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A Portrait of the Artist as a Young Man by James Joyce
Michael Robartes remembers forgotten beauty and, when
his arms wrap her round, he presses in his arms the loveliness which
has long faded from the world. Not this. Not at all. I desire to press
in my arms the loveliness which has not yet come into the world.
APRIL 10. Faintly, under the heavy night, through the silence of the
city which has turned from dreams to dreamless sleep as a weary lover
whom no caresses move, the sound of hoofs upon the road. Not so faintly
now as they come near the bridge; and in a moment, as they pass the
darkened windows, the silence is cloven by alarm as by an arrow. They
are heard now far away, hoofs that shine amid the heavy night as gems,
hurrying beyond the sleeping fields to what journey's end--what
heart? --bearing what tidings?
APRIL 11. Read what I wrote last night. Vague words for a vague
emotion. Would she like it? I think so. Then I should have to like it
also.
APRIL 13. That tundish has been on my mind for a long time. I looked it
up and find it English and good old blunt English too. Damn the dean of
studies and his funnel! What did he come here for to teach us his own
language or to learn it from us. Damn him one way or the other!
APRIL 14. John Alphonsus Mulrennan has just returned from the west of
Ireland. European and Asiatic papers please copy. He told us he met an
old man there in a mountain cabin. Old man had red eyes and short pipe.
Old man spoke Irish. Mulrennan spoke Irish. Then old man and Mulrennan
spoke English. Mulrennan spoke to him about universe and stars. Old man
sat, listened, smoked, spat. Then said:
--Ah, there must be terrible queer creatures at the latter end of the
world.
I fear him. I fear his red-rimmed horny eyes. It is with him I must
struggle all through this night till day come, till he or I lie dead,
gripping him by the sinewy throat till. . . Till what? Till he yield to me?
No. I mean no harm.
APRIL 15. Met her today point blank in Grafton Street. The crowd
brought us together. We both stopped. She asked me why I never came,
said she had heard all sorts of stories about me. This was only to gain
time. Asked me was I writing poems? About whom? I asked her. This
confused her more and I felt sorry and mean. Turned off that valve at
once and opened the spiritual-heroic refrigerating apparatus, invented
and patented in all countries by Dante Alighieri. Talked rapidly of
myself and my plans. In the midst of it unluckily I made a sudden
gesture of a revolutionary nature. I must have looked like a fellow
throwing a handful of peas into the air. People began to look at us.
She shook hands a moment after and, in going away, said she hoped I
would do what I said.
Now I call that friendly, don't you?
Yes, I liked her today. A little or much? Don't know. I liked her and
it seems a new feeling to me. Then, in that case, all the rest, all
that I thought I thought and all that I felt I felt, all the rest
before now, in fact. . . O, give it up, old chap! Sleep it off!
APRIL 16. Away! Away!
The spell of arms and voices: the white arms of roads, their promise of
close embraces and the black arms of tall ships that stand against the
moon, their tale of distant nations. They are held out to say: We are
alone--come. And the voices say with them: We are your kinsmen. And
the air is thick with their company as they call to me, their kinsman,
making ready to go, shaking the wings of their exultant and terrible
youth.
APRIL 26. Mother is putting my new secondhand clothes in order. She
prays now, she says, that I may learn in my own life and away from home
and friends what the heart is and what it feels. Amen. So be it.
Welcome, O life, I go to encounter for the millionth time the reality
of experience and to forge in the smithy of my soul the uncreated
conscience of my race.
APRIL 27. Old father, old artificer, stand me now and ever in good
stead.
Dublin, 1904
Trieste, 1914
End of the Project Gutenberg EBook of A Portrait of the Artist as a Young Man, by
James Joyce
*** END OF THIS PROJECT GUTENBERG EBOOK PORTRAIT--ARTIST AS YOUNG MAN ***
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his arms wrap her round, he presses in his arms the loveliness which
has long faded from the world. Not this. Not at all. I desire to press
in my arms the loveliness which has not yet come into the world.
APRIL 10. Faintly, under the heavy night, through the silence of the
city which has turned from dreams to dreamless sleep as a weary lover
whom no caresses move, the sound of hoofs upon the road. Not so faintly
now as they come near the bridge; and in a moment, as they pass the
darkened windows, the silence is cloven by alarm as by an arrow. They
are heard now far away, hoofs that shine amid the heavy night as gems,
hurrying beyond the sleeping fields to what journey's end--what
heart? --bearing what tidings?
APRIL 11. Read what I wrote last night. Vague words for a vague
emotion. Would she like it? I think so. Then I should have to like it
also.
APRIL 13. That tundish has been on my mind for a long time. I looked it
up and find it English and good old blunt English too. Damn the dean of
studies and his funnel! What did he come here for to teach us his own
language or to learn it from us. Damn him one way or the other!
APRIL 14. John Alphonsus Mulrennan has just returned from the west of
Ireland. European and Asiatic papers please copy. He told us he met an
old man there in a mountain cabin. Old man had red eyes and short pipe.
Old man spoke Irish. Mulrennan spoke Irish. Then old man and Mulrennan
spoke English. Mulrennan spoke to him about universe and stars. Old man
sat, listened, smoked, spat. Then said:
--Ah, there must be terrible queer creatures at the latter end of the
world.
I fear him. I fear his red-rimmed horny eyes. It is with him I must
struggle all through this night till day come, till he or I lie dead,
gripping him by the sinewy throat till. . . Till what? Till he yield to me?
No. I mean no harm.
APRIL 15. Met her today point blank in Grafton Street. The crowd
brought us together. We both stopped. She asked me why I never came,
said she had heard all sorts of stories about me. This was only to gain
time. Asked me was I writing poems? About whom? I asked her. This
confused her more and I felt sorry and mean. Turned off that valve at
once and opened the spiritual-heroic refrigerating apparatus, invented
and patented in all countries by Dante Alighieri. Talked rapidly of
myself and my plans. In the midst of it unluckily I made a sudden
gesture of a revolutionary nature. I must have looked like a fellow
throwing a handful of peas into the air. People began to look at us.
She shook hands a moment after and, in going away, said she hoped I
would do what I said.
Now I call that friendly, don't you?
Yes, I liked her today. A little or much? Don't know. I liked her and
it seems a new feeling to me. Then, in that case, all the rest, all
that I thought I thought and all that I felt I felt, all the rest
before now, in fact. . . O, give it up, old chap! Sleep it off!
APRIL 16. Away! Away!
The spell of arms and voices: the white arms of roads, their promise of
close embraces and the black arms of tall ships that stand against the
moon, their tale of distant nations. They are held out to say: We are
alone--come. And the voices say with them: We are your kinsmen. And
the air is thick with their company as they call to me, their kinsman,
making ready to go, shaking the wings of their exultant and terrible
youth.
APRIL 26. Mother is putting my new secondhand clothes in order. She
prays now, she says, that I may learn in my own life and away from home
and friends what the heart is and what it feels. Amen. So be it.
Welcome, O life, I go to encounter for the millionth time the reality
of experience and to forge in the smithy of my soul the uncreated
conscience of my race.
APRIL 27. Old father, old artificer, stand me now and ever in good
stead.
Dublin, 1904
Trieste, 1914
End of the Project Gutenberg EBook of A Portrait of the Artist as a Young Man, by
James Joyce
*** END OF THIS PROJECT GUTENBERG EBOOK PORTRAIT--ARTIST AS YOUNG MAN ***
***** This file should be named 4217. txt or 4217. zip *****
This and all associated files of various formats will be found in:
http://www. gutenberg. org/4/2/1/4217/
Produced by Col Choat. HTML version by Al Haines.
Updated editions will replace the previous one--the old editions
will be renamed.
Creating the works from public domain print editions means that no
one owns a United States copyright in these works, so the Foundation
(and you! ) can copy and distribute it in the United States without
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