’t! PFUITEUFEL! You naughtn’t to look, missus, so you naughtn’t when a lady’s ashowing of her elemental.

Mr Best entered, tall, young, mild, light. He bore in his hand with grace a notebook, new, large, clean, bright.

—That model schoolboy, Stephen said, would find Hamlet’s musings about the afterlife of his princely soul, the improbable, insignificant and undramatic monologue, as shallow as Plato’s.

John Eglinton, frowning, said, waxing wroth:

—Upon my word it makes my blood boil to hear anyone compare Aristotle with Plato.

—Which of the two, Stephen asked, would have banished me from his commonwealth?

Unsheathe your dagger definitions. Horseness is the whatness of allhorse. Streams of tendency and eons they worship. God: noise in the street: very peripatetic. Space: what you damn well have to see. Through spaces smaller than red globules of man’s blood they creepycrawl after Blake’s buttocks into eternity of which this vegetable world is but a shadow. Hold to the now, the here, through which all future plunges to the past.

Mr Best came forward, amiable, towards his colleague.

—Haines is gone, he said.

—Is he?

—I was showing him Jubainville’s book. He’s quite enthusiastic, don’t you know, about Hyde’s LOVESONGS OF CONNACHT. I couldn’t bring him in to hear the discussion. He’s gone to Gill’s to buy it.

 

BOUND THEE FORTH, MY BOOKLET, QUICK TO GREET THE CALLOUS PUBLIC. WRIT, I WEEN, ‘TWAS NOT MY WISH IN LEAN UNLOVELY ENGLISH.

 

—The peatsmoke is going to his head, John Eglinton opined.

We feel in England. Penitent thief. Gone. I smoked his baccy. Green twinkling stone. An emerald set in the ring of the sea.

—People do not know how dangerous lovesongs can be, the auric egg of Russell warned occultly. The movements which work revolutions in the world are born out of the dreams and visions in a peasant’s heart on the hillside. For them the earth is not an exploitable ground but the living mother. The rarefied air of the academy and the arena produce the sixshilling novel, the musichall song. France produces the finest flower of corruption in Mallarme but the desirable life is revealed only to the poor of heart, the life of Homer’s Phaeacians.

From these words Mr Best turned an unoffending face to Stephen.

—Mallarme, don’t you know, he said, has written those wonderful prose poems Stephen MacKenna used to read to me in Paris. The one about HAMLET. He says: IL SE PROMENE, LISANT AU LIVRE DE LUI-MEME, don’t you know, READING THE BOOK OF HIMSELF. He describes HAMLET given in a French town, don’t you know, a provincial town. They advertised it.

His free hand graciously wrote tiny signs in air.

 

HAMLET OU LE DISTRAIT PIECE DE SHAKESPEARE

 

He repeated to John Eglinton’s newgathered frown:

—PIECE DE SHAKESPEARE, don’t you know. It’s so French. The French point of view. HAMLET OU …

—The absentminded beggar, Stephen ended.

John Eglinton laughed.

—Yes, I suppose it would be, he said. Excellent people, no doubt, but distressingly shortsighted in some matters.

Sumptuous and stagnant exaggeration of murder.

—A deathsman of the soul Robert Greene called him, Stephen said. Not for nothing was he a butcher’s son, wielding the sledded poleaxe and spitting in his palms. Nine lives are taken off for his father’s one. Our Father who art in purgatory. Khaki Hamlets don’t hesitate to shoot. The bloodboltered shambles in act five is a forecast of the concentration camp sung by Mr Swinburne.

Cranly, I his mute orderly, following battles from afar.

WHELPS AND DAMS OF MURDEROUS FOES WHOM NONE BUT WE HAD SPARED …

 

Between the Saxon smile and yankee yawp. The devil and the deep sea.

—He will have it that HAMLET is a ghoststory, John Eglinton said for Mr Best’s behoof. Like the fat boy in Pickwick he wants to make our flesh creep.

 

LIST! LIST! O LIST!

 

My flesh hears him: creeping, hears.

 

IF THOU DIDST EVER …

 

—What is a ghost? Stephen said with tingling energy. One who has faded into impalpability through death, through absence, through change of manners. Elizabethan London lay as far from Stratford as corrupt Paris lies from virgin Dublin. Who is the ghost from LIMBO PATRUM, returning to the world that has forgotten him? Who is King Hamlet?

John Eglinton shifted his spare body, leaning back to judge.

Lifted.

—It is this hour of a day in mid June, Stephen said, begging with a swift glance their hearing. The flag is up on the playhouse by the bankside. The bear Sackerson growls in the pit near it, Paris garden. Canvasclimbers who sailed with Drake chew their sausages among the groundlings.

Local colour. Work in all you know. Make them accomplices.

—Shakespeare has left the huguenot’s house in Silver street and walks by the swanmews along the riverbank. But he does not stay to feed the pen chivying her game of cygnets towards the rushes. The swan of Avon has other thoughts.

Composition of place. Ignatius Loyola, make haste to help me!

—The play begins. A player comes on under the shadow, made up in the castoff mail of a court buck, a wellset man with a bass voice. It is the ghost, the king, a king and no king, and the player is Shakespeare who has studied HAMLET all the years of his life which were not vanity in order to play the part of the spectre. He speaks the words to Burbage, the young player who stands before him beyond the rack of cerecloth, calling him by a name:

HAMLET, I AM THY FATHER’S SPIRIT,

bidding him list. To a son he speaks, the son of his soul, the prince, young Hamlet and to the son of his body, Hamnet Shakespeare, who has died in Stratford that his namesake may live for ever.

Is it possible that that player Shakespeare, a ghost by absence, and in the vesture of buried Denmark, a ghost by death, speaking his own words to his own son’s name (had Hamnet Shakespeare lived he would have been prince Hamlet’s twin), is it possible, I want to know, or probable that he did not draw or foresee the logical conclusion of those premises: you are the dispossessed son: I am the murdered father: your mother is the guilty queen, Ann Shakespeare, born Hathaway?

—But this prying into the family life of a great man, Russell began impatiently.

Art thou there, truepenny?

—Interesting only to the parish clerk. I mean, we have the plays. I mean when we read the poetry of KING LEAR what is it to us how the poet lived? As for living our servants can do that for us, Villiers de l’Isle has said. Peeping and prying into greenroom gossip of the day, the poet’s drinking, the poet’s debts. We have KING LEAR: and it is immortal.

Mr Best’s face, appealed to, agreed.

 

FLOW OVER THEM WITH YOUR WAVES AND WITH YOUR WATERS, MANANAAN, MANANAAN MACLIR …

 

How now, sirrah, that pound he lent you when you were hungry?

Marry, I wanted it.

Take thou this noble.

Go to! You spent most of it in Georgina Johnson’s bed, clergyman’s daughter. Agenbite of inwit.

Do you intend to pay it back?

O, yes.

When? Now?

Well … No.

When, then?

I paid my way. I paid my way.

Steady on. He’s from beyant Boyne water. The northeast corner. You owe it.

Wait. Five months. Molecules all change. I am other I now. Other I got pound.

Buzz. Buzz.

But I, entelechy, form of forms, am I by memory because under everchanging forms.

I that sinned and prayed and fasted.

A child Conmee saved from pandies.

I, I and I. I.

A.E.I.O.U.

—Do you mean to fly in the face of the tradition of three centuries? John Eglinton’s carping voice asked. Her ghost at least has been laid for ever. She died, for literature at least, before she was born.

—She died, Stephen retorted, sixtyseven years after she was born. She saw him into and out of the world. She took his first embraces. She bore his children and she laid pennies on his eyes to keep his eyelids closed when he lay on his deathbed.

Mother’s deathbed. Candle. The sheeted mirror. Who brought me into this world lies there, bronzelidded, under few cheap flowers. LILIATA RUTILANTIUM.

I wept alone.

John Eglinton looked in the tangled glowworm of his lamp.

—The world believes that Shakespeare made a mistake, he said, and got out of it as quickly and as best he could.

—Bosh! Stephen said rudely. A man of genius makes no mistakes. His errors are volitional and are the portals of discovery.

Portals of discovery opened to let in the quaker librarian, softcreakfooted, bald, eared and assiduous.

—A shrew, John Eglinton said shrewdly, is not a useful portal of discovery, one should imagine. What useful discovery did Socrates learn from Xanthippe?

—Dialectic, Stephen answered: and from his mother how to bring thoughts into the world. What he learnt from his other wife Myrto (ABSIT NOMEN!), Socratididion’s Epipsychidion, no man, not a woman, will ever know. But neither the midwife’s lore nor the caudlelectures saved him from the archons of Sinn Fein and their naggin of hemlock.

—But Ann Hathaway? Mr Best’s quiet voice said forgetfully. Yes, we seem to be forgetting her as Shakespeare himself forgot her.

His look went from brooder’s beard to carper’s skull, to remind, to chide them not unkindly, then to the baldpink lollard costard, guiltless though maligned.

—He had a good groatsworth of wit, Stephen said, and no truant memory. He carried a memory in his wallet as he trudged to Romeville whistling THE GIRL I LEFT BEHIND ME. If the earthquake did not time it we should know where to place poor Wat, sitting in his form, the cry of hounds, the studded bridle and her blue windows. That memory, VENUS AND ADONIS, lay in the bedchamber of every light-of-love in London. Is Katharine the shrew illfavoured? Hortensio calls her young and beautiful. Do you think the writer of ANTONY AND CLEOPATRA, a passionate pilgrim, had his eyes in the back of his head that he chose the ugliest doxy in all Warwickshire to lie withal? Good: he left her and gained the world of men. But his boywomen are the women of a boy. Their life, thought, speech are lent them by males. He chose badly? He was chosen, it seems to me. If others have their will Ann hath a way. By