As we discussed throughout part three and into part four, Stephan has a highly developed sense of spirituality which drives his faith. Throughout his youth he is bred to believe wholeheartedly that the doctrines of the Church are meant to be followed to the letter. Superficially, this has led to a wonderful young man, a boy who listens to his teachers, does as he is asked, and avoids the rough-housing of his fellow students; however, on the inside this strict conformity has only bred depravity. As Stephan has matured his boyhood innocence has given way to the lustful, dark, and seemingly 'emo' teen who can not really get it together. He has few friends and carouses about with the prostitutes of the town. Clearly, much of this stems from Joyce's heady condemnations of the Church, yet it still shows how lost the protagonist is in the world.
Then, when Stephan returns to his faith he approaches it once again with his wholehearted mentality, throwing his entire being into temperance and refinement. This stage is somewhat tragic, because once again Stephan moves away from those around him to follow rules he has found to be paramount in his own understanding. However, even as all seems lost Stephan makes the symbolic break from the Church in denying the offer to join the priesthood. All though his quiet, stoic demeanor make him an outward candidate for the priesthood, as readers we know this refusal is a saving grace in Stephan's life.
While the young man begins to move away from the Church he once again loses purpose and seems to be lost in the world. He has fallen into Dante's proverbial 'dark wood' and 'his way is lost', but in the brightest and most powerful moment of the story so far the Young Dedalus finds his true calling: art. As he walks the shore it is clear that Stephan is ascending to that realm of aestheticism that we have long awaited, and Joyce even alludes to the tail of Icarus while discussing this boys growth. The turn, though, comes when Stephan witnesses that girl in the water. The ethereal and mortal beauty of that girl gives Stephan something to really live for, because unlike the Church and God, she is something tangible. Somehow she brings him back to his lost childhood, while simultaneously providing the ability for all of his future growth as an artist. This pivotal scene has show Stephan's character change from pious youth to artistic adult. However, we must ask ourselves, will Stephan follow in the footsteps of Icarus and strive beyond his means?
While I mostly agree with your points, I think it is worth noting that while Stephen does see the girl as something tangible, as evidence through all the details he goes through to describe her, he has not totally lost his sense of spirituality. Stephen mentions how "her image had passed into his soul for ever... Her eyes had called him and his soul had leaped at the call" (150). To me this represents how she is somehow bridging the gap between his desire for a higher spirituality and the tangible world. I guess she is in someway blurring the lines between the madonna- whore complex we were talking about in class.
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