GN1 (Dzierbicki): Giacomo Joyce

Print edition: R. Ellmann, ed. Giacomo Joyce (London: Faber and Faber, 1968)

MS: Dzierbicki Notebook details
GN1 (Dzierbicki) 1(a)
Who? A pale face surrounded by heavy odorous furs. Her movements are shy / and nervous. She uses quizzing-glasses.
Yes: a brief syllable. A brief laugh. A brief beat of the eyelids.
Note: Cf. UG 15.1027, 1103 (‘quizzing-glasses’).
GN1 (Dzierbicki) 1(b)
Cobweb handwriting, traced long and fine with quiet disdain / and resignation: a young person of quality.
GN1 (Dzierbicki) 1(c)
I launch forth on an easy wave of tepid speech: Swedenborg, / the pseudo-Areopagite, Miguel de Molinos, Joachim Abbas. / The wave is spent. Her classmate, retwisting her twisted / body, purrs in boneless Viennese Italian: Che coltura! / The long eyelids beat and lift: a burning needleprick / stings and quivers in the velvet iris.
GN1 (Dzierbicki) 1(d)
High heels clack hollow on the resonant stone stairs. Wintry / air in the castle, gibbeted coats of mail, rude iron sconces / over the windings of the winding turret stairs. Tapping / clacking heels, a high and hollow noise. There is one / below would speak with your ladyship.
GN1 (Dzierbicki) 2(a)
She never blows her nose. A form of speech: the lesser for / the greater.
GN1 (Dzierbicki) 2(b)
Rounded and ripened: rounded by the lathe of intermarriage / and ripened in the forcing-house of the seclusion of her / race.
GN1 (Dzierbicki) 2(c)
A ricefield near Vercelli under creamy summer haze. The wings / of her drooping hat shadow her false smile. Shadows streak / her falsely smiling face, smitten by the hot creamy light, / grey wheyhued shadows under the jawbones, streaks of / eggyolk yellow on the moistened brow, rancid yellow / humour lurking within the softened pulp of the eyes.
GN1 (Dzierbicki) 3(a)
A flower given by her to my daughter. Frail gift, frail giver, / frail blue-veined child.
Note: Joyce turned this into a poem dated “Triste, 1913,” later published in Pomes Penyeach:

Frail the white rose and frail are
Her hands that gave
Whose soul is sere and paler
Than time's wan wave.

Rosefrail and fair—yet frailest
A wonder wild
In gentle eyes thou veilest,
My blueveined child.

GN1 (Dzierbicki) 3(b)
Padua far beyond the sea. The silent middle age, night, darkness of / history sleep in the Piazza delle Erbe under the moon. The city / sleeps. Under the arches in the dark streets near the river the / whores' eyes spy out for fornicators. Cinque servizi per cinque / franchi. A dark wave of sense, again and again and again.

Mine eyes fail in darkness, mine eyes fail,
Mine eyes fail in darkness, love.

Again. No more. Dark love, dark longing. No more. Darkness.

Note: Joyce made two trips to Padua in April 1912.
GN1 (Dzierbicki) 3(c)
Twilight. Crossing the piazza. Grey eve lowering on wide sagegreen / pasturelands, shedding silently dusk and dew. She follows / her mother with ungainly grace, the mare leading / her filly foal. Grey twilight moulds softly the slim / and shapely haunches, the meek supple tendonous / neck, the fine-boned skull. Eve, peace, the dusk / of wonder . . . . . . . Hillo! Ostler! Hilloho!
GN1 (Dzierbicki) 4(a)
Papa and the girls sliding downhill, astride of a toboggan: the / Grand Turk and his harem. Tightly capped and jacketted, / boots laced in deft crisscross over the flesh-warmed / tongue, the short skirt taut from the round knobs / of the knees. A white flash: a flake, a snowflake:

And when she next doth ride abroad
May I be there to see!

Note: Cf. UG 15.2815: ‘lace up crisscrossed’. The quoted verse are the last two lines of William Cowper's The diverting history of John Gilpin.
GN1 (Dzierbicki) 4(b)
I rush out of the tobacco-shop and call her name. She turns / and halts to hear my jumbled words of lessons, hours, / lessons, hours: and slowly her pale cheeks are flushed with / a kindling opal light. Nay, nay, be not afraid!
GN1 (Dzierbicki) 5(a)
Mio padre: she does the simplest acts with distinction. Unde derivatur? Mia figlia ha una grandissima ammirazione per il suo maestro / inglese. The old man's face, handsome, flushed, with strongly / Jewish features and long white whiskers, turns towards me / as we walk down the hill together. O! Perfectly said: courtesy, benevolence, curiosity, trust, suspicion, naturalness, / helplessness of age, confidence, frankness, urbanity, sincerity, / warning, pathos, compassion: a perfect blend. Ignatius / Loyola, make haste to help me!
Note: Only last line used.
GN1 (Dzierbicki) 5(b)
This heart is sore and sad. Crossed in love?
GN1 (Dzierbicki) 5(c)
Long lewdly leering lips: dark-blooded molluscs
GN1 (Dzierbicki) 6(a)
Moving mists on the hill as I look upward from night and / mud. Hanging mists over the damp trees. A light in the / upper room. She is dressing to go to the play. There are / ghosts in the mirror . . . . . Candles! Candles!
GN1 (Dzierbicki) 6(b)
A gentle creature. At midnight, after music, all the way up the / via San Michele, these words were spoken softly. Easy now, / Jamesy! Did you never walk the streets of Dublin at / night sobbing another name?
GN1 (Dzierbicki) 6(c)
Corpses of Jews lie about me rotting in the mould of their holy / field. Here is the tomb of her people, black stone, silence without / hope . . . . . Pimply Meissel brought me here. He is beyond those / trees standing with covered head at the grave of his suicide wife, / wondering how the woman who slept in his bed has come / to this end . . . . . The tomb of her people and hers: black / stone, silence without hope: and all is ready. Do not die!
Note: Ada, wife of Filippo Meissel, took her own life on October 20, 1911. The graveyard in Trieste referred to is the Cimetero Israelitico.
GN1 (Dzierbicki) 7(a)
She raises her arms in an effort to hook at the nape of her neck / a gown of black veiling. She cannot: no, she cannot. / She moves backwards towards me mutely. I raise my / arms to help her: her arms fall. I hold the websoft / edges of her gown and drawing them out to hook them / I see through the opening of the black veil her / lithe body sheathed in an orange shift. It slips its / ribbons of moorings at her shoulders and falls / slowly: a lithe smooth naked body shimmering with / silvery scales. It slips slowly over the slender buttocks / of smooth polished silver and over their furrow, a / tarnished silver shadow . . . . Fingers, cold and / calm and moving . . . . A touch, a touch.
GN1 (Dzierbicki) 7(b)
Small witless helpless and thin breath. But bend and hear: / a voice. A sparrow under the wheels of Juggernaut, / shaking shaker of the earth. Please, mister God, / big mister God! Goodbye, big world! . . . . . . . Aber das / ist eine Schweinerei!
GN1 (Dzierbicki) 8(a)
Great bows on her slim bronze shoes: spurs of a pampered / fowl.
GN1 (Dzierbicki) 8(b)
The lady goes apace, apace, apace . . . . . Pure air on the upland / road. Trieste is waking rawly: raw sunlight over its huddled / browntiled roofs, testudoform; a multitude of prostrate / bugs await a national deliverance. Belluomo rises from / the bed of his wife's lover's wife: the busy housewife / is astir, sloe-eyed, a saucer of acetic acid in her / hand . . . . . Pure air and silence on the upland road: / and hoofs. A girl on horseback. Hedda! Hedda Gabler!
Note: See also JN0 (I.A; Cornell.18,4,17):a12(a)
GN1 (Dzierbicki) 8(c)
The sellers offer on their altars the first fruits: green-flecked lemons, / jewelled cherries, shameful peaches with torn leaves. The carriage / passes through the lane of canvas stalls, its wheel-spokes / spinning in the glare. Make way! Her father and his son / sit in the carriage. They have owls' eyes and owls' wisdom. / Owlish wisdom stares from their eyes brooding upon the / lore of their Summa contra Gentiles.
Note: Cf. UG 10.306: ‘shamefaced peaches’.
GN1 (Dzierbicki) 9(a)
She thinks the Italian gentlemen were right to haul Ettore Albini, / the critic of the Secolo, from the stalls because he did not stand / up when the band played the Royal March. She heard that / at supper. Ay. They love their country when they are quite / sure which country it is.
Note: Ettore Albini (1869-1954), who wrote for Avanti! rather than Il Secolo, was repeatedly jailed or deported for his opposition to the monarchy. The incident referred to took place on December 17, 1911. The last sentence (about love of country) somehow migrated to Sheet 12.006(ck) where it served as basis for UG 12.1628ff.
GN1 (Dzierbicki) 9(b)
She listens: virgin most prudent.
GN1 (Dzierbicki) 9(c)
A skirt caught back by her sudden moving knee; a / white lace edging of an underskirt lifted unduly; a / leg-stretched web of stocking. Si pol?
Note: In Triestine Si pol? means ‘May I?’.
GN1 (Dzierbicki) 9(d)
I play lightly, softly singing, John Dowland's languid song. / Loth to depart: I too am loth to go. That age is here / and now. Here, opening from the darkness of desire, / are eyes that dim the breaking East, their shimmer / the shimmer of the scum that mantles the cesspool / of the court of slobbering James. Here are wines all / ambered, dying fallings of sweet airs, the proud / pavan, kind gentlewomen wooing from their balconies / with sucking mouths, the pox-fouled wenches and / young wives that, gaily yielding to their ravishers, / clip and clip again.
Note: Transferred, with some adjustments to page 274, lines 12-24 of A Portrait of the Artist as a Young Man (New York: B.W. Huebsch, 1916).
GN1 (Dzierbicki) 10(a)
In the raw veiled spring morning faint odours float of morning Paris: / aniseed, damp sawdust, hot dough of bread: and as I cross / the Pont Saint Michel the steelblue waking waters chill my heart. / They creep and lap about the island whereon men have lived / since the stone age . . . . . Tawny gloom in the vast gargoyled / church. It is cold as on that morning: quia frigus erat. Upon / the steps of the far high altar, naked as the body of the / Lord, the ministers lie prostrate in weak prayer. The voice / of an unseen reader rises, intoning the lesson from Hosea. / Haec dicit Dominus: in tribulatione sua mane consurgent / ad me. Venite et revertamur ad Dominum . . . . She stands / beside me, pale and chill, clothed with the shadows of the / sindark nave, her thin elbow at my arm. Her flesh recalls / the thrill of that raw mist-veiled morning, hurrying / torches, cruel eyes. Her soul is sorrowful, trembles and / would weep. Weep not for me, O daughter of Jerusalem!
Note: Quia frigus erat means “for it was cold”. The longer Latin piece was used to begin the Good Friday Mass. The expression “Night's sindark nave” reappears in Joyce's poem “Nightpiece” (dated Trieste 1915).
GN1 (Dzierbicki) 10(b)
I expound Shakespeare to docile Trieste: Hamlet, quoth I, who is / most courteous to gentle and simple is rude only to Polonius. / Perhaps, an embittered idealist, he can see in the parents / of his beloved only grotesque attempts on the part of nature / to produce her image . . . . . . . . . . . Marked you that?
Note: Joyce delivered his lectures on Hamlet in the period November 1912 to February 1913.
GN1 (Dzierbicki) 11(a)
She walks before me along the corridor and as she walks a dark coil / of her hair slowly uncoils and falls. Slowly uncoiling, falling hair! / She does not know and walks before me, simple and proud. So / did she walk by Dante in simple pride and so, stainless of / blood and violation, the daughter of Cenci, Beatrice, to her / death:

. . . . . . . . Tie
My girdle for me and bind up this hair
In any simple knot.

Note: The verse is from Beatrice's death speech in Shelley's The Cenci.
GN1 (Dzierbicki) 11(b)
The housemaid tells me that they had to take her away at / once to the hospital, poveretta, that she suffered so much, / so much, poveretta, that it is very grave . . . . . . I walk / away from her empty house. I feel that I am about to / cry. Ah, no! It will not be like that, in a moment, / without a word, without a look. No, no! Surely hell's / luck will not fail me!
GN1 (Dzierbicki) 11(c)
Operated. The surgeon's knife has probed in her entrails / and withdrawn, leaving the raw jagged gash of its / passage on her belly. I see her full dark suffering / eyes, beautiful as the eyes of an antelope. O cruel / wound! Libidinous God!
GN1 (Dzierbicki) 11(d)
Once more in her chair by the window, happy words / on her tongue, happy laughter. A bird twittering after / storm, happy that its little foolish life has fluttered / out of reach of the clutching fingers of an epileptic / lord and giver of life, twittering happily, twittering / and chirping happily.
GN1 (Dzierbicki) 12(a)
She says that, had The Portrait of the Artist been frank only for / frankness' sake, she would have asked why I had given it / to her to read. O you would, would you? A lady of letters.
Note: Only the last line used.
GN1 (Dzierbicki) 12(b)
She stands black-robed at the telephone. Little timid laughs, / little cries, timid runs of speech suddenly broken . . . . Parlerò / colla mamma . . . . Come! chook, chook! come! The black / pullet is frightened: little runs suddenly broken, little / timid cries: it is crying for its mamma, the portly hen.
GN1 (Dzierbicki) 12(c)
Loggione. The sodden walls ooze a steamy damp. A symphony / of smells fuses the mass of huddled human forms: sour / reek of armpits, nozzled oranges, melting breast ointments, / mastick water, the breath of suppers of sulphurous / garlic, foul phosphorescent farts, opoponax, the frank / sweat of marriageable and married womankind, the soapy / stink of men . . . . . . All night I have watched her, all night / I shall see her: braided and pinnacled hair and olive / oval face and calm soft eyes. A green fillet upon her / hair and about her body a green-broidered gown: the / hue of the illusion of the vegetable glass of nature / and of lush grass, the hair of graves.
GN1 (Dzierbicki) 13(a)
My words in her mind: cold polished stones sinking through / a quagmire.
Note: See page 228, lines 20ff of A Portrait of the Artist as a Young Man (New York: B.W. Huebsch, 1916).
GN1 (Dzierbicki) 13(b)
Those quiet cold fingers have touched the pages, foul and fair, on which / my shame shall glow for ever. Quiet and cold and pure fingers. / Have they never erred?
GN1 (Dzierbicki) 13(c)
Her body has no smell: an odourless flower.
GN1 (Dzierbicki) 13(d)
On the stairs. A cold frail hand: shyness, silence: dark langour-/flooded eyes: weariness.
Note: Cf. page 262, lines 11f of A Portrait of the Artist as a Young Man (New York: B.W. Huebsch, 1916).
GN1 (Dzierbicki) 14(a)
Whirling wreaths of grey vapour upon the heath. Her face, how / grey and grave! Dank matted hair. Her lips press softly, / her sighing breath comes through. Kissed.
GN1 (Dzierbicki) 14(b)
My voice, dying in the echoes of its words, dies like the / wisdom-wearied voice of the Eternal calling on Abraham / through echoing hills. She leans back against the / pillowed wall: odalisque-featured in the luxurious / obscurity. Her eyes have drunk my thoughts: and / into the moist warm yielding welcoming darkness / of her womanhood my soul, itself dissolving, / has streamed and poured and flooded a liquid / and abundant seed . . . . . . Take her now who will! . . . .
Note: Cf. page 262, paragraph 3 of A Portrait of the Artist as a Young Man (New York: B.W. Huebsch, 1916).
GN1 (Dzierbicki) 15(a)
As I come out of Ralli's house I come upon her suddenly / as we both are giving alms to a blind beggar. She / answers my sudden greeting by turning and averting / her black basilisk eyes. E col suo vedere attosca / l'uomo quando lo vede. I thank you for the word, / messer Brunetto.
Note: Baron Ambrogio Ralli (1878-1938) had a house in Piazza Scorcol, Trieste.
GN1 (Dzierbicki) 15(b)
They spread under my feet carpets for the son of man. / They await my passing. She stands in the yellow / shadow of the hall, a plaid cloak shielding from / chills her sinking shoulders: and as I halt / in wonder and look about me she greets me / wintrily and passes up the staircase darting / at me for an instant out of her sluggish / sidelong eyes a jet of liquorish venom.
GN1 (Dzierbicki) 15(c)
A soft crumpled peagreen cover drapes the lounge. A narrow Parisian / room. The hairdresser lay here but now. I kissed her stocking and / the hem of her rustblack dusty skirt. It is the other. She. / Gogarty came yesterday to be introduced. Ulysses is the / reason. Symbol of the intellectual conscience . . . . Ireland / then? And the husband? Pacing the corridor in list shoes / or playing chess against himself. Why are we left here? The / hairdresser lay here but now, clutching my head between / her knobby knees . . . . Intellectual symbol of my race. Listen! / The plunging gloom has fallen. Listen!

— I am not convinced that such activities of the mind / or body can be called unhealthy —

She speaks. A weak voice from beyond the cold stars. Voice / of wisdom. Say on! O, say again, making me wise! This / voice I never heard.

She coils towards me along the crumpled lounge. I cannot / move or speak. Coiling approach of starborn flesh. Adultery / of wisdom. No. I will go. I will.

— Jim, love! —

Soft sucking lips kiss my left armpit: a coiling kiss / on myriad veins. I burn! I crumple like a burning / leaf! From my right armpit a fang of flame leaps out. / A starry snake has kissed me: a cold nightsnake. I am lost!

— Nora! —

GN1 (Dzierbicki) 16(a)
Jan Pieters Sweelink. The quaint name of the old Dutch musician makes all / beauty seem quaint and far. I hear his variations for the clavichord / on an old air: Youth has an end. In the vague mist of old / sounds a faint point of light appears: the speech of the soul / is about to be heard. Youth has an end: the end is here. It / will never be. You know that well. What then? Write it, damn / you, write it! What else are you good for?
Note: See also Sheet 16.021(v).
GN1 (Dzierbicki) 16(b)

“Because otherwise I could not see you.”

Sliding — space — ages — foliage of stars — and waning / heaven — stillness — and stillness deeper — stillness of / annihilation — and her voice.

Note: In Exiles Joyce gives the second line to Beatrice (see page 20, line 9 from end in the Jonathan Cape edition.
GN1 (Dzierbicki) 16(c)
Non hunc sed Barabbam!
GN1 (Dzierbicki) 16(d)
Unreadiness. A bare apartment. Torbid daylight. A long black / piano: coffin of music. Poised on its edge a woman's / hat, red-flowered, and umbrella, furled. Her arms: / a casque, gules, and blunt spear on a field, / sable.
Note: In Ulysses the woman's hat and umbrella are converted into Stephen's cap and ashplant.
GN1 (Dzierbicki) 16(e)
Envoy: Love me, love my umbrella.