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Chamber Music

by James Joyce
 

 

 

I

 

Strings in the earth and air
    Make music sweet;
Strings by the river where
    The willows meet.

There's music along the river
    For Love wanders there,
Pale flowers on his mantle,
    Dark leaves on his hair.

All softly playing,
    With head to the music bent,
And fingers straying
    Upon an instrument.

 

 

 

II

 

The twilight turns from amethyst
    To deep and deeper blue,
The lamp fills with a pale green glow
    The trees of the avenue.

The old piano plays an air,
    Sedate and slow and gay;
She bends upon the yellow keys,
    Her head inclines this way.

Shy thoughts and grave wide eyes and hands
    That wander as they list--
The twilight turns to darker blue
    With lights of amethyst.

 

 

 

III

 

At that hour when all things have repose,
    O lonely watcher of the skies,
    Do you hear the night wind and the sighs
Of harps playing unto Love to unclose
    The pale gates of sunrise?

When all things repose do you alone
    Awake to hear the sweet harps play
    To Love before him on his way,
And the night wind answering in antiphon
    Till night is overgone?

Play on, invisible harps, unto Love,
    Whose way in heaven is aglow
    At that hour when soft lights come and go,
Soft sweet music in the air above
    And in the earth below.

 

 

 

IV

 

When the shy star goes forth in heaven,
    All maidenly, disconsolate,
Hear you amid the drowsy even
    One who is singing by your gate.
His song is softer than the dew
    And he is come to visit you.

O bend no more in revery
    When he at eventide is calling
Nor muse: Who may this singer be
    Whose song about my heart is falling?
Know you by this, the lover's chant,
    'Tis I that am your visitant.

 

 

 

V

 

Lean out of the window,
    Goldenhair,
I hear you singing
    A merry air.

My book was closed;
    I read no more,
Watching the fire dance
    On the floor.

I have left my book,
    I have left my room
For I heard you singing
    Through the gloom,

Singing and singing
    A merry air.
Lean out of the window,
    Goldenhair.

 

 

 

VI

 

I would in that sweet bosom be
    (O sweet it is and fair it is!)
Where no rude wind might visit me.
    Because of sad austerities
I would in that sweet bosom be.

I would be ever in that heart
    (O soft I knock and soft entreat her!)
Where only peace might be my part.
    Austerities were all the sweeter
So I were ever in that heart.

 

 

 

VII

 

My love is in a light attire
    Among the apple-trees,
Where the gay winds do most desire
    To run in companies.

There, where the gay winds stay to woo
    The young leaves as they pass,
My love goes slowly, bending to
    Her shadow on the grass;

And where the sky's a pale blue cup
    Over the laughing land
My love goes lightly, holding up
    Her dress with dainty hand.

 

 

 

VIII

 

Who goes amid the green wood
    With springtide all adorning her--
Who goes amid the merry green wood
    To make it merrier?

Who passes in the sunlight
    By ways that know the light footfall--
Who passes in the sweet sunlight
    With mien so virginal?

The ways of all the woodland
    Gleam with a soft and golden fire--
For whom does all the sunny woodland
    Carry so brave attire?

O, it is for my true love
    The woods their rich apparel wear--
O, it is for my own true love
    That is so young and fair.

 

 

 

IX

 

Winds of May, that dance on the sea,
Dancing a ring-around in glee
From furrow to furrow, while overhead
The foam flies up to be garlanded
In silvery arches spanning the air,
Saw you my true love anywhere?
    Welladay! Welladay!
    For the winds of May!
Love is unhappy when love is away!

 

 

 

X

 

Bright cap and streamers,
    He sings in the hollow:
    Come follow, come follow,
        All you that love.
Leave dreams to the dreamers
    That will not after,
    That song and laughter
        Do nothing move.

With ribbons streaming
    He sings the bolder;
    In troop at his shoulder
        The wild bees hum.
And the time of dreaming
    Dreams is over--
    As lover to lover,
        Sweetheart, I come.

 

 

 

XI

 

Bid adieu, adieu, adieu,
    Bid adieu to girlish days.
Happy Love is come to woo
    Thee and woo thy girlish ways--
The zone that doth become thee fair,
The snood upon thy yellow hair.

When thou hast heard his name upon
    The bugles of the cherubim
Begin thou softly to unzone
    Thy girlish bosom unto him
And softly to undo the snood
That is the sign of maidenhood.

 

 

 

XII

 

What counsel has the hooded moon
    Put in thy heart, my shyly sweet,
Of Love in ancient plenilune,
    Glory and stars beneath his feet--
A sage that is but kith and kin
    With the comedian Capuchin?

Believe me rather that am wise
    In disregard of the divine,
A glory kindles in those eyes
    Trembles to starlight. Mine, O mine!
No more be tears in moon or mist
For thee, sweet sentimentalist.

 

 

 

XIII

 

Go seek her out all courteously
    And say I come,
Wind of spices whose song is ever
    Epithalamium.
O, hurry over the dark lands
    And run upon the sea
For seas and lands shall not divide us,
    My love and me.

Now, wind, of your good courtesy
    I pray you go
And come into her little garden
    And sing at her window;
Singing: The bridal wind is blowing
    For Love is at his noon;
And soon will your true love be with you,
    Soon, O soon.

 

 

 

XIV

 

My dove, my beautiful one,
    Arise, arise!
    The night-dew lies
Upon my lips and eyes.

The odorous winds are weaving
    A music of sighs:
    Arise, arise,
My dove, my beautiful one!

I wait by the cedar tree,
    My sister, my love.
    White breast of the dove,
My breast shall be your bed.

The pale dew lies
    Like a veil on my head.
    My fair one, my fair dove,
Arise, arise!

 

 

 

XV

 

From dewy dreams, my soul, arise,
    From love's deep slumber and from death
For lo! the treees are full of sighs
    Whose leaves the morn admonisheth.

Eastward the gradual dawn prevails
    Where softly-burning fires appear
Making to tremble all those veils
    Of grey and golden gossamer.

While sweetly, gently, secretly
    The flowery bells of morn are stirred
And the wise choirs of faery
    Begin (innumerous!) to be heard.

 

 

 

XVI

 

O cool is the valley now
    And there, love, will we go
For many a choir is singing now
    Where Love did sometime go.
And hear you not the thrushes calling,
    Calling us away?
O cool and pleasant is the valley
    And there, love, will we stay.

 

 

 

XVII

 

Because your voice was at my side
    I gave him pain,
Because within my hand I held
    Your hand again.

There is no word nor any sign
    Can make amend--
He is a stranger to me now
    Who was my friend.

 

 

 

XVIII

 

O Sweetheart, hear you
    Your lover's tale,
A man shall have sorrow
    When friends him fail.

For he shall know then
    Friends be untrue
And a little ashes
    Their words come to.

But one unto him
    Will softly move
And softly woo him
    In ways of love.

His hand is under
    Her smooth round breast.
So he who has sorrow
    Shall have rest.

 

 

 

XIX

 

Be not sad because all men
    Prefer a lying clamour before you:
Sweetheart, be at peace again--
    Can they dishonour you?

They are sadder than all tears;
    Their lives ascend as a continual sigh.
Proudly answer to their tears:
    As they deny, deny.

 

 

 

XX

 

In the dark pinewood
    I would we lay,
In deep cool shadow
    At noon of day.

How sweet to lie there,
    Sweet to kiss,
Where the great pine-forest
    Enaisled is!

Thy kiss descending
    Sweeter were
With a soft tumult
    Of thy hair.

O unto the pinewood
    At noon of day
Come with me now,
    Sweet love, away.

 

 

 

XXI

 

He who hath glory lost nor hath
    Found any soul to fellow his,
Among his foes in scorn and wrath
    Holding to ancient nobleness,
That high unconsortable one--
His love is his companion.

 

 

 

XXII

 

Of that so sweet imprisonment
    My soul, dearest, is fain--
Soft arms that woo me to relent
    And woo me to detain.
Ah, could they ever hold me there
Gladly were I a prisoner!

Dearest, through interwoven arms
    By love made tremulous,
That night allures me where alarms
    Nowise may trouble us
But sleep to dreamier sleep be wed
Where soul with soul lies prisoned.

 

 

 

XXIII

 

This heart that flutters near my heart
    My hope and all my riches is,
Unhappy when we draw apart
    And happy between kiss and kiss;
My hope and all my riches-- yes!--
And all my happiness.

For there, as in some mossy nest
    The wrens will divers treasures keep,
I laid those treasures I possessed
    Ere that mine eyes had learned to weep.
Shall we not be as wise as they
Though love live but a day?

 

 

 

XXIV

 

Silently she's combing,
    Combing her long hair,
Silently and graciously
    With many a pretty air.

The sun is in the willow leaves
    And on the dappled grass,
And still she's combing her long hair
    Before the looking-glass.

I pray you, cease to comb out,
    Comb out your long hair,
For I have heard of witchery
    Under a pretty air,

That makes as one thing to the lover
    Staying and going hence,
All fair, with many a pretty air
    And many a negligence.

 

 

 

XXV

 

Lightly come or lightly go:
    Though thy heart presage thee woe,
Vales and many a wasted sun,
    Oread let thy laughter run
Till the irreverent mountain air
Ripple all thy flying hair.

Lightly, lightly-- ever so:
    Clouds that wrap the vales below
At the hour of evenstar
    Lowliest attendants are;
Love and laughter song-confessed
When the heart is heaviest.

 

 

 

XXVI

 

Thou leanest to the shell of night,
    Dear lady, a divining ear.
In that soft choiring of delight
    What sound hath made thy heart to fear?
Seemed it of rivers rushing forth
From the grey deserts of the north?

    That mood of thine, O timorous,
Is his, if thou but scan it well,
    Who a mad tale bequeaths to us
At ghosting hour conjurable--
    And all for some strange name he read
        In Purchas or in Holinshed.

 

 

 

XXVII

 

Though I thy Mithridates were
    Framed to defy the poison-dart,
Yet must thou fold me unaware
    To know the rapture of thy heart
And I but render and confess
The malice of thy tenderness.

For elegant and antique phrase,
    Dearest, my lips wax all too wise;
Nor have I known a love whose praise
    Our piping poets solemnise,
Neither a love where may not be
Ever so little falsity.

 

 

 

XXVIII

 

Gentle lady, do not sing
    Sad songs about the end of love;
Lay aside sadness and sing
    How love that passes is enough.

Sing about the long deep sleep
    Of lovers that are dead, and how
In the grave all love shall sleep:
    Love is aweary now.

 

 

 

XXIX

 

Dear heart, why will you use me so?
    Dear eyes that gently me upbraid,
Still are you beautiful-- but O,
    How is your beauty raimented!

Through the clear mirror of your eyes,
    Through the soft sigh of kiss to kiss,
Desolate winds assail with cries
    The shadowy garden where love is.

And soon shall love dissolved be
    When over us the wild winds blow--
But you, dear love, too dear to me,
    Alas! why will you use me so?

 

 

 

XXX

 

Love came to us in time gone by
    When one at twilight shyly played
And one in fear was standing nigh--
    For Love at first is all afraid.

We were grave lovers. Love is past
    That had his sweet hours-- many a one.
Welcome to us now at the last
    The ways that we shall go upon.

 

 

 

XXXI

 

O, it was out by Donnycarney
    When the bat flew from tree to tree
My love and I did walk together;
    And sweet were the words she said to me.

Along with us the summer wind
    Went murmuring-- O, happily!--
But softer than the breath of summer
    Was the kiss she gave to me.

 

 

 

XXXII

 

Rain has fallen all the day.
    O come among the laden trees:
The leaves lie thick upon the way
    Of memories.

Staying a little by the way
    Of memories shall we depart.
Come, my beloved, where I may
    Speak to your heart.

 

 

 

XXXIII

 

Now, O now, in this brown land
    Where Love did so sweet music make
We two shall wander, hand in hand,
    Forbearing for old friendship' sake,
Nor grieve because our love was gay
Which now is ended in this way.

A rogue in red and yellow dress
    Is knocking, knocking at the tree;
And all around our loneliness
    The wind is whistling merrily.
The leaves-- they do not sigh at all
When the year takes them in the fall.

Now, O now, we hear no more
    The vilanelle and roundelay!
Yet will we kiss, sweetheart, before
    We take sad leave at close of day.
Grieve not, sweetheart, for anything--
The year, the year is gathering.

 

 

 

XXXIV

 

Sleep now, O sleep now,
    O you unquiet heart!
A voice crying "Sleep now"
    Is heard in my heart.

The voice of the winter
    Is heard at the door.
O sleep, for the winter
    Is crying "Sleep no more."

My kiss will give peace now
    And quiet to your heart--
Sleep on in peace now,
    O you unquiet heart!

 

 

 

XXXV

 

All day I hear the noise of waters
    Making moan,
Sad as the sea-bird is, when going
    Forth alone,
He hears the winds cry to the waters'
    Monotone.

The grey winds, the cold winds are blowing
    Where I go.
I hear the noise of many waters
    Far below.
All day, all night, I hear them flowing
    To and fro.

 

 

 

XXXVI

 

I hear an army charging upon the land,
    And the thunder of horses plunging, foam about their knees:
Arrogant, in black armour, behind them stand,
    Disdaining the reins, with fluttering whips, the charioteers.

They cry unto the night their battle-name:
    I moan in sleep when I hear afar their whirling laughter.
They cleave the gloom of dreams, a blinding flame,
    Clanging, clanging upon the heart as upon an anvil.

They come shaking in triumph their long, green hair:
    They come out of the sea and run shouting by the shore.
My heart, have you no wisdom thus to despair?
    My love, my love, my love, why have you left me alone?

 

 

 

 


Notes

Joyce's process of composition is depicted in Portrait 5 [qv] and again in Ulysses ch3: [qv]

This arrangement of the poems is dated 24 Oct 1906 by Joyce himself, but Stanislaus claims (not very credibly) that he chose the arrangement because Joyce had lost interest. (Joyce's letters to him in 1906 give some support to Stannie's claims.) Earlier versions in a very different order date from 1905 [etext] and 1904. [etext] [compare]

The 1905 and 1904 arrangements:

             1905                                1904
XXI: He who hath glory lost, nor hath
I: Strings in the earth and air                  I
III: At that hour when all things have repose    III
II: The twilight turns from amethyst             II
IV: When the shy star goes forth in heaven       IV
V: Lean out of the window, Goldenhair            V
VIII: Who goes amid the green wood               VIII
VII: My love is in a light attire                VII
IX: Winds of May, that dance on the sea          IX
XVII: Because your voice was at my side          XVII
XVIII: O Sweetheart, hear you                    XVIII
VI: I would in that sweet bosom be               VI
X: Bright cap and streamers                      X
XX: In the dark pinewood                         --
XIII: Go seek her out all courteously            XIII
XI: Bid adieu, adieu, adieu                      --
XIV: My dove, my beautiful one                   XIV
XIX: Be not sad because all men                  XV   } swapped
XV: From dewy dreams, my soul, arise             XIX  } swapped
XXIII: This heart that flutters near my heart    XXIII
                                                 XXII } relocated
XXIV: Silently she's combing                     XXIV
XVI: O cool is the valley now                    XVI
XXXI: O, it was out by Donnycarney               XXXI
XXII: Of that so sweet imprisonment              --   } relocated
XXVI: Thou leanest to the shell of night         --
XII: What counsel has the hooded moon            --
XXVII: Though I thy Mithridates were             --
XXVIII: Gentle lady, do not sing                 XXVIII
XXV: Lightly come or lightly go                  --
XXIX: Dear heart, why will you use me so?        XXIX
XXXII: Rain has fallen all the day               XXXII
XXX: Love came to us in time gone by             XXX
XXXIII: Now, O now, in this brown land           XXXIII
XXXIV: Sleep now, O sleep now                    XXXIV
                                                 XI     appended
                                                 XII    appended
                                                 XX     appended
                                                 XXV    appended
                                                 XXVI   appended
                                                 XXVII  appended
not included:
XXXV: All day I hear the noise of waters
XXXVI: I hear an army charging upon the land
In Paris in 1902-03 Joyce apparently planned his first book of poems to have an 'innocence' half and an 'experience' half (following Blake). CM IV was to be in the first half, XXXV and XXXVI in the second. [SL13] I have occasionally chosen the 1906 reading over the 'official' 1907 (eg 'solemnize' in XXVII should surely be 'solemnise', and pinewood in XX shouldn't be hyphenated.).

Joyce to Stannie, Feb 1907: "I don't like the book but wish it were published and be damned to it. However, it is a young man's book. I felt like that. It is not a book of love-verses at all, I perceive. But some of them are pretty enough to be put to music. I hope someone will do so, someone that knows old English music such as I like. Besides they are not pretentious and have a certain grace. I will keep a copy myself and (so far as I can remember) at the top of each page I will put an address, or a street so that when I open the book I can revisit the places where I wrote the different songs."

Joyce to Stannie, 11 Feb 1907: "I have certain ideas I would like to give form to: not as a doctrine but as the continuation of the expression of myself which I now see I began in Chamber Music. These ideas or instincts or intuitions or impulses may be purely personal. I have no wish to codify myself as anarchist or socialist or reactionary..."

Joyce to Stannie, April 1907, debating cancelling the book: 'All that kind of thing is false.' Ellmann's paraphrase: ...insincerity and fakery... an ironic note to make them modern... essentially poems for lovers and he was no lover.

Joyce to Nora, 21 Aug 1909: "I like to think of you reading my verses (though it took you five years to find them out). When I wrote them I was a strange lonely boy, walking about by myself at night and thinking that some day a girl would love me. But I never could speak to the girls I used to meet at houses. Their false manners checked me at once. Then you came to me. You were not in a sense the girl for whom I had dreamed and written the verses you find now so enchanting. She was perhaps (as I saw her in my imagination) a girl fashioned into a curious grave beauty by the culture of generations before her, the woman for whom I wrote poems like 'Gentle lady' or 'Thou leanest to the shell of night'. But then I saw that the beauty of your soul outshone that of my verses. There was something in you higher than anything I had put into them. And for this reason the book of verses is for you. It holds the desire of my youth and you, darling, were the fulfilment of that desire."

Joyce to Gorman, 1931: "I wrote Chamber Music as a protest against myself."

Submitted to Grant Richards by Arthur Symons in Sept 1904, then to Elkin Matthews in Oct 1906 as "A Book of Thirty Songs for Lovers" (??? cf 1905 subtitle: "a suite of thirty-four songs for lovers") ('genuine lyric quality... almost Elizabethan in their freshness but quite personal')

Matthews sent proofs in Feb/Mar 1907.

507 copies printed, 24 freebies for Joyce, 127 sold by July 1908, less than 200 by 1913. Republished in USA by Huebsch in 1918.

In July 1909 G. Molyneux Palmer wrote Joyce to ask permission to set some to music.

In Nov 1909 Joyce had an elaborate handwritten copy bound as a Christmas present for Nora, and in Jan 1919 he sent a (plain) copy to Marthe Fleischmann, whom he was trying to seduce. The 1909 edition came with this comment:

"Perhaps this book I send you now will outlive both you and me. Perhaps the fingers of some young man or young girl (our children's children) may turn over its parchment leaves reverently when the two lovers whose initials are interlaced on the cover have long vanished from the earth. Nothing will remain then, dearest, of our poor human passion-driven bodies and who can say where the souls that looked on each other through their eyes will then be. I would pray that my soul be scattered in the wind if God would but let me blow softly for ever about one strange lonely dark-blue rain-drenched flower in a wild hedge at Aughrim or Oranmore."
I'm still trying to discover whether the 1909 followed the 1906/7 or the 1905 arrangement...?

Settings: David Arditti [28min RealAudio]; links; Samuel Barber; Elizabeth Lauer [Amazon RealAud]; Ross Lee Finney; Luciano Berio; Otto Luening

Lost-settings book? [Amazon]

Harry Levin: "precise diction, open vowels, repetitions, alliterations, assonance and onomatopoeia, a rare polysyllable stemming a monosyllabic flow" George Moore c1903 dismissed them as imitations of Arthur Symons [mbk252] [examples]

Notes for individual poems:

I: Strings in the earth and air

Joyce called this a 'prelude' along with III

The river most familiar to Joyce during this period would have been the Tolka, not the Liffey. [pix] The Botanic Gardens in Glasnevin run along the Tolka, and might be imagined as the setting for CMi. The pic I used is from 1907 and shows an avenue of yews (not willows) at the Botanic Gardens. [source]

Settings: Robin Williamson

Polish translation

II: The twilight turns from amethyst

Stannie claims this was very early (pre-1903) and the original title was 'Commonplace'.

Polish translation

III: At that hour when all things have repose

Joyce called this a 'prelude' along with I

IV: When the shy star goes forth in heaven

written in Paris Jan 1903 (maybe for Maud Gonne?)

according to Ellmann, inspired by Ben Jonson

suggests Stephen's request to Emma in Stephen Hero [quoted]

V: Lean out of the window, Goldenhair

Settings: Syd Barrett; Broadway's The Dead

VI: I would in that sweet bosom be

published in The Speaker, 8 Oct 1904

VII: My love is in a light attire

published in Dana in Aug 1904 (payment one guinea)

Ulick O'Connor's bio of Gogarty cites this poem of Gogarty's apparently written in parallel with CM VII:

My Love is dark, but she is fair;
As dark as damask roses are,
As dark as woodland lake water,
That mirrors every star.

For like the Moon who shines by night
She wins the darker air
To blend its beauty with her light,
Till dark is doubly fair.

VIII: Who goes amid the green wood

IX: Winds of May, that dance on the sea

X: Bright cap and streamers

XI: Bid adieu, adieu, adieu

rejected by Harper's in Jan 1907

Joyce had the last line engraved on a expensive bracelet for Nora in Sept 1909

Set to music by Edmund Pendleton c1949 [score]

XII: What counsel has the hooded moon

Ellmann says this was written to Mary Sheehy in April 1904, after an outing with her and Skeffington, but it wasn't included in the original 1904 manuscript, so it may be August or later. Stannie claims it was the poem written out on a cigarette package as in Portrait V.

published in The Venture in Nov 1904

XIII: Go seek her out all courteously

epithalamium: wedding-poem [EB]

XIV: My dove, my beautiful one

Joyce called this the 'central song... after which the movement is all downwards until XXXIV'

XV: From dewy dreams, my soul, arise

XVI: O cool is the valley now

XVII: Because your voice was at my side

This poem was presumably written after this oft-quoted letter to Nora of 15 Aug 1904: [ditto] ditto ditto

"It has just struck me. I came in at half past eleven. Since then I have been sitting in an easy chair like a fool. I could do nothing. I hear nothing but your voice. I am like a fool hearing you call me 'Dear'. I offended two men today by leaving them coolly. I wanted to hear your voice, not theirs. When I am with you I leave aside my contemptuous suspicious nature. I wish I felt your head over my shoulder now. I think I will go to bed. I have been a half-hour writing this thing. Will you write something to me? I hope you will. How am I to sign myself? I won't sign anything at all, because I don't know what to sign myself."

It establishes pretty certainly that the Sylvia Beach manuscript is post-Nora (probably late summer 1904), not pre-Nora.

XVIII: O Sweetheart, hear you

published in The Speaker, 30 July 1904

XIX: Be not sad because all men

XX: In the dark pinewood

  An earlier version, dated 1903:

In the dark pinewood
    There, O there,
Beside you, dearest,
    I would I were!

For the night is still there,
    Still and grave,
Repose in the shadows
    Should we have.

In the dark pinewood
    There, O there,
Beside you, dearest,
    I would I were!

The kindly elves the pine-wood
    To revel go,
And peace, sweet peace there
    Should we know.

XXI: He who hath glory lost, nor hath

Ellmann believes this written in Sept 1904 after the fight with Gogarty.

XXII: Of that so sweet imprisonment

XXIII: This heart that flutters near my heart

Joyce changed line ten from "When love sighs not from sleep to sleep." to "Folded in fragrant gloom asleep." then back to "When love sighs not from sleep to sleep." and finally here to "Ere that mine eyes had learned to weep."

XXIV: Silently she's combing

Ellmann guesses this was the poem finished on 8 April 1904

published in Saturday Review, 14 May 1904

XXV: Lightly come or lightly go

Ellmann guesses this was written to Mary Sheehy in April 1904, after an outing with her and Skeffington, but it wasn't included in the original 1904 manuscript, so it's probably August or later.

XXVI: Thou leanest to the shell of night

published in The Venture in Nov 1904

Purchas inspired Coleridge's "Kubla Khan" [cite]

Samuel Purchas [EB] Raphael Holinshed [EB] was a 16th C source for Shakespeare [annoying page images]

XXVII: Though I thy Mithridates were

Mithridates: aka Mithradates avoided poisoning by building up a tolerance [EB] [bio] [links]

Early drafts ended:

But this I know: it scarce could be
Dearer than is thy falsity.

XXVIII: Gentle lady, do not sing

XXIX: Dear heart, why will you use me so? Earlier versions have 'deep' for 'clear' in line 5, 'dark' for 'wild' in line 10, and (most interestingly assuming this was written for Nora) 'heart' for 'love' in line 11.

XXX: Love came to us in time gone by

The punctuation of line six varies-- the first edition lacked the dash and changed the period to a semicolon.

This sounds like Mary Sheehy, the crush of 'Araby'. [etext]

XXXI: O, it was out by Donnycarney

Donnycarney is just north of Fairview, where the Joyce family lived from 1896 to 1900 [map]

XXXII: Rain has fallen all the day

XXXIII: Now, O now, in this brown land

Stannie claims this was written in Paris in 1902 or 03.

XXXIV: Sleep now, O sleep now

Stannie claims this was written in Paris in 1902 or 03.

Joyce called this 'vitally the end of the book'. He quoted it in a letter to Nora 19 Aug 1909.

translated into modern Greek by Zurich friend Paul Phokas in March 1917.

XXXV: All day I hear the noise of waters

written in Paris Dec 1902

sent to Byrne on photo postcard [pic] with title 'Second Part-- opening which tells of the journeyings of the soul' (and with two semicolons for periods in the second verse)

Joyce called the last two 'tailpieces'

XXXVI: I hear an army charging upon the land

written in Paris Dec 1902

according to Ellmann, inspired by Yeats and Gregan

Yeats wrote on 18 Dec 1902: "a charming rhythm in the second stanza, but... not one of your best lyrics as a whole... the thought is a little thin... the poetry of a young man who is practicing his instrument, taking pleasure in the mere handling of the stops..."

Yeats showed it to Ezra Pound in Dec 1913, who bought it for his anthology Des Imagistes

Yeats reconsidered and wrote in July 1915: "a technical and emotional masterpiece"

Setting: David Del Tredici

 


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Mirrors: onepage Translations: Danish

 


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