ULYSSES NOTEBOOKS

JN2 (Cornell.25): Alphabetical Notebook

Print edition: R. Scholes and R. M. Kain, eds. The Workshop of Daedalus (Evanston: Northwestern University Press, 1965), pp. 92-105

MS: Cornell-25 Notebook details
Ulysses Notebooks

Page: JN2 (Cornell.25) 1

B

 
JN2: (Cornell.25) 1(a)
Byrne (John Francis)
Note: The original of Cranly in A Portrait.
JN2: (Cornell.25) 1(b)
He hears confessions without / giving absolution: a guilty priest.
Note: See James Joyce, A Portrait of the Artist as a Young Man (New York: B.W. Huebsch, 1916), p. 207, lines 16ff.
JN2: (Cornell.25) 1(c)
His silence means that he / has an answer to what puzzles / me.
JN2: (Cornell.25) 1(d)
His speech has neither the rare / phrases of Elizabethan English nor / the quaintly turned versions of / Irish idioms which I have heard / with Clancy. I hear in its drawl / an echo of the Dublin quays, / given back by the decaying / seaport from which he comes, / and in its energy an echo / of the flat emphasis of Wicklow / pulpits.
Note: See James Joyce, A Portrait of the Artist as a Young Man (New York: B.W. Huebsch, 1916), p. 228, lines 23ff.
JN2: (Cornell.25) 1(e)
He asked me if I would / deflower a virgin.
Note: See James Joyce, A Portrait of the Artist as a Young Man (New York: B.W. Huebsch, 1916), p. 291, lines 12f.
JN2: (Cornell.25) 1(f)
He has one epitaph for all ~

Page: JN2 (Cornell.25) 2

B

 
JN2: (Cornell.25) 2(a)
~ dead friendships: A Sugar.
Note: See James Joyce, A Portrait of the Artist as a Young Man (New York: B.W. Huebsch, 1916), p. 228, lines 12 and 17.
JN2: (Cornell.25) 2(b)
He spoke to me as: my / dear man.
Note: See James Joyce, A Portrait of the Artist as a Young Man (New York: B.W. Huebsch, 1916), p. 281, line 2 from bottom.
JN2: (Cornell.25) 2(c)
On the steps of the National / Library he dislodged an old / figseed from a rotten tooth.
Note: See James Joyce, A Portrait of the Artist as a Young Man (New York: B.W. Huebsch, 1916), p. 270, lines 10f.
JN2: (Cornell.25) 2(d)
He said that I was / reared in the lap of luxury
Note: See James Joyce, A Portrait of the Artist as a Young Man (New York: B.W. Huebsch, 1916), p. 284, lines 6-5 from bottom.
JN2: (Cornell.25) 2(e)
He did not think that / Nicholas Nickleby was true to life.
JN2: (Cornell.25) 2(f)
He is exhausted.
Note: See James Joyce, A Portrait of the Artist as a Young Man (New York: B.W. Huebsch, 1916), p. 293, line 12.
JN2: (Cornell.25) 2(g)
He calls a clock a wag-by/-the-wall and Yeats a go-by-/the-wall.
Note: See James Joyce, A Portrait of the Artist as a Young Man (New York: B.W. Huebsch, 1916), p. 235, line 11.

Page: JN2 (Cornell.25) 3

C

 
JN2: (Cornell.25) 3(a)
Cosgrave (Vincent)
Note: The original of Lynch in A Portrait and Ulysses
JN2: (Cornell.25) 3(b)
His laugh is like the whinny of an / elephant. His trunk shakes all over and / he rubs his hands delightedly over / his groins.
Note: See James Joyce, A Portrait of the Artist as a Young Man (New York: B.W. Huebsch, 1916), p. 235, lines 14ff, and p. 240, lines 9-8 from bottom. Also copied to Sheet 15.034(g).
JN2: (Cornell.25) 3(c)
His hands are usually in his / trousers' pockets. They were in his / trousers' pockets when I was knocked / down on S. Stephen's Green.
Note: See James Joyce, A Portrait of the Artist as a Young Man (New York: B.W. Huebsch, 1916), p. 240, lines 8-7 from bottom.
JN2: (Cornell.25) 3(d)
Under his headgear he brought up / the image of a hooded reptile. The / long slender flattened skull under / his cap brought up the image / of a hooded reptile: the eyes, too, / were reptilian in glint and gaze / but with one human point, / a tiny window of a shrivelled / soul, poignant and embittered.
Note: See James Joyce, A Portrait of the Artist as a Young Man (New York: B.W. Huebsch, 1916), pp. 240, line 2 from bottom-241, line 5.
JN2: (Cornell.25) 3(e)
He is a self-consumer.
JN2: (Cornell.25) 3(f)
He ate dried cowdung.
Note: See James Joyce, A Portrait of the Artist as a Young Man (New York: B.W. Huebsch, 1916), pp. 240, line 10 from bottom.

Page: JN2 (Cornell.25) 4

C

 
JN2: (Cornell.25) 4(a)
Clancy (George Stephen)
Note: Original of Madden in Stephen Hero, Davin in A Portrait.
JN2: (Cornell.25) 4(b)
There is a stare of terror / in his eyes
Note: See James Joyce, A Portrait of the Artist as a Young Man (New York: B.W. Huebsch, 1916), pp. 210, line 15.
JN2: (Cornell.25) 4(c)
He sat at the feet of / Michael Cusack the Gael who / hailed him as citizen.
Note: See James Joyce, A Portrait of the Artist as a Young Man (New York: B.W. Huebsch, 1916), pp. 210, lines 12f. Michael Cusack is "The Citizen" of Ulysses
JN2: (Cornell.25) 4(d)
Chance did not bring / us face to face on either of my / visits to Ireland. I wonder where / he is at the present time. I / don't know is he alive still.
JN2: (Cornell.25) 4(e)
His use of “whatever”.
JN2: (Cornell.25) 4(f)
It is equal to him
JN2: (Cornell.25) 4(g)
He wore a swanskin gansy.

Page: JN2 (Cornell.25) 5

C

 
JN2: (Cornell.25) 5(a)
Casey (Joseph)
Note: The original of Kevin Egan inUlysses.
JN2: (Cornell.25) 5(b)
a grey ember.

Page: JN2 (Cornell.25) 6

C

 
JN2: (Cornell.25) 6(a)
Calvacanti (Guido)
Note: Guido Cavalcanti (1255-1300) was an Italian poet and troubadour, and friend of Dante Alighieri (ca. 1265-1321).
JN2: (Cornell.25) 6(b)
His father Cavalcante Cavalcanti / asks Dante where he is (Inf. cant X). / Dante hesitates before he replies.
JN2: (Cornell.25) 6(c)
Betto Brunelleschi and his brigade / railed at him one day as he was coming / in from Orsanmichele. He (being near a / burial ground) said to them: Signori, voi / mi potete dire a casa vostra cio che vi / piace. His speculations (he held the views / of Epicurus) eran solo in cercare se / trovar si potesse che Iddio non fosse (Bocc 6.viii)
Note: The following is a transalation of the relevant passage.

Amongst these societies of gentlemen there was one of which Signor Betto Brunelleschi was the principal, who was desirous always of procuring Guido Cavalcanti to be one of their body, and not without reason; for, besides his being one of the best logicians in the world, as well as natural philosopher, for which they had no great regard, he was a most polite good-natured man, as well as an excellent companion, and nobody knew what belonged to a gentleman better than himself: besides this, he was very rich, and ready always to reward merit wherever he found it. But Signor Betto was never able to draw him into their assembly, which they all attributed to his speculative way of life; and because he was said to hold some of the Epicurean doctrines, the vulgar used to report that all this study of his was only to learn whether there was a God or not. One day he was passing from St. Michael's Church along by the Ademari to St. John's, which was his usual walk, and the large marble tombs, such as are now at St. Reparata's, were then about the church: and he chanced to be amongst them, the church door being shut, when Betto and his company came riding through the square; who, getting sight of him, spurred their horses and came up to him before he perceived them; whilst one of them said, “Guido, thou refusest to be of our society: but when thou hast found out that there is no God, what good will it have done thee?” He, seeing himself surrounded, immediately replied, “Gentlemen, you may use me as you please in your own territories;” and, laying his hand upon one of the arches, he leaped nimbly over it and so made his escape. (see The Decameron (London: Chatto and Windus, 1920), pp. 321-22).

Page: JN2 (Cornell.25) 7

D

 
JN2: (Cornell.25) 7(a)
Dedalus (Stephen)
JN2: (Cornell.25) 7(b)
“Et ignotas animum dimittit / in artes”: Ovid: Metamorphoses VII. 188.
Note: See James Joyce, A Portrait of the Artist as a Young Man (New York: B.W. Huebsch, 1916), p. 1, lines 3f.
JN2: (Cornell.25) 7(c)
Girls laughing when he stumbled / in the street were unchaste.
Note: See James Joyce, A Portrait of the Artist as a Young Man (New York: B.W. Huebsch, 1916), p. 259, lines 8f.
JN2: (Cornell.25) 7(d)
He made duck in cricket.
JN2: (Cornell.25) 7(e)
Flowergirls and beggarboys came / after him in the street for / handsel, saying: Will you, gentleman?
Note: See James Joyce, A Portrait of the Artist as a Young Man (New York: B.W. Huebsch, 1916), p. 213, lines 8-6 from bottom and p. 259, lines 3ff.
JN2: (Cornell.25) 7(f)
The gratings in the path often / caught the broken soles of his / boots.
Note: See James Joyce, A Portrait of the Artist as a Young Man (New York: B.W. Huebsch, 1916), p. 259, lines 9ff.
JN2: (Cornell.25) 7(g)
He had an inborn distaste for / fermented foods.
JN2: (Cornell.25) 7(h)
He was a dispossessed son.
JN2: (Cornell.25) 7(i)
He disliked to be seen in the / company of any woman.
Note: Copied to Sheet 15.034(h)
JN2: (Cornell.25) 7(j)
At times as he walked through / the streets of Dublin he felt that he ~

Page: JN2 (Cornell.25) 8

D

 
JN2: (Cornell.25) 8(a)
~ was really invisible.
Note: Cf. James Joyce, A Portrait of the Artist as a Young Man (New York: B.W. Huebsch, 1916), p. 168, lines 5ff.
JN2: (Cornell.25) 8(b)
He dreaded the sea that would / drown his body and the crowd that / would drown his soul.
JN2: (Cornell.25) 8(c)
He came to the knowledge of / innocence through sin.
Note: See James Joyce, A Portrait of the Artist as a Young Man (New York: B.W. Huebsch, 1916), p. 261, last paragraph.
JN2: (Cornell.25) 8(d)
His heart was moved to a / deep compassionate love by the / frail pallor and humble eyes of / girls, humbled and saddened by / the dark shame of womanhood.
Note: See James Joyce, A Portrait of the Artist as a Young Man (New York: B.W. Huebsch, 1916), p. 261, last paragraph.
JN2: (Cornell.25) 8(e)
He liked green.
JN2: (Cornell.25) 8(f)
He looked in vain for / some poet of the people among / his generation to be his / whetstone.
Note: Also copied to Sheet 15.034(i) for UG 15.2101
JN2: (Cornell.25) 8(g)
He hoped that by sinning / whole-heartedly his race might / come in him to the knowledge / of herself.
Note: Possibly the source of “to forge in the smithy of my soul the uncreated conscience of my race.” Cf. James Joyce, A Portrait of the Artist as a Young Man (New York: B.W. Huebsch, 1916), p. 299.

Page: JN2 (Cornell.25) 9

D

 
JN2: (Cornell.25) 9(a)
He disliked bottles.
Note: Copied to Sheet 15.034(j) for UG 15.3562.
JN2: (Cornell.25) 9(b)
He strove to shut his eyes against / the disloyalty of others to himself
Note: Copied to Sheet 15.034(k) for UG 15.2101.
JN2: (Cornell.25) 9(c)
He gave what he got.
JN2: (Cornell.25) 9(d)
He devoured snowcake.
JN2: (Cornell.25) 9(e)
He pawned a Pali book.
Note: Pāli is the language of the most complete extant early Buddhist scriptures.
JN2: (Cornell.25) 9(f)
He felt the growing pains of / his soul in the painful process / of life
Note: Copied to Sheet 15.034(l).
JN2: (Cornell.25) 9(g)
He shrank from limning / the features of his soul for he / feared that no everlasting / image of beauty could shine / through an immature / being.
JN2: (Cornell.25) 9(h)
Girls called after him: Hey, young fellow … or … Straight hair and curly eyebrows
Note: See James Joyce, A Portrait of the Artist as a Young Man (New York: B.W. Huebsch, 1916), p. 259, lines 14f.
JN2: (Cornell.25) 9(i)
It annoyed him to hear / a girl begin suddenly the ~

Page: JN2 (Cornell.25) 10

D

 
JN2: (Cornell.25) 10(a)
~ the first bars of a song and stop.
JN2: (Cornell.25) 10(b)
The applause following / the fall of the curtain fired / his blood more than the / scene on the stage.
JN2: (Cornell.25) 10(c)
He felt the quaking of / the earth.
JN2: (Cornell.25) 10(d)
He felt himself alone / in the theatre.
JN2: (Cornell.25) 10(e)
Having left the city of the / church by the gate of sin he might / enter it again by the wicket of / repentance if repentance were / possible.
Note: See James Joyce, A Portrait of the Artist as a Young Man (New York: B.W. Huebsch, 1916), p. 294, lines 9f.
JN2: (Cornell.25) 10(f)
He desired to be not a / man of letters but a spirit / expressing itself through language / because shut off from the visible / arts by an inheritance of / servitude and from music ~

Page: JN2 (Cornell.25) 11

D

 
JN2: (Cornell.25) 11(a)
by vigour of the mind.

Page: JN2 (Cornell.25) 12

D

 
JN2: (Cornell.25) 12(a)
Devin
Note: Tom Devin was the original for Mr Power in Dubliners and Ulysses.
JN2: (Cornell.25) 12(b)
He has a dead eye.
JN2: (Cornell.25) 12(c)
He takes leave of his boon / companions by saying: Here / endeth the seventh lesson.
JN2: (Cornell.25) 12(d)
He drank with me in / Mooney's-sur-Mer.
JN2: (Cornell.25) 12(e)
He does favours for a friend / with a heart and a half, and / prays that your shadow may / never grow less.

Page: JN2 (Cornell.25) 13

E

 
JN2: (Cornell.25) 13(a)
Esthetic
JN2: (Cornell.25) 13(b)
An enchantment of the heart
Note: See James Joyce, A Portrait of the Artist as a Young Man (New York: B.W. Huebsch, 1916), p. 250, line 20, and p. 255, line 3.
JN2: (Cornell.25) 13(c)
Pornographic and cinematographic / images act like those stimuli which / produce a reflex action of the nerves / through channels which are independent / of esthetic perception.
Note: See James Joyce, A Portrait of the Artist as a Young Man (New York: B.W. Huebsch, 1916), p. 240, lines 12ff. and p. 241, lines 10ff.
JN2: (Cornell.25) 13(d)
It relieves us to hear or see / our own distress expressed by / another person.
JN2: (Cornell.25) 13(e)
The instant of inspiration is a / spark so brief as to be invisible. / The reflection of it on many sides / at once from a multitude of / cloudy circumstances with no / one of which it is united / save by the bond of merest / possibility veils its afterglow in / an instant in a first confusion / of form. This is the instant in ~
Note: See James Joyce, A Portrait of the Artist as a Young Man (New York: B.W. Huebsch, 1916), p. 255, lines 7ff.

Page: JN2 (Cornell.25) 14

E

 
JN2: (Cornell.25) 14(a)
~ which the word is made flesh.
Note: See James Joyce, A Portrait of the Artist as a Young Man (New York: B.W. Huebsch, 1916), p. 255, line 14.
JN2: (Cornell.25) 14(b)
There is a morning inspiration / as there is a morning knowledge / about the |awindlessa| hour when the / moth escapes from the chrysalis, / and certain plants bloom and / the feverfit of madness comes / on the insane.
Note: For “the windless hour” see James Joyce, A Portrait of the Artist as a Young Man (New York: B.W. Huebsch, 1916), p. 256, line 14 from bottom.
JN2: (Cornell.25) 14(c)
The rite is the poet's rest.
Note: Copied to Sheet 15.034(q) for UG 15.2088.
JN2: (Cornell.25) 14(d)
Art has the gift of tongues.
JN2: (Cornell.25) 14(e)
Pornography fails because / whores are bad conductors of emotion.
Note: Copied to Sheet 15.034(r).
JN2: (Cornell.25) 14(f)
The skeleton conditions the / esthetic image.

Page: JN2 (Cornell.25) 15

E

 
JN2: (Cornell.25) 15(a)
England
JN2: (Cornell.25) 15(b)
She is successful with savages, her mind being akin to theirs

Page: JN2 (Cornell.25) 16

G

 
JN2: (Cornell.25) 16(a)
Gogarty (Oliver Saint John)
Note: Oliver St. John Gogarty, friend of Joyce and model for Buck Mulligan in Ulysses.
JN2: (Cornell.25) 16(b)
He speaks fluently in two jargons, that / of the paddock and that of the science / of medicine.
JN2: (Cornell.25) 16(c)
The plump shaven face and the / sullen oval jowl recall some prelate, / patron of arts in the middle ages.
JN2: (Cornell.25) 16(d)
The most casual scenes appear / to his mind as the theatres of so / many violent sexual episodes / and casual objects as gross sexual / symbols.
JN2: (Cornell.25) 16(e)
He fears the lancet of my art as / I fear that of his.
JN2: (Cornell.25) 16(f)
He addresses lifeless objects and / hits them smartly with his cane: / the naturalism of the Celtic / mind.
JN2: (Cornell.25) 16(g)
He has a horse-like face and / hair grained and hued like pale oak.

Page: JN2 (Cornell.25) 17

G

 
JN2: (Cornell.25) 17(a)
He calls thought the secretion of the / brain-cells and says that Ireland / secretes priests.
Note: See also Sheet 15.031(aj)
JN2: (Cornell.25) 17(b)
The Omphalos was to be the temple / of a neo-paganism.
JN2: (Cornell.25) 17(c)
His money smells bad.
JN2: (Cornell.25) 17(d)
He wore scapulars in the baths at / Howth.
JN2: (Cornell.25) 17(e)
His coarseness of speech is not / the blasphemy of a romantic.
JN2: (Cornell.25) 17(f)
Dubliners who slighted me esteemed / him as peasants esteem a bone-/setter or the redskins their / medicine-man.
JN2: (Cornell.25) 17(g)
His coarseness is the mask / of his cowardice of spirit.
JN2: (Cornell.25) 17(h)
A butler served in his / house. When his old fellow died / this butler was stationed outside / Clery's (anciently MacSwiney, ~

Page: JN2 (Cornell.25) 18

G

 
JN2: (Cornell.25) 18(a)
~ Delaney and Co's) emporium to / help ladies to alight from their / carriages. Gogarty spoke of him / as the exposed butler and often / told him in a pig's whisper / that he had put up a dozen / of stout for him round the / corner.
Note: “a pig's whisper” copied to Sheet 15.034(s).
JN2: (Cornell.25) 18(b)
He was in quest of a / cupric woman or a clean / old man.
JN2: (Cornell.25) 18(c)
Heaven and earth shall / pass away but his false spirit / shall not pass away.
JN2: (Cornell.25) 18(d)
He talked of writing / from right to left when I told / him Leonardo da Vinci did so / in his notebooks and an / instant after swore that, / damn him, he would write ~

Page: JN2 (Cornell.25) 19

G

 
JN2: (Cornell.25) 19(a)
~ like the Greeks and not like / the Sheenies.
JN2: (Cornell.25) 19(b)
He called himself a patriot / of the solar system.
Note: Copied to Sheet 15.034(v).
JN2: (Cornell.25) 19(c)
He discovered the vanity / of the world and exclaimed / “The mockery of it!”
Note: The Telemachus usage probably derived from the Portait fragment and not directly from the notebook. “The mockery of it!” also copied to Sheet 15.034(u) for UG 15.4178.

Page: JN2 (Cornell.25) 20

G

 
JN2: (Cornell.25) 20(a)
Gordon (Michael)
Note: In The Complete Dublin Diary (Ithaca: Cornel University Press, 1962), p.86, Stanislaus Joyce tells of how he, rather than James (who was too well known), for a fee of 25 shillings pretended to be Michael Gordon, a friend of Joyce's, at a Veterinary exam in July 1904. He (therefore Gordon) passed. Hopefully, no animals suffered in later life as a consequence.
JN2: (Cornell.25) 20(b)
[Verbicano] is in his eyes.

Page: JN2 (Cornell.25) 21

G

 
JN2: (Cornell.25) 21(a)
Giorgino
Note: Giorgio Joyce, born 27 July 1905.
JN2: (Cornell.25) 21(b)
You were a few minutes old. While the doctor / was drying his hands I walked up and down / with you, humming to you. You were quite / happy, happier than I.
JN2: (Cornell.25) 21(c)
I held him in the sea at the baths / of Fontana and felt with humble / love the trembling of his frail / shoulders: Asperge me, Domine, / hyssopo et mundabor: lavabis / me et super nivem dealbalor.
Note: “Asperges me” is a Latin hymn sung at High Mass: Asperges me, Domine, hyssopo et mundabor, Lavabis me, et super nivem dealbabor. Miserere mei, Deus, secundum magnam misericordiam tuam. (Thou wilt sprinkle me, O Lord, with hyssop and I shall be cleansed. Thou wilt wash me, and I shall be washed whiter than snow. Pity me, O God, according to Thy great mercy.)
JN2: (Cornell.25) 21(d)
Before he was born I had no / fear of fortune.

Page: JN2 (Cornell.25) 22

H

 
JN2: (Cornell.25) 22(a)
Henry (Father William)
Note: The Rector of Belvedere College during Joyce's time there. In A Portrait he appears as ‘the rector’.
JN2: (Cornell.25) 22(b)
In translating Ovid he spoke / of porkers and potsherds |aand of chines of bacona|.
Note: See James Joyce, A Portrait of the Artist as a Young Man (New York: B.W. Huebsch, 1916), p. 208, lines 18ff.
JN2: (Cornell.25) 22(c)
When I listen I can still hear / him reading sonorously: In tanto / discrimine . . . . . Implere ollam / denariorum . . . . India mittit ebur.
Note: See James Joyce, A Portrait of the Artist as a Young Man (New York: B.W. Huebsch, 1916), p. 208, line 17.

Page: JN2 (Cornell.25) 23

H

 
JN2: (Cornell.25) 23(a)
Healy (Michael)
Note: Nora Barnacle's uncle. Joyce went to his house in Galway in 1909.
JN2: (Cornell.25) 23(b)
Many pairs of boots stand in a / row along the wall of his bedroom.
JN2: (Cornell.25) 23(c)
Beside his bed hangs a card / on which these verses are printed:

"Let nothing make thee sad or fretful
Or too regretful:
Be still.
What God bath ordered must be right
Then find in it thine own delight,
My will.

“Why shouldest thou fill today with sorrow
About tomorrow,
My heart?
One watches all with care most true
Doubt not that he will give thee too
Thy part

"Only be steadfast: never waver
Nor seek earth's favour
But rest.

Page: JN2 (Cornell.25) 24

H

 
JN2: (Cornell.25) 24(a)

“Thou knowest what God's will must be
For all His creatures: so for thee
The best”

Paul Fleming (1609-1640)

Page: JN2 (Cornell.25) 25

I

 
JN2: (Cornell.25) 25(a)
Ireland
JN2: (Cornell.25) 25(b)
Its learning is in the hands of the monks / and their clerks and its art in the hands / of blacklegs who still serve those ideas / which their fellow artists in Europe / have rebelled against.
JN2: (Cornell.25) 25(c)
One effect of the resurgence of the / Irish nation would be the entry / into the field of Europe of the Irish / artist and thinker, a being without / sexual education.
JN2: (Cornell.25) 25(d)
The sow that eats her young.
Note: See James Joyce, A Portrait of the Artist as a Young Man (New York: B.W. Huebsch, 1916), p. 238, lines 19f.
JN2: (Cornell.25) 25(e)
Her state is like that of France / after the Napoleonic wars or / of Egypt after the slaughter / of the first-born.
JN2: (Cornell.25) 25(f)
The first maxim in Irish morals / is: omertà (the Sicilian law / of silence)
JN2: (Cornell.25) 25(g)
Irish wits follow in the footsteps ~

Page: JN2 (Cornell.25) 26

I

 
JN2: (Cornell.25) 26(a)
~ of King James the Second who struck / off base money for Ireland which / the hoofs of cattle have trampled / into her soil.
JN2: (Cornell.25) 26(b)
The curfew is still a nightly / fear in her starving villages.
JN2: (Cornell.25) 26(c)
Irish art is the cracked / looking-glass of a servant.
JN2: (Cornell.25) 26(d)
The Irish provinces not England / and her tradition stand between / me and Edward VII.
JN2: (Cornell.25) 26(e)
The cable of Catholicism that / links Ireland to Latin Europe is / eaten by two seas.
JN2: (Cornell.25) 26(f)
The shortest way from Cape / of Good Hope to Cape Horn is to sail / away from it. The shortest route to Tara / is via Holyhead.
Note: See James Joyce, A Portrait of the Artist as a Young Man (New York: B.W. Huebsch, 1916), p. 296, lines 12f.
JN2: (Cornell.25) 26(g)
Her rebellions are servile wars.
JN2: (Cornell.25) 26(h)
The Irish are washed by the Gulf Stream

Page: JN2 (Cornell.25) 27

I

 
JN2: (Cornell.25) 27(a)
There is hope for her: in 500 years the / coal supply of England will run out
Note: See also Sheet 16.020(p) for UG{/citei> 16.1035.
JN2: (Cornell.25) 27(b)
Duns Scotus has won a poorer / fame than S. Fiacre, whose legend / sown in French soil, has grown up in a / harvest of hackney-cabs.
Note: Copied to UN4 (NLI.5A):029(ag), UN4 (NLI.5A):029(ai)
JN2: (Cornell.25) 27(c)
If he and Columbanus the fiery, / whose fingertips God illumined, and Fridolinus / Viator can see as far as earth from / their creepy-stools in heaven they / know that Aquinas, the lucid sensual / Latin, has won the day.
Note: Copied to UN4 (NLI.5A):029(ah), UN4 (NLI.5A):029(ai)

Page: JN2 (Cornell.25) 28

J

 
JN2: (Cornell.25) 28(a)
Jesus
JN2: (Cornell.25) 28(b)
His shadow is everywhere.
JN2: (Cornell.25) 28(c)
From the first instant of his / existence his human soul was filled / with divine knowledge.
JN2: (Cornell.25) 28(d)
He was discourteous to his mother / in public but Suarez, a Jesuit / theologian and Spanish gentleman, / has apologised for him.
Note: See James Joyce, A Portrait of the Artist as a Young Man (New York: B.W. Huebsch, 1916), p. 286, lines 4ff.
JN2: (Cornell.25) 28(e)
The dove above his head is the / lex eterna which overshadows the / mind and will of God.

Page: JN2 (Cornell.25) 29

J

 
JN2: (Cornell.25) 29(a)
Ibsen (Henrik)
JN2: (Cornell.25) 29(b)
He seems witty often because his / discoveries at such startling angles / to applauded beliefs.

Page: JN2 (Cornell.25) 30

J

 
JN2: (Cornell.25) 30(a)
Jesuits
JN2: (Cornell.25) 30(b)
They breed atheists
JN2: (Cornell.25) 30(c)
I learnt Latin prosody from the / rhymes of Father Alvarez.
Note: See James Joyce, A Portrait of the Artist as a Young Man (New York: B.W. Huebsch, 1916), p. 208, lines 9-7 from bottom.
JN2: (Cornell.25) 30(d)
The |anicea| terms of their philosophy / are like the jargon of heraldry.
Note: See James Joyce, A Portrait of the Artist as a Young Man (New York: B.W. Huebsch, 1916), p. 209, lines 15f.
JN2: (Cornell.25) 30(e)
They are levites.
Note: See James Joyce, A Portrait of the Artist as a Young Man (New York: B.W. Huebsch, 1916), p. 215, line 4 from bottom.
JN2: (Cornell.25) 30(f)
They do not love the end / they serve.
JN2: (Cornell.25) 30(g)
The houses of jesuits are / extraterritorial.
Note: See James Joyce, A Portrait of the Artist as a Young Man (New York: B.W. Huebsch, 1916), p. 215, line 5.
JN2: (Cornell.25) 30(h)
They flatter the wealthy but / they do not love them nor their / ways. They flatter the clergy, their / half brothers.
Note: See James Joyce, A Portrait of the Artist as a Young Man (New York: B.W. Huebsch, 1916), p. 222, line 14.
JN2: (Cornell.25) 30(i)
They who live by the mob shall / perish by the mob.
JN2: (Cornell.25) 30(j)
They judge by categories.
JN2: (Cornell.25) 30(k)
Are they venal of speech because / venality is the only point of contact ~
Note: See James Joyce, A Portrait of the Artist as a Young Man (New York: B.W. Huebsch, 1916), p. 222, line 15.

Page: JN2 (Cornell.25) 31

J

 
JN2: (Cornell.25) 31(a)
~ between pastor and flock?
JN2: (Cornell.25) 31(b)
They are erotically preoccuppied

Page: JN2 (Cornell.25) 32

L

 
JN2: (Cornell.25) 32(a)
Lust
JN2: (Cornell.25) 32(b)
The reek of lions
JN2: (Cornell.25) 32(c)
The falling sickness: the eyes vanish / under their lids: the cry.
JN2: (Cornell.25) 32(d)
A desire to embrace all women.
Note: Copied to Sheet 15.032(u)

Page: JN2 (Cornell.25) 33

M

 
JN2: (Cornell.25) 33(a)
Mother
JN2: (Cornell.25) 33(b)
The drawer in her deadroom contained / perfumed programmes and old feathers.
JN2: (Cornell.25) 33(c)
When she was a girl a birdcage hung / in the sunny window of her house.
JN2: (Cornell.25) 33(d)
When she was a girl she went to the / theatre |ato see the pantomime of Turko the Terriblea| and laughed when |aOld Roycea| the actor / sang: I am the boy / That can enjoy / Invisibility
JN2: (Cornell.25) 33(e)
She came to me silently in a dream / after her death: and her washed body / within its loose brown habit gave / out a faint odour of wax and / rosewood and her breath a / faint odour of wetted ashes.
JN2: (Cornell.25) 33(f)
Every first Friday she approached / the altar and when she came home / drank a glass of water before ~

Page: JN2 (Cornell.25) 34

M

 
JN2: (Cornell.25) 34(a)
~ eating.
JN2: (Cornell.25) 34(b)
Her nails were reddened with / the blood of lice.
JN2: (Cornell.25) 34(c)
She was taken sometimes to / a performance of Christy minstrels / in the Leinster Hall.
JN2: (Cornell.25) 34(d)
Sometimes she roasted an / apple for herself on the hob.
JN2: (Cornell.25) 34(e)
She used to exclaim: Merciful hour!
JN2: (Cornell.25) 34(f)
She said I never went to / church, mass or meeting.

Page: JN2 (Cornell.25) 35

M

 
JN2: (Cornell.25) 35(a)
McCluskey
JN2: (Cornell.25) 35(b)
When not quite sober he / used to set us sums about the / papering of a trench and told us / we should get cent in the / exam.
Note: Possibly the original for Sheet 17.050(r).

Page: JN2 (Cornell.25) 36

N

 
JN2: (Cornell.25) 36(a)
Nora
Note: Nora Barnacle, Joyce's wife.
JN2: (Cornell.25) 36(b)
“Wherever thou art shall be Erin to me”
JN2: (Cornell.25) 36(c)
She said to me: Woman-killer! / That's what you are!
JN2: (Cornell.25) 36(d)
She speaks as often of her innocence / as I do of my guilt.
JN2: (Cornell.25) 36(e)
She wears limber stays

Page: JN2 (Cornell.25) 37

P

 
JN2: (Cornell.25) 37(a)
Pappie
Note: John Stanislaus Joyce.
JN2: (Cornell.25) 37(b)
He is an Irish suicide.
JN2: (Cornell.25) 37(c)
He read medicine
JN2: (Cornell.25) 37(d)
He cannot keep his pipe alight / as the buccinator muscle is weak
JN2: (Cornell.25) 37(e)
He gave me money to wire to Nora / on Christmas Eve, saying: “Non ignorus / malorum miseris soccorere disco.”
Note: The Latin only, from a speech of Dido in the Aeneid wthat translates ‘not being unacquainted with misfortune, I succour the wretched.’
JN2: (Cornell.25) 37(f)
One morning he played the fiddle, / sitting up in bed.
JN2: (Cornell.25) 37(g)
His college friends were: Tom O'/Grady, Harry Peard, Mick Lacey, / Maurice Moriarty, Jack Mountain, / Joey Corbet, Bob Dyas and Keevers / of the Tantiles.
Note: See James Joyce, A Portrait of the Artist as a Young Man (New York: B.W. Huebsch, 1916), p. 101, 3rd paragraph.
JN2: (Cornell.25) 37(h)
He calls a prince of the church / a tub of guts.
Note: See James Joyce, A Portrait of the Artist as a Young Man (New York: B.W. Huebsch, 1916), p. 33, line 22f. See also JN2 (Cornell.25):038(e) below.
JN2: (Cornell.25) 37(i)
The verses he quotes most are: / Conservio lies captured! He lies in the lowest dungeons / With manacles and chains around his limbs ~
Note: Partly copied to Sheet 15.034(m).

Page: JN2 (Cornell.25) 38

P

 
JN2: (Cornell.25) 38(a)
~ Weighing upwards of three tons.
JN2: (Cornell.25) 38(b)
When he is satirical / he calls me sonny and bids me / think of my Maker and give / up the ghost.
JN2: (Cornell.25) 38(c)
He offers the pope's nose / at table.
Note: See James Joyce, A Portrait of the Artist as a Young Man (New York: B.W. Huebsch, 1916), p. 32, line 6 from bottom.
JN2: (Cornell.25) 38(d)
He was proud of his hop / step and jump.
JN2: (Cornell.25) 38(e)
He calls Canon Keon frosty / face and Cardinal Logue a tub of / guts. Had they been laymen he / would condone their rancid fat.
Note: See JN2 (Cornell.25):037(h) above.
JN2: (Cornell.25) 38(f)
When something is mislaid he asks softly: Have you tried the ash pit?
JN2: (Cornell.25) 38(g)
He read the Licensed Victuallers' Gazette
JN2: (Cornell.25) 38(h)
He inquires: Who said?
JN2: (Cornell.25) 38(i)
He read Modern Society

Page: JN2 (Cornell.25) 39

P

 
JN2: (Cornell.25) 39(a)
and the Licensed Victuallers' Gazette
Note: Copied to UN4 (NLI.5A):020(k) for UG 15.2898.
JN2: (Cornell.25) 39(b)
He threatened to make me / smell hell.
Note: Probably entered via a now missing early draft.
JN2: (Cornell.25) 39(c)
He called Eileen a confirmed / bloody idiot.
Note: Copied to UN4 (NLI.5A):057(k) for UG 6.271.
JN2: (Cornell.25) 39(d)
He quarrelled with my friends.
JN2: (Cornell.25) 39(e)
When drunk he composes verses / containing the word perchance.

Page: JN2 (Cornell.25) 40

P

 
JN2: (Cornell.25) 40(a)
Prezioso (Roberto)
Note: A Triestine friend of the Joyces.
JN2: (Cornell.25) 40(b)
An umbrella hanging from the crook of / his elbow comforts his ribs.

Page: JN2 (Cornell.25) 41

P

 
JN2: (Cornell.25) 41(a)
Poppie
JN2: (Cornell.25) 41(b)
She used to play on the piano / a chacone and the Stephanie gavotte.

Page: JN2 (Cornell.25) 42

R

 
JN2: (Cornell.25) 42(a)
Roncati (Venanzio)
JN2: (Cornell.25) 42(b)
Venanzio Roncati drew a watch from the fob / in his waist and held it from him at its / chain's length.

Page: JN2 (Cornell.25) 43

R

 
JN2: (Cornell.25) 43(a)
Rogers (Marcellus)
JN2: (Cornell.25) 43(b)
He laughs with happy teeth.

Page: JN2 (Cornell.25) 44

S

 
JN2: (Cornell.25) 44(a)
Skeffington (Francis Joseph Christopher)
Note: The original for MacCann in A Portrait.
JN2: (Cornell.25) 44(b)
He wields a wooden sword.
Note: See James Joyce, A Portrait of the Artist as a Young Man (New York: B.W. Huebsch, 1916), p. 231, line 9.

Page: JN2 (Cornell.25) 45

S

 
JN2: (Cornell.25) 45(a)
Sordino (Conte Francesco)
Note: A Triestine pupil of Joyce.
JN2: (Cornell.25) 45(b)
His books are dogseared.

Page: JN2 (Cornell.25) 46

P

 
JN2: (Cornell.25) 46(a)
Shelley (Percy Bysshe)
JN2: (Cornell.25) 46(b)
He spoke his ecstatic / verses with an English accent.

Page: JN2 (Cornell.25) 47

U

 
JN2: (Cornell.25) 47(a)
Uncle William
Note: William Murray.
JN2: (Cornell.25) 47(b)
He agreed: You may say that, ma'am.
JN2: (Cornell.25) 47(c)
He sang The Groves of the Pool.

Page: JN2 (Cornell.25) 48

W

 
JN2: (Cornell.25) 48(a)
Walshe (Louis)
Note: In Nausicaa, he is cited as author of "Art thou real my ideal" (see Sheet 13.011(f).
JN2: (Cornell.25) 48(b)
He is the father of this poem on Saint Patrick, the patron saint of Our Isle, which begins:

“Fair spring has come, the winter / winds have passed,
The wild torrentious streams are / plying rills”