He came a step a sinkapace forward on neatsleather creaking and a step backward a sinkapace on the solemn floor.

A noiseless attendant setting open the door but slightly made him a noiseless beck.

—­Directly, said he, creaking to go, albeit lingering.  The beautiful ineffectual dreamer who comes to grief against hard facts.  One always feels that Goethe’s judgments are so true.  True in the larger analysis.

Twicreakingly analysis he corantoed off.  Bald, most zealous by the door he gave his large ear all to the attendant’s words:  heard them:  and was gone.

Two left.

—­Monsieur de la Palice, Stephen sneered, was alive fifteen minutes before his death.

—­Have you found those six brave medicals, John Eglinton asked with elder’s gall, to write paradise lost at your dictation?  The sorrows of Satan he calls it.

Smile.  Smile Cranly’s smile.

    First he tickled her
    then he patted her
    then he passed the female catheter. 
    For he was A medical
    jolly old Medi ...

—­I feel you would need one more for hamlet.  Seven is dear to the mystic mind.  The shining seven W.B. calls them.

Glittereyed his rufous skull close to his greencapped desklamp sought the face bearded amid darkgreener shadow, an ollav, holyeyed.  He laughed low:  a sizar’s laugh of Trinity:  unanswered.

    Orchestral Satan, weeping many A rood
    tears such as angels weep. 
    Ed Egli AVEA Del CUL FATTO Trombetta.

He holds my follies hostage.

Cranly’s eleven true Wicklowmen to free their sireland.  Gaptoothed Kathleen, her four beautiful green fields, the stranger in her house.  And one more to hail him:  Ave, rabbi:  the Tinahely twelve.  In the shadow of the glen he cooees for them.  My soul’s youth I gave him, night by night.  God speed.  Good hunting.

Mulligan has my telegram.

Folly.  Persist.

—­Our young Irish bards, John Eglinton censured, have yet to create a figure which the world will set beside Saxon Shakespeare’s Hamlet though I admire him, as old Ben did, on this side idolatry.

—­All these questions are purely academic, Russell oracled out of his shadow.  I mean, whether Hamlet is Shakespeare or James I or Essex.  Clergymen’s discussions of the historicity of Jesus.  Art has to reveal to us ideas, formless spiritual essences.  The supreme question about a work of art is out of how deep a life does it spring.  The painting of Gustave Moreau is the painting of ideas.  The deepest poetry of Shelley, the words of Hamlet bring our minds into contact with the eternal wisdom, Plato’s world of ideas.  All the rest is the speculation of schoolboys for schoolboys.