text:
Page:A Portrait of the Artist as a Young Man (Huebsch 1916).djvu/91

 the side door closed again the listener could hear the faint rhythm of the music. The sentiment of the opening bars, their languor and supple movement, evoked the incommunicable emotion which had been the cause of all his day's unrest and of his impatient movement of a moment before. His unrest issued from him like a wave of sound: and on the tide of flowing music the ark was journeying, trailing her cables of lanterns in her wake. Then a noise like dwarf artillery broke the movement. It was the clapping that greeted the entry of the dumbbell team on the stage.

At the far end of the shed near the street a speck of pink light showed in the darkness and as he walked towards it he became aware of a faint aromatic odour. Two boys were standing in the shelter of a doorway, smoking, and before he reached them he had recognised Heron by his voice.

—Here comes the noble Dedalus! cried a high throaty voice. Welcome to our trusty friend!

This welcome ended in a soft peal of mirthless laughter as Heron salaamed and then began to poke the ground with his cane.

—Here I am, said Stephen, halting and glancing from Heron to his friend.

The latter was a stranger to him but in the darkness, by the aid of the glowing cigarette tips, he could make out a pale dandyish face over which a smile was travelling slowly, a tall overcoated figure and a hard hat. Heron did not trouble himself about an introduction but said instead:

—I was just telling my friend Wallis what a lark it would be tonight if you took off the rector in the part of the schoolmaster. It would be a ripping good joke. [83]


text:
Page:A Portrait of the Artist as a Young Man (Huebsch 1916).djvu/92

 Heron made a poor attempt to imitate for his friend Wallis the rector's pedantic bass and then, laughing at his failure, asked Stephen to do it.

—Go on, Dedalus, he urged, you can take him off rippingly. He that will not hear the churcha let him be to theea as the heathena and the publicana.

The imitation was prevented by a mild expression of anger from Wallis in whose mouthpiece the cigarette had become too tightly wedged.

—Damn this blankety blank holder, he said, taking it from his mouth and smiling and frowning upon it tolerantly. It's always getting stuck like that. Do you use a holder?

—I don't smoke, answered Stephen.

—No, said Heron, Dedalus is a model youth. He doesn't smoke and he doesn't go to bazaars and he doesn't flirt and he doesn't damn anything or damn all.

Stephen shook his head and smiled in his rival's flushed and mobile face, beaked like a bird's. He had often thought it strange that Vincent Heron had a bird's face as well as a bird's name. A shock of pale hair lay on the forehead like a ruffled crest: the forehead was narrow and bony and a thin hooked nose stood out between the close-set prominent eyes which were light and inexpressive. The rivals were school friends. They sat together in class, knelt together in the chapel, talked together after beads over their lunches. As the fellows in number one were undistinguished dullards, Stephen and Heron had been during the year the virtual heads of the school. It was they who went up to the rector together to ask for a free day or to get a fellow off.

—O by the way, said Heron suddenly, I saw your governor going in. [84]

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/


text:
Page:A Portrait of the Artist as a Young Man (Huebsch 1916).djvu/93

 The smile waned on Stephen's face. Any allusion made to his father by a fellow or by a master put his calm to rout in a moment. He waited in timorous silence to hear what Heron might say next. Heron, however, nudged him expressively with his elbow and said:

—You're a sly dog.

—Why so? said Stephen.

—You'd think butter wouldn't melt in your mouth said Heron. But I'm afraid you're a sly dog.

—Might I ask you what you are talking about? said Stephen urbanely.

—Indeed you might, answered Heron. We saw her, Wallis, didn't we? And deucedly pretty she is too. And inquisitive! ''And what part does Stephen take, Mr Dedalus? And will Stephen not sing, Mr Dedalus?'' Your governor was staring at her through that eyeglass of his for all he was worth so that I think the old man has found you out too. I wouldn't care a bit, by Jove. She's ripping, isn't she, Wallis?

—Not half bad, answered Wallis quietly as he placed his holder once more in a corner of his mouth.

A shaft of momentary anger flew through Stephen's mind at these indelicate allusions in the hearing of a stranger. For him there was nothing amusing in a girl's interest and regard. All day he had thought of nothing but their leave-taking on the steps of the tram at Harold's Cross, the stream of moody emotions it had made to course through him, and the poem he had written about it. All day he had imagined a new meeting with her for he knew that she was to come to the play. The old restless moodiness had again filled his breast as it had done on the night of the party, but had not found an outlet in verse. The growth and knowledge of two years [85]


text:
Page:A Portrait of the Artist as a Young Man (Huebsch 1916).djvu/94

 of boyhood stood between then and now, forbidding such an outlet: and all day the stream of gloomy tenderness within him had started forth and returned upon itself in dark courses and eddies, wearying him in the end until the pleasantry of the prefect and the painted little boy had drawn from him a movement of impatience.

—So you may as well admit, Heron went on, that we've fairly found you out this time. You can't play the saint on me any more, that's one sure five.

A soft peal of mirthless laughter escaped from his lips and, bending down as before, he struck Stephen lightly across the calf of the leg with his cane, as if in jesting reproof.

Stephen's moment of anger had already passed. He was neither flattered nor confused, but simply wished the banter to end. He scarcely resented what had seemed to him a silly indelicateness for he knew that the adventure in his mind stood in no danger from these words: and his face mirrored his rival's false smile.

—Admit! repeated Heron, striking him again with his cane across the calf of the leg.

The stroke was playful but not so lightly given as the first one had been. Stephen felt the skin tingle and glow slightly and almost painlessly; and, bowing submissively, as if to meet his companion's jesting mood, began to recite the Confiteor. The episode ended well, for both Heron and Wallis laughed indulgently at the irreverence.

The confession came only from Stephen's lips and, while they spoke the words, a sudden memory had carried him to another scene called up, as if by magic, at the moment when he had noted the faint cruel dimples at the corners of Heron's smiling lips and had felt the [86]


text:
Page:A Portrait of the Artist as a Young Man (Huebsch 1916).djvu/95

 familiar stroke of the cane against his calf and had heard the familiar word of admonition:

—Admit.

It was towards the close of his first term in the college when he was in number six. His sensitive nature was still smarting under the lashes of an undivined and squalid way of life. His soul was still disquieted and cast down by the dull phenomenon of Dublin. He had emerged from a two years' spell of reverie to find himself in the midst of a new scene, every event and figure of which affected him intimately, disheartened him or allured and, whether alluring or disheartening, filled him always with unrest and bitter thoughts. All the leisure which his school life left him was passed in the company of subversive writers whose gibes and violence of speech set up a ferment in his brain before they passed out of it into his crude writings.

The essay was for him the chief labour of his week and every Tuesday, as he marched from home to the school, he read his fate in the incidents of the way, pitting himself against some figure ahead of him and quickening his pace to outstrip it before a certain goal was reached or planting his steps scrupulously in the spaces of the patchwork of the pathway and telling himself that he would be first and not first in the weekly essay.

On a certain Tuesday the course of his triumphs was rudely broken. Mr Tate, the English master, pointed his finger at him and said bluntly:

—This fellow has heresy in his essay.

A hush fell on the class. Mr Tate did not break it but dug with his hand between his thighs while his heavily starched linen creaked about his neck and wrists. [87]


text:
Page:A Portrait of the Artist as a Young Man (Huebsch 1916).djvu/96

 Stephen did not look up. It was a raw spring morning and his eyes were still smarting and weak. He was conscious of failure and of detection, of the squalor of his own mind and home, and felt against his neck the raw edge of his turned and jagged collar.

A short loud laugh from Mr Tate set the class more at ease.

—Perhaps you didn't know that, he said.

—Where? asked Stephen.

Mr Tate withdrew his delving hand and spread out the essay.

—Here. It's about the Creator and the soul. Rrm ... rrm ... rrm ... Ah! without a possibility of ever approaching nearer. That's heresy.

Stephen murmured:

—I meant without a possibility of ever reaching.

It was a submission and Mr Tate, appeased, folded up the essay and passed it across to him, saying:

—O ... Ah! ever reaching. That's another story.

But the class was not so soon appeased. Though nobody spoke to him of the affair after class he could feel about him a vague general malignant joy.

A few nights after this public chiding he was walking with a letter along the Drumcondra Road when he heard a voice cry:

—Halt!

He turned and saw three boys of his own class coming towards him in the dusk. It was Heron who had called out and, as he marched forward between his two attendants, he cleft the air before him with a thin cane, in time to their steps. Boland, his friend, marched beside him, a large grin on his face, while Nash came on a [88]


text:
Page:A Portrait of the Artist as a Young Man (Huebsch 1916).djvu/97

 few steps behind, blowing from the pace and wagging his great red head.

As soon as the boys had turned into Clonliffe Road together they began to speak about books and writers, saying what books they were reading and how many books there were in their fathers' bookcases at home. Stephen listened to them in some wonderment for Boland was the dunce and Nash the idler of the class. In fact after some talk about their favourite writers Nash declared for Captain Marryat who, he said, was the greatest writer.

—Fudge! said Heron. Ask Dedalus. Who is the greatest writer, Dedalus?

Stephen noted the mockery in the question and said:

—Of prose do you mean?

—Yes.

—Newman, I think.

—Is it Cardinal Newman? asked Boland.

—Yes, answered Stephen.

The grin broadened on Nash's freckled face as he turned to Stephen and said:

—And do you like Cardinal Newman, Dedalus?

—O, many say that Newman has the best prose style, Heron said to the other two in explanation; of course he's not a poet.

—And who is the best poet, Heron? asked Boland.

—Lord Tennyson, of course, answered Heron.

—O, yes, Lord Tennyson, said Nash. We have all his poetry at home in a book.

At this Stephen forgot the silent vows he had been making and burst out:

—Tennyson a poet! Why, he's only a rhymester! [89]


text:
Page:A Portrait of the Artist as a Young Man (Huebsch 1916).djvu/98

 —O, get out! said Heron. Everyone knows that Tennyson is the greatest poet.

—And who do you think is the greatest poet? asked Boland, nudging his neighbour.

—Byron, of course, answered Stephen.

Heron gave the lead and all three joined in a scornful laugh.

—What are you laughing at? asked Stephen.

—You, said Heron. Byron the greatest poet! He's only a poet for uneducated people.

—He must be a fine poet! said Boland.

—You may keep your mouth shut, said Stephen, turning on him boldly. All you know about poetry is what you wrote up on the slates in the yard and were going to be sent to the loft for.

Boland, in fact, was said to have written on the slates in the yard a couplet about a classmate of his who often rode home from the college on a pony:

This thrust put the two lieutenants to silence but Heron went on:

—In any case Byron was a heretic and immoral too.

—I don't care what he was, cried Stephen hotly.

—You don't care whether he was a heretic or not? said Nash.

—What do you know about it? shouted Stephen. You never read a line of anything in your life except a trans or Boland either.

—I know that Byron was a bad man, said Boland.

—Here, catch hold of this heretic, Heron called out. [90]


text:
Page:A Portrait of the Artist as a Young Man (Huebsch 1916).djvu/99

 In a moment Stephen was a prisoner.

—Tate made you buck up the other day, Heron went on, about the heresy in your essay.

—I'll tell him tomorrow, said Boland.

—Will you? said Stephen. You'd be afraid to open your lips.

—Afraid?

—Ay. Afraid of your life.

—Behave yourself! cried Heron, cutting at Stephen's legs with his cane.

It was the signal for their onset. Nash pinioned his arms behind while Boland seized a long cabbage stump which was lying in the gutter. Struggling and kicking under the cuts of the cane and the blows of the knotty stump Stephen was borne back against a barbed wire fence.

—Admit that Byron was no good.

—No.

—Admit.

—No.

—Admit.

—No. No.

At last after a fury of plunges he wrenched himself free. His tormentors set off towards Jones's Road, laughing and jeering at him, while he, half blinded with tears, stumbled on, clenching his fists madly and sobbing.

While he was still repeating the Confiteor amid the indulgent laughter of his hearers and while the scenes of that malignant episode were still passing sharply and swiftly before his mind he wondered why he bore no malice now to those who had tormented him. He had not forgotten a whit of their cowardice and cruelty but the memory of it called forth no anger from him. All [91]


text:
Page:A Portrait of the Artist as a Young Man (Huebsch 1916).djvu/100

 the description of fierce love and hatred which he had met in books had seemed to him therefore unreal. Even that night as he stumbled homewards along Jones's Road he had felt that some power was divesting him of that sudden woven anger as easily as a fruit is divested of its soft ripe peel.

He remained standing with his two companions at the end of the shed listening idly to their talk or to the bursts of applause in the theatre. She was sitting there among the others perhaps waiting for him to appear. He tried to recall her appearance but could not. He could remember only that she had worn a shawl about her head like a cowl and that her dark eyes had invited and unnerved him. He wondered had he been in her thoughts as she had been in his. Then in the dark and unseen by the other two he rested the tips of the fingers of one hand upon the palm of the other hand, scarcely touching it lightly. But the pressure of her fingers had been lighter and steadier: and suddenly the memory of their touch traversed his brain and body like an invisible wave.

A boy came towards them, running along under the shed. He was excited and breathless.

—O, Dedalus, he cried, Doyle is in a great bake about you. You're to go in at once and get dressed for the play. Hurry up, you better.

—He's coming now, said Heron to the messenger with a haughty drawl, when he wants to.

The boy turned to Heron and repeated:

—But Doyle is in an awful bake.

—Will you tell Doyle with my best compliments that I damned his eyes? answered Heron.

—Well, I must go now, said Stephen, who cared little for such points of honour. [92]


text:
Page:A Portrait of the Artist as a Young Man (Huebsch 1916).djvu/101

 —I wouldn't, said Heron, damn me if I would. That's no way to send for one of the senior boys. In a bake, indeed! I think it's quite enough that you're taking a part in his bally old play.

This spirit of quarrelsome comradeship which he had observed lately in his rival had not seduced Stephen from his habits of quiet obedience. He mistrusted the turbulence and doubted the sincerity of such comradeship which seemed to him a sorry anticipation of manhood. The question of honour here raised was, like all such questions, trivial to him. While his mind had been pursuing its intangible phantoms and turning in irresolution from such pursuit he had heard about him the constant voices of his father and of his masters, urging him to be a gentleman above all things and urging him to be a good catholic above all things. These voices had now come to be hollow sounding in his ears. When the gymnasium had been opened he had heard another voice urging him to be strong and manly and healthy and when the movement towards national revival had begun to be felt in the college yet another voice had bidden him be true to his country and help to raise up her language and tradition. In the profane world, as he foresaw, a worldly voice would bid him raise up his father's fallen state by his labours and, meanwhile, the voice of his school comrades urged him to be a decent fellow, to shield others from blame or to beg them off and to do his best to get free days for the school. And it was the din of all these hollowsounding voices that made him halt irresolutely in the pursuit of phantoms. He gave them ear only for a time but he was happy only when he was far from them, beyond their call, alone or in the company of phantasmal comrades. [93]


text:
Page:A Portrait of the Artist as a Young Man (Huebsch 1916).djvu/102

 In the vestry a plump freshfaced jesuit and an elderly man, in shabby blue clothes, were dabbling in a case of paints and chalks. The boys who had been painted walked about or stood still awkwardly, touching their faces in a gingerly fashion with their furtive fingertips. In the middle of the vestry a young jesuit, who was then on a visit to the college, stood rocking himself rhythmically from the tips of his toes to his heels and back again, his hands thrust well forward into his side-pockets. His small head set off with glossy red curls and his newly shaven face agreed well with the spotless decency of his soutane and with his spotless shoes.

As he watched this swaying form and tried to read for himself the legend of the priest's mocking smile there came into Stephen's memory a saying which he had heard from his father before he had been sent to Clongowes, that you could always tell a jesuit by the style of his clothes. At the same moment he thought he saw a likeness between his father's mind and that of this smiling welldressed priest: and he was aware of some desecration of the priest's office or of the vestry itself whose silence was now routed by loud talk and joking and its air pungent with the smells of the gasjets and the grease.

While his forehead was being wrinkled and his jaws painted black and blue by the elderly man, he listened distractedly to the voice of the plump young jesuit which bade him speak up and make his points clearly. He could hear the band playing The Lily of Killarney and knew that in a few moments the curtain would go up. He felt no stage fright but the thought of the part he had to play humiliated him. A remembrance of some of his lines made a sudden flush rise to his painted cheeks. He saw her serious alluring eyes watching him [94]


text:
Page:A Portrait of the Artist as a Young Man (Huebsch 1916).djvu/103

 from among the audience and their image at once swept away his scruples, leaving his will compact. Another nature seemed to have been lent him: the infection of the excitement and youth about him entered into and transformed his moody mistrustfulness. For one rare moment he seemed to be clothed in the real apparel of boyhood: and, as he stood in the wings among the other players, he shared the common mirth amid which the drop scene was hauled upwards by two ablebodied priests with violent jerks and all awry.

A few moments after he found himself on the stage amid the garish gas and the dim scenery, acting before the innumerable faces of the void. It surprised him to see that the play which he had known at rehearsals for a disjointed lifeless thing had suddenly assumed a life of its own. It seemed now to play itself, he and his fellow actors aiding it with their parts. When the curtain fell on the last scene he heard the void filled with applause and, through a rift in a side scene, saw the simple body before which he had acted magically deformed, the void of faces breaking at all points and falling asunder into busy groups.

He left the stage quickly and rid himself of his mummery and passed out through the chapel into the college garden. Now that the play was over his nerves cried for some further adventure. He hurried onwards as if to overtake it. The doors of the theatre were all open and the audience had emptied out. On the lines which he had fancied the moorings of an ark a few lanterns swung in the night breeze, flickering cheerlessly. He mounted the steps from the garden in haste, eager that some prey should not elude him, and forced his way through the crowd in the hall and past the two jesuits [95]


text:
Page:A Portrait of the Artist as a Young Man (Huebsch 1916).djvu/104

 who stood watching the exodus and bowing and shaking hands with the visitors. He pushed onward nervously, feigning a still greater haste and faintly conscious of the smiles and stares and nudges which his powdered head left in its wake.

When he came out on the steps he saw his family waiting for him at the first lamp. In a glance he noted that every figure of the group was familiar and ran down the steps angrily.

—I have to leave a message down in George's Street, he said to his father quickly. I'll be home after you.

Without waiting for his father's questions he ran across the road and began to walk at breakneck speed down the hill. He hardly knew where he was walking. Pride and hope and desire like crushed herbs in his heart sent up vapours of maddening incense before the eyes of his mind. He strode down the hill amid the tumult of suddenrisen vapours of wounded pride and fallen hope and baffled desire. They streamed upwards before his anguished eyes in dense and maddening fumes and passed away above him till at last the air was clear and cold again.

A film still veiled his eyes but they burned no longer. A power, akin to that which had often made anger or resentment fall from him, brought his steps to rest. He stood still and gazed up at the sombre porch of the morgue and from that to the dark cobbled laneway at its side. He saw the word Lotts on the wall of the lane and breathed slowly the rank heavy air.

—That is horse piss and rotted straw, he thought. It is a good odour to breathe. It will calm my heart. My heart is quite calm now. I will go back.

[96]


text:
Page:A Portrait of the Artist as a Young Man (Huebsch 1916).djvu/105

 Stephen was once again seated beside his father in the corner of a railway carriage at Kingsbridge. He was travelling with his father by the night mail to Cork. As the train steamed out of the station he recalled his childish wonder of years before and every event of his first day at Clongowes. But he felt no wonder now. He saw the darkening lands slipping away past him, the silent telegraphpoles passing his window swiftly every four seconds, the little glimmering stations, manned by a few silent sentries, flung by the mail behind her and twinkling for a moment in the darkness like fiery grains flung backwards by a runner.

He listened without sympathy to his father's evocation of Cork and of scenes of his youth—a tale broken by sighs or draughts from his pocket flask whenever the image of some dead friend appeared in it or whenever the evoker remembered suddenly the purpose of his actual visit. Stephen heard, but could feel no pity. The images of the dead were all strangers to him save that of Uncle Charles, an image which had lately been fading out of memory. He knew, however, that his father's property was going to be sold by auction and in the manner of his own dispossession he felt the world give the lie rudely to his phantasy.

At Maryborough he fell asleep. When he awoke the train had passed out of Mallow and his father was stretched asleep on the other seat. The cold light of the dawn lay over the country, over the unpeopled fields and the closed cottages. The terror of sleep fascinated his mind as he watched the silent country or heard from time to time his father's deep breath or sudden sleepy movement. The neighbourhood of unseen sleepers filled him with strange dread, as though they could harm him, [97]


text:
Page:A Portrait of the Artist as a Young Man (Huebsch 1916).djvu/106

 and he prayed that the day might come quickly. His prayer, addressed neither to God nor saint, began with a shiver, as the chilly morning breeze crept through the chink of the carriage door to his feet, and ended in a trail of foolish words which he made to fit the insistent rhythm of the train; and silently, at intervals of four seconds, the telegraphpoles held the galloping notes of the music between punctual bars. This furious music allayed his dread and, leaning against the window ledge, he let his eyelids close again.

They drove in a jingle across Cork while it was still early morning and Stephen finished his sleep in a bedroom of the Victoria Hotel. The bright warm sunlight was streaming through the window and he could hear the din of traffic. His father was standing before the dressingtable, examining his hair and face and moustache with great care, craning his neck across the water jug and drawing it back sideways to see the better. While he did so he sang softly to himself with quaint accent and phrasing:

"'Tis youth and folly

Makes young men marry,

So here, my love, I'll

No longer stay.

What can't be cured, sure,

Must be injured, sure,

So I'll go to Amerikay.

"My love she's handsome,

My love she's bony:

She's like good whisky

When it is new;

[98]


text:
Page:A Portrait of the Artist as a Young Man (Huebsch 1916).djvu/107

 But when 'tis old

And growing cold

It fades and dies like

The mountain dew."

The consciousness of the warm sunny city outside his window and the tender tremors with which his father's voice festooned the strange sad happy air, drove off all the mists of the night's ill humour from Stephen's brain. He got up quickly to dress and, when the song had ended, said:

—That's much prettier than any of your other come-all-yous.

—Do you think so? asked Mr Dedalus.

—I like it, said Stephen.

—It's a pretty old air, said Mr Dedalus, twirling the points of his moustache. Ah, but you should have heard Mick Lacy sing it! Poor Mick Lacy! He had little turns for it, grace notes that he used to put in that I haven't got. That was the boy who could sing a come-all-you, if you like.

Mr Dedalus had ordered drisheens for breakfast and during the meal he cross-examined the waiter for local news. For the most part they spoke at cross purposes when a name was mentioned, the waiter having in mind the present holder and Mr Dedalus his father or perhaps his grandfather.

—Well, I hope they haven't moved the Queen's College anyhow, said Mr Dedalus, for I want to show it to this youngster of mine.

Along the Mardyke the trees were in bloom. They entered the grounds of the college and were led by the garrulous porter across the quadrangle. But their [99]


text:
Page:A Portrait of the Artist as a Young Man (Huebsch 1916).djvu/108

 progress across the gravel was brought to a halt after every dozen or so paces by some reply of the porter's—

—Ah, do you tell me so? And is poor Pottlebelly dead?

—Yes, sir. Dead, sir.

During these halts Stephen stood awkwardly behind the two men, weary of the subject and waiting restlessly for the slow march to begin again. By the time they had crossed the quadrangle his restlessness had risen to fever. He wondered how his father, whom he knew for a shrewd suspicious man, could be duped by the servile manners of the porter; and the lively southern speech which had entertained him all the morning now irritated his ears.

They passed into the anatomy theatre where Mr Dedalus, the porter aiding him, searched the desks for his initials. Stephen remained in the background, depressed more than ever by the darkness and silence of the theatre and by the air it wore of jaded and formal study. On the desk he read the word Fœtus cut several times in the dark stained wood. The sudden legend startled his blood: he seemed to feel the absent students of the college about him and to shrink from their company. A vision of their life, which his father's words had been powerless to evoke, sprang up before him out of the word cut in the desk. A broad shouldered student with a moustache was cutting in the letters with a jack knife, seriously. Other students stood or sat near him laughing at his handiwork. One jogged his elbow. The big student turned on him, frowning. He was dressed in loose grey clothes and had tan boots.

Stephen's name was called. He hurried down the steps of the theatre so as to be as far away from the [100]


text:
Page:A Portrait of the Artist as a Young Man (Huebsch 1916).djvu/109

 vision as he could be and, peering closely at his father's initials, hid his flushed face.

But the word and the vision capered before his eyes as he walked back across the quadrangle and towards the college gate. It shocked him to find in the outer world a trace of what he had deemed till then a brutish and individual malady of his own mind. His monstrous reveries came thronging into his memory. They too had sprung up before him, suddenly and furiously, out of mere words. He had soon given in to them and allowed them to sweep across and abase his intellect, wondering always where they came from, from what den of monstrous images, and always weak and humble towards others, restless and sickened of himself when they had swept over him.

—Ay, bedad! And there's the Groceries sure enough! cried Mr Dedalus. You often heard me speak of the Groceries, didn't you, Stephen. Many's the time we went down there when our names had been marked, a crowd of us, Harry Peard and little Jack Mountain and Bob Dyas and Maurice Moriarty, the Frenchman, and Tom O'Grady and Mick Lacy that I told you of this morning and Joey Corbet and poor little good hearted Johnny Keevers of the Tantiles.

The leaves of the trees along the Mardyke were astir and whispering in the sunlight. A team of cricketers passed, agile young men in flannels and blazers, one of them carrying the long green wicket-bag. In a quiet bystreet a German band of five players in faded uniforms and with battered brass instruments was playing to an audience of street arabs and leisurely messenger boys. A maid in a white cap and apron was watering a box of plants on a sill which shone like a slab of [101]


text:
Page:A Portrait of the Artist as a Young Man (Huebsch 1916).djvu/110

 in the warm glare. From another window open to the air came the sound of a piano, scale after scale rising into the treble.

Stephen walked on at his father's side, listening to stories he had heard before, hearing again the names of the scattered and dead revellers who had been the companions of his father's youth. And a faint sickness sighed in his heart.

He recalled his own equivocal position in Belvedere, a free boy, a leader afraid of his own authority, proud and sensitive and suspicious, battling against the squalor of his life and against the riot of his mind. The letters cut in the stained wood of the desk stared upon him, mocking his bodily weakness and futile enthusiasms and making him loathe himself for his own mad and filthy orgies. The spittle in his throat grew bitter and foul to swallow and the faint sickness climbed to his brain so that for a moment he closed his eyes and walked on in darkness.

He could still hear his father's voice—

—When you kick out for yourself, Stephen—as I daresay you will one of these days—remember, whatever you do, to mix with gentlemen. When I was a young fellow I tell you I enjoyed myself. I mixed with fine decent fellows. Everyone of us could do something. One fellow had a good voice, another fellow was a good actor, another could sing a good comic song, another was a good oarsman or a good racket player, another could tell a good story and so on. We kept the ball rolling anyhow and enjoyed ourselves and saw a bit of life and we were none the worse of it either. But we were all gentlemen, Stephen—at least I hope we were—and bloody good honest Irishmen too. That's the kind of fellows I want you to associate with, fellows of the [102]


text:
Page:A Portrait of the Artist as a Young Man (Huebsch 1916).djvu/111

 right kidney. I'm talking to you as a friend, Stephen. I don't believe a son should be afraid of his father. No, I treat you as your grandfather treated me when I was a young chap. We were more like brothers than father and son. I'll never forget the first day he caught me smoking. I was standing at the end of the South Terrace one day with some maneens like myself and sure we thought we were grand fellows because we had pipes stuck in the corners of our mouths. Suddenly the governor passed. He didn't say a word, or stop even. But the next day, Sunday, we were out for a walk together and when we were coming home he took out his cigar case and said:—By the by, Simon, I didn't know you smoked, or something like that. Of course I tried to carry it off as best I could.—If you want a good smoke, he said, try one of these cigars. An American captain made me a present of them last night in Queenstown.

Stephen heard his father's voice break into a laugh which was almost a sob.

—He was the handsomest man in Cork at that time, by God he was! The women used to stand to look after him in the street.

He heard the sob passing loudly down his father's throat and opened his eyes with a nervous impulse. The sunlight breaking suddenly on his sight turned the sky and clouds into a fantastic world of sombre masses with lakelike spaces of dark rosy light. His very brain was sick and powerless. He could scarcely interpret the letters of the signboards of the shops. By his monstrous way of life he seemed to have put himself beyond the limits of reality. Nothing moved him or spoke to him from the real world unless he heard in it [103]


text:
Page:A Portrait of the Artist as a Young Man (Huebsch 1916).djvu/112

 an echo of the infuriated cries within him. He could respond to no earthly or human appeal, dumb and insensible to the call of summer and gladness and companionship, wearied and dejected by his father's voice. He could scarcely recognize as his own thoughts, and repeated slowly to himself:

—I am Stephen Dedalus. I am walking beside my father whose name is Simon Dedalus. We are in Cork, in Ireland. Cork is a city. Our room is in the Victoria Hotel. Victoria and Stephen and Simon. Simon and Stephen and Victoria. Names.

The memory of his childhood suddenly grew dim. He tried to call forth some of its vivid moments but could not. He recalled only names. Dante, Parnell, Clane, Clongowes. A little boy had been taught geography by an old woman who kept two brushes in her wardrobe. Then he had been sent away from home to a college, he had made his first communion and eaten slim jim out of his cricket cap and watched the firelight leaping and dancing on the wall of a little bedroom in the infirmary and dreamed of being dead, of mass being said for him by the rector in a black and gold cope, of being buried then in the little graveyard of the community off the main avenue of limes. But he had not died then. Parnell had died. There had been no mass for the dead in the chapel and no procession. He had not died but he had faded out like a film in the sun. He had been lost or had wandered out of existence for he no longer existed. How strange to think of him passing out of existence in such a way, not by death but by fading out in the sun or by being lost and forgotten somewhere in the universe! It was strange to see his small body appear again for a moment: a little boy in a grey belted [104]


text:
Page:A Portrait of the Artist as a Young Man (Huebsch 1916).djvu/113

 suit. His hands were in his sidepockets and his trousers were tucked in at the knees by elastic bands.

On the evening of the day on which the property was sold Stephen followed his father meekly about the city from bar to bar. To the sellers in the market, to the barmen and barmaids, to the beggars who importuned him for a lob Mr Dedalus told the same tale, that he was an old Corkonian, that he had been trying for thirty years to get rid of his Cork accent up in Dublin and that Peter Pickackafax beside him was his eldest son but that he was only a Dublin jackeen.

They had set out early in the morning from Newcombe's coffeehouse, where Mr Dedalus' cup had rattled noisily against its saucer, and Stephen had tried to cover that shameful sign of his father's drinking bout of the night before by moving his chair and coughing. One humiliation had succeeded another—the false smiles of the market sellers, the curvetings and oglings of the barmaids with whom his father flirted, the compliments and encouraging words of his father's friends. They had told him that he had a great look of his grandfather and Mr Dedalus had agreed that he was an ugly likeness. They had unearthed traces of a Cork accent in his speech and made him admit that the Lee was a much finer river than the Liffey. One of them, in order to put his Latin to the proof, had made him translate short passages from Dilectus, and asked him whether it was correct to say: Tempora mutantur nos et mutamur in illis or Tempora mutantur et nos mutamur in illis. Another, a brisk old man, whom Mr Dedalus called Johnny Cashman, had covered him with confusion by asking him to say which were prettier, the Dublin girls or the Cork girls.

—He's not that way built, said Mr Dedalus. Leave [105]


text:
Page:A Portrait of the Artist as a Young Man (Huebsch 1916).djvu/114

 him alone. He's a levelheaded thinking boy who doesn't bother his head about that kind of nonsense.

—Then he's not his father's son, said the little old man.

—I don't know, I'm sure, said Mr Dedalus, smiling complacently.

—Your father, said the little old man to Stephen, was the boldest flirt in the City of Cork in his day. Do you know that?

Stephen looked down and studied the tiled floor of the bar into which they had drifted.

—Now don't be putting ideas into his head, said Mr Dedalus. Leave him to his Maker.

—Yerra, sure I wouldn't put any ideas into his head. I'm old enough to be his grandfather. And I am a grandfather, said the little old man to Stephen. Do you know that?

—Are you? asked Stephen.

—Bedad I am, said the little old man. I have two bouncing grandchildren out at Sunday's Well. Now, then! What age do you think I am! And I remember seeing your grandfather in his red coat riding out to hounds. That was before you were born.

—Ay, or thought of, said Mr Dedalus.

—Bedad I did, repeated the little old man. And, more than that, I can remember even your great grandfather, old John Stephen Dedalus, and a fierce old fire-eater he was. Now, then! There's a memory for you!

—That's three generations—four generations, said another of the company. Why, Johnny Cashman, you must be nearing the century.

—Well, I'll tell you the truth, said the little old man. I'm just twentyseven years of age. [106]


text:
Page:A Portrait of the Artist as a Young Man (Huebsch 1916).djvu/115

 —We're as old as we feel, Johnny, said Mr Dedalus.

—And just finish what you have there and we'll have another. Here, Tim or Tom or whatever your name is, give us the same again here. By God, I don't feel more than eighteen myself. There's that son of mine there not half my age and I'm a better man than he is any day of the week.

—Draw it mild now, Dedalus. I think it's time for you to take a back seat, said the gentleman who had spoken before.

—No, by God! asserted Mr Dedalus. I'll sing a tenor song against him or I'll vault a fire-barred gate against him or I'll run with him after the hounds across the country as I did thirty years ago along with the Kerry Boy and the best man for it.

—But he'll beat you here, said the little old man, tapping his forehead and raising his glass to drain it.

—Well, I hope he'll be as good a man as his father. That's all I can say, said Mr Dedalus.

—If he is, he'll do, said the little old man.

—And thanks be to God, Johnny, said Mr Dedalus, that we lived so long and did so little harm.

—But did so much good, Simon, said the little old man gravely. Thanks be to God we lived so long and did so much good.

Stephen watched the three glasses being raised from the counter as his father and his two cronies drank to the memory of their past. An abyss of fortune or of temperament sundered him from them. His mind seemed older than theirs: it shone coldly on their strifes and happiness and regrets like a moon upon a younger earth. No life or youth stirred in him as it had stirred in them. He had known neither the pleasure of [107]


text:
Page:A Portrait of the Artist as a Young Man (Huebsch 1916).djvu/116

 with others nor the vigour of rude male health nor filial piety. Nothing stirred within his soul but a cold and cruel and loveless lust. His childhood was dead or lost and with it his soul capable of simple joys and he was drifting amid life like the barren shell of the moon.

He repeated to himself the lines of Shelley's fragment. Its alternation of sad human ineffectiveness with vast inhuman cycles of activity chilled him and he forgot his own human and ineffectual grieving.

Stephen's mother and his brother and one of his cousins waited at the corner of quiet Foster Place while he and his father went up the steps and along the colonnade where the Highland sentry was parading. When they had passed into the great hall and stood at the counter Stephen drew forth his orders on the governor of the bank of Ireland for thirty and three pounds; and these sums, the moneys of his exhibition and essay prize, were paid over to him rapidly by the teller in notes and in coin respectively. He bestowed them in his pockets with feigned composure and suffered the friendly teller, to whom his father chatted, to take his hand across the broad counter and wish him a brilliant career in after life. He was impatient of their voices and could not keep his feet at rest. But the teller still deferred the serving of others to say he was living in changed times and that there was nothing like giving [108]


text:
Page:A Portrait of the Artist as a Young Man (Huebsch 1916).djvu/117

 a boy the best education that money could buy. Mr Dedalus lingered in the hall gazing about him and up at the roof and telling Stephen, who urged him to come out, that they were standing in the house of commons of the old Irish parliament.

—God help us! he said piously, to think of the men of those times, Stephen, Hely Hutchinson and Flood and Henry Grattan and Charles Kendal Bushe, and the noblemen we have now, leaders of the Irish people at home and abroad. Why, by God, they wouldn't be seen dead in a ten-acre field with them. No, Stephen, old chap, I'm sorry to say that they are only as I roved out one fine May morning in the merry month of sweet July.

A keen October wind was blowing round the bank. The three figures standing at the edge of the muddy path had pinched cheeks and watery eyes. Stephen looked at his thinly clad mother and remembered that a few days before he had seen a mantle priced at twenty guineas in the windows of Barnardo's.

—Well that's done, said Mr Dedalus.

—We had better go to dinner, said Stephen. Where?

—Dinner? said Mr Dedalus. Well, I suppose we had better, what?

—Some place that's not too dear, said Mrs Dedalus.

—Underdone's?

—Yes. Some quiet place.

—Come along, said Stephen quickly. It doesn't matter about the dearness.

He walked on before them with short nervous steps, smiling. They tried to keep up with him, smiling also at his eagerness.

—Take it easy like a good young fellow, said his father. We're not out for the half mile, are we? [109]


text:
Page:A Portrait of the Artist as a Young Man (Huebsch 1916).djvu/118

 For a swift season of merrymaking the money of his prizes ran through Stephen's fingers. Great parcels of groceries and delicacies and dried fruits arrived from the city. Every day he drew up a bill of fare for the family and every night led a party of three or four to the theatre to see Ingomar or The Lady of Lyons. In his coat pockets he carried squares of Vienna chocolate for his guests while his trousers' pockets bulged with masses of silver and copper coins. He bought presents for everyone, overhauled his room, wrote out resolutions, marshalled his books up and down their shelves, pored upon all kinds of price lists, drew up a form of commonwealth for the household by which every member of it held some office, opened a loan bank for his family and pressed loans on willing borrowers so that he might have the pleasure of making out receipts and reckoning the interests on the sums lent. When he could do no more he drove up and down the city in trams. Then the season of pleasure came to an end. The pot of pink enamel paint gave out and the wainscot of his bedroom remained with its unfinished and ill plastered coat.

His household returned to its usual way of life. His mother had no further occasion to upbraid him for squandering his money. He, too, returned to his old life at school and all his novel enterprises fell to pieces. The commonwealth fell, the loan bank closed its coffers and its books on a sensible loss, the rules of life which he had drawn about himself fell into desuetude.

How foolish his aim had been! He had tried to build a breakwater of order and elegance against the sordid tide of life without him and to dam up, by rules of conduct and active interests and new filial relations, the powerful recurrence of the tide within him. Useless. [110]


text:
Page:A Portrait of the Artist as a Young Man (Huebsch 1916).djvu/119

 From without as from within the water had flowed over his barriers: their tides began once more to jostle fiercely above the crumbled mole.

He saw clearly, too, his own futile isolation. He had not gone one step nearer the lives he had sought to approach nor bridged the restless shame and rancour that had divided him from mother and brother and sister. He felt that he was hardly of the one blood with them but stood to them rather in the mystical kinship of fosterage, foster child and foster brother.

He turned to appease the fierce longings of his heart before which everything else was idle and alien. He cared little that he was in mortal sin, that his life had grown to be a tissue of subterfuge and falsehood. Beside the savage desire within him to realise the enormities which he brooded on nothing was sacred. He bore cyniciallycynically [sic] with the shameful details of his secret riots in which he exulted to defile with patience whatever image had attracted his eyes. By day and by night he moved among distorted images of the outer world. A figure that had seemed to him by day demure and innocent came towards him by night through the winding darkness of sleep, her face transfigured by a lecherous cunning, her eyes bright with brutish joy. Only the morning pained him with its dim memory of dark orgiastic riot, its keen and humiliating sense of transgression.

He returned to his wanderings. 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, [111]


text:
Page:A Portrait of the Artist as a Young Man (Huebsch 1916).djvu/120

 the image of Mercedes traversed the background of his memory. He saw again the small white house and the garden of rose-bushes 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 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. [112]


text:
Page:A Portrait of the Artist as a Young Man (Huebsch 1916).djvu/121

 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 easy-chair 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 [113]


text:
Page:A Portrait of the Artist as a Young Man (Huebsch 1916).djvu/122

 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.

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. [114]


text: Dictionary of National Biography, 1901 supplement/Clark, Andrew


text:
Page:A Portrait of the Artist as a Young Man (Huebsch 1916).djvu/123

 CHAPTER III

swift December dusk had come tumbling clownishly after its dull day and, as he stared through the dull square of the window of the schoolroom, he felt his belly crave for its food. He hoped there would be stew for dinner, turnips and carrots and bruised potatoes and fat mutton pieces to be ladled out in thick peppered flour-fattened sauce. Stuff it into you, his belly counselled him.

It would be a gloomy secret night. After early nightfall the yellow lamps would light up, here and there, the squalid quarter of the brothels. He would follow a devious course up and down the streets, circling always nearer and nearer in a tremor of fear and joy, until his feet led him suddenly round a dark corner. The whores would be just coming out of their houses making ready for the night, yawning lazily after their sleep and settling the hairpins in their clusters of hair. He would pass by them calmly waiting for a sudden movement of his own will or a sudden call to his sin-loving soul from their soft perfumed flesh. Yet as he prowled in quest of that call, his senses, stultified only by his desire, would note keenly all that wounded or shamed them; his eyes, a ring of porter froth on a clothless table or a photograph of two soldiers standing to attention or a gaudy playbill; his ears, the drawling jargon of greeting: [115]


text:
Page:A Portrait of the Artist as a Young Man (Huebsch 1916).djvu/124

 —Hello, Bertie, any good in your mind?

—Is that you, pigeon?

—Number ten. Fresh Nelly is waiting on you.

—Good night, husband! Coming in to have a short time?

The equation on the page of his scribbler began to spread out a widening tail, eyed and starred like a peacock's; and, when the eyes and stars of its indices had been eliminated, began slowly to fold itself together again. The indices appearing and disappearing were eyes opening and closing; the eyes opening and closing were stars being born and being quenched. The vast cycle of starry life bore his weary mind outward to its verge and inward to its centre, a distant music accompanying him outward and inward. What music? The music came nearer and he recalled the words, the words of Shelley's fragment upon the moon wandering companionless, pale for weariness. The stars began to crumble and a cloud of fine stardust fell through space.

The dull light fell more faintly upon the page whereon another equation began to unfold itself slowly and to spread abroad its widening tail. It was his own soul going forth to experience, unfolding itself sin by sin, spreading abroad the balefire of its burning stars and folding back upon itself, fading slowly, quenching its own lights and fires. They were quenched: and the cold darkness filled chaos.

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. 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 [116]


text:
Page:A Portrait of the Artist as a Young Man (Huebsch 1916).djvu/125

 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.

—Well now, Ennis, I declare you have a head and so has my stick! Do you mean to say that you are not able to tell me what a surd is?

The blundering answer stirred the embers of his contempt of his fellows. 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 hair oil with which they had anointed their heads [117]


text:
Page:A Portrait of the Artist as a Young Man (Huebsch 1916).djvu/126

 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 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 kneeling-desk 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 late-flowering plant and late-blossoming 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.

''Quasi cedrus exaltata sum in Libanon et quasi cupressus in monte Sion. Quasi palma exaltata sum in Gades et quasi plantatio rosae in Jericho. Quasi uliva speciosa in campis et quasi plantanus exaltata sum juxta aquam in plateis. Sicut cinnamomum et balsamum aromatizans odorem dedi et quasi myrrha electa dedi suavitatem odoris.''

His sin, which had covered him from the sight of God, had led him nearer to the refuge of sinners. Her eyes [118]


text:
Page:A Portrait of the Artist as a Young Man (Huebsch 1916).djvu/127

 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, re-entering 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.

That was strange. He tried to think how it could be but the dusk, deepening in the schoolroom, covered over his thoughts. The bell rang. The master marked the sums and cuts to be done for the next lesson and went out. Heron, beside Stephen, began to hum tunelessly.

Ennis, who had gone to the yard, came back, saying:

—The boy from the house is coming up for the rector.

A tall boy behind Stephen rubbed his hands and said:

—That's game ball. We can scut the whole hour. He won't be in till after half two. Then you can ask him questions on the catechism, Dedalus.

Stephen, leaning back and drawing idly on his scribbler, listened to the talk about him which Heron checked from time to time by saying:

—Shut up, will you. Don't make such a bally racket!

It was strange too that he found an arid pleasure in following up to the end the rigid lines of the doctrines of the church and penetrating into obscure silences only [119]


text:
Page:A Portrait of the Artist as a Young Man (Huebsch 1916).djvu/128

 to hear and feel the more deeply his own condemnation. The sentence of Saint James which says that he who offends against one commandment becomes guilty of all had seemed to him first a swollen phrase until he had begun to grope in the darkness of his own state. From the evil seed of lust all other deadly sins had sprung forth: pride in himself and contempt of others, covetousness in using money for the purchase of unlawful pleasures, envy of those whose vices he could not reach to and calumnious murmuring against the pious, gluttonous enjoyment of food, the dull glowering anger amid which he brooded upon his longing, the swamp of spiritual and bodily sloth in which his whole being had sunk.

As he sat in his bench gazing calmly at the rector's shrewd harsh face his mind wound itself in and out of the curious questions proposed to it. If a man had stolen a pound in his youth and had used that pound to amass a huge fortune how much was he obliged to give back, the pound he had stolen only or the pound together with the compound interest accruing upon it or all his huge fortune? If a layman in giving baptism pour the water before saying the words is the child baptized? Is baptism with a mineral water valid? How comes it that while the first beatitude promises the kingdom of heaven to the poor of heart, the second beatitude promises also to the meek that they shall possess the land? Why was the sacrament of the eucharist instituted under the two species of bread and wine if Jesus Christ be present body and blood, soul and divinity, in the bread alone and in the wine alone? Does a tiny particle of the consecrated bread contain all the body and blood of Jesus Christ or a part only of the body and blood? If the wine change into vinegar and the host crumble [120]


text:
Page:A Portrait of the Artist as a Young Man (Huebsch 1916).djvu/129

 into corruption after they have been consecrated, is Jesus Christ still present under their species as God and as man?

—Here he is! Here he is!

A boy from his post at the window had seen the rector come from the house. All the catechisms were opened and all heads bent upon them silently. The rector entered and took his seat on the dais. A gentle kick from the tall boy in the bench behind urged Stephen to ask a difficult question.

The rector did not ask for a catechism to hear the lesson from. He clasped his hands on the desk and said:

—The retreat will begin on Wednesday afternoon in honour of Saint Francis Xavier whose feast day is Saturday. The retreat will go on from Wednesday to Friday. On Friday confession will be heard all the afternoon after beads. If any boys have special confessors perhaps it will be better for them not to change. Mass will be on Saturday morning at nine o'clock and general communion for the whole college. Saturday will be a free day. But Saturday and Sunday being free days some boys might be inclined to think that Monday is a free day also. Beware of making that mistake. I think you, Lawless, are likely to make that mistake.

—I sir? Why, sir?

A little wave of quiet mirth broke forth over the class of boys from the rector's grim smile. Stephen's heart began slowly to fold and fade with fear like a withering flower.

The rector went on gravely:

—You are all familiar with the story of the life of Saint Francis Xavier, I suppose, the patron of your [121]


text:
Page:A Portrait of the Artist as a Young Man (Huebsch 1916).djvu/130

 college. He came of an old and illustrious Spanish family and you remember that he was one of the first followers of Saint Ignatius. They met in Paris where Francis Xavier was professor of philosophy at the university. This young and brilliant nobleman and man of letters entered heart and soul into the ideas of our glorious founder and you know that he, at his own desire, was sent by Saint Ignatius to preach to the Indians. He is called, as you know, the apostle of the Indies. He went from country to country in the east, from Africa to India, from India to Japan, baptizing the people. He is said to have baptized as many as ten thousand idolaters in one month. It is said that his right arm had grown powerless from having been raised so often over the heads of those whom he baptized. He wished then to go to China to win still more souls for God but he died of fever on the island of Sancian. A great Saint, Saint Francis Xavier! A great soldier of God!

The rector paused and then, shaking his clasped hands before him, went on:

—He had the faith in him that moves mountains. Ten thousand souls won for God in a single month! That is a true conqueror, true to the motto of our order: ad majorem Dei gloriam! A saint who has great power in heaven, remember: power to intercede for us in our grief; power to obtain whatever we pray for if it be for the good of our souls; power above all to obtain for us the grace to repent if we be in sin. A great saint, saint Francis Xavier! A great fisher of souls!

He ceased to shake his clasped hands and, resting them against his forehead, looked right and left of them keenly at his listeners out of his dark stern eyes. [122]


text:
Page:A Portrait of the Artist as a Young Man (Huebsch 1916).djvu/131

 In the silence their dark fire kindled the dusk into a tawny glow. Stephen's heart had withered up like a flower of the desert that feels the simoom coming from afar.

—Remember only thy last things and thou shalt not sin for ever—words taken, my dear little brothers in Christ, from the book of Ecclesiastes, seventh chapter, fortieth verse. In the name of the Father and of the Son and of the Holy Ghost. Amen.

Stephen sat in the front bench of the chapel. Father Arnall sat at a table to the left of the altar. He wore about his shoulders a heavy cloak; his pale face was drawn and his voice broken with rheum. The figure of his old master, so strangely rearisen, brought back to Stephen's mind his life at Clongowes: the wide playgrounds, swarming with boys; the square ditch; the little cemetery off the main avenue of limes where he had dreamed of being buried; the firelight on the wall of the infirmary where he lay sick; the sorrowful face of Brother Michael. His soul, as these memories came back to him, became again a child's soul.

—We are assembled here today, my dear little brothers in Christ, for one brief moment far away from the busy bustle of the outer world to celebrate and to honour one of the greatest of saints, the apostle of the Indies, the patron saint also of your college, Saint Francis Xavier. Year after year, for much longer than any of you, my dear little boys, can remember or than I can remember, the boys of this college have met in this very chapel to make their annual retreat before the feast day of their patron saint. Time has gone on and brought with it its changes. Even in the last few years what [123]


text:
Page:A Portrait of the Artist as a Young Man (Huebsch 1916).djvu/132

 changes can most of you not remember? Many of the boys who sat in those front benches a few years ago are perhaps now in distant lands, in the burning tropics, or immersed in professional duties or in seminaries, or voyaging over the vast expanse of the deep or, it may be, already called by the great God to another life and to the rendering up of their stewardship. And still as the years roll by, bringing with them changes for good and bad, the memory of the great saint is honoured by the boys of this college who make every year their annual retreat on the days preceding the feast day set apart by our Holy Mother the Church to transmit to all the ages the name and fame of one of the greatest sons of catholic Spain.

—Now what is the meaning of this word retreat and why is it allowed on all hands to be a most salutary practice for all who desire to lead before God and in the eyes of men a truly christian life? A retreat, my dear boys, signifies a withdrawal for awhile from the cares of our life, the cares of this workaday world, in order to examine the state of our conscience, to reflect on the mysteries of holy religion and to understand better why we are here in this world. During these few days I intend to put before you some thoughts concerning the four last things. They are, as you know from your catechism, death, judgment, hell, and heaven. We shall try to understand them fully during these few days so that we may derive from the understanding of them a lasting benefit to our souls. And remember, my dear boys, that we have been sent into this world for one thing and for one thing alone: to do God's holy will and to save our immortal souls. All else is worthless. One thing alone is needful, the salvation of one's soul. What doth [124]


text:
Page:A Portrait of the Artist as a Young Man (Huebsch 1916).djvu/133

 it profit a man to gain the whole world if he suffer the loss of his immortal soul? Ah, my dear boys, believe me there is nothing in this wretched world that can make up for such a loss.

—I will ask you, therefore, my dear boys, to put away from your minds during these few days all worldly thoughts, whether of study or pleasure or ambition, and to give all your attention to the state of your souls. I need hardly remind you that during the days of the retreat all boys are expected to preserve a quiet and pious demeanour and to shun all loud unseemly pleasure. The elder boys, of course, will see that this custom is not infringed and I look especially to the prefects and officers of the sodality of Our Blessed Lady and of the sodality of the holy angels to set a good example to their fellow-students.

—Let us try, therefore, to make this retreat in honour of St. Francis with our whole heart and our whole mind. God's blessing will then be upon all your year's studies. But, above and beyond all, let this retreat be one to which you can look back in after years when maybe you are far from this college and among very different surroundings, to which you can look back with joy and thankfulness and give thanks to God for having granted you this occasion of laying the first foundation of a pious honourable zealous Christian life. And if, as may so happen, there be at this moment in these benches any poor soul who has had the unutterable misfortune to lose God's holy grace and to fall into grievous sin, I fervently trust and pray that this retreat may be the turning point in the life of that soul. I pray to God through the merits of His zealous servant Francis Xavier, that such a soul may be led to sincere repentance and [125]


text:
Page:A Portrait of the Artist as a Young Man (Huebsch 1916).djvu/134

 that the holy communion on St. Francis's day of this year may be a lasting covenant between God and that soul. For just and unjust, for saint and sinner alike, may this retreat be a memorable one.

—Help me, my dear little brothers in Christ. Help me by your pious attention, by your own devotion, by your outward demeanour. Banish from your minds all worldly thoughts and think only of the last things, death, judgment, hell, and heaven. He who remembers these things, says Ecclesiastes, shall not sin for ever. He who remembers the last things will act and think with them always before his eyes. He will live a good life and die a good death, believing and knowing that, if he has sacrificed much in this earthly life, it will be given to him a hundredfold and a thousandfold more in the life to come, in the kingdom without end—a blessing, my dear boys, which I wish you from my heart, one and all, in the name of the Father and of the Son and of the Holy Ghost. Amen!

As he walked home with silent companions, a thick fog seemed to compass his mind. He waited in stupor of mind till it should lift and reveal what it had hidden. He ate his dinner with surly appetite and when the meal was over and the grease-strewn plates lay abandoned on the table, he rose and went to the window, clearing the thick scum from his mouth with his tongue and licking it from his lips. So he had sunk to the state of a beast that licks his chaps after meat. This was the end; and a faint glimmer of fear began to pierce the fog of his mind. He pressed his face against the pane of the window and gazed out into the darkening street. Forms passed this way and that through the dull light. And that was life. The letters of the name of Dublin lay [126]


text:
Page:A Portrait of the Artist as a Young Man (Huebsch 1916).djvu/135

 heavily upon his mind, pushing one another surlily hither and thither with slow boorish insistence. His soul was fattening and congealing into a gross grease, plunging ever deeper in its dull fear into a sombre threatening dusk while the body that was his stood, listless and dishonoured, gazing out of darkened eyes, helpless, perturbed, and human for a bovine god to stare upon.

The next day brought death and judgment, stirring his soul slowly from its listless despair. The faint glimmer of fear became a terror of spirit as the hoarse voice of the preacher blew death into his soul. He suffered its agony. He felt the death-chill touch the extremities and creep onward towards the heart, the film of death veiling the eyes, the bright centres of the brain extinguished one by one like lamps, the last sweat oozing upon the skin, the powerlessness of the dying limbs, the speech thickening and wandering and failing, the heart throbbing faintly and more faintly, all but vanquished, the breath, the poor breath, the poor helpless human spirit, sobbing and sighing, gurgling and rattling in the throat. No help! No help! He—he himself—his body to which he had yielded was dying. Into the grave with it. Nail it down into a wooden box, the corpse. Carry it out of the house on the shoulders of hirelings. Thrust it out of men's sight into a long hole in the ground, into the grave, to rot, to feed the mass of its creeping worms and to be devoured by scuttling plump-bellied rats.

And while the friends were still standing in tears by the bedside the soul of the sinner was judged. At the last moment of consciousness the whole earthly life passed before the vision of the soul and, ere it had time to reflect, the body had died and the soul stood terrified before the judgment seat. God, who had long been [127]


text:
Page:A Portrait of the Artist as a Young Man (Huebsch 1916).djvu/136

 merciful, would then be just. He had long been patient, pleading with the sinful soul, giving it time to repent, sparing it yet awhile. But that time had gone. Time was to sin and to enjoy, time was to scoff at God and at the warnings of His holy church, time was to defy His majesty, to disobey His commands, to hoodwink one's fellow men, to commit sin after sin and to hide one's corruption from the sight of men. But that time was over. Now it was God's turn: and He was not to be hoodwinked or deceived. Every sin would then come forth from its lurking place, the most rebellious against the divine will and the most degrading to our poor corrupt nature, the tiniest imperfection and the most heinous atrocity. What did it avail then to have been a great emperor, a great general, a marvellous inventor, the most learned of the learned? All were as one before the judgment seat of God. He would reward the good and punish the wicked. One single instant was enough for the trial of a man's soul. One single instant after the body's death, the soul had been weighed in the balance. The particular judgment was over and the soul had passed to the abode of bliss or to the prison of purgatory or had been hurled howling into hell.

Nor was that all. God's justice had still to be vindicated before men: after the particular there still remained the general judgment. The last day had come. The doomsday was at hand. The stars of heaven were falling upon the earth like the figs cast by the figtree which the wind has shaken. The sun, the great luminary of the universe, had become as sackcloth of hair. The moon was blood red. The firmament was as a scroll rolled away. The archangel Michael, the prince of the heavenly host, appeared glorious and terrible [128]


text:
Page:A Portrait of the Artist as a Young Man (Huebsch 1916).djvu/137

 against the sky. With one foot on the sea and one foot on the land he blew from the archangelical trumpet the brazen death of time. The three blasts of the angel filled all the universe. Time is, time was, but time shall be no more. At the last blast the souls of universal humanity throng towards the valley of Jehosaphat, rich and poor, gentle and simple, wise and foolish, good and wicked. The soul of every human being that has ever existed, the souls of all those who shall yet be born, all the sons and daughters of Adam, all are assembled on that supreme day. And lo, the supreme judge is coming! No longer the lowly Lamb of God, no longer the meek Jesus of Nazareth, no longer the Man of Sorrows, no longer the Good Shepherd, He is seen now coming upon the clouds, in great power and majesty, attended by nine choirs of angels, angels and archangels, principalities, powers and virtues, thrones and dominations, cherubim and seraphim, God Omnipotent, God Everlasting. He speaks: and His voice is heard even at the farthest limits of space, even in the bottomless abyss. Supreme Judge, from His sentence there will be and can be no appeal. He calls the just to His side, bidding them enter into the Kingdom, the eternity of bliss, prepared for them. The unjust He casts from Him, crying in His offended majesty: Depart from me, ye cursed, into everlasting fire which was prepared for the devil and his angels. O, what agony then for the miserable sinners! Friend is torn apart from friend, children are torn from their parents, husbands from their wives. The poor sinner holds out his arms to those who were dear to him in this earthly world, to those whose simple piety perhaps he made a mock of, to those who counselled him and tried to lead him on the right path, to a kind brother, to a loving [129]


text:
Page:A Portrait of the Artist as a Young Man (Huebsch 1916).djvu/138

 sister, to the mother and father who loved him so dearly. But it is too late: the just turn away from the wretched damned souls which now appear before the eyes of all in their hideous and evil character. O you hypocrites, O, you whited sepulchres, O you who present a smooth smiling face to the world while your soul within is a foul swamp of sin, how will it fare with you in that terrible day?

And this day will come, shall come, must come; the day of death and the day of judgement. It is appointed unto man to die, and after death the judgement. Death is certain. The time and manner are uncertain, whether from long disease or from some unexpected accident; the Son of God cometh at an hour when you little expect Him. Be therefore ready every moment, seeing that you may die at any moment. Death is the end of us all. Death and judgement, brought into the world by the sin of our first parents, are the dark portals that close our earthly existence, the portals that open into the unknown and the unseen, portals through which every soul must pass, alone, unaided save by its good works, without friend or brother or parent or master to help it, alone and trembling. Let that thought be ever before our minds and then we cannot sin. Death, a cause of terror to the sinner, is a blessed moment for him who has walked in the right path, fulfilling the duties of his station in life, attending to his morning and evening prayers, approaching the holy sacrament frequently and performing good and merciful works. For the pious and believing catholic, for the just man, death is no cause of terror. Was it not Addison, the great English writer, who, when on his deathbed, sent for the wicked young earl of Warwick to let him see how a christian can meet [130]


text:
Page:A Portrait of the Artist as a Young Man (Huebsch 1916).djvu/139

 his end. He it is and he alone, the pious and believing christian, who can say in his heart:

Every word of it was for him. Against his sin, foul and secret, the whole wrath of God was aimed. The preacher's knife had probed deeply into his disclosed conscience and he felt now that his soul was festering in sin. Yes, the preacher was right. God's turn had come. Like a beast in its lair his soul had lain down in its own filth but the blasts of the angel's trumpet had driven him forth from the darkness of sin into the light. The words of doom cried by the angel shattered in an instant his presumptuous peace. The wind of the last day blew through his mind; his sins, the jewel-eyed harlots of his imagination, fled before the hurricane, squeaking like mice in their terror and huddled under a mane of hair.

As he crossed the square, walking homeward, the light laughter of a girl reached his burning ear. The frail, gay sound smote his heart more strongly than a trumpet blast, and, not daring to lift his eyes, he turned aside and gazed, as he walked, into the shadow of the tangled shrubs. Shame rose from his smitten heart and flooded his whole being. The image of Emma appeared before him and under her eyes the flood of shame rushed forth anew from his heart. If she knew to what his mind had subjected her or how his brute-like lust had torn and trampled upon her innocence! Was that boyish love? Was that chivalry? Was that poetry? The sordid details of his orgies stank under his very nostrils. [131]


text:
Page:A Portrait of the Artist as a Young Man (Huebsch 1916).djvu/140

 The sootcoated packet of pictures which he had hidden in the flue of the fireplace and in the presence of whose shameless or bashful wantonness he lay for hours sinning in thought and deed; his monstrous dreams, peopled by apelike creatures and by harlots with gleaming jewel eyes; the foul long letters he had written in the joy of guilty confession and carried secretly for days and days only to throw them under cover of night among the grass in the corner of a field or beneath some hingeless door in some niche in the hedges where a girl might come upon them as she walked by and read them secretly. Mad! Mad! Was it possible he had done these things? A cold sweat broke out upon his forehead as the foul memories condensed within his brain.

When the agony of shame had passed from him he tried to raise his soul from its abject powerlessness. God and the Blessed Virgin were too far from him: God was too great and stern and the Blessed Virgin too pure and holy. But he imagined that he stood near Emma in a wide land and, humbly and in tears, bent and kissed the elbow of her sleeve.

In the wide land under a tender lucid evening sky, a cloud drifting westward amid a pale green sea of heaven, they stood together, children that had erred. Their error had offended deeply God's majesty though it was the error of two children; but it had not offended her whose beauty "is not like earthly beauty, dangerous to look upon, but like the morning star which is its emblem, bright and musical." The eyes were not offended which she turned upon him nor reproachful. She placed their hands together, hand in hand, and said, speaking to their hearts:

—Take hands, Stephen and Emma. It is a beautiful [132]


text:
Page:A Portrait of the Artist as a Young Man (Huebsch 1916).djvu/141

 evening now in heaven. You have erred but you are always my children. It is one heart that loves another heart. Take hands together, my dear children, and you will be happy together and your hearts will love each other.

The chapel was flooded by the dull scarlet light that filtered through the lowered blinds; and through the fissure between the last blind and the sash a shaft of wan light entered like a spear and touched the embossed brasses of the candlesticks upon the altar that gleamed like the battle-worn mail armour of angels.

Rain was falling on the chapel, on the garden, on the college. It would rain for ever, noiselessly. The water would rise inch by inch, covering the grass and shrubs, covering the trees and houses, covering the monuments and the mountain tops. All life would be choked off, noiselessly: birds, men, elephants, pigs, children: noiselessly floating corpses amid the litter of the wreckage of the world. Forty days and forty nights the rain would fall till the waters covered the face of the earth.

It might be. Why not?

—Hell has enlarged its soul and opened its mouth without any limits—words taken, my dear little brothers in Christ Jesus, from the book of Isaias, fifth chapter, fourteenth verse. In the name of the Father and of the Son and of the Holy Ghost. Amen.

The preacher took a chainless watch from a pocket within his soutane and, having considered its dial for a moment in silence, placed it silently before him on the table.

He began to speak in a quiet tone.

—Adam and Eve, my dear boys, were, as you know, our first parents, and you will remember that they were [133]


text:
Page:A Portrait of the Artist as a Young Man (Huebsch 1916).djvu/142

 created by God in order that the seats in heaven left vacant by the fall of Lucifer and his rebellious angels might be filled again. Lucifer, we are told, was a son of the morning, a radiant and mighty angel; yet he fell: he fell and there fell with him a third part of the host of heaven: he fell and was hurled with his rebellious angels into hell. What his sin was we cannot say. Theologians consider that it was the sin of pride, the sinful thought conceived in an instant: non serviam: I will not serve. That instant was his ruin. He offended the majesty of God by the sinful thought of one instant and God cast him out of heaven into hell for ever.

—Adam and Eve were then created by God and placed in Eden, in the plain of Damascus, that lovely garden resplendent with sunlight and colour, teeming with luxuriant vegetation. The fruitful earth gave them her bounty: beasts and birds were their willing servants: they knew not the ills our flesh is heir to, disease and poverty and death: all that a great and generous God could do for them was done. But there was one condition imposed on them by God: obedience to His word. They were not to eat of the fruit of the forbidden tree.

—Alas, my dear little boys, they too fell. The devil, once a shining angel, a son of the morning, now a foul fiend came in the shape of a serpent, the subtlest of all the beasts of the field. He envied them. He, the fallen great one, could not bear to think that man, a being of clay, should possess the inheritance which he by his sin had forfeited for ever. He came to the woman, the weaker vessel, and poured the poison of his eloquence into her ear, promising her—O, the blasphemy of that promise!—that if she and Adam ate of the forbidden [134]


text:
Page:A Portrait of the Artist as a Young Man (Huebsch 1916).djvu/143

 fruit they would become as gods, nay as God Himself. Eve yielded to the wiles of the arch tempter. She ate the apple and gave it also to Adam who had not the moral courage to resist her. The poison tongue of Satan had done its work. They fell.

—And then the voice of God was heard in that garden, calling His creature man to account: and Michael, prince of the heavenly host, with a sword of flame in his hand, appeared before the guilty pair and drove them forth from Eden into the world, the world of sickness and striving, of cruelty and disappointment, of labour and hardship, to earn their bread in the sweat of their brow. But even then how merciful was God! He took pity on our poor degraded parents and promised that in the fullness of time He would send down from heaven One who would redeem them, make them once more children of God and heirs to the kingdom of heaven: and that One, that Redeemer of fallen man, was to be God's only begotten Son, the Second Person of the Most Blessed Trinity, the Eternal Word.

—He came. He was born of a virgin pure, Mary the virgin mother. He was born in a poor cowhouse in Judea and lived as a humble carpenter for thirty years until the hour of His mission had come. And then, filled with love for men, He went forth and called to men to hear the new gospel.

—Did they listen? Yes, they listened but would not hear. He was seized and bound like a common criminal, mocked at as a fool, set aside to give place to a public robber, scourged with five thousand lashes, crowned with a crown of thorns, hustled through the streets by the Jewish rabble and the Roman soldiery, stripped of his garments and hanged upon a gibbet and His side [135]


text:
Page:A Portrait of the Artist as a Young Man (Huebsch 1916).djvu/144

 was pierced with a lance and from the wounded body of our Lord water and blood issued continually.

—Yet even then, in that hour of supreme agony, Our Merciful Redeemer had pity for mankind. Yet even there, on the hill of Calvary, He founded the holy catholic church against which, it is promised, the gates of hell shall not prevail. He founded it upon the rock of ages, and endowed it with His grace, with sacraments and sacrifice, and promised that if men would obey the word of His church they would still enter into eternal life; but if, after all that had been done for them, they still persisted in their wickedness, there remained for them an eternity of torment: hell.

The preacher's voice sank. He paused, joined his palms for an instant, parted them. Then he resumed:

—Now let us try for a moment to realize, as far as we can, the nature of that abode of the damned which the justice of an offended God has called into existence for the eternal punishment of sinners. Hell is a strait and dark and foul smelling prison, an abode of demons and lost souls, filled with fire and smoke. The straitness of this prison house is expressly designed by God to punish those who refused to be bound by His laws. In earthly prisons the poor captive has at least some liberty of movement, were it only within the four walls of his cell or in the gloomy yard of his prison. Not so in hell. There, by reason of the great number of the damned, the prisoners are heaped together in their awful prison, the walls of which are said to be four thousand miles thick: and the damned are so utterly bound and helpless that, as a blessed saint, saint Anselm, writes in his book on similitudes, they are not even able to remove from the eye a worm that gnaws it. [136]


text:
Page:A Portrait of the Artist as a Young Man (Huebsch 1916).djvu/145

 —They lie in exterior darkness. For, remember, the fire of hell gives forth no light. As, at the command of God, the fire of the Babylonian furnace lost its heat but not its light, so, at the command of God, the fire of hell, while retaining the intensity of its heat, burns eternally in darkness. It is a neverending storm of darkness, dark flames and dark smoke of burning brimstone, amid which the bodies are heaped one upon another without even a glimpse of air. Of all the plagues with which the land of the Pharaohs were smitten one plague alone, that of darkness, was called horrible. What name, then, shall we give to the darkness of hell which is to last not for three days alone but for all eternity?

—The horror of this strait and dark prison is increased by its awful stench. All the filth of the world, all the offal and scum of the world, we are told, shall run there as to a vast reeking sewer when the terrible conflagration of the last day has purged the world. The brimstone, too, which burns there in such prodigious quantity fills all hell with its intolerable stench; and the bodies of the damned themselves exhale such a pestilential odour that, as Saint Bonaventure says, one of them alone would suffice to infect the whole world. The very air of this world, that pure element, becomes foul and unbreathable when it has been long enclosed. Consider then what must be the foulness of the air of hell. Imagine some foul and putrid corpse that has lain rotting and decomposing in the grave, a jelly-like mass of liquid corruption. Imagine such a corpse a prey to flames, devoured by the fire of burning brimstone and giving off dense choking fumes of nauseous loathsome decomposition. And then imagine this sickening stench, multiplied a millionfold and a millionfold again from the millions [137]


text:
Page:A Portrait of the Artist as a Young Man (Huebsch 1916).djvu/146

 upon millions of fetid carcasses massed together in the reeking darkness, a huge and rotting human fungus. Imagine all this, and you will have some idea of the horror of the stench of hell.

—But this stench is not, horrible though it is, the greatest physical torment to which the damned are subjected. The torment of fire is the greatest torment to which the tyrant has ever subjected his fellow creatures. Place your finger for a moment in the flame of a candle and you will feel the pain of fire. But our earthly fire was created by God for the benefit of man, to maintain in him the spark of life and to help him in the useful arts, whereas the fire of hell is of another quality and was created by God to torture and punish the unrepentant sinner. Our earthly fire also consumes more or less rapidly according as the object which it attacks is more or less combustible, so that human ingenuity has even succeeded in inventing chemical preparations to check or frustrate its action. But the sulphurous brimstone which burns in hell is a substance which is specially designed to burn for ever and for ever with unspeakable fury. Moreover, our earthly fire destroys at the same time as it burns, so that the more intense it is the shorter is its duration; but the fire of hell has this property, that it preserves that which it burns, and, though it rages with incredible intensity, it rages for ever.

—Our earthly fire again, no matter how fierce or widespread it may be, is always of a limited extent; but the lake of fire in hell is boundless, shoreless and bottomless. It is on record that the devil himself, when asked the question by a certain soldier, was obliged to confess that if a whole mountain were thrown into the burning ocean of hell it would be burned up in an instant like a piece [138]


text:
Page:A Portrait of the Artist as a Young Man (Huebsch 1916).djvu/147

 of wax. And this terrible fire will not afflict the bodies of the damned only from without, but each lost soul will be a hell unto itself, the boundless fire raging in its very vitals. O, how terrible is the lot of those wretched beings! The blood seethes and boils in the veins, the brains are boiling in the skull, the heart in the breast glowing and bursting, the bowels a redhot mass of burning pulp, the tender eyes flaming like molten balls.

—And yet what I have said as to the strength and quality and boundlessness of this fire is as nothing when compared to its intensity, an intensity which it has as being the instrument chosen by divine design for the punishment of soul and body alike. It is a fire which proceeds directly from the ire of God, working not of its own activity but as an instrument of divine vengeance. As the waters of baptism cleanse the soul with the body, so do the fires of punishment torture the spirit with the flesh. Every sense of the flesh is tortured and every faculty of the soul therewith: the eyes with impenetrable utter darkness, the nose with noisome odours, the ears with yells and howls and execrations, the taste with foul matter, leprous corruption, nameless suffocating filth, the touch with redhot goads and spikes, with cruel tongues of flame. And through the several torments of the senses the immortal soul is tortured eternally in its very essence amid the leagues upon leagues of glowing fires kindled in the abyss by the offended majesty of the Omnipotent God and fanned into everlasting and ever-increasing fury by the breath of the anger of the God-head.

—Consider finally that the torment of this infernal prison is increased by the company of the damned themselves. Evil company on earth is so noxious that the [139]


text:
Page:A Portrait of the Artist as a Young Man (Huebsch 1916).djvu/148

 plants, as if by instinct, withdraw from the company of whatsoever is deadly or hurtful to them. In hell all laws are overturned—there is no thought of family or country, of ties, of relationships. The damned howl and scream at one another, their torture and rage intensified by the presence of beings tortured and raging like themselves. All sense of humanity is forgotten. The yells of the suffering sinners fill the remotest corners of the vast abyss. The mouths of the damned are full of blasphemies against God and of hatred for their fellow sufferers and of curses against those souls which were their accomplices in sin. In olden times it was the custom to punish the parricide, the man who had raised his murderous hand against his father, by casting him into the depths of the sea in a sack in which were placed a cock, a monkey, and a serpent. The intention of those law-givers who framed such a law, which seems cruel in our times, was to punish the criminal by the company of hurtful and hateful beasts. But what is the fury of those dumb beasts compared with the fury of execration which bursts from the parched lips and aching throats of the damned in hell when they behold in their companions in misery those who aided and abetted them in sin, those whose words sowed the first seeds of evil thinking and evil living in their minds, those whose immodest suggestions led them on to sin, those whose eyes tempted and allured them from the path of virtue. They turn upon those accomplices and upbraid them and curse them. But they are helpless and hopeless: it is too late now for repentance.

—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. [140]